1025 Queen Street West, 2nd Floor
Toronto, Ontario
Wheelchair Accessible Venue, Open Captions
Paul Tom and Mélissa Lefebvre / 2026 / French with English subtitles / Canada / 72 min / Toronto Premiere
GENRE: DOCUMENTARY
TOPIC: COMMUNITY, FAMILY, NEURODIVERGENCE, YOUTH
TYPE: FILM
In Bulles (Bubbles), a group of neurodivergent teenagers work together to put on a live show that brings their unique imaginary worlds to life. Directors Mélissa Lefebvre and Paul Tom spend time with teenagers living on the autism spectrum to understand their discomfort with how their lives have been labelled and stigmatized. They use their art as a bridge between their inner lives and the outside world, sharing the most authentic version of themselves while challenging the clichés that come with their diagnosis.
Joyful, compassionate, and at times surreal, Bulles speaks to the challenges faced by anyone living with some type of stigma. Lefebvre and Tom’s empowering documentary celebrates how finding a community can give unheard voices the power to amplify their message and reshape public perception. This insightful and compassionate film is a love letter to self-acceptance, challenging us all to live each day as the truest version of ourselves — without shame, hesitation, or apology.
— Victor Stiff, Rendezvous with Madness 2026 Film Programmer

For 17 years, Mélissa Lefebvre has been teaching drama in high school and developing artistic, educational, and film projects, always placing students at the heart of her creations. Visionary and deeply committed, she designs works with strong social impact, where art becomes a lever for transformation, self-expression, and identity affirmation.

Drawing on the intimate and the personal to tell touching, authentic stories is what Paul Tom has done with sensitivity for 15 years. He is drawn to themes of identity formation, family relationships, and everything that touches on the intimate, fragile, and precious side of being human.


WITH SHORT FILM ——— Corpus Christi —— Bea Lema | 2025 | Spain | Drama | 12 minutes | English
A demon haunts Adela’s home, tormenting and harming her. This leads her to a psychiatrist’s office, where medication is presented as the absolute remedy to all her problems. Yet what she truly needs is for someone to listen to what is really happening to her. The only place where her reality finds room is in religion and folk rituals, which leads her to visit a healer to whom she confesses how and when it all began.
Bea Lema (A Coruña, 1985) is an illustrator and comic book author. Her work is generally autobiographical in nature, dealing with themes related to madness, trauma, family relationships, religion, and popular rituals. Graphically, she explores drawing and embroidery as mediums for her illustrations and comics.
180 Shaw Street, Unit 101
Toronto, Ontario
Wheelchair Accessible Venue, Open Captions
Harrison Houde / 2026 / French, English / Canada / 90 min / Toronto Premiere
TOPIC: ADDICTION, FAMILY, OPIOID CRISIS
TYPE: FILM
CONTENT WARNING: Drug usage
Tight Lettuce is a rare look at the darkly comic side of drug addiction and the toll it takes on everyone involved. The film follows Joel (Dakota Daulby) as he attempts to balance life with his partner (Christie Burke), his mother (Maxim Roy), his grandmother (France Castel), and his father, Bodo (Emmanuel Bilodeau).
Bodo has been struggling with an opioid addiction for most of his son’s life, and hasn’t been able to hold down a job or a place to live. Based on a true story, the film flips the script on the usual story of parents caring for children in the throes of addiction. Despite relying on Joel for his stability and support, Bodo’s relationship with his son is filled with real love and affection, and Joel never stops believing he can get his father’s life back on track.
The beauty of Harrison Houde’s debut feature (co-written by Daulby) is that, while Joel may think love is enough, it’s clear the situation isn’t quite that simple or clean-cut. With charismatic performances from its two leads, Tight Lettuce is an unvarnished look at what addiction can do, and how life rarely offers easy answers or simple cures.
— Emma Badame, Rendezvous with Madness 2026 Film Programmer

Canadian Screen Award winner Harrison Houde began acting on Vancouver Island before expanding into directing, writing, and music. His Cannes-debuted short I Dare You and festival-hit Cafe Racer led to a feature debut with Tight Lettuce. Known for his quirky, genre-bending style, he works between Canada, LA, and Tokyo as a true multi-hyphenate.


