Seventh Row

9 stories

Seventh RowCanadaEp. 194. Mike Leigh’s Tender Loving Care On the podcast, Alex Heeney delves into Mike Leigh's film Tender Loving Care and the many meanings of the film's title.

10.01

Seventh RowCanadaThe best acquisition titles at TIFF 2026 (updating throughout the festival) From South Africa's The Smell of Apples to Sweden's Brace Your Heart to South Korea's The World Before, here are the best acquisition titles (films still seeking distribution in Canada, the US…

09.14

Seventh RowCanadaEp. 193. Theo Rhys’s Stuffed at TIFF starring Jodie Comer and Harry Melling On the podcast, Alex Heeney delves into why Theo Rhys's taxidermy romance needed to be a musical.

09.14

Seventh RowCanadaEp. 192. At the Place of Ghosts + Interview with writer-director Bretten Hannam On the podcast, Alex Heeney delves into how Bretten Hannam's At the Place of Ghosts uses genre to tell a story about two people healing from trauma who can't talk about it — and then talks to…

07.01

Seventh RowCanadaEp. 191. Why great TV asks for more than a binge On the podcast, Alex Heeney delves into what we miss about great TV when we binge — and how to reap those rewards on the first or second viewing, not ten years later.

07.01

Seventh RowCanadaQueer films are for kids, too: InsideOut 2026 Toronto's InsideOut Film Festival programs so many wonderful queer films — like Gugu's World and Black Burns Fast — about children for children, if only they could reach them.

05.27

Seventh RowCanadaCannes Review: Alexander Murphy’s Tin Castle lex Heeney reviews Alexander Murphy's observational documentary Tin Castle about a family of Irish Travellers.

05.18

Seventh RowCanadaCannes Review: Mahsa Karampour’s Into the Jaws of the Orge Mahsa Karampour's Cannes ACID documentary Into the Jaws of the Orge is a thoughtful story of exile and tentative reconnection.

05.18

Seventh RowCanadaReview: Ildikó Enyedi’s Silent Friend Ildikó Enyedi's Silent Friend is one of the best films of the year.

05.15

Our mark is 銀幕, ginmaku — the silver screen, and the same two characters in Japanese, Chinese and Korean.

I came to Tokyo at twenty-three for a summer job at a Shibuya mini-theatre and the job never quite ended. Fifteen years of festivals later I still think the only review that counts is the one the room gives you: where the laugh lands, the moment three hundred people stop moving at once, whether anybody stays for the credits.

Cinepuuulse follows Asian cinema — Japan, Korea, China, Taiwan, Hong Kong, Vietnam, Thailand — across about a hundred and twenty sources. A good number of them are Spanish, French and Portuguese, because those countries programme this work seriously and write about it better than most of the English-language trade. Genre and art-house get the same seat here. I am not ranking them, and nothing is scored out of ten.

Each story is a headline, a short excerpt, one still and a link to the outlet that did the reporting. We never republish the piece, and the still belongs to its studio or its photographer. A Korean trade paper appears in Korean, a French review in French. We point at the work; we do not put words in anyone's mouth.

— Daren Wise, Tokyo