• Skip to primary navigation
  • Skip to main content
  • Skip to footer

Seventh Row

A place to think deeply about movies

  • Archives
    • Browse Articles
    • Review Index
    • Interview Index
  • Podcast
    • Seventh Row Podcast
    • Abortion on Film
    • Creative Nonfiction Podcast
    • Women at Cannes
    • Sundance 2023
    • The Joachim Trier Audio Commentaries
    • 21st Folio
    • Seventh Row on other podcasts
  • Ebooks
    • Mike Leigh
    • Call Me by Your Name
    • Céline Sciamma
    • Kelly Reichardt
    • Joanna Hogg
    • Andrew Haigh
    • Lynne Ramsay
    • Joachim Trier
    • Subjectives realities (Nonfiction film)
    • Documentary Masters
    • Fiction Directors
  • Shop
  • Join Reel Ruminators

Alex Heeney / September 11, 2021

TIFF Review: Learn to Swim is treading water

Thyrone Tommy’s feature debut, Learn to Swim, is all vibe with little substance but it nails the milieu of twentysomething jazz musicians in Canada.

Click here to find all of our TIFF 2021 coverage and sign up to our TIFF newsletter.

Thomas Antony Olajide stars in Learn to Swim directed by Thyrone Tommy. Photo courtesy of Mongrel Media.
Thomas Antony Olajide stars in Learn to Swim directed by Thyrone Tommy. Photo courtesy of Mongrel Media.

We’re running a daily TIFF 2021 newsletter to give you all our reactions to the best new films as they premiere. Click here to sign up for free.

Thyrone Tommy’s Learn to Swim is the rare film in which you can actually believe that the jazz musician characters — saxophonist Dezi (Thomas Antony Olajide) and singer Selma (Emma Ferreira) — actually play their instruments and listen to jazz. Dezi will throw on a moody record while repairing a trumpet. Selma will test out versions of a song she’s working on while sitting on the floor in the living room with Dezi. They hang out with their instruments in hand, dreaming about a future of better paid gigs and exciting collaborations. They aren’t chasing bleeding fingers from playing the drums too hard too fast, but looking for a way to express themselves through their art.

The film is all vibe: blue and red lights, soft focus, and unexpected geometries fill the frame. That extends to the music, too, which is more about setting a tone than revealing a backbone to riff off of. Though set in a very specific milieu — twentysomething Black and Latinx aspiring musicians — there’s a strange placelessness and timelessness to the film. Where in Canada (where the film is set) can you still light up a cigarette in a jazz club? Nobody has cell phones or digital music players; they take polaroid photos and listen to records. It’s almost nostalgic in how it elevates the tactility of physical media, in a film that is itself very tactile.

Emma Ferreira as Selma in LEARN TO SWIM, Courtesy of Mongrel Media 
Emma Ferreira as Selma in LEARN TO SWIM, Courtesy of Mongrel Media 

But Learn to Swim meanders around, like a riff that never figures out what it’s riffing on. The film switches between a present tense story of a grieving Dezi with a tooth infection and the past tense story of his dreamy romance with Selma. Though Ferreira is luminous in every scene, she’s given little to do beyond playing a mentally ill Manic Pixie Dream Girl, while Dezi’s snobbery about music is never really backed up by an obvious talent on his part. Tommy is clearly a gifted visual stylist, but the film needed a stronger script to really come together.

Stay in the know about TIFF 2021.

Subscribe to Seventh Row’s TIFF newsletter.

We’re running a daily newsletter during the festival: every morning, we’ll send subscribers a dispatch about all the new films we’re watching, good and bad, to let you know what’s worth keeping an eye on.

Click here to subscribe to the TIFF 2021 newsletter.

Discover great Canadian films

The last year was one of the best for Canadian cinema in history. Discover these great films through conversations with the filmmakers, guided by the Seventh Row editors in our inaugural annual book, The 2019 Canadian Cinema Yearbook.

Get your copy now!

Filed Under: Essays, Film Reviews Tagged With: Canadian cinema, TIFF21, Toronto International Film Festival

About Alex Heeney

Alex is the Editor-in-Chief of The Seventh Row, based in San Francisco and from Toronto, Canada.

« Older Post
Oscar Peterson: Black + White does a disservice to its subject
Newer Post »
‘The more we went inside Lise’s perspective, the better it got’: Tea Lindeburg on As in Heaven

Footer

Support Seventh Row

  • Film Adventurer Membership
  • Cinephile Membership
  • Ebooks
  • Donate
  • Merchandise
  • Institutional Subscriptions
  • Workshops & Masterclasses
  • Shop

Connect with Us

  • Podcast
  • Twitter
  • Instagram
  • YouTube

Browse

  • Interview Index by Job Title
  • Interview Index by Last Name
  • Seventh Row Podcast
  • Directors We Love
  • Films We Love

Join our newsletter

  • Join our free newsletter
  • Get the premium newsletter (become a member)

Featured Ebooks on Directors

  • Joachim Trier
  • Joanna Hogg
  • Céline Sciamma
  • Kelly Reichardt
  • Lynne Ramsay
  • Mike Leigh
  • Andrew Haigh

© 2025 · Seventh Row

  • About
  • Privacy Policy
  • Frequently Asked Questions
  • Contribute
  • Contact
  • My Account