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

On my second day in TIFF 2025, it was not the longest line I saw for the movie: It had a standard of standard. The space is located in a truck so that it can rely on Toronto, frankly, I felt a little mistake to see the outside of it after watching everyone from Michael Sera to Hideo Kojima spending time in the narrow interior in the pits through the rays.

The line was so long enough that I did not bother trying to enter inside, which is likely good because I was drowned anyway. Moreover, standing in this line would cut off my film time, which is indeed a valuable resource due to the presence of many things to verify them.

If there is a topic of the features I saw on the second day, people will be on the margins to be pushed to the maximum. This was the feeling of both Nadia The man is on the bottom floorBesides There is no other optionThe latest of OldBoy and Departure Director Park Chan Wook. Both explore the concept in very different ways, and natural results.

I also saw a recent show for Hamet (there are already two villages in TIFF this year; I hope I can reach the other later) and a very nice and calm movie.

Below are brief reviews of everything you have seen. (And if you miss it, here is my first day in TIFF, which included adapting nervous video games and a drama that stimulates panic.)

Charles (Corri Hawkins) was broken alone, a mixture means that he was about to lose his house, which was in the family for generations. Then comes the deal that looks very good to the incredible degree: Aniston (Willem Dafoe), a wealthy businessman, who offers a huge amount to rent the basement for two months. I will not spoil the reason, but Aniston is trying to go on a “spiritual journey” of a kind, one associated with white guilt. But after a promising start, the film becomes somewhat scattered and does not really find its place. However, it is at least comfortable watching Hawkins and DAFOE alike, they lose their disgustingly (literally, at one point, for DAFOE).

_{Coming to the theaters of selection on September 12, flowing on Hulu and Disney Plus later autumn.}

You are Man Soo (Lee Pyongy Hoon) is an ideal life: a beautiful family, an incredible house, and a function where it was one day called “The Play of the Man of the Year”. But when his paper company shrinks, he left competing for a number of dwindling functions. So it comes with a detailed plan to eliminate competition – literally. What he plays is a dark joyful, because you may be the most miserable killer you saw in a movie. There is some chain of transmission and lines that benefit from the very funny sound, including “Tudum!” He withdraws a little at the end, but otherwise, this relevant irony is painfully forward with the unexpected transformations and turns. He thinks ParasiteBut more hardness.

_{In specific theaters on December 25, with a wide release in January.}

Hamlet’s re -imagination in London is the one that does not exist. It is a great movie, with some really wonderful pieces, including the charming match for “playing inside the play” that turns into a painful dance routine. But the film sticks to the original dialogue of Shakespeare, and this feels the dispute with modern preparation. There is something outside of hearing “to be or not” from a man who rushes on the road in the BMW. Rees Ahmed gives all the leadership role, but it is not enough here.

_{There is no word yet in the history of the wider theatrical show.}

A noticeable cute moving movie in particular for no zero dialogue. He tells the story of a young girl and a robot care presenter, and how their relationship develops over time. The story is very sweet. The robot deals with empty nest syndrome when the girl becomes an astronaut, and he has a defect that makes him watch old memories at random moments. The film looks like it’s a little bit in the end, but there are really some charming moments – including the Origami battle at a comfortable dinner – and the exit of the premium soundtrack courtesy.

_{There is no word yet in the history of the wider theatrical show.}