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Festival Review

London Film Festival 2021: Gwledd (The Feast)

Originally published in Wales Arts Review.

London Film Festival has garnered a reputation for its versatile offerings, presenting a wide range of global films from across a variety of genres. This year’s festival brings a brilliant treat in the form of Gwledd (The Feast), a Welsh-language horror film directed by Lee Haven Jones and based on a script written by Roger Williams. 

Gwledd follows an affluent family, led by Glenda (Nia Roberts) and her MP husband, Gwyn (Julien Lewis Jones) who have planned a special meal to discuss fracking the nearby farming areas. When a mysterious waitress, Cadi (Annes Elwy), arrives to help them set up, things take a turn for the worse. The film is an eco-horror exploring man’s treatment of the environment and the revenge that the land takes in return. 

Gwledd is beautiful to look at. Lee Haven Jones makes use of the natural environment surrounding the family home, frequently contrasting the man-made house with the encompassing landscape. The house looks preternatural in its location set against pervasive and ferocious greenery. Jones’ direction takes the audience on a visual journey as the film slowly descends from shades of bright green into a climactic scene steeped in darkness. It’s hard to believe that the location at the start of the film is the same location by the end. The shift in appearance mirroring the negative implications that fracking has had on the land. 

The runtime may only be 93 minutes, but Roger Williams makes sure that no second is wasted. The film throws the audience into the family’s world without pause for context or overwrought exposition, trusting the viewer to connect the dots as the plot develops. The opening scenes are sparse in dialogue, the characters’ personalities are expressed, instead, through their body language and actions. Williams manages to explore an array of themes in Gwledd in a way that feels fully realised by the final act. The central premise revolving around man’s treatment of the environment, and a supernatural exploration of how that land might bite back, with additional analysis of the self and the body.

The family sons Guto (Steffan Cennydd) and Gweirydd (Sion Alun Davies) lead polar opposite lifestyles as the former abuses his body through drug and alcohol abuse while the latter loves his body too much and is fixated on his appearance to an unnerving degree. The sons represent two extremes and share no common ground until Cadi arrives. 

Annes Elwy’s performance as Cadi is captivating and unsettling in equal measure. From the moment she appears onscreen all the way until the final shot, Elwy commands the audience’s attention without the need for effusive dialogue. Working as a waitress for the family’s meal later in the evening, Cadi spends the majority of the first act observing each member of the family and noting their weaknesses. Her conversation seems knowing and calculating, adding to the eerie atmosphere; her performance seems to fall more into the realm of psychological horror. Elwy’s familiarity with the family and their history is in sharp contrast with the more otherworldly aspects of her character. 

Nia Roberts is excellent as Glenda, a woman disconnected from her own roots and community after turning to a life of extravagance as the wife of an MP. Coming back to the newly built family home in Wales presents a stark contrast between the life she once led and the life she leads now, the corruption which has taken place in the time since readily apparent. Even though we don’t see Glenda’s life story take place in the film, we feel Roberts’ disconnection and delusions of grandeur throughout. 

What makes Gwledd such a successful film is its ability to merge the personal and the universal; both in its familial roles and timely examinations of fracking and climate change. Although it explores a range of secondary topics, the film never feels overwhelmed or dragged down by the weight of these issues, its sharp script a thread of connection throughout.

Overall, Gwledd is a slow burner that is not for the faint of heart. Its plot is tightly wound and its direction unflinching and unapologetic. Despite a limited location and setting, Gwledd manages to pack a punch both on the horror front and thematically with its subject matter, sadly, all too apposite to our current times. 

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London Film Festival 2021: The Harder They Fall

When it comes to showing a film at a festival, there are few honours more impressive than being the opening night selection for the entire festival. The honour at this year’s London Film Festival goes to Jeymes Samuel’s feature film debut, The Harder They Fall which chronicles a fictional story about real black cowboys in the Old West. In a genre that has been majorly dominated by white men, Samuel flips the script entirely with an all-black cast and delivers a film that is stylish and captivating. Boasting an incredible cast that includes Jonathan Majors, Idris Elba, and Regina King among many more, The Harder They Fall shows that there is no slowing down the modern Western trend while also marking Samuel’s exceptional debut and talent as a visionary. The film follows cowboy Nat Love (Majors) and his gang as they embark on a mission of revenge against the cruel Rufus Buck (Elba) who killed the former’s parents when he was younger, leaving Love with a scar of a cross on his forehead. What entails is a game of power between the two gangs in a bid to maintain control.

