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He accomplished this by re-imagining the ways narrative cinematic fiction can operate in what has often been too restrictively defined as \u201cChinese minority cinema\u201d using alternative formal strategies and storytelling materials inspired by the contemporary lived experience of Tibetans to centre their culture, language, religion, and their ways of inhabiting and interpreting their world.<\/p>\n\n<p>Pema Tseden died mid-career, at the age of 53. Born to farmer-herder parents in the Tibetan highlands of Qinghai Province, China, he went to rural schools and trained as a teacher. After studying Tibetan literature at Northwest Minorities University, he discovered a passion for making films. A scholarship enabled him to enroll in the prestigious Beijing Film Academy (BFA), where he entered the acting department, and then later switched to study film directing. He was the first Tibetan to graduate from the BFA in 2004. Since 1991, he has published short stories in both Chinese and Tibetan that use humour and a seemingly simple yet eloquent style to depict aspects of contemporary Tibetan life.<\/p>\n\n<p>While at the BFA, Pema Tseden shot two short films. After he graduated, he became the first Tibetan filmmaker working in China to shoot a feature film entirely in Tibetan: <em>The Silent Holy Stones<\/em> (2005).<\/p>\n\n<p>\u201cTibet and Tibetans have always been my theme. All my actors are Tibetan. I shoot on location in Tibet. All the dialogues are in Tibetan. My films reflect Tibetan ways of thinking. We\u2019ve been trying to find our own film language.\u201d \u2015Pema Tseden, Asia Society, 2010<\/p>\n\n<p>It is fascinating to examine just how Pema Tseden sustained and elaborated this mission while working in a complicated context, as a Tibetan director creating his films inside China. He shot seven more feature films, working largely with the same group of collaborators from Amdo (the Tibetan minority region near Xining and Qinghai Lake where he lived). This new generation of filmmakers he trained are now the nucleus of a \u201cTibetan New Wave\u201d and continue his legacy today: they include Sonthar Gyal, Dukar Tserang, Lhapal Gyal, Dargye Tenzin, and Pema Tseden\u2019s son Jigme Trinley.<\/p>\n\n<p>Pema Tseden began in an artful realist style, employing carefully framed, exquisitely timed long takes and non-professional actors (<em>The Search<\/em> in 2009, <em>Old Dog<\/em> in 2010). These films explore the lives of rural Tibetans living in the People\u2019s Republic of China in the early 21st century: the pressures they face as contemporary ways of life seep into traditional farming and monastic lifestyles; the challenges urban culture\u2019s encroaching media attractions pose to traditional Tibetan opera and story-telling; the always-present status of Tibetan minority culture in a Han Chinese dominated country. This topic, though, is prudently built into the films\u2019 deep structures and backgrounds.<\/p>\n\n<p>A key source of early inspiration for Pema Tseden\u2019s film style and practice was the films of Abbas Kiarostami:<\/p>\n\n<p>\u201cAt the Beijing Film Academy, I happened to come across some Iranian films [\u2026]. Although Tibet and Iran have different religions and cultures, the landscapes and human conditions have similarities. Iranian cinema also faces censorship. There are many topics they cannot film [\u2026] That inspired me a great deal as well. In Tibet, there are many rich stories to tell, there are many topics. But under the current circumstances, we are extremely limited in terms of what topics we can film. So I have focused on contemporary life in Tibet.\u201d \u2015Pema Tseden<\/p>\n\n<p>One particularly Kiarostamian feature of Pema Tseden\u2019s cinema is the road movie. His films spend a lot of time on the road: his characters are often in motion through Tibetan landscapes by road, across plateaus and grasslands, by motorcycle, and by car. Motion through landscape becomes one of the key tropes and generators of meaning in his films. Tibetan landscapes here are free of that romanticized, exoticized function as a consumable spectacle that they have in most Western and Chinese films set in Tibet. Pema Tseden\u2019s cinematic landscapes are real, varied, contested spaces, sometimes run-down, sometimes fence-infested, with highways laid through the landscape as open-ended pathways for emotionally complex personal trajectories.