This past October, the 35th Philadelphia Film Festival (PFF) roared to life in Center City, bringing ten days of events, panels, and, most of all, movie screenings. For many film buffs, this was a can’t-miss event, and I, after being ignorant of it during my freshman year, was this time keeping close tabs on PFF. Of course it was positioned at a rather inopportune time for most Swatties — right in the midst of midterm season, and partially overshadowed by Fall Break — but despite these inconveniences, I rashly claimed a student badge and vowed to myself that, unlike the previous year, I would make the most of the festival. Below are short descriptions of the films I managed to catch:
10/18: Fjord (2026)
After becoming acquainted with the terminology and traditions of the film fest, I found myself in the rush line for “Fjord,” from Romanian director Cristian Mungiu. A co-production of Romania, Norway, France, Sweden, and Denmark, “Fjord” is an examination of European cultural clashes, primarily the competing lifestyles and values of those first two countries: Romania, from which the film’s Gheorghiu family hails, and Norway, where they’ve moved. The Gheorghius’ plight — their children being taken away as the family is investigated by Norway’s equivalent of Child Protective Services — is broadly inspired by a real-life controversy to which the internet responded with uproar, sparking worldwide protests.
“Fjord” invites us to think critically about the struggles of those far removed from us. We might not at first be inclined to relate to a conservative, fundamentalist Christian family in remote Norway, but Sebastian Stan’s and Renate Reinsve’s performances are more than enough to evoke sympathy in any audience. We’re forced to take a step back and ask ourselves: how are we, who take pride in our progressivism and open-mindedness, supposed to feel about our beliefs being disfigured and weaponized? It’s not surprising that Mungiu won the Palme d’Or at the 79th Cannes, nor should it be unexpected if it takes home Best International Feature at next year’s Oscars.
10/22: Elsinore (2026)
Though I expect my mind might be changed later, at the time of writing, my pick for next year’s Best Actor Oscar is locked in: Andrew Scott. The actor, equally versed in stage and screen, more than demonstrates his talents in Simon Stone’s “Elsinore.” Scott plays real-life actor Ian Charleson, best known for starring in “Chariots of Fire” (1981) and making an effort to return to the stage (specifically as Hamlet in the National Theatre’s production) while battling AIDS.
It’s neither Charleson’s nor Scott’s first time playing Hamlet, but where the film really shines are the moments offstage where we’re allowed a more intimate look into the actor’s life. Charleson is uplifted and challenged in equal measure by both his friend Patsy Pollock (Billie Piper) and physician Margaret Johnson (Olivia Colman), the latter of whom is a standout supporting performance. Despite only wanting to see Charleson healthy, she’s the primary opponent to his desire to step into the spotlight once more; but without the role, Charleson insists he can’t be happy, and thus we have the problem at the film’s heart — is it worth living at all if you can’t do what brings you the most joy?
“Elsinore” is a film about death and about life, and it suggests the two aren’t as far apart as many think. Unlike many of the films listed here, it’s getting a wide release very shortly — later this month — and I highly suggest anyone who this mini-review remotely entices to give it a shot.
10/23: Ray Gunn (2026)
After catching “Sense and Sensibility” (2026) at the Fashion District AMC, I booked it with a friend to Philadelphia Film Society (PFS) Center for my only animated feature of the festival: “Ray Gunn” from acclaimed animator Brad Bird (“The Incredibles” (2004), “Ratatouille” (2007), and many more). Out of the whole festival lineup, I was least sure of what to expect from this one — the animation style wasn’t my cup of tea, and the retro-futuristic atmosphere Bird envisioned, while enticing, seemed a little too wide in scope to be sufficiently captured in two hours.
However, in my eyes, “Ray Gunn” proved that Brad Bird does still deserve his status as a pioneer of Western animation. It’s true that his vision for the film is ambitious, perhaps hubristically so, but it was also gripping enough for me to indulge in it while forgiving the undercooked aspects. The voice work is worth noting too, especially Sam Rockwell, from whom I wasn’t expecting much, delivering an impressive performance as the titular character. Also deserving of a mention are Scarlett Johansson, Tom Waits, and voice-acting great Alan Tudyk, whose presence reminded me that, despite the appeal of celebrity stunt-casting, a trained voice actor often can’t be beat.
As of now, “Ray Gunn” will be getting a two-week run in theatres come December before it’s put on Netflix, and I would definitely recommend catching it during that time — it’s a real popcorn movie that’s worth seeing on the big screen while you can.
10/25: Mouse (2026)
On Sunday, the final day of the film fest, I saw “2001: A Space Odyssey” (1968) on 70mm; and in between this and “The Debut,” which I would be attempting to rush that evening (more on that later), I had a two-hour block perfectly suited for another film. “Mouse,” from Kelly O’Sullivan and Alex Thompson, had a screening right in that block, and I figured it was only economical to catch it, though I didn’t know a thing about it. But “Mouse” bowled me over the head and cemented itself as my favorite film of the festival.
If I had known “Mouse” was a coming-of-age drama, a genre I’m a particular sucker for (see: my love of “The Edge of Seventeen” (2016), “Lady Bird” (2019), etc.) I might have done my research. But it’s probably for the best that I knew so little going in, because it’s an experience that lands all the better if you’re watching it blind. It’s a heavy commentary on the nature of grief that somehow also manages to be light, gentle, and ridiculously funny. Katherine Mallen Kupferer, who’s frustratingly talented for being younger than me, brings a stellar and heartfelt lead performance to the table, and if there’s any good in the world, this is only the beginning for her career. Even those who haven’t experienced exactly what she has are bound to empathize with and relate to her adolescent struggles — I absolutely did. I sincerely cannot recommend this one enough.
10/25: The Debut (2026)
After raving to everyone who would listen about how excited I was for “The Debut,” which I’ve been doing ever since it was “untitled Jesse Eisenberg musical comedy” on IMDb, the stars aligned and I caught an early screening at PFS East. Eisenberg himself graced the Film Fest earlier that very day in Center City, where he was featured in a live onstage conversation with Terry Gross, host of the Fresh Air podcast; but I, realizing I wouldn’t have the time for both this and to catch “The Debut” at East, gambled on the latter, a gamble which fortunately paid off.
To get the obvious out of the way, Julianne Moore will be taking home a well-deserved second Oscar come March; everyone, including myself, seems to agree that her performance as meek housewife turned fervid method actor Mona Friedman is one of the best of the year. She puts on full display her singing talent, too, as she belts (or stumbles, depending on the point in the plot) her way through the songs, also written by Eisenberg especially for the movie. With his script and directing, he manages to capture the awkward yet extremely passionate essence of community theatre, a realm I’m much familiar with.
While Moore is certainly the load-bearer of “The Debut,” the supporting performances bring plenty of heart to the film — Paul Giamatti and Halle Bailey in particular are standouts. Every combination of actors manages to be outrageously funny. It’s the most I’ve audibly laughed at a movie in a long time, and the most I’ve heard a theatre laugh too; the audience would often burst into fits at one joke and run over the next (as they’re so closely packed together). It’s also slated for release in December, and hopefully my praise hasn’t gotten stale at this point, because this is one you can’t miss.
I’m sure there were plenty of duds at this year’s film fest, but I count myself lucky that I personally didn’t catch a single one. Even so, there were plenty of films that I wasn’t able to see — ones that I hope everyone else forms their own opinions on when they’re given wide releases (and hopefully report back to me).
