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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: 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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Pieces of a Woman (2020)

A little bit late watching this one but better late than never. Pieces of a Woman is the heartbreaking drama following Martha (Vanessa Kirby), a woman who loses her child during birth. Directed by Kornél Mundruczó and a script written by Kata Wéber, Pieces of a Woman is a film that is an absolute masterclass of acting by all involved. A really poignant portrayal of grief and how difficult it is to find closure from such a traumatic event. With supporting turns from Shia LaBeouf and Ellen Burstyn who play Martha’s partner, Sean and mother, Elizabeth, respectively, this film is not an easy watch by any means for obvious reasons but it is an intricate character study that feels authentic while shedding light on an issue that is commonly unspoken off due to taboo. The film premiered at the Venice Film Festival where it received unanimous praise and Kirby walking away with the Best Actress prize. Scooped up by Netflix, Pieces of a Woman has been in the awards race for a while and eagerly awaiting its release.

The first thing to discuss is the opening half hour in which we see the excruciating birth scene in which Martha has a difficult labour with tragic result as the baby dies shortly after being born. With her original midwife caught up with another birth, replacement Eva (Molly Parker) steps in to assist Martha. This opening act is by far one of the most unflinching scenes I have come across as we see the whole birthing process from the relief when the baby is born to the tragic death a few moments later. The way it is directed is relentless without giving a moment to breathe to the point where the scene completely immerses the audience into its chaos. The physical pain of the situation is too much for Martha that she quickly becomes deranged and cannot control what she says or the sounds she makes. Knowing what the scene is going to result in and seeing that level of distress makes the experience of watching it even more devastating.

Kirby, previously known for her stellar performance as Princess Margaret in the first two seasons of The Crown, pulls out all the stops as grieving Martha. Her acting is on par with actors who have been giving decades of flawless performances. We feel Martha’s physical and emotional pain in the first act and that devastation as she comes to terms with what has happened. Although the film doesn’t have the same level of momentum as the first act, Kirby keeps us gripped as she delves into Martha’s inability to move on or seek help for her trauma. Initially Martha wishes to remove any proof that the baby even existed hoping that this will help her to move on to the next chapter but she feels pulled back by her family, especially her mother, who insists that they should hold a funeral for the baby before burying her. It’s clear that Martha wants to move on but just doesn’t know what to do in order to be able to. The scene in which she testifies at Eva’s trial and is forced to describe what her birthing experience was like is hugely intense with Kirby using that intensity to deliver her performance through movement and emotion and not just by her words.

In support we have Ellen Burstyn as Martha’s overbearing mother, Elizabeth. She clearly has Martha’s best interest at heart but she doesn’t allow her daughter to truly have space to grieve and this puts an enormous amount of friction on their relationship. Burstyn makes the most of the small role she has as is expected of her and proves to rise to Kirby’s leading performance. Her speech to Martha about her own birth and upbringing hammers home just how great Burstyn is. I would have liked to have seen more scenes between Elizabeth and Martha just to show more of their relationship dynamic rather than the limited arguments we see. I think that the film would have benefitted from seeing how they act around each other when things are more settled.

Overall, Pieces of a Woman may fall a little short in terms of keeping a steady momentum in the script following the incredible first act but the strong performances, particularly by Kirby make it a film to watch this coming awards season. I have no doubt that Kirby will lock in her first Academy Award nomination and hopefully this is a sign of a fruitful career for years to come.

What did you think of Pieces of a Woman? Let me know in the comments below!

Pieces of a Woman is available to stream now on Netflix.

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Raindance Film Festival 2020: The Mystery of the Pink Flamingo

Getting back to my Raindance viewing after a few days off, the next film on my list is a documentary that immediately grabbed my interest. The Mystery of the Pink Flamingo follows an eccentric sound engineer, Rigo Pex, who begins to see pink flamingos everywhere and wants to get to the bottom of what it all means. Directed by Javier Polo, The Mystery of the Pink Flamingo is as vivid and fearless as the subject it seeks to discuss. Combining many mediums such as animation, art, music and film, the documentary is a culmination of how the pink flamingo became a symbol for those who wish to live freely. The pink flamingo is representative of kitsch and a cheapness that also belies a culture of bad taste and boundary pushing. What emerges from the film is how different people have taken figurative and literal inspiration from the flamingo and how this affects their life and shaped their identity. Just like the documentary’s interviewees, Pex begins to welcome the prospect of a new identity that opens new doors to professional and personal fulfillment.

