The Pigeon Tunnel

Director: Errol Morris

Year: 2018

From groundbreaking documentarian Errol Morris comes a probing portrait of controversial Breitbart honcho and Trump advisor, Stephen K. Bannon. If Stephen K. Bannon were a fictional character, you'd have a hard time believing his narrative arc. He did stints as an investment banker and movie producer before steering the far-right media site Breitbart News as it swiftly moved from the fringe to the centre of American politics. As the chief executive of Donald Trump's campaign, he helped the candidate navigate several controversies that would have ended the career of any previous politician. He had a brief run in the White House as Trump's chief strategist. After being ousted, he continues to exert a powerful influence on right-wing ideologues in the US and abroad. Official Selection Toronto International Film Festival 2018 - TIFF Docs

Director: Alex Darby, George Leith, Sophie Mei Birkin

Year: 2026

Adlais (Echo) weaves Welsh language folklore and histories through their shared subjects of poetry and drowning – and asks whether we’re listening to the past as it surfaces today.

Director: Luca Anzalone

Year: 2026

Caught between her indigenous Buryat roots—where art is a shamanic window between worlds—and a Western market that treats culture as a commodity, artist Yuma Radne constructs a monumental canvas to confront the psychological distortions of colonization at the edge of an irreversible era. "Either you make art, or you suffer. It’s like a curse." For painter Yuma Radne, the act of creation is not an aesthetic choice, but an ancestral code carried in the blood. Moving from a remote Siberian village to the high-stakes European art world, Yuma finds herself navigating a surreal landscape where sacred cultural identity is rapidly converted into a luxury product. Through intimate studio dialogues and raw philosophical reflections, the film captures the gruelling physical and mental labour behind her graduation masterpiece, The End of Times. Centred around a gargantuan erupting booze (a traditional Buryat dumpling) mutated into an absurd, monumental symbol of a colonised and erased national identity, the film transcends a typical artist portrait. It becomes a vital, cosmic meditation on why humanity continues to create art in the face of systemic collapse—and a powerful testament to an indigenous culture refusing to be reduced to a souvenir.