digital TIFF Bell Lightbox, our online film platform available across Canada, is packed with everything you love about TIFF: New Releases, TIFF Cinematheque curated classics, restorations, and exclusive talks with some of the biggest names in film, with new titles added weekly.
“I’ve always been interested in the idea of women’s freedom, or lack of freedom and Firecrackers really looks at that in a very specific way and its all about power.” —Jasmin Mozaffari
“How do we look at the experiences that we all can identify with but tell them through the gaze or the lens of somebody whose story hasn’t been told before.” —Amma Asante
“I was obsessed with building this love story with equality and it got even more radical in the process.”
For Euzhan Palcy, making Sugar Cane Alley was “hell. Nobody wanted to touch it. Nobody was interested… it was Black, a period piece directed by an unknown and Black female director. And the movie nobody wanted to touch got 5 awards in Venice Film Festival.”
Sound of Metal stars Riz Ahmed and Paul Raci and writer-director Darius Marder join TIFF Artistic Director and Co-Head Cameron Bailey for an exclusive conversation about their trailblazing film. Since premiering at the 2019 Toronto International Film Festival, Sound of Metal has gone on to be a top contender in this year’s awards season.
“Afrobubblegum is fun, fierce, and frivolous African art because more often than not, Black joy is not celebrated and Afrobubblegum is an opportunity to celebrate Black joy through art.”
Author and scholar Imani Perry discusses the ongoing significance and relevance of Lorraine Hansberry’s most influential play, A Raisin in the Sun, and the lauded film adaptation of the same name.
"I want the audience to feel a little uncomfortable. I don't think we should have too privileged of a viewing of this person." —Kazik Radwanski
"Pound for pound, if there's one story out of every five years that actually speaks to something from this diverse culture that we live in in Canada — it's not enough for me."
Author Meg Wolitzer shared a list of some of her favourite page to screen adaptations.
Wolitzer and screenwriter Jane Anderson…
Award-winning filmmaker and Share Her Journey Ambassador Euzhan Palcy burst onto the scene in 1983 with her first feature, Sugar…
CBC's Eleanor Wachtel, host of our Books on Film series shared a list of some of her favourite page to…
Chase Joynt is a transgender filmmaker, author, and moving-image artist. His films, including his latest shorts Framing Agnes and Genderize,…
Best sellers, blockbusters, and a new season of staying booksmart: Books on Film returns for a new season of screenings…
TIFF's best un-kept secret is back for another season. Each month, our Secret Movie Club members get an early look…
Those final two shots gave me chills. What an elegant and lyrical way to end this wondrously experimental biopic by Stanley Kwan. There couldn't be a better tribute to both Ruan Lingyu and Maggie Cheung, Asian film icons of the past and present. And I guess that settles it: no one wears a cheongsam better than Maggie!
1. :'(
2. :'( :'(
3. :'( :'( :'(
4. Maggie Cheung is a goddess.
5. Sadly underseen.
This movie is not only a bio picture with an unconventional structure, but also one of Maggie Cheung’s top four favorites out of all the films she’s worked on. Having wanted to explore more of her filmography outside of Wong Kar-wai’s works ever since I finished Ashes of Time I thought this would be a good place to start (especially since it was easy to find online).
Center Stage depicts the life and death of Ruan Lingyu, one of the most…
Watched the extended version.
Everything that Judy should have been. This is a subtle but crushing exploration of how media eventually drove Ruan Ling-yu to suicide. It exposes a lot of the nasty sexism towards actresses back in the silent film era.
It is announced at the beginning of the film that Ruan Ling-yu commits suicide. This is not a spoiler. There's actually documentary footage of the actors playing the characters in the film that discuss Ruan's influence, along with…
I think this movie is perfect. The screenplay is incredible, but beyond that the filmmaking is so beautiful. I knew it would be based on Palcy’s other work but wow. This is up there with Pather Panchali for me. Criminal that Euzhan Palcy hasn’t made 20 films by now.
I keep seeing the word "tender" slapped on every review for this and I....okay, yeah, I get it now. In a year full of beautiful film scores, this absolutely takes the cake. Both that and the cinematography feel SO dreamy. They simultaneously capture the hazy perspective of the parents, the old age of the grandmother, and the childlike wonder for both children.
Minari is such a specific movie full of specific scenes that all do specific things. What a vague way of describing a film's specificity. Essentially, it's unforgettable. I miss movie theatres.
Ugh, couldn't stop crying through the entire second half of this.
For reasons I don't really understand, I don't remember most of my childhood and can't recall much about it without having something to remind me of my own experiences. It's always a very weird sensation when something does this because it's never what I expect, and I was not expecting it to happen several times while watching this! Very unifying to see so many of my own immigrant child…
