I discover the TIFF press lounge on this, the last day of press screenings. The lounge comes complete with a row of 20-inch screen iMacs, black leather couch and chairs, tall tables, cafe tables, plus complimentary breakfast, brunch and lunch service.

I choose the smoke salmon, croissant and yogurt fruit cup, trying not to drop any of it on my iPad as I gnosh.

The one consolation in finding the lounge so late in the game is the assumption that fellow TORO film writer Jesse Skinner hasn't found it at all, which effectively earns me bragging rights.

Yuk-Yuks founder and recent Metro film writer, Mark Breslin (with buddy Richard Crouse), and I take in Sleepless Night, a rousing Belgian action thriller that unfolds in one place through one night.

Breslin is funnier, and a far nicer chap than a club owner has a right to be, particularly one who has started his own comedy empire. But he broke even newer ground for himself by becoming a father for the first time at the age of 59.

I started my day with, The Patron Saints, a bare-bones documentary about an old-age facility. This would be familiar fare except that the narration is done by one of the home's more coherent residents.

Jumping from old age to young thugs, Violet & Daisy are two teenage hit-kids working to fund their passion for the newest designer line of pop-star clothing. It's an interesting premise with a curious selection of outdated pop tunes underscoring the action.

And in a moment of pure festival magic, TIFF programer Steve Gravestock steers me away from one film and towards another. Without any knowledge, without any expectations (I hadn't even read the synopsis in the TIFF catalogue) I walk into Superclasico, a light-hearted romantic comedy with enough edge to keep it European.

Turns out Superclasico is the perfect remedy to offset a strict diet of dark and bleak movie fare. A nice little surprise.

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