If you missed out on the Toronto International Film Festival, you’re in luck! We returned to the festival this year with Collider’s Media Studio, presented by Campari and The Cayman Islands, where our own Steve Weintraub and Perri Nemiroff had the pleasure of sitting down with filmmakers and stars of some of the event’s most exciting titles.

Every year, creatives and celebrities hit the streets of Toronto to celebrate independent filmmaking, championing everything from intimate stories from across the globe to upcoming series for streaming giants, like Netflix’s Below, starring Josh Hartnett and Stranger Things alum Charlie Heaton. It’s an opportunity for the forces behind the movies and shows to highlight the unsung heroes, the tireless work that goes on behind the scenes, and to sing the praises of projects that may get overlooked among Hollywood blockbusters.

This year, Collider spoke with the teams behind nearly 50 upcoming movies and series, including Liam Neeson for The Lost Children of Tuam, Amanda Seyfried and Tim Blake Nelson for the drama The Life and Deaths of Wilson Shedd, and Mike Flanagan for Prime Video’s Stephen King adaptation series, Carrie. Below, we’ve rounded up a number of interviews for movies like Alpha Gang, Kick On, Le Faux Soir, Krux, Paradise Lost, The Stunt Driver, writer-director Alexandra Pechman’s Magazine, Gail, Vintage Violence, and Whatcha Want. Check them out.

This Band’s Documentary Isn’t About the Band — It’s About Their Biggest Fan

“This is the first film I’ve ever seen that examines that relationship.”

Music, like the films and series TIFF celebrates every year, is one of life’s greatest pleasures and has the ability to transcend social barriers. Some believe music is healing, and it can bridge generations. In Michael Maxxis’s (Puppy Love) documentary, Gail, the power of music is exemplified by one superfan, Gail Lichtman, a woman who’s dedicated much of her time to celebrating the Canadian rock band Our Lady Peace.

The film documents Gail’s preparation ahead of Our Lady Peace’s 30th anniversary cross-country tour. We watch as the subway station agent encounters others throughout NYC, imparting her decades’ worth of knowledge and admiration for the band to anyone who will lend an ear. The documentary allows us to tag along for Gail’s journey from Saskatoon, into meet-and-greets with the band, all the way to their final show in Halifax.

When approached about commemorating the band’s 30th anniversary with a documentary, Our Lady Peace’s lead singer, Raine Maida, had other plans:

“I was throwing up in my mouth thinking about doing a rock doc, so this was turning the cameras around on Gail. And to be honest, Gail’s followed us for 30 years; it was about time we followed her.”

During this interview with Weintraub, executive producer Jason Reitman (Saturday Night), Maxxis, and Maida sit down for a conversation about why Our Lady Peace’s documentary centers on superfan Gail’s life, how the doc helped change their perspectives on fandom, and how the film’s narrative emerged naturally throughout production. Reitman also teases more Ghostbusters in development and the status of the Westwood Village Theater. You can watch the full conversation below, with time codes provided.

• 00:34 – The Gail crew share their favorite movie theater seats.
• 01:29 – Jason Reitman discusses the Westwood Village Theater’s renovation and 2028 reopening.
• 03:00 – What Is Michael Maxxis’ Gail?
• 03:29 – Maxxis and Raine Maida explain why the documentary focuses on a fan rather than the band.
• 04:08 – Maida and Maxxis reflect on how making the film changed their perspectives on fandom.
• 05:44 – Maida praises Maxxis for understanding Gail and creating a trusting environment that allowed her to open up.
• 06:08 – Reitman discusses his connection to Gail through his own experiences as a devoted music fan.
• 07:56 – Maxxis also discusses experiencing fandom from the other side and how that informed the documentary.
• 09:05 – Maxxis discusses how the documentary’s narrative and voiceover emerged naturally.
• 10:25 – Maida and Maxxis on preserving authenticity in the editing process and how Gail’s natural drama shaped the film.
• 11:16 – Reitman compares Gail’s relationship with the band to the way fans connect their identities to movies and characters.
• 12:38 – Maida and Reitman imagine the ideal Our Lady Peace concert for Gail.
• 13:09 – Maida shares the personal connections between bands and fans.
• 14:42 – The crew reflects on fandom as an escape from everyday life.
• 17:35 – Maida discusses the challenges of touring now.
• 19:26 – Reitman shares his future plans, including Ghostbusters development.

‘Spree’ Director Continues to Explore the Dangers of the Digital World in ‘Vintage Violence’

Cole Sprouse stars as a live-streaming urban explorer in Eugene Kotlyarenko’s new thriller.

Vintage Violence is an action-comedy from Eugene Kotlyarenko (Spree) that was hand-picked this year by TIFF’s Next Wave Committee as a film for the next generation. It stars Cole Sprouse (Lisa Frankenstein) and Kiko Mizuhara (Norwegian Wood), and celebrated its world premiere as part of Midnight Madness.

Vintage Violence is a mixed-media feature about disgraced live-streamer and urban explorer Carter (Sprouse), who stumbles across a cache of vintage denim. When one of his followers, Izumi (Mizuhara), lures him to Japan for a business venture, Carter finds himself embroiled in a deceitful scheme that involves a boyfriend in debt and the Yakuza, dragging all parties into the criminal underworld.

While talking with Nemiroff, Kotlyarenko reflects on his 2020 live-streaming horror, Spree, starring Stranger Things breakout Joe Keery, and the sinister way people’s relationships with the digital world have evolved since.

“I think everyone kind of became Kirk Kunkle in a way, sadly. When that movie came out, I think there were a lot of teenagers who related to it, and then now everyone’s become those teenagers.

But for me, what was interesting here was the phenomenon of meeting people online, getting to know someone virtually, and then what happens when you meet in real life? That’s really kind of the question the film asks. Maybe you develop a chemistry on the web or DMing or something — then what happens when people meet? Sparks fly, but all sorts of crazy shit happens, too.”

