https://www.conqueringlionpictures.com/allprojects daily 0.75 2022-06-29 https://images.squarespace-cdn.com/content/v1/589c7bd8893fc03f8b784d22/1655998095471-Y96JLSJHU21U2BS0JT1B/BROTHER_Credit-GuyGodfree_bt.png All Projects - Brother https://images.squarespace-cdn.com/content/v1/589c7bd8893fc03f8b784d22/1655998095471-Y96JLSJHU21U2BS0JT1B/BROTHER_Credit-GuyGodfree_bt.png All Projects - Brother https://images.squarespace-cdn.com/content/v1/589c7bd8893fc03f8b784d22/1487959790063-0I8WNCE0HOM3JZU1J1AD/10421973_991018917584525_7401700098110484629_n.jpg All Projects - The Book of Negroes https://images.squarespace-cdn.com/content/v1/589c7bd8893fc03f8b784d22/1486662497380-8BBM8I0RBW1U9ELYZCW9/Flex_and_Rossif.JPG All Projects - Poor Boy's Game https://images.squarespace-cdn.com/content/v1/589c7bd8893fc03f8b784d22/1486662525749-L2J4M2A7C55YXNA5KT8V/10320970_577960865658062_6489652180722169634_o-1024x681.jpg All Projects https://images.squarespace-cdn.com/content/v1/589c7bd8893fc03f8b784d22/1486661388859-8VR51EXOZKXS6YYMYAHU/LWM_102-900x450.jpg All Projects - Lie With Me https://images.squarespace-cdn.com/content/v1/589c7bd8893fc03f8b784d22/1486662352563-SC0KR8MLQ9YANGLS16L2/7-1024x665.jpg All Projects - Love Come Down https://images.squarespace-cdn.com/content/v1/589c7bd8893fc03f8b784d22/1490203833961-IATZYB60NBHKU584X0B5/716.jpg All Projects - RUDE https://www.conqueringlionpictures.com/productions daily 0.75 2017-03-22 https://images.squarespace-cdn.com/content/v1/589c7bd8893fc03f8b784d22/1487965237006-VYPJ07339825FVK20W0L/10320970_577960865658062_6489652180722169634_o-900x450.jpg Productions - The Book Of Negroes https://images.squarespace-cdn.com/content/v1/589c7bd8893fc03f8b784d22/1487965237006-VYPJ07339825FVK20W0L/10320970_577960865658062_6489652180722169634_o-900x450.jpg Productions - The Book Of Negroes https://images.squarespace-cdn.com/content/v1/589c7bd8893fc03f8b784d22/1487966166324-EHXSQGT6Z68QRPDA5F7M/Poor-Boys-Game-images-4d5f888a-930f-4ebf-a062-a87197f5084.jpg Productions - Poor Boys Game https://images.squarespace-cdn.com/content/v1/589c7bd8893fc03f8b784d22/1487965241137-A1F3Y6F1ANTCYR3ZO62Y/LWM_102-1024x671.jpg Productions - Lie With Me https://images.squarespace-cdn.com/content/v1/589c7bd8893fc03f8b784d22/1487965240497-QJNC17GWXDKWBNF7AIPH/7-1024x665+%281%29.jpg Productions - Love Come Down https://images.squarespace-cdn.com/content/v1/589c7bd8893fc03f8b784d22/1490203640970-Y65Y0IX2444915F9M1HL/716.jpg Productions - Rude https://www.conqueringlionpictures.com/conqueringlion daily 0.75 2015-08-25 https://www.conqueringlionpictures.com/news daily 0.75 2026-11-10 https://www.conqueringlionpictures.com/news/2026/11/10/aaron-pierre-in-conversation-with-barry-jenkins-on-clement-virgo monthly 0.5 2026-11-10 https://www.conqueringlionpictures.com/news/2026/11/10/a-trailblazer-at-tiff-and-beyond-clement-virgos-stories-of-tenderness-and-desire monthly 0.5 2026-11-10 https://images.squarespace-cdn.com/content/v1/589c7bd8893fc03f8b784d22/9ff5377c-4168-431a-85fc-9f6e31e9586e/Screenshot+2026-11-10+114302.png News - A trailblazer at TIFF and beyond: Clement Virgo’s stories of tenderness and desire As the 51st Toronto International Film Festival takes over the city Sept. 10-20, this series of articles examines some of the Canadian directors whose lives and careers have been shaped by TIFF. The setting is Toronto, sometime in the mid-90s. Garvia Bailey – now a veteran broadcaster and arts journalist – was part of a collective of artists and musicians who all hung out on Queen Street West. A friend introduced her to an acquaintance. “They said, ‘This is Clement Virgo. He’s a filmmaker. Do you know the film Rude?” recalls Bailey. “And I was like, ‘What?!’, because I remember Rude being the type of film that felt like no one else had really done anything like it; something that was raw, gritty and unapologetically Toronto.” Rude, released in 1995, tells three interconnected tales of Black Canadian life in Toronto’s economically disadvantaged Regent Park neighbourhood. It was the first full-length dramatic film helmed by a Black Canadian director and features an all-Black cast. Bailey says it reminded her of the kind of stories Spike Lee and John Singleton were telling in the U.S. “But nobody [before Virgo] was telling the story of what it was like in Regent Park, the story of immigrants and the children of immigrants, with kind of a West Indian slang to it, with an incredible soundtrack,” she says. “I was blown away by the film, and then I was blown away by Clement Virgo himself. He was the humblest, sweetest, nicest person.” Bailey wasn’t the only person to be struck by Virgo’s directorial debut, made in partnership with collaborator Damon D’Oliveira. It played at the Cannes Film Festival and went on to receive an honourable mention at TIFF from the Best Canadian Film jury. In 2017, TIFF screened the film again as part of its