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The Lost Daughter (2021)

One of the big favourites to come out of the 2021 festival season was Maggie Gyllenhaal’s directorial debut, The Lost Daughter. The film follows Leda Caruso (Olivia Colman), a college professor who has ventured to Greece in order to finish her current project. Whilst there, she encounters Nina (Dakota Johnson), a young mother who has come to the resort with her large family, who struggles to deal with the pressures of motherhood and what is expected of her in the role of mother and wife. The film is an intricate look into what it means to be a woman and the pressures that society puts on women. As Leda reflects on her own life, which we see in flashbacks with Young Leda (Jessie Buckley) and the decisions she has made over the years, the film’s dynamic shifts between drama and thriller as Leda begins to become more involved in Nina’s life and finds herself in a compromised situation.

The film is directed by Maggie Gyllenhaal in her debut which she also wrote, with the script based on the novel of the same name by Elena Ferrante. From a technical standpoint, this film is beautifully made with captivating direction from Gyllenhaal, while the screenplay unfolds slowly, so we get to see what lies under Leda’s surface. The film starts in the present day as Leda stumbles on the beach at night and lies unconscious at the water edge before going into a flashback and showing the events that have led to this. Gyllenhaal has a brilliant understanding of the character, and the way that she conveys Leda’s struggles adds plenty of intensity that elevates this film into one that feels threatening and uncomfortable at times. As Leda becomes more involved in Nina’s life to the point where it becomes obsessive, she begins to become reflective and contemplates on her life while the current situation spirals out of control.

Olivia Colman is one of the best actresses working at the moment, and The Lost Daughter showcases her range and her ability to lead a character-driven film. Her performance as Leda is not only one of the best performances of the year and guaranteed to get her a slew of award nominations. The character of Leda is brilliantly written, and Colman proves to be fantastic casting. Colman’s Leda is an accumulation of the decisions that we see through the flashback scenes, so her performance feels more rewarding the more we learn about the character. Colman’s performance is nuanced and makes this film as brilliant as it is. We may not understand why Leda does certain things and why she chooses to do them, but it is this unpredictability that makes The Lost Daughter such a gripping film from beginning to end.

The film revolves around Leda and her life leading up to the present day and beautifully merges flashbacks that show her journey and success. Playing Young Leda is Jessie Buckley, another actress who has risen up the ranks in recent years and another example of perfect casting. Young Leda’s life is inundated with chaos as she tries to juggle her studies with caring for her young daughters, Bianca and Martha, meaning that Buckley’s performance is more expressive as we see the physical and mental strain that her life has taken. Leda’s relationship with her young daughters is highly turbulent, and she begins to enjoy the time she gets to spend away from them, eventually leaving them to pursue her academic career. Buckley’s performance complements Colman’s perfectly as they capture Leda’s personality flawlessly in a way that feels seamless.

Dakota Johnson plays Nina in a role that may be small but has a huge impact on the film. Marking a career best for Johnson, Nina is a woman who struggles between living a life that she wants and the one that is expected of her by her family and society at whole. Nina is on holiday with her daughter, Elena, and family, while her husband flits in and out due to work. When Elena goes missing, things become chaotic and Nina begins to doubt her role as a mother. After Leda finds Elena and returns her, Nina becomes indebted to Leda and wants to get to know her, but is kept at arm’s length. When we see Nina, it is usually from Leda’s standpoint as an observer, as we see her struggle to be a good mother and wife. Johnson really excels in her final scene, in which she confronts Leda as the latter admits that she stole Elena’s doll. What Johnson does excellently in the film is put across Nina’s inexperience and her desire to find control of her own life rather than having others control it.

One of the most striking elements of The Lost Daughter is Dickon Hinchliffe’s score, which has a blues sound to it. The opening track “Leda” is a wonderfully dynamic piece that thrusts the audience into the location and escapism of the film. Leda has gone to Greece to finish her work and relax, and this track perfectly accompanies this. What Hinchliffe manages to capture is Leda’s wonderment and the freedom she has, which is then contrasted with quieter pieces that are more drawn out during the flashbacks to capture how Leda is trapped in a life that was expected of her but one that she doesn’t really want. The contrast between musical styles is a great way of portraying the many sides of Leda’s personality, and accompanies her journey perfectly.

