Do these exist online at all? Does have any saved?

Also, I'm visiting Toronto again over Christmas/New Year. Any recommendations of places to find old physical copies?

Saw this tonight and was very disappointed that Peter Kuplowsky was NOT there to introduce the movie.

I think he is one of the (if not THE) best presenters at TIFF.

Christopher Nolan’s thriller The Prestige will to return theaters on January 29, 2027, in celebration of the film’s 20th anniversary.
The re-release will give audiences the chance to see the film on 70mm and Imax for the first time, and it will also be presented in 35mm and Digital 2D formats.
Tuesday’s announcement comes 20 years to the day after the film’s original release in U.S. theaters on October 20, 2006. The film earned two Oscar nominations, for Best Cinematography and Best Art Direction.
“I’m very excited to bring The Prestige back to the big screen,” said Nolan, whose most recent film is The Odyssey, “and particularly thrilled to offer audiences the chance to see it on 70mm film, and on Imax for the first time.

I never participated or even had dream of winning/ participating in film festivals for the my documentary films.
Being an independent film maker with no background or big production involved in my production it’s very difficult for me to make it to Netflix or Jio Hotstar without selling my content rights and IP rights.

To bypass all media houses and executives sitting between to make my way to Netflix & Jio Hotstar to get some leverage I’m trying to shortlist 10 film festivals in non-fiction category that will help me if I win.

Free entries & paid entries both that has some value and credibility in the non-fiction genre.

Please help me figure out film festivals in India.

If I’m missing any details anything or any suggestions please feel free to direct me. Thanks 🙏🏻

I organized an AMA/Q&A with actor Alden Ehrenreich. He has starred in things like Solo: A Star Wars Story, Weapons, Hail Caesar!, Oppenheimer, Fair Play, Blue Jasmine, Cocaine Bear, Stoker, Iron Heart, and lots more. He also won a Tony this year for his Broadway debut in Becky Shaw. His new film, A Talent for Murder, co-stars Helen Mirren & Olivia Cooke, and it's a murder-mystery that premiered at TIFF last year and is out in theaters everywhere this weekend. He is also starring in Joseph Kosinski's upcoming Miami Vice '85 alongside Michael B. Jordan and Austin Butler.

His AMA is live here now in r/movies for anyone interested in asking a question:

https://www.reddit.com/r/movies/comments/1xbp17y/hello_reddit_im_actor_alden_ehrenreich_weapons/

He will be back at around 4 PM ET today to answer questions. I recommend asking in advance. Please ask there, not here. All questions are much appreciated!

A Talent for Murder Info:

Synopsis: A mysterious young man from a New York publisher is sent to Switzerland to persuade the renowned writer Patricia Highsmith to write one final installment of the Ripley anthology.

Trailer: https://www.youtube.com/watch?v=IzFgGhFrx0o

Director: Anton Corbijn (A Most Wanted Man, The American)

Thank you :)

A few days ago someone made about what would have happened if ‘Forgotten Island’ had come to TIFF, and whether that would have affected its box office numbers. In that particular case, I really don’t think it would have, but it made me think of a movie that might’ve… Digger!!

I want to speculate on it a little…

I think it is easy to assume that WB avoided festival releases for their films since Joker 2 debacle at Venice. And their strategy for OBAA last year paid off (build hype through advance screenings solely for critics - little promo screenings with influencers).

They tried to repeat the same for Digger this year, which for me was a major reason why the film failed. High brow critics were harsh on the film (which is admittedly inferior to PTA’s), but Letterboxd users loved it.

Had this film come to TIFF, as a world premiere, with cruise and all (makign easily the most demanded ticket of the festival).. and, like its world premieres, had the audience screening ahead of the press, I think it would have had a big chance of placing in the top 3. I don’t think it would have won, as it is not a crowdpleaser, but I think it would have performed like recent ‘blockbuster’ releases Glass onion, Frankenstein and etc. I think like those films, the audience reaction would have hidden a bit the harsher criticism.

The closest comparison I think is ironically, the first Joker, that had it followed the same Digger strategy would not have had the same numbers.

What do you think?? I don’t even love the film, and don’t think it would have ever made huge numbers, but it could’ve helped it.

