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London Film Festival 2020: Possessor

Film number 10 on my Festival watch list is one of the horrors I have been eagerly awaiting this year since its premiere at Sundance. Possessor is the latest ultraviolent offering written and directed by Brandon Cronenberg. Following Tasya Vos, an assassin who works by controlling the bodies of a pawn so her real identity is kept secret. From the opening, we see her grasp of control slip and this proves true in her new assignment when the man she takes over begins to fight back. As son of esteemed director David Cronenberg, it’s clear that there is a familial trait for creating films filled with explicit gore and pushing the envelope as to how far the human psyche can go. However, to dismiss Brandon Cronenberg as a copy of his father would be a huge mistake. There is an emphasis on the human condition that is done in such an interesting way that I haven’t seen before. There are so many layers to uncover in this film and so much going on that it can be overwhelming but in the best way possible. It’s done intentionally to reflect Tasya’s overbearing mind.

Cronenberg’s writing perfectly encapsulates Tasya’s experience and puts that into his script. The film’s pacing is so fast and sharp that you don’t even realise that it is a 100 minute film. It is absolutely non-stop, taking no time for a breather and Tasya doesn’t have time to rest during her assignment. The opening scene in which Tasya has taken control over a young woman called Holly and completes a mission is gripping and jaw-dropping. From the offset, it is clear that Cronenberg isn’t afraid of bringing an abundance of violence and gore but in a way that cleverly sets up the story and makes the audience ask questions, wanting to know more.

Andrea Riseborough has been delivering astonishing performances for years and her turn in the 2018 film Mandy was a standout in horror that year. It was only natural that she is finally given a leading role. Her performance as Tasya Vos is deeply complex. Tasya continues to work as an assassin despite her clear mental fragility and her slip on control and reality. It’s as though she thinks working will eventually rid her of the pain but her latest assignment proves more than difficult. It’s exciting to see Riseborough in a film like this that is so daring and exciting. Even though it is Christopher Abbott acting as Colin, Riseborough’s performance is so emotive and effective that we feel her presence through the film. This of course is also due to Abbott’s stellar performance as Colin, the man Tasya has been tasked with possessing. Abbott’s performance is vulnerable as he has to play Colin as Tasya inside of Colin’s head and then act out the conflict the two of them have. This is by no means an easy feat and he performs the hell of this role. As Vasya’s grasp on control loosens and turns to Colin’s favour, he becomes more violent and unpredictable to the point where he doesn’t know what he is doing anymore.

There are brilliant support turns particularly from Jennifer Jason Leigh and Sean Bean as Tasya’s boss, Girder and assassin target, John Parse, respectively. Leigh’s performance is subtly fantastic as her concern for Tasya slowly comes to light. She clearly feels a lot for Tasya but is so determined for her to complete the job. Always veering Tasya on the path on control, Girder refuses to lose faith in her employee and Leigh portrays this conflict she has with Tasya’s mind brilliantly. On the other hand, Bean is great as a semi-villainous businessman. Void of dignity and full of fake sentiment, John Parse is a man who is all about appearances. This is something Sean Bean doesn’t play often as he tends to veer towards likeable characters and he pulls this off with a really strong performance. He isn’t in the film for a long time but when he is he immediately draws the audience in with his unpredictability.

The music in Possessor is fantastic bringing aspects of techno sounds to elevate the sci-fi qualities of the film. Composed by Jim Williams, who has done a fair share of horror films, it appears to be a perfect match with Cronenberg and hits the tone of the film perfectly. The way the music is edited to reflect Tasya’s conflict as it overlaps and particularly the piece when she possesses Colin’s body is among the best score tracks I have heard this year. A brilliant and innovative soundtrack that is just as unpredictable and exciting as the film.

