| Date | |
|---|---|
| Author | DCM |
| Categories | cinemabfi london film festival |
Digital Cinema Media's resident film specialist, Tom Linay, looks back on the BFI London Film Festival with Cue Entertainment readers.
The BFI London Film Festival is over for another year and in its 57th edition once again showcased some of the most exciting upcoming films in the world. The main galas rightly commanded much of the attention and, yes, Gravity, Captain Phillips and 12 Years A Slave are as good as you’ve probably heard, but the programme was incredibly deep and diverse and there were gems to be unearthed throughout.
Short Term 12
Potentially my favourite film of the whole festival. It’s a sensitive, tender drama that features a terrific lead turn from Brie Larson. Better known from comedic films such as 21 Jump Street, Scott Pilgrim Vs The World and the upcoming Don Jon, Larson plays Grace, a 20-something woman who works at a home for at-risk teens.
Along with her partner and colleague, Mason (John Gallagher Jr.) they provide a safe environment for the teens to overcome their difficulties. Both Larson and Gallagher Jr bring humour and warmth to the roles and their own relationship is believable and touching. What could have been dour and mawkish turns into something honest and uplifting. A delicate indie gem, it goes on general release on Nov. 1.
The Spectacular Now
Vying with Short Term 12 as my favourite film of the festival is James Ponsoldt’s wonderful comedy-drama The Spectacular Now. Miles Teller plays the confident, likeable Sutter Keely who, on the rebound from his last girlfriend, embarks upon a relationship with smart but shy classmate, Aimee (Shailene Woodley).
Although it’s a familiar set-up, The Spectacular Now stands out because the characters feel entirely real. Ponsoldt often uses long takes, which enables Sutter and Aimee to get to know each other in real time. We witness the ebbs and flows of their first conversations and it’s a total joy. Both Woodley and Teller are terrific and had this been made 25 years ago, you wouldn’t have been surprised to see John Hughes’ name attached. It’s that good.
Like Father, Like Son
I first saw it at Cannes this year but Like Father, Like Son deserves a second viewing. It’s a gentle Japanese comedy-drama that tells the story of two married couples who six years after both wives gave birth are informed that, following a mix up at the hospital, they have raised each other’s sons. Despite the tragic premise a great deal of humour is rung from it and it features some of the best and most naturalistic child performances I’ve ever seen. One of the best films of the festival, it is on limited released in UK cinemas now.
Stranger By The Lake
The Dare gala, which features films that take you out of your comfort zone at this year’s festival presented French drama Stranger By The Lake, winner of the Un Certain Regard directing prize at Cannes this year. Franck (Pierre Deladonchamps) is a regular at a lakeside cruising spot for men. Over the course of a few days he falls in love with the handsome, enigmatic Michel (Christophe Paou). Their encounters are passionate and physical but when Franck sees Michel kill another man, instead of being turned off, it further piques his curiosity. An extremely frank and slow-moving thriller about the nature of desire that builds to a breathlessly tense climax and deserves fully its Dare title, it will be in cinemas in March.
Mystery Road
A strong drama from another distinctive Australian voice sees Aboriginal detective Jay Swan (Aaron Pedersen) return to his outback hometown after a stint in the city. His first major case is the murder of an Aboriginal girl, which brings simmering racial tensions to the fore. Not quite in the same league as Animal Kingdom and Snowtown, it is a deliberately paced slow-burner that due to setting and subject matter holds the attention and builds to a terrific climax. Pedersen is a brooding, captivating presence.
Grand Central
Similar in style and tone, if not in quality, this could be this year’s Rust & Bone, which was one of my favourite films of 2012 and the recipient of the best film award at last year’s London Film Festival official competition. Tahar Rahim (A Prophet) and Lea Seydoux (Mission: Impossible – Ghost Protocol) play employees at a nuclear power station who embark on a clandestine affair. The power station provides a novel backdrop and the occupational hazards it provides help heighten the tension. Rahim and Seydoux are two of France’s hottest actors and their performances are terrific.
All Cheerleaders Die
Lucky McKee might sound more like a character from Balamory than a purveyor of cinematic horror but his brutal last film The Woman shocked audiences with its tale of a feral woman captured and tortured by a successful country lawyer. His latest offering may surprise some as, although it’s not without horror moments, it is a far more comedic affair, providing a spin on the traditional high school comedy. Four cheerleaders are killed in a car crash but are resurrected by a classmate who dabbles in the occult. The girls now look (mostly) normal but they struggle to control their libido and require human blood to stay upright. It’s pretty bonkers and there’s an anarchic feel to proceedings but even at under 90 minutes, it feels long and some plot developments stretch incredulity.
Afternoon Delight
A world away from All Cheerleaders Die but also a pitch black comedy, Afternoon Delight sees the hugely talented Kathryn Hahn (We’re The Millers) finally given a lead role to get stuck into and she doesn’t disappoint. Hahn plays Rachel, a bored housewife who decides to visit a strip club with a group of friends. After a dalliance with lap dancer McKenna (Juno Temple), she engineers a subsequent meeting with her and before long invites her to live in the family’s spare room to try to lead her away from her life as a stripper and sex worker. Tensions arise leading to a flashpoint one drunken evening. The fallout from the night doesn't always ring true but Hahn never fails to command attention and reveals dramatic depths that leave you hoping she’s offered more lead roles.
The Punk Singer
Finally, in the documentary strand, The Punk Singer covers the life and career of Bikini Kill and Le Tigre lead singer — and leading light of the Riot Grrrl movement — Kathleen Hanna. Appropriately the film has a ragged, DIY feel and the list of contributors, including members of Sleater Kinney and The Beastie Boys, is diverse and impressive. It also takes a moving, emotional turn as the reasons for Hanna’s enforced 2005 retirement become clear. If you’re a fan of Hanna this is unmissable and if you’re unaware of her work, this is a great entry point.
To read Tom's full Cue Entertainment article, click here.