I try going into films at TIFF pretty blind, not knowing what sort of emotional ride I am in for. Closing Night at TIFF 2026 was another one that caught me off guard this year, when I thought I was heading into a comedy or something a bit dark, and I think I got a bit of both; there was a lot more under the surface. Sarah Paulson was the strongest I have seen her, given room to be funny, biting and sad all at once.
Closing Night follows Sandra (Paulson), a famous actress, who is estranged from her family. She invites them all to her play and to town for a “family reunion,” where we are introduced to her sister, April (Naomi Watts), who is convinced that this is some sort of a trap. April learns that her son Theo (Toby Wallace) has been in contact with Sandra behind her back, and it only fuels the fire more. From there, we learn that the family has some secrets, bringing them all together, for better or worse, as the truth comes out and new problems are introduced.
“Most of the heavy lifting in Closing Night is done by the actors and script.”
The first thing I noticed in Closing Night was the stark difference between the sisters. Sandra is always in dark tones, sleek clothing, and slicked-back hair. April is covered in frumpy layers, bright colours, with wavy, messy hair. Sandra seems collected and in control, while April seems broken and frantic. You can tell the two grew up in very different places right off the bat. Paulson and Watts play into their roles very well, and it makes for some great comedy between the two, and honestly, that contrast and those funny moments are what make the emotional beats that much more impactful.
In fact, Closing Night really just follows these five family members, with only a couple of other actors as fillers and everyone was cast perfectly. Dianne Wiest plays their mother, who is not exactly winning Mother of the Year. Though a lot of her role is comedic, there is a scene where she and Sandra finally talk, and it was one of the most real moments in the film. Toby Wallace plays the song, with Odessa A’zion as his partner. They are a free-spirited young couple with no real plan, with A’zion being more of a filler character, but damn, Wallace can cry!
Though I am trying to remain as spoiler-free as possible, Closing Night does tackle some topics that could prove triggering for some. Paulson plays a woman grappling with her future in a way, and grasping at straws to remain strong and independent. Ultimately, family is a major theme of Closing Night, looking at one that was broken long ago while they try—or actively avoid—putting it back together.
“Closing Night really put the spotlight on Paulson and let her shine in so many ways, between her coldness, longing, suffering and calmness.”
Some of the first scenes in Closing Night played with the theatre and audience for dramatic effect. Harsh lighting with tight close-ups on the family in the audience and Sandra on stage foreshadow something foreboding in the future, but it is really the only time something out of the ordinary happens with editing and composition. Most of the heavy lifting in Closing Night is done by the actors and script. With that, though, there is a great use of mirrors and angles representing what we are meant to see of Sandra and who she really is.
Naomi Watts and Sarah Paulson have great chemistry as bickering, estranged sisters getting to know each other again. Closing Night really put the spotlight on Paulson and let her shine in so many ways, between her coldness, longing, suffering and calmness. Though it wasn’t what I was expecting when I went into it, and I had an inkling of what might be coming, the cast is outstanding, and it is easily one of my favourite films at TIFF 2026.