<\/p>\n\n<p>In Pema Tseden\u2019s later films (<em>Tharlo<\/em> in 2015, Jinpa in 2018, Balloon in 2019, and Snow Leopard in 2023), his style began to change, as he experimented with a visionary, occasionally hallucinatory style that led audiences towards the more fabulous, fantastical, spiritual dimensions of Tibetans\u2019 experiences.<\/p>\n\n<p>The openness of Pema Tseden\u2019s stories; his careful constructions of multiple, non-definitive points of view; his willingness to under-explain rather than over-explain his character\u2019s complicated emotional trajectories: all of these open up his cinema to different audiences and complementary readings. This may help explain his unprecedented ability to create, as no one had before, an audience of Tibetan, Chinese, and Western viewers.<\/p>\n\n<p>Given Pema Tseden\u2019s position as a Tibetan in China, and the necessity of having his films pass Chinese censorship, his ability to tell these kinds of stories honestly, naturally, and eloquently, is masterful. That he managed to do so in films of such quiet, rhapsodic beauty is nothing short of astonishing.<\/p>\n\n<p>SHELLY KRAICER<\/p>","slug":"pema-tseden","programmeColour":"6EB41D","sponsors":[],"jumbotronDesktopUrl":null,"jumbotronDesktopAlt":null,"jumbotronTextUrl":null,"jumbotronTextAlt":null,"jumbotronLabel":null,"cinematheque":1},"From the Collection":{"title":"From the Collection","pitch":"<p>We enter films from anywhere. It could be the story that sweeps us up. It could be watching a character who becomes more compelling with each scene. It could be the details \u2015 the way a shot is framed, the way light hits a costume, or the way a music cue drops at just the right moment. Or, it could be all of this, plus the visceral pleasure of watching light dance on the big screen.<\/p>\n\n<p>For me, that experience hits a new level when we watch a 35mm print of a great film. That\u2019s how I began watching films in the pre-digital era, and that\u2019s what I want to bring to life as often as possible in our cinemas.<\/p>\n\n<p>TIFF is fortunate enough to be the caretakers of 3,500 35mm film prints, held at a storage facility down the highway from TIFF Bell Lightbox. We began this work in 1990, when we acquired the collection of the Ontario Film Institute. In 2016, as film distributors completed their transition from 35mm prints to digital cinema packages (DCPs), we acquired print collections from Universal Pictures, Mongrel Media, eOne, and others. Our promise then was to protect and preserve film on film.<\/p> \n\n<p>Partly, it\u2019s practical. Film prints remain the most durable, stable way to preserve what filmmakers create. Under the right conditions, they can last a century.<\/p>\n\n<p>Partly, it\u2019s curatorial. When a film is shot on 35mm, screening it in the same format preserves the intentions of the artist as closely as possible.<\/p>\n\n<p>And partly, it\u2019s emotional. Projecting light through the physical strip of film, at 24 still frames every second, offers a richer, warmer experience than even the purest digital copy. It\u2019s like listening to a favourite album on vinyl, or picking up a physical book and savouring the turning of each page, instead of swiping a screen.<\/p> \n\n<p>Analogue. There\u2019s nothing like it.<\/p>\n\n<p>But it can\u2019t be just any film print. For this new series, From the Collection, I went through our list of films carefully, almost obsessively. Which films show us something central to film history? Which films are so cinematic that they cry out to be seen on the big screen? Or so rare that they can\u2019t be found on a streaming service? Or so provocative that they\u2019re bound to start conversations, bound to send you home more alive to the possibilities of art in your world? Which films are simply so great that you want to share them with people you care about?<\/p>\n\n<p>Today, we live in an infinite flood of digital images. From the Collection is our invitation to step in the other direction.