With the addition of 115 films, the lineup for this year’s Toronto International Film Festival is now truly daunting, if not outright overwhelming. You can scan the full list right here; links from the titles will take you to that film’s page, where’ll you’ll find a brief synopsis. What follows is a glance at the standouts—with links, when available, to early reviews.
Among the four newly added Galas is the opening night film, Outlaw King. David Mackenzie (Starred Up, Hell or High Water) directs Chris Pine as Robert the Bruce, the king who led Scotland during its first war of independence against England. Justin Kelly’s Jeremiah Terminator LeRoy, the closing night film, features Kristen Stewart as the controversial literary persona created in the 1990s by her sister-in-law, Laura Albert (Laura Dern).
TIFF has also added twenty-two Special Presentations, including the world premieres of Louis Garrel’s A Faithful Man, lined up for the New York Film Festival’s Main Slate; Jeremy Saulnier’s Hold the Dark, an adaptation of William Giraldi’s dark thriller widely believed to have been pulled by Netflix from this year’s Cannes lineup; and Jonah Hill’s directorial debut, Mid90s. But our interest is drawn for the moment to three of the festival’s other sections.
Eleven new works by “acclaimed and established auteurs” make up this year’s Masters program, including four that premiered in competition at Cannes in May (click the titles for overviews of the initial critical response): Jafar Panahi’s 3 Faces, Jia Zhangke’s Ash Is Purest White, Jean-Luc Godard’s The Image Book, and Nuri Bilge Ceylan’s The Wild Pear Tree. Three other films are set to premiere in Venice: Mike Leigh’s Peterloo, depicting the 1819 massacre of peaceful demonstrators in Manchester; Shinya Tsukamoto’s Killing, a samurai film set during the Edo period; and Carlos Reygadas’s Our Time, in which a husband in an open relationship discovers that he can’t handle it.