The Lost Daughter is a masterclass in subtlety. It doesn’t need to have bells and whistles to show off the craftsmanship of the script and direction, while providing stellar performances all around, especially from Colman. It’s an intricate character study following Leda’s life and the sacrifices she has made to get where she is while also drawing parallels with Nina. The slow pace of the film works beautifully as it goes hand in hand with the vacation aspect. What is really fantastic about The Lost Daughter is that it subtly plays with the thriller tone, without actually exposing any threat, but we feel Leda’s fear. Maggie Gyllenhaal absolutely hit it out of the park with her debut, and it’s exciting to see what she does next.

What did you think of The Lost Daughter? Let me know in the comments below!

The Lost Daughter is available to stream on Netflix now!

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London Film Festival 2021: Roundup

THE POWER OF THE DOG (L to R): PHIL JONES (ASSOCIATE PRODUCER - 1ST ASSISTANT DIRECTOR), JANE CAMPION (DIRECTOR - PRODUCER - WRITER). Cr. KIRSTY GRIFFIN/NETFLIX © 2021

This year’s London Film Festival 2021 brought back some of the traditional elements of attending the cinema to see some of the films while others I had the pleasure of watching online. This hybrid experience made it both exciting and busy whilst also allowing me to see some of the biggest films of the year as well as some indie films I may not have had the chance to see otherwise (which is always a good thing!).

It’s become a little tradition to do a small awards at the end of each festival so it only makes sense to point out the highlights of my London Film Festival experience. From the Palme d’Or winning Titane to Jane Campion’s The Power of the Dog (her first film in 12 years!) to two of Ryusuke Hamaguchi’s new films, Drive My Car and Wheel of Fortune and Fantasy, there were so many films to see. In total, I saw 14 films with 3 of those being at Chapter Cinema in Cardiff (The Harder They Fall, The Power of the Dog and Titane) and the rest online, being successful in the online ballots for Petite Maman and Lamb so I got to experience the best of both mediums.

Here are the Smaller Pictures Winners of London Film Festival 2021:

Best Picture – Titane

Best Director – Julia Ducournau for Titane

Best Leading Actress – (TIE) Agathe Rousselle for Titane and Annes Elwy for Gwledd (The Feast)

Best Leading Actor – Benedict Cumberbatch for The Power of the Dog

Best Supporting Actress – Regina King for The Harder They Fall

Best Supporting Actor – Jason Isaacs for Mass

Best Original Screenplay – Julia Ducournau for Titane

Best Adapted Screenplay – Jane Campion for The Power of the Dog

Best Original Score – Jim Williams for Titane

Best Cinematography – Eli Arenson for Lamb

Best Editing – Julien Lacheray for Petite Maman

Best Production Design – Martin Whist for The Harder They Fall

Best Costume Design – Antoinette Messam for The Harder They Fall

Best Hair and Makeup – Olivier Afonso, Marison De, Amelie Grossier, Céline Llerena, Antoine Mancini and Flore Masson for Titane

Special Shoutout Winner – Ryusuke Hamaguchi for Drive My Car and Wheel of Fortune and Fantasy

The calibre of the films this year was so high and each film I watched had something important to say. With even more non-English language films being incorporated into the roster, it’s great to be given the chance to view even more films from around the world that I may not have had the chance to watch otherwise.

That’s it for my roundup! It’s been extremely busy and a lot of work but definitely worth it and makes me excited to see what next year will bring!

Here are the films I saw at this year’s London Film Festival in alphabetical order. My reviews for Gwledd (The Feast) and The Phantom of the Open were commissioned by Wales Arts Review so the link will take you to the page on their website:

Between Two Worlds

Boiling Point

Drive My Car

Gwledd (The Feast)

The Harder They Fall

Lamb

Language Lessons

Mass

Memory Box

Petite Maman

The Phantom of the Open

The Power of the Dog

Titane

Wheel of Fortune and Fantasy

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London Film Festival 2021: Lamb

One film that was an intriguing watch was Valdimar Jóhannsson’s Icelandic horror Lamb. The film follows married couple María (Noomi Rapace) and Ingvar (Hilmir Snær Guðnason) who run a small farm where one of the sheep gives birth to a sheep/human hybrid that they affectionately name Ada after a child that they had previously lost and treat her as though she is a human child. What follows is a sequence of unexpected events that explores themes of identity and family whilst also incorporating elements from various genres including horror, thriller and sci-fi. The result is a film that can be unsettling and unconventional while distinguishing Jóhannsson as a director with a unique point of view.