Brandon Cronenberg has proven himself to be a stellar writer and director with this film. Providing a brilliant mix of sci-fi and horror, Possessor keeps you on your toes with its many twists and turns as it brims with thrills throughout. It’s a visceral experience that will linger with you long after watching it. A brilliant addition to the best horrors of the 21st century so far. It’s very exciting to see what Cronenberg has up his sleeve next.

Possessor is showing at the BFI London Film Festival on the 16th October and is out in the United Kingdom on the 27th November 2020.

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London Film Festival 2020: The Human Voice

One of the projects I was really excited to watch was this half an hour short film written and directed by Pedro Almodóvar based on a play of the same name by Jean Cocteau. Premiering at this year’s Venice Film Festival, I was so excited to see that it was included in the London Film Festival line-up and knew I had to watch it. Starring the incredible Tilda Swinton as a nameless Woman whose mental health diminishes as her partner goes missing for three days. With the exception of a scene near the beginning in which Swinton’s character buys an axe from a hardware store, she is the only character onscreen. Primarily set in her luxurious apartment filled with glamorous clothes and modern art placed everywhere, it would seem that the character has a life worth dreaming but we soon learn that this is a mask for something much darker.

In true Almodóvar style, there is a heavy focus on the setting and a strong visual aesthetic that usually is more telling than the dialogue. The attic apartment the woman lives in is clearly a set within a warehouse. This highlights that like all the luxurious goods she owns that the materials are all fake. What Almodóvar does brilliantly is an analytical breakdown of a character that is shown little by little like a puzzle piece. Even when presenting a short film, it is filled with so much story and character analysis that a lot of features miss out. The script is action based in the first act before becoming dominated by what could be described as a monologue as the Woman talks to her estranged partner but we only hear her side. The way the camera follows the Woman from above and completely exposes the set is a fantastic artistic choice as well. It really plays into that feeling of the Woman being trapped inside a doll’s house and being stuck in her own little world.

Tilde Swinton is always a tour de force in whatever she does and this film is definitely a collaboration between her and Almodóvar. It makes perfect sense that they would work together. Her performance is, as expected, executed to perfection. Her magnetism draws you and you want to understand the character and get to know her. When she receives a call from her estranged partner, she plugs in her wireless earphones to talk to him. We don’t hear anything he says only her response. It is during this increasingly intense conversation that the mask begins to slip and cracks start to show. We understand her actions and why she has bought the axe and attacked the bed with it. The apartment clearly acts like a bird cage that the Woman cannot seem to escape from even though she knows that her relationship has come to an end. As she progresses in her conversation, she finds herself unwilling to dominate control over her partner and finds herself constantly apologising and submitting to his every whim. It is when he appears to hang up at a tender moment that breaks her and she is able to break away from his and regain her control. Although it may seem simple to be in a film by yourself, it is actually the opposite and Swinton knocks out a performance that I would argue is among her best.

The music composed by Alberto Iglesias is breathtaking and elevates the film to that dramatic and cinematic level. As the Woman lingers around the house and ventures to the hardware store, the score is what provides that ambience. The music allows the unspoken words to come through and is ever increasing in tension as the build up to the phone conversation takes place. It really assisted in heightening the drama and expressing the loneliness and mental fragility that the Woman feels.

Despite only being thirty minutes, this has proven to be one of the highlights of the festival for me. Almodóvar can always be relied on to deliver a project that is captivating and thrilling with a hint of horror without actually showing gore. His control as a filmmaker is superb and not everyone could pull off such a complex project in a way that feels so cinematic and artistic. The Human Voice is a reflection not only of what one can do with limited resources but that great cinema can be created with the pandemic restrictions.

The Human Voice is showing at BFI London Film Festival on the 17th October and will be released in the United Kingdom on the 6th November.

