TIFF 2022: Six Best Films From the 47th Annual Festival

September 8-18 saw the fully-fledged in-person return of the Toronto International Film Festival with it a gaggle of the most exciting and highly-anticipated titles the film world has to offer. Out of the eighteen films we were lucky enough to screen, here are the six standout titles (and an honorable mention) that we can’t wait for the rest of the world to see.

1) The Whale

Marketed as Brendan Fraser’s major ‘comeback’ to film acting, there was plenty of buzz surrounding Darren Aronofsky’s The Whale, even outside of its high-profile, ever-divisive director. The film, adapted from Samuel D Hunter’s play of the same name, follows reclusive English professor Charlie (Fraser), who teaches virtually with his laptop camera off because of his body image-related insecurities: following the death of a loved one, he began developing severe health issues and is morbidly obese – close to death – when the film begins. Despite the attempts of Charlie’s nurse/best friend Liz (Hong Chau), he refuses to change his ways – that is, until the sudden return of his estranged daughter Ellie (Sadie Sink) in his life.

Though certainly one of the more grounded, straightforward films in Aronofsky’s filmography, The Whale is a staggering piece of filmmaking – a deeply personal saga about a man grappling with religious trauma, heartbreak, and struggling to navigate complicated familial relationships, all while inside a body he hates, and that is going to end his life within the week. Brendan Fraser gives a tragically moving performance as Charlie – a character undeniably seeped in sadness, but who at the same time somehow manages to uplift those around him and represent an unorthodox hope, even in his bleakest moments. Paired with Sadie Sink’s fierce performance as his callous and jaded daughter, the two make for the perfect pair to bring Aronofsky’s tragic tale to life, and their pas de deux performances make The Whale one of TIFF’s best.

2)  Corsage

Though hardly the first film to tackle the eclectic life of Empress Elisabeth of Austria (perhaps more famously known as “Sissi”), Marie Kreutzer’s sharp, unorthodox period drama Corsage casts the boundary-breaking empress in a fascinating new light, anchored by a whirlwind performance from Vicky Krieps. The film follows Elisabeth as she struggles to navigate relationships with her husband, children, and lovers, all while remaining a pristine public figurehead and grappling with the pressures of her role as Empress.

While at times the film may feel slow or aisless, Corsage‘s remarkably down-to-earth approach to such a larger-than-life figure provides Sissi a fascinating humanity and relatability that makes the film feel incredibly modern, despite taking place nearly 150 years ago. Between the constricting costumes, the crumbling European palaces, and the intricate hairstyles Sissi was known for, the film has a distinct visual flair that nods to both Sissi’s high-status position in society, and the metatextual reality that both Sissi and Austria are on the brink of collapse. Kreutzer’s script is as remarkably funny as it is poignant, and in conjunction with Kriep’s spirited performance, the two craft a witty, ruminative, melancholy portrait of an extraordinary ruler.

3) Glass Onion

Perhaps the buzziest, most star-studded title at TIFF, Glass Onion: A Knives Out Mystery is the highly anticipated sequel to Rian Johnson’s runaway murder-mystery hit Knives Out, which also premiered at TIFF. Though it’s hard to imagine how Johnson could follow up a film as well-received as Knives Out, we’re happy to report that Glass Onion is without question a worthy successor: funnier than the original, with yet another eclectic ensemble cast and a killer mystery that will keep you guessing until the final reveal – trust us when we say, you won’t be able to guess the killer in this one.

The film follows Benoit Blanc (Daniel Craig) as he travels to tech billionaire’ Miles Bron’s mansion after receiving a mysterious invitation, only to discover that Bron has concocted a murder mystery for the ages to entertain his unlikely yet close-knit group of friends. When the game turns deadly serious, Benoit is on the case, and what follows is a dizzying mystery that’s as unpredictable as it is funny. It’s fascinating that Glass Onion manages to both maintain its status as a spiritual successor to Knives Out while also forging an undeniably unique identity, but Johnson has crafted yet another engaging mystery that runs both the characters and the audience in circles trying to put the pieces together. With a compelling leading lady in Janelle Monáe, an ensemble cast filled to the brim with comedic talent, and a handful of celebrity cameos you’ll need to see to believe, Glass Onion is a rollicking good time and a clever mystery that more than does justice to the Knives Out name.

4) Pearl

Premiering just months after its parent film X hit theaters, one of TIFF’s more surprising titles was Ti West’s Pearl – a prequel/origin story for the murderous old woman at the center of the first 70s-inspired slasher. Written in just two weeks by West and Mia Goth (who starred as both Maxine and old woman Pearl in X) and shot in secret during X‘s production, Pearl is impressive for its sheer existence, and that West & Co. were able to turn out such a cohesive film under such harsh constraints. Even outside of its production practicalities, though, Pearl is a dazzling character-driven horror film that lives and dies by Mia Goth’s earth-shattering lead performance – resulting in an eerie, Old Hollywood-inspired origin story that eclipses the film it was made to supplement.

