Bennett’s TIFF 2026 Journal
Recently, I returned from the Toronto International Film Festival. What follows is a record of the films I saw—and the things I experienced.
“A Simple Machine” Review: Deconstructing a Life, One Cycle at a Time
A film made not only for people who like movies, but for people who like bikes.
“The Dog Stars” Review: I’ve Seen Things You People Will Believe
Of all the bleak futures Ridley Scott has manifested, this one may be the bleakest.
“The End of Oak Street” Review: David Robert Mitchell Brings the Dinosaurs to Mister Abrams’ Neighborhood
Like “Super 8,” “Oak Street” is a throwback to peak Spielberg set in the suburban Midwest.
“Spider-Man: Brand New Day” Review: You’ll Believe a Man Can Cry
Director Destin Daniel Cretton plunges us into the soul of a superhero who protects a city he’s barely part of.
“The Odyssey” Review: A Man! A Film! A Future!
Christopher Nolan molds Homer’s epic poem into an epic film about a flawed hero “chasing the escaping sun.”
“Supergirl” Review: Director Craig Gillespie Out-Gunns James Gunn
Gillespie has carved a niche directing films with ungovernable leading ladies, and each narrative is more fantastical than the last.
“Disclosure Day” Review: Close Encounters of the Human Kind
Steven Spielberg’s latest is about a future that echoes transformative moments from the past.
“Backrooms” Review: Entering the Liminal Space Between Hollywood and YouTube
Kane Parsons directed multiple Backrooms videos, fleshing out a retro sci-fi conspiracy thriller universe that enticed arthouse distributor A24.
“Silent Friend” Review: The Roots of Human Connection Reach Across Time
Echoing “Intolerance” and “Resurrection,” “Silent Friend” extends through eras in search of the high of one life brushing up against another.
