TIFF Market Watch: 15 Films Buyers Are Buzzing Over, From Chris Evans to Angelina Jolie

Toronto doubles as a launchpad and a marketplace, with 15 star-studded projects already sparking heated deal chatter.

The Toronto International Film Festival has long been more than just red carpets and gala premieres. Alongside the rush of critics, cinephiles, and Oscar hopefuls, there’s another kind of frenzy happening behind closed doors: the market. For buyers, TIFF is a chance to discover the next breakout hit, lock down prestige dramas that could carry into awards season, or grab commercial titles before rivals swoop in. For filmmakers and sales agents, it’s an opportunity to land lucrative deals that ensure their projects reach audiences far beyond the festival circuit.

This year, TIFF arrives at a moment of heightened uncertainty for Hollywood. The industry is still reeling from labor disputes, shifting streamer strategies, and a theatrical box office that hasn’t yet rebounded to pre-pandemic highs. That volatility makes the TIFF marketplace all the more crucial: bold acquisitions here can signal confidence, steady pipelines, and even dictate awards-season momentum. Buyers aren’t just looking for prestige—they’re chasing titles that can cut through cultural noise, land in global markets, and dominate streaming slates.

On paper, 2025 offers an unusually rich spread. The lineup includes projects from established auteurs like Steven Soderbergh and Gus Van Sant, star-driven gambits with Chris Evans and Angelina Jolie, and hot debuts from second-generation filmmakers like Maude Apatow. Several of these films premiered earlier at Venice and Telluride, bringing added buzz—or caution—into the Toronto deal rooms. Others are untested but carry the sort of high-concept premises that ignite fevered bidding wars.

The question is which of these films will emerge as TIFF’s biggest deals, and which will fall flat. Here are 15 of the buzziest titles circling the market floor, each bringing its own mix of pedigree, potential, and risk.

Hamlet

Cast: Riz Ahmed, Joe Alwyn, Timothy Spall, Art Malik, Sheeba Chadha

Director: Aneil Karia

Aneil Karia’s modern-day Hamlet has been one of the most talked-about packages heading into Toronto. Riz Ahmed anchors the project as Shakespeare’s tragic prince, reimagined as the disillusioned son of a London business mogul. Boardrooms, banquet halls, and glass-walled penthouses replace medieval battlements, while a primarily South Asian cast delivers the verse with a contemporary edge.

The project is a buyer’s dream: a world-famous property, a bankable lead in Ahmed, and the promise of global resonance for audiences beyond traditional Shakespeare devotees. The risk, of course, lies in how modernizations of the Bard can polarize audiences—see the muted commercial performance of other high-profile adaptations. Still, Ahmed’s reputation for intensity and intelligence could turn this into both a critical darling and a classroom staple.

You Had To Be There

Director: Nick Davis

Comedy history meets nostalgia in Nick Davis’ documentary revisiting the 1972 Toronto production of Godspell. That single show launched an ensemble that would change comedy forever: Martin Short, Eugene Levy, Gilda Radner, Andrea Martin, Victor Garber, Dave Thomas, with Paul Shaffer in the pit. The film interviews surviving cast members while painting a portrait of a generation inventing new comedic languages before breaking into SCTV and SNL.

Buyers circling this doc see opportunity in both niche and mainstream markets. For Canadians, it’s national lore. For global audiences, it’s the origin story of icons whose influence is still felt today. Nostalgia-driven streamers like Netflix or Disney+ could easily slot this alongside music and comedy docs that reliably perform, while theatrical distributors might push for awards in the documentary space.

The Christophers

Cast: Michaela Coel, Ian McKellen, Jessica Gunning, James Corden

Director: Steven Soderbergh

Steven Soderbergh has never been one to sit still, and The Christophers represents yet another genre turn. Ian McKellen stars as an aging artist whose unfinished canvases become the subject of a morally murky scheme: his children (James Corden and Jessica Gunning) hire a forger to “complete” his work in order to increase their inheritance. What follows is both a dramedy of family greed and a meditation on authorship, value, and legacy.

The word from early private screenings is that McKellen is delivering one of his strongest performances in years, a revelation that could make this irresistible to awards-minded buyers. The mix of Soderbergh’s agile style, Coel’s sharp presence, and a moral puzzle at the story’s heart could translate into strong word-of-mouth. It’s also a film that might thrive on streaming, where audiences respond to darkly comic family sagas with bite.

