The Moviefone Blog

London Lesbian and Gay Film Festival: Closing Night

Tim Macavoy — 2010-04-01T15:37:00+00:00

The 24th London Lesbian and Gay Film Festival drew to a close with a sold out screening of Children of God. Director Kareem Mortimer, and actor Johhny Ferro took to the stage, with obvious excitement and awe, to introduce the groundbreaking Bahamian film.

A politically bold and beautifully photographed examination of identity and sexuality in the Bahamas, A politically bold and beautifully photographed examination of identity and sexuality in the Bahamas, Children of God stars Ferro in the central role as a young artist from Nassau looking for inspiration - which he finds on the rural island of Eleuthera in the form of local boy Romeo.

Find out more from the last day at LLGFF... The 24th London Lesbian and Gay Film Festival drew to a close with a sold out screening of Children of God. Director Kareem Mortimer, and actor Johhny Ferro took to the stage, with obvious excitement and awe, to introduce the groundbreaking Bahamian film.

A politically bold and beautifully photographed examination of identity and sexuality in the Bahamas, A politically bold and beautifully photographed examination of identity and sexuality in the Bahamas, Children of God stars Ferro in the central role as a young artist from Nassau looking for inspiration - which he finds on the rural island of Eleuthera in the form of local boy Romeo.

The plot could arguably be transfered to any other country or culture and work. In liberal countries it's a cliche, in dangerously homophobic states it's a bold statement. Whether this is enough is really down to you, but I would have liked a touch more in the script that shouted about its setting in the Bahamas.

The large crowd in Leicester Square's Odeon cinema were very vocal in their appreciation of the film, so definitely worth a watch.

And no final night would be complete without yet another party (as if I haven't told you about enough already!). Floridita was the venue once again for cinematic schmoozing and filmic frolics. The usual array of actors, journalists, poltiicians and directors were on hand to make sure the wine was consumed, but nobody lets loose at this final night quite as much as the festival workers themselves, bless 'em. Thanks to all the staff for making it another great year.

You want some facts and figures? You got it. This year's programme of 208 films from 29 countries attracted more than 28,000 visitors to screenings, on-stage talks, workshops and discussions. Ticket sales broke a new record this year and there were 100 sold-out performances, 162 visiting filmmakers, 92 journalists and 138 industry delegates. Phew - that should answer the critics who ask if there's really a need for an lgb film festival!

London Lesbian & Gay Film Festival: Day 14

Tim Macavoy — 2010-03-30T17:54:00+00:00

A slight divergence from the "London" part of the Lesbian and Gay Film Festival today as we explore Cardiff's hidden history and it's own International Film Festival, the Iris Prize.

In 2007 Wales launched the biggest prize for a short film festival, valued at £25,000. Filmmakers, and partner festivals submit a total of 30 shorts, which are judged by an International Jury. The Iris Prize has grown from strength to strength, and this year they held a reception at the LLGFF to encourage more directors to submit their work.

Find out who won after the jump... A slight divergence from the "London" part of the Lesbian and Gay Film Festival today as we explore Cardiff's hidden history and it's own International Film Festival, the Iris Prize.

In 2007 Wales launched the biggest prize for a short film festival, valued at £25, 000. Filmmakers, and partner festivals submit a total of 30 shorts, which are judged by an International Jury. The Iris Prize has grown from strength to strength, and this year they held a reception at the LLGFF to encourage more directors to submit their work.

The winner of the first Iris Prize was Dee Rees, for her brilliant short film Pariah, which dealt with a young New York lesbian, struggling to express her sexual and racial identity.

As part of the prize package, Dee returned to Cardiff for her new short film, exploring immigration and gentrification around Tiger Bay and Bute Town.

Colonial Gods focuses its story on a Somalian new arrival, and his guide to the Cardiff estate, Nigerian Izi. Izi rages against the redevelopment of the run down area, feeling that his people, and the history of immigration are being erased. It builds to a confusing couple of violent acts, and features a queer desire subtext, but falls far from the achievements of Rees' debut.

Although the directing style was still exciting, the broken script made it feel like the middle twenty minutes of a continuing drama. There are also some serious questions about the authenticity, and representation of minorities, particularly from the natives of Tiger Bay. As an American eye on a strange foreign land, it seems to fair a little better, as it received decent reviews from an LA festival.

Accompanying the short is a BBC Wales "making of" documentary American Eye on Bute Town. It points to some big ideas about social geography, but isn't entirely reassuring as a lot of the crew seem to be American, which leaves you wondering exactly what they know about such a specific Welsh issue.

Fortunately there was a storming after party thanks to Iris and their media partners Peccadillo Pictures. The wine flowed freely and live music came from Alexander Price, which can only be described as "sparkly". Festival patron and journalist Andrew Pierce was on hand to say some nice words, along with every other lgbt film festival regular which I only ever see around a free bar.

On a serious note though, the social scene is important to encourage first time filmmakers to make that leap, you never know if you'll be talking to the new Bruce LaBruce (actually, one of those would probably be easy to spot).

And thanks to festival programmer Brian for hosting the neverending after party house party party. Only the closing night to go, I'm already feeling nostalgic!

London Lesbian & Gay Film Festival: Day 13

Tim Macavoy — 2010-03-30T16:49:00+00:00

Two potentially mainstream films from the USA brings us to day 13.

Drool is the directorial debut from experienced writer Nancy Kissam. It's the darkest comedy we've had at the festival, and judging by the howling laughter from a packed theatre, it translates well to the naughty British sense of humour. There's also a touch of surreality, not only coming from the farcical plot, but also the ethereal performance from Laura Harring (Mulholland Drive).

More LLGFF highlights after the jump... Two potentially mainstream films from the USA brings us to day 13.

Drool is the directorial debut from experienced writer Nancy Kissam. It's the darkest comedy we've had at the festival, and judging by the howling laughter from a packed theatre, it translates well to the naughty British sense of humour. There's also a touch of surreality, not only coming from the farcical plot, but also the ethereal performance from Laura Harring (Mulholland Drive).

Harring plays Anora, a quiet Southern housewife who has long-suffered abuse from her drunken husband. When vivacious Imogene moves into the neighbourhood, the two women begin a relationship. Caught in the act by her husband, Anora fends off another attack, with a gun.

The film then turns quickly from a domestic abuse drama into an hilarious road movie as the lovers, and two children travel to Savannah, seeking help from Imogene's employer, who has experienced in the...disposal of husbands.