WITH SHORT FILM ——— Terminal —— Alexandre Siqueira | 2026 | Portugal, France, Spain | Animation | 17 minutes | Catalan, Portuguese with English Subtitles
Jorge, a man in his fifties, returns to his mother’s house after more than thirty years traveling the world.
Alexandre Siqueira is a animation filmmaker, illustrator and teacher. Since 2000, Alexandre has developed, directed and collaborated in several shorts and
features animated films, TV shows, music videos and illustration projects. In 2019 he
directs Purpleboy, a multi-awarded short animated film presented in more than 200 festivals. Terminal is his last film.
1025 Queen Street West, 2nd Floor
Toronto, Ontario
Wheelchair Accessible Venue, Open Captions
Tasha Hubbard / 2025 / English & French / Canada / 91 min
GENRE: DRAMA
TOPIC: COMMUNITY, FAMILY, INDIGENOUS, INTERGENERATIONAL TRAUMA, MEMORY
TYPE: FILM
Canadian filmmaker Tasha Hubbard makes her narrative film debut with an intimate family drama about the damaging legacy of the Sixties Scoop. Based on her documentary Birth of a Family, the film focuses on four siblings (Michael Greyeyes, Michelle Thrush, Carmen Moore, and Alex Rice) as they reunite over a weekend in Banff. Through serious conversations around unburied secrets and emotionally resonant experiences, each are given time and space to reconnect and build something tenuous and beautiful out of their traumatic past.
The film, along with Hubbard’s screenplay (co-written with Emil Sher) expertly positions the stunning beauty of The Rockies alongside a quiet regeneration of hope and a deeper understanding of the important work still to be done in the area of reflection and reconciliation with Canada’s Indigenous communities
— Emma Badame, Rendezvous with Madness 2026 Film Programmer

Dr. Tasha Hubbard is a writer, filmmaker and associate professor at the University of Alberta. She is from Peepeekisis First Nation in Treaty Four Territory and has ties to Thunderchild First Nation in Treaty Six Territory. Her academic research has focussed on Indigenous efforts to return the buffalo to the lands and Indigenous film in North America.
Her first solo writing/directing project, Two Worlds Colliding (NFB), about Saskatoon’s infamous “starlight tours,” premiered at imagineNATIVE in 2004 and won the Canada Award at the Gemini Awards in 2005. In 2017, Tasha directed the NFB-produced feature documentary Birth of a Family, about a Sixties Scoop family coming together for the first time during a holiday in Banff. It premiered at Hot Docs and landed on the top-ten audience favourites list. It also won the Audience Favourite for Feature Documentary at the Edmonton International Film Festival and the Moon Jury prize at imagineNATIVE.
Her latest feature documentary is nîpawistamâsowin: We Will Stand Up, a personal exploration of the cost of the death of Colten Boushie.

Wayne Garnons-Williams, BA (Windsor), LLB (Queen’s), MPA (Dalhousie), LLM (Oklahoma) Wayne is the CEO of the not-for-profit registered charity, the National Sixties Scoop Healing Foundation of Canada. Wayne is a lecturer at the University of Waterloo, United College, bachelor of Indigenous entrepreneurialism program. He is also the Senior Lawyer and Principal Director of the law firm Garwill Law Professional Corporation. Further, he leads an international business entitled Indigenous Sovereign Trade Consultancy Ltd. and is the founding President of the International Inter-tribal Trade and Investment Organization (IITIO) a 501 (c)(3) educational charity incorporated in Oklahoma with international representation from Australia, New Zealand, Taiwan and Canada.

Rennie Linklater, PhD is a member of Rainy River First Nations in Northwestern Ontario. She has over 25 years of experience working with Indigenous healing agencies and First Nation communities. Rennie has worked across the health and education sectors as a frontline worker, program evaluator, curriculum developer, educator/trainer, and researcher. She is an international speaker on trauma and healing and is the author of Decolonizing trauma work: Indigenous stories and strategies and editor of Connected in Creation: A Collection of Lived Experience through Cultural Expression. Rennie is the Senior Director of Shkaabe Makwa – Centre for First Nations, Inuit and Métis Wellness at the Centre for Addiction and Mental Health (CAMH) and is actively involved in several system level initiatives across the province.