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Sprouse and Mizuhara join Kotlyarenko at the Collider Media Studio to discuss the unusual ideas and accounts that inspired Vintage Violence. The team shares their own favorite Instagram accounts, and Mizuhara reveals how eerily similar she is to her character, Izumi. Sprouse also teases reuniting with Lisa Frankenstein’s Kathryn Newton for Roxy Sorkin’s feature directorial debut, Hot Year, and Mizuhara talks about collaborating with Charli xcx and Takashi Miike for their upcoming film. Check it all out in the video below, with time codes provided.

• 00:37 – What Is Vintage Violence About?
• 01:13 – Eugene Kotlyarenko Explains the Unexpected Idea That Inspired Vintage Violence
• 02:12 – Cole Sprouse’s Favorite Instagram Account Turns Trash Into Art
• 03:09 – Kiko Mizuhara Recommends Tokyo’s Shibuya Meltdown
• 04:14 – Sprouse on His Massive Mask Collection From Around the World
• 05:15 – Why Mizuhara Stopped Collecting Vintage Clothes and Memorabilia
• 05:45 – Kotlyarenko Shares His Obsession With Rare Movie Magazines
• 06:43 – Mizuhara on Why Her Character Felt So Relatable
• 07:56 – How Kotlyarenko Found the Perfect Actor for Izumi’s Character
• 08:45 – Sprouse’s Urban Exploring Past Drew Him to Vintage Violence
• 09:51 – How Kotlyarenko’s Editors Helped Shape Vintage Violence
• 11:36 – Online Relationships Inspired Vintage Violence
• 12:38 – Kotlyarenko Hopes More Filmmakers Explore Modern Life
• 12:52 – Sprouse Praises Roxy Sorkin’s Distinctive Filmmaking Voice on Hot Year
• 14:39 – Mizuhara Teases Her Unique Collaboration With Takashi Miike and Charli xcx

Mina Shum’s New Dance Film Is an “Uplifting Diatribe Against the Patriarchy”

“It is a joyful, joyful film.”

Writer and director Mina Shum (Meditation Park) returned to TIFF this year with the world premiere of her latest drama, Whatcha Want, starring Isabella Wei (Bridgerton) and Ming-Na Wen (Mulan).

In the movie, Wei stars as Yin, a Japanese immigrant settling into her new hometown in Vancouver, where she spends a great deal of time alone. Her new husband, BT (Hugh Tran), has been in Hong Kong for five months, claiming to be under extreme pressure with work, while Yin toils away with her older friend, Mary (Wen), who advises her to enjoy her life of privilege, frequenting spas and shopping. But despite her seemingly perfect life, Yin longs for something more, and rediscovers her passion for dancing when she joins a dance class across the street.

At the Collider Media Studio, Weintraub had the privilege of speaking with Shum, Wei, and Wen about how Whatcha Want tells a joyful story of discovery, while examining and exposing a serious issue in a cathartic way. Shum tells Collider:

“It’s funny, you shoot the film, you start editing, and then it becomes its own beast, as you know. Immediately, right away, I was like, “This is a dance film. This is a pop song.” Because it could go either way. We could just concentrate on the very sad story of these people’s lives and how oppressed these women are in their seeming luxury, right? Or it becomes about the journey out of that life, which is really what the film started pointing me to once we got all the editing together. It is a joyful, joyful film — that’s also a damning exposé on patriarchy, basically.”

Wen and Wei also explore the history of their characters’ friendships, with Wen explaining how she came to see a new side to her character, and Wei discussing the training she went through for her dance numbers. Find out more about the movie in the video below, with time codes provided.

• 00:34 – What is Whatcha Want about?
• 01:18 – Ming-Na Wen and Isabella Wei discuss what drew them to the project.
• 03:12 – Wei trained with choreographer Megan Lawson to prep for the film’s dance sequences.
• 04:44 – Wen and Wei explore the history and dynamics of their characters’ friendship.
• 06:36 – Shum discusses shaping the film into a joyful story about women breaking free from patriarchy.
• 08:00 – Wei, Shum, and Wen explain how dance allows characters to express themselves, reclaim their bodies, and experience freedom.
• 10:28 – Wen, Shum, and Wei reveal their favorite seats in a movie theater.
• 11:12 – The trio answers a series of questions about their favorite movies, bands, and more!

‘Alpha Gang’ Directors on Their 10-Year Journey to Make This Wild Alien Biker Gang Movie

The Zellner Brothers also highlight their out-of-this-world cast.

Sometimes it takes an outsider’s perspective to truly appreciate the things we take for granted. In Alpha Gang, a new sci-fi from filmmaking brothers writer and co-director David Zellner and co-director Nathan Zellner (Sasquatch Sunset), a bizarre group of aliens invade Earth on a mission to conquer, but are blindsided when they fall victim to a human plague.

Starring an ensemble cast, Alpha Gang introduces us to an alien crew made up of Doona Bae (Rebel Moon), Lily-Rose Depp (Nosferatu), Kelvin Harrison Jr. (Mufasa: The Lion King), Léa Seydoux (Dune: Part Two), Riley Keough (Jay Kelly), and Dave Bautista (Guardians of the Galaxy). On an assignment to conquer Earth, this team disguises themselves as a 1950s biker gang, ready to take over, when they’re struck by human emotions, experiencing joy, sadness, intimacy, and art, taking in the beauty of the world around them, effectively collapsing their plans for takeover. The movie also stars Academy Award winner Cate Blanchett and Chris Pine.

At TIFF, Nemiroff sat down with the Zellner Brothers and stars Depp and Harrison Jr. to chat about the film’s 10-year evolution and casting the perfect all-star ensemble. Particularly, David Zellner pinpoints the element that gave this project the fuel it needed to finally get off the ground:

“What was so integral to the success or failure of this was the cast, because it’s an ensemble in the truest sense. They’re together most of the time, and we wanted people from all over the world, and different backgrounds and everything, and having the right combination was…was essential, and we really lucked out in that regard.”

