With theaters at 50 percent capacity, our critic found herself somewhat isolated as she took in highlights like “The Tsugua Diaries” and “Hold Your Fire.”

I was at the Toronto International Film Festival and, moments earlier, had just realized that I was the only festivalgoer in the very capacious, very empty balcony. In normal years, this 2,000-seat theater, a festival mainstay, is packed with excitedly buzzing attendees. But normal is so very 2019 as are crowds.

It felt awfully lonely up there with just me and some ushers, so I said Sure! and ran down to the orchestra, settling amid other attendees who, perhaps like me, were trying to feign a sense of togetherness — at a Covid-safe distance, of course.

One of the largest film happenings in the world, the Toronto festival celebrated its 46th anniversary this year and, more gloomily, its second year of putting on a show during the pandemic. On a number of levels, it was a success: Although scaled down from its preplague era, the festival, which ends Saturday, presented some 200 movies, in person and digitally, from across the world.

There were premieres, panels and lots of mask-muffled “Have a great day!” from the staff. Benedict Cumberbatch — the star of Jane Campion’s “The Power of the Dog” and Will Sharpe’s “The Electrical Life of Louis Wain” — popped in via satellite for a chat.

It was much the same while being profoundly different. More than anything, as I attended movies in the festival’s eerily depopulated theaters — sitting in rooms that, per Canadian safety rules, couldn’t exceed 50 percent capacity — I was reminded that a film festival isn’t simply a series of back-to-back new movies.

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It’s also people, joined together, and ordinarily jammed together, as one under the cinematic groove. There is always vulgarity, of course, the red-carpet posing, the Oscar-race hustling, and I’ve watched plenty of profane monstrosities at Toronto, Sundance, et al. But even when the movies disappoint, I am always happy at a festival, watching alongside people as crazy about movies as I am.

There weren’t many people, but there was still a lot to like and to love in Toronto, including Cumberbatch flexing his muscles in the nude as a 1920s Montana cowboy in Campion’s magnificent “The Power of the Dog” and playing a rather more buttoned-up cat fancier in “Louis Wain.” A charming, poignant biographical account, that film portrays the life of a British artist who, starting in the late 19th century — with pen, vibrant ink and a fantastically wild imagination — helped teach the joys of cat worship to a dog-besotted Britain. The movie may make some gag, but I dug its tenderness and Wain’s work, which grew trippier the older and more mentally unstable he became.

For higher-profile selections like these, the fall festivals — Telluride and Venice recently ended — serve as a legitimizing launchpad for the fall season, a way to distinguish themselves from the hundreds of movies also vying for attention.

Disney can scoop up spectators by the millions. Titles like “The Power of the Dog,” which falls under the fuzzy heading of art film yet is entirely accessible to those actually paying attention, need to seduce a smaller viewership, even if Campion has long been a revered auteur. They need festival audiences, critics included, on the front lines, particularly if a movie is headed toward next year’s Academy Awards. (“Dog” is more likely to go the Oscar distance than Wain’s cats.)

And, after months and months of streaming new movies in my living room, I was exceptionally happy to be at Toronto. I’ve attended the festival for years, largely because of the variegated bounty of its offerings, from the commercial to the avant-garde.

When it was founded in 1976, it was called the Festival of Festivals, partly because it screened films that had played elsewhere. It was intended for the general public (Cannes is invitation-only), a mandate that helped give Toronto a democratic vibe. In the words of one of its founders, Bill Marshall, “There’s something for everyone, but not everything for everyone, but something.”

In the decades that followed, Toronto rebranded itself as the Toronto International Film Festival and opened a handsome complex called the Lightbox in a soulless area called the entertainment district, where construction crews always seem to be building glass-and-steel apartment complexes for young professionals with dogs.

Even so, the event’s populist ethos continues, as does its hodgepodge programming. Here, as usual, you could catch movies that had played in Berlin, Cannes and Telluride and would soon make their way to New York and beyond. One of the best things about Toronto, though, is that it isn’t an auteur-driven festival or an Oscar-baiting one: It’s just a flood of movies — good, bad and indifferent.



By akagami