#TIFF26: “CLARISSA” REVIEW

By Nicholas Porteous

Clarissa takes the premise of Mrs. Dalloway and moves the action to Nigeria, where our lead plans a reunion of meaningful players from her past. As day turns to evening, the ensemble reflects on their youth, regrets, and (very occasionally) fond memories. This mountain of history culminates in a party where every glance is worth a thousand words.

Clarissa is an extended character study and tone poem. Though it offers volumes of plot and interwoven flashbacks, the movie is really a framework to explore the elder cast’s melancholic state of mind in their adulthoods. It’s a bit stagnant by design, and although it’s a long film, like a good reunion with an old friend, it never overstays its welcome.

The formidable ensemble includes Sophie Okonedo as present-day Clarissa, David Oyelowo as her not-quite-lover Peter, and Niki Amuka-Bird as rabble-rouser Sally. Their young counterparts–India Ria Amarteifio, Toheeb Jimoh, and Ayo Edebiri–absolutely light up the screen, building an unspeakable tension in their past. I’m not sure if you’re ready for Edebiri in particular. I certainly wasn’t. It’s her best performance since her breakout in The Bear, and a true outlier from the meek, comic characters she typically plays. Here, she brings a sharp, mischievous and seductive energy to every scene. She cannot be pinned down, and it’s impossible to predict what she’ll say next. Edebiri’s transformation is a wonderful surprise–and her performance alone makes Clarissa worth checking out–but in a richly textured world of pain and intimate personal reflection, it’s one reason among many.

Clarissa screens at TIFF ’26:

Fri. Sept 11 at 2:45 PM at The Princess of Wales Theatre

Sat. Sept 12 at 12:00 PM at Scotiabank Theatre Toronto