As for just how ambitious Alpha Gang is, Nathan Zellner explains the inspiration behind the movie’s everything-but-the-kitchen-sink approach:

“David and I grew up big fans of ’70s and ’80s action movies, and so we wanted to make our version of an action movie and throw in every single toy — like, we have tanks and bazookas, and everything as kids growing up that we loved about those types of films. Like, ‘Let’s just see how much of that we can put in this one.’”

Depp and Harrison Jr. also discuss the joy on set, crafting their characters, and Blanchett’s performance, they spotlight the craftsmanship of their team, and Harrison Jr. compares his role as Beetee in The Hunger Games: Sunrise on the Reaping to Jeffrey Wright’s OG performance.

• 00:42 – What is Alpha Gang About?
• 01:25 – The Zellner Brothers Discuss the Film’s Evolution and Finding the Perfect Ensemble
• 02:19 – Nathan Zellner Reveals the Qualities They Wanted When Casting Alpha Gang
• 03:19 – Lily-Rose Depp and Kelvin Harrison Jr. on Discovering Their Characters
• 05:17 – The Cast Recalls the Dance Party That Brought the Ensemble Together
• 05:54 – Harrison Jr. and Depp Discuss Their Unique Contributions to the Film
• 06:52 – Depp Describes the Instant Connection and Shared Creative Energy on Set
• 08:04 – Harrison Jr. Found Freedom in the Cast’s Different Acting Processes
• 10:08 – The Zellner Brothers Let the Cast Explore Their Characters
• 10:34 – The Filmmakers Highlight the Cast’s Sincerity, Humor, and Childlike Logic
• 13:25 – Depp and Harrison Jr. on the Joy of Dancing on Set and Cate Blanchett’s Performance
• 15:46 – David Zellner Reflects on Seeing His Longtime Vision Come to Life
• 16:30 – Nathan Zellner Discusses Building Their Own ‘70s/‘80s Action Movie
• 17:12 – They Highlight the Craftsmanship Behind the Film’s Costumes and Locations
• 19:29 – Harrison Jr. Discusses Playing Beetee in The Hunger Games: Sunrise on the Reaping

‘Magazine’ Captures Print Culture on the Cusp of the Digital Age

“The party was ending.”

In writer-director Alexandra Pechman’s feature directorial debut, Magazine, aspiring poet Nora (Bonjour Tristesse’s Lily McInerny) finds herself in the heart of New York City’s literary scene in the early 2010s. Set 15 years ago, the film explores the cliquish microcosm and politics of the time from an intern’s overwhelmed but mesmerized point of view.

In Magazine, Nora leaves her hometown in Arizona behind for the chance of a lifetime. She’s beginning an internship with Platen, a tastemaking literary journal, where she’ll be tasked with the mundane — slush-pile submissions, coffee runs, and the ilk. Understandably, Nora feels out of place and alienated amongst her new peers, but her anxieties are softened by her crush on associate editor Thomas (Joshuah Melnick), who navigates the office politics with ease. While surviving these workplace complexities, however, Nora soon comes to understand Platen publisher Mickey’s (Jake Lacy) sage advice: always know when to leave the party.

At TIFF, Weintraub spoke with Pechman about the decades’ worth of experience, plus her friends’ accounts, that went into realizing Magazine. When asked specifically about the weight behind “leaving the party,” Pechman explained:

“This was an amalgamation of a lot of different memories and things that I overheard or read. I think that the party was ending in that era. It definitely isn’t meant to be about an era of journalism that was a heyday, or of magazines that was a heyday, but that there were people holding on and trying to stay at the party the way it had always been, for better or for worse.

Obviously there are things that I miss about the world of print magazines being dominant, but as you can see from the movie, there were also parts of this culture that needed to change — and some of the people at the fictional Platen magazine holding onto those moorings should maybe leave that party.”

She goes on to discuss the philosophy that rings through to the film’s themes, how the workplace and culture have actually changed since 2011, and why McInerny’s casting was essential. Check out all of this and more on Pechman’s future projects, like The Murderous Miss Highsmith, in the video below, with time codes provided.

• 00:43 – Alexandra Pechman shares her preferred movie theater spot.
• 01:19 – What is Magazine about?
• 01:42 – Decades working in magazines and friends’ experiences inspired the film.
• 02:25 – Pechman explains why 2011 was the perfect setting for Magazine.
• 04:07 – “Know when to leave the party” reflects the changing magazine industry and outdated workplace cultures.
• 05:14 – Remote work and clearer workplace boundaries have changed the office culture depicted in the film.
• 06:16 – Casting Lily McInerny as Nora early was essential.
• 07:49 – Editor Blair McClendon’s understanding of the magazine world helped shape the film’s tone.
• 09:03 – Nostalgia for 2011 influenced the editing process.
• 09:53 – Pechman talks Whit Stillman’s filmos and discusses their influence on Magazine.
• 11:45 – Magazine explores the blurred boundaries between friendship, romance, and work.
• 13:26 – Pechman reminisces about beloved gathering places for coworkers.
• 13:52 – Pechman shares the biggest lessons learned from making her first feature.
• 15:28 – Pechman faced challenges with cutting the film’s production design and unused fictional magazine materials.
• 16:21 – Pechman reveals what she kept from set.
• 16:30 – Pechman confirms The Murderous Miss Highsmith is finished and cast, with hopes to make it in the future.

Ed Helms and Jay Baruchel on Bringing Ken Carter’s Incredible True Story to Screen

Helms also revisits The Office, and Baruchel teases the next season of Reacher.

Writer-director Michael Dowse’s (Stuber) new action comedy, The Stunt Driver, is inspired by a true story from the golden age of stunts in the 1970s. The movie reunites the filmmaker with Jay Baruchel (Goon), who stars as “The Mad Canadian,” stunt driver Ken Carter, as he prepares to pull off an impossible feat.

Even among his death-defying peers, Carter was a singular force within the stunt community. Behind the wheel, he often risked his life for epic stunts, and his career was set to culminate in a historic jump designed to send him careening across a mile-wide length of the St. Lawrence River in a rocket-powered Lincoln Continental.

