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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: 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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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