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BFI Flare Festival 2021: The Greenhouse

The second film on my itinerary for this year’s festival was Thomas Wilson-White’s drama The Greenhouse. Set in an idyllic Australian suburb, the film follows Beth (Jane Watt) who is grieving the loss of her mother, Lillian (Rhondda Findleton). The eldest of four siblings who have gone on to achieve amazing things in their lives, Beth feels anchored to her life at home with her other mum, Ruth (Camilla Ah Kin). When her siblings arrive for a family celebration, Beth gets a lot more than she bargained for as she comes across an old flame, Lauren (Harriet Gordon-Anderson) and discovers a portal to the past in the family greenhouse. Being able to relive her past and see her family during the good times and the bad as well as her own exploration and inner conflict with her own sexuality allows Beth to accept all that has happened and decide what to do in the next chapter of her life.

Wilson-White’s direction is beautiful, often feeling otherworldly while remaining grounded in its reality. The suburban setting allows the household to feel disconnected from society and places the family front and centre of the events that take place. The screenplay is simple and has a slower pace to allow the plot to naturally unfold. When time travel is involved in a film, it can be easy to burden the audience with exposition and too much information but Wilson-White does not fall into this trap. How and why the portal is there is not important and this allows Beth’s character to be the main focus of the film. The way that these scenes are shot are really well done and allows Beth to come face to face with her past self and her actions. We begin to understand her decisions and choices that has led her to remain at home.

Jess Watt’s performance as Beth is the beating heart of this film. Beth is clearly a strong woman but she is holding herself back because she is afraid of going out in the world and living with complete freedom. Having seen the discrimination aimed against her mums, she is afraid when she begins to realise she has feelings for her best friend, Lauren. Where her siblings have been getting on with their lives, it feels that Beth has become stunted and unable to move on, which is also accompanied by the grief she feels over the loss of her mother. Watt’s performance is perfectly controlled and we feel that wide spectrum of emotion that Beth goes through as she is faced with the heartbreak of losing her mum and the jealousy that she has against her siblings for leaving. When among her siblings, Beth still revels in her loneliness as she doesn’t want to face the truth about her sexual orientation. The reintroduction of Lauren into her life is the perfect second chance given to Beth to start anew and we feel that conflict though Watt’s performance.

The music by Freya Berkhout is astounding and elevates the film into magic realism territory. Bringing in elements of otherworldly tones, Berkhout’s use of choral pieces is both haunting and beautiful, creating an atmosphere that helps to separate the house from the rest of the world. Having the music set the fantastical tone allows the film itself to remain a drama and not become distracted with a variety of special effects. Working brilliantly with Wilson-White’s vision, the music is subdued and subtle yet still makes its impact.

Overall, The Greenhouse is a beautiful and poignant film that quietly packs a punch. Wilson-White’s mixing of genres and tones reflects the protagonist’s inner conflict. This film tackles a range of heavy subjects but it does so in a way that isn’t overwhelming for the audience. Bringing in elements of time travel could have resulted in disaster but the way it works in this film allows us to understand Beth’s character more and learn about her background and how they have affected her in the present whilst also affecting her future choices.

The Greenhouse is playing at this year’s BFI Flare Festival.

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BFI Flare Festival 2021: Jump, Darling

BFI Flare Festival is all about showcasing the newest films that explore LGBT+ issues and the variety this year follows all paths of life from all corners of the globe. Opening the festival this year is Phil Connell’s Jump, Darling. The film follows Russell (Thomas Duplessie), a drag queen who moves back in with his grandmother, Margaret (Oscar winner Cloris Leachman) after his breakup. As Russell tries to decide what he wants to do with his life, he also finds himself taking care of Margaret who is reluctant to go into a care home despite her ailing health. The film was one of the last films Leachman starred in before she passed away earlier this year.

Connell’s screenplay and direction is nicely paced and he manages to get fully realised characters in its short 90 minute run. Despite the difference in lifestyles between Russell and Margaret, their similarities begin to show as both are trapped in their particular situations. Where Maragret is physically trapped as she is unable to leave the house, Russell is finding himself unable to fulfil his potential as a successful actor and feels the pressure of failure from family and friends. The scenes where Connell’s direction really shines is when Russell performs lip syncs as his drag alter ego, Fishy Falters. These scenes allow Connell to shift to a more experimental style of filmmaking as he mixes in differing camera angles and lighting that takes Russell out of his reality when he becomes Fishy Falters.