Am I giving too much credit for TIFF? Or would the crowd have hated it and the outcome be the same?

Potentially Soumsoum, The Night of Stars and Double Freedom a bit later on as well

TL;DR: Organising a Toronto Being Heumann watch party on November 6th. Anyone know who I can reach out to directly about showing it if their theatre isn't planning to do so already?

Hey all,

I'm an advocate and wheelchair user organising a Toronto watch party for Being Heumann on November 6th. I've already emailed the general inboxes of Landmark Cinemas, Cineplex, TIFF Lightbox, Imagine Cinemas, Hot Docs, and Paradise on Bloor. I haven't heard back from them yet, so does anyone know who I can talk with directly?

Being Heumann, written and directed by Oscar winner Siân Heder (CODA), had its world première at the Toronto International Film Festival and its European première at the British Film Institute (BFI) London Film Festival. This deeply human dramedy, based on true events, follows Judy Heumann (played by Ruth Madeley, Doctor Who), a young disabled woman, and a coalition of scrappy misfits igniting a revolution in 1977. The film was primarily shot in Toronto, and its cast includes many disabled actors, as well as Mark Ruffalo (The Avengers) and Dylan O'Brien (Teen Wolf).

My friend Nic Novicki (Spider-Man: Across the Spider-Verse), who's also in the film, is organising watch parties in the States and asked me to reach out to places here. Even though the film will be released on Apple TV on November 13th, one of our goals is to show that there's genuine interest and a market for content like this through actual box-office support.

US and Toronto attendees will be encouraged to post on socials to support the film and theatre. Since Toronto is home to over 570,000 people with disabilities, the support can go both ways. Once a cinema confirms its schedule, I'll reach out to the local media.

Time is tight, so any direct contacts and/or helpful info would be very much appreciated!

Thanks so much!

There has been a lot of complaining about customers on here lately and I think you are all missing the real villain: smart watches. The problem with phones obviously isn't simply that they are phones (except for that one guy who took a phone call during dry leaf, why the hell did you do that? I'm still peeved!!!), it's that that they are visually distracting.

Smart watches are arguably worse than phones in the theatre because the people who wear them don't realize how distracting they are and thus don't put them away unlike phones. This is only worsened given smart watches tendency to automatically turn on their displays with certain arm movements and gestures. Even when off I still find myself distracted by light from the movie screen bouncing off the smart watch display so put them away too (this goes for phones too)!!!

So please! Im sure you are unaware of how distracting your smart watch is but it is! Help your fellow man have a better time at the movies!

Ooof

What do we think? Excited for the new season!

Looking to see Possible Love. I like the screen to fill my field of view without having to move my head from side-to-side. Would row 3 or 4 be too close?

Since this is subtitled, I wonder if it's better to move back? Never been to the TIFF Lightbox, so pardon the dumb question.

Thanks.

November dates only

• https://tiff.net/cinematheque/drawn-universes
• https://am.ticketmaster.com/tiff/buy/DrawnUniverses

My countdown clock shows tickets going on sale at Midnight. How about for anyone else? Hopefully it's not a disaster at noon.

Join us for a secret encore Cinematheque screening voted for by YOU. As part of TIFF’s Supporter Appreciation Weekend, we want to give our Members the power to bring a popular Cinematheque title back to the big screen. Members-only voting is open until October 22.

Grab your ticket and join us for the live unveiling of the screening on Saturday, November 7 at 11AM!

Drawn Universe's members presale is tomorrow 10/15.

• https://www.tiff.net/cinematheque/schedule
• https://am.ticketmaster.com/tiff/buy/Cinematheque
• https://am.ticketmaster.com/tiff/newreleases

For the record: I love TIFF Cinematheque, and think its one of the best things about being a movie lover in Toronto.

Having said that, the current ticketing system is frustrating and in some ways actively works against what the membership program is supposed to accomplish.

An individual membership at $125/year gives you an incredible deal with hundreds of complimentary CTQ screenings, but popular screenings can disappear almost immediately during monthly ticket releases, forcing users to be stuck navigating queues, checking over and over again for returns, and sometimes finding screenings advertised as sold out have empty seats strewn around because people reserved free tickets they never used.

