The TIFF premiere of ‘Faith’ features Erin Doherty and James McAvoy navigating complex themes of grief and love in their roles as working-class Brits.
On September 11, 2026, The Hollywood Reporter confirmed the premiere of the film ‘Faith’ at the Toronto International Film Festival (TIFF). Directed by Paul Andrew Williams, the film encompasses themes of grief and human connection as it follows two working-class protagonists navigating the early stages of a romantic relationship. Erin Doherty and James McAvoy star as Gina and Michael, respectively, bringing complex emotional performances to the forefront.
In ‘Faith’, Gina, played by Erin Doherty, is a single mother working on an assembly line while raising her nine-year-old son, Jamie. The narrative delves into Gina’s challenges and emotional turmoil, particularly after a traumatic event shifts the dynamic of her budding relationship with Michael. James McAvoy portrays Michael, a teetotaler helping at a food bank, who becomes a source of both comfort and confusion for Gina.
This film aims to explore deeper human experiences beyond societal class structures, focusing instead on universal themes of pain, love, and redemption.
Critics have noted the strength of both Doherty and McAvoy’s performances. Doherty’s portrayal of grief, vulnerability, and rage has been described as intense yet controlled. While the film excels in its first two acts, reviewers have pointed out that it suffers from tonal shifts in the final act, resembling previous works by Williams that blended drama and supernatural elements. The ending, which includes unexpected supernatural themes, has been met with mixed responses, highlighting a departure from the more grounded emotional explorations presented earlier.
Catch audiences off guard, the conclusion of ‘Faith’ introduces surreal elements that challenge traditional narrative expectations, leaving viewers with lingering questions. This distinctive approach to storytelling is consistent with Williams' previous works, which often blend various genres. The visual presentation, marked by striking lighting and an eerie score, appears to elevate the emotional weight of the film, despite some narrative missteps.
The film, set against the backdrop of a housing development in Yorkshire, also provides an engaging context related to family dynamics and community ties among economically disadvantaged characters. This adds depth to the audience's potential connection with the storyline and characters.
With ‘Faith’ having debuted at TIFF, audiences and critics alike will likely continue to discuss its impact as it moves into wider release. As feedback from festival-goers emerges, it remains to be seen how the film will perform commercially and critically in the broader cinematic landscape. This exploration of grief and the complexities of human connection is especially timely and could resonate strongly with diverse audiences.
For more information on festival highlights, check out our articles on ‘Magazine’ Review: Alexandra Pechman's Directorial Debut Shines at TIFF and Naomi Watts Reflects on 'Mulholland Drive' at TIFF 2026 .
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