Cinematheque program, which is dedicated to showcasing Canadian and international films. “It is such a singular work,” says Robyn Citizen, director of programming, Festival and Cinematheque at TIFF. She points out that the film introduced many Virgo signatures, most notably his unique perspective on Black diasporic masculinity. “It’s quite tender. It’s also quite bold. It’s infused with this desire,” she says. “All of his work has this through line of evolved masculinity and concerns with desire that is really fascinating.” Bailey uses almost identical vocabulary to describe Virgo’s directorial credits, which span 30 feature films and shorts and notable television series like The Wire and The Book of Negroes. “There is a very real tenderness to the way that he makes a film, the way he directs, the way he writes,” she says. “As soon as you see it, you can see the poetry and the tenderness of it, even though he sometimes deals with super hard, gritty topics or super sexy topics.” Whether he’s telling a story about two young men in the early days of Toronto’s hip hop scene in Brother, a couple embarking on an intense intimate relationship in Lie With Me, or two half-brothers struggling in the wake of childhood trauma in Love Come Down, there is “this soft little heart at the centre of all of the work, even with characters that seem at first to be aggressive or closed off,” says Citizen. “Quite quickly that unravels, and you see the tender soul.” She notes that he was an early trailblazer in this regard. “The vulnerability of his characters was something I wasn’t seeing in other cinemas.” In addition to screening several of his films at TIFF, Virgo has maintained a close relationship with his hometown film festival. He’s given talks and mentored aspiring filmmakers through TIFF events. “There’s a continuing mutual support from the organization for his work, and he’s a big advocate for TIFF as well,” says Citizen. Over the years, Virgo’s films and series have won numerous awards, including 12 Canadian Screen Awards for Brother and 11 for The Book of Negroes. Yet more than thirty years into his career, he continues to evolve and experiment. His latest film, Steal Away, is an Afrofuturist thriller that explores the complex racial and power dynamics between two young women. Co-written by Virgo and his creative and life partner Tamara Faith Berger, the film has a feminist bent. “That’s in keeping with his ability to always be pushing the envelope,” says Bailey. “He’s ahead of the game all the time, ahead of what people are thinking about and putting on the screen.” For Bailey, Virgo’s name belongs in the same pantheon of great Canadian storytellers as Leonard Cohen, Margaret Atwood and Lawrence Hill. “He tells stories that are uniquely Canadian in a uniquely Clement Virgo way,” she says. “He’s not afraid of busting it open, and that lack of fear is something that young Canadian filmmakers can look to as a North star.” A scene that mattered: Steal Away, 2025 In Steal Away, Fanny (Angourie Rice) is a sheltered teenager from a wealthy family and Cécile (Mallori Johnson) is a refugee seeking asylum who comes to live at Fanny’s house. Early on, there is a scene where Fanny takes the stage to sing Edith Piaf’s “Non, je ne regrette rien” at a party while Cécile watches her from the crowd. “Everyone is around them, but the connection between the two characters is so pregnant that it feels like those deep exhales when you’re reading a piece of poetry and one line just stops you in your tracks,” Bailey says. This is signature Virgo, she adds. “There’s a lot of that in his filmmaking, where he just allows the viewer to breathe into the moment.” https://images.squarespace-cdn.com/content/v1/589c7bd8893fc03f8b784d22/963b72f3-901a-449d-aa94-b79e89c5ab3a/Screenshot+2026-11-10+114439.png News - A trailblazer at TIFF and beyond: Clement Virgo’s stories of tenderness and desire https://www.conqueringlionpictures.com/news/2026/11/10/tiff-review-mallori-johnson-and-angourie-rice-entrance-in-the-alluring-mistifying-steal-away monthly 0.5 2026-11-10 https://images.squarespace-cdn.com/content/v1/589c7bd8893fc03f8b784d22/6091a36f-2b94-40d0-9411-f28aeea83c15/Screenshot+2026-11-10+114439.png News - TIFF Review: Mallori Johnson and Angourie Rice Entrance in the Alluring, Mistifying ‘Steal Away’ Being in a new place isn’t easy, and it can take some time to adjust to local customs and occurrences. Moving from halfway across the world can be a shock, but part of that also comes from the way locals treat outsiders and newcomers. Steal Away sees one young woman arriving to another’s home, full of life and vibrancy, unaware of the secrets where she’s just come to holds. Set away from a distinguishable time or place, this is a haunting, hypotonic film that is defined by a foreboding beauty, masking a darkness that may eventually overcome the light within its two