Duplessie is fantastic in the leading role as Russell and stands his own against Oscar winner Leachman. We first see Russell in a successful nightclub prepping for his drag debut as Fishy Falters. After stumbling on his way to the stage and leaving the club, he breaks up with his partner who thinks he is should pursue acting as he doesn’t think drag is a worthy career. When he moves in with his grandmother, we begin to see the clash between the two worlds that he seems to inhabit. Where Duplessie really shines is showing the difference between Russell’s life as a man who is trying to find his way versus his performances as the super confident drag queen, Fishy Falters. Duplessie’s stellar lip syncing is on par with the performances we see from professional drag Queens throughout the film.

As expected, Leachman is brilliantly cast as Margaret, the family matriarch who simply refuses to be put in a care home despite pressure from her daughter. Unable to drive or properly care for herself, Russell’s arrival brings a certain amount of freedom as Maragret begins to encounter old friends and start to find the joy in her life again. With Leachman having a stellar career playing strong women, Jump, Darling is no exception as we see Margaret grasping at the little control she has left. Wanting to cater to her grandson and encourage him to push out of his comfort zones, Margaret is quite a confrontational character but she also has a softer side when it comes to Russell. The scenes between Leachman and Duplessie are great to watch and even in her twilight years, Leachman shows that her star quality never went away.

One thing that I thought was particularly great in this film was the editing. Lev Lewis edits perfectly by utilising a more traditional cut in the scenes with the domestic troubles but then changing to a more exciting cut during the musical scenes. This helps to shift the genre of the film from drama to musical and keeps the film unpredictable and attentive. Lewis’ editing works perfectly to show the two worlds that Russell lives in and perfectly chronicles the emotional journey he takes.

Overall, Jump, Darling marks a great start to this year’s BFI Flare Festival and marks the start to a wonderful career for Duplessie whilst also being a lovely swansong for Hollywood icon, Leachman. Connell uses the minimalist surroundings and limited characters allows the two protagonists to shine and puts their acting at the centre. The chemistry between Duplessie and Leachman feels natural and the screenplay allows the relationship to develop naturally without resorting to any exposition. Jump, Darling is a film that will leave you laughing, crying and every other emotion in between.

Jump, Darling is opening the BFI Flare Festival.

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Saint Maud (2020)

If there was one film I was looking forward to seeing in 2020, it was Saint Maud. Thanks to the global pandemic, it was one of the many films that was delayed and just under a year later, I finally have been able to see it. Directed and written by Rose Glass in her feature debut, Saint Maud follows palliative care nurse, Maud (Morfydd Clark) who is sent to care for former dancer, Amanda (Jennifer Ehle). Maud is a recent Christian convert and is very influenced by God and will do anything to carry out his will, even if it comes at the cost of her sanity and the lives of those around her. It falls into the psychological horror category and a lot of the tension in the film is carried by the strong direction and Clark’s incredible leading performance.

Rose Glass has entered the film industry with a massive splash. Saint Maud marks her feature debut and she delivers in spades. Her directorial vision is so distinct as it mixes traditional shots of suspense with some tributes to classic religion horrors such as The Exorcist while also bringing in a freshness that feels like a breath of fresh air. Bringing an intense horror to a quiet English coastal town, this film feels ground in a real working class reality in the world around Maud whereas Maud clearly doesn’t fit in. Seen entirely through Maud’s perspective as she is in every scene, it’s clear that Maud doesn’t belong but the reason why is unclear. The script is a beautiful slow burner that is paced fantastically whilst still containing a lot for an 84 minute film. Glass makes the most of every second and it is definitely one of the best horrors I have seen in a whole. It’s fantastic to see how women are regaining control of the horror genre and the pay off is brilliant.

Welsh actress, Morfydd Clark is an absolute revelation as palliative care nurse, Maud. Maud is clearly an extremely tense and troubled individual who is trying to make sense of her purpose in the world. A recent convert to Christianity, she looks to God at every point in her life and rather than just verbal words, she feels God’s presence physical. As expected of “body horror” films like The Exorcist, Clark gives her all physically and emotionally without allowing the energy to die down. We feel the tension rising and rising as Maud has pain inflicted on her as well as bodily harm as she believes she must suffer to be with God. Maud is so invested in her religion that she is not even living her own life anymore. From the first moment she is on the screen, we feel that tension and intensity from her. Clark perfectly embodies Maud and shows her struggles perfectly, holding the film on her shoulders in a superb breakout performance. Rather than play the role as a horror lead, she performs as a dramatic lead instead which works perfectly to build up the conflict and horror that is brewing through the film.