The documentary itself subverts the traditional tropes. Dramatises itself with an ominous unseen narrator who questions Pex at various points, there are times when the lines are blurred between documentary and feature. Pex himself becomes a sort of fictionalised character as his journey reflects those found in feature films. Opening with a dream sequence in which Pex is pecked by a flamingo and is clearly bothered that the reoccurring presence of the animal in his life, so much so that he feels as though it is blocking him in some way. What his venture teaches him is that rather than blocking him, the pink flamingo is actually a door to discover more about its symbolic significance and what it means to people and ultimately to himself.

On his journey, Pex begins to switch his predominantly black wardrobe for more colourful attire and becomes happier in his outlook on life and in himself. The pink flamingo becomes an emblem for something more. As he records the sounds he encounters, he finds himself finding purpose for this sounds and mixes some together to create a piece that expresses his new identity. Featuring interviews with artists, musicians and filmmakers among other professions, The Mystery of the Pink Flamingo becomes a discussion piece on what it means to be kitsch and live an alternative lifestyle that refuses to conform to societal norms. Among my favourite interviews was one with the legendary John Waters. Known for his controversial filmography including the notorious 1972 film Pink Flamingos which features iconic drag queen, Divine, Waters explains his thought process and why it is important to express the bad taste to clash with the good taste that society favours. A brilliant takeaway from this discussion was that his passion to be controversial and in bad taste comes from his upbringing with parents who raised with him good taste. This upbringing provided him the rules that he would seek to break throughout his career.

What struck me through this film is how important sound is. A huge part of Pex’s initial personality is his passion for his work as a sound engineer. He records sounds from every street in his town and stores them systematically without knowing what purpose they will serve. As he travels around America, the sounds he records begin to merge and come together like a puzzle piece in Pex’s mind. By becoming more comfortable in how he presents himself and allowing himself to be pushed out of his comfort zone, we see his musical venture begin to take shape also. The second half of the film following the construction of an initial beat that grows into a musical piece played at the end that aligns with a sequence showcasing Pex’s journey to a world of colour and kitsch. The sounds of the journey making the documentary a sensory experience and creating a synesthesia effect.

Overall, The Mystery of the Pink Flamingo is a great look into how identity is an ongoing journey rather than something that is fully formed and stagnant. Using Pex as a way into this quirky lifestyle that looks at how the flamingo has been a literal and figurative inspiration to many throughout the decades allows the audience to believe in Pex’s evolution as he begins to shift in his outlook.

The Mystery of the Pink Flamingo is showing at Raindance Film Festival 2020.

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Raindance Film Festival 2020: My Thoughts Are Silent

The next on my list for Raindance is this quirky Ukrainian comedy-drama film written and directed by Antonio Lukich. Following sound engineer, Vadym (Andriy Lidagovskiy) who is tasked with recording the sound of a rare bird that can only be found in the mountains in Transcarparthia and embarks on this journey with his mother, Galia (Irma Vitovska-Vantsa). If he succeeds in doing this, he will be able to move to Canada where he will work for a huge gaming company as a sound engineer. Visually, the film is absurd, striking and really entertaining to watch. Making the most of the Ukrainian landscapes as Vadym and Galia journey across country, Lukich really thrives at making the ordinary seem extraordinary.

Lukich’s script is well-balanced between its comedy and drama. Never needing to veer into too dark a place, My Thoughts Are Silent shows the contradictions in the mother-son relationships and the differing expectations they have of themselves and each other. Initially, the plot centres around Vadym’s research into the rare bird, known as the “Fussy Mallard” and whether he will be able to record its voice but the film becomes much more than that. The voice that is important is Vadym’s creative voice and knowing what he wants to achieve in life as well as his mother’s wishes. It is a film about their fragmented relationship and them getting to know each other and piecing together the puzzle.