protagonists. Steal Away begins with a prelude about the journey women once had to take and a tale of two princesses before opening on Cécile (Mallori Johnson) arriving at a large home where she soon meets Fanny (Angourie Rice). Cécile is not the first young woman from a faraway country that Fanny’s mother Florence (Lauren Lee Smith) has taken in, determined to help those she perceives as less fortunate as a way of giving back to the world. As Cécile develops a close romantic relationship with Rufus (Idrissa Sanogo Bamba), the son of the gardener, Fanny watches in awe, both admiring and jealous of her new housemate. This film, from director Clement Virgo and screenwriter Tamara Faith Berger, is an interesting specimen. It’s based on the nonfiction book Steal Away Home by Karolyn Smardz Frost, which takes place in the 1800s. While the clothing and vehicles seen in this film place it much closer to the present day, it’s never precisely dated. Similarly, while Cécile confirms which African country she comes from, where this film is set remains a mystery. Fanny’s accent provides some clue that it’s likely the United States or Canada, and there are posters decrying the flow of immigrants and calling for citizens to be vigilant and report traitors, suggesting a disconcerting societal shift. The film’s summary provides only the context of “an alternate universe that echoes the Deep South.” Not being certain of this film’s setting isn’t a detriment, but it does speak to this film’s overall nature, which tends towards the mystifying. There is something unsettling going on in this mystery place, and both Fanny and Cécile experience haunting moments and dreams that make them wonder whether they actually know what’s happening in their orbit. The way in which Fanny watches Cécile and longs for the confidence and allure she radiates is also enough to keep audiences on edge, since while there are certainly more nefarious elements at play, both manmade and potentially supernatural, Cécile is teaching Fanny much more about life and sexuality than she’s ever considered. Seeing what you don’t have can trigger an ability to do unbelievable things. Fortunately, this film takes less expected directions, though nothing is finite and there are still many questions left by its end. Leading this captivating and unnerving film are two actresses who commit fully to their characters even as there is so much audiences don’t know and never learn about them. They portray them as who they are at this particular moment in whatever time it is, and it’s mesmerizing to watch them both. Cécile and Fanny are both young and only know what they’ve experienced or been told, and it’s fascinating to see what Johnson and Rice are able to do with that minimal information. Overall, there’s an appeal to how this film plays with what audiences don’t know and uses it to enhance its dreamlike nature, but that approach also doesn’t lead to a fully satisfying viewing experience. Movie Rating: 6/10 https://www.conqueringlionpictures.com/news/2026/11/10/reelworld-announces-damon-doliveira-and-kerry-swanson-as-2026-honourees monthly 0.5 2026-11-10 https://www.conqueringlionpictures.com/news/2026/11/10/review-clement-virgos-steal-away-turns-a-toronto-freedom-story-into-a-haunting-thriller monthly 0.5 2026-11-10 https://images.squarespace-cdn.com/content/v1/589c7bd8893fc03f8b784d22/ddb140f7-6f6b-45da-9d84-47312f37a22b/Screenshot+2026-11-10+114439.png News - REVIEW: Clement Virgo’s ‘Steal Away’ turns a Toronto freedom story into a haunting thriller https://www.conqueringlionpictures.com/news/2026/11/10/steal-away monthly 0.5 2026-11-10 https://images.squarespace-cdn.com/content/v1/589c7bd8893fc03f8b784d22/03dd6597-fe94-4d3f-8009-a5bd39cbec65/Screenshot+2026-11-10+114439.png News - Steal Away Clement Virgo’s follow up to his masterful 2022 film Brother, opens with an ominous warning that “once upon a time, young women traveled to a strange and ruthless land…” Setting the stage for his dark fairy tale, the director transports the viewer into a Afrofuturistic world that seems to bend time and space. Co-written by Virgo and Tamara Faith Berger, a novelist and the director’s partner in real-life, the film takes place in an unnamed land that carries the xenophobia of today, as anti-immigrant posters adorn shop windows and alleys, and the police surveillance of an Orwellian future. A world where whiteness means affluence and freedom, and being a person of colour or an immigrant is grounds for servitude. It is in this seemingly timeless space, where the clothing denotes both the past and future, that the audience is introduce to Cécile (Is God Is’ Mallori Johnson), an immigrant from Africa who, along with her mother, arrives at the luxurious estate of Florence (Lauren Lee Smith) and her daughter Fanny (Angourie Rice). Waiting to get papers that will allow for passage to the north, where