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

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

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

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

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

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

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

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London Film Festival 2020: Wolfwalkers

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

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

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

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

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

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

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

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London Film Festival 2020: Mangrove

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

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

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

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

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

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

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

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London Film Festival 2020: Farewell Amor

Ntare Guma Mbaho Mwine, Zainab Jah, and Jayme Lawson appear in Farewell Amor by Ekwa Msangi, an official selection of the U.S. Dramatic Competition program at the 2020 Sundance Film Festival. Courtesy of Sundance Institute | photo by Bruce Francis Cole. All photos are copyrighted and may be used by press only for the purpose of news or editorial coverage of Sundance Institute programs. Photos must be accompanied by a credit to the photographer and/or 'Courtesy of Sundance Institute.' Unauthorized use, alteration, reproduction or sale of logos and/or photos is strictly prohibited.

The next film that I viewed was Ekwa Msangi’s Farewell Amor. Written and directed by Msangi, Farewell Amor is a 101 minute drama following an Angolan family who are reunited in New York City after seventeen years apart. Walter (Ntare Guma Mbaho Mwine) has been working as a taxi driver in New York and living in a one bedroom flat in Brooklyn. The opening of the film sees his reunion with wife, Esther (Zainab Jah) and daughter, Sylvia (Jayme Lawson) before the film splits each act to follow each character. As suspected, the relationship between husband and wife and father and daughter is strained and in the case of the latter, Walter and Sylvia seem to be complete strangers.

Msangi’s script acts as an outline to showing the immigrant experience in America and the richness of African and African-American culture within New York. With each segment, Msangi paints the picture of these three characters and how dance brings them together. The Angolan culture is transferred over and felt despite the film solely taking place in New York. There is also an undercurrent of religious conflict as Walter’s religious distance is clear as he is uncomfortable at Esther’s insistence of worship. This starts with a simple prayer at meal time but becomes clear at Walter’s dislike of the religious ornaments and going to Church. The distance between Walter and Esther is clear as the former has clearly changed since living in America.

Mwine’s lead performance as Walter is filled with conflict as he faces his new life with Esther and Sylvia while mourning the loss of his relationship with nurse Linda. Walter’s mistakes and unfaithfulness bubble to the surface and provide the tension throughout the film but he isn’t necessarily a villain. Even when drawn to Linda at a club, he thanks her for rejecting him because he knows it’s the wrong thing. Whereas his wife was completely faithful to him all these years, Walter’s unfaithfulness sprouts from the uncertainty that he would see his family again. His relationship with Esther only spanned a short while and took place during the Angolan Civil War in which Esther fell pregnant with Sylvia. Msangi doesn’t want the audience to view Walter as a completely terrible character but one who has faced peculiar circumstance and he eventually learns through the film that he needs to get to know his family all over again.

The second segment follows Sylvia. Jayme Lawson’s performance as the quiet teen is filled with ambition as she strives to use the opportunity she has in America to dance. Discouraged by her mother and encouraged by her father, Sylvia longs to break free of her mother’s strict lifestyle. The first act sees Sylvia giving one word responses but as she practices her dancing, she grows more vocal and confident in herself. Dance is used as the common denominator between her and her father. As her relationship with him seems to grow, Esther becomes more ostracised and cannot handle the American lifestyle. Sylvia doesn’t like her new home initially but grows to it with the help of DJ, a boy from her school who encourages her to join a dance group for a competition. From there she begins to find herself and adjusts to her new life.

The last segment looks at Esther’s experience. Zainab Jah does a fantastic job of balancing the strictly religious Esther and her fear of being in a new country. Up until this segment, her insecurities have been brewing and we see it reach the boiling point as Walter’s affair comes to light. What Jah does so brilliantly in her performance is show us the slow deterioration of Esther’s strength and confidence. Living with Walter was all Esther wanted but the American Dream wasn’t all it lived up to be. They live in a tiny apartment and barely scrape by with Walter working long hours. These little details build up inside Esther until she can’t handle it anymore.

