Winnie, a South Africa-Canada coproduction starring Jennifer Hudson as the controversial ex-wife of Nelson Mandela, is the latest homegrown film to receive a gala slot at the upcoming Toronto International Film Festival.

Winnie, which was produced by Michael Mosca of Equinoxe Films and André Pieterse of Ma-Afrika Films, joins earlier Canadian films tapped for Roy Thomson Hall bows including David Cronenberg’s A Dangerous Method and Sarah Polley’s Take This Waltz.

TIFF unveiled another seven galas Tuesday and 18 special presentations, including world premieres for the latest work by international directors Nick Murphy, Gary McKendry, Joel Schumacher, Gianni Amelio, Juan Carlos Fresnadillo, Pankaj Kapur, Anne Fontaine, Mathieu Kassovitz and Geoffrey Fletcher.

British director David Hare’s Page Eight will close the Toronto festival on Sept. 18 with a thriller that stars Michael Gambon, Rachel Weisz, Ralph Fiennes and Judy Davis.

The Brits will also take over Roy Thomson Hall with a world bow for The Awakening, by director Nick Murphy, and Tanya Wexler’s Hysteria, which is headlined by Maggie Gyllenhaal and Hugh Dancy.

The Special Presentations sidebar added 18 new titles, including In Darkness, Agnieszka Holland’s Holocaust drama based on a true story that is structured as a German-Polish-Canada coproduction from Film Works, Schmidtz Katze Filmkollektiv and Zebra Films.

The picture, penned by David F. Shamoon and starring Robert Wieckiewicz, Benno Furmann, Maria Schrader and Herbert Knaup, has already been acquired by Sony Pictures Classics in the U.S. market.

There’s also world bows in the Special Presentations sidebar for Irish director Ian FitzGibbon’s Death of a Superhero; Gianni Amelio’s The First Man, from Italy; Spanish director Juan Carlos Fresnadillo’s Clive Owen-starrer Intruders; French director Anne Fontaine’s My Worst Nightmare; Mathieu Kassovitz’ Rebellion, also from France; Mausam, by Indian director Pankaj Kapur; and U.S. filmmaker Geoffrey Fletcher’s Violet & Daisy.

Canadian films figure large in the Wavelengths sidebar, devoted to innovative films, led by Joshua Bonnetta’s American Colour, which was shot on old rolls of 16mm Kodachrome.

There’s also John Price’s Sea Series #10, which feature in-camera experimentation of sea shore scenes, and Joyce Wieland’s Sailboat, billed as a “vaguely ominous haiku” by fest programmers.

And Toronto’s Wavelengths’ program booked Kevin Jerome Everson’s car-crushing Chevelle, an account of two GM cars put down to rest, which was shot in Cookstown, Ontario.

Also TIFF-bound is Chris Kennedy’s 349 (for Sol LeWitt), a digitally animated version of Sol LeWitt’s Wall Drawing #349; Mark Lewis’ Black Mirror at the National Gallery, which has a camera moving through the Dutch landscape and genre scenes painting rooms at the National Gallery in London; and rural Australia looms large in Coorow-Latham Road.

The Toronto International Film Festival, which is set to run from Sept. 8 to 18, will make additional film title announcements in the coming weeks.