freedom awaits, Cécile bides her time working for the wealthy family. Part of her duties include being a companion to Fanny, even moving into the home to be at the teen’s beck and call. Polar opposites, Cécile is confident and independent while Fanny has lived a sheltered life, the duo find themselves on parallel journeys to their own sexual awakenings. Immediately drawn to the gardener’s handsome son, Rufus (Idrissa Sanogo), who Fanny also has eyes for, Cécile wastes no time getting to know the young man. Just as Cécile becomes infatuated with Rufus, Fanny becomes obsessed her. Culturally appropriating her new friend’s hairstyle and traditional clothing, the young heiress embarks on her quest of sexual exploration. As both teens navigate their own journey of self-discoveries, their eyes begin to open to the fact that all is not well at Florence’s estate. Not only has the matriarch come down with an illness, but the hazy truth behind why so many of Fanny’s previous companions have mysteriously gone missing comes into focus. Inspired by Karolyn Smardz Frost book ‘Steal Away’, which told the story of the real-life friendship between a white debutant and an enslaved girl in the Antebellum South, Virgo’s coming-of-age tale offers an innovative approach to discussing slavery, female body autonomy, xenophobia, and the bonds that transcend race and class. The blending of genre gives the film an otherworldly feel that is hard to pin down. At times it hints to Afro-futurist works like Neptune Frost and others points it feels like a combination of other cinematic works. Even when its various influences are apparent, Steal Away manages to keep its own voice distinct. One that understands the weeds of slavery, and the economic structure it helped to create, are still prevalent in the garden of today’s inequality. While it is great to see Virgo working in the genre space again, as he did with the 2024 Colman Domingo starring series The Madness, not all the ideas in the film meld cohesively here. Part of the problem is that the parallel journey between the young women do not carry equal weight. Cécile, thanks to Johnson’s riveting and layered performance, is by far the more interesting of the two and is the one who demands the audience’s attention. While Rice is quite good as the sheltered and naïve Fanny but, since so much of her character’s growth is dependent on Cécile being the North Star, her moment of heroism feels unearned. The audience is always aware that the stakes never feel as dire for the debutant as they are for her dark-skinned companion. Furthermore, since Fanny’s moments of action is dependent on Cécile being stripped of all sense of agency while in a physically weakened state, Steal Away comes close to tipping its unbalanced scale towards a white saviour narrative. Thankfully in Virgo’s skillful hands the film never fully topples in that direction. In Virgo’s hands, even the messy messaging within the pages of the film still offers much to read into. An absorbing and thought-provoking work, Steal Away will spark plenty of discussion. During its most assured moments, the film embraces the complexities of female desire. Just as they did with there 2005 collaboration Lie with Me, an underrated gem that was based on Berger’s book, Virgo and his screenwriter capture the sense of empowerment that comes with exploring sexuality on one’s own terms. Couple this with the commentary on the legacy of slavery, especially in regard to today’s anti-immigrant discourse, and you have an ambitious work that marches to its own unique beat. Steal Away may not always hit the societal targets it shoots at, but it’s fascinating to observe it take aim in the first place. https://www.conqueringlionpictures.com/news/2026/11/10/steal-away-3-stars-a-thinker-a-movie-with-big-ideas-that-values-subtlety monthly 0.5 2026-11-10 https://www.conqueringlionpictures.com/news/2026/11/10/steal-away-is-a-classic-queer-story monthly 0.5 2026-11-10 https://images.squarespace-cdn.com/content/v1/589c7bd8893fc03f8b784d22/4c758a7e-8b14-4b10-be1f-c6a92594bfba/Screenshot+2026-11-10+114439.png News - ‘Steal Away’ is a classic queer story https://www.conqueringlionpictures.com/news/2026/11/10/clement-virgo-says-steal-away-is-his-most-ambitious-work-yet monthly 0.5 2026-11-10 https://images.squarespace-cdn.com/content/v1/589c7bd8893fc03f8b784d22/95527e57-14ea-48da-aa1b-ed08f216e266/Screenshot+2026-11-10+114439.png News - Clement Virgo says Steal Away is his most ambitious work yet Clement Virgo doesn't talk about his film the way you might expect — especially for a director whose resume includes the legendary series The Wire, the critically acclaimed adaptation of The Book of Negroes and Brother, which swept the Canadian Screen Awards in 2023. But when the Canadian director is asked whether he's nervous about how Steal Away — in theatres Friday — will be received