Editor’s Note: A version of this story also appeared in The Good, the Bad, and the Elegy, a newsletter from the Daily Yonder focused on the best, and worst, in rural media, entertainment, and culture. Every other Thursday, it features reviews, retrospectives, recommendations, and more. You can join the mailing list at the bottom of this article to receive future editions in your inbox.
In mid-September, I braved my least favorite activity (waiting in long lines) to accomplish my favorite activity (going to the movies) for one unforgettable weekend at the Toronto International Film Festival. My schedule was packed as I balanced screening times, shopped at the famed Criterion Collection, kept my eyes peeled for celebrity sightings, and, of course, watched movies constantly. From insightful documentaries to poignant dramas and rollicking comedies, the range of movies I saw at TIFF were engaging, interesting, and for the most part, delightful. I specifically sought out rural-focused content and was thrilled by the breadth of stories I found. Overall, the films were definitely worth the wait of the long, long screening lines.
Here are the rural movies that I saw at the Toronto International Film Festival.
Fjord
Promotional trailer for “Fjord” (2026). (Credit: NEON via YouTube).
After winning the coveted Palme d’Or at the Cannes Film Festival, I was itching to see if “Fjord,” directed by Romanian director Cristian Mungiu (“4 Months, 3 Weeks and 2 Days”), was worthy of the critical acclaim. It absolutely did not disappoint. The film stars Sebastian Stan (“The Apprentice”) and Renate Reinsve (“Sentimental Value”) as a couple returning to rural Norway after living in Romania. Reinsve plays Lisbet, who grew up in this remote Norwegian town, while Stan’s character, Mihai, is Romanian. The couple has five children, and the family is characterized primarily through their conservative Christian values. Their family dynamics and parenting decisions are called into question when Lisbet and Mihai are accused of abusing their children. What follows is a tense legal battle that pits the family against the progressive Norwegian town they have moved to. “Fjord” provides a fascinating, nuanced look at polarizing values. Both Stan and Reinsve completely transform into their characters, creating a story so immersive that the film’s long runtime feels negligible compared to the stakes of the on-screen moral quandary. “Fjord” is sure to divide audiences and create plenty of discourse as it complicates viewers’ preconceived beliefs and wrestles with ideas of freedom, identity, and prejudices.
“Fjord” is now playing in theaters.
Trash Mountain
Before seeing “Trash Mountain,” I mainly knew the film’s star and co-writer, Caleb Hearon, from hilarious clips of his podcast that often take over my TikTok feed. I was thrilled to see Hearon’s comedic talent translate to the big screen, but I was even more pleased to discover a poignant, vulnerable side of Hearon that social media had yet to show me. “Trash Mountain,” directed by Kris Rey (“I Used to Go Here”), tells the story of Gavin (Hearon), a young gay man living in Chicago who returns to his hometown in rural Missouri after the death of his hoarder father. There, Gavin and his older half-sister Abbi – played brilliantly by Zooey Deschanel (“New Girl”) – must deal with all of their late father’s belongings and grapple with their complicated feelings of grief. The film’s rural setting is, in many ways, its most important element. Gavin carries a deep resentment toward his hometown, meaning much of the film presents the rural Missouri town through his judgmental eyes. However, the film gradually complicates Gavin’s perspective, offering a kinder portrait of the town and its residents.
Gavin (Caleb Hearon) standing in front of his late father’s belongings in “Trash Mountain” (2026). (Credit: TIFF via IMDb)
“Trash Mountain” balances a nearly constant barrage of jokes with genuine tear-jerking moments to create a witty, reflective, and heartwarming film. I hope the movie finds a wide audience beyond the festival circuit, as it showcases emerging talent while telling an accessible and relatable story about belonging.
“Trash Mountain” is still seeking distribution.
