BFI London Film Festival 2011 Round Up

The 55^th BFI London Film Festival drew to a close last week and since writing my preview a couple of weeks ago I’ve seen magnificent selection of films. It can be a challenge (a very welcome one) to cover all of the upcoming must see’s - especially without the head start sneak-peek on the film festival circuit (Cannes, Venice etc). However, thanks to some tip offs, a bit of lucky dipping and a dose of early morning preview screenings on Leicester Square, I can present my list of top picks and top ten list of wish-id-seen-and-can’t-wait-for general releases! Furnished with UK release dates for the diary where applicable.

Top Picks

The Artist
Dir. Michel Hazanavicius

A joy! A French produced black and white sans-dialogue film set in 1920’s Hollywood. Baring the tagline 'they don't make 'em like they used to apprently - well, 'they' do now!' french director Michel Hazanavicius’s frolicing post-modern homage to silent film is delightful from start to finish. Set during the cross over time between silent era and the ‘talkies’ The Artist tells the story of one silent leading man’s fall from glory, whilst want-to-be starlett Peppy Millar rises to fame and the talkies become the talk of the tinseltown. A brilliant turn from Jean Dujardinin the lead role earned him a Best Actor award at Cannes. Out on the eve of New Years Eve – don’t miss this winter warmer – it’s a treat!
In UK cinemas 30 December

We Need To Talk About Kevin

Dir. Lynne Ramsey (UK/USA)

Lynne Ramsey’s long awaited adaptation of the Orange prize winning novel by Lionel Shriver We Need To Talk About Kevin had a ridiculous amount to live up to for me, as, based on her work to date, she is my favourite contemporary director - plus - I was halfway through the novel so completely immersed in it. Luckily my high expectations were met. Not for the faint hearted.

In cinemas now

Oslo, August 31^st

Dir. Joachim Trier (Norway)

A moving, intense and tragic 24 hour tale of a man in crisis, dreamily shot, powerfully acted and flawlessly realised; prepare to be heartrenched. (full review here)
In UK cinemas this Friday 4 November

Las Acacias

Dir. Pablo Giorgelli (Argentina/Spain)
A subtle, simple, slow-moving road movie from Argentina… completely captivating despite sparse dialogue, the actors hold your attention with the tinyest of motions. Pablo Giorgelli won the festival’s Sutherland Award for the film; an award presented to the director of the most original and imaginative feature debut in the Festival. More on this one in my preview piece.
Features the cutest baby of all time.
In UK cinemas 2 December

Martha Marcy May Marlene

Dir. Sean Durkin (USA)

Martha Marcy May Marlene (or MMMM if you like, I do) scooped awards at Sundance and Cannes this year and was hotly anticipated at LFF. A directorial debut feature from 'one-to-watch' Sean Durkin this psychologiacal thriller tells the traumatic story of Martha (Elizabeth Olsen) who breaks away from a rural cult-like farming community and ends up at her sister’s plush country home. Unfolding via lingering alternate spells in the past, present and dreams, this film is as gripping as it is mesmerising.
In UK cinemas 3 Feburary

The Future

Dir. Miranda July (USA)

Having always been a relatively underground artist, though with a growing cult following, Miranda July’s notoriety exploded with You, Me And Everyone We Know - her debut feature film. July's background is in interactive art, live performance and writing, as much as film. The Future emerged in part from a participatory performance project where many couples played the lead characters of Jason and Sophie. It is more definitely surreal and I'd say less twee than YMAEWK and this is probably why I preferred it. Exploring the story of a couple at a kind of existensial crossroads and featuring July’s signature understated and humorous dialogue where the bizarre is accentuated in everyday conversation, a story of anxiety about what the future holds unfolds piece by piece. As personal as it is figurative, strange as it is symbolic, notable elements include a talking cat narrator and a personified shirt named ‘shirty’.

Read RR Editor Katie Antoniou’s interview with Miranda July here

In UK cinemas this Friday 4 November

Wreckers
Dir. D R Hood (UK)
I was intrigued to see this Brit feature debut in particular because I was lucky enough to be taught screenwriting by the writer/director Dictynna Hood last year. I wasn’t sure what to expect, but am familiar with her short films such as The Other Man and knew that there was a domestic/personal drama set in the countryside. This movie really did exceed my expectations. Wreckers is the story of newlyweds Dawn (Claire Foy) and David (Benedict Cumberbatch) who settle in a house in the village David grew up in. When they receive an unexpected house guest in David's younger brother Nick (Shun Evans), secrets, lies and uncertainly begin to take hold. On top of powerful performances and subtle direction the film posseses a uniquely textured atmosphere - you can almost smell the dusty house, feel the drafts of the church and outhouses and sense the feeling of being contained in a small community whilst being surrounded by rolling open space. Nuanced, moody and unique Wreckers is a great new British film and I am hoping to interview Dictynna Hood before it’s UK release in mid December.

In UK cinemas 16 December

Tahrir 2011: The Good, The Bad and The Politician
Dir. Amr Salama, Tamer Ezzat, Ayten Amin (Egypt)

Three films by three young Egyptian filmmakers ‘The Good’ tells the eye-opening and moving inside stories of the revolution from the many protesters in Tahrir Square early this year, ‘The Bad’ is a series of interviews with police forces and central security where they try to explain and at some points justify their allegiances and actions and ‘The Politician’ is a look at President Hosni Mubarak via a wry ‘10 Lessons on How to Become a Dictator' format including interviews with his right hand men and those closest to him. The director of that particular segment was present at the screening and was fascinating to listen to. In reference to his part of the film he referred to the regime as 30 years of very black comedy. In the wake of the elections in Egypt he also commented that were he making the film now he would have done it differently and also that many of the subjects would have answered differently. What's so vital about this doc is that it manages to capture a crucial moment in history - at the time it happened, recording the feelings, atmosphere and essence of moment.
I will update on a UK release of the film.