The film is directed by Samuel who cowrote the script with Boaz Yakin and the result is a film that follows a classic Western plot but this is in no means an insult. The plot’s simplicity allows more time for the characters to shine and gives them ample material to play with and become well-developed. Both gangs are filled with memorable characters which can seem overwhelming at times as you don’t know where to look during fight scenes but the chaos that ensues between the gangs and the individual tensions that arise between the members are an absolute thrill to watch. Samuel can only be described as a visionary when it comes to his method of storytelling. The way he combines the tight writing with music and beautiful direction results is on par with some filmmakers who have been working for decade. He clearly is someone who loves film and has a passion for the subject and the characters.

Leading the Nat Love Gang is Majors who plays Love and his partner, Mary (Zazie Beetz). The great thing about this film is that the line between good and bad becomes blurred so even though they lead a life of crime by stealing from outlaws, they have good intentions to serve the community and don’t mistreat anyone who is innocent. Majors’ performance is absolutely magnetic and he leads the film with ease. Love’s quest for revenge is perfectly set up as we see the tragic story play out from his childhood to help us understand his plight better. Love is an incredibly charismatic character who knows how to command a situation and Majors is perfect casting. Playing his love interest, Mary, is Zazie Beetz and the two share a brilliant chemistry together as the dynamic between the shifts and changes. What is great about the female characters in this film is that they don’t rely on a man as they have agency and strength and Beetz has become well-known for her feminist roles which makes her ideal for a character like Mary.

On the other side of the coin is the Rufus Buck Gang led by Buck (Elba) and Trudy (King). Their dynamic is similar to Nat and Mary’s as they are loyal to each other while also enabling each other’s independence. Elba’s role is one of the best in his career as he brings a darkness to the role of Buck that is very unexpected. Buck’s character is one that could be played over the top but Elba’s calm demeanour results in a performance that commands the audience’s attention every time he is on screen. Quiet and calculating, Buck is careful with his words and clearly intelligent and always thinking ahead. It’s also clear that Elba is having a lot of fun with the character and it wouldn’t be surprising if he were to receive some awards attention in the supporting categories come awards season. Playing Buck’s partner in crime, Trudy, is Oscar winner Regina King whose performance is terrifying and probably the most violent out of everyone in the film. Unapologetically tough, King’s ability to tell a story through expression works incredibly well as Trudy. The scene in which we are first introduced to Trudy as she and the rest of the Rufus Buck Gang break Buck out of his cell on a train is among the best in the film. Simply watching Trudy force the train to the stop by fearlessly stopping her horse over the track is both terrifying and leaves you on the end of your seat.

There are so many fantastic support performances that it feels unfair to only discuss a couple but the highlights from the supporting cast have to be Lakeith Stanfield as Cherokee Bill and Delroy Lindo as Bass Reeves. Oscar nominee Stanfield is on form as the unpredictable Bill, a man who gained a reputation for his fast shooting speed. In true Stanfield fashion, his performance is subtle which works well as it provides a sinister undertone and fearlessness to the character that makes every move he makes unsettling to the viewer. On the other hand, Delroy Lindo can always be relied upon to give a fantastic performance and his turn as Deputy Marshall Bass Reeves is no exception. Reeves acts as the voice of reason and has the strongest moral compass of all the characters, despite his clear affiliation with a wanted man; however, Lindo portrays Reeves as a man with dignity who knows that he is doing the right thing. In a film that is littered with stars, it’s just a shame that we don’t see more of Reeves throughout.

It would be impossible to review this film and not discuss the music and score. Samuel’s background is in music and he puts this to use by contributing remixes and the score himself. The result of which is absolutely stunning as he merges classic Western sounds with RnB to create a sound that is completely unique but fits in with the film perfectly. In many ways, the music is just as integral to the plot as the visual is. Mixing a variety of genres such as RnB, rap, and Church music to name a few, the score helps with the pacing of the film and works brilliantly, especially in scenes such as the train scene in which Buck’s gang breaks him out.

Overall, The Harder They Fall is a strong opener for the London Film Festival with one of the strongest casts in a film this year and marking a fantastic debut for Samuel. As we have seen a huge increase in Westerns being made in recent years, Samuel shows that there is plenty of room for his vision and executes it brilliantly. It’s hard to believe that this is his first feature film and hopefully promises to be the start of a great career as a filmmaker and writer.

The Harder They Fall is available to watch on Netflix from November 3rd 2021!