Everest: The Other Side
By far my most stressful viewing experience at TIFF was National Geographic’s documentary “Everest: The Other Side.” The film follows professional mountaineers, Jim Morrison and Hilaree Nelson, a couple who are attempting to climb the direct North Face of Mount Everest (a much riskier feat than the more frequently climbed South Face). Not only are they attempting this dangerous achievement, but they are also planning to ski back down the mountain.
Directed by the (recently divorced) duo Elizabeth Chai Vasarhelyi and Jimmy Chin, who brought us Free Solo, “Everest: The Other Side” is beautifully shot and utterly terrifying. I am generally skeptical of these sorts of dangerous, adrenaline-seeking adventures, and this documentary did not convince me that the rewards are worth the risk.
After speaking with travel writer Rolf Potts about the impact of media on rural tourism for Yonder Radio, I went into this movie interested in how the documentary would encourage or discourage others to travel to Everest to try to complete a similar task. Overall, despite the tragedies that occur throughout the film, it still seems to depict the adventure as noble thrill-seeking rather than providing any real introspective questioning of the dangers posed, interrogating the impact on the accompanying team of Sherpas, or analyzing the potential effect on the environment they are attempting to “conquer.” If you are fascinated by the human psychology of risk-taking or simply want to experience breathtaking views from the tallest places on Earth, this documentary is worth a watch. However, if the idea of watching people repeatedly push themselves toward extreme danger makes you squirm, this might be one to skip.
“Everest: The Other Side” releases in theaters on October 30th, 2026.
In Alaska
Leo Matthew Temela, in his first-ever leading role, as Woody in “In Alaska” (2026). (Credit: TIFF via IMDb)
The screening of “In Alaska” began with a haunting performance by an Inuit throat-singing duo who contributed to the film’s soundtrack, a fitting introduction to a unique and powerful movie. Directed by Dutch-Canadian duo Jaap van Heusden (“De man uit Rome”) and Vinnie Karetak (“North of North”), “In Alaska” is loosely based on the true story of a man drunkenly shooting an Alaskan oil pipeline in 2001. In this film, Woody is a struggling Inuk teenager who, in his suicide attempt, accidentally punctures the Trans-Alaska pipeline with a bullet. This sets off a wild chase across Alaska, showing off both the acting chops of Noomi Rapace (“The Girl with the Dragon Tattoo”), who plays the tough FBI agent Susan Tarheel, and the gorgeous landscapes of Alaska. As “In Alaska” highlights, policing here is a difficult task, as the agents explain that they serve an area bigger than Texas with just a few detectives. Tarheel takes on the challenge of the manhunt for Woody as she feels a strong personal connection to the young boy and his struggles.
Leo Matthew Temela, in his first-ever leading role, delivers an exceptionally affecting performance as Woody. The film’s emotional core comes when Woody’s journey takes him to Northern Canada. There he reconnects with his Inuit roots, resulting in a poignant exploration of identity and the struggle to embrace a life he once believed was not worth living. I found “In Alaska” to be, at times, a very difficult watch, as it is filled with such profound sadness. However, the distinct storyline and striking setting make for a memorable and moving film.
“In Alaska” is still seeking distribution.
River
Promotional trailer for “River” (2026). (Credit: Universal Pictures via IMDb)
Attending a film festival sometimes entails braving a gory horror movie at 8:30 in the morning. So with a Tim Hortons coffee in hand, I attended the early morning screening of “River,” directed by first-time director Joshua Giuliano. “River” follows three siblings who go to spread their father’s ashes in his boat on his favorite rural waterway in an unnamed state (although it was shot in West Virginia). Things quickly turn to bloody chaos as they encounter faceless, gruesome serial killers. The film features nearly every classic slasher trope you can think of, from running out of gas and losing service to the brutal demise of lustful teenagers. The rural setting, rather than serving as the oasis the characters intended, is filled with horrific killers bent on the destruction of the grieving siblings. By establishing the remote setting as a place where evil lurks, the film relies on cliché horror conventions to paint rurality in a negative light.
