Here are the 25 movies I saw at the 2026 Toronto International Film Festival, ranked by favorites. I also enjoyed the “victory lap” presentation of Obsession, conversations with Seth Rogen and Andrew Scott, mystery screenings, the new market and some incredible A24 parties. Here are the main new films I was able to see and review.
#1: Josephine (A): “Absorbing, devastating and never remotely dull, Josephine finds Channing Tatum and Gemma Chan as flawed parents searching for a way forward when innocence can no longer lead the way.”
#2: Being Heumann (A): “Siân Heder’s follow-up to her Oscar-winning CODA does not merely reclaim an essential chapter of history about the fight for disability rights; it throws open the doors and invites everyone to the party.”
#3: La Bola Negra (A): “Blending poetry, art and cinema, this is a gorgeous love letter to all three…an historic Spanish queer masterpiece.”
#4: The Debut (A-): “Jesse Eisenberg’s comedy is wise about the unexpected effects of an artistic calling, and it is wonderful watching Julianne Moore’s heroine’s growing confidence as she goes method for a musical.”
#5: Tangles (A-): “The animation allows memories to bend, disappear and spring playfully to life, transforming Alzheimer’s caregiving into something inventive, funny and deeply moving.”
#6: The Devils (A-): “Remastered from the banned 1971 original, this religious fever dream starring Oliver Reed and Vanessa Redgrave remains audacious and impossible to forget.”
#7: Babies (B+): “Anna Kendrick has rarely been better as a woman contemplating not having kids.”
#8: Thirteen in Gaza (B+): “The filmmakers choose humanity over destruction and survival over despair in this poignant father and daughter tale.”
#9: Elsinore (B+): “It’s a celebration of the indomitable power of the human spirit and of theatre as a balm, buoyed by an incredible Andrew Scott in the commanding center.”
#10: Wild Horse Nine (B+): “It is talky and smart and bursting with furtive flourishes. John Malkovich is superb.”
#11: Fjord (B): “Empathy matters most when every side believes it has already won the moral debate.”
#12: Le Corset (The Iron Boy) (B): “Its lively, hand drawn watercolor style makes the adventure artistic and accessible without sanding away its idiosyncrasies.”
#13: I Play Rocky (B): “Anthony Ippolito delivers a magnetic performance that transcends his uncanny mimicry in the making of the boxing classic.”
#14: Club Kid (B): “Two lost souls find one another and create a little magic when they do in Jordan Firstman’s crowd pleaser about a nightclub promoter who inherits a 10-year-old.”
#15: Love of Your Life (B): “Margaret Qualley is captivating in a stirring story of hope and healing.”
#16: Bunker (B): “Like Eyes Wide Shut, the presence of a real life couple, Javier Bardem and Penélope Cruz, adds another layer of intrigue to this formidable power play.”
#17: Magazine (B-): “Glossy, giddy and affectionate, the film nevertheless could have benefited from a ruthless copy editor.”
#18: The Face of Horror (B-): “Anna Biller’s Technicolor style palette is a wonder to behold, particularly the painterly red blood splashed across its brightly illuminated imagery.”
#19: Ink (B-): “Danny Boyle and charismatic star Jack O’Connell make the rise of tabloid journalism in the UK look a little too fun.”
#20: Always Lalisa (B-): “For all its polish and access, this music documentary about a legendary KPop star offers less discovery than one might hope.”
#21: Stuffed (B-): “The enjoyable songs in this macabre movie musical leave little lasting imprint, but its beautifully bizarre heart is preserved in exactly the right place.”
#22: Bucking Fastard (C+): “Although Werner Herzog’s film is an original oddity, it is never clear what motivates two eccentric sisters played by Kate and Rooney Mara.”
#23: All That She Wants (C): “The extremely game Annie Murphy is cursed with an aimless contemporary comedy.”
#24: Misty Green (C-): “Chris Rock’s film remains eminently watchable because of Rosalind Eleazar, yet its many interesting pieces never assemble into a cogent portrait.”
#25: Prima Facie (D): “Despite its vital message about the systemic bias confronting women who report sexual assault, director Susanna White’s adaptation of a hit stage play with lead Cynthia Erivo is misbegotten in nearly every dramatic respect.”