Share your love of cinema with us year-round at TIFF Bell Lightbox, and across Canada on digital TIFF Bell Lightbox. Art from Crimes of the Future.
Discover the best from TIFF Cinematheque and the latest New Releases this spring at TIFF Bell Lightbox.
Dive into retrospectives of revered filmmakers Kinuyo Tanaka, Abbas Kiarostami, and Roy Andersson. Plus, new restorations including a selection of Wong Kar Wai classics, the Toronto premiere of a newly struck 35mm print of Francis Ford Coppola’s The Conversation , and special in-person appearances from Mira Nair, Ninetto Davoli, Adam Beach, Sook-Yin Lee, Patricia Rozema, and more.
TIFF Member and Under-25 Pass Holders get free access to 200+ TIFF Cinematheque screenings throughout 2022. For more information, including how to become a TIFF Member, visit tiff.net.
“Not since its inaugural year in 2001 have there been so many first appearances among the feature-film selections. Some of these films made their world premieres during the Festival and are now debuting their works on the international festival circuit, which is remarkable for first-time directors — I couldn’t be prouder.” —Cameron Bailey, CEO, TIFF
"[Martin Scorsese] pushes the conventions of filmmaking. He's an exciting filmmaker, who even though he returns to the same themes, he always does it in a different way." —Alicia Malone
"Something consciously I was trying to do was to honour the sense of space, but also the sense of time. Allowing the scenes to flow in which the camera is more like a ghost that comes from the future and is in that place and is just witnessing." —Alfonso Cuarón
Director James Gray breaks down how Joaquin Phoenix is able to naturally depict internal conflict.
digital TIFF Bell Lightbox, our online film platform available across Canada, is packed with everything you love about TIFF: New…
2022 TIFF Next Wave Film Festival 13 films
Here are the films joining us at the 2022 TIFF Next Wave Film Festival.
The TIFF Next Wave Film Festival…
New and Restored 5 films
"A selection of recent restorations that have been painstakingly brought back to life in revived cinematic presentations."
For more information,…
Women have always been a part of the cinematic landscape in the Nordic countries. Denmark’s Oscar equivalent, the Bodils, are…
REVOLUTION! In Cinema 4 films
"The 20th century saw a steep rise in interconnected global political upheaval on an unprecedented scale. As the utopic dream…
Watching this film in light of the US Supreme Court’s possible overturning of Roe v Wade is a harrowing experience. Happening is a brash and undaunted abortion drama that’s unafraid to show its teeth. Everyone’s comparing it to Never Rarely Sometimes Always (understandably so), but in truth I was more affected by this film. Its screenplay and direction strikes me as more intimate, mature, unflinching. Anamaria Vartolomei stuns in every moment. I felt physically ill upon exiting the theatre — in the best possible way.
I get it now. I was so curious as to why THIS movie was getting that very interesting release strategy of only being shown in theaters, traveling around the country and world, never being released on streaming or physical media. But I get it now.
There's something so essential about seeing this on the big screen with a crowd of people. It's more than just a movie; it's an experience. One that can only truly be felt at its core…
A beautiful dream of a film, clearly inspired (as Sciamma has admitted) by the works of Hayao Miyazaki, and yet Petit Maman still feels wholly like the work of Celine Sciamma. This is a gentle fable about a lesson we all learn in time: that our parents are people, with their own hopes and dreams, their own regrets and shames. How the film gets there is by this point, I think, well known (and the title is pretty much a…
This was magic. Just beautiful. Made me see my friendship with my mom in a new way.
Casually bifurcating memory from geographic and temporal ideation, but it’s cozy and kinda spooky.
Really beautiful film, once I sank into its glacial pace I was fully entranced by every element of this fugue like dream space. Once the credits hit I was so suddenly snapped out of the dream that I began sweating, crying, and my heart rate skyrocketed. Absolutely unreal experience.
Fuck me. Peerless filmmaking, so much more than just ~bleak~ or Important or whatever. So affected by Anamaria Vartolomei's performance, and the way Diwan handles everything – the judgements, the tone, the design, the restraint, the horror, the determination, the pain of it all - is exemplary. Stuff like this doesn't come around often.