1025 Queen Street West, 2nd Floor
Toronto, Ontario
Wheelchair Accessible Venue, Open Captions
Jess Dang / 2025 / USA / 90 min / Toronto Premiere
GENRE: DRAMA
TYPE: FILM
CONTENT WARNING: Domestic Violence
Feeling crushed beneath the weight of her work, relationship, and family obligations, Naomi (Andrea Bang), a young Asian American woman, seeks escape through the thrill of gambling. Although hitting the blackjack tables may provide temporary respite from her problems, the sense of relief is fleeting, only compounding her worries. Her gambling prowess could provide her with the money she needs to help cover her mother’s finances and support her grandmother, whose dementia is slowly worsening—though it could also drive Naomi into debilitating debt.
Writer-director Jess Dang uses gambling addiction as a doorway to explore anxiety, PTSD, dementia, and the courage required to defy cultural norms. Surrender deftly conveys how addiction can function as a band-aid solution to deeply entrenched emotional wounds. Naomi’s gambling becomes a security blanket, tied to her childhood memories — a source of comfort and support when her lover, overbearing mother, and work-life balance become overwhelming.
With touching performances, a resonant score, and inviting cinematography, Surrender provides a thoughtful and emotionally fraught exploration of the thin line between pleasure and pain.
— Victor Stiff, Rendezvous with Madness 2026 Film Programmer

Jess Dang is a Chinese American writer and director based in Los Angeles. She holds an MFA from the USC School of Cinematic Arts and a BFA in Communication Design from Parsons School of Design. Her work explores moral progress, mental health, addiction, and coming-of-age stories, aiming to ignite meaningful social conversation. With a background in music and painting, Jess approaches filmmaking with a strong visual sensibility and emotional precision. She is a Film Independent Fast Track Fellow and a recipient of the NFMLA New Narratives Grant, and she continues to champion inclusive, character-driven storytelling.

180 Shaw Street, Unit 101
Toronto, Ontario
Wheelchair Accessible Venue, Open Captions
Carol Nguyen / 2026 / English & Vietnamese / Canada / 76 min
GENRE: DOCUMENTARY
TOPIC: BIPOC EXPERIENCE, FAMILY, GRIEF
TYPE: FILM
Award-winning short film director Carol Nguyen makes her feature documentary debut with a deeply affecting and personal documentary about family secrets and healing. With a pointed but sensitive lens, Nguyen speaks with her father, aunt and cousins to explore her paternal uncle Thach’s tragic death a decade ago.
The director deftly shines a light on how different generations and cultures deal with loss and grief, and how much has changed in our understanding of mental health in the intervening years. As the extended family travels back to Vietnam to say a bittersweet and ceremonial goodbye to Thach and both of his parents, they all begin to open up and come together with a newfound honesty and affection. Still Night, Burning House is a beautiful and visually stunning ode to the rebirth and renewal of one family, but it transcends that specificity to give an all-encompassing sense of forward momentum and hope for the future.
— Emma Badame, Rendezvous with Madness 2026 Film Programmer

Carol Nguyen is a Montreal-based, Vietnamese-Canadian filmmaker whose films explore themes of cultural identity, family and silence. Her short film Nanitic (2022) was screened at the Berlinale and TIFF. No Crying at the Dinner Table (2019) was shown at TIFF, IDFA and South by Southwest, where it won the Jury Prize for Short Documentary. Carol is currently working on several projects, including a feature-length fiction selected for the TIFF Writer’s Studio in 2025.


WITH SHORT FILM ——— A Tenderness —— Sabrine Khoury | 2026 | Nederland | Drama | 17 minutes | Arabic
During her parents’ visit, a new Palestinian mother living in Amsterdam struggles to connect with her newborn. As family dynamics unfold, postpartum challenges and family expectations grow. Through unspoken tensions, small gestures, and moments of care, the film explores the quiet suffocation that can exist within love.