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London Film Festival 2021: Memory Box

This year’s London Film Festival has officially begun and the first film on my watchlist was French-Arabic drama, Memory Box. Directed by acclaimed directors Joana Hadjithomas and Khalil Joreige, Memory Box tells the story of French-Canadian teenager Alex (Paloma Vauthier) who feels disconnected from her mother, Maia (Rim Turki) who seems to keep her daughter at an emotional distance. When a large mysterious box arrives containing all sorts of notebooks, tapes and photographs chronicling Maia’s teenage years in Beirut during wartime, Alex begins to see her mother in a new light and in doing so becomes connected to her own Arabic roots.

Memory Box opens with video messages within a group message as the individuals within the group record their audio and visual thoughts as a severe blizzard makes it way to Montreal. Within the first few scenes, we get an idea of how the younger generation has become so accustomed to oversharing every thought that the contrast between the way Alex communicates with friends is so different to how her mother acts. As she tries to converse with Maia, she is constantly shut off and struggles to connect on an emotional level due to Maia’s lack of sharing. What is interesting about Memory Box is that Maia’s memories are kept in physical items utilizing all sorts of mediums which are then combined by Alex to create a fuller picture. There is so much to unpick in how both mother and daughter record their thoughts and how they react emotionally to difficult situations. As Alex delves further into Maia’s memories, she begins to realise that the latter went through similar issues that she is experiencing such as friendship issues, boy troubles, and more. The difference in landscape allows Alex to fully visualise the place where her family comes from without having actually visited. We see Alex begin to tap into her Arabic heritage and appreciate it more as she learns about the struggle that her mother and grandmother went through.

In the lead role as Alex, Paloma Vauthier delivers a beautifully nuanced performance that is filled with curiosity and an eagerness to learn more about her mother and where she came from. Initially, the memories and belongings seem scattered and random but Alex soon manages to piece them together and create a reimagining of her mother’s history that allows her to feel closer and more sympathetic towards her. Vauthier brings a highly emotional performance that draws the audience in and encourages the viewer to join her on her journey. Not only is this film exploring Maia’s past but also how the past has influenced Alex’s life, even though she never lived in Beirut.

Playing Adult Maia is Rim Turki who provides a flawless performance that feels guarded and disconnected, working perfectly against Vauthier’s openly emotional performance. Maia’s guarded nature isn’t entirely understood at the start of the film, but as we begin to learn more about her life as a teenager in war torn Beirut, we begin to understand how these events have led her to be as she is. Refusing to even look in the box, Maia forbids Alex from rummaging through her things in a bid to keep her past in the past. However, it seems that the past, as painful as it is, had to be revisited so Maia could tap into her heritage as well and remember what her life was like in a bid to find peace with what happened and reconnect with old friends and family. Turki pulls this off beautifully and works really well onscreen with Vauthier as their relationship seems completely relatable and authentic.

As Alex delves into her mother’s memory box, she begins to paint a picture of what her mother was like as a teenager. Rather than just rely on Alex’s reactions and descriptions, we see these memories played out with Manal Issa delivering a great turn as Young Maia who is desperate to find love. Issa’s performance is more akin to Vauthier’s in that she is on a discovery to find out who she is as a person and wondering what the future has in store. As Maia develops romantic feeling for local boy, Raja, her relationship between her parents, especially her mother, begins to wane as they restrict her from seeing him. It is through this turbulent relationship with her own mother that Alex begins to find a common ground between the two of them. Although they never share the screen, Issa and Vauthier’s performances feel connected throughout the film thanks to the way that the writing and structure of the film merges the narratives of both characters.

Overall, Memory Box marked a wonderful start to my London Film Festival experience thanks to its nuanced portrayal of memory and heritage and how memories can form connections between generations. Hadjithomas and Joreige’s direction paired with the beautifully subtle performances from the cast make this film an accurate portrayal of how place and identity is like a puzzle with pieces and we see this draw Alex and Maia together as they begin to share a common ground.

Memory Box is showing at this year’s London Film Festival!

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Censor (2021)

One of the most anticipated British films of the year is finally here. Censor has been the subject of much discussion since its world premiere at this year’s Sundance Film Festival and it’s easy to see why. The film takes place in the early 1970s during the height of the Video Nasties craze and follows Enid Baines, an employee at the British Board of Film Classification (BBFC), who is put under public scrutiny after it is alleged that a film she allowed for release may have inspired a real life murder. Paired with an incident that sees her watch a film that looks like her missing sister, Enid’s sanity and knowledge between fact and fiction begin to merge together into a horrorshow that will see you falling down the rabbit hole with Enid.