Andriy Lidagovskiy’s performance as Vadym is fantastic. Aspirational and creative, Vadym is headed for success in the gaming industry. His mother, Galia, is less impressed and would like to see him settled with children. The lengths Vadym goes to to capture the sounds of various animals for his game is hilarious with one incident requiring him to seduce an older woman so her parrot will chirp. Lidagovsky has great screen presence and really dives into Vadym’s determination to be creatively fulfilled. The idea of a settled life bores him and the adventure that ensues reflects that. Often donning ridiculous disguises to record the animals and be amongst them, Vadym isn’t bothered by the outward appearances. Lidagovsky’s performance brings an all rounded characterisation that is fantastically developed throughout the film.

In support we see Irma Vitovska-Vantsa as Galia, Vadym’s mother. A woman who refuses to let her age define her, Galia strives to find a partner and settle down. Constantly feeling unwanted and unloved, she urges Vadym to search for the love that she doesn’t have. This isn’t to say that Galia doesn’t have strength as a character. Her arc explores that she doesn’t need anyone else to define who she is. An avid fan of Victoria Beckham, we are introduced to her driving her taxi to pick Vadym up with the CD player blasting “Viva Forever” which I absolutely loved. Vitovska-Vantsa and Lidagovskiy have a striking relationship onscreen which feels authentic and raw. The ups and downs portrayed will resonate with any familiar conflict.

The music in the film composed by Sam Kuzel is a huge standout. The synthesised music juxtaposing with the natural noises that Vadym records makes for a great combination. The heavily synthesised pieces assist in elevating the absurdity of the film at times and lighten the dramatic moments. It’s a great rhythmic score that provides the heartbeat for the film. Vadym’s own creative musical aspirations are more in line with the electronic sounds than the animal noises in nature. He is inspired by the written notes of the Fussy Mallard in a museum and this becomes the driving force through the film.

What Lukich achieves in this film is portraying a normal family conflict in an overly eccentric way. Combining serious moments with touches of absurd comedy ensures that your attention is grasped at all times. My Thoughts Are Silent is captivating, beautifully shot and feature great comic performances, particularly its leads Ludagovsky and Vitovska-Vantsa.

My Thoughts Are Silent is showing at Raindance Film Festival.

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Raindance Film Festival 2020: The State of Texas vs Melissa

My third film at Raindance is a heartbreaking documentary by Sabrina Van Tassel. The films follows the case of Melissa Lucio, the first Hispanic woman sentenced to death in Texas for the abuse and death of her toddler, Mariah. The interviews with Lucio take place 11 years into her life on death row as she is approaching her final appeal. A mother of 14 children, Lucio expresses her regret at the situation and states that she often thinks about Mariah while also insisting her innocence. The tone of the film from the outset is one of great sadness as Melissa and the interviewees are forced to recount their memories of the case. With the forensic team claiming the results were the worst cases of child abuse they had witnessed, the appeal defence team argues that it is possible that Melissa wasn’t responsible for the death and that she was coerced into confessing due to the corrupt justice system.

What the documentary does is study both the prosecution and defence into the case through interviews with the forensic team, family members and lawyers amongst others. Chronicling Melissa’s life from her troubled past being abused as a child to a drug riddled adult life in poverty and the tragic results that followed. Losing her children due to neglect, Melissa’s life continues to delve deeper downwards. The interviews with her children who were sent to foster care are devastating as they all believe in her innocence and claim that the investigation and trial weren’t carried out properly. Van Tassel seeks to expose the defence that was left out of the investigation, showcasing the different angles and sides to the case and painting a picture that wasn’t taken into account. The footage of police using various tactics to get Melissa to confess is particularly difficult as it shows the mental anguish and breakdown until she eventually does admit to beating her. Having spent hours without water  food or a bathroom break, she is manipulated by the police force. Recollecting the experience, Melissa explains this breakdown giving a commentary on the footage.