In support, Jennifer Ehle is incredible as dying creative Amanda. A former dancer who has fallen ill to stage four lymphoma, Amanda is the polar opposite to uptight Maud. Arguably and ironically full of more life than Maud, Amanda aims to live her last days to the fullest, indulging in alcohol, parties and lots of sex. Maud is both intrigued and appalled by Amanda’s actions and strives to save her soul in time before she dies. Ehle is a fantastic who is often wasted or not given enough screentime in most films she stars in but Saint Maud elevates her to a hugely significant supporting character. Amanda’s free nature is unsettling as we struggle to know what she really thinks. Even as Amanda’s health decays, Ehle gives the character that depth and life as Amanda fights her illness. Even as she succumbs to the end, she has that freedom that Maud simply cannot restrain.

The score is phenomenal and immediately brings in the horror aspects of the film. Whereas the performances feel more dramatic, the music dictates the tone and elevates the tension in the film. Composed by Adam Janota Bzowski, the score is atmospheric, beautiful and hugely impactful. The film overall doesn’t have a lot of bells and whistles that many other psychological horrors have but Bzowski’s score is almost an effect in itself. The heavy electronic sounds filled with bass add to the film’s unsettling nature. Even in moments that seem more relaxed, the score refuses to rest and its relentlessness adds so much to the film as a whole. I am extremely excited to see what Bzowski has in store for the future and hope he continues to score films.

Saint Maud is a film that was definitely worth the wait. From the first shot, it is captivating and you can’t draw your attention away. The intricate amount of detail in every movement and props shows the amount of care that has been made in the writing. This marks the fantastic start for Rose Glass and Morfydd Clark as well as providing Jennifer Ehle a chance to really show off her range. For those who claim that horror is a man’s genre, I implore you to check Saint Maud out and guarantee that you will be pleasantly surprised. A film that I already want to watch again and again and again.

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

Saint Maud is released in the UK on Monday 1st February.

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London Film Festival 2020: Roundup

With London Film Festival concluding today and all of my reviews done and dusted, I thought I would write this post to roundup my experience. Being my first film festival, I was so excited to be apart of something I have been a fan of for years. Looking at the lineup, it seemed that there were four major films: Steve McQueen’s Mangrove, Chloe Zhao’s Nomadland, Pete Docter’s Soul and Francis Lee’s Ammonite and I was determined to see at least two of these. Luckily I was able to see Mangrove and Ammonite on the screenings but sadly wasn’t successful in the ballot to see Nomadland and I don’t live in London to see Soul. However, I was thrilled with all the films I watched. I decided that my target was to watch 10 films and make them as varied as I could. In total, I watched 12 films and this includes documentaries, shorts, animation, drama, horror, foreign language, etc. There wasn’t one film that disappointed me and many standouts that I hope go on to receive award recognition and open new doors to create more films.

Overall, what stood out to me was the quality of the writing in the films I watched which was absolutely fantastic. The creativity and originality of the films I watched shows that the industry isn’t failing and there is room for films that push boundaries. From adaptations to original pieces, each film was so distinctive and unique that I was so pleased with how many well-rounded characters there were.

I thought it would be fun to come up with my personal winners from the Festival from the films I watched. As I previously said, there were no disappointments so this will be tricky. I have also added a special Shoutout category because the winner of this gave two brilliant performances and has clearly had a stellar year. I wanted to recognise this with their own special category.

Here are the Smaller Pictures Winners of London Film Festival:

Best Picture – Wolfwalkers

Best Director – Tomm Moore and Ross Stewart for Wolfwalkers

Best Leading Actor – Riz Ahmed for Mogul Mowgli

Best Leading Actress – Tilda Swinton for The Human Voice

Best Supporting Actor – Fazlur Rahman Babu for The Salt in Our Waters (Nonajoler Kabbo)

Best Supporting Actress – Letitia Wright for Mangrove

Best Original Screenplay – Will Collins for Wolfwalkers

Best Adapted Screenplay – Pedro Almodóvar for The Human Voice

Best Documentary Feature – One Man and His Shoes

Best Original Score – Jim Williams for Possessor

Best Song – “Running with the Wolves”, AURORA from Wolfwalkers

Best Cinematography – Stéphane Fontaine for Ammonite

Best Editing – Matthew Hannam for Possessor

Best Production Design – Tomm Moore, Ross Stewart and Maria Pareja for Wolfwalkers

Best Costume Design – Michael O’Connor for Ammonite

Best Hair and Makeup – The Human Voice

Special Shoutout Winner – Sean Bean for Wolfwalkers and Possessor

London Film Festival has given me some amazing memories and been a highlight of my year and a brilliant opportunity that I am so grateful for. I am also so excited to announce that I will be reviewing films from the upcoming Raindance Film Festival at the end of this month so my Festival journey hasn’t ended just yet!

So that’s it for my little awards section and roundup! Which film are you looking forward to seeing the most? Let me know in the comments below!

