Ten Films To Watch For At TIFF 2022
Written by Andreas Babiolakis
TIFF 2022 is almost here! Tickets for the latest Toronto International Film Festival go on sale to the general public on September 5th. We love the festival here on Films Fatale, and I am so excited that we are finally getting back to the usual ways of TIFF this year (after two pandemic-based festivals with smaller crowds and fewer events). If anything, TIFF 2022 seems to be trying to do as much as possible to bring things not just to full speed, but to another level (to make up for lost time). There are quite a few films to look forward to this year, including a massive release from a legend that surprisingly has never released a film at TIFF before (more on that later). Here are my ten films to watch for at TIFF 2022.
Decision to Leave
Who can say no to the crossing-of-lines and genre bending of Park Chan-wook? The Korean legend just won Best Director at Cannes for Decision to Leave: a picture about a detective that falls for the widow of a slain man (who is also a prime suspect in this case). The film already has been doing well critically, and we could be looking at the next big thing from an established arthouse director. For those who aren’t too familiar, this could be a really intense, twisted watch, given Chan-wook’s filmography (but maybe that will only make the film more enticing to you).
Empire of Light
After Sam Mendes missed out on the top Academy Awards with his beloved war epic 1917 (no complaints here: Parasite deserved to win), it seems like the British director is coming back in full force to win his second Best Picture and Director awards. Empire of Light is an homage to the silver screen during the ‘80s. The film will be in theatres only in early December, so it may be wise to try and catch it at festival (besides, who needs more reasons to see a film when Olivia Coleman is starring?).
The Fabelmans
Believe it or not, Steven Spielberg has never premiered a film at TIFF before. It only makes sense that his most personal film in years, The Fabelmans, is his festival debut (there’s something poetic here). Featuring a stacked cast including Michelle Williams, Paul Dano, and, yes, one David Lynch (!), The Fabelmans hype is real: this could be one of the better Spielberg films in years (okay, maybe next to West Side Story). At the very least, this will likely be a crowd pleaser, so you probably can’t go wrong with seeing it.
How to Blow Up a Pipeline
I’m a huge fan of Cam: Daniel Goldhaber’s breakthrough film as a director. It takes a contemporary discussion (the cam girl industry) and spins it on its head (turning it into a highly vulnerable slasher-psychological horror). He’s back with the wrong-to-Google-search feature How to Blow Up a Pipeline: this time it’s an environmentally conscious thriller that takes into account the quest of activists to destroy the titular vehicle of oil. I’m not sure what to expect here, but that’s kind of the point. This is going to be highly different cinema.
Joyland
After making a huge splash at Cannes (in the Un Certain Regard sector), Joyland is here to make an impact on global cinema. Arguably the biggest film to come out of Pakistan in years, this symbolic tale of forbidden love, the shattering of bigotry, and the pursuit of hope for the transgender community is destined to be talked about again and again. I’ve heard rumblings about a potential Best International Feature Film nomination for Joyland, and I wouldn’t be surprised.
The Menu
There is quite a cast in Mark Mylod’s The Menu (Ralph Fiennes, Anya Taylor-Joy, Nicholas Hoult, Hong Chau, Janet McTeer), and it feels like the kind of satire that a festival of the people (aka TIFF) may really dig. Should audiences want to go the extra mile, there’s the similar Triangle of Sadness (more on that later), but The Menu might not be nearly as twisted (but just as cynical). I’m one of Luis Buñuel’s biggest fans, so the idea of seeing a film about a horrifying cuisine being served to the elite kind of just intrigues me.
Moonage Daydream
It’s one thing to be a David Bowie fan (he is my all time favourite solo male musician), but Moonage Daydream looks legitimately like a must-see documentary spectacle. Whilst capturing the glam, energy, and astral fantasies of the late rock star, Moonage Daydream seems like it will go the distance in capturing what made the singer-songwriter so great (whilst making it feel like he is with us during the ride). I believe Bowie’s estate approves of the film, and that only makes me even more psyched.
Triangle of Sadness
The latest Palme d’Or winner (which, in case you missed it, is quite a big deal for me to see), Ruben Östlund’s latest satire is expected to have walkouts and churned stomachs. Some of his films have this polarizing reputation, including The Square (which I personally loved). Similar to The Menu, Triangle of Sadness seems to be a commentary on the wealthy upper class, with dark currents heading their way (to destroy their luxury cruise). It is highly unfortunate that the film’s breakout star, Charlbi Dean, just passed away unexpectedly yesterday at the age of 32: she will be dearly missed, and I hope this film introduces her to the world at large so her legacy can begin.
The Whale
It’s no secret that I love the works of Darren Aronofsky. Furthermore, The Wrestler may be my favourite film of his. To see him return to a more realistic tale is already ideal to me. Then, there’s the revival of Brendan Fraser, who has been through hell and back to get to this point in acting once again. Additionally, if there is any director that can get the best out of their performers, it’s Aronofsky, who turned a Wayans brother into an almost-award-winner. I guarantee that Fraser’s name will be tossed around come awards season, and The Whale could be Aronofsky’s strongest film since Black Swan.
The Wonder
It’s great to see Sebastián Lelio back after his brilliant film A Fantastic Woman; he’s made motion pictures since (Disobedience, Gloria Bell), but this film looks especially interesting. Featuring Florence Pugh at the forefront, The Wonder is a melodrama (with psychological thriller tendencies) based on the writing of Emma Donoghue of Room fame (who also helped co-write this screenplay). This feels like a trio destined for dramatic greatness, and it could be a great film that flies under the radar this festival.
Andreas Babiolakis has a Masters degree in Film and Photography Preservation and Collections Management from Toronto Metropolitan University, as well as a Bachelors degree in Cinema Studies from York University. His favourite times of year are the Criterion Collection flash sales and the annual Toronto International Film Festival.