Her trial also showcased many injustices such as evidence that was set aside and politicians using the case to assist with his electoral campaign. Lucio’s 9 year old son saw Mariah fall down a large flight of stairs as confirmed in a video interview but he was not brought to speak at the trial. Van Tassel incorporates home footage as well as footage taken from outside the house showing their now derelict home. Outside the home is a long broken flight of stairs were Mariah fell and Van Tassel constantly revisits that shot so it doesn’t leave the audience’s mind throughout. It is clear that Lucio was being used a political pawn in the duration of her trial. Her lawyer doesn’t allow the children to testify due to the potential that they could be manipulated but this is clearly a misjudged step as some of her children witnessed the incident. There was no attempt to contact her family or friends to testify which makes you question the motives of the defence team. Whether or not Lucio is guilty cannot be known from the trial alone as she was not given the fair trial she was entitled to.

Overall, The State of Texas vs Melissa is a powerful and harrowing documentary that shows the tragic consequences that rippled from a devastating childhood. It will linger with you long after the credits roll. What Van Tassel does is investigate what could have happened and exploit the misjustices that occur against minorities in the justice system. Even though the trial took place over a decade ago, it is clear that these issues are still relevant today. Van Tassel helps to shine a light on this topic.

The State of Texas vs Melissa is showing at Raindance Film Festival.

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Raindance Film Festival 2020: Under My Skin

My second film of Raindance Film Festival is a groundbreaking look at non-binary relationships. Following musician Denny (Liv Hewson) who begins to question their gender which puts a strain on their relationship with lawyer Ryan (Alex Russell). Under My Skin is the directorial debut by Australian filmmaker David O’Donnell and has generated much hype in the run up to Raindance. I knew it was a film I couldn’t miss. Historically, gender and sexuality that don’t fit societal “norms” have been used as punchlines and laughed at in films but O’Donnell’s film really delves into Denny’s mindset and shows a side that hasn’t been looked at much. Under My Skin feels deeply important for our times and brings out some phenomenal performances.

The script for this film is brilliantly tight. The chance meeting at the bar between Ryan and Denny is reminiscent of a traditional romcom but the subject of identifying as non-binary brings the film’s topical points into the 21st century, turning the film into a drama and making a piece that is relevant and poignant for our times. The way O’Donnell’s script handles this makes for a good talking point and we can only hope that this is the start of more films that look at gender and sexuality with sincerity and proper representation. Having different actors play Denny as well is a really interesting choice. Casting actors of different race, build and height shows the various stages of Denny’s struggle to admit and accept who they are.

Liv Hewson excels as the first Denny bringing out the struggle for their identity. I think the casting is important to note as Hewson is non-binary as well which ensures that the film has the correct representation and shows Hewson’s potential as a lead actor. Having already acted in supporting roles in big films such as Bombshell, Hewson is given time to shine in this indie that breaks ground on what it means to be non-binary, delving beneath the surface of discovering who Denny is. The film also gives Hewson a chance to showcase their music skills as they sing and play guitar at a local bar. Hewson proves themselves as a force to be reckoned with and I hope that their performance is recognised as such. Initially a free spirit, the prospect of being settled down with Ryan and moving in makes them feel trapped.

As Denny’s partner Ryan, Alex Russell is a nice pairing with Hewson. More straight-laced and settled in his life as a successful lawyer, the differences between him and Denny are so vast but they click together extremely well. Denny’s creativeness meshes well with Ryan’s logical outlook. As Ryan’s career becomes more and more promising, Denny’s struggle becomes more apparent and unbearable up to the point of the revelation. Just as Denny has her struggle, Ryan has his own struggle as he finds difficulty in accepting Denny for who they are initially. Every aspect of their relationship sees Ryan taking the wheel. He puts the down payment on the house and gives Denny the opportunity to work on their music career. Because everything is set in stone in his life, he isn’t sure how to react when Denny reveals their real identity. His confusion soon turns to anger and rage because he cannot bring himself to understand the situation. One scene in particular that is harrowing and heartbreaking is when he destroys the wall that Denny has painted.

An interesting factor in the film that struck me was the use of artistic expression throughout the film. Even down to their outfit choices, Denny’s artistic output coincides with their journey and struggle. The primary job is songwriting and that is where Denny is able to truly express themselves. When a makeup company wishes to use their music in an advert, Denny is dismayed as they cater to young girls. The same thing happens when they are booked to support Jason Mraz and they decline to play. Denny is hugely expressive but equally is determined to be an artist on their own terms. This is also reflected with the painting on the walls in their house. Denny starts painting in one small spot that grows and grows until images overlap with one another. That strive to succeed is juxtaposed with the fear of being successful.