Directed by Valdimar Jóhannsson in his directorial feature debut and based on a script he cowrote with Sjón, Lamb is unlike any other horror film. Subverting the folklore trends so commonly seen in horror today, Lamb is a film that feels as though it may be misunderstood by some and gradually gain popularity as time goes on. Jóhannsson’s vision manipulates you into thinking that the film will take a certain direction and then completely subverting this and throwing in many unpredictable twists and turns. The writing never allows itself to get too close to the protagonists which means that the audience is never spoon-fed and provides a desire to learn more.

Noomi Rapace is great as María, a woman who is completely besotted by Ada following a life plagued by loss and grief. Rapace can always be relied upon to provide a fearless performance and María seems like a character that was written for her. María isn’t always likeable and her motivations aren’t always understood but we still feel sympathy for her despite her flaws. The scene in which Rapace locks Ingvar’s brother, Pétur (Björn Hlynur Haraldsson) in a closet and then plays the piano loudly to drown out his screaming draws her suffering and pain to the surface as we see her attempt to glaze over the negativity with music, a metaphor for her willingness to overlook Ada’s physical differences and accept her as her own.

In support, we see Hilmir Snær Guðnason play María’s husband, Ingvar in a performance that builds as the film unfolds. The decision-making between the couple usually lies in María’s hands in a role that would traditionally fall under a man’s control but Ingvar doesn’t complain or feel emasculated at any point. Content with his life, Ingvar embraces Ada as his own and does his best to provide for his family. Guðnason is a great onscreen partner for Rapace as they compliment each other’s approaches perfectly. Where Rapace’s performance is full of physical emotion, Guðnason has a quieter performance that is full of nuance and subtly, working well against the horror element of the film.

One thing that the film makes use of is the beautiful cinematography by Eli Arenson. Arenson manages to capture a world that is set in an open space whilst contrasting this with a claustrophobic setting as we feel trapped within the home. This isolated feeling makes the characters seem locked and unable to travel beyond their immediate surroundings, feeding into the horror elements of the film. Arenson utilises the natural surroundings to create a realistic approach against a topic that is full of fantasy, driving it away from being a traditional horror. It is this grounded approach that makes Lamb such an unpredictable watch and such a beautiful looking film to behold.

Lamb isn’t a film for everyone but those who enjoy it will be able to appreciate the beautiful scenery, intense writing and raw performances with characters that we never fully understand but keep us gripped from start to finish. It’s a film that will undoubtedly grow in popularity and requires multiple watches due to the various layers, textures and themes that it explores. The unconventional approach this film has is why it has been selected as Iceland’s submission for Best International Feature Film at the Academy Awards which will hopefully bring Lamb to an even larger audience.

Lamb is released in the UK on 10th December 2021!

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London Film Festival 2021: Gwledd (The Feast)

Originally published in Wales Arts Review.

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

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

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

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

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

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

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

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

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

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London Film Festival 2021: Between Two Worlds

One of the great things about festivals is that it gives you a chance to see films that you may not have the chance to see elsewhere. This is the case with Between Two Worlds which is based on a the non-fiction work, Le Quai de Ouistreham, by French journalist Florence Aubena. Renaming the characters, the film follows Marianne Winckler (Juliette Binoche), a woman who works as a cleaner in order to gain research for her new book which delves into unemployment and low wage work in France. The film explores Winckler’s experiences as she navigates these two different worlds between her comfortable life as a writer and the life she is feigning as a struggling divorcee who needs to re-enter the job market.

The film is directed by Emmanuel Carrère who cowrote the script with Hélène Devynck and the result is a film that utilizes the different locations. Starting in the city centre and working its way out to the port where the cleaners are made to work a job on a ferry, Carrère’s direction shows us the desperation and hopelessness that those on the poverty line are struggling with on a daily basis. From the deeply claustrophobic scenes of the cleaners working in the cabins to the intense interview scenes where Marianne is told an extensive list of demands for a low-wage job, Carrère wants us to feel the struggle that these people feel.