Just in case you want to read my reviews for the films, I have included them below. I really recommend watching all of them:

Ammonite

Farewell Amor

Herself

The Human Voice

Lovers Rock

Mangrove

Mogul Mowgli

One Man and His Shoes

Possessor

The Salt in Our Waters (Nonajoler Kabbo)

Siberia

Wolfwalkers

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London Film Festival 2020: Lovers Rock

The last film on my list brings the whole Festival to full circle as it ends with the second episode of Steve McQueen’s Small Axe series named Lovers Rock. The film spans a single evening taking place at a house party in Ladbroke Grove and, much like Mangrove, serves as a safe place for the black community to gather. Following protagonist Martha (Amarah-Jae St. Aubyn), a young woman who sneaks out of her house to attend the party. The party is fun at first as she dances with her friend Patty but soon enough the darker undercurrents start to seep through as she is harassed by men at the party as well as a group of white men outside. Her experience ties in with the darker experiences of other partygoers, mainly women. Patty leaves because she doesn’t want to be left alone with a stranger and another woman, Cynthia, is raped by a man who had harassed Martha earlier.

Despite its short 68 minute running time, McQueen makes the best of this time by creating a complex intertwining of relationships in the short duration of events. Martha’s experience is one that spreads across many emotions from elation at attending the party with her best friend, Patty to the fear of being harassed by a fellow partygoer to the horror of the violence. The script written by McQueen and Courttia Newland is compact and wastes no time in getting into the rush of party preparation while allowing some time for the characters to naturally flourish in the second act before violence kicks off. This short snippet of time exposes us to a lot of characterisation and actually gives us a good idea of who Martha is and what kind of person she is. The shift in gender dynamic is brilliantly done as the women lead the party by dancing on their own but after the incredible “Silly Games” scene which I will discuss later, the party is overrun by the men who are frantic. As night goes on, the party becomes more aggressive and violent until the walls seem like they are closing in, making for a claustrophobic experience. The safe place doesn’t feel so secure any more to Martha.

Amarah-Jae St. Aubyn is brilliant as lead character, Martha. A normal woman who is excited to party with her friend but has a strength that means she isn’t afraid to stand up for herself. What St. Aubyn does so well is bringing out Martha’s character little by little through actions and mannerisms. When Cynthia is raped, Martha is unafraid to stand up for her and stop him. Even when he squares up to her and towers over her, she stands tall. You would not think that this is St. Aunbyn’s first leading role as she is so natural in the role. It’s a great character arc as well. From a timid young woman sneaking out to party to the final shot of her sneaking back in a d clearly feeling changed from her experience. We see the changes that she has experienced on her face in those final moments.

In the supporting role we have Micheal Ward as fellow partygoer, Franklyn, who proves to be a perfect match for St. Aubyn. The interaction between the two works perfectly as they bounce off each other. Franklyn acts as a fly on the wall to the party. He doesn’t partake in the men’s dancing and is dedicated to making sure Martha is safe despite having never met her before this night. Ward isn’t in it that much but his presence and protection can be felt when Martha is wandering around the party. The final scenes in which he is in where he encounters his boss who is unhappy that he brought Martha to the shop bring the microcosm of the party to the outside world. Franklyn serves as Martha’s guide for the party and arguably to life, introducing her to a world that she hasn’t encountered before.

The highlight scene is when Samson, the DJ, cuts the music to get the attendees to sing “Silly Games” by Janet Kay accapella and it is a wonderful choice. The partygoers keep dancing and create the rhythm together in a way that highlights the tightness of the community. McQueen really is a genius when it comes to intertwining art forms in his films and this is a great way of incorporating music in a way we haven’t seen before. Because the music has been so continuous as well it helped to slow the pace down for a little bit as the shift from fun to chaos ensues.

The music choices in Lovers Rock provides the ongoing flow for the episode and adds to the frantic nature of the party. An eclectic mix of lovers rock, reggae and blues, Lovers Rock is brimming with black music and it is a brilliant soundtrack. The hectic and continuing nature of the music becomes synonymous with the action as though it is playing an active role.

Lovers Rock closes the London Film Festival on the 18th October and will show on BBC One in the United Kingdom on

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London Film Festival 2020: Ammonite

One of the final films for this year’s London Film Festival comes in the form of Francis Lee’s Ammonite. Written and directed by Lee, the film follows Victorian palaeontologist Mary Anning and her time spent with Charlotte Murchison who would eventually become a palaeontologist herself. Starring Oscar winner Kate Winslet and Oscar nominee Saoirse Ronan as Anning and Murchison, respectively, Ammonite is a slow burning romance filled with beautiful cinematography and boasting a host of stellar performances. It premiered at Toronto Film Festival and was one of the most talked about films coming into London Film Festival so I was excited to have a chance to watch it.