AND SHORT FILM ——— Please —— Anna Mantzaris | 2026 | Sweden, France, Czech | Dark Comedy | 9 minutes | English
In a bustling city, various characters craving affection are searching for a relationship and find themselves caught up in situations that are comical, absurd, funny and touching.
Sabrine Khoury is a Palestinian filmmaker based in the Netherlands. Her work explores identity, political and social realities, and stereotypes through intimate spaces: the female body, the home, and family relationships. Her short documentary, The Miracle of Life (2025), screened internationally, including at CPH:DOX and Galway Film Fleadh, where it won Best Documentary. It also received Best Documentary and the Audience Award at IFF Integrazione. Her fiction short, A Tenderness, developed through the Doha Film Institute Short Script Lab and supported by the Netherlands Film Fund, premiered at the 2026 Toronto International Film Festival.
Anna Mantzaris is a director and stop motion filmmaker. Her work blends awkwardness, humour and the absurdity of being human. She is drawn to characters who don’t quite have it together, who are strange yet relatable. Her works have received over 100 international awards, including an Emmy Award, an Annie Award and a European Animation Award. In addition to her filmmaking, she directs commissions for clients such as Apple and Greenpeace. Anna has an MA in animation from the Royal College of Art and was part of the animation team on Wes Anderson’s Isle of Dogs. She has lectured at leading film and art schools such as the Royal College of Art (UK), Konstfack (SE), the National Film School of Denmark (DK), and the National Film and Television School (UK).
1025 Queen Street West, 2nd Floor
Toronto, Ontario
Sensory friendly Screening, Wheelchair Accessible Venue, Open Captions
Ian Daffern / 2026 / English / Canada / 89 min / World Premiere
GENRE: DOCUMENTARY
TOPIC: COMMUNITY, FAMILY, NEURODIVERGENCE, YOUTH
TYPE: FILM
Each weekend, fine-art photographer Travis Huggett takes his son Orson railfanning. His son’s love of the New York City subway system knows no bounds, so together they ride the rails, chasing Orson’s bliss. As Travis recognized that other children at his son’s special needs school shared this fascination, he began documenting the phenomenon through his photography, taking portraits of the children along their most beloved subway routes.
Railfan tells an inspiring story about embracing joy, no matter where you find it. It’s a story about appreciating what makes us unique, and how our passions give us the resilience to ride out life’s turbulence. For children on the autism spectrum, life can be uniquely challenging, and the freedom of railfanning allows a space to feel liberated from their struggles — and the independence to be their most authentic selves. Filled with beautiful photography and charming subjects who light up the screen, Railfan offers an eye-opening look at an underground culture that takes its devotees to a higher plane.
— Victor Stiff, Rendezvous with Madness 2026 Film Programmer

Ian Daffern is a filmmaker whose work examines the ways in which art can inspire connection and communication in society at large. Ian directed 2023’s A Bullet Pulling Thread, which tells the story of a quilter using her art to seek justice after her mentally ill brother is killed by the Royal Canadian Mounted Police. Bullet won best documentary at the Chilliwack Independent Film Festival; screened at the VIFF and Hot Docs Cinema; and was presented by the Museum for Human Rights in Winnipeg.