Leading the film is Juliette Binoche as undercover writer, Marianne Winckler who is based on Aubena. We initially don’t know that Marianne is an undercover writer so when it comes out as a revelation at the end of the first act of the film, we begin to see the character in a different light. What makes Binoche such a perfect match for this role is her ability to showcase emotionally complex characters that are also vulnerable. Marianne’s true reasons for working as a cleaner may seem immoral but she is doing it to shine a light on how those who are struggling the most in society are being exploited by working long hours for very little pay in remote locations. Therefore, it could be argued that there is a grey area in Marianne’s actions and it is credit to Binoche’s performance the audience is able to be understanding and remain neutral through the film.

In support, Hélène Lambert absolutely shines as working mother, Chrystèle, who struggles to make ends meet while looking after her three sons. Chrystèle is the first character we see in the film as she storms into the job centre and demands to see an advisor due to a confusion with forms. Where Marianne observes what happens around her, Chrystèle is active and is vocal about what she thinks. Lambert works brilliantly with Binoche, especially when we are exposed to a more vulnerable side of Chrystèle. What makes Lambert’s performance so touching is how complex Chrystèle is as a character. We understand her plight as a mother-of-three who has to work extensive hours while unknowingly being observed and recorded by a woman who claims to be her friend who is actually in a more financially secure situation than her and is benefitting and profiting from her struggles.

Between Two Worlds may have a slow start, but there is much more to this film than meets the eye. Featuring Binoche in a beautifully subtle performance which questions morality and how far someone will go to commit to a project which is then combined with the backdrop of real issues that revolve around unemployment and the job crisis in France.

Between Two Worlds is showing at this year’s London Film Festival!

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London Film Festival 2021: The Power of the Dog

It’s no secret that the COVID-19 pandemic saw the delay of many films which has resulted in a huge amount of quality films being released this year. One such film to suffer from pandemic delays is Jane Campion’s The Power of the Dog which is her first feature film in 12 years since 2009’s Bright Star. Based on the novel of the same name by Thomas Savage, The Power of the Dog follows the lives of two brothers, Phil Burbank (Benedict Cumberbatch) and George Burbank (Jesse Plemons) who own a family ranch and how their lives change when George falls in love with – and quickly marries – Rose (Kirsten Dunst), a widow whose former husband died of suicide. In true Campion style, the film provides deep characterisation, stunning scenery, and a script that is so beautifully written and paced that you feel completely immersed in the film and its time period.

Written and directed by Jane Campion, The Power of the Dog has proven to be a huge hit at festivals and it’s easy to see why. The film feels authentically Western in its slow pacing with her writing and directing giving the film plenty of chance to breathe. The way Campion utilises natural light in her film brings a rawness that allows the landscape to show off its natural beauty without using any filters or techniques. Equally, Campion’s ability to make the audience feel claustrophobic in the open space is so clever such as the scene when Phil and Peter are on their travels through the hills. What is so wonderful about Campion’s filmmaking is that she has such an intricate knowledge of space and how to make use of the space. In one scene, we see George and Rose driving back to the ranch after dropping Peter off at school and they are surrounded by rolling hills which seems to go on for miles; however, what was once an open space is gradually zoomed into George and Rose as they try to dance and it suddenly feels as though the space has become much smaller. Unsurprisingly, the film has brought Campion much acclaim for her directing and she even won the Silver Bear at this year’s Venice Film Festival.

Leading the film is Benedict Cumberbatch as Phil Burbank in what is arguably his best performance to date. To say that Phil is a deeply complex character is an understatement. He is a character plagued by his past as he constantly refers to his late mentor – and lover – Bronco Henry, who has since passed away. The result of which is a character that internalises who he is and replaces it with toxic masculinity, feigning power and confidence through brutality and strength. Phil’s leadership and charisma is hard to miss as he makes his presence known no matter where he is. Cumberbatch is captivating in a role that may seem mismatched at first but his dedication and relentlessness allows us to him in an entirely new light. He has become a firm favourite for the Best Actor awards this coming awards season and it is easy to see why. Even if he doesn’t win, he will definitely earn nominations in what is a performance of a lifetime.