Shot on location at the Jurassic Coast at Lyme Regis, Ammonite is just as hard and cold as its surroundings with Anning’s character specifically being chipped away at like one her fossils until we see her true self revealed. Francis Lee brings in a unique perspective by adding in a lesbian storyline due to Anning’s privacy regarding her personal life and with the knowledge that she never married or had children. There is no proof to say she was a lesbian but there isn’t any proof to say otherwise and the film hasn’t been written as confirmed history. What is fact, however, is that Anning’s life was full of injustices. From the offset, Anning’s injustices are seen as the fossil she uncovered is placed in the British Museum and her name is replaced by a man’s. This happens before we even see her onscreen. Our introduction to Anning is quite literally the science community erasing women from the narrative.

As expected, Kate Winslet is perfect casting as Mary Anning. Stubborn and guarded, Anning sees through the grandeur and spectacle of the male dominated science community. Bringing her best performance in years, Winslet’s Anning longs for happiness but shuts herself away from it, deciding to focus on her work. Even when she initially meets Roderick and Charlotte Murchison, she is reluctant and unhappy to give them a private audience as she prefers her own company. However, we see her facade fade away as she nurses Charlotte back to health after she contracts a fever. Anning longs to be among the elite in society but knows that she never will. Charlotte has everything she wants and even when presented with the opportunity to join her, Anning doesn’t want to be in a submissive position. Winslet plays Anning with strength and resilience that both aids and damages the character.

Saoirse Ronan’s performance as Charlotte Murchison puts her back in the familiar period setting that she excels in. Murchison is consumed by mental illness following the loss of her baby and is sent to shadow Anning at the insistence of her husband who goes travelling for five months. She is timid and quiet and quickly clashes with Anning’s brash character. After falling ill, Charlotte has a new outlook on life and grows attached Mary which slowly blossoms into a romance between them. As the film’s focus is mainly on Anning, I would say Ronan doesn’t shine as much as Winslet because we don’t get to know Charlotte to the same extent. I would have loved to have seen a more developed character arc for her or perhaps a note at the end of the film to confirm her own successful career as a palaeontologist. Ronan does the best with the material she has, however, and is a great onscreen match with Winslet. It’s hard to believe that it has taken so long to have these two powerhouses acting alongside each other.

The costume design by Michael O’Connor is a highlight in the film, particularly the handmade knit pieces the two leads wear. Anning’s weave and rib knit jumper is a beautiful and practical piece that has the robustness to reflect her profession and personality. On the other hand, Murchison’s delicate white knitted shawl is so fragile it could be lace. It is so fresh and clean which contrasts with the mud laden beach. Anning’s clothes are predominantly dark greys and blues and reflect the bleak coastal scenery with Murchison’s more bright and lavish outfits commanding the centre of attention in all of her scenes.

Overall, Ammonite shows Francis Lee’s skill with colour and vision, giving a voice to an overlooked woman in science. His boldness and imagination to suggest a different narrative doesn’t take away from Anning’s confirmed achievements. Lee has cemented himself as a director to watch with this strong follow-up to his 2017 debut, God’s Own Country.

Ammonite is screening at the London Film Festival on the 17th October and will be released in the United Kingdom in 2021.

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London Film Festival 2020: One Man and His Shoes

The only documentary I have seen in the festival thus far, One Man and His Shoes is the debut feature documentary from Yemi Bamiro. The film follows the rise of Michael Jordan’a relationship with Nike and the creation of the Air Jordans in the 1980s and how they have created a trend for extremely expensive and exclusive trainers that exists today. Without any input from a Nike representative or Jordan himself, Bamiro creates a well-rounded view of the Air Jordan history by interviewing people who worked at Nike, experts in sport marketing as well as people who have large Air Jordan collections. This gives the view from the starting point those who helped conceptualise the brand all the way down to the release of the shows the customers who purchase the product.

The documentary provides an outlook on society as a whole in regards to the American political state in the 1980s which was deeply conservative and ran by President Ronald Reagan. There was much disturbance and discourse to those who were working class and people of colour because the discrimination against them was growing and so vast that they began to rebel in their own way. When the Air Jordans were banned from the NBA, they became a hugely desired item in the streets because they were a form of protest. As Jordan’s success grew as a basketballer, his marketing with Nike also grew more aggressive. The drive to promote the Air Jordans plus the ban the NBA imposed resulted in a huge public spectacle on its release. People lining the streets and waiting for hours just so they could get a pair. Nothing like this had happened before with shoes and it shows the power of a successful marketing campaign. The significance of Jordan also being a black man with such a huge fan base cannot be ignored. Coming from humble beginnings, he is a figure that a lot of people can look up to and having a pair of the Air Jordans could make them feel like they have a slice of the American Dream.

