Mon: Hey everyone! Welcome to a special episode from the Toronto International Film Festival 2025. I’m Mon and today, I’m reviewing At the Place of Ghosts.
Ron: Before we start our episode, we would like to acknowledge that the land we are recording on is the traditional territory of many nations, including the Mississaugas of the Credit, the Anishnabeg, the Chippewa, the Haudenosaunee and the Wendat peoples. It is now home to many diverse First Nations, Inuit and Métis peoples. We also acknowledge that Toronto is covered by Treaty 13 with the Mississaugas of the Credit.
Mon: While we are making this land acknowledgement, we understand that this is not enough and that positive action is required by the people of Canada to make substantive change for the Indigenous nations and communities whose lands we now reside on.
What is the film about?
Mon: At the Place of Ghosts is about two Mi’kmaw brothers haunted by their past. They journey on a quest to confront their past in this eerie, spooky, and emotional film.
I was very eager to catch this film, which made its world premiere at TIFF 2025. Festivals are a great way to catch films that may fly under the radar, so this was unmissable for me.
Mise’l, played by Blake Alec Miranda, lives in the big city with his partner. Meanwhile his brother Antle (Forrest Goodluck) is still at home, now with a child of his own. Antle also lives with their aunt, who has a tiny role, but she’s memorable.
The brothers are somewhat estranged, and we find out what caused the rift between them, as well as what’s haunting them in the present.
What did the film do well?
Mon: This film does a lot. It’s genre-bending for a reason. The story is not linear, and that’s what keeps the intrigue and emotions flowing.
The best part of the film is the cinematography. It is glorious. One very important aspect of Mi’kmaw and Indigenous identity is their connection with the land, with nature. The breaking of that bond by invaders and settlers and how it has affected Indigenous peoples cannot be overstated.
The film’s writer-director, Bretten Hannam, and cinematographer Guy Godfree, gorgeously capture the majesty and spookiness of the forest lands. It was truly mesmerizing to watch.
The story is also arresting. Because we are drip-fed clues of what happened and who our protagonists are, we are reeled in to watch more and more. The mystery unfolds, achingly slowly, but that’s what’s so great about this film.
I really liked how this film evoked many other stories, from across cultures, and yet maintained its uniqueness. The idea of an epic quest—this is part of Greek myths and Indian tales. The ghost story part as well, felt like the Bengali ghost stories we grew up with. There’ll be something familiar, and new, for every viewer.
What could have been improved?
Mon: I was definitely taken in by the story and invested in the characters.
But, I’m unsure by Miranda’s performance. He has wonderful screen presence, but I wish some of his emotions—especially his fear—had reached his eyes. I say this because Goodluck is the full package. Every part of him is emoting what his character is going through. He’s spectacular.
Also brilliant in her tiny role is the little girl playing Gracie—Antle’s daughter. I wish we’d got to see a little more of her interacting with her father and uncle.
There were a couple of visuals that I couldn’t figure out the significance of. And, I’ll say that some of the visuals felt cliche by horror standards.
Final thoughts
Mon: But those are negligible criticisms towards a film this captivating. There’s so much pain and emotion in this film, but it’s buoyed by this quest that’s at once harrowing, and magical.
I can’t spoil what makes this film genre-bending, but it is effortlessly woven in. It’s a plot device that I enjoy, and this film does it so well. The execution of the genre-bending makes At the Place of Ghosts particularly memorable.
This is an epic quest, it’s a tragic life story, it’s about brotherly love, and it’s a ghost story set against a backdrop of childhood trauma. But more than that, the story is specifically told by a M’ikmaq person, and that really makes this storytelling experience unique for the rest of us.
I did see Crave as one of the production companies at the start of the film, so I’m hoping this film shows up there.
That’s all for this episode. See you next time with another special TIFF 2025 review.