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Raindance Film Festival 2020: Ella es Cristina

Another film on my Raindance schedule that I knew I had to watch was Chilean comedy, Ella es Cristina. Directed by Gonzalo Maza, who co-wrote the brilliant Oscar-winning A Fantastic Woman, Ella es Cristina is about the titular character and her on-off best friend, Susana, two women in their thirties who are trapped in a teenage mindset. As Cristina longs to find inspiration for her drawings to find meaning in her life, Susana is forced to become responsible for her actions when living at her mum’s house alone for six months. Ella es Cristina is a perfect modern comedy that mixes the drama of the millennial’s struggle for identity and the plight of the modern woman in a patriarchal society. Maza’s vision is wonderful and it’s hard to imagine that this is his directorial debut.

As expected, the script is fantastic and where the film really shines. Maza has a knack for writing three dimensional female characters, as seen in his previous film A Fantastic Woman. The comedy in the film felt akin to Noah Baumbach’s Frances Ha. Not only because they are shot in black and white but the struggle for millennial identity and the aspirations for artistic expression in a male-dominated environment. As well as this, centering the film on the relationship between the two women provides a connective thread through the film even when the women’s plots are not intertwining. The decision to film in black and white is a smart choice as it provides a rawness that allows focus to be solely on the characters. The male characters in the film are set to break the female characters down. Cristina is constantly gaslighted and bossed around by her love interests, used for sex and undermined constantly.

Mariana Derderián is captivating as Cristina, an aspiring artist who longs to find inspiration for her drawings. Derderián has such brilliant screen presence and Cristina is a fascinating character. Unbelievably naive and too trusting of people, Cristina is extremely vulnerable and wears her heart on her sleeve. Initially struggling with the separation and divorce with her ex, Ruben, Cristina is forced to stand on her own two feet and carve out her own identity. Derderián brings out Cristina’s vulnerability while building on the character’s resilience and strengrh throughout the film. One of the most unique female characters I have seen this year, Cristina’s character arc is one of self-realisation and learning self-respect.

In support, or more accurately co-lead, we have Paloma Salas as Cristina’s on-off best friend Susana. Living at her mum’s house rent-free as her mum ventures to Brazil for six months, Susana is forced to become more responsible for her actions. Unapologetically brash and harsh at the best of times, Susana has a tendency to push people away whereas Cristina is too trusting. Desperate to keep connections with her ex and the friends she insults, Susana slowly realises that she needs to emotionally mature. Salas’ performance is brilliant and unpredictable.

The music by Cristobal Carvajal is phenomenal and the opening piece immediately sets the tone for the rest of the film. A stagnant shot of a flight of stairs showing the two leads running up as the powerful drums play. The piece is exciting and filled with anticipation for the rest of the film. After this, most of the pieces in the film are piano led yet carry this quirky and unpredictable nature aligning with Maza’s script. The music feels stripped back yet complex at the same time, just like the characters. It feels as though Carvajal gets into Cristina’s mind and puts her character into music. I look forward to see where Carvajal’s career takes him next.

Overall, Ella es Cristina is a charming and sincere film that explores the uncertainty felt by the millennial generation. Carried by two standout leading performances, Maza manages to draw out an authenticity that explores the modern woman as well as navigating artistic expression in a patriarchal society.

Ella es Cristina is showing at Raindance Film Festival.

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Raindance Film Festival 2020: The Mystery of the Pink Flamingo

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

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

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

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

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

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

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Raindance Film Festival 2020: Nuclear

One of my most anticipated films for Raindance, Nuclear is the directorial debut by Catherine Linstrum. Co-written with David-John Newman, the film follows Emma, a young woman who witnesses her brother attack her mother in the woods. Together, Emma and her mother escape to a nearby town that sits beside a derelict nuclear plant. Whilst venturing around the town, Emma encounters an unnamed Boy and the film follows their blossoming friendship. What was important for me is that this film has connections to Wales and was funded by a variety of Welsh organisations so it definitely was a must-see on my list. A poignant piece on family conflict and the relationships that form in the aftermath of tragedy, Nuclear is a beautiful film that marks the start of a promising directorial career for Linstrum.

The script is phenomenal, chronicling the attack and Emma’s escape, Linstrum and Newman allow the characters to develop through natural encounters. Not allowing Emma to be defined by the tragedy of the beginning, we see her personality blossom through her interactions with the Boy. Despite only being 14, Emma acts much older than her age and longs for tattoos and piercings and a life of adventure far from the life she has had thus far. The writing follows a traditional dramatic route initially before enveloping into a psychological thriller. Through the course of the films we feel Emma’s journey and the anguish that she experiences.

Emilia Jones is a revelation as Emma. At only 18 years of age, she is able to convey the overwhelming fear and despair of the tragic incident that the character witnessed. Hopefully, this is the start of a flourishing career in film as she has made a name for herself on TV shows such as Netflix’s Locke & Key. Automatically assigning herself as her mother’s caregiver, Emma’s journey in the film is one that sees her emotional growth. When she encounters a Boy who lives nearby, she learns not to live in fear. She refuses to allow the incident with her brother define her. Jones’ performance is full of maturity which is rarely seen in an actor so young. Carrying the film on her shoulders, she brings a strength to Emma that makes her both likeable and resilient. Constantly asking questions, Emma wants to know more about the outside world so she has hope for when she escapes the situation she is currently in with her brother.

