The queue was so lengthy that I decided against trying to get in, which was probably for the best as I might have just ended up overwhelmed. Moreover, waiting in that line would have reduced my viewing time for movies, something I needed to maximize considering there were so many films to watch.

The movies I watched on the second day shared a common theme of individuals on the fringes being driven to their limits. This was evident in Nadia Latif’s The Man in My Basement and Park Chan-wook’s new project No Other Choice. Although these films approached the theme differently, they both delved into the idea deeply, resulting in unique interpretations.

I also caught a modern version of Hamlet—one of two adaptations at TIFF this year, with hopes to see the second one later—and enjoyed an adorable, understated animated feature.

Below are short reviews of the films I saw. (In case you missed it, my first day report at TIFF covered a thrilling video game adaptation and a tension-filled drama.)

Charles (played by Corey Hawkins) is financially struggling and largely isolated, risking losing his ancestral home. Then enters Anniston (Willem Dafoe), a wealthy man who offers a hefty amount to rent Charles’s basement for two months. Anniston’s motive is part of a personal “spiritual journey” related to white guilt, although the film starts strong, it becomes somewhat jumbled and lacks direction as it progresses. Nevertheless, it’s entertaining watching Hawkins and Dafoe unravel, with the latter even having a literal breakdown at one point.

_{Coming to select theaters on September 12th, streaming on Hulu and Disney Plus later in the fall.}

You Man-soo (Lee Byung-hun) has an idyllic life: beautiful family, incredible home, and a job where he was once named “pulp man of the year.” But when his paper company downsizes, he’s left competing for a dwindling number of jobs. So he comes with an elaborate plan to eliminate the competition — literally. What plays out is darkly hilarious, as You Man-soo might be the most hapless killer I’ve seen in a film. There are some wildly messy action sequences and punchlines that make very funny use of sound, including one memorable “tudum!” It drags a little towards the end, but otherwise this painfully relevant satire rushes forward with unexpected twists and turns. Think Parasite, but more slapstick.

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

A reimagining of Hamlet set in present-day London that never really gels. It’s a slick thriller, with some really cool set-pieces, including a mesmerizing take on the “play within a play” that turns into a haunting dance routine. But the film sticks with the original Shakespearean dialogue, and this feels at odds with the modern setting. There’s just something off about hearing “to be or not to be” from a guy speeding down the road in a BMW. Riz Ahmed gives his all in the lead role, but it’s not enough here.

_{No word yet on a wider theatrical premiere date.}

A cute animated film that’s notable in particular for having zero dialogue. It tells the story of a young girl and her robot caregiver, and how their relationship evolves over time. The tale is very sweet; the bot deals with empty nest syndrome when the girl becomes an astronaut, and it has a glitch that causes it to watch old memories at random moments. The film feels like it’s stretching itself a little thin by the end, but there are some really charming moments — including an origami battle in a cozy diner — and an excellent soundtrack courtesy director Kid Koala.

_{No word yet on a wider theatrical premiere date.}