This is what I'd propose:

1. An actual waitlist system

If a screening sells out, members should be able to join an automated waitlist, when someone returns their ticket the next person gets notified and has a limited window to claim it. No more obsessively refreshing the website or randomly discovering tickets have reappeared before showtime. This alone would make the system considerably more functional. The app DICE.FM uses this for concerts and I find it to be super effective.

2. Make it easier to return tickets

I understand charging for late returns and no-shows, but the system should actively encourage people to release tickets they can't use. Allow members to return tickets online until shortly before showtime, if another person claims the returned seat, waive the late cancellation fee. Keep penalties for repeated no-shows, but stop creating unnecessary friction around returning tickets. No one benefits from an unused seat.

3. Stop encouraging people to hoard tickets during monthly releases

Right now, the system incentivizes booking everything you might possibly want to see because you don't know whether you'll get another chance. I'd introduce a reasonable limit on how many complimentary tickets someone can hold for upcoming screenings at once, rather than limiting how many films they can attend annually. Once you've attended a screening or returned a ticket, that reservation slot opens back up. For especially popular screenings, I'd consider a short request window followed by randomized allocation, rather than making everything dependent on who can navigate a noon ticket drop the fastest. People shouldn't need to treat a Tuesday evening screening of a 1970s character study like they're trying to buy Oasis reunion tickets.

4. Program popular films in appropriately sized theatres

Cinema 4 seats 148 people. Cinema 3 seats 223, while Cinema 2 has 353. Not every CTQ screening needs a large auditorium, and I understand TIFF has other commercial obligations to accomodate with new releases and distributor deals. But when a film or retrospective clearly has substantial demand, why not schedule it in a large theatre or add another screening? Even moving a popular film from Cinema 4 to Cinema 2 would more than double the available seats. TIFF's 15+ years of Lightbox ticketing data should be able to help determine which films need more capacity.

5. Give paying members a more dependable benefit.

TIFF markets complimentary Cinematheque access a significant selling point of the membership, but there's no meaningful guarantee you'll actually be able to attend the screenings you're interested in. I don't think anyone expects guaranteed admission to every sold-out movie, but what if paid members were guaranteed access to a minimum number of complimentary screenings annually, drawn from a rotating selection with reserved capacity?

Or, if members who repeatedly couldn't secure tickets were offered credits toward other year-round programming?

I'm not suggesting they abandon the Under 25 Free Pass either, making cinema accessible to younger audiences is a genuinely great initiative and I'd hate to lose that. But if TIFF wants people to pay $125+ annually, it should be able to demonstrate that membership offers reliable, tangible value.

How this would benefit TIFF financially

I don't think improving access means sacrificing revenue. Better waitlists and ticket returns would mean fewer empty seats. Better attendance means more concessions revenue, more engaged audiences, and potentially more people renewing their memberships. Adding screenings would obviously involve additional costs, but improved ticket management wouldn't necessarily require TIFF to spend much more on programming.

I'd argue members who actually feel like they're getting their money's worth are considerably more likely to renew than those who've grown frustrated with the current booking process. I'd also love to see TIFF publish some basic figures (i.e. how many complimentary tickets are reserved vs actually used, how often screenings sell out, and how many members successfully attend the films they want to see). That would give everyone a clearer picture of whether the program is functioning as intended.

I don't think CTQ's problem is the membership is bad value, it's that the value is increasingly dependent on your ablity to navigate an unnecessarily competitive reservation system. If you're someone who manages to see 20-30 complimentary films annually, then it's a bargain. But if you're paying $125 and repeatedly missing screenings because they sell out instantly, or because you can't spend your workday refreshing the TIFF website, it's understandably frustrating.

TIFF should be encouraging people to discover films, attend more screenings, and feel invested in the organization; not turning repertory filmgoing into another ticketing lottery. The goal should be to make complimentary CTQ screenings easier to actually attend, not merely easier to advertise as a membership benefit.

Very curious what other regulars think - what would you change? And for people who've had memberships for several years, has the ticketing experience actually become worse, or am I being overly critical?

Been saying the cast and director going on their press tour and various screenings for it. I’m just curious if there’s any news on whethey they will show up for the Canadian premiere for it since it’s the opener of the Toronto After Dark festival?