Easy’s Waltz

Cast: Vince Vaughn, Kate Mara, Shania Twain, Al Pacino

Director: Nic Pizzolatto

Nic Pizzolatto, best known for creating True Detective, makes his directorial leap with Easy’s Waltz, the story of a washed-up crooner (Vaughn) who gets one final shot at stardom under the mentorship of a faded legend (Pacino). Kate Mara and Shania Twain round out a cast that blends Hollywood, TV, and country music stardom.

Vaughn’s performance has already been called one of his best in years, leaning into melancholy as much as humor. For buyers, the allure lies in packaging: a comeback narrative for Vaughn, the cachet of Pacino, and the curiosity factor of Twain crossing into acting. Music-themed dramas have traditionally played well in awards season (Crazy Heart, A Star Is Born), and if this hits the right notes, it could play across demographics.

Driver’s Ed

Cast: Sam Nivola, Sophie Telegadis, Mohana Krishnan, Aidan Laprete, Molly Shannon, Kumail Nanjiani

Director: Bobby Farrelly

Bobby Farrelly wants to prove the raunchy comedy isn’t dead with Driver’s Ed. The premise is classic Farrelly: a teenager steals his instructor’s car for a forbidden road trip, setting off a string of misadventures. Sam Nivola, hot off The White Lotus, leads a cast that mixes newcomers with comedic veterans like Shannon and Nanjiani.

Buyers recognize the opportunity in reviving the hard-R comedy for streaming audiences, who’ve turned gross-out hits into bingeable comfort food. But the risk is real: the genre’s box office clout has faded in recent years. If the jokes land, though, this could find a second life on a streamer looking for youth-driven, quotable comedy.

The Voice of Hind Rajab

Cast: Saja Kilani, Motaz Malhees, Clara Khoury

Director: Kaouther Ben Hania

Fresh off its seismic 22-minute standing ovation in Venice, The Voice of Hind Rajab arrives at TIFF with both buzz and baggage. Tunisian filmmaker Kaouther Ben Hania dramatizes the final hours of a six-year-old Palestinian girl trapped in Gaza, whose real-life story made international headlines in 2024. The project has already been tapped as Tunisia’s Oscar entry and carries backing from heavyweights like Joaquin Phoenix and Rooney Mara.

For buyers, this is both a high-stakes opportunity and a political gamble. The film’s emotional power is undeniable, but its subject matter may prove polarizing in today’s geopolitical climate. Whoever lands it will need both courage and savvy in navigating distribution, but the potential for impact is enormous.

Poetic License

Cast: Cooper Hoffman, Andrew Barth Feldman, Leslie Mann

Director: Maude Apatow

Maude Apatow steps behind the camera with her directorial debut Poetic License, crafting a coming-of-age drama that mixes humor, heartbreak, and messy entanglements. The film follows two college students whose friendship unravels when they both fall for a married woman auditing their poetry class. Cooper Hoffman and Andrew Barth Feldman play the earnest young men, while Leslie Mann brings both gravitas and unpredictability as the object of their affection.

Buyers see the appeal of Apatow’s debut not just in its cast, but in its tonal balancing act. Early buzz suggests she blends sharp comedic instincts inherited from her famous family with a more subdued, observational style. Coming-of-age stories always find a home, particularly on platforms courting younger audiences, and with Hoffman already building a reputation post-Licorice Pizza, this could attract strong interest. The film also has awards potential in the indie circuit, especially if Apatow proves she’s a fresh voice worth betting on.

Sacrifice

Cast: Chris Evans, Anya Taylor-Joy, Salma Hayek, Charli XCX, Vincent Cassel

Director: Romain Gavras

In Sacrifice, Chris Evans takes a career pivot, playing a disillusioned movie star pulled into a bizarre ritual orchestrated by a radical group led by Anya Taylor-Joy. When a glitzy charity gala devolves into chaos and volcano-centered mayhem, the film becomes both satire and spectacle, leaning into the excess and absurdity of celebrity culture. Salma Hayek and Vincent Cassel bring added international appeal, while Charli XCX adds unexpected star power from the music world.

The gonzo premise and eclectic casting have made this one of TIFF’s most talked-about packages. Buyers recognize the potential for a breakout cult hit, but the risk is equally high: the story could polarize audiences if it leans too far into provocation. For the right streamer—perhaps Netflix or Amazon—it’s a potential event movie that feeds into their algorithmic sweet spot: star power, social commentary, and outrageous set pieces.