The children are also interesting characters in their own right. The older sister, is disillusioned, angsty and a little slutty. The younger brother is a gay man in waiting, who never lets go of a mangy old doll, and has a growing interest in the make-up that Imogene sells on the road.

Every other line is laugh out loud, except for the times when Kissam bravely takes a turn into the kind of horrific experiences that serious drama finds difficult to deal with, but she achieves with aplomb. Could quite easily sell in mainstream cinema if it is marketed towards Little Miss Sunshine fans.

Dare, a film by Adam Salky, follows the burgeoning sexuality of three teenagers. Alexa is the studious virgin, Ben is an outsider discovering his homosexuality and both of them are attracted to rich pretty boy Johnny, who is so desperate for affection and friendship that he'll take whichever one of them is nearest.

It may sound like the characters are cliched, and to begin with this is the case, but the sexual torment they endure is so realistic that they deepen quite naturally.

Dare began as a short film in 2004, which can be seen on the Boys On Film: American Boy collection of shorts from Peccadillo Pictures. At the time I thought the director had promise, but as a short it was incomplete, so it was clearly a good decision to extend it into this feature.

Again this is a film that could fit comfortably into the slew of teenage rom-coms, but it's persistant ambivalence - particular around the sexuality and fate of Johnny, will undoubtedly confuse some audiences. But as queer cinema it's another good exploration of questioning, taking chances and casting off labels, as all three teens try to figure out who they want to be.

London Lesbian & Gay Film Festival: Day 12

Tim Macavoy — 2010-03-29T12:01:00+00:00

It's Day of the Dead! Not the George Romero film (although the second film comes close). Prepare yourselves for two twisted tales with The Famous and The Dead, and Zombies of Mass Destruction.

The Famous and The Dead is not a retrospective documentary, or a seance for Michael Jackson, but the debut feature feature from Brazilian Esmir Filho. Last year I awarded the Best Short Film prize to Filho at the Torino lgbt Film Festival for Saliva, so I was very excited to see where his career had progressed, and I'm not disappointed.

Get more from LLGFF Day 12 (including zombies) after the jump... It's Day of the Dead! Not the George Romero film (although the second film comes close). Prepare yourselves for two twisted tales with The Famous and The Dead, and Zombies of Mass Destruction.

The Famous and The Dead is not a retrospective documentary, or a seance for Michael Jackson, but the debut feature feature from Brazilian Esmir Filho. Last year I awarded the Best Short Film prize to Filho at the Torino lgbt Film Festival for Saliva, so I was very excited to see where his career had progressed, and I'm not disappointed.

Based on the novel by Ismael Caneppele, this tells the story of a 16 year old Bob Dylan fan known only by his online moniker "Mr Tambourine Man". The boy feels trapped in his tiny village and longs to find a way out, whether it's by running away to a concert, or jumping from the bridge, that has already claimed many lives.

The film deftly acknowledges the contemporary teenage life that is lived online. Most of the boy's communication is through internet chat, and his real emotions come to the surface when he is watching arty videos of two people who jumped off the bridge years before. The girl, sister of his best friend, died, but the man Julian, did not, and has returned to the village.

Julian is played by Canappele himself, is both pitiable and creepy. Filho says "He's like a vampire that seduces teenagers, because he needs someone to be with, he needs someone who can trust him, otherwise he doesn't have the courage to go on by himself."

it is through the interaction of Julian and Mr Tambourine Man that Filho injects his trademark subtle queer desire, which for some gay cinema-goers is not enough to warrant an entry to the LLGFF. We had the same issue arise last year with Saliva that some people couldn't see the gayness. Regardless of whether there is actually any gay character in the film, Filho seems happy to work in the fertile environment of queer cinema, where he can use a visual language of symbols to create dark, ethereal poetry.

And now a guilty pleasure in the form of Zombies of Mass Destruction by director Kevin Hamedani.

It's everything you would expect from a horror fan that enjoys Romero and Raimi. A small town gets infected with a zombie virus. Guts get ripped out. Someone uses a strimmer. And 29 weeks later everything is back to normal. (Yes, they actually put "29 weeks later" up as a caption - glorious!)

It's actually not that low budget for a festival film, the effects are pretty decent, and the filming technique is perfectly acceptable too. So it would have worked in the cult horror movie circuit on those credentials alone. But actually it's on the LLGFF because of it's added layer of queerness.

The horror genre is no stranger to homoeroticism (Freddy 2), or gay characters that killed off in the second act (Um...Bride of Chucky?) But Hamedani casts a gay couple in the leading role, along with an Iranian girl, who is being persecuted by the local rednecks for being an EYEraqi terrorist. In this film the minority characters have more to fear from the paranoid republicans than the zombies themselves.

It's bluntly satirical, set in the heart of the "War on Terror" 25th September 2003. How I laughed at the "I survived 9/25 t-shirts. It throws as much smug liberal humour at you as blood and guts, and for all it's brashness, it works. The coming out scene, where one poor gay man doesn't realise his mom has already turned into a zombie, is particularly delicious, as she rages against him and his partner says "that's how my dad reacted".

Thank goodness the programmers had the "guts" (sorry) to program something like this amongst the angst and drama and angst of the rest of the festival, I needed the reprieve!

London Lesbian & Gay Film Festival: Day 11

Tim Macavoy — 2010-03-28T15:16:00+00:00

One for the older generation, or the young ones who think Duffy has aged in the past year: Day 11 is Dusty Springfield day.

The evening began with We Love Dusty Springfield (subtle title!). This isn't just a kind biography of Dusty, the "We" in questions is specifically LGBs. There's plenty of clips and musical numbers for the packed crowd to sway to, but the crux is "Didn't she have a turbulent life?". You know how we like drama. Of course it also helps that she had a massive blonde beehive, thick black eyeliner and a killer white soul voice. Nothing out of the blue here, but a nice neat assessment of the Dusty legacy by festival programmer Emma Smart.

More Dusty at LLGFF after the jump... One for the older generation, or the young ones who think Duffy has aged in the past year: Day 11 is Dusty Springfield day.

The evening began with We Love Dusty Springfield (subtle title!). This isn't just a kind biography of Dusty, the "We" in questions is specifically LGBs. There's plenty of clips and musical numbers for the packed crowd to sway to, but the crux is "Didn't she have a turbulent life?". You know how we like drama. Of course it also helps that she had a massive blonde beehive, thick black eyeliner and a killer white soul voice. Nothing out of the blue here, but a nice neat assessment of the Dusty legacy by festival programmer Emma Smart.

