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Category: Festivals

Steve McQueen’s Widows to Open LFF 2018

This year’s Opening Night gala will be Academy Award- winner Steve McQueen’s WIDOWS. The International premiere will take place on Wednesday 10th October at the Cineworld, Leicester Square. Co-written by McQueen and best-selling novelist and screenwriter Gillian Flynn and starring Academy Award®- winner Viola Davis, WIDOWS is a complex thriller about a group of women with nothing in common except a debt left behind by their dead husbands’ criminal activities. A star-studded ensemble cast includes: Viola Davis, Michelle Rodriguez, Elizabeth Debicki, Cynthia Erivo, Colin Farrell, Daniel Kaluuya and Jacki Weaver with Robert Duvall and Liam Neeson.

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Edinburgh Film Festival: L’Apparition

Reviewed by Lee Hill

The Catholic Church has seen better days at the cinema. During the Golden Age of Hollywood in the 30s and 40s, The Church acted as gatekeeper and censor ensuring that both the Holy Spirit and Hays Code were affirmed. The clergy on film tended to come with a touch of the blarney a la Bing Crosby or as sympathetic, but ineffectual sounding boards like Karl Malden in On The Waterfront. More unorthodox or radical explorations of The Church, such as the work of Luis Bunuel or Robert Bresson, were relegated to film festivals and the art house Still every now and then faith would be explored with more than just good taste, but moral complexity in films like Fred Zinnemann’s A Nun’s Story or Alfred Hitchcock’s I Confess.

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LFF 2017: Redoubtable

One of the unofficial laws surrounding biopics is the more complex and rich the subject, the more reductive and superficial the treatment of the life. Redoubtable is ostensibly about a great cinema revolutionary, Jean-Luc Godard, but his life and art are alas interpreted by Michel Hazanavicius, a director who wears his slim talent for pastiche heavily.

Hazanavicius is best known for The Artist, one of the least deserving Best Picture Winners in recent times. The Artist was an amusing idea for a short film inflated into a bland caricature of silent film comedy. Before The Artist, he was best known in France for the OSS117 films, the kind of James Bond parodies that make a rainy Sunday afternoon bearable when there are no real James Bond films on TV. After The Artist, Hazanvicius reached for the stars and fell from his stepladder with an unwieldy remake of Fred Zinnemann’s The Search. Not without ambition (or humility) he now gives the world his take on Godard’s mid-sixties period and marriage to actress Anna Wiazemsky with a few rear-view glances of the political ferment of France in 1967/68.

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LFF 2017: Custody (Jusqu’à la Garde)

Reviewed by Lee Hill

The bitterness of separation, divorce and the all too common legal battles between former spouses has made for familiar terrain at the movies. Shoot the Moon, Kramer Vs. Kramer, The War of the Roses, Blue Valentine and Boyhood are a few titles that spring to mind and of course, television drama would be crippled without domestic strife as convenient narrative fodder. Given the countless variations on a theme, Xavier Legrand’s stunning first feature is even more of an achievement and will resonate with a wide audience.

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LFF 2017: 120 BPM

120 BPM is a film you tend to admire rather than love. Robin Campillo’s film deals with the rise of Act Up in France in the late 80s and early 90s as the activist group tackled the complacency of government, medical and pharmaceutical establishments in dealing with the crisis. If the film veers towards being a polemic at times, it contains many scenes that remind one of the anguish and rage the early years of the epidemic unleashed across the LGBT community world-wide.

Anyone who thinks protestors just blindly show up to cause trouble will have their consciousness seriously expanded after watching this film. Campillo’s camera plunges the viewer into the centre of the practical and ideological debates that drive organisations like Act Up. Like Ken Loach’s Land and Freedom, 120 BPM features several scenes of young adults in meetings refining and discarding ideas and arguments as they move towards political action. When an intervention at a medical conference doesn’t go as planned, the activists hold a post-mortem to determine what went wrong.

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BFI FLARE: Five Must See Films

With the 32nd Edition of the BFI LGBTQ Film Festival opening on the 21st March, what better time than to take a look at some of the most eagerly awaited films in this year’s programme, and shine a light on the films we are most looking forward to catch. 

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Film Review: Ingrid Goes West

Directed by new comer Matt Spicer, Ingrid Goes West is perhaps one of the most knowing film of its genre. This brilliantly put together and genuinely engaging dark comedy knows more about its subject than the average Hollywood blockbuster around, and does a fantastic job in reconciling some of us with the world of social media in the most honest way possible. Spicer and co-writer David Branson Smith offer an impressive screenplay which manages to accurately relay the current social media trends of living one’s life online despite the obvious risks associated with it.

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FrightFest: Interview With Damien Leone

Ahead of the UK premiere of his latest film Terrifier at the Horror Channel Frightfest Halloween event on Sat 23 Oct, director Damien Leone talks about the ’Art’ of extreme clowning, his debt to Tom Savini and a terrifying Halloween experience.

Art The Clown initially appeared in your 2008 short The 9th Circle, then the 2011 award-winning short Terrifier and in your first feature All Hallow’s Eve. What made you decide to give him a fourth outing?

DAMIEN: Up until this point I never felt like I fully showcased Art’s potential. I believe between the short films and All Hallows’ Eve, there only exists about 20 minutes of Art the Clown screen time. For a character who’s done so little, he seems to really resonate with horror fans. After all of the positive feedback, a full length film that focused solely on Art was inevitable. 

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LFF 2017: A Sort of Family

Malena (Barbara Lennie), a doctor from Buenos Aires, travels to a remote village to complete an illegal adoption arranged through the seemingly benevolent Dr. Costas. The adoption falls apart when the family of the biological parent asks for more money due to an accident affecting one of its chief wage earners. With the aid of a reluctant, but still supportive common law husband, Malena tries to meet this new demand, but the ground rules continue to shift, and desperate measures seem her only logical response.

Diego Lerman and co-writer Maria Meira have crafted a seamless mix of docudrama, character study and thriller that transcends the usual limitations of social realism. We see most of the action through the sympathetic, but middle-class eyes of Malena, who struggles with both her near inexpressible desire for a child and liberal good intentions. The poverty and corruption of life in rural Argentina, the film implies, is part of the same system that allows Malena and her husband to enjoy the good life in the city.

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