As an entertainment reporter I’ve been covering television and films for over 12 years, originally starting with TV recaps before diving into the movie criticism world. As of 2021 I became a member of a critic organization, the Hollywood Critics Association, and in 2022 I joined a group for Women Critics called CherryPicks. Through my work I’ve mostly focused on attending comic-cons and conducting interviews, but when the HCA mentioned they would be attending the prestigious Toronto International Film Festival (TIFF), I knew it would be a great experience.
Not only was this my first time attending TIFF, but TIFF was my first time covering an in-person film festival at all. Sadly, I discovered that this festival was so poorly handled, and honestly a massive waste of time and money, that I can say TIFF is likely my last film festival as well. Now, I cannot speak to the festival experience as an attendee, a local industry professional, or anyone with a film screening, only as a member of the press, specifically from a smaller outlet.
Prior to arrival, I received a very thorough Press Welcome Package that explained the process of attending films, as well as covering premieres and red carpets. I appreciated the gesture, but the entire packet is ten pages and boils down to: You can’t really prepare anything.
Yes, the list of films and most screening times are available. But as the festival went on, many more films, and times, were added to the schedule. Mostly last minute and without notice.
Press is permitted to attend any and all “Press and Industry” screenings (P&I) for free. These happened to overlap with each other, as well as other events, like premieres which often included the cast and a panel discussion after the film. Noted everywhere, though, is that these P&I screenings cannot be confirmed, so you can’t claim a spot ahead of time, and they’re first-come-first serve. When they fill up, you’re left to hope to get into screenings intended for paying audiences.
Premieres required securing a ticket.
Securing access means contacting the film’s publicist, which is a process I’m familiar with. At TIFF for some reason, the film representative would direct you to the TIFF publicist, who in turn would send you back to the film’s person. It was a lot of back and forth gatekeeping, especially when more often than not, emails were left unanswered. Once a ticket was issued, there was a slim window to claim it. One specific instance saw my ticket arrive in my inbox at 2am. It expired by 8am. I was not able to see that film.
Though in Toronto for an entire week, I was able to see 4 films.
Now all of this might sound like nitpicking complaints, but here is the larger question to consider: What else was there to do at TIFF? The first weekend a cute and sponsored outdoor street fair took place across a few blocks. This was open to the public and did not require any sort of TIFF affiliation.
Traditionally, my role at events is to interview talent, either one-on-one or on the red carpet. Individual interviews required approval prior to the convention – I was rejected – and red carpets had their own mismanaged and ridiculously inconsiderate process.
Similar to screenings and ticketing, TIFF maintained control over red carpet attendance and preparation was impossible. Every morning, TIFF would email a list of the day’s red carpets. Press as given until noon to RSVP and by 3pm they would either receive a confirmation or no email at all, which signaled a rejection. Meaning: if your production crew flew camera equipment across North America, traveling internationally from Los Angeles to Toronto, each morning you would request to cover an event that night with no guarantee of access. After my week in Toronto, my camera bag remained unopened.
Again I ask: what was there to do at TIFF? Did I fly to the other side of the country just to go to the movies?
Lessoned learned.
— Yael Tygiel