10 Must-See Films at TIFF 2024

It’s that time of year again! Geek Vibes Nation will be on the ground in Toronto covering the Toronto International Film Festival, one of the world’s largest and most exciting showcases for global storytelling. Whether it be emerging filmmakers or the most talked about titles on the festival circuit, there is plenty to sink your teeth into amongst the over 100 films being presented.

Stay tuned to the site for coverage throughout the next 10 days as we cover all the latest and greatest from TIFF 2024. You can also follow us on Twitter for more up-to-date coverage, as well as our correspondents for reviews and reactions: Larry Fried, Brandon Lewis, Kelly Kantrowitz, and Will Bjarner.

Attendees probably already have their lineups locked and loaded, however if you’ve been to TIFF before, you know that things can change on a dime. In case you have an open slot – or, if you’re like us, struggling to get tickets to some of the bigger films of the fest – here are 10 under-the-radar must-sees you should consider sliding into your schedule, courtesy of GVN.

Souleymane’s Story

dir. Boris Lojkine | International Premiere, Centrepiece

Souleymane’s Story is a compelling portrait of the resilience and the unyielding nature of the human spirit. This gem of a film, which made its debut earlier in the year at Cannes, centers on political prisoner Souleymane, a food delivery courier seeking asylum in France. The film acts as a character study and reveals a poignant story of struggle and determination. In one of the year’s best scripts, the film’s climax is an enthralling back-and-forth dialogue during Souleymane’s asylum interview that Director Boris Lojkin describes as a “duel.” Told through the eyes of Souleymane, it allows Abou Sangare to shine in a career-launching performance. He is a man burdened by guilt, yet his quiet determination leaves the audience feeling both heartsick and celebratory as we marvel at his journey. In an unabashed, honest film, the audience comes away with a raw account of a refugee’s struggle and quest for freedom. Ambiguous as much as it is inspiring, Souleymane’s Story is a compelling film that peels back folklore of political asylum with a frank yet hopeful vision. – Phil Walsh

Read Phil’s full review of Souleymane’s Story.

Mr. K

dir. Tallulah H. Schwab | World Premiere, Platform

To say that Mr. K – a Platform section selection at this year’s festival, despite the fact that it would almost certainly do gangbusters as a Midnight Madness entrant – is wonky and unique in equal measure is to call Coralie Fargeat’s The Substance a body horror film. Sure, that’s right there on the label, but what else is there to chew on? As far as Mr. K is concerned, the “what else” is far too unexpected to spoil, but what can be said about Tallulah H. Schwab’s second narrative feature is that it invokes circumstances that seem to have been ripped straight from the mind of Franz Kafka – be prepared to audibly utter “what the f***?” more than once – with a Charlie Kaufman-like tone where everyone but one man is oblivious to the nature of his bizarre surroundings. Given those reference points, perhaps it’s no coincidence that the film’s titular character is only referred to by his last initial: It’s up to us to infer what that might signify, though there’s plenty more to think about in this uber-eccentric comedy about a magician who finds himself in a hotel that won’t stop tormenting him, nor will it let him leave. Come for the production design, stay for the performance of Crispin Glover’s career. – Will Bjarner

Superboys of Malegaon

dir. Reema Kagti | World Premiere, Gala Presentations

Despite their prestigious branding, the Gala Presentations have a mixed reputation with seasoned TIFF-ers. Most of the section’s World Premieres turn out to be, at best, forgettable or, at worst, notably bad. Many would recommend you steer clear, however one film could break through the noise: Superboys of Malegaon, an Indian dramedy about the lifelong bond of friendship and the power of seeing yourself on the big screen. Based on events portrayed in the obscure 2008 documentary Supermen of Malegaon, the film follows a group of young men living humble lives in the eponymous working class town of Malegaon. Most of them are content with their day-to-day, but aspiring Hollywood star Nasir is not one of them; without the resources to make it in Mumbai, he rallies his friends together to shoot a feature film on their home turf. Despite limited resources, the results are surprisingly successful, however that’s just the beginning of this underdog story. Spanning multiple years and tracking its memorable ensemble through numerous ups and downs, Superboys strikes a rare balance between the scale of a Bollywood epic and the levity of a four-quadrant, feel-good biopic. Its themes and characters may feel a bit familiar, but its unique setting and strong writing make the formula soar in execution. Those who are looking for a strong entry into the “movies about movies” genre need look no further than this hidden gem within an otherwise uneven section. – Larry Fried