The second act of the documentary then goes into how Jordan and Nike’s relationship originated and the huge success into how the shoes were marketed. Jordan was everywhere in the 80s as he had a lot of collaborations with various companies but his work with Nike was by far the most popular and resonated most with the customer. One of the most successful marketing campaign was Spike Lee’s adverts for the Air Jordans. Starring Lee as his character Mars Blackmon from She’s Gotta Have It and Jordan in a bid to make the product more relatable to the consumer. Lee’s filmography had begun to build traction and Jordan was a rising star in his sport so it made perfect sense. Also, the genius of unsporting humour into the adverts makes Jordan appear to have that All-American appeal. The adverts in themselves became an event with audiences excited to see what the new one would bring.

The final act of the film discusses the loss that has occurred since the release of the Air Jordans. The build up from the first hour of the documentary makes it seem as though the Air Jordans are a final product of the American Dream with the idea that Jordan’s basketball playing was enhanced by the shoes. However, it turns out that there is a dark side to the exclusive nature of the Air Jordans. Looking into the case of a young man who was fatally shot because of the new Air Jordans, his mother and sister recount the tragic event and it is during this segment where the disconnect between business and consumer becomes clear. Jordan sent the family some new shoes after the murder but they feared wearing them in case they too were killed for them. It seems extreme that people would go this far for something as materialistic as shoes but the documentary suggests that this is in part due to the aggressive marketing by Nike that is both promising but also exclusive. By stocking limited quantities in shops, it drives the desirability right up and contributes to the collectible aspect.

What One Man and His Shoes does so well is show how clothing and accessories can actually be used as a form of protest as well as expression. The Air Jordans initial ban in the NBA is what made them desirable to those who are anti-establishment. It also shows the disconnect between the corporation and the damage that can be caused because of the exclusivity that Nike markets the Air Jordans as. Their silence over the unfortunate incidents shows that despite encouraging people to use their voice and unite in their adverts, they don’t want to be linked to the murders and injuries occurred in acquiring the shoes. What Bamiro does so well is present that balance between a huge achievement in marketing and inspiration and the costs that that brings. It’s a documentary that will resonate with a lot of people for its look into fashion, sports and history with the societal backdrop. Bamiro uses every second of the film’s 83 minute running time with effect.

One Man and His Shoes is showing at the BFI London Film Festival on 13th October and is available until 16th October.

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London Film Festival 2020: The Salt in Our Waters (Nonajoler Kabbo)

Continuing with my London Film Festival adventure with this Bangladeshi debut feature directed and written by Rezwan Shahriar Sumit. Assisted with the Spike Lee Fellowship Award, Sumit was able to make The Salt in Our Waters (its original title is Nonajoler Kabbo), an intricate look into how climate change affects small communities and the lives these communities live. The film follows Rudro (Titas Zia), a sculptor who returns to his father’s fishing village to complete his artwork. Whilst there, he is met with hostility from the townspeople who believe his work depicts idols which is a sin. The village is led by the Chairman (Fazlur Rahman Babu) has the majority of people in his debt and dictates their everyday lives. As a city dweller, Rudro is more relaxed in his religion and more liberal in his lifestyle which creates immediate friction. His willingness to speak out against the Chairman creates a shock in the community.

The film provides topical discussions on various issues such as man vs nature and industry vs art all within the context of an environmental crisis with climate change having a direct negative effect on the village while the city promises more success. While the issues in the film delve deep, Sumit’s approach is minimalist and organic, relying on the beauty of the natural landscape. Primarily shot in the village location, we become familiar with the surroundings meaning that any changes become obvious. The fishing village is based on the shores of the ocean so they are faced with all sorts of weathers. They have to rely on their limited resources to survive but they get by. Rudro’s visit is seen as a deep disturbance to the villagers. The village seems trapped within itself, unreachable by outside society and Rudro coming via the sea is symbolic of the freedom the ocean brings. Not to mention the unfortunate suicide of one of the children who cannot bear the constraints of the community anymore.

Titas Zia gives a wonderful performance as Rudro. His character is onscreen for the majority of the film and a lot of the weight falls on his shoulders. Zia is able to capture Rudro’s desire to try and fit in or at least explain his art. His deep interest in his host family and the children of the household daughter, Tuni and her younger brother, Taher is particularly touching. His creativity inspires the children of the village which angers the men. He tackles the gender stereotyping within the village as Tuni expressing her wish to go fishing but she is not allowed to because of her gender. Rudro expresses this in his new sculpture which causes an outrage as the idea of Tuni posing for an artist equates to sex in the villagers’ eyes. His quest to save her from the restraints evidently makes it worse before a huge storm comes when the two take solace in shelter.