<\/p> \n\n<p>One film each month (except September, when we always have something special for you).<\/p> \n\n<p>Chosen with care from our 35mm collection.<\/p> \n\n<p>Presented by some of the best cinema technicians in the world. In Canada\u2019s best cinema.<\/p> \n\n<p>With conversation afterwards in Varda, our newly renovated third-floor lounge bar.<\/p>\n\n<p>Join us on the first Tuesday of each month for a truly unique film experience.<\/p>\n\n<p>CAMERON BAILEY<\/p>","slug":"from-the-collection","programmeColour":"6EB41D","sponsors":[],"jumbotronDesktopUrl":null,"jumbotronDesktopAlt":null,"jumbotronTextUrl":null,"jumbotronTextAlt":null,"jumbotronLabel":null,"cinematheque":1},"MDFF Selects":{"title":"MDFF Selects","pitch":"<p>Our showcase of provocative and challenging new cinema from around the world.<\/p>","slug":"mdff","programmeColour":"6EB41D","sponsors":[],"jumbotronDesktopUrl":null,"jumbotronDesktopAlt":null,"jumbotronTextUrl":null,"jumbotronTextAlt":null,"jumbotronLabel":null,"cinematheque":1},"Marco Bellocchio: A Leap in the Dark":{"title":"Marco Bellocchio: A Leap in the Dark","pitch":"<p>\u201cKnock it off with your fists in your pocket\u201d, orders Michel Piccoli\u2019s paternal character in <em>The Eyes, The Mouth<\/em>, a lesser-known film from 1972 by the great, Italian writer-director Marco Bellocchio. The directive is launched vexingly at his nephew Giovanni, played by Lou Castel, the charismatic Swiss actor discovered by Bellocchio in his exhilarating and first feature, <em>Fists in the Pocket<\/em> \u2014 which, to this day, remains one of the most prodigious debuts in film history. To further blur yet contour the lines of representation, Giovanni plays a washed-up actor, who once starred in\u2026 <em>Fists in the Pocket<\/em>. This arresting <em>mise-en-abyme<\/em> is one of many that, like a hall of mirrors, offer prismatic shards of self-reflexivity throughout the filmmaker\u2019s extraordinary six-decade career, and cuts to the heart of Bellocchio\u2019s most pressing themes: family dysfunction; the morally complex allure of but also rejection of power; identity; and the desire to break free from conformism in its many guises. This long overdue retrospective arises during a particularly fertile time in Bellocchio\u2019s career, marked by an impressive demonstration of late style and a string of masterworks, including his most recent film, 2023\u2019s <em>Kidnapped<\/em>.<\/p>\n\n***\n\n<p>One of Italy\u2019s \u2014 and the world\u2019s \u2014 most adventurous filmmakers, known for his intelligence, moral acuity, and interest in psychology, Marco Bellocchio was born in 1939 on the eve of WWII in Bobbio, Emilia-Romagna, to an upper\u2013middle-class family. Though wanting to become a painter from a young age \u2014 the primacy of the image will retain its utmost importance \u2014 he attended the prestigious film school, Centro Sperimentale di Cinematografia in Rome, where he quickly switched from acting to directing. <em>Fists in the Pocket<\/em> was his caustic opening salvo, an instant cause c\u00e9l\u00e8bre when it premiered at the Locarno Film Festival, announcing Bellocchio as one of the new radical voices in post-Neorealist Italian cinema, alongside Pier Paolo Passolini and Bernardo Bertolucci, all three leftist instigators and iconoclasts coming of age during the incubation period preceding the unrest of May \u201968 when Marxism was at its height of popularity. All three went on to forge exceedingly distinctive paths, with Bellocchio\u2019s being the most pluralistic and lesser-known outside his native country.