creator – Smaller Pictures

BFI Flare Festival 2021: Tove

Another film that I was especially keen to watch at this year’s BFI Flare Festival was Tove, a biopic about Tove Jansson who is known as the creator, author and illustrator of the Moomin book series. Directed by Zaida Bergroth from a screenplay, written by Eeva Putro, the film follows Tove (Alma Pöysti) and her life before and during her success as an artist. Her turbulent career as a traditional artist and her reluctance to follow in her father’s footsteps brings in a lot of initial problems. A chance encounter with aristocratic theatre director Vivica Bandler (Krista Kosonen) at a gallery opening sparked a love affair between the two women and a friendship that would last through their lifetime. Tove was entered by Finland for the Best International Film Award at the upcoming Academy Awards but sadly did not make the shortlist. This is such a shame as it is a very strong film that deserves to have a wide audience.

Zaida Bergroth’s direction is brilliantly as we become immersed into Jansson’s world at the end of the Second World War. With sole focus on Jansson, there are no scenes in which she doesn’t grace the screen ensuring that the audience really is seeing the world through her eyes. The screenplay by Putro is beautifully paced and gives an in depth glance into one of Finland’s famous figures. Tove is a film that doesn’t force the events to happen to its protagonist but simply let them happen naturally as the film unfolds. Feeling natural and authentic, the minimalistic approach has sprinkles of absurd moments such as the first moment of the film where we see Tove dancing to jazz music by herself. This film paints the perfect picture of an author who has inspired and captivated many throughout the world.

Alma Pöysti’s performance as Jansson is fantastic and reminded me a lot of Marion Cotillard’s performance as Edith Piaf in La Vie en Rose in that she drives the film and elevates the whole experience. Pöysti is captivating from the very first second you see her onscreen to the last thanks to her layered characterisation that showcases her inner conflicts with both her art and personal life. There is no doubt that Jansson was most comfortable when able to express herself how she wants and so she surrounds herself with the people and art that are going to allow her to do this. Blasting jazz music and working tirelessly on her Moomin universe, Jansson seemed to be an otherworldly creature and Pöysti pulls this off. Pöysti doesn’t overplay the character nor does she force the emotions to come to the surface. What makes her performance so special and unique to watch

Krista Kosonen is great in support as Vivica Bandler, the woman who stole Jansson’s heart. Initially paying for Tove’s services to design a party invitation, the relationship between the two women quickly evolves to a romance that becomes turbulent over the years. Kosonen is a great onscreen partner for Pöysti and the scenes between them are filled with tension and chemistry. Whereas Tove is more introverted and working endlessly on being accepted by the City as a certified artist, Vivica is extroverted and confident in herself. Initiating the relationship with Jansson, Bandler’s portrayal is one of manipulation and mixed signals as Jansson doesn’t know what to expect when she next sees her. Kosonen portrays Bandler as hard to read and unpredictable and the status of their relationship propels the film’s events forward as they work together on adapting the Moomins for the stage.

One thing that stood out to me in this film was the score and soundtrack. The original score composed by Matti Bye is beautiful and unpredictable and reminded me a lot of Jonny Greenwood’s score for Phantom Thread. Bye’s score works so well as it reflects the turbulence and conflict Tove is feeling and rises it to the surface. The classical sound contrasts with the soundtrack choices which contains a lot of jazz music. This chaotic mix of classical and jazz only serves to highlight Jansson’s own position as a child of prominent, traditional artists whilst also remaining progressive in her style and refusing to conform who live to the expectations set out for her.

Overall, Tove is an exceptional film that does a great job of showing Tove’s struggle to be seen in an industry that is dominated by men that also rely on the traditional aesthetics. Tove is often known for her work on the Moomins and while this aspect is shown in the film, the central focus relies on Tove as a person first. Pöysti’s performance is fantastic and should be discussed widely as it is a true tour de force. She becomes Jansson and pulls it off with ease that we forget we are even watching a biopic.

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

The Queen’s Gambit

The show that everyone has been talking about at the minute is a series that revolves around chess. The Queen’s Gambit follows female chess player, Beth Harmon, and her quest to become the world’s best chess player period. The show was created by Scott Frank and Allan Scott and based on the 1983 novel of the same name by Walter Tevis. A lot of people have commented that the show has made a boring subject amazing but I beg to differ. I think it’s a brilliant show enhanced by an interesting and unexpected topic. As someone who used to play chess when they were little, it is an understatement to say that the competitions were very much male-dominated and there was more anticipation for the male categories than the females. Beth is subject to much belittlement and astonishment from her male peers. Even when at the top of her game, she is looked down upon by the grandmasters and champions.

To assume that the show is just about chess is to undermine it completely. Beneath the surface, we encounter themes of gender inequality, gender roles, alcoholism, drug addiction and loss among many more. In a way, all of these issues are brought to the light through chess and specifically Beth’s journey in the game. From the very beginning, Beth is an outsider as she doesn’t enjoy the same activities to her counterparts. The moment she sees the orphanage custodian, Mr Shaibel (Bill Camp), playing chess in the basement, she is curious and eager to learn. This curiosity then turns into an obsession fueled by tranquilliser drugs the orphanage controversially gives its pupils. Beth becomes a product of a traumatic childhood and her inability to lose gracefully and overanalyse hinders her at important moments in her career. Because of her reluctance to conform to societal ideals, she is often reclusive and isolated but all the more determined to climb her way to the top. The shows structure does a great job at presenting her challenges and obstacles.

Anya Taylor-Joy’s performance as Beth is nothing short of revolutionary. She is so captivating that every expression and word leaves the audience waiting with anticipation. Beth is one of the most complex female characters that TV has seen in a while. Academically brilliant and naturally talented at chess, she also struggles with drug and drink addiction as well as an unhealthy obsession with the game. Chronicling her life from her time in an orphanage after her mother’s tragic suicide to her adulthood in which she travels the world playing grandmasters in a bid to become one herself, The Queen’s Gambit is the most exciting and riveting TV show to air this year. From a curious novice to a strategic professional, Beth’s story is one of aspiration and tragedy as her career’s incline also results in an inner downwards spiral. Despite her flaws, the audience still roots for Beth and that’s mainly due to Taylor-Joy’s ability to really dig deep in her characterisation.

In support, Marielle Heller does a stunning performance as Beth’s adoptive mother, Alma Wheatley. Alma is a sickly woman who quickly gages onto Beth’s potential as a chess prodigy and assists her in her first bout of tournaments. I am very familiar with Heller’s work as a director (you can read my previous post on her films here) but haven’t encountered her in an acting role before. An important character in the first half of the series, Alma is just as flawed as her daughter. Leaving Beth to her own devices most of the time as she succumbs to frequent sickness and alcoholism, Alma is both a friend and mother, although the latter comes later as Beth begins to succeed in professional chess. Watching the intense moments between Beth and Alma makes for some of the highlights in the show as well as Alma’s ability to bring out the more human side of Beth.

In a year full of unfortunate events piled on more unfortunate events, The Queen’s Gambit is the show we all need for a good dose of quality television. I predict that Taylor-Joy will be the one to beat at the Golden Globes and hopefully will even receive Emma recognition as well. The fact that it has received overwhelming praise from female chess players, including grandmaster Jennifer Shahade, is only proof of the impeccable details and emotion that has been poured into every second. Without a doubt, The Queen’s Gambit is my favourite new show of the year and I don’t think it will be beaten.

The Queen’s Gambit is available to watch on Netflix and I strongly recommend you catch it if you haven’t seen it yet.