KEYWORDS: Trauma, Family, Loss, Grief, Gender
Rana is a middle-aged woman holding a high-ranking position at a major bank. Her husband left her when she was pregnant with their daughter. Since that time, she has been raising Hoda alone and her daughter means the world to her. Hoda’s birthday is approaching fast, and she would like to celebrate it at an amusement park; overprotective Rana is not so pleased, but finally agrees. An accident at the amusement park ends fatally for Hoda, and Rana’s life is turned upside down. As if the pain and tragedy of losing her only daughter was not enough, Rana must also face the absurdity of the laws and traditions in her country.
فیلم: دیاپازون
کلمات کلیدی: تروما، خانواده، فقدان، سوگ، جنسیت
رعنا زنی میانسال است که در یک بانک بزرگ، مقام بالایی دارد. شوهرش او را زمانی که دخترشان را باردار بود، ترک کرد. از آن زمان، او هدی را به تنهایی بزرگ کرده و دخترش برایش به معنای تمام دنیاست. تولد هدی به سرعت نزدیک میشود و او دوست دارد آن را در یک شهربازی جشن بگیرد. رعنای بیش از حد محتاط، چندان راضی نیست، اما سرانجام موافقت میکند. حادثهای در شهربازی برای هدی به مرگ ختم میشود و زندگی رعنا زیر و رو میشود. گویی درد و تراژدی از دست دادن تنها دخترش کافی نبوده است، رعنا باید با پوچی قوانین و سنتهای کشورش نیز روبرو شود.
CAMH Auditorium | 1025 Queen Street West, Toronto
Reception at 3:30 PM with art, snacks and refreshments ($20.00 per person)
For reception tickets, please phone (416) 388-9314 (English and Farsi)
Box office: 4 PM | Film: 5 PM
KEYWORDS: Schizophrenia, family, childhood
Five children struggle to maintain any sense of normalcy after their mother, Judith (Micaela Gramajo), disappears one summer night. Their father, Emiliano (Bernardo Gamboa), goes off in pursuit of his missing wife, leaving the siblings with their grandmother, Romana (Carmen Ramos). It’s soon clear that Romana’s mental health challenges leave her in no condition to care for five rambunctious kids. It falls on the elder siblings Victor (Donovan Said) and Vanessa (Laura Uribe Rojas) to step up and keep the family together, even as they struggle to make sense of their current situation. Making matters worse, Romana’s foreboding ramblings intensify the children’s anxieties, suggesting the presence of an evil force in their midst.
Director Ernesto Martínez Bucio’s The Devil Smokes (and Saves the Burnt Matches in the Same Box) offers an emotionally gripping and thematically rich experience elevated by evocative cinematography and extraordinary performances from its young cast. Bucio plays stingy with certain plot details, and infuses events with spectral undertones, cultivating a cryptic and haunting atmosphere that lingers long after the credits roll.
Born in 1983 in Uruapan, Mexico, where doctors used forceps at his birth, Ernesto Martinez Bucio is a film director, screenwriter, and editor. He holds a BA in Communication Sciences from ITESO, a BA in Filmmaking from CCC, and an MA in Filmmaking from EQZE/UPV. His short films have premiered at Cannes’ Cinéfondation, Cairo, San Sebastián, and Rotterdam. He has received two grants from the National Fund for Culture and the Arts and is a Berlinale Talents alumnus. He enjoys road cycling, hamburgers, and, after years of study, clearly loves being in school.

