The Toronto Reel Asian International Film Festival is the largest Canadian film festival that showcases films by Asian-identifying individuals from around the world. The 29th edition of the festival took place from November 5th to 15th of 2025, consisting of 18 feature films and 45 short films exploring various aspects of Asian culture.

As an industry partner, I had full access to both feature films and short films – where I watched 3 feature films at the TIFF Lightbox, 2 feature films online, and 12 short films online. Each feature was filled with so much soul that I could go from laughing to crying in a matter of minutes. This report will highlight the movies that stood out the most to me, as well as the themes they drew upon.

Third Act

I first screened Third Act at TIFF.

Third Act is a documentary about Robert A. Nakamura, also known as Bob, a pioneer in Asian American filmmaking. The film was produced and directed by his son, Tadashi Nakamura, also known as Tad. The film dives into Bob’s childhood trauma, rooted in his incarceration at the Manzanar concentration camp – built a year after the Pearl Harbor bombing during WWII amidst the height of suspicions towards the Japanese. Then exploring the racism that followed their family when they were released, and how racism against Japanese people influenced his relationship with his father and his own self-identity. Bob’s experiences fed into his filmmaking and career – and when he was diagnosed with Parkinson’s disease. Amidst his diagnosis, the film touches on the concept of Japanese masculinity and Japanese familial dynamics. Specifically, the expectation that many Japanese men need to keep a strong front – where they avoid discussing their emotions or struggles, and their family members seldom discuss them as well. As the movie unfolds, it shows that the power of vulnerability, understanding from one’s family, and community can make all the difference.

Two factors caused this film to win over my heart. First is the connection you build with Tad and his family over the course of the film. The audience follows Bob and his family over the course of seven years, learning more about the influence of their culture on their experience and the effects that Bob’s Parkinson’s had on their family dynamics. Feeling their anxiety, sadness, joy, and pain through the screen truly made me reflect on my personal relationships. This brings me to my second point; the filmmaking style. The movie uses a vlog-like style to convey its message and break the fourth wall, ultimately connecting with and acknowledging the audience. The archival film used during voice-overs adds depth and context to the message conveyed. The candid moments with Bob, Tad, and Tad’s son, Prince, allows viewers to connect with them and learn more about each of their personalities. This enhances the connection you develop with each person, allowing one to see the soul of each individual, rather than solely their achievements.

This movie truly gives the audience a glimpse into Bob’s lived experiences – not just his achievements or his preferences – but truly who he was as a person. Just as Bob advocated for, we saw more of his soul in the film and less of the history.

Akashi (あかし )

The second film that captivated me was Akashi (あかし ), specifically for its stunning cinematography and complex storyline. Originally written as a play, Akashi was later adapted into a short film that was featured at Reel Asian. Seven years later, the film was adapted into a feature film and was presented at this year’s Reel Asian Film Festival. The movie touches on dynamics of love and how it can look different for every person – depending on a person’s values and beliefs. This makes one reflect on what love can look like and its significance in life. The story follows Kana, an artist who moved to Canada from Japan to pursue her career. Upon the death of her grandmother, she returns to Japan and reconnects with her first love Hiro. There, we learn about the arranged marriage between her grandmother and grandfather and how their relationship dynamic evolved over time. At the same time, we watch how Kana and Hiro untangle their relationship and find closure.

I particularly enjoyed Kana’s and Hiro’s storyline, where there is a clash between beliefs that stems from their familial situation. In Japanese culture, the oldest son of the family may typically have the greatest responsibility in the family; he is usually obligated to take care of his parents and take on the family business. The youngest of the family, however, typically has the least responsibility within the family, often not needing to shoulder the responsibility of taking care of their parents, and are freer to pursue their own passions. As the youngest of the family, Kana is given more freedom and allowed to move to Canada for her career. Hiro, on the other hand, is the oldest son of his family and carries the burden of taking on his family business and taking care of his father. Unable to put aside his responsibilities, he feels the need to stay in Japan. The movie does a fantastic job of recounting their story, conflict, as well as the complexities that come with it.

The cinematography was well done. There was not a single shot that was unnecessary. From setting choice to the prop and clothing choices, everything was well thought out and planned down to the smallest details, which help to effectively tell the story. Furthermore, the stylistic choice of telling Kana’s storyline in black and white and the grandparents’ storyline in colour added depth to the movie. Not only did it make it easier to tell when timelines would switch, but it implied that their story closure had already been found while Kana’s and Hiro’s were still being resolved.

Akashi (あかし ) allows the viewers to see the complexities of love, such that it is not a stagnant emotion but rather one that evolves as someone progresses through their life. It may be painful, it may be joyful, and it may very well be bitter – but it is anything but stale.

Overall, it was a pleasure to attend the 29th edition of the Toronto Reel Asian International Film Festival. There were many wonderful films and short films featured, but the two movies that moved me the most were Third Act, for its reflection on oneself and family, and Akashi (あかし ), for its message on love. Both films put a strong emphasis on the significance of family and therefore hold a special place in my heart.