18 hours Ago
After 12 days of around 250 feature films and some 70 shorts, the 68th London Film Festival has drawn to a close. With its October date placing it at the tail end of the autumn festival season, there’s always a sense of playing catch-up. Many of the major titles have already been premiered elsewhere, but a healthy cluster of them still made their way to London, with the BFI-run event also attracting its own world premieres – 40 this year, including Steve McQueen’s , which opened proceedings.
And while this year’s line-up wasn’t spectacular, it was certainly strong with powerful dramas from Leigh, Arnold, Larrain and Guadagnino, laughter from Eisenberg, moving documentaries like and a small but perfectly formed selection of animation, from the dialogue-free to Aussie stop motion . All of this means choosing just three titles for the Best Of The Fest accolade is a tall order. But we’ve understood the assignment, so in alphabetical order, they are.
.. Anora Sean Baker’s Palme D’Or winner was always going to be a must-see for his fans, but their numbers must have swelled significantly after seeing his latest outing into territory many other filmmakers would deliberately avoid.
Back among prostitutes and lap dancers, is the story of Ani (Mikey Madison) who spends a riotous week with a wealthy young Russian client, Ivan (Mark Eydelshteyn) and ends up marrying him in Vegas. But his money all belongs to his criminal family and when his parents hear the news, the proverbial hits the fan. Ivan has to choose between a life of luxury or his beautiful – and very assertive - young wife.
Essentially the other side of the coin, Baker takes his customary non-judgemental approach towards his characters and, fuelled by a wonderfully no-holds-barred performance from Madison, it’s a rollercoaster screwball comedy with sky-high energy levels and the broadest of humor, yet with a surprising tenderness just under the surface. Baker may not be to everybody’s tastes but, for those yet to sample his garishly unsentimental view of the world, this could be a great starting point. For those who have, it’s irresistible.
Get the What to Watch Newsletter The latest updates, reviews and unmissable series to watch and more! Hard Truths The legend that is British director Mike Leigh was back at the LFF after a six-year absence. His previous film was set in the 1800s, so it also marked his return to a contemporary setting, with placing mental health and its effect on the wider family under the director’s microscopic gaze. Developed with his usual workshop-based approach, it re-united him with the acting talents of Marianne Jean-Baptiste and Michele Austin, who play the chalk-and-cheese sisters at the center of a heartbreaking yet often deeply touching experience.
Pansy (Jean-Baptiste) is at odds with the world: agoraphobic, viciously critical of everybody else and unable to do the simplest of tasks, the outside of her house is immaculate but behind the closed doors and blinds her husband and son walk on eggshells. By contrast, her sister Chantelle (Austin) is easygoing, warm and enjoys family life with her extrovert daughters. She’s also the one person who sees Pansy’s suffering but struggles with helping her find a way through.
One of the UK’s most underrated acting talents, Jean-Baptiste is brutally brilliant in the main role and, while the film is never emotionally easy, there are small moments of hope to hold onto. The Wild Robot With a track record of classics like and , director Chris Leland brings us what has already been tipped as the animation of the year. We’ll have to wait and see how true that is, but there’s no doubt that , which has already arrived in UK cinemas hard on the heels of LFF, is a triumph of artistry and storytelling with such a powerful emotional pull that calling it a five tissue movie is no exaggeration.
In a story sprinkled with references to animated favorites, from Baymax in to , an intelligent robot called Roz is shipwrecked on an uninhabited island. It’s a harsh environment and, to be able to survive, she has to bond with an animal population that is both hostile and afraid. She, on the other hand, starts to display an emotional intelligence that doesn’t necessarily go with being a robot and discovers unexpected joy and sadness in caring for a baby goose.
As the animals embrace her and she becomes part of the landscape – watch how she’s increasingly covered with moss – the film holds the audience in the palm of its hand with its glorious visuals and a perfectly chosen ensemble of voices including Lupita Nyong’o and Pedro Pascal. Animation is for everybody..