Overall, Under My Skin is a heartbreaking and freeing film that shows the conflict and hope that comes with accepting identity. Denny’s journey is one that will resonate with a lot of people and hopefully this will cast out to more films being made that discuss similar issues. It’s a film I will be revisiting for sure and has made me excited to see what else Raindance has in store.

Under My Skin is showing at Raindance Film Festival.

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Raindance Film Festival 2020: The Eagle’s Nest

My festival coverage for Raindance has begun and I can’t believe I was accepted for another festival. I wanted to make sure that, like London Film Festival, I pick a variety of films that are all different. The first film on my watch list is the French-language film The Eagle’s Nest. Made on a £5,000 budget, The Eagle’s Nest is the directorial debut by Cameroonian filmmaker Olivier Assoua. When sexworkers Paris (Claude S Mbida Nkou) and Samantha (Felicity Asseh) stumble upon a lot of money, their lives are turned upside down as Paris’ mother and sister are brutally murdered. Both protagonists hold so much strength and resilience but are different in many ways. A poignant portrayal of loss and betrayal, The Eagle’s Nest is a harrowing look at the lengths one would go to to achieve their dream.

Assoua’s writing is particularly strong. I think that the development and character arc for both protagonists is done really well. They both have the same end goal but take different paths to get there. The first half of the film follows how the women find the money and the second half follows the aftermath with an attempt to figure out who organised the murder. Primarily a drama, the film is like a puzzle that slowly comes together as the plot unfolds. Showing the darkness that creeps through when dreams are in sight, Assoua’s script works as a drama about one woman’s struggle to find a place to belong and also a revenge piece as she is enraged by the injustice done to her and her family.

Claude S Mbida Nkou’s performance as Paris is a brilliant debut as she dons a hard exterior but has a softness within that makes her vulnerable in her quest to leave for Europe. She feels trapped in her currently situation and is convinced that her home is elsewhere. Her style is considerable different than everyone else in the film. Donning long blonde hair, nose and lip rings and black lacy clothes, Paris’ blackness is questioned by Samantha but she hits back claiming this is how she wishes to express herself as a gothic doll. There is also religious conflict in Paris that is subtly woven throughout the film. In the beginning, she refuses to say grace but when she awakes after the invasion, she is seen with a crucifix around her neck. One could question whether it was divine intervention that prevented her from dying or whether it is fate wanting her to continue on her journey.

Felicity Asseh’s performance as Paris’ best friend Samantha also has an equally dark storyline throughout the film. Finding herself pregnant and in a relationship with a heroin addict, Samantha is conflicted as to where her loyalty lies. On the one hand, she is wanting to leave with Paris but she is also deeply in love with Africa. Her love for Africa is expressed in her clothing, wearing outfits that have an African map print on them as well as traditional bright colours and prints. When her partner almost overdoses, Samantha refuses to be undone by this and tells him what she expects of him. Samantha is also more aggressive and assertive than Paris which makes her a fearless figure scarred by a tragic past. Even during times of great distress, her ability to remain calm and in control and her desperation to keep that control is deadly.

Assoua’s film feels deeply personal and resonant as he highlights a very real problem that exists today. Paris’ journey begins and ends alone but the growth between and allowing herself to be vulnerable is extremely empowering. Her dream to leave affects so many people around her without meaning to and shows the power that money has and the consequences that ripple from that. The ups and downs reflect the uncertainty Paris is experiencing as obstacles appear to stop her leaving from happening. Whether this too is divine intervention is also to be debated. Her longing to go to a place she has never been makes her blind to the world that is in front of her. In the end, The Eagle’s Nest becomes more about Paris’ development as a character than a simple plot of whether she makes it to Europe or not.

Overall, The Eagle’s Nest is an impressive gem and considering it was made on such a miniscule budget makes it even more captivating. By using the natural landscape and town as the set really captures the feel and authenticity of the film. The surrounding greenery is also extremely beautiful. With wonderful performances all round, Assoua manages to capture the struggle of identity and home. I am very happy to say that my first film of Raindance was an overwhelming success.

The Eagle’s Nest is showing at Raindance Film 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