At TIFF, where The Stunt Driver premiered as part of the fest’s Special Presentations category, Weintraub had the chance to sit down with Dowse, Baruchel, and Ed Helms, who plays Carter’s car designer and technician, Dick Keller. In addition to the making of, Baruchel reveals how he got involved as the lead of the sports dramedy:

“For me, it goes back sort of to like 20-some-odd years ago, and he and I started kind of becoming friends. We were building the movie Goon, and we were having conversations about like, ‘If you could do anything, what would you do?’ And Dowse told me, ‘I would love to do a scripted feature version of the documentary Devil at Your Heels,’ which is an NFB movie that I was ashamed I hadn’t seen. I watched it, fell in love with it, and knew that my friend would make an awesome movie one day, and I put that aside.

Then, across oceans of time, Dowse said, ‘I wrote a script, and I think actually it’s timed out. You’re the right age to play Carter.’ Never once did I ever think that I would be him; I was just excited to see my friend make an awesome movie. All the better that he wanted me to do it. Then I read the script, and it was sincerely better than I could have ever hoped. So much so that, like, at page 45, I texted him and lied and said I’d finished it and loved it and let’s do it. That’s how much I loved it. And then at that point on, I just became a huge Ken Carter nerd.”

In this interview, which you can watch below, the trio discusses the research that went into the film and the archival footage used, plus shooting on a mix of film and digital for the visual aesthetic, and Baruchel and Helms discuss learning about their real-life counterparts. Helms also comments on the lasting impact of The Office, and Baruchel teases the heaviest season of Reacher is still to come. Check out the full conversation, with time codes provided below.

• 00:35 – Ed Helms explains his three-year strategy to appear in as many TIFF films as possible.
• 00:58 – The Stunt Driver crew share their favorite movie theater spots.
• 01:30 – The trio answers a series of questions, like their favorite concessions, go-to karaoke songs, and more!
• 04:15 – What is The Stunt Driver about?
• 04:49 – Dowse explains how archival footage made the stunt affordable and gave the film a distinctive cinematic style.
• 06:00 – Baruchel on discovering Carter’s story, while Helms connects with Carter’s stunt culture and larger-than-life story.
• 08:16 – Dowse discusses using 16mm, 35mm, and digital formats to create the film’s visual texture and integrate archival footage.
• 09:06 – Dowse explains how the documentary crew’s presence determined the format and coverage of each scene.
• 10:26 – Baruchel explains how Carter’s bravado grew from his fear, difficult upbringing, and need to prove himself through dangerous stunts.
• 12:13 – Helms reflects on The Office‘s enduring popularity and impact.
• 14:42 – Baruchel says the upcoming season of Reacher is the show’s heaviest.

‘Paradise Lost’ Director Yeon Sang-ho Says AI Made His Sci-Fi Feel “Really Realistic”

“The reality has really caught up.”

From the director of Train to Busan, Yeon Sang-ho returns to the big screen with a modern-day exploration of trauma in his science fiction thriller Paradise Lost. The film premiered at TIFF, where the filmmaker and stars stopped by the Collider Media Studio to discuss the inspiration for and making of the movie with Weintraub.

From Yeon and co-writer Oh Seong-eun, Paradise Lost follows grieving mother Ryu (Kim Hyun-joo) after a busload of children, including her son, vanishes without a trace. In an attempt to cope with her loss, Ryu tries a new tech company’s augmented reality glasses that allow her to simulate interactions with her missing son. But when her son (Bae Hyun-sung) returns years later, Ryu faces a disturbing reality that shatters the angelic memories she’s clung to in his absence.

In this interview, Yeon discusses rapidly progressing AI technology that lies at the heart of Paradise Lost, and how reality has advanced to the point that the film is that much more frightening and poignant. He says:

“When I first came up with this idea of the film, the world hadn’t really reached the point of that technology; it was not advanced as much, so it was really difficult to imagine in a way. But as time passed, the reality has really caught up, and it became a really realistic idea, as well. So, with the film I wanted to explore the idea of this perfect paradise that was brought through the AI and the instability of human nature, and how this reflects the human identity as a whole.”

Stars Kim and Bae also share details on developing their characters and which scenes were the most emotionally challenging. Bae also talks about taking on his first leading role and what’s next for him. You can check out the full conversation in the video below, with time codes provided.

• 01:04 – What is Yeon Sang-ho’s Paradise Lost about?
• 01:45 – Yeon discusses AI technology’s growing realism and its reflection of human identity.
• 02:52 – Kim Hyun-joo explains her approach to portraying a mother torn between two children.
• 03:57 – Bae Hyun-sung is an unpredictable character who brings chaos into his mother’s life.
• 04:30 – Filming the final scene was the most emotionally difficult for Kim.
• 05:05 – Bae discusses challenging himself with a darker character in his feature leading debut.
• 05:50 – Yeon praises his collaborative crew and their shared passion for filmmaking.
• 08:15 – Kim describes the comfortable atmosphere of reuniting with Yeon.
• 08:52 – Bae discusses the excitement and anxiety of filming challenging scenes.

‘Krux’ Director on the True History That Inspired His Harrowing WWII Drama

Tony Vahl and Jella Haase also comment on fear, misinformation, and why the movie feels so relevant today.

For her debut feature film, Krux, writer and director Tony Vahl delivers a poignant look at the cost of being on the wrong side of history. The drama World premiered at TIFF this year, where Weintraub spoke with Vahl and star Jella Haase (Kleo) on the impactful story and the behind-the-scenes making of the film.

In Krux, it’s the final days of World War II, and the Soviets are making their way west through what remains of the Third Reich. Rumors of their brutality have spread among the villages, and those left behind — women, children, the elderly, and men deemed unfit for service — carry on, working toward some semblance of normalcy. But as the army draws nearer and the bodies begin to pile up around them, hysteria mounts when orders are given to leave no Germans alive for the approaching Russians.