The hardcore fans could then move into the thankfully more spacious NFT1 for Dusty on TV, which collects rare TV appearances. These include Dusty, the earliest surviving episode of her own BBC show, and an even earlier appearance as part of folk group The Springfields. Again the collection is most notable for the brilliant array of songs.

And then we all head into the Benugo bar for Dusty themed DJ action, and a hundred lesbians and gays trying to fluff their hair up into a beehive after too many fizzy drinks. Although one complaint Mr BFI: At the beginning of the festival I recommended the chip butty to everyone - imagine my shock and horror to discover a new "limited" bar menu. I nearly threw a Dusty Diva Strop. Poo poo - say I!

London Lesbian & Gay Film Festival: Day 10

Tim Macavoy — 2010-03-28T09:27:00+00:00

Day 10 - double figures and we're on the home stretch. What better way to celebrate than watch a Danish film about Neo-Nazis?

Nicolo Donato won Best Film at the 2009 Rome Film Festival for Brotherhood. It's a surprisingly straightforward film, about camaraderie and the homoeroticism of the far right. From the opening sequence we know what the character trajectories will be: Jimmy is a Neo-Nazi, luring a young gay man into a vicious beating. Lars is an army sergeant, relieved from duty for accusations that he came onto one of his men. When Lars becomes a member of the fascist gang, it's only a matter of time before the two men are conducting their affair in secret, fearful of what will happen if the other members find out.

More LLGFF after the jump... Day 10 - double figures and we're on the home stretch. What better way to celebrate than watch a Danish film about Neo-Nazis?

Nicolo Donato won Best Film at the 2009 Rome Film Festival for Brotherhood. It's a surprisingly straightforward film, about camaraderie and the homoeroticism of the far right. From the opening sequence we know what the character trajectories will be: Jimmy is a Neo-Nazi, luring a young gay man into a vicious beating. Lars is an army sergeant, relieved from duty for accusations that he came onto one of his men. When Lars becomes a member of the fascist gang, it's only a matter of time before the two men are conducting their affair in secret, fearful of what will happen if the other members find out.

It's certainly not the first film to fetishise anti-gay violence, which arguably began with the skinhead movement. But fortunately it attempts to go beyond that by concentrating on the slow and tender progression of Lars and Jimmy's relationship. In fact there is very little else going on in the film, and so it draws a subtle performances from the leads. You can almost sympathise with the men, but every other scene is a reminder that they hold to ideals which give no room for humanity.

There's a feeling towards the end of the film that the writer was looking to wrap it up in a few pages, and it jars with the lilting romantic storyline.

Brotherhood had some nice moments, but didn't really leave a lasting impression - I think it will be more appealing to the people it represents, gay men fascinated by their own persecution.

A much more spiritual approach to sexual identity and gender comes from USA documentary Two Spirits.

In Native American culture a child may be born a boy or girl, but also masculine and feminine, therefore there are considered to be four genders. The term gay doesn't sum up these alternate genders/sexualities, and so a translation they use "Two Spirits" - literally there are two spirits inhabiting the same body. Before Christianity infected the Navajo culture with sexual guilt and homophobia, these Two Spirit people were revered as wise people and carers of their community. Now they are outcasts because of their genetics.

It's a fascinating subject, exploring ancient culture to reclaim a modern identity where labels are obsolete, and I would have preferred a deeper anthropological study on the matter. But this documentary is also an emotive piece about the murder of a young man, identifying as Two Spirit.

In 2001, 16 year old Fred Martinez was brutally murdered in the small town of Cortez, Colorado. The historical context of Two Spirits is used to explain Fred's character. But ultimately it's not so different to the persecution of any other gay and/or trans person.

There's an interview with a human rights worker who travelled to the town after the incident and worked to get it recognised as a hate crime. This could be an entirely different documentary as the issue of why hate crimes should carry heavier penalties if still widely misunderstood.

It's difficult to suggest that a film, which features such an honest interview with the victim's mother, and explores such a tragic story, is actually quite badly made, but I must. I found it manipulative to the point that it felt like a cheap "movie of the week" and I was disturbed by the decision to stage a dramatic reconstruction of Fred's killing, complete with copious fake blood and screams.

Two Spirits could have been an intelligent commentary on either Navajo culture, gender or hate crime. But it chose to use the horrific murder of Fred Martinez to add an insensitive narrative to a lacklustre documentary.

London Lesbian & Gay Film Festival: Day 9

Tim Macavoy — 2010-03-25T17:38:00+00:00

It's back to Argentina on Day 9 (well I said it was one of my favourite film producing nations, so I couldn't leave it at Twisted Romance which, thanks to the fact I keep saying how awful it is, may be culminating cult status).

In Plan B Bruno is dumped by his girlfriend; behind a calm, indifferent expression, his mind plans a cold, sweet vengeance. As this is modern, liberal Argentina, she keeps seeing Bruno once in a while, but also has a new boyfriend, Pablo. Bruno becomes Pablo's friend, with the idea of eroding the couple. Bruno soon realises the best way to do this may be to steal Pablo away himself. The balance of power is ever shifting between the two boys as secrets are revealed, and previously unthought of emotions surface.

More LLGFF day 9 stuff after the jump... It's back to Argentina on Day 9 (well I said it was one of my favourite film producing nations, so I couldn't leave it at Twisted Romance which, thanks to the fact I keep saying how awful it is, may be culminating cult status).

In Plan B Bruno is dumped by his girlfriend; behind a calm, indifferent expression, his mind plans a cold, sweet vengeance. As this is modern, liberal Argentina, she keeps seeing Bruno once in a while, but also has a new boyfriend, Pablo. Bruno becomes Pablo's friend, with the idea of eroding the couple. Bruno soon realises the best way to do this may be to steal Pablo away himself. The balance of power is ever shifting between the two boys as secrets are revealed, and previously unthought of emotions surface.

With such a twisting plot it could easily have been a farce, and it is certainly funny. But the skill with which director Marco Berger weaves layers of discovery lend more of a feeling of gradual realisation, rather then sudden reveal. it is this same sense which turns an initial romantic comedy into a truly original drama. The actors are given plenty of time to develop their characters, and as a result features some of the best close-up, extended shot acting I've seen for a long time.