The film has been directed by Prano Bailey-Bond who also cowrote the script with Anthony Fletcher. What is fantastic about Bailey-Bond’s approach is how authentic and well-researched every aspect of the film feels from the time period setting to the quality of the film and the methods that they would be shown to the censors. What separates a good horror from an excellent horror, especially in modern times, are their ability to merge the genre with social commentary and despite its early 1970s period stamp, Censor feels as timely as ever. Bailey-Bond’s fearless depiction of mental health deterioration as well as questioning the relationship between entertainment and media takes you on a journey that is unpredictable and highly rewarding to watch.

Niamh Algar is definitely one of this year’s stellar breakouts. Her turn as Enid Baines is a masterclass of characterisation as we see the character’s downward spiral into chaos and madness until the lines between reality and fiction become blurred. Filling the character with plenty of mannerisms such as her fidgeting as well as the detachment from the films she has to watch every day. The horror genre has brought us a slew of iconic characters in recent years, especially strong female characters and Enid Baines can sit confidently among them. The audience’s attention is captured from the beginning all the way through to the end and with horror acting as a groundbreaking genres for rising filmmakers to delve into, Censor works fantastically as a character study while subverting the horror genre and ripping the rule book.

The supporting cast do a great job of backing Algar and adding to the suspense and tension. In particular, Michael Smiley does a brilliant job as Doug Smart, a controversial producer whose films have garnered a negative reputation with the general public. Smart immediately takes a shine to Enid and insists that she reviews his latest project which sets the film in motion, Smiley brings a subtle and subdued quality that makes every movement and line unpredictable. Making the most of every second he is on screen, Smiley can always be relied upon to bring an unexpected performance.

One of the many highlights in this film is the score that has been composed by Emilie Levienaise-Farrouch. Much like the script, cinematography and editing, the score merges a modern horror score with music that feels reminiscent of the 1970s horror music to create something that feels unique and distinctive. There are many scenes where it feels as though the music is its own character such as the scenes where Enid ventures through the train station and sees a woman who looks like her sister. The score in these moments feel as though it is Enid’s past creeping up on her and haunting her every move.

What makes Censor such an appealing film to watch is how brilliabtly crafted the cinematography and editing is. Edited by Mark Towns and cinematography by Annika Summerson, the film flits between a 1970s aesthetic and how a video nasty would appear on VHS. With the video nasty VHS quality becoming more prominent later on, it seems that the film itself is reflective of Enid’s state of mind and actually questions whether the film is a video nasty in itself as it blends between the fact and fiction. The dark colour palettes of the film add a disarming effect and blur those lines between sanity and madness.

If there is one horror that you plan on seeing this year then make sure it is Censor. Wickedly original with a script and direction that is filled to the brim with creativity and ambition. From beginning to end, you are transported into this world and the mind games that it plays with you mean that it’s merging of genres works so well. Bolstered by an amazing cast and with every aspect of the film so well thought out, Censor is by far one of the best films of the year and it’s exciting to see where Bailey-Bond’s career goes following this incredible feature debut.

What did you think of Censor? Let me know in the comments below!

Censor is out in cinemas now!

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BFI Flare Festival 2021: Roundup

BFI Flare Festival is an important event that showcases films made by and revolving around the LGBT+ experience. Having followed the festival for years, I was given the chance to cover the festival and it did not disappoint. From the incredibly opener Jump, Darling to an array of biopics on iconic LGBT+ figures, this year’s festival left me spoilt for choice and it was really exciting to see lots of films from emerging filmmakers showing their debuts. I managed to watch eight films in total and I was really impressed with each one. I wanted to watch films from all kinds of countries and managed to see films from Canada, Estonia, New Zealand and Finland to name a few. This allowed me to see varying approaches to filmmaking and made it really exciting with every film. Each film impacted me in some way whether it was the topic, a performance or some other aspect of the filmmaking.

As usual, I have done my little awards which was really difficult because each of these films were full of strengths. They were all so different that it was hard to pick a winner for each category. After many hours of deliberating, I have finally managed to select the winners.

Here are the Smaller Pictures Winners of BFI Flare Festival:

Best Picture – Tove

Best Director – Zaida Bergroth for Tove

Best Leading Actor – Elz Carrad for Rūrangi

Best Leading Actress –  Alma Pöysti for Tove

Best Supporting Actor – Shiv Palekar for The Greenhouse

Best Supporting Actress – Cloris Leachman for Jump, Darling

Best Original Screenplay – Eeva Putro for Tove

Best Adapted Screenplay – Peeter Rebane and Tom Prior for Firebird based on The Story of Roman by Sergey Fetisov

Best Debut Screenplay – Katie Found for My First Summer

Best Original Score (TIE) – Freya Berkhout for The Greenhouse and Matti Bye for Tove

Best Cinematography – Carl-Friedrich Koschnick for Enfant Terrible

Best Editing – Thea Aae for Boy Meets Boy

Best Production Design – Oskar Roehler for Enfant Terrible

Best Costume Design – Marjatta Nissinen and Mare Raidma for Firebird

Best Hair and Makeup – Tove

It goes without saying that each of the films are worth a watch. What was so great about the selection of films that I was able to watch for the festival is the range of topics and scope of setting available. There really was a film for all kinds of fans so whether you like experimental films or prefer traditional biopics, BFI Flare had you covered.