The result of Farewell Amor is an amazingly structured film that shows the contrast between cultures and how the two can be merged together. The family unit is fragmented but by embracing the American culture, they are able to come together to show their love for Angola. It’s a beautiful and subtle film highlighting the power of the arts and expression and one that I think will resonate with a lot of viewers.

Farewell Amor is showing at London Film Festival on 9th October. You can purchase tickets on the BFI website.

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London Film Festival 2020: Siberia

The third film on my viewing list was auteur Abel Ferrara’s film Siberia based on a script co-written by Ferrara and Christ Zois. Marking Ferrara’s sixth collaboration with Willem Dafoe, the film follows bar owner, Clint (Dafoe) who lives in the wilderness of Siberia. Starting with a simple voice over over the opening credits with Clint recalling a memory with his father when he was younger, Siberia soons delves inwards with hallucinations, chance meetings and confrontation with his memories. He encounters his father, brother and ex-wife in a bid to find and understand himself. Ferrara’s direction is distinct and rich in his vision. His use of lighting and contrast is brilliant, particularly the scene in the cave where Clint encounters his brother. It’s a film that leaves a lot to interpretation and it seems that Ferrara is not making any judgement on Clint or his choices.

The best way to describe the script is on that spirals inwards. The opening act on the film focuses largely on the Siberian landscape and Clint’s existence in this vast space before entering into his own mind as he tries to puzzle out his life. The isolated wintery wonderland is soon replaced with various settings including deserts and woodlands, taking us on a geographical journey as well as an emotional and mental one. The script is motivated by the journey rather than the dialogue and in the first act, Clint doesn’t really speak and the writing is about how he occupies the space. As his customers in the bar speak to him in various languages, Clint briefly responds and nods as long as though he understands. Whether or not he does is up to viewer interpretation but he is a good reader of people. It then envelopes into him not being a good reader of himself.

Willem Dafoe can always be relied on to bring a great performance and Siberia is no exception. As Clint is faced with various faces from his past and present, we begin to paint a picture on why Clint has settled into his lifestyle. Clint isn’t a character that necessarily has to be liked nor is he particularly special or interesting. His hallucinations are a result of his choice to live alone and refusal to face his past. The memories are what shape Clint’s character and give a more rounded portrait. The scene in which is talk to his ex-wife, he refuses to take full responsibility for the failure of their marriage. His hardness seems unbreakable and is also elevated by the fact that he doesn’t interact with people as much anymore. Dafoe’s performance is quiet and subdued but powerful all the same. He is the perfect fit for this character.

The quick shift in locations give this film a dreamlike quality with its fluidity and exaggerates the visceral nature of the film. The film explores a whole spectrum of genre and music alike. In its genre, the film brings out drama, horror and satire whilst indulging in explicit sex scenes and gun violence. The music choices also shift from the beautiful score composed by Joe Delia to song choices that range from folk songs to heavy metal. Despite its inward approach to exploring a singular character, Ferrara contrasts this with widely vast technical and creative choices. It allows the different sides of Clint to emerge, peeling off the layers one by one.

Overall, Siberia is a film that demands complete audience attention otherwise it won’t make much sense. It is a film rich in visuals and settings and makes for an intriguing character insight. I’m not sure if it is a film for everyone as the film doesn’t follow any conventional structure or explain the shifts in scenes which can be off-putting but I think it is definitely a film worth watching, particularly for the direction and Dafoe’s performance. It’s a thought-provoking piece that explores a lot of ideas despite its short running time of 92 minutes and I am looking forward to seeing what Ferrara and Dafoe’s seventh collaboration will be already.

Siberia is showing at the London Film Festival on the 10th October. You can book your tickets on the BFI website.