by a wider audience, there’s anything but confidence in his voice. "Absolutely, man. I was nervous. I don't know if I'm completely successful — I'm hoping I'm successful at it," he said. "But as an artist, all you can do is scratch your own itch and experiment and push. And this film really … gave me butterflies trying to figure [it out], trying to untangle it." Clement Virgo arrives on the red carpet for Steal Away at the Toronto International Film Festival last September. (Laura Proctor/The Canadian Press) Given the fact it is what he describes as his most ambitious film yet, a certain amount of nervousness makes sense. Written with the help of his wife, author Tamara Faith Berger, Virgo adapted Karolyn Smardz Frost's fictionalized account of a 15-year-old girl's escape to Canada via the Underground Railroad. But where Steal Away Home takes place in the 19th century, Steal Away shifts to the future — reimagining America's past as a futuristic fairytale. The film, which does not feature enslaved people directly as Virgo wanted to steer clear of repeating oppressively bleak depictions of Black futures, centres around two main characters: Cécile (Mallori Johnson) and Fanny (Angourie Rice). We follow the African traveller Cécile as she stumbles on Fanny's home and family — white northerners in a Belgium that comes across like a somewhat futuristic, somewhat Antebellum South interpretation. The family's stately manor seems to offer opportunity and freedom for Cécile — that is, until Fanny's obsession with her, and the potentially supernatural secrets hidden in that house, push things to a boiling point. Who are the Canadians pushing culture forward right now? There are a mix of themes, from coming-of-age to psychosexual thriller, horror, Afrofuturism influences and more — all deliberately chosen topics that compete for air in a kaleidoscopic, admittedly confusing fable. But it is Afrofuturism that appears most prominent in Steal Away. There are extravagant costumes fashioned from a hyper-modern Congolese culture and suggestions of a powerful but vague Black-led world power, somewhere obscured and out of frame. Both serve to blur the time period Virgo is depicting and the balance of power in his fictional world, which seems intensely modern and potentially more balanced. And yet also doesn't. That, Virgo says, isn’t an accident. "I wanted to connect the sense of what happened in the Antebellum South during slavery ... to what happened during the Second World War, what happened in the 20th century, [what happened] with colonialism," he said. "There's always a sense that that's history, and that's dead, and that will never happen again. But as we see happen[ing] in front of our eyes now ... history doesn't repeat, but it rhymes, as Mark Twain says." Hopeful futures Steal Away also marks a shift in Virgo's own outlook. To hear him describe it, his arrival to Canada as an immigrant in the late 1970s was defined by a sense of "welcome possibilities." And his films, which often deal with Black experiences, have often been coloured by an inherent assumption of steady, if slow, cultural progress. This project, meanwhile, was born from something different. "There's a sense of 'are we truly making progress,'" he says, referencing pushback against the idea that immigration is beneficial to society. "If you look at history — if you look at say the last couple hundred years — there's a sense of progress, and then there there's a reaction to that progress. And then there's a push forward again to more progress." Rice, left, and Johnson appear as Fanny and Cécile. (Elevation Pictures) Under the layers of metaphor and symbolism, Virgo says the question guiding Steal Away is really: Is progress ever permanent? How successful he is is up to interpretation — the film's heady and complicated intentions make for an occasionally inaccessible narrative. Virgo also admits audience appetites for films that make you work have reached a somewhat dismal low point. But either way, his answer to that question is tied up in hope. "I'm here, you're here, because somebody did not give up and survived," he said. "And our part of our job is to make sure to push that idea forward into the future." https://www.conqueringlionpictures.com/news/2026/11/10/new-movies-in-theaters-the-odyssey-and-steal-away monthly 0.5 2026-11-10 https://images.squarespace-cdn.com/content/v1/589c7bd8893fc03f8b784d22/ff6ebc52-7c59-4156-a507-3aa60464f7b0/Screenshot+2026-11-10+114439.png News - New movies in theaters – The Odyssey and Steal Away https://www.conqueringlionpictures.com/news/2026/11/10/steal-away-a-simmering-sexually-charged-what-if-story-about-a-refugee-purging-society monthly 0.5 2026-11-10 https://images.squarespace-cdn.com/content/v1/589c7bd8893fc03f8b784d22/ddff1c27-8588-4d8f-a4a3-308ef9540261/Screenshot+2026-11-10+114439.png News - Steal Away: A Simmering, Sexually