By Toronto International Film Festival’s Gala Presentations program features films with rising and seasoned stars. Across these three, an unexpected thematic arc emerges: intergenerational, interpersonal conflict. Although it’s not the focus of each movie, it’s interesting to see how each genre approaches the nuances of untangling the concept.
In a capitalistic world, uninhibited creative expression is inextricably linked to the money needed to execute one’s idea. Once an artist reaches this level, proximity to power often compromises the foundational values of their practice. In Florian Zeller’s “Bunker,” Miguel (Javier Bardem) is an award-winning architect, married to translations editor Sofia (Penélope Cruz). The couple moved to London from Madrid with their two daughters, throwing a wrench in one’s career while catalyzing the other’s.
The film puts personal and professional dynamics on display. A dedicated careerist can’t leave their vocation at the office. Talk of work, ideas, and dreams is typical for most married couples, but it expands greatly for those in the creative industries. Miguel gets the chance to build an underground oasis for a tech billionaire (Paul Dano) while also dealing with a new, difficult neighbor. Meanwhile, Sofia is testing her chances of becoming the fiction novels department lead at her publishing house. Their parallel paths level up, showcasing the difference in process between men and women: the individual versus the collective. Some may argue that Miguel has more at stake, more to consider, trying to provide protection and stability for his family, but it is his partner who remains level as external threats encroach on their status quo.
“Bunker” is a bit too neat in solving the nuances of the social and class themes the story is rooted in. Zeller poignantly weaves in firsthand details of being a creative worker; a “private project” is a greenlight from the Gods that they pay will not be abysmal. Living in a world surrounded by gallerists, writers, thinkers, and makers gives birth to ethical and cultural nuance. Without these anecdotes, “Bunker” couldn’t have built its world so quickly.
The chemistry between Bardem and Cruz is undeniable, fulfilling our parasocial appreciation as a Hollywood power couple. Their real-world love transcends the fictional conflict they face, letting us know they will certainly be OK in the end. Still, a stark thumping in the sound design creates a spooky, thriller feeling that doesn’t subside until the film’s final seconds.
In 2026, the nuclear family is increasingly rare. Separated parents, step- or half-siblings, and split holidays are the new norm. “Up Against It,” directed by Trudie Styler, captures these new-age dynamics. In stories like this, the more people involved, the wider the web is, and the greater the mess.
For a family drama, “Up Against It” fumbles around what it really means to give and receive unconditional love (whether blood-related or not). While it succeeds in reminding us that moms and dads are also human and navigating life for the first time, the characters’ selfishness calls the audience to question their values as parents. The intended audience is unclear, as the story treats the children like collateral. In doing so, it’s quite cruel to give one of the kids, Rose (Eden Hamilton), cancer that her parents later use as an excuse for their unfaithful behavior. The movie frames Saffron (Eva Birthistle) and Alvaro (Antonio Banderas) actions as necessary to save their child; it’s questionable, but “Up Against It” argues that there’s nothing really wrong with parents putting their needs first for instant gratification.
“Up Against It” weaves in its title a few times to describe Rose’s uphill battle, and the film is gentle and idealistic in its depiction of healthcare workers’ personal involvement in their patients’ cases. In its most emotional moments, the camera goes close but cuts away before things get too real. This mirrors the emotional capacity put forth by the characters, but both decisions are unfulfilling. When forgiveness comes to the table, it’s fake, forced, and disingenuous. As a result, the final happy-go-lucky dance sequence feels unearned and unbelievable.
Rebel Wilson rides the timeless success of pop music with her new movie “Girl Group.” Wilson is admittedly inspired by the artists, namely the singular Spice Girls, who created anthems for her coming of age. At the film’s world premiere, Wilson excitedly shared the rush of getting the film ready; the final cut wrapped just a week earlier. Unfortunately, we can tell.
In a season of films focused on heavy stories, “Girl Group” is a lighthearted, sonically silly flick. The music-induced nostalgia that propels the movie is fun for all generations. Beginning in the late 90s, Tassie (Wilson) and her high school girl gang are spotted by a talent scout (Chris Colfer), and the “Girl Friends” skyrocket to fame. The validity of their girl power origin is rooted in their all-girls school education, a unique type of institution where women are always the priority, left unbothered by rambunctious teenage boys. Fast forward 20 years, and Tassie Young’s solo career is tanking, so the Girl Friends are reconvening for a world tour without her. Her inevitable crash-out lands her serving the youth singing group at a local Los Angeles community center, where she saunters in late, caring about no one but herself. Despite the lack of a leader, the mismatched younger group has an earnest, odd chemistry and enough talent to carry their out-of-reach aspirations.
After a record company launches a nationwide competition to find the next best girl band, Tassie sees an opportunity to prove her relevance once again. The story has what feels like hundreds of characters, and even the smallest roles seem designed to set up a joke. Most of them land as “had to be there” moments, so you feel left out of the fun the cast and crew are having. The film presents a plethora of plot conflicts meant to reflect the very different issues girls go through, but it ultimately reduces each idea to a stray thought. However, Tassie, at the center of the story, creates an imbalance, and the intergenerational conflict is immaturely uninteresting and unnecessary. The TikTok Shop-quality costuming lasts as long in our closets as it will in our memory.