The Lesbian and Gay festival embraces the whole gamut of queerdom, which includes trans, allies and something that Plan B exemplifies perfectly - questioning. if there is a message to this film, it's that we shouldn't be scared to explore our emotions, wherever they may take us. One of the characters says - "Whatever you do, does not change what will be". Nice.

Plan B is, thus far, my favourite film at this year's LLGFF, so I thought I'd contrast it with this short piece:

Uncle David, is an experimental British film from David Hoyle, described as a low budget (well, yes) black comedy (not sure about that). Queer performance artist Hoyle is joined by porn star Ashley Ryder, in a semi-improvised film, set in the bleak environs of the Isle of Sheppey. They appear to be an Uncle and Nephew who are involved in an incestuous relationship, and are plotting for the younger of the two to kill themselves. But to be honest Ryder is so unintelligible that what really is happening is anybody's guess.

I'm not sure Hoyle, who introduced the premiere, cares much, so long as people watch it and go - "oh wasn't that weird/controversial/nauseous", which I'm sure the fleet of Royal Vauxhall Tavern attendees were happy to do. Personally I found it more dull and poorly made than your average student film. (Oh and there's no picture for this one because it was just Ryder in the squeaky, and you're all too innocent for that).

London Lesbian & Gay Film Festival Day 8

Tim Macavoy — 2010-03-25T10:41:00+00:00

After the obvious success of my French day reviews, I decided it was time to head to the Middle East, for two similarly charged documentaries.

You may remember Iranian President Mahmoud Ahmedinijad proclaiming that there were "no homosexuals in Iran". Well director Bahman Motamedian has something to say about that with Khastegi (Sex My Life).

Currently, in Iran, it is more acceptable to live as the opposite gender, than to be homosexual, which is actually punishable by death. And so a large number of couples choose for one of them to transition. That's not to say that in all trans cases this is the reason, but it points to a sad indictment that in order to keep love, they must unwillingly change gender.

Get more on this and more from day 8 at LLGFF... After the obvious success of my French day reviews, I decided it was time to head to the Middle East, for two similarly charged documentaries.

You may remember Iranian President Mahmoud Ahmedinijad proclaiming that there were "no homosexuals in Iran". Well director Bahman Motamedian has something to say about that with Khastegi (Sex My Life).

Currently, in Iran, it is more acceptable to live as the opposite gender, than to be homosexual, which is actually punishable by death. And so a large number of couples choose for one of them to transition. That's not to say that in all trans cases this is the reason, but it points to a sad indictment that in order to keep love, they must unwillingly change gender.

Seven young transsexuals struggle with their identities in Tehran, amidst a forceful and patriarchal Iranian society. This film is categorised as "documentary", although it is mostly acted and scripted, employing some documentary style techniques. It may meander along fictional lines, but that doesn't make it any less true, informative and compelling, funny and tragic.

The genetically female taxi driver who identifies as male is potentially a work of comic genius, were it not for the fact that real people do struggle in these situations. But I couldn't help but laugh as she confronts her 'betrothed' with the line: "next time you want to get married, see the bride first. Do you really want to marry this?"

Korean-American Buddhist Yun Suh has chosen the lgb people of Israel and Palestine as the subject of her first feature documentary in City of Borders. "Why?" you may ask. Well, I did too. So I asked, seemed like the sensible thing to do.

Yun Suh says that she was working as a journalist in Jerusalem when she kept seeing the same phone number written on walls around the city. Graffiti claimed that this man was responsible for earthquakes and plague, and that everyone should call him. So she did. But instead of cursing him with death threats (as he was used to) she started a conversation and discovered the man was called Sa'ar, the first openly gay city council member, and owner of the only gay bar in Jerusalem, Shushan.

And so begins a brilliant documentary about the uniting force of being an outcast in a perpetual warzone.

"Here's a group that's been cast away by both sides, but is modelling for a larger society what tolerance and co-existence can look like" say Suh.

Apart from the extraordinarily brave Sa'ar, this group consists of Boody, a young Palestinian who crosses the border into Israel "not to make bombs" as he says, but to party at the Shushan. He finds an accepting community in the bar and becomes "the first Queen of Palestine, Miss Haifa", his drag name. Sadly Boody is forced to leave the country due to death threats, and moves to America (where he can face such enlightened comments as: I've been to Palestine...well Morocco").

Exemplifying the opposition and potential union of Israel and Palestine are lesbian couple Samira and Ravit, who come from different sides of the border, but fell in love as co-workers. Suh found Samira easily because she is an outspoken activist, and adds intelligence, humour and guts in abundance to this feature.

I know a few film makers in Tel Aviv, which is so liberal and cosmopolitan, it's practically an West European city, and so it was interesting to see the biggest tension within the gay community was not necessarily between Jew and Arab, but old and new world. The fleeting glimpse we get of Tel Aviv, shows a modern community that cannot understand the marches in Jerusalem and Ramallah, as they just cause violence. But the lgb people of the West Bank do not want to move away and leave what they see as an essential part of their identity behind.

Shushan is now closed, but it's legacy clearly remains. A detailed, informative and hugely funny documentary I'm sure you will enjoy.

London Lesbian & Gay Film Festival: Day 7

Tim Macavoy — 2010-03-24T11:59:00+00:00

Every other night the BFI has a party in the delegate centre. Tonight's theme was France. This mostly resulted in me eating a baguette, sipping red wine, counting the number of striped t-shirts worn by staff (it was 4) and chatting about the awfulness of Twisted Romance with two Italians.

And I'm afraid to say that having already told you about Give Me Your Hand, my French film reviews for today are just as authentic.

Get more LLGFF day 7 highlights after the jump... Every other night the BFI has a party in the delegate centre. Tonight's theme was France. This mostly resulted in me eating a baguette, sipping red wine, counting the number of striped t-shirts worn by staff (it was 4) and chatting about the awfulness of Twisted Romance with two Italians.

And I'm afraid to say that having already told you about Give Me Your Hand, my French film reviews for today are just as authentic.

First up is a film by a sixteen year old Quebecois (Yes I know that's Canada, but their nearly French) boy/man, Xavier Dolan. In I Killed My Mother, Dolan directs and acts as Hubert, a sixteen year old who feels superior to his clasmates, wars constantly with his mother and is trying to keep his new found homosexuality a secret. The plot is thin but mostly centres around Hubert being sent away to boarding school for being such a brat. That said, it's not all his fault, his mother is equally irritating and the two give a good argument to sterilisation.