In support there is a wonderful performance by Fazlur Rahman Babu as the Chairman. Controlling the town by having everyone in his debt, the Chairman is the sole decision maker for anything that goes on in the town. His insistence on religion over science contributes to a devastating event in the film’s final act which proves to result in a fight of words between the Chairman and Rudro. At the beginning of the film, Rudro attempts to tip the men who help unload the cargo but is rejected by him and eventually the Chairman, who says no such action is necessary. This could be interpreted as the Chairman wanting to keep the financial control over the men. If Rudro gave them enough money to pay the Chairman’s debt then the latter would cease to have control and the foundation of his power would crumble. He takes it upon himself to educate the children rather than having a teacher in the village. This ensures that they follow his values and under his command. The script allows this corruption to seep through bit by bit. It’s never fully confirmed whether he is actively aware of his actions, but when Rudro confronts him, he does not listen to his reasonings. Babu’s performance is so effective that even when not onscreen, it still feels as though he is watching.

The Salt in Our Waters is a film that explores a variety of important issues by using the fishing village as a microcosm of the world as a whole. Sumit’s method of using Rudro’s outside perspective as the audience’s way into the film was a smart decision because it is so complex. Rudro’s differences are only highlighted when under the pressures of the village’s constricted traditions. Much like the artwork Rudro creates, the film is very raw and authentic in its approach and execution. It’s a film of heart and identity as Rudro tries to make sense of his art and his place in the world, finding somewhere to fit in.

The Salt in Our Waters is showing at the BFI London Film Festival on 13th October.

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London Film Festival 2020: Wolfwalkers

With Soul only showing at the BFI Southbank cinema at the London Film Festival, I was worried there wouldn’t be an animation for me to watch. When I saw Cartoon Saloon’s new feature Wolfwalkers on the list, I knew immediately that I had to watch it. Directed by Tomm Moore and Ross Stewart and based on a script by Will Collins, Wolfwalkers is a hand drawn animation set in 1650 in Kilkenny, Ireland. The film follows Robyn Goodfellowe (Honor Kneafsey), a young English girl who aspires to be a hunter and assist her father, Bill (Sean Bean) in killing the wolves that run wild in the local woods. With her trusted falcon, Merlin, at her side, Robyn encounters Mebh (Eva Whittaker) who is a wolfwalker, a girl who is human when awake and becomes a wolf when she is asleep. The film explores surface themes such as relationships between family and friends and identity in a new place but also digs deeper into topical discussions on caring for the natural environment and the oppression on Ireland by England. The result is a masterpiece that combines an array of design techniques in the animation and a story that will melt anyone’s heart. Much like fellow animation studio Studio Ghibli, Wolfwalkers is suitable for children and adults alike and is equally rewarding.

The animation style is extremely unique and contrasting between the two locations used. The busy town is structured with a neutral colour palette. A lot of greys and browns fill the landscape and the structure of the town itself feels very enclosed. There is also a heavy use of straight linework and outlining to highlight the trapped feeling of its inhabitants. This is contrasted with the more free-form approach to the woodlands which is full of swirls and curves. The initial outlining of the inhabitants of the woods and the trees and plants can be scene but the bright colouring and expressive scenery exacerbates the freedom that Robyn longs for. When seeing the world through the wolves’ eyes, the animation style is wispy and minimal. Everything in the landscape is greyscale and free-form but the living things have a particular bright aura colour that trails behind them. In an industry that mainly resorts to computer animation nowadays, its wonderful to see a studio that is revolutionising hand drawn animation in a way that is so captivating.

The characters of Robyn and Mebh are the central point to the story. Coming from completely different backgrounds, the two share a common feeling that they are alone. Robyn living in a new country and struggling to fit in under the new orders that come from her father’s new boss, the Lord Protector and Mebh being one of two wolfwalkers in the pack with the other being her mother, Moll (Marie Doyle Kennedy) who has gone missing. Robyn longs to be a hunter and free but is constrained by the sexist society that threatens to contain her whereas Mebh is an extreme example of this freedom. She is free to the point where she is lost and doesn’t know where to look for her mother. Together, the girls agree to help each other in the hopes of breaking free of the threats from the Lord Protector who hopes to burn down the forest and kill all the wolves in it.

The supporting characters are also given a fair share of screen time. Sean Bean does fantastic voice work as Bill in his signature Yorkshire accent we all know and love. Bill is a single father who is afraid of his superiors and does everything he can to protect himself and Robyn. Society has clearly knocked him down and he is unhappy with the life he has been given but keeps this from Robyn. The character arc from Bill being trapped in his own way to finding freedom is beautiful because he is so hesitant on whether he deserves that freedom and it’s such great character development. Mebh’s mother, Moll, on the other hand is not onscreen as much but she has an ethereal presence throughout the film as it is her magic that threatens the Lord Protector. Wanting her daughter to leave her when she is captured and move the pack to a new location shows her dedication to the preservation of the natural land and the safety of those in it. Also, the design for Moll and Mebh is astonishing with both donning a mass of red hair adorned with flowers and leaves.

