The Toronto International Film Festival (TIFF) celebrated its 50th anniversary this year, and I was able to see just around 50 screenings by the end of my experience.
TIFF was widely celebrated throughout the city, as both King Street and Richmond Street bustled with guests running to theatres, rushers forming insanely long lines, and passersby exploring the accompanying street festival stands. This year also saw the inclusion of the Criterion van, where patrons could replicate the closet videos of their favourite celebrities, as well as get a good discount on Criterion DVDs.
TIFF as a whole has become increasingly difficult to manoeuvre in the last few years thanks to a combination of rising ticket prices, scalpers running amok, higher demand for screenings, and fewer accessibility windows for ticket-buyers. Here, I will disseminate information and offer my best advice as a frequent attendee of the festival who wants to enable others to participate as fully as they can.
One of my first rules this year was to avoid the Criterion van if I could help it. Many of the queuers I spoke to had gone to the van and had a great time; clearly there was an eager and happy public for this offering, but I just couldn’t stand in another hours-long line to buy a $30 DVD. The queueing experience is essential to TIFF — whether you are a ticket holder, a rusher, or a booth visitor, standing in line is a rite of passage.
In said lines, one will almost always find friendly filmgoers excited to share about the films they have seen or are looking forward to seeing, their professions, their favourite films, and their Letterboxd accounts. Some of the strongest connections I have made with fellow cinephiles and filmmakers in the city have come from these TIFF lineups, especially the lines for big events that leave patrons waiting for hours. If, however, socializing is not a top priority, you can busy yourself with a book or pop in some headphones.
Similar to years prior, I had certain screenings for which I knew it would be impossible to get tickets, so I would plan my days around the fact that I would have to allot a certain amount of time to rushing. At TIFF, you can get rush tickets for essentially any screening if you line up outside the theatre for a given time, though your success is often dependent on the film’s popularity. Some lines only involve waiting for a few minutes to an hour, while others demand several hours, all to only potentially be let inside.
Taking advantage of the rush system is one of the best ways to save money at TIFF and get access to in-demand screenings. For the past two years, I have purchased an Under-25 Rush Pass, which costs $40 and essentially pays for itself after rushing two screenings (the regular Rush Pass is $80). I think these passes are worth the price if you intend to watch even a handful of films and have the time and ability to wait around.
More than in previous years, it was incredibly difficult to procure tickets to any screenings ahead of time because they would go off sale almost immediately. One would often have better luck purchasing same-day tickets than trying to get any in advance due to the way TIFF ticket releases work. This was my first year with a Press Pass, which gave me access to Press and Industry screenings, free same-day tickets, and worked as a rush pass. Even with these accommodations, I was extremely lucky if I saw any open tickets to in-demand events. A complaint that I witnessed across multiple screenings and from several sources was the fact that there were often rows worth of empty seats in theatres that claimed to house sold-out shows.
TIFF weekend screenings see an attendance spike of 9-5ers enjoying a day off, as well as a proportionately lower success rate when rushing or acquiring same-day tickets. Monday sees a significant drop-off as people return to work, the street festival shuts down, and most of the celebrities and filmmakers return home. Most of the films that premiered in the first week will now have readily available reviews, so this is the time to restructure your watchlist accordingly.
In the second week, I prefer to seek out smaller screenings, such as films that piqued my interest but perhaps have not made a big splash. Short film programmes like Short Cuts and Wavelengths are also ideal for discovering rare treasures that may be difficult to find in the future. I tend to avoid films that have their release dates within the next three months, unless there is a unique aspect to the festival screening.
My final word of advice is to give yourself a break. There will come a time when you cannot get into a screening you were passionate about, or you fail at a rush attempt that cost you several hours of standing around outside. In these moments, it’s important to maintain perspective. In most cases, you will likely be able to see your desired film…eventually. Don’t be afraid to switch lines to see something different, or just go home and rest up.
Breaks are sometimes the most important gift you can give to yourself. Even though it might not feel like it at the moment, sitting sedentary and watching too much media at once can burn you out, especially if there is an element of stress involved with getting into the theatre. Breaks are also ideal for those who participate in Midnight Madness screenings. I frequently find that a distinct nausea starts to arise after about a week at the festival, so taking enough breaks throughout the 10 days helps to ensure that one can see it through to the end.
As enjoyable as a film festival can be, there is a lot of effort and planning that goes into ensuring that you get the most out of your experience without being let down or emptying your bank account. Hopefully, this information can help you in your next festival experience — good luck and happy TIFFty!
