Andrea Werhun and Nicole Bazuin challenge toxic misconceptions about sex work and sex workers with great audacity and high style.

An impassioned and insightful rebuttal to the assumptions, misconceptions, and faulty representations that surround sex work and sex workers, Modern Whore may also be the most audacious and engaging movie ever made about the oldest profession.

Successfully expanding on their 2020 short film and book of the same name, director Nicole Bazuin and subject and co-writer Andrea Werhun take viewers on a very eventful journey through Werhun’s experiences as an escort and exotic dancer, a career she began when she was a university student in Toronto. As Werhun recounts with great flair and frankness in the film’s stylized, fourth-wall-breaking re-enactments, there were many lessons to be learned and challenges to be faced, including the lack of protection from toxic clients and her own internalized versions of the shame that society associates with female pleasure and the sex industry.

In this mesmerizing film by Kunsang Kyirong, the deepening bond between two young women threatens to have repercussions throughout a community of Tibetan immigrants living in an apartment complex in west Toronto.

Indeed, one of the most impressive aspects of this fully realized first feature is Kyirong’s ability to combine a detailed portrait of this wider network of intersecting lives with a similarly specific and empathetic look at two people resisting the roles they’ve been assigned.

Ten years after moving to Vancouver, struggling visual artist Kana Yamamoto (Mayumi Yoshida) returns to Tokyo to attend the funeral of her beloved grandmother. Arriving in Japan, she rekindles a tentative flame with her bashful ex-boyfriend, Hiro (Ryo Tajima), an aspiring thespian who vanished from her life a decade prior. As Kana digs deeper into her grandmother’s past, she uncovers a family secret that prompts her to reconsider everything she thought she knew about love, duty, and belonging.

A feature adaptation of writer/director/actor Mayumi Yoshida’s autofictional short film of the same name, Akashi’s largely black-and-white cinematography evokes the solemnity of Kana’s grief, with select scenes brought to life in vivid colour. Themes of identity, class struggle, and artistic aspiration coalesce as the film shifts between the past and present to explore contrasting tales of star-crossed romance. Awash in synth soundscapes and driven by emotionally resonant performances, this tender drama asserts love’s ability to bridge any and all distances.