The film is interspersed with moments of Hubert smoking and philosophising in black and white (come on, what could be more French?). However his catchphrase poetics only add to the nonsense, and make him an even more dislikeable character.

The directing is understandably shaky, particularly when it comes to framing the shots - mother and son hate each other, yet sit very close together at dinner, for example. And there's not enough consistency in Dolan's approach to ever feel like you can settle into a feeling for the film.

Still, it's a sterling achievement for a young guy (I have been a bit of a bully haven't I?) and if it weren't for Dolan playing angst with search earnestness, it might have made a decent comedy.

For my second attempt at Frenching...that came out wrong...I went to see documentary Prima Donna: The story of Rufus Wainwright's Debut Opera. What? He's from Quebec too?

Rufus was actually in attendance at the screening. He said it was not only about him and his new musical venture, but also a tribute to his late mother Kate McGarrigle who died two months ago. Indeed, a lot of director George Scott's footage is Rufus and mother reminiscing about their mutual discovery of opera. A highlight has to be young Rufus re-enacting Tosca with his cousins on an old home video.

It's not really a warts and all kind of documentary exploring the singer's daliiance with drugs (good because I yawn at such things). It's more a reasoning of one man's obsession with an art form that he will take years to hone, leading up to what must be one of the most stressful challenges of his life, writing a new opera, in French (see) to be staged in Manchester before hungry critics.

A lot of people find Wainwright annoying and egotistical, but he's also funny and fragile, and undoubted a musical genius. Whatever your opinion, this feature is unlikely to change it, so for that reason is a little redundant on the festival circuit, but has a good place on tv, where it has already been shown.

Prima Donna the real opera is shortly to be performed at Sadler's Wells. I say check that out instead.

London Lesbian & Gay Film Festival: Day 6

Tim Macavoy — 2010-03-23T09:37:00+00:00

Most people will know the story of the 1969 Stonewall riots, but in a world premiere from Kate Davis and David Heilbroner, a wealth of archive footage and eye-witness interviews provide a more detailed perspective.

The evocatively titled Stonewall Uprising shows a community at breaking point - gay men and women arrested for cross dressing, beaten and killed by police, tortured and lobotomised by doctors. Then on 28th June 1969, the police raided New York gay bar the Stonewall Inn, and as the entire population of the gay village fought back, the gay liberation movement was born.

Find out more about the film and other LLGFF day 6 highlights after the jump... Most people will know the story of the 1969 Stonewall riots, but in a world premiere from Kate Davis and David Heilbroner, a wealth of archive footage and eye-witness interviews provide a more detailed perspective.

The evocatively titled Stonewall Uprising shows a community at breaking point - gay men and women arrested for cross dressing, beaten and killed by police, tortured and lobotomised by doctors. Then on 28th June 1969, the police raided New York gay bar the Stonewall Inn, and as the entire population of the gay village fought back, the gay liberation movement was born.

This film achieves more than placing the historical context of one pivotal moment. Interviews from witnesses as diverse as a drag queen, a street kid, a journalist and the policeman who led the raid create a much more complex and emotive story than is often told today.

Horrific archive footage of medical experiments such as shock therapy are juxtaposed with witty interviews from local gay men and women who remember the thrill of revolution. But just as a man can recall the camp image of a chorus line of drag queens kicking their way towards the police Roquette-style, tears roll down his face as he realises what they were fighting against.

The directors have created a film that will surely be used in queer studies forever, and in all conscience should be screened on mainstream TV. I laughed, I cried, I loved it.

The LLGFF is also a chance to catch up with the biggest gay films of the year like A Single Man. This often prompts criticism from the hardcore movie-goer, but I think it's a great idea for people who want to come and enjoy the sociability of the festival (and there's a lot of it), but aren't sure they'd like alternative cinema. There is also a difference watching a film like this in a predominantly gay setting as it tends to provoke a stronger mass response.

One such film which was certainly overshadowed by A Single Man, is Ang Lee's Taking Woodstock. Comedian Demetri Martin is superb as interior designer Elliot Tiber, returned from Greenwich village to the Catskills to help run his parents dilapidated motel. When Elliot hears that a neighbouring village has revoked its license for a 'hippy' music festival, he contacts the organisers and offers his motel, and a local farmers land to make Woodstock happen. You know the rest.

But actually the film shows little of the musical highlights, and surrounding historical events such as the moon landing are confined to passing TV reports. It's a much more personal story about a young man seeking acceptance from his parents, and longing for his own freedom away from his hometown.

It's billed as a light and entertaining film, which is not untrue, comic moments come aplenty from Staunton's formidable matriarch and Dan Fogler's theatre troupe leader, who strip off at every opportunity. But this also belies an unexpected emotional depth that's only fleetingly glimpsed, thanks to Martin's restrained performance - an achievement for someone is new to acting from the stand-up comedy scene.

Contrasts between the cliche of late sixties liberalism, and the realities of prejudicial hangover are perfectly exemplified by Elliot's mostly hidden homosexuality, while straight couples cavort naked around his land.

Ang Lee has a great skill, not just in lush cinematography, or organising hundreds of extras in a field, but in finding these fragile moments that enrich a simpler story. In this sense, it's not a million miles from Lee's Brokeback Mountain. The word 'beautiful' is often repeated in TW, and it sums it up...beautifully.

London Lesbian & Gay Film Festival: Day 5

Tim Macavoy — 2010-03-22T17:50:00+00:00

Today we are off to one of my favourite film producing nations, Argentina. One can usually expect great cinematography from the South American country that boasts Walter Salles, and our first film The Fish Child is no exception.

The Fish Child is director Lucia Puenzo's follow up to the 2007 multi-award winning XXY. Largely a noir thriller with a lesbian love story simmering underneath, it centres around the murder of a prominent judge. His daughter Lala, is in a relationship with their Paraguayan maid Ailin - but did either of them commit the crime? Accompanying this strong commentary on social inequality is a mythological tale of the Fish Child, who lives in the lake near Ailin's childhood home. Dreamlike underwater shots give us a glimpse into his world, where we are all outcasts in a world of shadows. Today we are off to one of my favourite film producing nations, Argentina. One can usually expect great cinematography from the South American country that boasts Walter Salles, and our first film The Fish Child is no exception.

