THE 2017 Toronto International Film Festival has risen to the occasion again, featuring some of the best releases of the year which could have been saved for the last. Here is where permutations about the next Oscar Awards usually begin.
This summer, the festival is playing host to the world in its unique style.
It is generally believed that the festival is second to Cannes International Film Festival, France, and that’s mainly because it is less competition-inclined, holding sway with just one diadem – the People’s Choice Award.
Otherwise, it is safe to say that TIFF wins the heart of many yearly as the most-friendly to Anglophone Africa, giving opportunities for collaborations, funding, and emerging talents showcase.
TIFF is where my emotional hunger for films is most assuaged.
Here is where I see the best of other African films from South Africa, Kenya, Egypt, etcetera. And of course, four films from South Africa have made the list again this year, all in competition category. They include The Number by Khalo Matabane, High Fantasy by Jenna Bass, Five Fingers for Marshelles by Michael Matthews, and Silas by Anjali Nayar and Hawa Essuman, a TIFF documentary from a South Africa-Canada-Kenya co-production.
There is no gainsaying that TIFF is one of the sure avenues for distributors and vendors, a celebrity delight of note. For North Americans, it is a place to see foreign movies, especially from Africa, that may never be theatrically released in North America.
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