Park Chan-wook’s No Other Choice is as bleak as it is hilarious

In my second day at TIFF 2025, the longest line I saw was not for a film: it was for the Criterion closet. The space is housed in a van so that it can make up for it in Toronto, and honestly, it felt a little difficult to see the outside after looking at everyone from Michael Cera to Hideo Kojima spend time in its cramped interior through blu.

The line was long enough so that I didn’t even bother to try to enter, which is probably a good thing because I would simply be overwhelmed anyway. In addition, standing in this line would reduce my film time, which is already a precious resource since there is so much to check.

If there was a theme for the features I saw day 2, they would be people on the fringes pushed to the extreme. It was the atmosphere of the two lative nadia Man in my basementas well as No other choicethe last of Oldboy And Decision to leave Director Park Chan-Wook. They both explore the concept in very different ways and naturally very different results.

I also saw a modern interpretation of Hamlet (there are actually two hamlets at Tiff this year; I hope I can arrive at the other later) and a very cute and calm animated film.

Here are brief criticisms about everything I looked at. (And if you missed it, here is my first day in Tiff, which included an adaptation of frightening video game and a drama that induced panic.)

Charles (Corey Hawkins) is mowed and above all alone, a combination which means that he is about to lose his house, which has been in the family for generations. Then, an agreement occurs which seems too good to be true: Anniston (Willem Dafoe), a rich businessman, offers a huge sum to rent the basement for two months. I will not spoil the reason, but Anniston tries to make a “spiritual journey” in a way, linked to white guilt. But after a promising start, the film becomes a little dispersed and never really finds its base. However, it is at least entertaining to watch Hawkins and Dafoe regularly lose their shit (literally, at some point, for Dafoe).

_{Coming to some theaters on September 12, streaming on Hulu and Disney more later in the fall.}

You Man-SOO (Lee Byung-Hun) has an idyllic life: beautiful family, incredible house and a work where it was named “pulp man of the year”. But when his paper company reduced the drops, he went into competition for a declining number of jobs. It is therefore delivered with a plan developed to eliminate competition – literally. What is played is dark and hilarious, because you the man-Soo is perhaps the most unhappy killer I saw in a film. There are extremely disorderly action sequences and punchlines that make very funny sound use, including a “Tudum”! ” It drags a little towards the end, but if not this painfully relevant satire rushes with unexpected twists and turns. Think ParasiteBut no more slapstick.

_{In some rooms of December 25, with a large release in January.}

A reimagination of Hamlet takes place in the current London who never really gelled. It is a smooth thriller, with really cool sets, including a fascinating vision of “play in a room” which turns into a haunting dance routine. But the film sticks to the original Shakespearean dialogue, and that seems in contradiction with the modern setting. There is just something that intends to hear “to be or not to be” of a guy by accelerating the road in a BMW. Rice Ahmed gives everything in the main role, but it is not enough here.

_{No more word on a broader theatrical first date.}

A cute animated film which is notable in particular to have no dialogue. He tells the story of a young girl and her robot caregiver, and how their relationship evolves over time. The story is very soft; The bot deals with empty nest syndrome when the girl becomes astronaut, and she has a problem that makes her look at old memories at random moments. The film has the impression of stretching a little at the end, but there are really charming moments – including an origami battle in a comfortable restaurant – and an excellent soundtrack of Koala courtesy.

_{No more word on a broader theatrical first date.}