In this interview, Vahl and Haase drop by the Collider Media Studio to discuss the real-life tragedy that inspired Vahl to make the film, finding her interpretation of the events that took place, and the dark truths she uncovered while researching for the movie. She shares the personal inspiration with Weintraub, explaining:

“It starts with my grandmother, to be honest, because she told me when I was a little child about corpses floating down the river, and this picture never let me go. Years later, I found a book from Florian Huber, who wrote 10 years ago about the suicide wave. He was the first historian, because it was taboo, since 10 years ago when people started to speak about this issue.”

Haase also shares the difficulties of portraying a character like Greta, and the pair highlight the parallels with today’s world. Vahl warns:

“The movie is about fear of the unknown and about what we believe. It’s happened in the past, but so many of the ideas inside are totally present. We have manipulation, we have fake news. It’s about the questions: What do we believe, who do we trust, and how easy is it to follow the crowd? Instead, use your own moral compass and listen to your own voice. I think that’s connected to our times, and because we can connect, it’s more emotional. It’s not that far away from us.”

Finally, Haase leaves us with a sobering thought, comparing the world to the village in the film:

“Fear is universal. Nowadays we have a feeling that a certain kind of defined or undefined danger is drawing ever closer and is really advancing, unstoppable — whether it’s named as an AI or climate change. The people in the village in that movie seem to be paralyzed, but I guess it’s what we are, as well. Because if we really would face the danger in detail, we would have to fight against it every day, whether it’s A.I., as I said, or climate change, or also the rise of fascism. I don’t think we do enough, do we? It’s easier to look at the past or to watch the past with quite some distance and blame the people, but I guess the next generation might blame us, as well.”

You can watch the full conversation in the video below, with time codes provided.

• 00:35 – Tony Vahl explains the premise of Krux and why she had to make it.
• 02:00 – Jella Haase discusses the overwhelming atmosphere of the script and the shocking opening scenes.
• 02:32 – Vahl explains finding her interpretation of the story and her devastating research through diaries of the time.
• 03:27 – Vahl and Haase discuss the film’s themes of fear and manipulation, and the parallels to the modern world.
• 08:04 – Greta’s journey from silence to questioning demonstrates the power of language.
• 08:35 – Vahl discusses the editing process, working with Nikodem Chabior, and changes made.
• 10:48 – The Krux duo reveals their favorite movie theater seats.
• 11:09 – They also answer a series of questions, from their favorite failure to their favorite movie theaters.

The True Story of How Resistance Fighters Fought the Nazis With 50,000 Fake Newspapers

“We always think about sabotaging bombs and all that stuff.”

At TIFF, the Special Presentations program offers a selection of features from leading international filmmakers. This year, Belgian writer and director Michaël R. Roskam (Bullhead, Black Bird) world-premiered his historical thriller, Le Faux Soir, at the festival, where Weintraub had the opportunity to sit and discuss the film with him and stars Arieh Worthalter (The Goldman Case) and Mara Taquin (The Specials).

Le Faux Soir is inspired by an act of heroism in Nazi-occupied Brussels in 1943. In the film, a group of resistance fighters, the Independent Front, uses the Germans’ propaganda against them by creating and distributing a spoof of the newspaper, Le Soir. This prank is anything but harmless, as those who are captured are almost guaranteed execution, and the group must work with unexpected allies to tackle setbacks and risks. Roskam explains the film’s premise:

“The film is based on a true story. It’s 1943. We’re in Belgium. The Nazis have occupied most of Europe and Belgium, as well. Le Soir, the Evening Post, is a journal, the most well-read journal of Belgium, and has been confiscated by the Nazis to be integrated in their propaganda machine, promoting fascism and all kinds of weird ideas.

At the same time, there was resistance. Resistance, we always think about sabotaging bombs and all that stuff, but there’s also something like hidden press, we call it. It’s their way of trying to inform the people with another version than the version they’re reading every day, Le Soir, which is French for evening — it’s an evening post.

So they come up with this crazy idea for the 11th of November, which is truce, but a forbidden holiday by the Nazis, of course, because they lost. So they come up with this crazy idea, ‘What if we steal back our newspaper and we tell the the people the truth about things?’ But then again, they come to another idea, and they push the idea and said, ‘What if we do it satirical and make fun at the same time?’ And they did it. They started to print their own version, and on November 9th, 1943, 50,000 fake issues of the evening post, Le Soir, were sold in Brussels, and the people were laughing, giving them hope, and optimistic about the outcome of that terrible time.”

In this interview, Roskam, Worthalter, and Taquin discuss transforming their familiar Brussels into a WWII-era set and the emotional impact of the film’s script. They talk about the surreal atmosphere with the Nazi soldiers marching through town, and how the movie highlights everyday, ordinary people who make up a resistance. Check out all of this and move in the full interview, with time codes provided below.

• 00:36 – The Le Faux Soir crew share their favorite movie theater seats.
• 01:31 – Michaël R. Roskam explains how the film tells the true story of Belgium’s underground newspaper resistance during World War II.
• 03:19 – Roskam discusses the film’s themes of freedom of speech, resistance, and the power of humor against oppression.
• 04:23 – Mara Taquin and Arieh Worthalter discuss what drew them to the story.
• 06:00 – Roskam discusses the film’s heist structure and the risks of speaking out and reflects on the importance of remembering the past.
• 08:05 – Roskam shares a story about their Nazi actors rehearsing in Brussels in pink safety vests.
• 09:53 – Worthalter recalls moments of levity and struggling to not laugh on set.
• 11:34 – Taquin reflects on seeing their familiar Brussels transformed into a World War II setting.
• 13:00 – Roskam on his editing process, seeking honest feedback, and making changes.
• 14:27 – Taquin discusses being moved by the finished film and its portrayal of ordinary people working as resistance fighters.
• 16:05 – Worthalter says the film surprised him with its emotional impact.
• 16:40 – Roskam on honoring the real-life resistance fighters with the film.

‘Kick On’ Director Reveals How They Shot Over 1,000 Setups in 22 Days

“We just really love that momentum, and that kind of energy is in the final film.”

As part of TIFF’s Midnight Madness, Australian director Nick Kozakis (Godless: The Eastfield Exorcism) took the TIFF audience on an ultraviolent night of debauchery in Kick On. While at the fest, Kozakis and the film’s stars stopped by Collider’s media studio to chat with Weintraub about the script, the horror thriller’s brutal violence, and the making of the movie.