Flow

dir. Gints Zilbalodis | North American Premiere, Centrepiece

A hidden treasure in the TIFF 2024 line-up you have to discover is Flow, the newest animated feature by director Gints Zilbalodis. The film, which will be Latvia’s entry in the International Feature category for the Academy Awards in 2025, is a must-see for anyone who loves spellbinding storytelling, ultra-realistic animation, and beautifully created animals full of emotion. Flow takes you on a dangerous adventure led by a cat who shares its name with the film’s title; after an immense flood washes away Cat Island, they have to find shelter somewhere else. Throughout its search for shelter, Flow encounters many other beautiful creatures, such as a labrador, lemur, capybara, and stork, who are each on a life-changing journey themselves. It’s that journey, the uniqueness of each animal and the emotional rollercoaster they’re going through, that Zilbalodis and his highly talented animation team bring to life with ease, utilizing enchanting visuals and a hybrid combination of CGI wireframe models and hand-drawn animation. This results in Flow becoming an emotionally loaded, impressive, and entrancing animated film and a feature that feels like a breath of fresh air in an industry we all know and love. – Liselotte Vanophem

Read Liselotte’s full review of Flow.

Sad Jokes

dir. Fabian Stumm | International Premiere, Discovery

At New York’s Tribeca Festival earlier this year, the documentary Group Therapy, which featured comedians like Tig Notaro and Gary Gulman discussing how comedy is often used to disguise the reality of mental health struggles, had its world premiere and received so-so reviews (my own included). But it did achieve one thing in particular: It helped viewers of all sorts think a bit more about how often we see comedians using humor in an effort to distract from issues that many suffer from, anxiety and depression being the primary two, as well as how we tend to do the same in our daily lives. In Fabian Stumm’s Sad Jokes, the same concept is explored on a deeper level. A clever blend of autofiction – Stumm also acts in the film, playing a gay filmmaker named Joseph who co-parents a young child called Pino, similar to the director’s real life – and dramedy, Sad Jokes depicts relationships between couples, co-parenting best friends, filmmaking partners, and strangers, all of which range from solemn to absurd. In one early scene, we see Joseph and others gathering to urge Pino’s mother, Sonya (Haley Louise Jones) to return to a clinic that will help to treat her deep depression; moments later, Joseph seeks the assistance of a woman walking past the vending machine in which he’s gotten his finger stuck. The film, ranging from hilarious to heartbreaking, is nothing if not a massive surprise, one to be appreciated for all of the emotions it deftly opts to dissect. – Will Bjarner

Universal Language

dir. Matthew Rankin | North American Premiere, Centrepiece

Matthew Rankin’s Universal Language, featured at Cannes earlier this year and now Canada’s submission for Best International Feature at the next Academy Awards, is an extraordinary film that blends the eccentric charm of a Wes Anderson production with a distinctive, cross-cultural Canadian flavor. The script intricately weaves together stories from Quebec to Manitoba, highlighting both the cultural isolation and interconnectivity within the Great White North’s melting pot. The film’s quirkiness and offbeat narrative showcase a variety of vivid characters and settings, offering both profound and entertaining moments that stay with you. Rankin’s film is a surreal exploration of what divides and connects us, presenting a fresh, original take that stands out in the cinematic landscape. The Rankin cinematic experience is strikingly original, leading the audience on a whimsical and surreal journey that captivates with its frosty charm. – M.N. Miller

Paying For It

dir. Sook-Yin Lee | World Premiere, Platform

When Chester Brown first wrote his 2011 graphic novel and pro-sex work manifesto, Paying for It, he made the specific artistic choice to disguise every sex worker’s face with speech bubbles. It was earnestly done in an attempt to maintain their anonymity, but the result obscures the nuances of their experiences and portrays them as somewhat of a monolith. Over a decade later, in a world where getting an OnlyFans can become an honest living, sex work is no longer something you can paint with a broad stroke. So, in comes Sook-Yin Lee – Brown’s previous life partner and the catalyst of events in the original comic – to tell the story anew with a modern lens, literally. Now in film form, Paying For It has returned as a more kaleidoscopic indie comedy, mixing in Brown’s experiences, portrayed by The Twentieth Century’s Dan Bierne, with those of Lee’s, portrayed by Emily Lê, as well as more thorough testimonials and insights from Brown’s numerous sexual partners. With a screenplay co-written by Joanne Sarazen (Backspot), this new vision of Brown’s original work aims to further dissect the messiness at the intersection of love, non-monogamy, and sex work; though the result feels somewhat episodic, it expertly captures the appeal of the original graphic novel, both visually and spiritually. – Larry Fried