So with BFI Flare done, that means I have had the chance to cover three festivals now and it is still super exciting every time. Being able to see films from emerging and established filmmakers is always a brilliant opportunity and BFI Flare has not disappointed. All explore the LGBT+ experience and perspective in varying ways making it wildly unpredictable as well as important. All of the films are guaranteed to stay with you long after you finished watching them.

Here are the links to the reviews if you want to learn more about them:

Boy Meets Boy

Enfant Terrible

Firebird

The Greenhouse

Jump, Darling

My First Summer

Rūrangi

Tove

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BFI Flare Festival 2021: Firebird

The last film on my BFI Flare Festival watchlist was Firebird, a period drama based on a true story set in Estonia during the Cold War. Following Private Sergey Fetisov (Tom Prior) who is serving the last few weeks of his military service and finds himself in a relationship with Roman (Oleg Zagorodnii), a fighter pilot visiting the base. Based on Fetisov’s memoir The Story of Roman, Firebird follows the author’s story as he finds himself in a love triangle with Roman and his best friend, Luisa (Diana Pozharskaya). The military setting provides the contrast with the men’s desire to be free with each other as the threat of punishment looms over throughout the film.

Directed by Peeter Rebane from a script cowritten by Rebane and Tom Prior, this is clearly a passion project and the respect and love for the film’s subject and story is evident from start to finish. Rebane utilises the setting of the film through beautiful use of location. The standout in this film’s production is how Rebane makes an open space feel incredibly claustrophobic to a point where we can physically feel Sergey’s entrapment as he has to deal with the reality of the situation. The film feels split into two parts with the first half exploring life on the military base and the love between the men blooming and the second half follows Sergey to Moscow where he is attending drama school and his reconnection with Roman.

Cowriter Tom Prior also leads this film as Sergey Fetisov. Capturing Sergey’s conflict as he tries to figure out what he wants from life to the revelation that he has fallen for Roman. Prior’s performance is clearly well researched and brings Sergey’s struggle to the surface. His perspective is the audience’s way into this world and the clash between the strict regime that he is living which contrasts against his own artistic leanings. Clearly an outsider from the beginning, we see him breaking the rules at the start of the film as he goes for a midnight swim with Luisa and a friend. The scene in which Sergey attends Roman and Luisa’s wedding is heartbreaking as he knows that he has lost the love of his life. Prior’s performance in this scene as he sees Roman after a long time is a revisit to the trauma that he experienced having to leave all over again. Prior provides a great leading turn that portrays the subject with passion and respect.

The second lead in the film is Oleg Zagorodnii who really captures Roman’s plight. Whereas Sergey is fulfilling his compulsory service to the military, Roman has established himself and risen in the ranks to Lieutenant. When Sergey suggests the two of them leaving for Sweden, Roman doesn’t even consider the thought because of his loyalty to his country. The irony in this is that the country he is so loyal to forbids him from being with the person he wants to spend his life with. Zagorodnii’s performance is full of heartbreak in a subtle way. Because of his high ranking position in the military, there is more intensity when a report is filed stating that he is gay. The scene in which the Colonel searches his room to find his unknown lover is horrific and highly intense as we know Sergey is there. The moments in which Roman has to publicly reject Sergey and lie to protect both of them is where Zagorodnii shines in his performance.

In support, Diana Pozharskaya is a star in the making as Luisa, Sergey’s best friend who was initially set on planning their future together. Diana isn’t in the film nearly as much as I would have wanted her to be as she is such an intriguing character. We get to see different sides to her through brief scenes such as when she encounters a childhood friend in the street who has recently married and had a baby. Luisa finds herself unknowingly trapped in a love triangle as she diverts her attention from Sergey to Roman. Pozharskaya plays Luisa as a character with strength rather than a typical passive character that we are so used to seeing from female characters in war time dramas. In particular, her performance in the final scene of the film sums up the torment and heartbreak that has lingered through the film.