Charged What-If Story About a Refugee-Purging Society https://www.conqueringlionpictures.com/news/2026/11/10/clement-virgos-steal-away-takes-inspiration-from-history monthly 0.5 2026-11-10 https://images.squarespace-cdn.com/content/v1/589c7bd8893fc03f8b784d22/53d2af7d-2b9c-443d-90fe-a34645039fe7/Screenshot+2026-11-10+114439.png News - Clement Virgo’s Steal Away takes inspiration from history https://www.conqueringlionpictures.com/news/2026/11/10/tiff-interview-steal-away-co-writer-tamara-berger-and-director-clement-virgo monthly 0.5 2026-11-10 https://images.squarespace-cdn.com/content/v1/589c7bd8893fc03f8b784d22/2774d0d4-8de4-49ab-8081-26d8236c743c/Screenshot+2026-11-10+140201.png News - TIFF Interview: “Steal Away” Co-Writer Tamara Berger and Director Clement Virgo https://images.squarespace-cdn.com/content/v1/589c7bd8893fc03f8b784d22/33903f07-39cd-467d-8bf7-d87daa84677a/Screenshot+2026-11-10+133251.png News - TIFF Interview: “Steal Away” Co-Writer Tamara Berger and Director Clement Virgo https://www.conqueringlionpictures.com/news/2026/11/10/what-to-watch-in-july-2026-she-does-the-city monthly 0.5 2026-11-10 https://www.conqueringlionpictures.com/news/2026/11/10/steal-away-review-desire-wears-many-masks monthly 0.5 2026-11-10 https://images.squarespace-cdn.com/content/v1/589c7bd8893fc03f8b784d22/d8f03ab9-0b8f-4b3c-a269-69ec228c58ad/Screenshot+2026-11-10+114439.png News - Steal Away Review: Desire Wears Many Masks https://www.conqueringlionpictures.com/news/2026/11/10/tiff-2025-christy-couture-steal-away monthly 0.5 2026-11-10 https://images.squarespace-cdn.com/content/v1/589c7bd8893fc03f8b784d22/076b6175-49b4-4c61-a558-9c64e8af5a16/Screenshot+2026-11-10+114439.png News - TIFF 2025: Christy, Couture, Steal Away https://www.conqueringlionpictures.com/news/2026/11/10/steal-away-review-clement-virgos-ambitious-afrofuturist-thriller-explores-sexual-awakening monthly 0.5 2026-11-10 https://images.squarespace-cdn.com/content/v1/589c7bd8893fc03f8b784d22/810377e9-d74a-4fba-b41c-e1b30c6ccc57/Screenshot+2026-11-10+114439.png News - ‘Steal Away’ review: Clement Virgo’s ambitious afrofuturist thriller explores sexual awakening Clement Virgo’s fantastical afrofuturist thriller Steal Away finds inspiration in the long abolitionist history of the gospel song bearing the same name. It tells the story of Cécile (Mallori Johnson), a beguiling teenager who arrives with her mother to serve a magnanimous Florence (Lauren Lee Smith) and her daughter Fanny (Angourie Rice) on their vast estate. At the heart of Florence’s charity is a dark secret that is difficult to see coming. Virgo’s narratively messy yet admirably audacious mixing of influences – Octavia Butler, Angela Carter, slave narratives and spirituals—makes for an enticing and inventive stew. Premiering at Toronto, the follow-up to Virgo’s Aaron Pierre-led Brother (2022) is an English and French-language adaptation by Virgo and his novelist spouse Tamara Faith Berger of Karolyn Smardz Frost’s narrative non-fiction work Steal Away Home. The dense material combines each partner’s thematic interests – Black–led immigrant stories and tales about female desire – to form a volatile fictional world. With its YA tropes, adult psychosexual angst and identity-based fears, Steal Away may appeal to Black horror enthusiasts who gravitated to The Woman in the Yard and to those who recently watched Rice play a similarly aloof character in the Mean Girls remake. Steal Away takes place in an unknown country that seems to defy time and space. The vintage cars, for instance, establish that it is not Antebellum America, but neither is it a contemporary setting. The surveillance state posters plastered across town alongside armed police searching for migrants suggest a dystopian world that is not too far from our own. Nevertheless, the power structure and the portrayal of Black folks toiling the land while White people live freely recall Apartheid South Africa. Into this strange land Cécile and her mother arrive in traditional African finery. In America, before slavery’s abolishment, the enslaved would often use spiritual songs like ’Steal Away’ to encourage runaways up the Ohio river towards liberation. Fanny and her mother have a similar destination in mind; they are anticipating that Florence will grant them the permanent papers necessary to facilitate their journey north to freedom. But the pair suffer a setback when a gaunt Florence begins experiencing stomach pains that permanently debilitate her. In the meantime, Cécile forms two close bonds. The first is with Rufus (Idrissa Sanogo Bamaba), a young man whose intense magnetism quickly ensnares a sexually curious Cécile. The second is with Fanny, who warns Cécile that the servants who came before her were never seen again. The longer the 16-year-old Fanny spends with Cécile, the more Fanny attempts to become Cécile by adopting her hairstyle, clothes