Playing Phil’s brother, George, is Jesse Plemons and the two characters couldn’t be more different. Where Phil is overly observant to a fault, George is oblivious although his heart is in the right place. Unable to see his wife suffering or catering to her needs, George tries to force her into a societal position that she doesn’t feel comfortable with. This isn’t out of malice or bullying but because he does what he believes is expected of him. Plemons is always great no matter what role he does and it’s a treat to see him in a bigger role. The scene where George confronts Phil about the latter’s treatment of Rose is ridiculously intense and this is because Plemons and Cumberbatch manage to bring an authenticity to their roles that feels genuine and brotherly. Kirsten Dunst plays Rose, a woman who recently lost her husband to suicide and is struggling to run the family restaurant. She marries George shortly after meeting him but soon finds that her brother-in-law, Phil, does not approve of their marriage, believing her to be a gold digger. Dunst is one of a few women in the film but her presence is duly noted and she commands each scene she is in, especially as her character delves into alcoholism. The lack of female roles is completely on purpose as the film is showing what happens when an environment is dominated by men and, specifically, toxic masculinity. Rose’s background is completely different to Phil’s entirely and it is these differences that cause friction between them. The scene in which Rose practices on the piano and eventually finds herself in competition with Phil’s banjo playing is somehow terrifying and comedic at the same time. Dunst’s performance in this scene is brilliant as we feel the fear in the character and her emotional struggle as she cannot finish her piece.

Another performance in this film that has been receiving a lot of attention is Kodi Smit-McPhee’s turn as Rose’s son, Peter. The first time we see Peter, he is delicately cutting pieces of paper which are then shaped to make paper flowers which he then takes to his father’s grave. From his sensitive nature to his crisp and neat appearance, it is clear that there is something that sets Peter apart from the other men in the area. This is pointed out during his first encounter with Phil and the rest of the ranchers as Phil makes fun of Peter’s flowers and the way he dresses and carries himself. Assuming that he is homosexual, Phil and the other men hurl homophobic insults at Peter wherever he goes and bully him relentlessly; however, Peter appears indifferent to their insults and carries on with his research to become a medical doctor. Smit-McPhee’s performance is the perfect opposition to Phil. Where Cumberbatch’s performance is loud and commanding, Smit-McPhee’s is much quiet and subtle while still grabbing the audience’s attention. The climactic scene between Phil and Peter in the barn is incredibly intense and has the audience at the edge of their seat and this is due to Cumberbatch and Smit-McPhee’s flawless chemistry.

One of the many highlights in this film is the beautiful score which is composed by Johnny Greenwood. What makes Greenwood one of the best composers working today is the huge range of films that he has worked on. Whether it is a period drama such as The Master or a thriller such as You Were Never Really Here, Greenwood always knocks it out off the park. He has delved into the Western genre before with his game-changing score for There Will Be Blood and yet somehow, he manages to create a completely new and different sound for the music in this film. Featuring hints of Western and thriller, Greenwood integrates his signature sounds with atmospheric tones that work seamlessly with the film. The music never overwhelms the film itself and yet manages to stand out and elevate the mood of the scene. Hopefully we will see Greenwood receive another Academy Award nomination for his work and maybe even a win.

The Power of the Dog was a film worth waiting for and more. Hopefully, it will see a lot of recognition come awards season thanks to the breath-taking direction, stellar script and impeccable performances, especially by Cumberbatch. Campion has come back with a bang and here’s hoping she doesn’t wait as long before making her next feature.

The Power of the Dog is showing at this year’s London Film Festival!

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London Film Festival 2021: Mass

One film that has a great reception at this year’s Sundance Film Festival is Mass which has subsequently generated a lot of buzz among critics at various film festivals since. Making an appearance at this year’s London Film Festival, Mass shows the meeting between the parents of a high school shooter (Reed Birney and Ann Dowd) and the parents of one of the shooter’s victims (Jason Isaacs and Martha Plimpton). What follows is a beautiful film that allows each actor to showcase their emotional range as the characters attempt to come to some sort of resolution by recalling memories of their respective sons and question why the events happened. The film explores a variety of topics from universal issues such as grief and loss to more timely issues such as gun control but at no point does the script feel weighed down or forced as the conversations flow naturally.

Written and directed by Fran Kranz in his directorial debut, Mass feels reminiscent of an onscreen stage adaptation but what is interesting is that it is a completely original screenplay. Despite the entire film taking place within a Church, we can sense the outside world and don’t feel claustrophobic or bored at any point. This is thanks to the intensity in Kranz’s direction and how well the plot points unfold. We don’t know why these people are meeting initially which makes the situation more natural as Kranz does not force feed the audience. This leaves us wanting to learn as much as we can about the situation and we feel the pain and anguish that each parent is feeling and the different reasons why this is the case. Kranz’s decision to cast veteran actors who have performed on stage a lot means that the characters are fully realised in a way that sometimes can be missed by actors who have never acted on stage before.