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London Film Festival 2020: Mogul Mowgli

Having received press accreditation for my first ever film festival, the 2020 BFI London Film Festival I have been really excited to see a wide variety of films from all over the globe. The first film that I checked out was the debut feature, Mogul Mowgli by Pakistani-American director, Bassam Tariq who co-wrote the script with the film’s lead, Riz Ahmed. The film follows Zed (Ahmed), a British-Pakistani rapper who is on the cusp of fame when he is suddenly struck down by an unknown autoimmune disease. The film is an intricate look into identity and how becoming successful can cause conflict within oneself. The result is a mesh of culture intertwined with the fight to break out of the bodily harm Zed is faced with while discovering who he actually is. Zed’s Pakistani heritage is presented through dreams and hallucinations he has of a man whose face is shrouded by a veil of flowers.

Riz Ahmed’s performance is a fantastic standout and shows his ability to lead a film. A lot of Ahmed’s film roles in mainstream blockbusters have been supporting but hopefully he will be advanced to leading roles with the release of this phenomenal performance. From the opening scene in which we see Zed rap to himself which then turns out to be a successful gig performance to his eventual collapse and stay in hospital due to his autoimmune disease, Zed is put through a whole spectrum of emotions. We see the joy as he is booked to open for a famous rapper on his European tour followed by the disappointment as he learns that he is being replaced by a rapper who is known for his song “Pussy Fried Chicken”. It should also be noted that Ahmed’s rapping is impeccable and has that spontaneous feeling incorporating wordplay and build-ups in his raps, successfully telling Zed’s story. Zed’s journey is one of many layers from his physical deterioration to the clash between who he wants to be and his heritage. He raps about his heritage and his experience growing up as a Muslim in Britain but as pointed out by his girlfriend at the start, he hasn’t gone back to Britain in years. How can he talk about the importance of his family and heritage if he has become so detached from them? The film’s sole focus on Zed can be a put off for some but I love a character study and it works well in my opinion.

The supporting cast does a great job and helps the audience with gaining that rounded view of Zed. Every character has some link to Zed whether it be his family or his colleagues in the music industry. The standout support in my opinion is Alyy Khan who plays Zed’s father, Bashir. Seen as a voice of reason and a respected figure in his family, Bashir is a man who would do anything to secure the safety of his family. His story of travelling to Pakistan from India by hiding under clothes when he was younger is shown in parallel to the events of the film. Zed’s struggle with his identity has some similarities with Bashir leaving his home country. Khan’s performance is subtle and calming and yet can also be firm at times. The scene in which he helps Zed in the bathroom makes for an emotional father/son moment. The reactions of both characters is very authentic as Zed is reluctant to ask for help and Bashir also feels uncomfortable as they try to navigate their way in the tiny space.

The highlight of this film besides Ahmed’s performance is the script co-written by Tariq and Ahmed. It’s a tight script filling the 90 minute feature and there was plenty of space for more. Together, they managed to write a script that conveyed the chaos going on in Zed’s life showing the numerous conflicts he has on the surface as well as emotionally. As Zed flits in and out of consciousness through his fights and seizures, the script becomes a product of magic realism. The scenes featuring Toba Tek Singh become symbolic and haunting as he grows more aggressive with each appearance. Eventually, Zed acknowledges the meaning of Singh and what he represents in these dreams. One scene in which this is presented beautifully takes place in a mosque. Zed prays alongside other men but clearly feels out of place. When he turns around he sees Singh stood beside him and they stare at each other. It’s a scene of no words and yet speaks volumes.

Overall, the film is a poignant look into the search for identity and how one can stay anchored to the heritage and ancestry that came before them. I wouldn’t be surprised to see the film up for some major awards this season, particularly for Ahmed’s performance and the script. The film felt like the joining together of a jigsaw as Zed began to put himself back together as his father’s journey from India to Pakistan is played in parallel to Zed’s own struggles.

Film number one complete and even more reviews to come next week when London Film Festival 2020 continues so stay tuned! Mogul Mowgli will be released in the United Kingdom on 30th October by BFI Distribution. Be sure to check it out if you can!