Overall, Firebird is more traditional in its topic and structure but still packs a punch. Delving into the heartbreak and trauma that comes with being an outsider in a society where people will do anything for their country. The conflict between doing what is expected from society and what the individual wants to do creates a story that is heartbreaking, gripping and unpredictable. Featuring a slew of great performances, this film is sure to strike a chord with many audiences, especially those who like their period dramas.

Firebird is showing at the BFI Flare Festival.

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BFI Flare Festival 2021: Boy Meets Boy

One film that I have seen receive a lot of praise at this year’s BFI Flare Festival is Daniel Sanchez Lopez’s directorial feature debut Boy Meets Boy. With the script written by Sanchez Lopez and Hannah Renton, the film follows British junior doctor, Harry (Matthew James Morrison) who is on a weekend trip in Berlin and has a chance encounter in a nightclub with local guy, Johannes (Alexis Koutsoulis) where the two kiss and then spend the following day exploring the city before Harry goes home. The film takes place over the course of this day and we learn about the protagonists through their many conversations. It’s a film rich in characterisation while also touching on the LGBT+ experience in the modern.

Despite the limited locations, Sanchez Lopez manages to make the protagonists’ journey feel longer and wider thanks to the beautiful direction. Making the most of the Berlin city setting, we follow the characters through the city as Johannes shows Harry around without going to any touristy places. The glorious summery weather adds that extra excitement and adventure as Harry laments his future when he goes back home to the UK. As the film is character led, it’s important that the script is tight and engaging to ensure that audience attention doesn’t slip. What Sanchez Lopez and Renton do really well is keep an ongoing dialogue between the two that shifts and changes in topic and tone. Whether they are engaged in conversations on religion, their experiences as gay men or what they want for their future, we really see how their own outlook and perspective mesh and clash as dynamics can quickly shift. This constant shifting of dynamics make the conversations flow naturally while also reminding the audience that they are complete strangers with differing backgrounds.

Matthew James Morrison does a great job at showcasing junior doctor Harry’s inner conflict as he struggles figuring out what he wants to do with his life. Wanting to dedicate his life to helping others, Harry is an individual who at first seems assertive and confident in who he is but his journey through the film is all about self exploration into his career and lifestyle. The scene in which the characters are conversing with Mormons, Harry seems genuinely interested to learn about why they would choose to openly follow a religion in an age where young people are not engaging with religions as much. Whether he has his own inner religious conflict is unknown, but he is a character who is unsure about his future and his place in the world. His intelligence stems from his scientific background and he approaches all conversations with a logical frame of mind.

In contrast to Harry’s scientific and more traditional background, Johannes is an aspiring dancer who is inspired by all kinds of movements. Alexis Koutsoulis brings a thoughtful performance as Johannes, who has a developed sense of the world and his place in it. However, his conflict comes in his approach to relationships. Having found himself in a relationship in which his partner wants to see other people, Johannes finds it difficult to connect with people on an emotional level because he is unable to live up to what he thinks is expected on him. On the surface, Johannes is carefree and expressive but that pain and inability to connect makes him quite lonely. Koutsoulis’ performance is beautifully layered and his part in the film acting as a guide allows the audience to see into this world as it is Berlin through his eyes.

Overall, Boy Meets Boy is a poignant film that follows the day in the life of a chance encounter. The developing relationship between the characters is one that a lot of people will relate to as they discuss an array of issues. A fantastic debut from Daniel Sanchez Lopez who has done well in creating two established characters in a very short running time. Although the encounter between the characters is brief, it feels like a lifetime of conversations thanks to the script which allows us to really gain the protagonists’ perspective on life both positive and negative.

Boy Meets Boy is streaming at this year’s BFI Flare Festival

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BFI Flare Festival 2021: Enfant Terrible

Another biopic that I wanted to catch at BFI Flare was Enfant Terrible. Following filmmaker Rainer Werner Fassbinder’s rise as an auteur and his struggle with addiction was never going to be the most comfortable watch. Directed by Oskar Roehler from a script written by Klaus Richter, Enfant Terrible stars Oliver Masucci as Fassbinder in a biopic that follows the usual linear structure as expected from the genre whilst also adding in techniques inspired by the film’s subjects. Fassbinder has garnered a reputation for his abrupt approach to filmmaking, often breaking the rules and ignoring the advice of those who prefer traditional filmmaking. Trained in theatre directing before films, we see how this theatrical backstory feeds into his creative process and the end result is a film that wouldn’t look out of place in Fassbinder’s own filmography.

