The 2010 edition of the Toronto International Film Festival (TIFF) seemed particularly hysterical. Toronto crowds have proved reliable predictors of future box office success – Slumdog Millionaire (2008) was rescued from straight-to-DVD obscurity at TIFF, and Precious (2009) was an audience favourite here before becoming an Oscar contender. It’s a track record that contributes to the sense that TIFF has arrived, it now being considered second in importance only to Cannes in terms of industry weight. Burnishing this image is the glamorous new TIFF Bell Lightbox, home to the festival and the branding of its corporate sponsor Bell, the hated pretty much by everyone Canadian telephone conglomerate. Not that we live in an age where anyone cares about this kind of thing. One of the main venues for TIFF screenings was a big commercial movie complex that is mystifyingly (to me at least) branded with the name of a bank. Regardless, the Lightbox is a glorious addition to the city’s art ecosystem, a reassuring sign that, better late than never, Toronto has caught on to the prestige and economic power that culture can bring to a city.