Playing the parents of the high school shooter are Reed Birney and Ann Dowd who portray Richard and Linda, respectively. The first thing we notice about Richard and Linda is the differences in body language. Linda is very forthcoming, offers a pot of freshly grown flowers, and very eager to start a conversation whereas Richard is much more guarded and reserved. We can see that Richard has a lot to say but is biding his time and biting his tongue until the time is right. Dowd’s performance in particular is arguably the driving force in the film as her character begins the majority of conversations and brings out the reactions out of the other couple, especially when she bursts into tears at the start. What makes Dowd such a fascinating actress is her ability to bring out a humanity in her characters. Linda is a woman who has clearly struggled in her role as a mother and she is now facing the consequences of her son’s actions and wears her heart on her sleeve. Her forthcoming nature may come across as unsettling and uncomfortable, especially as we learn more about the situation, but this serves to help Jay and Gail open up.

Jason Isaacs and Martha Plimpton portray Jay and Gail, the parents of one of the shooter’s victims. We see them arrive at the church first and the trauma of the past events is evident, even if we don’t know why at this point. Isaacs, in particular, brings out a career best performance which will no doubt result in much awards acclaim and even possible wins. Jay tries to remain level-headed, but unlike Richard, he is unable to move his emotions to the side and eventually we see him breakdown. The monologue in which Richard recalls his visit to the scene is absolutely harrowing to watch and Isaacs paces the story beautifully so we can really picture the story without actually seeing it ourselves. Gail on the other hand is initially more reserved and less open than Jay but she is determined to ensure that this meeting will help them find some resolve and allow them to move on. Plimpton has proven herself to be incredibly varied in her performances having acted in comedy such as Raising Hope as well as dramatic roles such as The Good Wife. Her turn as Gail is deeply complex as we see her wanting to open up but feeling uncomfortable about the situation.

Mass is an absolute masterclass in acting and boasts career best performances from its cast, especially from Dowd and Isaacs who I think will see success come awards season. Kranz has achieved a lot in his debut as he has delivered a film that is fantastically written and beautifully directed and showing that you can provide a gripping drama with deep storytelling in a restricted location. Mass is definitely a film that stays with you long after it ends.

Mass is showing at this year’s London Film Festival!

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London Film Festival 2021: Boiling Point

A popular trend that seems to be more commonplace in film today is how filmmakers are adapting their filming techniques to reflect what is happening onscreen through long shots. This can be used to highlight the never-ending magic of nature such as Nomadland or highly stressful scenarios such as Birdman. Boiling Point not only takes its inspiration from the latter but the entire film was shot in one take making it a truly immersive experience for the viewer. Following head chef, Andy (Stephen) during a busy Friday night at his newly opened restaurant, Boiling Point follows the inner workings of the restaurant from the back of the kitchen to front of house and everything in between in a film that will have you on the edge of your seat.

Directed by Philip Barantini who cowrote the script with James Cummings, Boiling Point feels a lot longer than its 90 minute runtime. This is because we are thrust into Andy’s life as he rushes to work. Before we even see any visual, we hear him on the phone to his family to highlight the ongoing nature of the film. In a sense, although Boiling Point highlights the 90 minutes through his shift, the filming technique cleverly interweaves audio at the very start and end of the film to emphasie that we are only getting a glimpse into a snippet of their lives. The direction is sharp and detailed, allowing the camera to naturally weave its way through the restaurant and this fearless approach means that we see everything going on, even if it seems unimportant.

In the lead is Stephen Graham as head chef Andy and as expected, the performance is absolutely exceptional. Adopting his native Scouse accent, Andy is a character crippled by stress and anxiety which is displayed from the very beginning. His inability to juggle his personal and private life leads to situations beyond his control and much like the film’s name, finds himself at a boiling point. Graham has established himself as one of Britain’s finest actors and it is because of his realistic and gritty approach that makes his performances to intense and interesting. Andy is a fully realised character and we can feel the emotional and physical strain he is under in such a short period of time.

Playing fellow chef, Carly, is Vinette Robinson who does a fantastic job opposite Graham. Carly is an employee who thrives at her job and excels and yet is not rewarded for her hard work. Patient and wanting to get the job done, Carly is careful when it comes to picking her fights and stands for no nonsense in the kitchen, even when Andy is distracted. One of the film’s most hard-hitting scenes comes when Carly snaps at the hands of the manager when a complaint comes in that the lamb hasn’t been cooked. What follows is a monologue that is raw while still maintaining a level of control and composure. We can feel Carly’s desire to raise her voice and be more physical with her actions and Robinson’s excellent performance here really allows us to feel that tension in her delivery.