The Fish Child is director Lucia Puenzo's follow up to the 2007 multi-award winning XXY. Largely a noir thriller with a lesbian love story simmering underneath, it centres around the murder of a prominent judge. His daughter Lala, is in a relationship with their Paraguayan maid Ailin - but did either of them commit the crime? Accompanying this strong commentary on social inequality is a mythological tale of the Fish Child, who lives in the lake near Ailin's childhood home, and may well be her son. Dreamlike underwater shots give us a glimpse into his world, where we are all outcasts in a world of shadows.

There are so many layers and twists in the plot, revealing new corruption with each scene, that you can feel it is on the verge of losing itself. But as the film progresses all elements tie together in a neat, but natural fashion, showing once again that Puenzo is a masterful writer/director.

Performances are wonderfully sensuous, yet fragile from leading ladies Ines Efron and Mariela Vitale, with generous support from Arnaldo Andre as Ailin's tortured father and Carlos Bardem (Javier Bardem's brother) as the lovers shady accomplice.

Later in the day I returned to Argentina for Twisted Romance, which could not be held more differently in my esteem.

Teenage (I think) Roberto likes to roam the streets and sleep rough, despite no obvious difficulties with his family home. One day he meets 50 year old Raul, a local mobster, and quickly moves him. Roberto seems to want what he sees as an ideal partnership, despite the fact that Raul is mentally, physically and sexually violent.

Director Jose Campasuno wants to bring us a gritty tale, voyeuristically feeding off the underclass in a lawless society. What he gives us is ugly nonsense. In the film notes it praises the lack of "coming out" and general acceptance of sexual identity, and it's true that gay audiences do appreciate that, but it doesn't make a film.

Forget what I said about Agentina's cinematography, and while it would be crass to criticise a low budget film for poor lighting and so forth, there was no continuity, some bizarre framing and unbearable contrasts between realism and stylised sex scenes.

Perhaps there is such a cultural divide at work here that I simply don't "get" it, but I think the mass exodus from NFT3 only 30mins into the screening says it all.

London Lesbian & Gay Film Festival: Day 4

Tim Macavoy — 2010-03-21T05:48:00+00:00

Give Me Your Hand starring twins Alexandre and Victor Carill and directed by Pascal-Alex Vincent is a typical road movie in the sense that it involves a journey, both literally and metaphorically, but with the exception that in this case the road to oneself is also to your twin brother.

Antoine and Quentin leave home in France (via an unusual, and unreal, animated sequence) to head to the funeral of their estranged mother in Spain. Tension is rife between the siblings, and this comes to a head after Antoine spots Quentin in the arms of another man. The film has sparse dialogue, but uses beautiful forest and beautiful bodies to full effect. I met/partied with the director and stars.

More after the jump... Give Me Your Hand starring twins Alexandre and Victor Carill and directed by Pascal-Alex Vincent is a typical road movie in the sense that it involves a journey, both literally and metaphorically, but with the exception that in this case the road to oneself is also to your twin brother.

Antoine and Quentin leave home in France (via an unusual, and unreal, animated sequence) to head to the funeral of their estranged mother in Spain. Tension is rife between the siblings, and this comes to a head after Antoine spots Quentin in the arms of another man. The film has sparse dialogue, but uses beautiful forest and beautiful bodies to full effect. I met/partied with the director and stars:

Pascal Give Me Your Hand is based on the real life of Alex and Victor, I know them from my neighbourhood in Paris, they are very famous for fighting all the time on the streets from where I live.

Aside from the fact that they are very good looking, it was obvious to me that they have a story of their own. You can be very close to your family, but very different also. I approached them and said "Would you like to be in my movie" and they said yes. I interviewed them separately and wrote the script from their experiences.

I was not surprised that gay events requested my film, but it was meant for a wider audience. They are good looking, naked all the time in my film and there is a gay theme.

The gay audience is generally warmer. They spend an hour and half with naked gorgeous 18 year old twins. I wouldn't say they're easier, but you can feel after the screening that maybe a gay audience enjoy the film more than a straight audience.

Victor Carill: For me the film is about abstract themes - the relationship between brothers in general. It's also about a voyage of initiation, they discover a lot of things about life and each other.

Alexandre Carill: I think the film is mostly about duality and ambivalence. Through this duality that everyone has and knows within themselves, the two of us were able to understand something about this constant search for balance. The love of yourself, and rejection of yourself is symbolised through us, and we show how through conflict you can learn to know yourself better. Pascal wanted to do a road movie, he wanted to talk about sibling relationships, and he knew us so he wanted to take inspiration from our relationship and our story, then mix it with his own experiences to tell the story.

VC: Even though the film is very influenced by us, it is fiction, not a documentary. For me it goes beyond a story of twins on a trip, it talks about universal themes.

AC: The research of your sexuality.

VC: Finding your own identity is something everyone can relate to .

AC: (When it came to casting) Pascal led us to believe that he hesitated a lot, but I think he was inspired by our own character traits which he then exaggerated, like projecting onto Quentin's character, discovering his homosexuality.

VC: We knew Pascal well before the film, we did Baby Shark with him two years previously, and he interviewed each of us separately, so he knew well which one each of us would be.

AC: Six months later he knew us better than we knew ourselves.

I knew that they had been fighting all day about which one of them was taller (I know, they're identical), so I asked about the particularly brutal fight at the climax of the film.

AC: We didn't get hurt during that fight because we're used to fighting. What surprised us was that the audience were shocked at how violent it was. But we were told by Pascal this isn't fighting, it's a joke.

VC: Our relationship as twins is very characterised by this, we're constantly seeking a balance through constant battle.

The twins stayed around after their screening, enthusiastic about their film, and London, even though they'd already been touring the festival circuit for a year. They ended up going to Dalston Supermarket, so God only knows what happened to the poor chaps there! Oh and they changed clothes half way through the night much to everyone's dismay!

London Lesbian & Gay Film Festival: Day 3

Tim Macavoy — 2010-03-20T11:55:00+00:00

The LLGFF is not just about the best in new queer cinema, it's also a great opportunity to revisit some old classics, and attend talks by filmmakers and enthusiasts. Today I embraced both opportunities by attending the lecture Victim: The Creation and Reception of a Landmark in Gay Film History.

Victim follows a barrister who risks his career and marriage to defeat an extortion racket when his former boyfriend commits suicide rather than identify him. It a gripping thriller as well as an intelligent tract on homosexuality laws in the early 1960s.