While caring for her sick younger sister, Eden (Markella Kavenagh) is convinced by her friends to take a night off and party with them. Before their night can end, the group decides to keep things rolling by seeking out Ray (Nikolai Nikolaeff), a drug-dealing mobster’s son, whose den is located at the top of a high-rise in a dangerous Melbourne neighborhood. Here, their evening of revelry descends into a maddening paranoid spiral after one rash decision.

During their conversation with Weintraub, Kozakis, Kavenagh, Nikolaeff, and Ras-Samuel (Kingdom of the Planet of the Apes), who plays Drew in the movie, chat about their bloody, chaotic 22-day shoot, and in particular, pulling off over 1,000 setups. Kozakis reveals:

“Our schedule was so tight. We had timelines to be considerate for, so we did 21, 22 days, I think it was, of shooting, 1,536 setups, which is intense. I come from a music video background, so it’s all I know, just to keep going. The first day we shot was like 113 setups…We had two cameras. It was intense. We just really love that momentum, and that kind of energy is in the final film, as you’ve seen. Sometimes we only had the one-take wonder kind of thing.”

They also detail the wildest sequences they were the most nervous to tackle and their own wildest nights out. Don’t miss all the details from the full conversation in the video below, with time codes provided.

• 00:44 – The cast reveals their favorite movie theater seats, from the center to the back row.
• 01:11 – The Kick On team answers questions to get to know them, like what people misunderstand about their jobs to their favorite movie theaters.
• 06:19 – Nick Kozakis explains what Kick On is about and the films that inspired it.
• 07:20 – The cast explains the Australian meaning of “kick on.”
• 08:11 – The Kick On stars discuss their characters in the film and why they wanted to join the movie.
• 11:46 – They discuss the bloody set on set and the challenges of maintaining the carnage throughout the film.
• 14:51 – Filming intense action and violence on a tight schedule presented unique challenges.
• 15:33 – Kozakis reveals the film was shot in just 22 days with over 1,000 setups.
• 16:56 – The stars share their own wildest nights out.
• 18:37 – Kozakis reveals that a real-life party actually inspired Kick On.
• 20:12 – The Kick On crew divulge the scenes they were most nervous to film and why.

Don’t miss even more of Collider’s coverage of TIFF, from interviews to movie reviews!

Brandy and others are reacting after Ray J said his liver and his heart are messed up, and he still hasn’t “got it checked.”

RELATED: Awww! Internet Users Are Talkin’ About Chris Brown’s Affection For Jada Wallace Following Clip Of Them At Ray J’s Boxing Match (WATCH)

Ray J Says His Liver & Heart Are Messed Up & He Still Hasn’t “Got It Checked”

During the early hours of Monday, September 28, Ray J took to his Instagram to share a clip, apparently from one of his recent livestreams. In the clip, he explained that his liver and heart are “f****d up.”

“I just — I wake up, and I know it,” he continued. “I still don’t give a f**k. I still haven’t went and got it checked. Eventually, like, n****s is gon’ die. What else is gon’ happen? The ambulance is gon’ come, and hopefully we make it through. But if we die, n****s will be like, ‘It’s about time. We was waiting.’”

Furthermore, he captioned the clip, “W’s in the chat for #RAYHAB“

Brandy Reacts Alongside Social Media After Ray J Said His Liver & Heart Are Messed Up & He Still Hasn’t “Got It Checked”

Brandy slid in Ray J’s comment section with a few words for her brother.

“You’re fine Bro!!! I am gonna continue to help take care of you. 🩶🩶🩶♾️♾️♾️
🙏🏽🙏🏽🙏🏽,” she wrote.

Furthermore, the reactions to Ray continued in The Shade Room’s comment section.

The Singer Recently Made Headlines Amid His Concerning Health

As The Shade Room previously reported, Ray J was admitted to the hospital in January. Subsequently, he revealed that his heart was not functioning at full capacity, and doctors allegedly told him he had months to live. By February, Raj sparked concern when footage showed him performing with a chest patch and apparent blood running from his eyes, per The Shade Room.

Despite skepticism, his team maintained his declining health, and his mom confirmed his claims. Despite all of this, Ray J has turned heads, getting knocked out in the boxing ring, expressing indifference about his participation, and even taking part in another boxing match against Orlando Brown.

RELATED: Hit It First! Ray J Wins Boxing Match Against Orlando Brown & Social Media Has Thoughts (VIDEOS)

Just two years after premiering her directorial debut, The Deb, at the Toronto International Film Festival, Rebel Wilson is back with another musical comedy. But while The Deb, which earned largely positive reviews, was adapted from a stage show, her new directorial feature, Girl Group, has an original screenplay written by Wilson. That change likely doesn’t explain the difference between the two films, but this time around, the jokes feel heavily recycled, the characters never really take shape, and the music doesn’t exactly fill in that missing spark.

Even with appreciated and gasp-worthy appearances by Melanie C from the Spice Girls and Shaznay Lewis of All Saints, there’s surprisingly little to get excited about in Girl Group. Having watched the film at its world premiere in Toronto this September, I noticed how scarce the laughter was from the audience, too. For a film built to bring the house down with comedy and a bubblegum pop style that some of us genuinely miss, the silence said plenty.

What Is ‘Girl Group’ About?

Image via Julie Edwards/Future Image/Cover Images

In addition to directing and writing Girl Group, Wilson plays Tassie Young, a former teenage pop star who left her group Gurlfriends for a solo career that never really took off. When it’s announced that the group is getting back together, Tassie feels it’s the perfect time to reconnect with the girls — but discovers from her manager Gabriella (Jennifer Coolidge) that her former bandmates have replaced her with a new singer, played by Nicole Scherzinger. Threading in a bit of stereotype, Tassie takes the news pretty hard, and a DUI soon lands her in court-ordered community service at a Los Angeles youth center run by an awkward yet encouraging mentor named Ken (Randall Park).