Playing celebrity chef and one of Andy’s friends is Jason Flemyng as Alastair Skye who is visiting the restaurant for the first time. Andy’s credibility as a chef is immediately brought into question when Alastair claims several items on the menu where his ideas rather than Andy’s. This friction between the two characters has its fair share of tension as there seems to be two layers in their friendship. One layer sees them genuinely support each other and want the other to succeed whereas there is another side to their relationship as they are competing against each other to be the better chef. The idea that they seem to be working with and against each other at the same time makes for a complicated relationship that is fantastic to watch onscreen as Graham and Flemyng’s interactions are gripping.

Overall, Boiling Point brings us a fantastic performance from Stephen Graham and manages to keep the audience gripped thanks to its technical intensity. Immersing the audience into its world before we even see an image.

Boiling Point is showing at this year’s London Film Festival!

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London Film Festival 2021: Wheel of Fortune and Fantasy

It’s an accomplishment for any filmmaker to be able to showcase their work at London Film Festival; however, for Japanese director Ryusuke Hamaguchi, he has two films showing at this year’s festival. With his adaptation of Drive My Car sweeping awards at Cannes Film Festival (you can read my review here), his second film Wheel of Fortune and Fantasy took the Silver Bear Award at this year’s Berlin Film Festival meaning that we are gifted with two exceptional films from the visionary filmmaker. The latter is an anthology film split into three segments centred on women and their lives in modern day Japan. The results are a fantastic glimpse into Hamaguchi’s solid character work and his ability to bring out the magic out of everyday life.

As expected, Hamaguchi’s direction and writing is seamless and organic, proving that he is a filmmaker who isn’t going anywhere. His use of long takes filled with dialogue between two characters can be intense and slow paced but works perfectly for the kind of films he wants to make. His ability to get into the characters’ heads and bring forth their motives in a way that is completely natural while making it seem effortless is exactly why he has been sweeping the awards panels off their feet. Showing the magic in everyday life may seem boring but what Hamaguchi does is create characters who are completely relatable whilst also allowing the audience to build their own interpretations and emotions on top of it. Wheel of Fortune and Fantasy proves his talent for writing well-rounded female characters who have agency and are unaware of their sexuality without objectifying them at any point. He isn’t afraid to be daring in the topics he explores and seems to allow the characters to develop in an unpredictable way.

The film’s first segment is titled Magic (or Something Less Assuring) which follows friends Meiko (Kotone Furukawa) and Tsugumi (Hyunri) as they leave work for the day. The latter is discussing how she has found someone she really likes called Kazuaki (Ayumu Nakajima) who just so happens to be the former’s ex-boyfriend although she doesn’t know this. What follows is an intricate love triangle as Meiko realises she is still in love with Kazuaki and tries to win him back before he gets serious with Tsugami. Furukawa’s performance as Meiko, in particular, is unsettling as we see her discomfort as she realises the situation that has found herself in. Meiko’s encounter with Kazuaki shortly after leaving Tsugumi is gripping and unpredictable with both Furukawa and Nakajima visibly going through a whole spectrum of emotions after their relationship ended negatively two years earlier.

The second segment is titled Door Wide Open and is by far the most explicit and darkest inclusion of the three films. The film centres on Nao (Katsuki Mori) who agrees to seduce a reputable professor, Segawa (Kiyohiko Shibukawa) after the latter humiliates her partner, Sasaki (Shouma Kai), a student who has failed his class. Like the first segment, it appears that there are three pieces of the puzzle moving and this one dives even deeper in terms of its complexity. Segawa is a renowned author and Nao’s method of seducing him is reciting an extract from his book in which there is an extremely detailed sexual encounter between characters. Never taking her eyes off Segawa whilst reading, we see the discomfort in both characters as the tensions rises in conjunction with the sexual tension from the excerpt. Mori’s performance is unapologetically fearless and completely gripping as we see the shift in control change constantly between Nao and Segawa. There are also discussions to be had of the gender constructs in this segment as well. Having a female character read the relentless sexual description of the writing from the male professor gives the former power of the situation, taking it from the professor in a bid to humilate him by using his own words against him.

