Horror and History at TIFF 2026
The Toronto International Film Festival often brings together unrelated projects through the simple geography of a screening schedule. This year at the Royal Alexandra, three distinct films shared a bill: a slasher debut, a musical about taxidermy, and a period piece regarding a hidden Nazi in Queens. While the venue provided a consistent setting, the quality of these works fluctuated wildly, proving that a strong premise is only the beginning of cinematic success.
Joshua Giuliano’s horror debut, "River," stands as the most effective entry of the group. The film follows three siblings who travel to a remote river to spread their father's ashes, only to encounter a masked figure who turns the open water into a trap. Jane Levy and Jessica Rothe deliver physical, desperate performances that ground the film's extreme violence. Giuliano demonstrates a keen command of sound design, often forcing the audience to imagine horrors before they appear on screen. The film evokes the visceral impact of "In a Violent Nature" without relying on tired genre tropes.
The Musical Ambitions of Stuffed
Theo Rhys attempted a risky blend of genres with "Stuffed," a morbid musical about a lonely man who finds companionship with a taxidermist. Harry Melling plays Bernie, a factory worker who decides to become the next specimen in Araminta’s collection, portrayed by Jodie Comer. The film tries to balance the darkness of its subject with the vulnerability of a burgeoning romance, drawing clear inspiration from "Sweeney Todd."
Despite the clear talent of its leads, the production suffers from a visual flatness that stifles the performance energy. The camera remains tightly locked on faces during songs, missing the potential for physical expression that choreography could have provided. At nearly two hours, the pacing crawls, leaving the viewer to wonder why the film lacks the narrative urgency suggested by its premise. It remains an interesting concept that never fully connects with the audience.
The Failure of Period Drama
"The Housewife" attempts to dramatize the life of Hermine Braunsteiner, the first Nazi to be extradited from the United States. Naomi Watts plays the titular character, a Queens resident in the 1960s who appears to be a model neighbor until investigators link her to the atrocities at Majdanek. Director Ben Shirinian adopts a muted, television-like visual style that undermines the gravity of the subject matter.
Watts manages to inject brief moments of menace into her portrayal, particularly when her character’s facade slips. However, the screenplay by Alyssa Hill fails to bridge the gap between the suburban wife and the war criminal. Instead of analyzing how a person like Braunsteiner could blend into American life, the film settles for a generic procedural tone. It is a cautionary example of how a compelling true story requires more than just historical accuracy to succeed on the big screen.