WITH SHORT FILM ——— Semillas (Seeds)—— Esteban Powell, Francisca Rojas, Ruben Dario Chavez-Munoz | 2024 | Canada | Documentary | 11 minutes | English, Spanish
When uprooted plants may face ‘transplant shock’ where they are unable to root themselves into a new environment. Similarly, the migrant narrative is steeped by difficulty adapting to a new land. Often overlooked from this narrative is the “1.5” generation – people uprooted in their formative years who have assimilated into their new environment and maintained vigorous roots with the ‘homeland,’
Semillas is a dual-screen documentary portrait of three “1.5” generation Latine individuals (Veronica, Francisca and Josue). Through their voices, likenesses, memories, and interlaced experiences Semillas explores their stages of transplantation: ‘uprooting,’ ‘transplant shock’ and ‘seed dispersal.’ Interrogating how the ‘soil’ of home permeates one’s evolving sense of home and Latine identity.
Francisca Rojas (she/they)
“I am a second generation Chilean-Canadian documentary filmmaker based in Toronto, Canada. My work centers on the depictions of collective historical traumas within my community through an autoethnographic and testimonial lens. It is a therapeutic outlet that allows me to unravel my inner turmoil that is intrinsically linked to my family’s intergenerational trauma. Hence, by linking the personal with the collective my work aims to portray decentralised community-based healing that collectivizes and politicises mental health struggles.”
Ruben Dario Chavez-Munoz (he/him) is a first generation Latinx/Canadian artist working primarily in the visual arts. Based in Toronto, his work focuses on the ways in which we leave marks and interact with the environments around us.
Esteban Powell (he/him) is a Mexican-Canadian multimedia artist and educator. Through the mediums of writing, painting, and filmmaking, he focuses on Neo-Gothic genres of expression to communicate spiritual and psychological struggles. Only through delving into our darkest depths, can we better understand ourselves, heal, and help others be seen.
CAMH Auditorium | 1025 Queen St W, Toronto
Box office: 7 PM | Film 8:30 PM
KEYWORDS: Trauma, family, PTSD
This brand-new feature, directed by Tanushree Das and Saumyananda Sahi, delves into the ramifications of one family’s intense experience with mental health.
It follows Maya, a multitasking mother who lives in Kolkata with her husband, Sundar, and their teenage son, Debu. She juggles three jobs as the family’s primary breadwinner, while also dealing with ostracization and neighbourhood rumours about Sundar, an unemployed ex-soldier suffering from PTSD. Debu is often left as his father’s primary caregiver, and the young man valiantly copes with feelings of affection and embarrassment in the face of his father’s daily struggles. After her husband disappears, Maya must fight to hold her family together in the face of an unexpected murder investigation and an unknown and very uncertain future.
With highly engaging lead performances and a fresh perspective on both trauma and caregiving, Shadowbox is a poignant yet tense film that exposes prejudice and peels back the layers of obligation, love, and the complexities of relationships.
WITH SHORT FILM ——— Adieu Ugarit —— Samy Benammar | 2025 | Quebec/Canada | Documentary | 15 minutes
“In 2012, Mohamed had seen his best friend shot dead by an armed militia on the outskirts of Damascus, Syria; the blood spilled in the lake contaminated his memory. Ten years on, the reflections on the Laurentian waters revive Mohamed’s trauma. I ask him if he’d like to dredge up the memories, repair the pain by retreating for a few days to the most distressing calm he can find. He talks about death, immigration and anger. We wonder how and why we should recount this story.” – Samy Benammar
Tanushree Das graduated from the University of Calcutta with a Masters in English Literature, and began her career as a theatre person – directing as well as acting. In 2011 Tanushree graduated from the Film and Television Institute of India, Pune, with a Diploma in Film Editing. Tanushree‘s work as an editor has been screened to critical acclaim in film festivals around the world, including at Berlin, Locarno, Rotterdam, Rome, Pingyao, Hot Docs and Busan.

Born in Bangalore, Saumyananda Sahi studied philosophy at St Stephens College, Delhi before attending the Film and Television Institute of India, Pune. Saumyananda has worked as a cinematographer on a variety of projects, both factual and fiction, which have gone on to screen and win awards at festivals such as Cannes, Berlin, Sundance, Locarno and Rotterdam. He has been nominated for an Asia Pacific Award, Filmfare Award and was selected for the BAFTA Breakthrough India programme in 2022. His recent work includes ‘All That Breathes’ (nominated for an Academy Award) and the Netflix series ‘Black Warrant’.

CAMH Auditorium | 1025 Queen St W, Toronto
Box office: 7:30 PM | Film: 8:30 PM
KEYWORDS: Activism, Family, Trauma, Youth, Feminism
Writing Hawa is the story of three generations of Hazara women from the same family in Afghanistan. With unique access, director Najiba Noori films her mother Hawa and her niece Zahra in their aspirations to emancipate themselves from patriarchal traditions. Forty years after her arranged marriage as a child, Hawa finally begins an independent life and begins studies to become literate. But with the return of the Taliban to power, her dreams, along with those of her daughter and granddaughter, are shattered as they face new daunting struggles
WITH SHORT FILM ——— Hatch—— Panta Mosleh, Alireza Kazemipour | 2024 | Canada | Fiction | 10 minutes
Naaji, An Afghan refugee boy hides with his mother inside a moving water tanker trying to cross the border to safety. Losing his mother in the process, Naaji forever tries to find a way to relive his last memory of her.
Najiba NOORI was born in 1995 in Bamiyan, Afghanistan. She began working for media organizations as a volunteer when she was just 15. She has reported for various organizations and agencies, including the AFP, Huffington Post, MSF, FMIC, NRC and UN Women in Afghanistan. She participated in the Close-Up program 2020-2021 and at the IDFA Academy in 2022. She joined AFP as a video journalist in 2019. In 2021, she was obliged to leave her country when the Taliban took power in Afghanistan, and now lives in France. Writing Hawa is her first documentary.
