Still Single opens with Chef Masaki Saito’s 2022 Michelin star acceptance speech, in which he drunkenly muses on stage, “I’m still single, I don’t know why.” The 93-minute film goes on to reveal precisely why Saito is both a world-class chef and also an incorrigible, firmly single bachelor. 

Directors Jamal Burger and Jukan Tatseisi –– using an assortment of candid interviews and breathtaking cinematic cooking shots –– reveal Saito’s brilliant approach to Edomae-style Omakase dining and the extreme lifestyle that fuels his genius. Following him around Toronto and Japan, the film opens a window into the unpredictable life of the culinary visionary behind Yorkville’s Sushi Masaki Saito. 

TIFF aptly describes the film as “wildly entertaining,” proven by laughter bubbling out of the audience from the opening scene. There was a clear appreciation for the intimate, spontaneous approach to filming Saito that allowed his charisma to ooze out of the screen. Burger and Tatseisi brought great energy and creativity to the conventionally serious documentary filmmaking style, and their own voices probe Saito’s reflections to a deeper level. 

The documentary puts a particular spotlight on the loneliness that seems inextricably linked to the path to excellence. Bit by bit, through interviews with the network of people in Saito’s life — from his elderly mother to his long-time best friend Yasu — we learn that Saito has difficulty maintaining long-term relationships. 

Saito himself professes a belief that he is incapable of loving other people, yet challenging moments in his personal life during filming reveal a different truth. Laughter-filled scenes of drunken revels around clubs and casinos are juxtaposed with those of isolation, loneliness, and a quest for perfection that borders on madness. At the same time, the audience is uncomfortably privy to the sometimes cruel treatment of those working under Saito, particularly his sous chef, Tsuyoshi and his server, Miyuki. 

Still Single is unlike any culinary documentary out there, and it was a fantastic Canadian addition to TIFF’s fiftieth year roundup.