The music in the film is breathtaking with captivating songs sung by folk group, Kíla, with a score composed by Bruno Coulais. Using instruments heard in traditional Irish folk music, the score and songs help to enhance the world and assists in setting the scene. There is also a song by Norwegian powerhouse, AURORA which is beautiful as expected. As any great score and song should, it elevates the film to create a rounded experience and it all flows perfectly with the visuals.

Thought-provoking and powerful, Wolfwalkers is a deeply impactful film that has elements of Ghibli in its morals and storytelling. The characterisation was fully rounded and the world of the film is realised to minute details. It’s a gorgeous and rewarding watch and I am so happy I made the choice to watch it. My favourite of the festival so far. I hope that Wolfwalkers continues its success into awards season as it definitely deserves to be among the Best Animated Featire category and is, so far, my favourite animation of the year so far.

Wolfwalkers will be released in the United Kingdom on 30th October so make sure you catch it.

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London Film Festival 2020: Mangrove

The big opener for this year’s London Film Festival comes in the form of Mangrove, directed and co-written by the incredible Steve McQueen. Mangrove is the first episode of McQueen’s Small Axe miniseries due to premiere on BBC next month. The series explores racism in Britain throughout the years with all episodes based on true stories. McQueen is one of my favourite directors so Mangrove was one of my must-sees of this year’s festival. I have previously written about McQueen’s filmography which you can read here. Mangrove tells the story of the titular restaurant, a black owned business that is constantly harassed and raided by the police from the moment it opens. The Mangrove becomes a safe haven for people of colour to be and this creates concern within the corrupt police system, particularly at the hands of PC Frank Pulley, who seems determined beyond reason to bring the Mangrove to the ground.

Shaun Parkes’ leading performance of Frank Crichlow is captivating and powerful in his aim to bring forth the struggle. All Frank wants to do is run a business but the police are unwilling to allow this to happen and will do anything to shut the Mangrove down. Initially Frank is reluctant to use the Black Panthers’ assistance as he would prefer to avoid politics but he begins to understand that the Mangrove itself is political and he can’t avoid it no matter how hard he tries. What transpires is the coming together of the black community in an effort to exploit the brutality of the police by organising a protest that begins at the Mangrove establishment. Parkes’ portrayal of Frank is moving and poignant in these uncertain times. As minorities are persecuted and stopped in the street for no reason or than the colour of their skin, Frank’s story is just as important now as it was then. McQueen’s parallels with the 1970s is clear and makes Mangrove a protest piece in itself.

Letitia Wright is stunning as Altheia Jones-LaCointe, a prominent figure in the British Black Panthers movement. As expected, she is a strong woman who seeks equality for minorities. We first see her persuading factory workers to join a union so their voices can be heard. Wright provides a powerhouse performance and this is perfectly shown in the scene when she gives her speech at the Mangrove protest. She is riveting and makes her presence known, a real force to be reckoned with. Wright’s career has gone from strength to strength in recent years and it’s brilliant to see her collaborate with Steve McQueen. She is perfectly cast as Altheia and brings that passion and fire required for the role.

The supporting cast also do a phenomenal job led by Malachi Kirby who plays activist, Darcus Howe and Sam Spruell who plays Constable Frank Pulley, an instigator of the racism towards the black community. Alex Jennings also does a great job as the upper class and uptight Judge Edward Clarke, whose bias towards the police is soon shattered as the corruption begins to seep through during the trial. The details put into everyone’s character becomes distinct and identifiable as the Mangrove Nine go to trial.

McQueen’s handling of the protest scene is done perfectly. To reflect its chaotic nature, McQueen makes use of multiple observational shots from all kinds of angles, including the observation slot in the police car. When Altheia is delivering her speech, a part of the shot centres on her shadow on a nearby car in the rain. It’s the kind of shot you would see in a cinematic feature but it works extremely well here. The power of the protesters against the police is built up and soon enough the latter begins to fight back and take away placards and signs. The brutally of the police here is delivered in a fully real way in true McQueen fashion, unflinching and unapologetic.

Despite being made for TV, McQueen does a fantastic job of making Mangrove feel like a cinematic experience. As I have previously said, he has never put a foot wrong and the passion he has for this project is evident. The detail in character development to song choices and the perfectly balanced script allows Mangrove to show the people behind the trial and the importance of their fight against the police.

Mangrove will air in the United Kingdom on BBC One on the 15th November.