Ken assigns her to coach a group of young girls who want to make it in the music industry: Tyler (Chabely Ponce), Kiah (Daniela Couso), La La (Lilah Pate), Henrietta (Mia Kaplan), Bailey (Bailey Stender), and Pippin (Ana Yi Puig). While the dynamic of the group gets off to a bumpy start and the girls clash with Tassie’s style, they soon form a bond through their shared love of music. Eventually calling themselves Xplode, they enter a competition where they’re up against the Cream Team — a group that includes Bailey’s older sister Jess, played by Loren Gray. Cream Team’s mentor, Miss Candy (Jamie–Lee O’Donnell), is determined to win, especially since she has a rather dark connection to Tassie. But as the stakes get higher and Wilson’s character begins to view the girls as her ticket back to stardom, coaching the group also begins to mean deciding whether she cares more about their future or her own.

From start to finish, you can see there’s a deeply affecting story in here somewhere, especially when we watch flashbacks with Tassie’s own mentor from high school, Mrs. Bowmaker (Sally Hawkins), coming in as the maternal support she so badly needs. But Girl Group races through those relationships in pursuit of the next big gag or musical number, never taking shape into a feel-good movie reminiscent of Wilson’s previous work in Pitch Perfect. Instead, it takes that underdog story we all so easily love and struggles across its 96 minutes to make these girls feel like real people within it.

‘Girl Group’s Writing Keeps Recycling the Same Jokes

Image via TIFF 2026

Before getting into the heart of Girl Group, it’s important to know what a film like this could have meant for pop-loving viewers, young and old. As someone who grew up on the Spice Girls, All Saints, Billie Piper, Atomic Kitten, Samantha Mumba, you name it — that whole wave of British pop felt like a world you could sincerely belong to. Girl Group, in the most fun way, borrows the look of that era and its music, but never really gets at why that world meant so much to the young girls and boys who grew up with it. It skips quickly from Gurlfriends’ past to Tassie’s present, using nostalgia just to set up another underdog competition.

On top of that, Wilson’s script rarely finds its own comedic rhythm. Tassie has the outsized confidence and bad judgment of many characters that Wilson has played well before, but there’s little here that makes those qualities surprising. And the unnecessary gross-out humor is an especially telling example of a tone and writing disconnect. For a film that doesn’t exactly rely on crude humor, one joke brings Bridesmaids immediately to mind, without the buildup or character work that made that film’s outrageous moments land. Girl Group even mentions Pitch Perfect by name, drawing attention to its familiar group of unlikely singers and rivals, but as the competition gives the movie a destination, the young performers have too little room to develop distinct personalities or a bond worth rooting for.

I was also bothered by the gap between the film’s message and its jokes. It wants to celebrate girls supporting one another and resisting the music industry’s narrow expectations, yet Henrietta and even Bailey’s size becomes an easy source of humor. Sure, you can argue the film is seen through Tassie’s eyes, but those tones feel especially misguided in a story about young women trying to define themselves on their own terms. The script could have made sharper jokes about the pressure to look and act a certain way as a pop star. But instead, it falls back on the very assumptions it claims to question. By the finale, its message of empowerment barely feels earned.

‘Girl Group’s Cast Gives It a Few Bright Spots

Image via Warner Bros

With a cast packed full of singers and very funny people, Girl Group should be a good time even when the story hits some familiar notes. Thankfully, there are a few bright spots that allow it to feel that way. The young women playing the members of Xplode bring energy to the musical numbers and are genuinely fun to watch, though the script gives them little room to stand out as individuals. Scherzinger seems to enjoy playing Tassie’s replacement, who we only know as “Popstar,” even if the character is basically just a plot device who exists just to get a reaction out of Tassie. Seeing Melanie C and Lewis was a particular pleasure, but I only wish the movie had more moments that felt as exciting. While Robbie Williams’ wife and former X-Factor panelist Ayda Field shows up as a reporter, these additions simply exist for show-and-tell.

Meanwhile, Park brings an easy warmth to Ken, the youth center director; his humor feels natural in a movie where so many jokes are trying too hard. Coolidge is fun to watch here in a role that’s a bit more tempered and relied upon as the voice of reason, compared to the unfair role she’s sometimes pigeonholed into. But O’Donnell is the best as Miss Candy. The Derry Girls star throws herself brilliantly into the rival coach’s competitive streak, giving every scene she’s in that sharp comic snap that Girl Group is missing, and playing to the outrageous comedy it so badly wants to be.

Wilson works hard to keep everything afloat, but Tassie gives her little room to play. Her confidence and willingness to look foolish have served her well before, but this time around, the film repeats those beats without giving her much of a foundation. The story moves through Tassie’s setbacks so quickly that even Wilson sometimes seems unconvinced by the emotional turns it asks her to make. And while Park and O’Donnell can make individual scenes funny, neither they nor the young cast can carry a film that gives each of them so little to build on. This is what makes Girl Group so disappointing: It has the performers, the music, and a premise with room for a funny comeback story, yet its best moments are too scattered to make it worth seeking out.

By Robert Scucci
| Published 17 seconds ago

If you’re looking for the kind of edgelord comedy that your eighth-grade self would love unapologetically, look no further than 2015’s Helen Keller Vs. Nightwolves. It’s the most absurd thing you’ll find on Tubi today, and it will make you a better person for watching it. Not because you finally found out where you should draw the line when it comes to offensive humor, but in the same way that Abraham Lincoln: Vampire Hunter does, in the sense that real historical figures are used to tell a completely ridiculous revenge story, so it should teach you no to take anything too seriously.

This one will stick with you for days, not because it’s disturbing or thematically enthralling. It will stick with you, especially if you’re artistically inclined, because it makes it very clear that all you need in life is the willpower to force yourself through whatever project you find yourself involved in, knowing full well that people like me will actively seek it out on free streaming at one point or another.

Logically, Helen Keller Vs. Nightwolves makes absolutely no sense whatsoever. The “rules” that are established aren’t even guidelines. They simply exist to be laughed at, and that’s half the fun. If you were to make a drinking game out of this one, you’d most certainly need your stomach pumped.