and traditions. Fanny’s brazen appropriation is all in service to her own sexual awakening, which finds her attracted to Black men like Rufus. Thematically, Steal Away plays fast and loose with genre tropes and historical allusions. It begins with the words, “Once upon a time” denoting a fairytale approach. Images and messages reoccur, frequently mirroring the repetition common to slave spirituals. As such, the film persistently issues warnings about the medical system, xenophobic police and untrustworthy white folks like Fanny’s flighty grandmother or her patronizing mother. Conversely, guides signalling a path to freedom routinely appear: a local barber tells of an underground railroad, a gullah geechee woman urges Cécile to flee, and the sound of water frequently invades the soundscape. Unfortunately, due to Clement’s aesthetic choices, these threads often tangle. The blocking sometimes suggests the director is trying to hide the budgetary seams of the opulent costuming, lavish set dressings, and a diverse array of background actors. Other choices border on camp, such as a swarm of CGI bees pollinating flowers, a mad dash with an obviously fake pregnancy belly, a box of neatly wrapped photos breaking open the film’s central mystery, and the off-kilter editing that haphazardly jumps through scenes with little subtlety. And yet it is difficult to ignore the sheer scale of what Virgo has attempted. The idea of Fanny paying penance for the sin of her family is intriguing and the film’s interest in collapsed timelines is reminiscent of Haile Gerima’s Sankofa. While it may not be obvious whether Rice’s stilted performance is a repudiation of YA earnestness, Johnson is a revelation, holding our attention with a captivating presence. https://www.conqueringlionpictures.com/news/2026/11/10/tiff-review-steal-away monthly 0.5 2026-11-10 https://images.squarespace-cdn.com/content/v1/589c7bd8893fc03f8b784d22/923b8390-3525-452a-aa1b-26f67355ce09/Screenshot+2026-11-10+114439.png News - TIFF Review: “Steal Away” https://images.squarespace-cdn.com/content/v1/589c7bd8893fc03f8b784d22/1cc79f66-f5dc-464f-b50d-500983851fc9/Screenshot+2026-11-10+133251.png News - TIFF Review: “Steal Away” https://www.conqueringlionpictures.com/news/2026/11/10/canadas-top-25-entertainment-dealmakers-and-decision-makers monthly 0.5 2026-11-10 https://images.squarespace-cdn.com/content/v1/589c7bd8893fc03f8b784d22/39e33b2f-4955-481f-aaf6-99b957e4f7b1/Screenshot+2026-11-10+114439.png News - Canada’s Top 25 Entertainment Dealmakers and Decision-Makers https://www.conqueringlionpictures.com/news/2026/11/10/how-a-real-life-story-of-slavery-inspired-this-fantastical-transhistorical-thriller monthly 0.5 2026-11-10 https://images.squarespace-cdn.com/content/v1/589c7bd8893fc03f8b784d22/9a78ed7f-4432-4791-8f40-ff6f896e2161/Screenshot+2026-11-10+114439.png News - How a real-life story of slavery inspired this fantastical, transhistorical thriller Cutaways is a personal essay series where Canadian filmmakers tell the story of how their film was made. This TIFF 2025 edition by directors Tamara Faith Berger and Clement Virgo focuses on their film Steal Away. In her book Steal Away Home, Canadian historian Karolyn Smardz Frost offers a meticulously researched account of the unusual real-life relationship between two young women in antebellum Kentucky: Frances "Fanny" Thruston, a white debutante, and Cecelia Reynolds, an enslaved girl "gifted" to Fanny at the age of nine. Teenaged Cecelia eventually escaped during a Thruston family vacation in Niagara Falls, finding freedom in Canada, but letters exist between the two long after. Smardz Frost's riveting book was a jumping-off point for us to explore the difficulties of young female relationships in a society ruled by extreme racial inequity in our film Steal Away, which makes its world premiere at TIFF this week. The idea of a young white woman and a young Black woman thrust together in the same sleeping quarters, both coming of age, was irresistible as dramatic fodder. Yet as we debated deeply, we realized that we didn't want our film to be directly about slavery; we wanted to tell a more contemporary story in a kind of transhistorical world — an analog present that evoked both the Deep South and colonial Europe. Inspired by Einstein, who wrote that the distinction between past, present and future is only a persistent illusion, we worked on world-building for our film using a mélange of anachronistic technology, futuristic fashion and timeless teenage emotions. Playing with time, place and genre at the screenplay stage proved to be crucial to our process of writing a female-led thriller shot through with real history. In classic thrillers, it's male protagonists who usually venture deep into shadowy worlds to uncover truths that are larger and more sinister than they first realize. In Steal Away, we focused on the