George Mackay is reliable as always as the boy who Emma encounters. Having made a name for himself in indies such as Pride and Captain Fantastic as well as blockbusters such as 1917, Mackay has a knack for choosing interesting projects that showcase his range and challenge him. Unreserved and carefree, the unnamed Boy encourages Emma to go out of her comfort zone. Where Emma’s life is full of fear, the Boy wants to strip away her fear. Mackay has proven himself to be one to watch and his performance in this film is a brilliant addition to his resume. The Boy is wacky and unpredictable but this is what provides an exciting contrast to Emma and makes the rapport between the two a fantastic combination.

Also in support there is Sierra Guillory as Emma’s mother who is brutally attacked. Known for playing Jill Valentine in the Resident Evil series, it is refreshing to see Guillory take on this dramatic role that is the polar opposite of the action packed Resident Evil films. Despite being a supporting turn, the Mother’s character is also deeply developed. Juxtaposing a seemingly happy exterior for her daughter’s sake, it is clear that inside she is broken and unsure what to do. When she repeatedly encounters a Japanese Lady (Noriko Sakura) around the town, the Mother is unsettled and longs to leave whilst knowing that this is nearly impossible as the car is crashed and they have no money. Guillory’s performance allows her to display her dramatic range and I hope that this leads to more serious roles in the future.

Linstrum’s tale of tragedy is one filled with much tragedy and heartbreak. As the characters find themselves in an unpredictable predicament, they learn how to let go of the past and allow themselves to move on. Nuclear is a film that shows the mental anguish and shock that comes from a broken childhood. The score composed by Stephen McKeon is also absolutely enchanting and helps to enhance the various situations that Emma finds herself in. I really look forward to seeing what Linstrum works on next and hope that Wales serves as the setting again.

Nuclear is showing at Raindance Film Festival.

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Raindance Film Festival 2020: My Thoughts Are Silent

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

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

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

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

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

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

My Thoughts Are Silent is showing at Raindance Film Festival.

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Raindance Film Festival 2020: The State of Texas vs Melissa

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

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

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

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

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

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Raindance Film Festival 2020: Under My Skin

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

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

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

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

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

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

Under My Skin is showing at Raindance Film Festival.

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Raindance Film Festival 2020: The Eagle’s Nest

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

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

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

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

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

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

The Eagle’s Nest is showing at Raindance Film Festival.

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London Film Festival 2020: Roundup

With London Film Festival concluding today and all of my reviews done and dusted, I thought I would write this post to roundup my experience. Being my first film festival, I was so excited to be apart of something I have been a fan of for years. Looking at the lineup, it seemed that there were four major films: Steve McQueen’s Mangrove, Chloe Zhao’s Nomadland, Pete Docter’s Soul and Francis Lee’s Ammonite and I was determined to see at least two of these. Luckily I was able to see Mangrove and Ammonite on the screenings but sadly wasn’t successful in the ballot to see Nomadland and I don’t live in London to see Soul. However, I was thrilled with all the films I watched. I decided that my target was to watch 10 films and make them as varied as I could. In total, I watched 12 films and this includes documentaries, shorts, animation, drama, horror, foreign language, etc. There wasn’t one film that disappointed me and many standouts that I hope go on to receive award recognition and open new doors to create more films.

Overall, what stood out to me was the quality of the writing in the films I watched which was absolutely fantastic. The creativity and originality of the films I watched shows that the industry isn’t failing and there is room for films that push boundaries. From adaptations to original pieces, each film was so distinctive and unique that I was so pleased with how many well-rounded characters there were.

I thought it would be fun to come up with my personal winners from the Festival from the films I watched. As I previously said, there were no disappointments so this will be tricky. I have also added a special Shoutout category because the winner of this gave two brilliant performances and has clearly had a stellar year. I wanted to recognise this with their own special category.

Here are the Smaller Pictures Winners of London Film Festival:

Best Picture – Wolfwalkers

Best Director – Tomm Moore and Ross Stewart for Wolfwalkers

Best Leading Actor – Riz Ahmed for Mogul Mowgli

Best Leading Actress – Tilda Swinton for The Human Voice

Best Supporting Actor – Fazlur Rahman Babu for The Salt in Our Waters (Nonajoler Kabbo)

Best Supporting Actress – Letitia Wright for Mangrove

Best Original Screenplay – Will Collins for Wolfwalkers

Best Adapted Screenplay – Pedro Almodóvar for The Human Voice

Best Documentary Feature – One Man and His Shoes

Best Original Score – Jim Williams for Possessor

Best Song – “Running with the Wolves”, AURORA from Wolfwalkers

Best Cinematography – Stéphane Fontaine for Ammonite

Best Editing – Matthew Hannam for Possessor

Best Production Design – Tomm Moore, Ross Stewart and Maria Pareja for Wolfwalkers

Best Costume Design – Michael O’Connor for Ammonite

Best Hair and Makeup – The Human Voice

Special Shoutout Winner – Sean Bean for Wolfwalkers and Possessor

London Film Festival has given me some amazing memories and been a highlight of my year and a brilliant opportunity that I am so grateful for. I am also so excited to announce that I will be reviewing films from the upcoming Raindance Film Festival at the end of this month so my Festival journey hasn’t ended just yet!

So that’s it for my little awards section and roundup! Which film are you looking forward to seeing the most? Let me know in the comments below!

Just in case you want to read my reviews for the films, I have included them below. I really recommend watching all of them:

Ammonite

Farewell Amor

Herself

The Human Voice

Lovers Rock

Mangrove

Mogul Mowgli

One Man and His Shoes

Possessor

The Salt in Our Waters (Nonajoler Kabbo)

Siberia

Wolfwalkers