Emilia Pérez

dir. Jacques Audiard | Canadian Premiere, Special Presentations

A thrilling gangster movie about drug lord Manitas del Monte (Karla Sofia Gascon) contacting a top-notch lawyer, Rita (Zoe Saldaña), sounds like a ‘been there done that’ feature. However, Jacques Audiard’s Emilia Pérez is a film that has never been done before! While it starts with the leader of a criminal organization hiring a lawyer, it’s not to keep him out of jail or to defend him in a trial. No, he wants a sex change and wants to do it anonymously without his wife, Jessi (Selena Gomez), and children knowing. Did we already mention that by this point in the feature, both characters have burst into song multiple times? Shocked by this unusual request, Rita decides to take on this job. This is the beginning of Manitas’ new life under the name of Emilia Pérez, her close friendship with Rita, the founding of her influential NGO, and the makings for how Emilia Pérez becomes a truly outstanding feature. The movie combines all of these different storylines with the essential topics of trans people and the brutality in Mexico boldly and powerfully, allowing its three leading ladies to deliver phenomenal and award-winning performances. – Liselotte Vanophem

Read Liselotte’s full review of Emilia Pérez.

Anywhere Anytime

dir. Milad Tangshir | International Premiere, Centrepiece

Issa (Ibrahima Sambou) is a good worker. He’s young, but his effort and ethic are dedicated alike. That doesn’t matter so much to his boss, though, when the police come by his place of employment in search of undocumented immigrants. Issa is promptly fired, a sudden change in fate that sends the young man reeling. Thankfully, a friend (Moussa Dicko Diango) is willing to help Issa pay for a bike so that he can become a food-delivery rider; he even lets Issa borrow his phone, since having a smartphone is imperative for such a job. But just when things are becoming balanced, Anywhere Anytime takes a sharp turn, as Issa’s bike is stolen, jeopardizing his stability and life in a large Italian city. But as Tehran-born director Milad Tangshir’s stunning debut unfolds further, glimmers of hope pop up throughout Issa’s journey to recover his bike, many of which prove that simplicity can be a way to live, and that every hardship need not represent the end. If this doesn’t have you sold, how about the fact that Anywhere Anytime is like a modern Bicycle Thieves? That certainly had my interest piqued; that it delivers is all gravy. – Will Bjarner

Can I Get a Witness?

dir. Ann Marie Fleming | World Premiere, Special Presentations

We’ve seen countless cinematic visions of a future plagued by climate change, but few are as disarmingly sober as the one seen in Ann Marie Fleming’s Can I Get a Witness?, her long-awaited return to feature filmmaking since 2016’s Window Horses. In the not-too-distant future, the world has abandoned nearly all technology in the wake of ecological crisis and the threat of artificial intelligence; as a result, the world’s resources are more evenly distributed, however all human beings must agree to end their life by age 50. Within this high-concept world, we follow Kiah (Keira Jang), a talented artist who is hired by the government to document EOL (end-of-life) ceremonies – again, no technology, so no photographs or videos. Meanwhile, her mother (Sandra Oh, in a quietly devastating term) comes to grips with her own mortality in middle age. Fleming’s world is one that feels immensely familiar, lush in its vistas and charming in its nostalgia for things like homemade quilts and Zoolander. However, lying underneath that seductive appeal are darker sacrifices. Fleming’s film is its most emotionally heart-wrenching when it portrays EOL ceremonies, where audiences witness characters’ spectrum of responses to the imminence of their own death. These sequences, amidst the rest of the film’s dualities, beg the question: what value is there to saving the planet when it costs you part of a life spent living on it? – Larry Fried

The 2024 Toronto International Film Festival runs September 5 through the 15th. Check here for all of Geek Vibes Nation’s coverage of TIFF, then and now.