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A Ghost Story (2017)

One of the most beautiful and somber films to come out of the 2010s is A Ghost Story written and directed by David Lowery. Premiering at Sunday’s Fil. Festival and distributed by the much-loved A24, A Ghost Story follows a young married couple C (Casey Affleck) and M (Rooney Mara) and the aftermath of the former’s untimely death at the start of the film. What makes this film such a standout is its simplicity and minimalist approach with limited locations and characters. The film is primarily filmed in their family home and showcases the figurative and literal destruction of the home as M’s life falls apart without her husband. The home is not a home. The screenplay is written by Lowery and his connection and intricacy in bringing his two protagonists to life with minimal interaction is no easy feat but he achieves this. It is a film that moved me and has provided much inspirational imagery and directorial approach that I feel sad that the film has almost been swept under the carpet.

Affleck and Mara both bring their A game to this film and give performances that are among the best in their careers. When C passes away he is reincarnated as a ghost donning a simple white sheet with holes cut out for eyes. We never see his eyes nor what is under the sheet yet Affleck’s presence and character is felt despite not speaking or providing much action. C is a musician and we hear glimpses of his song throughout bringing an unexpected electro and modern sound to the film. The music is what brings the film to its respective time period as the minimalism evokes a timeless quality. Mara is absolutely gut-wrenching in her turn as the grieving wife, M. We see a strong woman who is eventually broken down mentally and physically by the absence around her. We see a few encounters from friends and even a prospective date but the absence of C is too much for her to bear. There is only one scene when M is actually outside of the house and that is when she is identifying her husband’s body. In some respects, she is defined by her relationship to her husband but it could be argued that her struggle is actually a want and inability to move on and continue with her life. She slowly begins to recognise that C isn’t coming back no matter how much she longs for it.

It goes without saying that the highlight scene is the pie scene. This scene is infamous among film fans alike thanks to its raw one take approach to seeing a grieving wife literally eating a chocolate pie for five minutes until she makes herself sick. The scene itself is so simple yet so complex. Mara’s emotional spectrum is on display here as she eats and eats, delving into more and more despair as she longs to feel better following the funeral. The feeling of hopelessness and depression really shoot through as well as upset and loneliness. There are no words in this scene yet it says so much. It’s as if M is hoping her husband will return and stop her from eating herself to sickness but he doesn’t. In fact, no one comes and she is left alone to grieve and process what has happened. I think this scene alone warranted awards recognition but I think the rawness of the characters was probably too alien to the mainstream audience as it does make for uncomfortable and upsetting viewing.

Another scene that causes debates among its viewers is the monologue provided by a party goer, credited as the Prognosticator (Will Oldham) in the house next door. C observes as the Prognosticator talks endlessly about classical music and the Big Crunch which is a theory that claims that the universe is constantly expanding and eventually it will snap like a rubber band and collapse in on itself into a speck as if nothing existed at all. C’s frustration and anger throughout the scene causes him to make the lights flicker as he searches for meaning beyond the life he lived. The speech itself is a bit longwinded, lasting five and a half minutes. Its uneasiness and pretentious nature makes it seem longer because there is no one debating with him. It very much feels as if the Prognosticator is talking out to the audience or even the universe. It is important to note that the film has minimal dialogue so this speech is the true verbal standout the audience is provided with and I think it’s a skillful tip of the scale by Lowery who wants to create that feeling of uncertainty.

The structure of the film is unconventional following a repeat of the time that C and M lived in the house while C observes under his sheet and follows the next family to move in and the subsequent destruction of the home. It feels as though C and M’s memories together are trapped in that endless loop as the universe expands. Just as the Prognosticator claims the works of Beethoven will forever live in human memory, so will the time C and M spent in their house. When C finally reads a note M left and disappears it is sad but also brings closure to that loop and gives him a chance to leave the house just as M did before.