<\/p>\n\n<p>Through its stunning longevity and knack for reinvention, Bellocchio\u2019s filmography is both resoundingly cohesive, yet also stylistically diverse; its breath encompasses early militant documentaries, biting satires and comedies of manners, adaptations (of Chekov, Pirandello, Kleist), psychological character studies \u2014 some made during a partnership with controversial psychoanalyst Massimo Fagioli \u2014 television series, and historical dramas. Since the oughts, a remarkable number of international successes (<em>My Mother\u2019s Smile<\/em>, <em>Buongiorno, notte<\/em>, <em>Vincere<\/em>, <em>The Traitor<\/em>) have made him a mainstay on the festival circuit, where the richness of his cinema has become routinely appreciated beyond borders. Delving head-on into the complexities of recent Italian history, Bellocchio has fearlessly explored the repressive impacts of institutions \u2014  of family, state, and Church \u2014 upon the individual (i.e. bodies affected by the body politic), as well as the potential and consequences of political subversion. While quintessentially Italian in their subjects, the films are also deeply personal and universal in their appeal. Somewhat death-obsessed and solitary, the films explore the darker side of existence, including mental illness, trauma, suicide, terrorism, bad faith, and injustice. But for all of the pathologies and kidnappings in the films, Bellocchio\u2019s cinema can also be wry, sensual, sensitive, and dreamlike, proposing the possibilities and necessities of escape, often not in a literal sense. There\u2019s a visual grace to his cinematic expressionism in which the filmmaker\u2019s exploration of interiority frequently conjures the past through an inspired use of archival images: Ghosts are never dormant, and the end is rarely neat.<\/p>\n\n<p>\u201cThe great advantage of first films is that you\u2019re nobody and have no history, so you have the freedom to risk everything\u201d, Bellocchio has said. Perhaps it is somewhat ironic that the tremendous success of <em>Fists in the Pocket<\/em> \u2014 a film so explosive, so free \u2014 would become a cage of its own, fostering pressure for a repeat triumph. But the quest for freedom that courses through Bellocchio\u2019s entire body of work has transcended any such limitation, runs far deeper, and has taken many shapes. His demonstration of resistance against authority, against inner demons, and ultimately, against death, is one that restlessly searches in the shadows to grapple with life\u2019s fundamental contradictions and mysteries. Bellocchio has arguably never stopped taking risks and is ever rebellious at 85 years old, never shying from controversy. But the stubborn binary rallying cry of youth has transformed into a knowing, empathetic desire to appreciate multiple perspectives while slyly making his known. The revolution has come and gone, again and again, but the cycles of history have proven that the styles of radical will are impervious to the whims and heavy impresses of time.<\/p>\n\n<p>ANDR\u00c9A PICARD<\/p>\n\n<p><em>Marco Bellocchio: A Leap in the Dark is a collaboration with Cinecitt\u00e0 and presented by Istituto Italiano di Cultura (ICI) in Toronto with the Cin\u00e9math\u00e8que qu\u00e9b\u00e9coise in Montr\u00e9al. The series will launch with special guest Pier Giorgio Bellocchio, Marco Bellocchio\u2019s son and actor, who appears in many of the director\u2019s films. The retrospective will also be accompanied by a free publication, \u201cMarco Bellocchio\u201d, published by Cinecitt\u00e0 with support from the ICI.<\/p>\n\n<p>We wish to acknowledge the following individuals for their assistance: Carla Cattani, Annabella Nucara, Monica Mocato, Cinecitt\u00e0, Rome; Veronica Manson, Gloria DiFolco, Istituto Italiano di Cultura, Toronto; Pier Giorgio Bellocchio; Guillaume Lafleur, La Cin\u00e9math\u00e8que qu\u00e9b\u00e9coise; Gloria Zerbinati; Piers Handling; Alberto Zambenedetti; Bingham Bryant.<\/em><\/p>","slug":"marco-bellocchio","programmeColour":"6EB41D","sponsors":[{"title":"Co-presented by","imgAlt":"Cinecitta logo","imgUrl":"\/\/images.ctfassets.net\/22n7d68fswlw\/3fyHtOSsQTqDl8KYSdf7KS\/ca8378a84fef00a7b1371e79fdf3a019\/cinecitta.jpg","website":""},{"title":"Co-presented by","imgAlt":"iic-biancoenero-toronto jpg","imgUrl":"\/\/images.ctfassets.net\/22n7d68fswlw\/3AG1sqtXaNfFKVvnmxFAYp\/a10c988fd38c79c299bcb746f99eda6b\/iic.jpg","website":""}],"jumbotronDesktopUrl":null,"jumbotronDesktopAlt":null,"jumbotronTextUrl":null,"jumbotronTextAlt":null,"jumbotronLabel":null,"cinematheque":1},"Midnight Madness Presents":{"title":"Midnight Madness Presents","pitch":"<p>Since 1988, TIFF\u2019s annual Midnight Madness programme has presented the wildest and strangest cinematic provocations from around the world while cultivating an infectiously raucous audience experience. The madness now extends to a monthly series at TIFF Bell Lightbox \u2014 commemorating past selections and inducting older midnight classics into our ever-evolving canon.