The 2024 edition of the Toronto International Film Festival was neither unforgettable nor relaxing. An opening night interrupted by pro-Palestinian protesters, screenings of the documentary Russians at War reporting the disillusionment of Russian soldiers, cancelled for security reasons, and few world premieres of major films: these are the highlights this year. Added to this is the discontent of several journalists who have had much more difficulty than usual in obtaining interviews, with performers and filmmakers often making themselves rarely, if at all, available, unlike in past vintages.
First, in the controversy department, TIFF’s association with the Royal Bank of Canada (RBC) was denounced this year, as it was in 2023: “From Turtle Island to Palestine, RBC funds genocide,” chanted four protesters in the Princess of Wales Theatre before the screening of the opening film, Nutcarckersby David Gordon Green, was politely received without further ado. Later in the festival, screenings of the Canadian documentary Russians at War were cancelled due to security reasons.
In a press release, the film’s producers denounced a “dangerously anti-Canadian suppression,” calling on Prime Minister Justin Trudeau.
As for the question of more limited access to performers and filmmakers, this is the confirmation of a trend denounced by around fifty specialist journalists in an open letter published during the recent Venice Film Festival.
Indeed, for many cultural reporters, the goal in covering the festival circuit is not only to see and comment on films, but to conduct interviews with the artisans in anticipation of the releases. Interviews, it should be noted, go beyond the superficial clip gleaned on a red carpet, the only exercise that many distinguished guests now agree to take part in. This does not only concern Hollywood stars: filmmakers also do the same.
Precisely, the strength of TIFF until now resided in the large number of press days where it was possible to interview the “talents”, as they are called in the industry. This was less true this year (rest assured: The Duty (prevailed). In all fairness, however, the festival has little control over this. Behind closed doors, the said trend is confirmed by equally powerless press officers.
Prestige and influence
The fact remains that if this continues, it could be bad news for TIFF, which would then start to suffer more from its positioning on the festival calendar. In fact, after Cannes in May, which brings together the majority of the most anticipated international films as world premieres, comes Venice in August-September, which picks up everything that was not ready for Cannes. And just before TIFF in September, there is Telluride, where Hollywood likes to launch a few big titles deemed “Oscar-worthy”.
Which explains why when it comes to must-see world premieres, which contribute to the prestige of a festival, TIFF is at a disadvantage. Despite this, year in and year out, the event has always managed to hold its own. What’s more, many of the titles that won the Audience Award there have subsequently won the Oscar for Best Picture, including Chariots of Fire, American Beauty, Slumdog Millionaire, The King’s Speech, 12 Years a Slave, Green BookAnd Nomadland. So in the industry, this award from TIFF is seen as a serious indicator for the Oscars: another source of prestige.
This year, world premieres have captivated (Nightbitch, The Life of Chuck, Heretic, We Live in Time, The Wild Robot), but none of them generated enough hype to suggest a future golden statuette. Certainly, there was a lot of quality and variety, but often around international or North American premieres unveiled… in Cannes, Venice or Telluride (Babygirl, Conclave, Emilia Perez, Presence, Queer, The Room Next Door, The Substance). Ultimately, 2024 will have been a “small” edition.
Not an insider problem
Far from being a frivolous “insider” problem, this situation – fewer major world premieres and fewer interview opportunities – could cost TIFF some of its exposure.
In fact, if they find only a limited number of must-see world premieres to cover without the advantage of getting a full load of interviews, mainstream or smaller publications might decide that the game is no longer worth the candle. That would leave a handful of large, specialized American media outlets that are not affected by such considerations, such as Variety, DeadlineOr The Hollywood Reporterand which primarily appeal to people in the industry rather than the general public.
Now, for the record, on its website, TIFF mentions its mission to “transform, through cinema, the way people see the world.” But isn’t this “transformation” also achieved through the enlightening comments, collected in interviews, from filmmakers, actresses and actors about their films?
François Lévesque is in Toronto thanks in part to the support of Telefilm Canada