Lovely Day is a comedic film directed by Philippe Falardeau which portrays a chaotic wedding day filled with family tensions and personal anxieties. Despite some character depth issues, it offers an entertaining, unpredictable experience.
Category: Festivals
#TIFF25 Review: Under the Same Sun (Porra, 2025)
Ulises Porra’s debut film “Under the Same Sun” excels in its cinematography by Sebastián Cabrera Chelin, capturing the natural beauty of Hispaniola. It revolves around three diverse characters—a Spanish heir, a Chinese silk maker, and a Haitian deserter—navigating personal ambitions amidst colonial challenges. The film critiques colonial exploitation while offering a fresh perspective on its historical themes.
#TIFF25 Review: The Seasons (Fazendeiro, 2025)
Maureen Fazendeiro’s debut film is a blend of documentary, travelogue, and visual poetry, exploring the Portuguese region of Alentejo. It reflects on its past and present, showcasing cultural rituals and the serene life of its rural community. The film, while not exhaustive, honours the region’s enduring traditions amidst changing times.
#TIFF25 Review: Miroirs No. 3 (Petzold, 2025)
Christian Petzold’s “Miroirs No. 3” is a restrained yet poignant tale of grief, healing and unlikely connection. Eschewing dramatic twists, the film emphasizes quiet empathy, emotional recovery, and the redemptive power of art, music, and companionship.
#TIFF25 Review: Oca (Badillo, 2025)
Karla Badillo’s debut film “Oca” centers on a young nun grappling with her faith as various characters embark on a journey to a town in the Mexican desert. While visually striking and featuring a surprising ending, the film suffers from a lack of relatable characters, making it difficult for audiences to engage emotionally.
#TIFF25 Review: Rose of Nevada (Jenkin, 2025)
Mark Jenkin’s “Rose of Nevada” creates a dreamlike quality with its post-production sound, exploring themes of loss and temporal dislocation. It forces characters and viewers alike to confront deep emotional realities amid its stunning craftsmanship and surrealist elements.
#TIFF25 Review: Erupcja (Ohs, 2025)
Charli XCX makes her acting debut in the low-key Polish film Erupcja, where she plays Bethany, a young Brit caught in emotional turmoil amidst a volcanic eruption. The film explores complex relationships without judgment, highlighting the distinct desires of each character.
#TIFF25 Review: Dry Leaf (Koberidze, 2025)
Georgian filmmaker Alexandre Koberidze’s film “Dry Leaf,” shot on an outdated cellphone, challenges conventional cinematic norms with its three-hour, low-fidelity presentation. It invites viewers to embrace its artistic uniqueness rather than focus on narrative fulfillment. The film explores beauty in simplicity and encourages deeper reflection on artistic expression beyond technological advancements.
#TIFF25 Review: To the Victory! (Vasyanovych, 2025)
Valentyn Vasyanovych’s film “To the Victory!” intertwines autofiction and metafiction, exploring postwar Ukrainian identity after the 2022 Russian invasion. The film delves into the struggles of returning—both to self and homeland—juxtaposing personal and national concerns while portraying Vasyanovych’s creative tensions and the complexities faced by displaced Ukrainians.
#TIFF25 Review: Whitetail (Leopold, 2025)
Nanouk Leopold’s film “Whitetail” follows Jen, a forest ranger haunted by a traumatic past. As she confronts new threats in her community and the return of her ex-boyfriend, emotional struggles and unresolved memories resurface. While the cinematography beautifully captures Ireland, the film’s pacing suffers, resulting in a bittersweet yet melancholic experience.
#TIFF24 Review: All We Imagine as Light (Kapadia, 2024)
Payal Kapadia’s “All We Imagine as Light” captures the complexities of women’s lives in cosmopolitan Mumbai, addressing marriage, societal norms, and displacement. The film’s shift to coastal Ratnagiri adds a magical touch, culminating in a triumphant bond between the main characters.
#TIFF24 Review: Universal Language (Rankin, 2024)
Matthew Rankin’s loving mélange of influences from Iranian cinema, which turns Canada into a land of predominantly Farsi and French speakers in “Universal Language,” is a hypnotic oddball, with delightful side plots and a surprising appearance from the artist himself.
#TIFF24 Review: Sad Jokes (Stumm, 2024)
“Sad Jokes” follows Joseph, a gay screenwriter struggling with personal and familial challenges. While some characters feel underdeveloped, the film ultimately delivers some potent introspection, culminating in a poignant ending.
#TIFF24 Review: Really Happy Someday (Stevens, 2024)
“Really Happy Someday” by J Stevens portrays Z’s journey adapting to a deepened voice after hormone therapy. Despite familiar struggles, the film ultimately finds triumph and serenity through superb acting and sensitive direction.
#TIFF24 Review: Viktor (Sarbil, 2024)
Viktor Korotovskyi, a Deaf Ukrainian man, transcends his limitations to become a photojournalist on the frontline, capturing the brutality of war and finding purpose in the midst of tragedy.
The Lonely Film Critic 