It's been a strange year for TIFF. But at least Asian stars get to shine

From Lee Byung-hun, Park Seo-joon to Andy Lau, TIFF turns to East Asia to promote the festival

This probably ages me a lot, but I’ve been going to the Toronto International Film Festival for over a decade now. Over the years, I’ve attended the event as a spectator, a volunteer and as a member of the media.

But aside from two pandemic years, the ongoing Hollywood actors and writers strikes have certainly put a damper on TIFF this year. Fewer Hollywood stars are showing up as a result, with red carpets attended mostly by directors and producers. As per SAG-AFTRA rules, actors are able to show up if they’ve directed a film or worked on an indie project. That’s meant people like Viggo Mortensen (director and lead of The Dead Don’t Hurt), Taika Waititi (director of Next Goal Wins) and Jessica Chastain (lead for Memory) are able to appear. And if you’re the subject of a documentary like Sylvester Stallone (Sly) or Lil Nas X (Lil Nas X: Long Live Montero), then you are also exempt from the rules.

I am a strong supporter of unions, and wholeheartedly stand in solidarity with those who are on the picket lines. But one certainly can feel that a bit of the glitz and glamour TIFF usually brings to the city is not really there this time around. After all, it’s not every day you’ll get to see the actors introduce the movie and do a Q&A right after. People pay top dollar for that annually. That bit of magic is lost.

The good news though, is it’s allowed TIFF to shift focus onto supporting more indie, local and international projects. Not to mention, shine a light on Asian stars who actually deserve more mainstream attention.

In fact, you can also see it in the films TIFF has decided to highlight and promote this year.

(The cast of Concrete Utopia, featuring Park Ji-hoo, Park Bo-young, Park Seo-joon and Lee Byung-Hun)

Hayao Miyazaki’s The Boy and the Heron opened the festival — marking the first time a Japanese film or an animated film has opened TIFF. Cantopop and Hong Kong legend Andy Lau returns to the festival for the first time in 22 years to premiere his new film The Movie Emperor, and is taking part in a wide-ranging conversation about his career.

And with rising popularity of Korean cinema and TV (post-Parasite and streaming services), TIFF has also premiered six projects from South Korea this year — including A Normal Family, Sleep, Smugglers and Concrete Utopia. The latter brought in acting legend Lee Byung-hun (The Good, the Bad, the Weird) and Park Seo-joon (Itaewon Class, What’s Wrong with Secretary Kim?) into the city. And if the two events I attended were any indication, their fans are HARDCORE and PASSIONATE.

It’s exciting to see more of a spotlight on these projects — especially since I’ve grown up listening to Andy Lau and am a big lover of Korean cinema and TV. Part of me hopes that TIFF makes more of a priority in the future to give space for more international talents.

(Lee Byung-hun and Park Seo-joon)

I love stargazing as much as the next person, but I have long felt that TIFF has lost its way in placing a greater focus on stars like Brad Pitt and George Clooney. I know the average person mostly cares about rubbing shoulders with Hollywood celebrities. But if you’re hoping to draw new demographics and audiences, maybe it’s time to tailor the festival in a different way.

From what I have seen in the past, there are no fans more passionate than those of Asian cinema — especially when it comes to Chinese, Japanese and Korean films. In my second year of volunteering, I worked the red carpet for a 2013 South Korean thriller called Cold Eyes, in which 2PM’s Lee Junho would make his acting debut. I will never forget the moment when extra security had to be called in because of the pandemonium his appearance in Toronto caused. The barricades were almost pushed over with excitement. And yet, Junho was incredibly patient…signing autographs and taking pictures for more than half an hour.

(A photo of the cast of Cold Eyes, in which I captured Lee Junho with a potato of a camera)

Last year, I also attended a panel discussion with Lee Jung-jae (Squid Game, The Housemaid) and Jung Woo-sung (The King ; The Good, the Bad, the Weird), which also ended a bit chaotically. The actors were swarmed by audience members seeking selfies and autographs. And while theatre staff looked concerned and a bit panicked, Lee and Jung were completely calm and patient. They signed and took pictures with just about everyone there. It was so hectic that venue staff eventually had to intervene.

While I have seen many instances of intense fan behaviour, these two experiences were something else entirely. It’s proof that there is demand to bring in East Asian stars and projects.

Aside from fandoms, countries like Japan and Korea are also home to some of the most exciting and interesting TV and films in recent years. Shoplifters, Parasite, Broker and Concrete Utopia inform us about issues around social class divides in dark, depressing and also satirical ways.

And while technically a Canadian production, last year’s Riceboy Sleeps told a beautiful tale of a Korean immigrant single mother raising her teenage son in Canada in order to give him a better life. Stories that explore the Asian diaspora have proven to be rich with emotion and nuanced characters. It’s a refreshing departure to all the sequels Hollywood keeps churning out. And spotlight should be given to these very worthy projects too.

I love TIFF because it often exposes me to movies I can’t normally watch the rest of the year. Here’s hoping that more attention to Asian titles in particular can help increase their exposure globally.

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