“River” ended up being the festival’s biggest sale, as it was acquired by Universal and the horror production company Blumhouse for $10 million. Perhaps it was the early morning blood and guts, but I found “River” to be a bit heavy on the gruesome kills and light on any actual substance. Jessica Rothe (“Happy Death Day”) and Jane Levy (“Evil Dead”), who play the two sisters in the sibling trio, are excellent scream queens, and the film delivers some genuine scares. However, its villains have no compelling lore, motives, or deeper symbolism. For fans of the slasher genre, “River” offers plenty of the classic thrills and motifs, even if it doesn’t bring much new to the table.
“River” releases in theaters on January 15th, 2027.
Cheyenne
The second documentary I saw about a dangerous sport that I have no interest in trying out was called “Cheyenne.” Directed by Taimi Arvidson, “Cheyenne” follows cowgirls who ride bucking broncos on the rodeo circuit on their months-long journey to qualify for the Cheyenne Frontier Days rodeo. After nearly a century of women being excluded from the sport, the film emphasizes the dedication and drive that these women bring to this difficult rodeo event.
“Cheyenne” (2026) highlights female bucking bronco riders. (Credit: TIFF)
The documentary does not shy away from showing the incredible physical toll this sport takes, causing me to frequently gasp and shield my eyes as the riders were thrown from the broncos. Importantly, for these female riders, their reaction to pain is highly scrutinized and filled with double standards. Daryl, the cowgirls’ trainer, explains, “A guy gets hurt, and they hope he’s okay. A girl gets hurt and they’re like, ‘She shouldn’t have been out there.’”
“Cheyenne” also goes beyond the physical demands of the sport to explore the emotional release that competing provides for each of the featured women. The film offers valuable insight into what motivates these athletes, particularly during moments when I found myself wondering why anyone would willingly spend eight seconds fighting to stay on a horse that clearly doesn’t want them there. “Cheyenne” is a fascinating deep dive into the rodeo world that left me very moved as I watched these women trailblaze in their field.
“Cheyenne” is still seeking distribution.
Wild Horse Nine
Promotional trailer for “Wild Horse Nine” (2026). (Credit: Searchlight Pictures via YouTube)
Last but not least was my most enjoyable theater-going experience at TIFF, a delightfully rowdy press screening of Martin McDonagh’s “Wild Horse Nine.” Proven by the hooting and hollering of the crowd, McDonough has managed to yet again captivate audiences with a dynamic on-screen duo, much like he did with his past films “The Banshees of Inisherin” (2022) and “In Bruges” (2008). This time, the duo are CIA agents Lee and Chris, played respectively by Sam Rockwell and John Malkovich, who are both wildly entertaining in their contrasting roles. While it relies heavily on the two lead performances, there is an incredible supporting cast with heavy hitters like Steve Buscemi, Parker Posey, and Tom Waits.
Set on Easter Island, the two agents are on vacation from their mission to disrupt the Chilean government. Chris (Malkovich) is struggling with his past actions as part of the CIA, along with his own personal health crisis. Meanwhile, his partner Lee is determined to enjoy Easter Island but has to deal with Chris’s increasingly chaotic actions.
I don’t want to reveal too much about this film because so much of its gratification relies on the twists and turns of its witty dialogue. But I will say that watching it felt like reading a really good novel that you just can’t put down. The sharp script is matched by a wonderful chemistry between the odd and very flawed central characters. It will certainly ruffle some feathers as it grapples with actual CIA global interventions as part of its absurd premise. A paranoid, dark buddy-comedy, “Wild Horse Nine” is as melancholy as it is ridiculous.
“Wild Horse Nine” releases in theaters on November 6th, 2026.
This article first appeared in The Good, the Bad, and the Elegy, an email newsletter from the Daily Yonder focused on the best, and worst, in rural media, entertainment, and culture. Every other Thursday, it features reviews, recommendations, retrospectives, and more. Join the mailing list today to have future editions delivered straight to your inbox.
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