As a seasoned film enthusiast with decades of immersion in the global cinematic landscape, I find the Toronto International Film Festival’s (TIFF) recent focus on international films to be nothing short of exhilarating. Having traversed the continents in pursuit of celluloid gems, I can attest that this shift is not only timely but also a reflection of our increasingly interconnected world.
The Toronto International Film Festival will increasingly focus on showcasing films from various parts of the world, reflecting a more global perspective.
The proposed change, disclosed by Anita Lee (Toronto’s chief programming officer), is a reaction to the surge of younger audiences contributing to the post-pandemic revival of the box office. This shift in audience preferences is evident not only in U.S. independent cinema-going but also at film festivals worldwide.
Lee mentioned that our festival attendees are getting younger, and an increasing number of young people are showing up for the non-English international art movies. Lee said this is the most significant change and shift in the number of people attending events at Toronto, as it represents a major growth trend.
Reasons for this shift are numerous, Lee pointed out, with one key factor being that viewers are increasingly watching international content. Over the past few years, a unique category of “cross-over or slightly more approachable international art house films” has appeared, according to her, using Ruben Östlund’s “Triangle of Sadness” as an example. “This trend is growing,” she continued, “there’s growing interest in movies that could appeal to a broader audience.
One major concern for Lee is figuring out strategies to enhance, showcase, and boost recognition of foreign and particularly non-English movies during the festival.
Toronto is already taking initial steps in its push for international films.
In 2021, out of the 10 films featured in Toronto’s Platform, a platform for mid-career filmmakers exploring new boundaries, nine are from different countries and seven are not in English. Some of these movies blend languages like Ukrainian and Russian in “Viktor,” while others feature a mix of French and Korean, such as in “Winter in Sokcho.
According to Lee, the platform’s directors are set to receive more significant roles than before. They also plan to unveil fresh concepts for the platform that align with their goal of boosting and showcasing international films and filmmakers in the future.
5 out of the 10 selections for Toronto’s 2024 Industry Showcase come from beyond North America. These include “100 Litres of Gold” by Teemu Nikki, produced by the vibrant Finnish production company “It’s Alive Films,” and the much-anticipated “Rich Flu” directed by Galder Gaztelu-Urrutia, who is known for the Netflix sensation “The Platform,” which was originally picked up in Toronto.
The TIFF’s “In Conversation With” discussion forum will host renowned South Korean actors Hyun Bin from “Crash Landing on You,” and Lee Dong-wook from “Tale of the Nine-Tailed.
2023 marked the start of Toronto’s increased emphasis on showcasing films from Africa and organizing an annual panel dedicated to African cinema. Similarly, Southeast Asia is set to receive more attention this year. Lee stated, “We are witnessing a surge of fresh, new voices emerging from Southeast Asia.” In 2022, TIFF appointed a programmer specifically for the region, and this year, it will hold its inaugural panel on Southeast Asian cinema.
One motivation for establishing an official market in 2026 is to draw in more international distributors who are already keen on Toronto as a “gateway to North America.” As she explained, having an official market allows international companies to participate in TIFF and conduct business more efficiently across their entire portfolio, not just films that are part of the Official Selection.
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2024-09-07 15:19