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2022 Awards Season

Awards season has begun once again and with such a turbulent year that has seen cinemas reopening and more studios utilising streaming services, there are an abundance of films that are competing for those big awards. What is wonderful to see about the offerings from 2021 is how well received films directed by women were with Julia Ducournau winning the Palme d’Or for her incredible boundary pushing film, Titane while Jane Campion has returned to feature filmmaking after a 12 year hiatus with her intricate character-led The Power of the Dog. The variety of films on offer this year prove that there is something for everyone which ensures that this awards season is going to be great.

As ever, I will be gathering all of the reviews for the films that will be competing for awards from best special effects to best picture and everything in between.

Here is the list of films to guide you through awards season 2022:

Ali & Ava

Annette

Being the Ricardos

Belfast

CODA

Don’t Look Up

Drive My Car

Dune

Encanto

Flee

The Green Knight

The Harder They Fall

House of Gucci

In the Heights

King Richard

Lamb

Last Night in Soho

Licorice Pizza

The Lost Daughter

Luca

Mass

The Mitchells vs. the Machines

Nightmare Alley

No Time To Die

Passing

The Power of the Dog

Raya and the Last Dragon

Spencer

The Tragedy of Macbeth

Tick, Tick… Boom!

Titane

The Worst Person in the World

Zola

I will be adding to this list as I see the films and am very excited to see how this awards season turns out!

Which films are you excited to see? Which has been your favourite so far? Let me know in the comments below!

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London Film Festival 2021: Roundup

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

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

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

Best Picture – Titane

Best Director – Julia Ducournau for Titane

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

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

Best Supporting Actress – Regina King for The Harder They Fall

Best Supporting Actor – Jason Isaacs for Mass

Best Original Screenplay – Julia Ducournau for Titane

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

Best Original Score – Jim Williams for Titane

Best Cinematography – Eli Arenson for Lamb

Best Editing – Julien Lacheray for Petite Maman

Best Production Design – Martin Whist for The Harder They Fall

Best Costume Design – Antoinette Messam for The Harder They Fall

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

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

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

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

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

Between Two Worlds

Boiling Point

Drive My Car

Gwledd (The Feast)

The Harder They Fall

Lamb

Language Lessons

Mass

Memory Box

Petite Maman

The Phantom of the Open

The Power of the Dog

Titane

Wheel of Fortune and Fantasy

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London Film Festival 2021: Mass

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

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

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

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

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

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