Canceled: The Paula Deen Story

Director: Billy Corben

Few documentaries at TIFF are likely to provoke as much debate as Billy Corben’s Canceled: The Paula Deen Story. The film retraces the meteoric rise and spectacular fall of the celebrity chef, whose empire crumbled after revelations about her use of racial slurs. Corben, best known for unflinching pop-cultural documentaries, frames the scandal within the larger story of media spectacle, celebrity branding, and cancel culture.

For buyers, this is a hot property because it connects directly to broader cultural conversations. Food Network nostalgia ensures built-in audience recognition, while the scandal itself remains a touchstone in debates about accountability. Streamers looking to replicate the success of shows like The Vow or Framing Britney Spears could find a ready-made binge hit here. But controversy cuts both ways: some platforms may hesitate, wary of reigniting a cultural firestorm.

Couture

Cast: Angelina Jolie, Louis Garrel

Director: Alice Winocour

Angelina Jolie steps into uncharted territory in Alice Winocour’s Couture, giving her first performance entirely in French. She plays an American filmmaker in Paris documenting a major fashion event, only to have her plans disrupted by a sudden medical diagnosis. Louis Garrel co-stars, bringing French star wattage and romantic tension.

Jolie’s turn is the obvious selling point, and TIFF chatter has already centered on her transformation into a new kind of auteur-friendly leading lady. Buyers are drawn to the prestige sheen: Winocour has a track record for intimate, stylish dramas (Proxima, Augustine), and the haute couture backdrop offers glamour that international distributors can market. This feels destined for the arthouse circuit but could also find a streaming partner with awards ambitions.

The Testament of Ann Lee

Cast: Amanda Seyfried, Christopher Abbott, Thomasin McKenzie

Director: Mona Fastvold

Following the success of The Brutalist, Mona Fastvold returns with The Testament of Ann Lee, a musical drama about the Shakers, a religious sect defined by celibacy and song. Amanda Seyfried stars as the enigmatic leader, bringing emotional complexity and vocal power, while Christopher Abbott and Thomasin McKenzie portray key figures within the community.

Early critics at Venice praised the film for its austere beauty and haunting choral sequences, calling it one of Fastvold’s most ambitious works yet. Buyers see potential for both prestige runs and music-driven marketing hooks. Seyfried’s involvement, after her Oscar-nominated turn in Mank, gives the project awards credibility, while the religious and historical themes make it ideal for international festival play. It’s not an easy sell commercially, but prestige distributors like A24 or Neon could make it an arthouse success.

Dead Man’s Wire

Cast: Bill Skarsgård, Colman Domingo, Dacre Montgomery, Al Pacino

Director: Gus Van Sant

Gus Van Sant’s Dead Man’s Wire dramatizes a true-life hostage crisis that has already drawn comparisons to Dog Day Afternoon. Bill Skarsgård plays a desperate entrepreneur who kidnaps his mortgage broker, triggering a media firestorm, while Colman Domingo and Dacre Montgomery circle around the chaos. Al Pacino’s involvement ties it explicitly to the lineage of Sidney Lumet’s classic, inviting audiences to draw parallels between eras of discontent.

For Van Sant, who has been absent from features for six years, this marks both a return and a potential reintroduction to younger audiences. Buyers are intrigued by the mix of prestige (Domingo, Montgomery) and commercial appeal (Skarsgård’s growing fandom). Pacino’s presence is the wildcard: his legacy ensures attention, but it also sets a bar the film must clear. If it delivers, this could be one of TIFF’s hottest bidding wars.

POPULAR ON THE CINEMA GROUP

TIFF has always been a crucible where art meets commerce, and 2025’s market slate underscores that tension more than ever. Buyers are searching for projects that can satisfy awards voters, lure streaming subscribers, and—on rare occasions—do both. This year’s lineup is unusually star-driven, with big names taking risks on left-field material, from Chris Evans in a volcano cult thriller to Angelina Jolie performing in French.

Not every project will land a splashy deal, and some may vanish as quickly as they arrived. But history shows that the films fought over in Toronto often shape the year ahead—sometimes beyond awards season, influencing cultural conversations and even future greenlights. Whether it’s Ahmed’s Hamlet, Jolie’s Couture, or Van Sant’s return with Dead Man’s Wire, TIFF 2025 will be remembered as a marketplace where the stakes were as high as the spotlights.

The 50th Annual Toronto International Film Festival Runs Through September 14th, 2025.