Get more on this and other LLGFF highlights after the jump... The LLGFF is not just about the best in new queer cinema, it's also a great opportunity to revisit some old classics, and attend talks by filmmakers and enthusiasts. Today I embraced both opportunities by attending the lecture Victim: The Creation and Reception of a Landmark in Gay Film History.

Victim follows a barrister who risks his career and marriage to defeat an extortion racket when his former boyfriend commits suicide rather than identify him. It a gripping thriller as well as an intelligent tract on homosexuality laws in the early 1960s.

LLGFF Senior Programmer Brian Robinson gave a very knowledgable account of the creation of Victim - the first film in UK history to utter the word "homosexual". Along with the Wolfenden report it was arguably one of the most influential pieces of propaganda in decriminalising homosexuality. It also turned Dirk Bogarde from matinee idol, into an actor who garnered critical respect and made risky films. It could also be blamed for the fact that Bogarde never made a number one box office movie again, after playing such a sympathetic and realistic homosexual.

Despite this Bogarde said Victim was "the wisest decision I made in my entire cinematic life".

Much of the BFI's current information about the film's creation can be attributed to Bogarde himself, who bequeathed his original, annotated scripts to their archives, and was later made a Fellow.

In stark contrast to a 1960s drama about fear of being oneself, is a documentary about flamboyant figure skater Johnny Weir, Pop Star on Ice.

David Barba and James Pellerito are the entire production crew on this behind the scenes portrait of one of the most talented and well known figure skaters competing today. Johnny Weir is three times US Figure Skating National Champion, but when he failed to medal at the 2006 Winter Olympics the media turned on his colourful persona, wrapped in a "sparkly onesie". The documentary proper begins at the end of 2006 as Johnny is ready to move on from a decade of trainer Priscilla Hill. But we are also taken back to his childhood in Coatesville Pennsylvania, age eleven when he was first discovered - which is quite late for an Olympian.

The difficult relationship between star and trainer is sensitively handled by the duo, and they also add a perfect balance of humour with intervals of campness from Weir and his friend Paris. The narrative of competition does become a little trying after a while, and you will the makers to ask difficult questions about Weir's sexuality, which they only brush upon.

They lever the issue in by showing a clip of openly gay sports commentator Mark Lund saying: "I can't wrap my head around how overly out he is, without saying he's out".

Weir responds by saying "What I do in my bedroom is personal. I don't think anyone needs to know if I'm sleeping with Sienna Miller or Orlando Bloom".

Of course this will infuriate some members of the lgb community who look for a role model, but Weir cleverly states that he is a role model to "some" and nobody should be a role model to all. His knowing looks to camera, his unashamed commentary and vibrant performances do indeed say it all - Weir is man true to himself, and in debt to nobody.

London Lesbian & Gay Film Festival: Day 2

Tim Macavoy — 2010-03-19T11:32:00+00:00

Prayers for Bobby - Sigourney Weaver stars in this made for TV movie about a young gay man who takes his own life when his Christian family reject him. It has the usual trappings of a TV drama made into a film - choppy editing, hammy dialogue and acting about as subtle as a drag queen among Mormons.

In a way, this was the worst choice I could have made to open the festival proper with, because as a film for the gay community it's about 30 years out of date, as it's 1982 setting suggests. What this film is really trying to explore is the reaction of parents, friends, family to news that one of their number is gay (or 'sinning').

Find out more on this and day 2 from the festival...

The movie only starts to hit an original stride towards the end of the film when the originally homophobic mother becomes a figurehead for PFLAG (Parents and Friends of Lesbians and Gays). In this light it really is a decent film for allies and homophobes alike, rather than gay people themselves, who may conclude the moral message - "If only every gay son could kill themselves then we'd have one more enlightened Christian".

Memorable quote: "Bobby, it's 3am! Have you been with homosexuals?"

Ander - Another gay offering from Northern Spain (following last year's Clandestinos) suggests that there is something particularly queer about Basque identity. As if it isn't enough to be "other" in your own country, Ander is a lonely closeted farmer who breaks his leg and employs a Peruvian immigrant to care for him. But shy, caring, quite frankly adorable Jose becomes Ander's world and the two embark on a tentative relationship.

Intelligent directing blends beautiful and epic landscape with intimate camerawork, free-roaming and able to follow the little details that each actor injects into their complex characters. It's a film that has room to breathe, and this is essential as without it the simple plot would seem cliched.

The careful balance between masculine bravado and fear of tenderness is humorously exemplified by the scene in which Ander and Jose first make love: Ander is drunk at this sister's wedding and relies on Jose to take him to the toilet. Holding his crippled boss upright, Jose softly nuzzles the back of Ander's neck, which then turns into urgent sex and is capped off with Anders vomiting into the urinal.

On a broader note, Ander has an interesting take on masculinity - that men are fearful of their own identity - whether that's sexuality, nationality, hunter, protector or carer. And if you read a review anywhere that says "BrokeBasque Mountain" tell them they're a comedy cesspit from me.

London Lesbian & Gay Film Festival: Day 1

Tim Macavoy — 2010-03-18T09:16:00+00:00

By the time you read this most of the tickets to the 24th London Lesbian and Gay Film Festival will probably have been sold - it just gets busier every year - so start booking!

"BUT WHAT SHOULD I SEE?" you ask. Alright, don't shout. I'll get to that. But first a word on what was surely the talk of the press launch. The poster. I love it. Escaped gay zoo animals on a purple routemaster headed out to watch a film - genius. As was the accompanying cake from Konditor and Cook which you can see below.

OK, so the film festival isn't just about desserts, I'll go on.

It looks to be a good year for the lesbians, with the opening night film, a world premiere of The Secret Diaries of Miss Anne Lister. The BBC drama features Maxine Peake playing the 19th century lesbian pioneer. And if you were lucky enough to attend that then the opening night celebrations continued at Jewel Bar in Piccadilly Circus.

There will also be a centrepiece screening of Topp Twins: Untouchable Girls, about twin lesbian folk singers - the trailer made it look as odd and funny as it sounds.

The closing night gala goes to the men, with a screening of Children of God, a love story fighting homophobia in the Bahamas, which seems like it will be gorgeously photographed.

There's a few award winners in there, including Brotherhood, a tale of gays in the Neo-Nazi movement, and Ander, a portrayal of gay rural life in Basque country.

With all the troubles in Uganda coming to light, expect a good turnout for the collection of short films LGBT Africa.

The Curzon midnight movies always have a good atmosphere. This year will be a double bill tribute to Warhol luminary Candy Darling.