A Ghost Story is not your typical film exploring loss and grief but its impact and power comes from Lowery’s raw approach. Despite its seemingly effortless aesthetic, the films screenplay and character observation pushes through a complexity that transcends its simple storyline. It’s a film that will stay with you long after you watch it.

What did you think of A Ghost Story? Let me know what you think in the comments below!

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Why Parasite’s win is important

Going into the 92nd Academy Awards, it seemed that pretty much every category was a lock. Joaquin Phoenix was favoured to take home the Best Actor gong for Joker, Renee Zellweger winning Best Actress for Judy and Sam Mendes was the strong favourite to win Best Director for 1917 with the latter ultimately winning Best Picture. How much the Academy surprised us then when the Best Director trophy was awarded to Bong Joon-ho for Parasite and then his film won the Best Picture award, beating the odds. Personally I was very happy as I had placed a bet on Parasite to win so there was a monetary reward for myself but the happiness goes to another more serious level. 1917 is a prime example of a quintessential award film. Don’t get me wrong, 1917 is a brilliant film that is full of revolutionary technical achievement, particularly Roger Deakins’ cinematography but it is no secret that the Academy and other Western award bodies have a love affair with war films. So much so that it has become a running joke in the film industry that to win awards, you have to make or star in a war film.

For those who are not in the know, Parasite is a Korean film exploring classism and inequality in a society that only benefits the rich and leaves those poorer to live in the gutter (quite literally). It has been the source of much hype since its premiere at last year’s Cannes Film Festival where it won the top prize, the Palme d’Or, in a rare unanimous vote, marking the first Korean film to win the prestigious award. Korean cinema is among the best in the world and has been a leading institution for years for filmmakers and film lovers and it felt like it was finally getting its due in the mainstream. Bong Joon-ho has previously delved into English-language with Snowpiercer (2013) and Okja (2017) which have become much-loved modern classics and released to acclaim; however, I think it’s poignant that Bong’s ascendance to the global audience has come from a Korean-language film that explores Korean society. It is very much detached from Western society in both its subject matter and filmmaking technique, allowing Bong to direct without the restrictions that Western studios demand. The fact that a film like Parasite, a film that is inherently unique in its style and content can beat a film like 1917 shows that there is an appetite for a different kind of film experience. It also shows a promising step forward in what audiences now expect. Naturally, franchises such as the Marvel and DC films still top the box office but Parasite concrete proof that people want more variety in the cinemas as well. Parasite’s subsequent box office success after its award wins confirms this. Now that it’s been given the chance to screen in more cinemas, it’s been able to demonstrate that there is an audience who want to watch foreign-language films, snubbing the assumption that Western audiences don’t want to watch films with subtitles.

There are many people who dismiss award season as pointless and dim, viewing it as celebrities patting themselves on the back. I don’t think it is as simple as that though. The truth is people do pay attention to awards season and follow the films that are successful. Of course, a lot of time there are the usual suspects who are nominated time and time again, sometimes undeservedly but when you have a film like Parasite that isn’t given the same chance as a mediocre English-language film then the exposure that award season brings is crucial for the film’s box office success.

Overall, there were some brilliant films this award season but Parasite was the clear standout. The fact that it won the major awards is a sign that the Academy is looking at artistic merit and not just succumbing to making it a popularity contest. Parasite’s win may not seem significant but the importance cannot be understated. Hopefully this will spark the beginning of an awards body that seeks to be more inclusive and diverse, giving all films an equal chance.

Here are my reviews for some of the films of the 92nd Academy Awards:

Winners: 1917, Joker, Jojo Rabbit, Judy, Marriage Story, Once Upon a Time in Hollywood, Parasite, Toy Story 4

Nominees: A Beautiful Day in the Neighborhood, Bombshell, The Irishman, The Lighthouse, The Two Popes

Snubs: Dolemite Is My Name, Hustlers, Midsommar, Uncut Gems

What did you think of Parasite’s winning streak at the Oscars? Let me know in the comments below!