women, following the journey of a young African traveller Cécile, who finds herself drawn into a seemingly safe haven in Fanny's family home. Filled with sexual agency and obsessed with seeking full freedom in the mythical North, Cécile slowly realizes that reality is not as it seems in this stop on her journey. Fanny, for her part, becomes obsessed with Cécile, mirroring her and using her to embark upon her own emergent sexual and political coming-to-be. During our process of writing and imagining, we looked to Afrofuturist films like Anisia Uzeyman and Saul Williams's Neptune Frost and other speculative, world-building films like David Lynch's Blue Velvet and Charles Laughton's The Night of the Hunter. Mirrored visions of femininity, as in Lynch's Mulholland Drive and Ingmar Bergman's Persona, also inspired our own world of danger, sensuality and risk. We knew that this film was going to ride or die on casting. And as writers, it was heartening to see the ways that young actors really wanted to dig their teeth into the roles of Fanny and Cécile. Our dual protagonists are complicated characters, operating in a world where forces reign beyond their control. Teenage girls in all eras are also often magnets for their culture's sexual anxieties, and all the actors who read for these roles wanted to embody this unbridled rebellion and vulnerability in their own way. When we saw American actor Mallori Johnson's tape (reading for Cécile), we knew that she would captivate audiences with her deeply intelligent beauty and matchless talent. Mallori played Cécile as rebellious and independent, exactly as we had imagined her. Seeing Australian actor Angourie Rice read for Fanny felt pitch-perfect, too. She had the right amount of awkwardness, playing Fanny's naiveté and erotic desires against each other. Angourie understood that Fanny was in a bubble that needed to be popped. The Canadian actors who came into our world for this film also enchanted us completely. There was the young Idrissa Sanogo as Rufus, who the camera just loved, and Gloria Mampuya, who broke our hearts in her brilliant portrayal of Muna. We were so lucky to work with Arnold Pinnock, who plays Washington, and Ronnie Rowe, who plays Dr. Fisher. And Lauren Lee Smith — who we worked with on our first film, Lie with Me, 20 years ago — swept into this project like a miracle, blowing us away as Florence, the driving force of the movie that everything else rides on. It was truly incredible to collaborate with Lauren again. She completed the circle of Steal Away. Shooting in Belgium for four months with a talented Belgian, Dutch, Swedish, Mexican and Canadian crew was a very exciting time, with our 19-year-old son working in film for the first time as a PA. The shoot was full of energy and endurance, shuttling from the Han caves in the Ardennes to Lozer Castle just outside of Ghent. Each location felt dense with the resonances of the European, African and Canadian histories of colonialism — all of which we were trying to weave together in the film. Steal Away is a story that is meant to be cathartic, forcing us to identify with historical inequities and be with them deeply through a kind of emotional provocation and rebirth. But ultimately, we wanted to film a hopeful ending to this story that disgorged so much darkness. It was fitting, then, that the process of making Steal Away was not only cathartic but hopeful for us, too, as we embarked on a new path of collaboration and partnership. https://www.conqueringlionpictures.com/news/2026/11/10/angelina-jolie-jacob-elordi-tessa-thompson-and-more-visit-la-times-studio-at-tiff monthly 0.5 2026-11-10 https://images.squarespace-cdn.com/content/v1/589c7bd8893fc03f8b784d22/1794334667273-RVIK5UYP3DLX4BLBSS6P/Screenshot+2026-11-10+131725.png News - Angelina Jolie, Jacob Elordi, Tessa Thompson and more visit L.A. 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Angourie Rice & Mallori Johnson Leading Canadian-Belgian Thriller ‘Steal Away’, WME Independent Handling Sales - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.conqueringlionpictures.com/news/2024/7/12/toronto-author-catherine-hernandezs-latest-novel-behind-you-optioned-for-film-and-television monthly 0.5 2024-07-12 https://images.squarespace-cdn.com/content/v1/589c7bd8893fc03f8b784d22/b516fa1f-3208-4513-82a2-5f561698e7e1/image002-1+%281%29.jpg News - Toronto author Catherine Hernandez's latest novel Behind You optioned for film and television - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.conqueringlionpictures.com/news/2024/7/12/clement-virgos-brother-wins-2024-naacp-image-award monthly 0.5 2024-07-12 https://images.squarespace-cdn.com/content/v1/589c7bd8893fc03f8b784d22/f9950063-de58-46f8-be06-8c40231141e4/Brother_Courtesy-of-Elevation.jpg News - Clement Virgo’s Brother wins 2024 NAACP Image Award - 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