The final segment is entitled Once Again and follows Moka (Fusako Urabe) who meets Nana (Aoba Kawai) at a train station believing that she was once her first love. Nana is flustered by Moka’s approach and is equally happy to see her. However, it later emerges that Nana isn’t who Moka thought she was and both women had mistakenly thought that the other was someone else entirely. The situation gives a chance for both characters to divulge into past traumas and find an outlet for its release to the other, despite being perfect strangers. Urabe and Kawai work fantastically together and we really feel their genuine connection as the events of the film develop. Even when it turns out that the characters don’t know each other, it doesn’t seem to matter and allows us to delve deeper into their backstories.

The only connecting thread that weaves these stories together is the music which is a light classical number by German composer Robert Schumann. The score is simple and romantic in style, fitting the themes of love perfectly as each woman shows their love in a different way. Even in the scenarios where there are dark undertones or an unhappy ending, the music serves to bring the audience back into the narrative of the film as an anthology and helps to move them along to the next segment. It’s a simple yet effective way of ensuring that these segments have some form of connection and helps to avoid alienating them as three completely separate films. After all, they do serve as a consistent triptych of the female perspective in modern day Tokyo which gives a basic common ground between them.

Overall, Wheel of Fortune and Fantasy may be a jarring view for some due to its anthological narrative but it is a testament to Hamaguchi’s skill as a writer and director that he is able to work with so many different kinds of characters and somehow find the humanity in them, showing that not everything is in black and white or good and evil. With each segment lasting 40 minutes each, we are really able to delve deep into the characters’ psyches and are able to explore their perspective of the world in a short amount of time.

Wheel of Fortune and Fantasy is showing at this year’s London Film Festival!

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London Film Festival 2021: Language Lessons

With the COVID-19 pandemic taking place all over the world, recent years have seen new innovative ways of filmmaking to accommodate the restrictions that came with. The result has seen an abundance of films released that utilise the use of screen recording where we see characters interact over social media and chat programs such as Skype and Zoom. Language Lessons is one such example and follows Adam (Mark Duplass), a man whose husband Will (Desean Terry) buys him 100 Spanish lessons with Cariño (Natalie Morales). The premise is simple but the result is anything but as the Spanish lessons serve as as introduction into deeper issues and a blossoming friendship between the two main characters.

Directed by Morales who cowrote the screenplay with Duplass, Language Lessons is clearly a film that the two were deeply passionate about and this comes across in how well they share the screen together. Morales’ direction is simple and yet manages to make the world of the film feel as though it is wider than viewing the characters’ computer screens. Morales does this by incorporating different locations for the characters to call from so the environment doesn’t become too familiar and there is always something different to talk about. The screenplay is written by both Morales and Duplass and it is clear that they have both delved deep into their characters to ensure that there is more to them that meets the eye. This is especially important given the limitations in how the film is shot and serves well to make sure that the characters have a well-developed backstory.

Mark Duplass delivers a great performance as Adam, showcasing his emotional range despite the short running time. What makes Duplass such a great fit for the role is his charisma and likeability which lends itself nicely to Adam’s character. We see Adam’s journey quickly take a turn for the worse following the sudden death of his husband but through his friendship with Cariño, he finds an outlet to express his emotions, good and bad, through the turbulent time. Adam’s character feels real because, despite his kindness, we are able to see his flaws, especially during heated discussions with Cariño.

In their role as Cariño, Natalie Morales is a great onscreen partner for Adam. Where Adam is an emotional character who wears his heart on his sleeve, Cariño is more reserved and guarded, even when the two begin to form a friendship. However, Morales is still able to showcase emotional range including the brilliant scene when Cariño is extremely drunk and calls Adam on his birthday where she begins to divulge personal and incriminating information about herself. It is up to Adam to put these pieces together and he still doesn’t know a lot about her. However, Morales’ performance is on that is unpredictable which makes the film so watchable and eager to know what will happen next.

What makes Language Lessons such an impactful film is its simplicity and allowing the characters’ relationship to naturally form in a way that feels genuine. Mixing comedy and drama, this film will have you laughing one minute and crying the next, taking the audience through a journey that feels authentic. Both charming and sincere, this is a film that shows the genuine nature of online connection and how it can build into a real life friendships.

Language Lessons is playing at this year’s London Film Festival!