Set 60 years before the events of X, Pearl follows the titular leading lady – a farm girl and daughter of immigrant German parents who struggle to make ends meet amid the First World War. With her husband serving overseas, Pearl feels held back by the humble confines of her family farm, and longs to break out and become a movie star -and she’s willing to go to any means necessary to make sure nobody is in her way. Where X was structured like a true slasher, Pearl is a far more personal, intimate narrative that has no qualms about diving into Pearl’s psyche and letting the audience grow fond of the murderous young woman. For as often as she commits unspeakable crimes, there’s an ever-present vulnerability, sadness, and achingly relatable lust for happiness that makes Pearl one of the most compelling horror villains in years – and thanks to Goth’s performance, the farmgirl-turned-fanatical killer is a genre icon in the making. Between Tyler Bates’ vintage-inspired score, West’s clever cinematography, and Goth’s staggering performance, Pearl is a gripping character drama disguised as a horror movie, and a compelling prequel that strengthens an already-impressive story.

5)  Catherine Called Birdy

Based on the beloved children’s book of the same name, Lena Dunham’s Catherine Called Birdy is a thoroughly charming and youthful tale that reimagines a classic story for newer, modern sensibilities. Starring Bella Ramsey as the eponymous Catherine, the film follows a mischievous young woman living in medieval England as she attempts to avoid the increasingly persistent suitors to whom her father hopes to see her marry. Though Catherine has lived a frivolous life full of lighthearted rebellion, financial struggle puts her father under pressure, and suddenly her carefree antics can no longer be written off or ignored. Catherine is furious to find out that her father has made numerous attempts to marry her off – but as the suitors grow more and more repulsive, she quickly realizes she’s running out of excuses to avoid marriage and struggles to come to terms with the realization that she can’t stay a child forever.

Though the film makes several sizable changes from the novel (most notably, altering the ending to a more overtly feminist one that will likely land better with a modern audience), Catherine Called Birdy still stays true to the spirit of the original novel – capturing Catherine’s joyful fire thanks in large part to an enchanting leading lady in Bella Ramsey, whose mischievous smile and infectious laugh bring levity even the film’s darkest moments. While the film may function most often as a comedy, there’s also a remarkably raw and compelling undercurrent of familial duty, loyalty, and love that lends depth and dimension to an already endearing film. With Bella Ramsey’s comedic talent and an ensemble cast (Andrew Scott, Joe Alwyn, and Billie Piper) providing equal parts warmth and heartbreak, Catherine Called Birdy is an uplifting coming-of-age story, and relentlessly joyful exploration of youth, identity, and family.

6) Women Talking

Even weeks later, it’s still difficult to put in words the sheer emotion invoked by Women Talking – which takes the top spot as our favorite film of TIFF 2022. Based on the novel of the same name by Miriam Toews, the film hinges on a heavy premise: a group of eight Mennonite women conducts a secret meeting after they learn that the men of their colony have been drugging and raping them.  The eight women have been elected to represent the interest of all women in the community, and the outcome of their debate will decide the fate of the colony: they can either forgive the men, stay and fight, or flee – the last of which would also mean serious ramifications for their religious ideology.

Women Talking sees director Sarah Polley’s stunning adapted screenplay working in perfect conjunction with all eight actresses to create a devastating and deeply emotional chamber drama that’s as heartbreaking as it is hopeful – a remarkably nuanced and multifaceted approach to an ever-pertinent subject. It’s stunning how a film whose central conceit is rooted in the pain and abuse of women can be optimistic, but it’s that hope and faith for the future that sets Women Talking apart from so many of its contemporaries. Instead of relishing in the pain, the women face, Women Talking centers their voices – respecting each woman and her opinion, regardless of her perspective on the issue – and celebrate the strength and resilience of the Mennonite women. With a ferociously talented ensemble cast (including the likes of Rooney Mara, Jessie Buckley, Ben Whishaw, and Claire Foy), subtle direction, and a remarkably deft screenplay, Women Talking is undoubtedly our favorite film of TIFF- and possibly the year.

Honorable Mention: All Too Well

Though not a TIFF premiere, Taylor Swift treated TIFF attendees to a special Q&A with CEO Cameron Bailey, where she shared some of her favorite films, discussed the behind-the-scenes of making All Too Well, and speculated on the future of her career as a filmmaker – maybe a feature is in the cards down the line? The Q&A was preceded by the first-ever screening of All Too Well on its original 35mm film – a rare treat for Swifts and cinephiles alike.