Does Anne Sullivan Know About This?

Helen Keller Vs. Nightwolves takes the historical figure you learned about in elementary school and asks the question absolutely nobody was asking: what if Helen Keller had to fight a pack of vicious Nightwolves? And yes, the movie commits to that premise with considerably more enthusiasm than anybody could reasonably expect.

The story follows a young Helen Keller (Jessie Wiseman), whose family is terrorized by the Nightwolves, leaving Helen without her sight or hearing. Anne Sullivan (Alanna Ubach) eventually enters the picture and teaches Helen how to communicate, putting her on the path toward eventually becoming the older Helen Keller (Lin Shaye), who has some unfinished business with the monsters responsible for ruining her life.

Barry Bostwick also shows up as Jonathan because, at this point, why the hell wouldn’t he? There’s considerably more going on, but explaining much beyond that feels almost counterproductive. You already know whether you’re willing to follow this movie wherever the hell it wants to go.

Meant To Break All The Rules

What’s most perplexing about Helen Keller Vs. Nightwolves is just how little it cares about its own lore. Helen Keller is able to interpret speech so long as she can read lips through her hands. Then suddenly she can also communicate through upside-down drinking glasses placed strategically on a table because of their vibrations. Then suddenly (again), without any rhyme or reason, Helen Keller is capable of carrying on full conversations without any of these things.

When fictional filmmaker St. James St. James (Ross Patterson) breaks the fourth wall to explain exactly what’s happening, you’ll be reminded of how much he sounds like Phil Hartman’s portrayal of Troy McClure of The Simpsons fame, but not nearly as charismatic. The biggest bummer about Helen Keller Vs. Nightwolves is the fact that it reminded me that Phil Hartman is dead, which, if I’m being entirely honest here, really bummed me out.

As much as St. James St. James’ participation in Helen Keller Vs. Nightwolves bummed me out, I was reminded of how magical it is to be alive, for being alive’s sake. This is not a good movie. It’s the cinematic equivalent of your best friend from middle school never growing up and trying to be as offensive as possible whenever they get the opportunity to.

The unhinged humor found in this film outweighs the cringe factor, though, for reasons that I still cannot reasonably articulate, which makes Helen Keller Vs. Nightwolves worth your time if you’re just looking for a little over an hour to kill and don’t care how the means justify the ends.

As of this writing, you can stream Helen Keller Vs. Nightwolves for free on Tubi.

HELEN KELLER VS. NIGHTWOLVES SCORE

If dressing expensive is one of your fall goals, you’re in the right place. We did some digging to figure out what rich girls are *actually* wearing this year, perusing runway shows, big city streets and celebrity sightings. One thing is clear: this season’s pieces are beyond luxe.

According to all of the above, fabrics are key — specifically satin, suede, leather, knit and (you guessed it) denim. Whether you’re searching for a classy-casual blouse, trendy jeans, a windproof layer, a cozy sweater dress or anything in between, you’ll find it below. Although these fall must-haves scream ‘expensive,’ they start at only $4!

17 Rich-Lady Fall Pieces — From $4

1. Our Favorite: Look no further for a chic satin blouse to wear from the office to cocktail hour. Pleats make it even classier.

2. Cozy Knit: Sweater dresses can be frumpy, but not this stretchy, sophisticated pick that features lantern sleeves, ribbed fabric and a turtle neckline.

3. Luxe Leather: Fashion girls are wearing leather jackets instead of denim ones. Jump on the trend with this shiny (faux) version.

4. Lounge Day: Yes, rich girls wear loungewear, but only if it’s buttery-soft and expensive-looking. These comfy yoga pants are both.

5. Transitional Staple: When it’s too hot for a coat yet too cold for a cardigan, opt for this darling trench jacket that hits the sweet spot.

6. Outfit Set: It may feel like pajamas, but this cap-sleeve top and knit pants set is incredibly polished. We already have beige (and are eyeing green).

7. Oh-So Trendy: Combine trends with these chocolate-brown leather pants. The color, material and leg shape make them a triple threat.

8. Corporate Queen: Wear these flowy wide-leg pants to the office and prepare for a promotion. They stun with a thin belt.

9. Bye, Cardigan: Cardigans are fine, but this bestselling blazer is the difference between looking put-together and old money-rich.

10. Soft Suede: Slouchy and sleek, this suede shoulder bag is bound to replace your stiff crossbody.

11. Easy Add: You’ll want to wear this silky satin tee for work, errands and school pick-ups. It’s only $11, so go ahead. Grab three colors.

12. Hamptons Vibes: Stripes and knit fabric come together in this elevated two-piece set. We also adore the midi skirt with a white sweater.

13. Your Cute Jeans: Wide legs have their place, but straight-leg jeans are much more polished. Nail the look with these Levi’s.

14. The Best Accessory: Ever since Naomi Watts wore a printed neck scarf, we’ve been eyeing this $9 satin find that doubles as a headband.

15. Country Club: Argyle print on a dressy outfit set is a recipe for preppy vibes. Add tights and tall boots to complete the aesthetic.

16. Subtly Sexy: If you think midi skirts are matronly, think again! This leopard-print wonder is silky and subtly sexy.

17. Wardrobe Staple: At first glance, this flutter-sleeve top looks like a regular work top. Zoom in, and you’ll see it zips for a stylish twist.

UsNow Fall Sale Alert: These chic fashion finds are up to 60% off – plus free shipping

Welcome to fall with our biggest sale of the season. Our favorite dresses, tops, handbags, and shoes are all on sale + free shipping. Inventory is limited so hurry before they’re gone.

Shop the UsNow Fall Sale –>

Related: Bye, Boots! These Luxe Fall Shoes Are What Rich Girls Wear With Jeans

If your default fall outfit includes denim and boots, we hear you. That was ‘in’ for many years, but in 2026, rich girls are swapping clunky boots for classier alternatives that make even blue jeans look luxe. The best part? The 13 most chic pairs start at only $7 on Amazon. Whether you’re searching for […]