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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: One Man and His Shoes

The only documentary I have seen in the festival thus far, One Man and His Shoes is the debut feature documentary from Yemi Bamiro. The film follows the rise of Michael Jordan’a relationship with Nike and the creation of the Air Jordans in the 1980s and how they have created a trend for extremely expensive and exclusive trainers that exists today. Without any input from a Nike representative or Jordan himself, Bamiro creates a well-rounded view of the Air Jordan history by interviewing people who worked at Nike, experts in sport marketing as well as people who have large Air Jordan collections. This gives the view from the starting point those who helped conceptualise the brand all the way down to the release of the shows the customers who purchase the product.

The documentary provides an outlook on society as a whole in regards to the American political state in the 1980s which was deeply conservative and ran by President Ronald Reagan. There was much disturbance and discourse to those who were working class and people of colour because the discrimination against them was growing and so vast that they began to rebel in their own way. When the Air Jordans were banned from the NBA, they became a hugely desired item in the streets because they were a form of protest. As Jordan’s success grew as a basketballer, his marketing with Nike also grew more aggressive. The drive to promote the Air Jordans plus the ban the NBA imposed resulted in a huge public spectacle on its release. People lining the streets and waiting for hours just so they could get a pair. Nothing like this had happened before with shoes and it shows the power of a successful marketing campaign. The significance of Jordan also being a black man with such a huge fan base cannot be ignored. Coming from humble beginnings, he is a figure that a lot of people can look up to and having a pair of the Air Jordans could make them feel like they have a slice of the American Dream.

The second act of the documentary then goes into how Jordan and Nike’s relationship originated and the huge success into how the shoes were marketed. Jordan was everywhere in the 80s as he had a lot of collaborations with various companies but his work with Nike was by far the most popular and resonated most with the customer. One of the most successful marketing campaign was Spike Lee’s adverts for the Air Jordans. Starring Lee as his character Mars Blackmon from She’s Gotta Have It and Jordan in a bid to make the product more relatable to the consumer. Lee’s filmography had begun to build traction and Jordan was a rising star in his sport so it made perfect sense. Also, the genius of unsporting humour into the adverts makes Jordan appear to have that All-American appeal. The adverts in themselves became an event with audiences excited to see what the new one would bring.

The final act of the film discusses the loss that has occurred since the release of the Air Jordans. The build up from the first hour of the documentary makes it seem as though the Air Jordans are a final product of the American Dream with the idea that Jordan’s basketball playing was enhanced by the shoes. However, it turns out that there is a dark side to the exclusive nature of the Air Jordans. Looking into the case of a young man who was fatally shot because of the new Air Jordans, his mother and sister recount the tragic event and it is during this segment where the disconnect between business and consumer becomes clear. Jordan sent the family some new shoes after the murder but they feared wearing them in case they too were killed for them. It seems extreme that people would go this far for something as materialistic as shoes but the documentary suggests that this is in part due to the aggressive marketing by Nike that is both promising but also exclusive. By stocking limited quantities in shops, it drives the desirability right up and contributes to the collectible aspect.

What One Man and His Shoes does so well is show how clothing and accessories can actually be used as a form of protest as well as expression. The Air Jordans initial ban in the NBA is what made them desirable to those who are anti-establishment. It also shows the disconnect between the corporation and the damage that can be caused because of the exclusivity that Nike markets the Air Jordans as. Their silence over the unfortunate incidents shows that despite encouraging people to use their voice and unite in their adverts, they don’t want to be linked to the murders and injuries occurred in acquiring the shoes. What Bamiro does so well is present that balance between a huge achievement in marketing and inspiration and the costs that that brings. It’s a documentary that will resonate with a lot of people for its look into fashion, sports and history with the societal backdrop. Bamiro uses every second of the film’s 83 minute running time with effect.

One Man and His Shoes is showing at the BFI London Film Festival on 13th October and is available until 16th October.

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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: Herself

Clare Dunne and Molly McCann appear in Herself by Phyllida Lloyd, an official selection of the Premieres program at the 2020 Sundance Film Festival. Courtesy of Sundance Institute. 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.

Day 2 of London Film Festival proved to be a little busier than my first as I had not one but two films to watch back-to-back. The first of these was Herself, directed by Phyllida Lloyd, starring Claire Dunne and Harriet Walter with an original script written by Dunne and Malcolm Campbell. The film revolves around Sandra (Dunne), a victim of domestic abuse, who sets out to build her own house for herself and her girls. Working two jobs, dealing with the council and assessments, taking the girls to visit their dad and gathering a team for the house, Herself shows what can happen when you put your mind to something and never give up. It’s a brilliant film that looks at the treatment of domestic abuse in Ireland as well as the housing crisis.

The film opens with Sandra and her girls having lots of fun together, doing make-up and singing songs. This happiness is shattered when Sandra’s abusive ex, Gary (Ian Lloyd Anderson), turns up and attacks her brutally. It is a difficult scene to watch because of its realistic approach and refusal to hide the horrors. What follows is Sandra’s struggle to find a house to rent. As Gary goes to live at his parents house, Sandra and the girls are forced to live in a hotel while she waits on the housing list. The script is wonderfully written and really allows the audience to see Sandra’s struggle beneath the surface. What makes Herself a standout is its resonance and the erratic shift in tone. Just as could be expected, Sandra’s life could be stable one minute and collapse like a house of cards the next. The script does a good job of building up the struggle with the final act resulting in a culimation of emotion and hardwork.

Dunne’s performance as Sandra is flawless. She perfectly conveys the struggle Sandra is facing and the many factors and obstacles that threaten to stop her dreams. She is exhausted but resilient and this makes for a resonating character who isn’t perfect but she is trying her best. The courtroom scene is both heartbreaking and angering as the injustice Sandra faces shouldn’t have to be argued. Gary damages the nerves in Sandra’s hand at the beginning and she turns that pain in physically building her escape from him. The whole film becomes a metaphor for Sandra bettering the situation for her girls and finding sanctuary away from Gary. Whereas Gary is able to live with his parents and await the visits from his daughters, Sandra is constantly assessed by the council, struggling to find a suitable home while facing judgement from fellow mothers and working two jobs. Despite Sandra’s many roles in society, Dunne makes sure that she gives her character a distinct personality. Faced with many hardships, Sandra is fearless and unafraid to go ahead with her plan and builds the confidence to stick up for herself. The character arc she goes through is emotional and rough contributing to an unforgettable performance.

In supporting roles, there are a couple of familiar faces and plenty of newcomers, led by the wonderful Harriet Walter who plays Peggy, the doctor Sandra cleans and cares for part time. Peggy comes across as stubborn and hard initially but as the film progresses, she begins to let her guard down and allows herself to be vulnerable as she assists Sandra in building the house. Also in support is Conleth Hill as Aido, a local construction worker who eventually agrees to help Sandra build her house. Aido doesn’t understand Sandra’s plan until she mentions Gary and he agrees to help her. Hill isn’t onscreen a lot of time but is a welcome presence whenever he is. The supporting cast is rounded out by Molly McCann and Ruby Rose O’Hara who do fantastic performances as Sandra’s daughters, Molly and Emma, respectively.

Despite its heavy themes, Herself proved to explore the injustices of domestic violence victims by showing Sandra at her highs and lows. With the film shown from Sandra’s perspective her motivations and reasonings for her actions are fully understood by the audience. Even when it becomes too much for her to handle, she still keeps fighting. With its mix between newcomers and recognisable names, Herself has established itself already as a huge highlight from this festival and I hope it carries on its success.

Herself will be released in the UK on the 16th October.

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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!