Roehler’s directorial approach seems to be inspired by Fassbinder’s theatre background. Since it is a biopic, it is character driven and therefore the stage like direction works really well. Just as Fassbinder was known for his highly intense filmmaking techniques, Roehler applies this. Although Fassbinder is a highly celebrated filmmaker in terms of his output, it was no secret that he had a fair share of problems and was known for his turbulent relationships and unpredictable behaviour. This unpredictability is what drives the film, even though it is a biopic and you can research what happens in his life previously. Roehler allows us to see the many sides to Fassbinder from his moments of inspiration to the darker moments of abuse and addiction. We are not expected to like Fassbinder at the end of it but to see how his creative process worked and the positive and negative impacts it had on the people around him.

Klaus Richter’s script follows the usual biopic formula and spans Fassbinder as an aspiring filmmaker all the way through to his death from a drug overdose at the age of 36. Although there are segments of the film that explore Fassbinder on set as he is making his films, the main focus is around the man himself and how he acts away from the character. Showing his volatile side, we are introduced to his stubborn and abusive nature from the outset as his unorthodox methods make everyone around him uncomfortable. Whereas a lot of biopics like to showcase the positive achievements of their subject, Enfant Terrible shines a more critical view of Fassbinder, especially as the success begins to feed his ego. It does seem a bit unbalanced at times as you question why his friends and entourage stay with him when there are very few moments of vulnerability or kindness.

Masucci’s performance as Fassbinder is insanely good. When playing a person like Fassbinder, you have to push the boundaries and Masucci does this with ease. He is no stranger to playing controversial characters as he is best known for playing Adolf Hitler in the 2015 satire Look Who’s Back so becoming such a large character like Fassbinder is the perfect challenge for him. His performance is heavily layered as we don’t fully understand why Fassbinder makes the choices he makes initially but as the film unfolds and the director begins to find fame and success, we begin to see his emotions rise to the surface. It is almost as if Fassbinder becomes aware of his own mortality and his limitations. Initially set on becoming a successful film director, his personal life soon overrides his career and it’s difficult for the world to differentiate the artist from the art.

The production design by director Oskar Roehler is clearly inspired by stage plays in construction. Considering the subject and the dark topics explored, it makes for a brilliant contrast and makes the film beautiful to look at. The expressionist colouring sets the atmosphere and can make the scenes even more intense. Roehler makes the most of the space involved in his scenes and the production design feeds into this as the scenes can run for longer periods of time.

Overall, Enfant Terrible is a film that focuses on the artist rather than the art. Fassbinder’s controversial behaviour probably isn’t surprising to most film fans who are aware of the background but Masucci’s strong performance is hard to ignore. Chronicling Fassbinder’s rise to fame and ultimate death, we get a glimpse into how success can afflict someone positively and negatively. As the filmmaker becomes more successful, his films are widely acclaimed but his demons get the best of him. Avid Fassbinder fans may not learn anything new from this biopic but it is a great film to watch for its interesting direction and strong leading performance.

Enfant Terrible is showing at BFI Flare Festival.

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BFI Flare Festival 2021: Rūrangi

The fourth film on my BFI Flare watch list is Rūrangi, a project set in the titular village which is a politically divided area in New Zealand. Initially ordered as a five episode web series, this is being presented as a full feature film at the festival. Following Caz (Elz Carrad), a transgender man who returns to Rūrangi to see his father who doesn’t know that he has transitioned. Directed by Max Currie with a screenplay written by Cole Meyers and Oliver Page, we follow Caz’s journey post transition and the two lives he leads and seeing the contrast between his life in Auckland as a prominent trans rights activist and the life he left in Rūrangi. When he arrives to.speak to his father, he also comes face to face with Jem (Arlo Green), his ex-boyfriend before his transition. As well as Caz, we also follow the story of his childhood friend, Anahera (Awahina Rose Ashby), a young woman who is trying to connect with her Maori roots by learning the language.

What is so captivating about Rūrangi is how these different topics spanning from social to cultural are intertwined and see how they have impacted Caz and his perspective on the world. Coming from a small town that isn’t as progressive as the cities and is reliant on a sole industry brings its pressures on the expectations and standards he was held up to growing up. Being able to lead the life he wants in Auckland comes to a head as a tragedy forces him to return home and confront that past.

Elz Carrad’s performance as Caz is a breakthrough turn and provides that focus point throughout the film. Even when exploring a range of different characters, we see how Caz has affected them and vice versa. Carrad is perfectly cast and really brings that inner conflict to the surface as he has to confront his dad for the first time in ten years. He is shy and reluctant to speak out to his father and the village council intially despite being unafraid to express his voice in Auckland, risking his life to do so. The film revolves around Caz’s journey to self acceptance and unwillingness to be batted down by those who disagree with trans rights and Carrad achieves this perfectly.

