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There is a school of thought which states the scariest 43 seconds of Jordan Peele’s Nope belong to the first moments when a chimpanzee has a child cornered. If you’re of that persuasion, then Johannes Roberts’ Primate offers a brutal expansion of that dread to feature length, now with the

There’s usually no shortage of female filmmakers at the Toronto International Film Festival, and with the festival’s 2025 edition, that continues to be true. With Girl, we get the directorial debut of legendary Taiwanese actress Shu Qi, which is a rather bleak depiction of girlhood in 1980s Taiwan. Rachel Lee

In the 1990s, America had no enemies. So we had to make up new ones. Okay, that’s a very simplistic way of looking at the Clinton era, and certainly all manner of suffering existed within and without the country’s borders. But there’s no denying that the U.S. embraced an End

While Driver’s Ed and The Ugly are vastly different films, both provide thoughtful social commentary on their respective issues. Bobby Farrelly‘s coming-of-age comedy skirts around the challenges of modern dating as a teenager (Driver’s Ed), while Yeon Sang-ho‘s graphic novel adaption questions society’s deranged evaluation of conventional female body standards

After premiering the film at this year’s Cannes Film Festival, Canadian/Korean filmmaker Lloyd Lee Choi brings his feature film debut to Toronto, in what seems like a perfect home for a story about the immigrant experience. Lucky Lu is an exceptional piece of filmmaking, and Choi spoke to Film Inquiry about