<\/p>","slug":"midnight-madness-presents","programmeColour":"6EB41D","sponsors":[],"jumbotronDesktopUrl":null,"jumbotronDesktopAlt":null,"jumbotronTextUrl":null,"jumbotronTextAlt":null,"jumbotronLabel":null,"cinematheque":1},"New Releases":{"title":"New Releases","pitch":null,"slug":"new-releases","programmeColour":"BF1538","sponsors":[],"jumbotronDesktopUrl":null,"jumbotronDesktopAlt":null,"jumbotronTextUrl":null,"jumbotronTextAlt":null,"jumbotronLabel":null,"cinematheque":0},"Partner Festival \u2013 Brazil Film Festival Toronto":{"partnerFestivalProgramme":true,"title":"Partner Festival \u2013 Brazil Film Festival Toronto","pitch":null,"slug":"brazil-film-festival-toronto","programmeColour":"FFCE00","sponsors":[],"jumbotronDesktopUrl":null,"jumbotronDesktopAlt":null,"jumbotronTextUrl":null,"jumbotronTextAlt":null,"jumbotronLabel":null},"See The North":{"title":"See The North","pitch":"<p>In 2025, See The North \u2014 TIFF\u2019s monthly, free series of Canadian cinematic treasures \u2014 celebrates the work of Canadian Women filmmakers programmed in the years since our very first Festival.<\/p>","slug":"see-the-north","programmeColour":"6EB41D","sponsors":[{"title":"Presented by","imgAlt":"mubi-logo","imgUrl":"\/\/images.ctfassets.net\/22n7d68fswlw\/3qBWu2nYdly0yvvusrzxNY\/3b6747bc7b693b3422db9e0747e8f8a6\/mubi-logo.jpg","website":""}],"jumbotronDesktopUrl":null,"jumbotronDesktopAlt":null,"jumbotronTextUrl":null,"jumbotronTextAlt":null,"jumbotronLabel":null,"cinematheque":1},"Special Events":{"title":"Special Events","pitch":null,"slug":"special-events-tlb","programmeColour":"3992D9","sponsors":[],"jumbotronDesktopUrl":null,"jumbotronDesktopAlt":null,"jumbotronTextUrl":null,"jumbotronTextAlt":null,"jumbotronLabel":null,"cinematheque":0},"Subscription Series":{"title":"Subscription Series","pitch":null,"slug":"subscriptions","programmeColour":null,"sponsors":[],"jumbotronDesktopUrl":null,"jumbotronDesktopAlt":null,"jumbotronTextUrl":null,"jumbotronTextAlt":null,"jumbotronLabel":null,"cinematheque":0},"TIFF Cinematheque New and Restored":{"title":"TIFF Cinematheque New and Restored","pitch":"<p>A selection of recent restorations that have been painstakingly brought back to life in revived cinematic presentations.<\/p>","slug":"new-restored","programmeColour":"6EB41D","sponsors":[],"jumbotronDesktopUrl":null,"jumbotronDesktopAlt":null,"jumbotronTextUrl":null,"jumbotronTextAlt":null,"jumbotronLabel":null,"cinematheque":1},"TIFF Cinematheque Special Screenings":{"title":"TIFF Cinematheque Special Screenings","pitch":"TIFF Cinematheque\u2019s ongoing series of classics, favourites, rarities, and recent restorations.","slug":"ctq-special-screenings","programmeColour":"6EB41D","sponsors":[],"jumbotronDesktopUrl":null,"jumbotronDesktopAlt":null,"jumbotronTextUrl":null,"jumbotronTextAlt":null,"jumbotronLabel":null,"cinematheque":1},"TIFF Family Films":{"title":"TIFF Family Films","pitch":null,"slug":"tiff-family-films","programmeColour":"6EB41D","sponsors":[],"jumbotronDesktopUrl":null,"jumbotronDesktopAlt":null,"jumbotronTextUrl":null,"jumbotronTextAlt":null,"jumbotronLabel":null,"cinematheque":1},"TIFF Lightbox":{"title":"TIFF Lightbox","pitch":"Tours, workshops, and activities for all ages.","slug":"tlb","programmeColour":"3992D9","sponsors":[],"jumbotronDesktopUrl":null,"jumbotronDesktopAlt":null,"jumbotronTextUrl":null,"jumbotronTextAlt":null,"jumbotronLabel":null,"cinematheque":0},"TIFF Next Wave Presents":{"title":"TIFF Next Wave Presents","pitch":"For the next generation of movie lovers: selections approved by our youth-driven TIFF Next Wave Committee.","slug":"nextwave-presents","programmeColour":"6EB41D","sponsors":[],"jumbotronDesktopUrl":null,"jumbotronDesktopAlt":null,"jumbotronTextUrl":null,"jumbotronTextAlt":null,"jumbotronLabel":null,"cinematheque":1},"TIFF Wavelengths Presents":{"title":"TIFF Wavelengths Presents","pitch":"Daring, visionary, and autonomous voices. 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