Of all the films premiering at the Toronto International Film Festival, Paul Andrew Williams’ Faithmight be one of the strangest. What begins as a raw, intimate portrait of a working-class mother in northern England takes a sharp turn into a supernatural drama steeped in religious symbolism and unsettling imagery. That bold shift leaves the film’s first half fighting its increasingly bizarre conclusion, which creates more questions. While James McAvoynavigates that tonal change very well, the best part of this 109-minute kitchen sink drama is Erin Doherty’s astounding performance, which holds Faith together even when the script around her feels a bit bumpy.
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