In support, Awahina Rose Ashby is brilliant as Anahera, a woman of Maori descent who is rediscovering her roots through the language. Refusing to conform to what the town expects from her, she openly dates women and doesn’t care about what people think. Her progressive look to the future and attitude is then combined with her longing to connect with her past. As she recites a Maori mantra in the morning, she is instantly becoming more connected to the world around her and wanting to interact with the community that has always disapproved of her actions. Ashby’s performance is fearless and unapologetic as she has such a strong and confident presence which works great against Carrad’s more subtle and quieter performance. The scenes between the two are highly emotional and sum up the experience of being an “outsider” in a small conservative town.

Overall, Rūrangi is a fantastic series/film that will be equally enjoyable to watch either in full or episodes. Seeing the perspective of the New Zealand LGBT+ community through the eyes of those who can relate makes the experience feel more authentic. The characters have been fleshed out in a way that we see their positive and negative traits and we understand from their backstories why they act this way. The direction in particular is stunning and the non linear structure of the film keeps the plot unpredictable whilst also fleshing out the backstory in a way that doesn’t feel like exposition or thrown in.

Rūrangi is showing at this year’s BFI Flare Festival.

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BFI Flare Festival 2021: My First Summer

One of the films I have even excited to view was Katie Found’s directorial debut, My First Summer. The film follows Claudia (Markella Kavenagh), who is grieving after her mother drowned herself and Grace (Maiah Stewardson), a girl who lives nearby who saved Claudia from drowning with her mum. Claudia has lived a life in seclusion due to her mum’s negative outlook on the world and Grace’s entry into her life opens Claudia’s eyes and makes her see the beauty in life. With polar opposite personalities, the differences between the girls is what draws them together and ignites a romance. As the title suggests, this film doesn’t span a long period of time but the beautiful slow burning pace allows us to become familiarised with the characters. Delving into topics of loss and grief and contrasting this with the promises of hope and love that is found, Found explores a wide range of emotions and the internal and external conflicts that they can inspire.

Written and directed by Found, My First Summer makes the most from its limited location. Using Claudia’s house and the surrounding woodland primarily, there seems to be a lot of freedom in the amount of space and yet Claudia is trapped and disconnected from society because of how secluded it is. Found’s direction is beautiful and makes the most of the summery weather, allowing those bright colours and the warm tones contrasting with the topics of loss and grief. Considering the short running time of 90 minutes, Found does a great job with her screenplay as we really get to know Claudia and Grace and get an understanding of their points of view. It’s a film that doesn’t rely on being big and bold to get its point across and allows the two protagonists to become fully realised in a way that feels real and natural.

Markella Kavenagh’s performance is heartbreaking as Claudia has to deal with both the loss of her mum and the realities of the world outside. Having to hide from the police who would take her away due to her age, Claudia is initially alone and dealing with her grief with her dog by her side. Compared to Grace, Claudia is introverted and is academically intelligent without actually knowing how to properly communicate with people. Despite the natural world around her, the rooms in her house are undecorated and muted colours to reflect the fact that she is a blank canvas waiting to start her life. Kavenagh’s performance is quietly strong, when put against Stewardson who is the extroverted Grace, we see Claudia come out of her shell and grow into herself. A remarkable leading performance that is layered and nuanced.

The second lead in My First Summer is Maiah Stewardson who plays Grace perfectly. Outspoken and extroverted, Grace knows what she wants to get out of life. Suffering from her own experience of entrapment by her neglectful mother and step-father, Grace finds her own safety net with Claudia. After saving Claudia’s life, Grace acts as a guardian for her and helps keep her hidden from the police. Stewardson is captivating as Grace and makes the perfect onscreen partner for Kavenagh and the two have a chemistry that works organically and naturally. The slow burning nature of the relationship doesn’t feel rushed even though the film itself spans a short amount of time. Stewardson’s performance is tinged with maturity and naivety at the same time, reflecting the reality that these two girls are only 16 and haven’t had a lot of life experience.

Overall, My First Summer was even better than I had expected and left me speechless at its ending. The screenplay has a wonderful, steady pace and the girls are perfectly cast. I am very excited to see where Found, Kavenagh and Stewardson’s careers take them as this film is a very promising start and shows a great future for them. Showing the world through the eyes of a 16 year old who may not understand everything helps to create a film that feels grounded in its own universe and Found has captured this flawlessly. This film is not to be missed.

My First Summer is showing at BFI Flare Festival.