Saturday 27th March will be Dusty Springfield day, as a collection of rare TV appearance are gathered into one feature, and DJ's will be playing classic Dusty tunes in the Benugo bar. If you've been to the festival before you'll know that the bars stay open late and basically become a tasteful gay club. I recommend the chip butties and Belgian beer.

Check out American in Bute Town: Dee Rees at Iris, which gives us a look at the new short from the Iris Prize winning filmmaker. I met her a couple of years back, and her work is excellent.

If you missed the big films of the year, A Single Man, and Taking Woodstock, both well worth a watch, then there's another chance to see them in the festival - I find that sometimes it makes a difference watching with a predominantly gay crowd.

Stick two fingers up at the homophobic Australian Winter Olympics commentators and go see the documentary Pop Star On Ice, about the flamboyant figure skater Jonny Weir.

My totally left field recommendation is for an epic movie I saw at last year's Torino festival Raging Sun, Raging Sky. This won the Teddy at the Berlin film festival in 2009, so about time it came to London. It's an hallucinogenic, sexy and poetic journey following Keiri, searching for his abducted lover Ryo. It recalls ancient myths, vengeful Gods and the power of nature. At over three hours it's not an easy watch, but after the first hour your brain switches into a different rhythm and you may well experience something beautiful.

And if you simply can't decide, then just pick a collection of short films, it's always a good entry into queer cinema and there's bound to be at least one or two gems hidden away.

London Film Festival: Day 16

Tim Macavoy — 2009-10-29T15:46:00+00:00

Coming up, the results of the awards But first a quick look at the closing night film, Sam Taylor Wood's Nowhere Boy, about the teenage years of John Lennon.

Choosing a music biopic as your debut feature is a brave move, fortunately for STW, who was mentored by the late BFI Chair Anthony Minghella (to whom she dedicates the film), she had the sense to bring in Control writer Matt Greenhalgh. Coming up, the results of the awards But first a quick look at the closing night film, Sam Taylor Wood's Nowhere Boy, about the teenage years of John Lennon.

Choosing a music biopic as your debut feature is a brave move, fortunately for STW, who was mentored by the late BFI Chair Anthony Minghella (to whom she dedicates the film), she had the sense to bring in Control writer Matt Greenhalgh.

The script then delves into an interesting and deeply emotional period in a young man's life, that would inform his work to come. John is a rather downtrodden character caught between warring sisters, his estranged mother, a free spirited rocker, and his prim aunt come guardian.

For all it's dramatic posturing, it is technically subdued, preferring simplicity to showiness. Anne Marie Duff as John's mother Julia puts in a sensitive portrayal of a woman out of her time and bordering manic depressive, driving the sparse narrative. Weaker moments occur as the rest of the band is sandwiched into Lennon's life, with some poor song dubbing. Other smug Beatles nods include John cycling past 'Strawberry Fields' and doodling a walrus in his notebook, although they make it far too clear that they aren't going to venture into the Fab Four Phenomenon..

Aaron Johnson struggles to find a cohesive version of John, I suspect cast more for his swagger than his poetic soul, although by the end of the film you're more or less involved and reasonably satisfied of a worthy debut.

The Times BFI 53rd London Film Festival announced its winners at the awards ceremony held at London's Inner Temple, hosted by journalist and broadcaster, Paul Gambaccini.

The Star of London for Best Film was awarded to Jacques Audiard's A PROPHET and was presented by Anjelica Huston. She said:

"A masterpiece: UN PROPHETE has the ambition, purity of vision and clarity of purpose to make it an instant classic. With seamless and imaginative story-telling, superb performances and universal themes, Jacques Audiard has made a perfect film."

The jury also gave a special mention to John Hillcoat's THE ROAD, praising the film's breathtaking vision, extraordinary performances and profound political statement.

Dominic Cooper and Jodie Whittaker presented the Best British Newcomer to Jack Thorne, screenwriter of the film THE SCOUTING BOOK FOR BOYS. The jury said:

"Jack Thorne is a poetic writer with an end-of-the-world imagination and a real gift for story-telling. Thorne's substantial authorship is revealed in the unique voices of the film's characters and the rich, soulful and playful layering of the story."

The jury also gave a special mention to J Blakeson, the writer and director of THE DISAPPEARANCE OF ALICE CREED, commending his accomplished, original and ambitious filmmaking.

The longstanding Sutherland Award is presented to the maker of the most original and imaginative first feature screening in the Festival. This year, Scandar Copti and Yaron Shani took the award for their film AJAMI, which was presented by Alfonso Cuarón. The jury said

"A bold and original piece of filmmaking, AJAMI tells an important story in a thoroughly engrossing and cinematic way. A fantastic achievement, Scandar Copti and Yaron Shani have made a film with a heart and a vision that speaks for a common humanity."

The Grierson Award for Best Documentary in the Festival
was presented by Nick Broomfield to winner Yoav Shamir for his film DEFAMATION.

On behalf of the jury Nick Broomfield said:

"A fantastic film, Defamation does exactly what documentary, at its best, can do, making us re-examine our assumptions about an important and complex subject, in an absorbing and funny way. The film's intellectual courage, boldness of conception and the excitement of the journey on which it takes you make this a winning film."

BFI FELLOWSHIPS

The highest accolade that the British Film Institute bestows was awarded tonight to distinguished British actor John Hurt and renowned Malian filmmaker Souleymane Cissé for their significant achievements in the fields of acting and directing. Hurt, whose films 44 INCH CHEST and THE LIMITS OF CONTROL, were featured in the festival, received his award from producer Jeremy Thomas and director Michael Caton-Jones both of whom have worked with Hurt on a number of films. Cissé's TELL ME WHO YOU ARE had its UK premiere at the festival this week and his award was presented to him by actress Charlotte Rampling.

London Film Festival: Day 15

Tim Macavoy — 2009-10-28T16:07:00+00:00

I know I've already covered Glorious 39, but I missed the premiere because it clashed with Taking Woodstock, and I couldn't let another day pass without showing you the glory of David Tennant's suit as he walked the red carpet!

I digress. It's now the penultimate night of the film festival - are we growing weary, or about to go out with a bang?

Which is a nice segue into A Serious Man, the new film from the Coen Brothers, because it deals with this sense of things about to end. I know I've already covered Glorius 39, but I missed the premiere because it clashed with Taking Woodstock, and I couldn't let another day pass without showing you the glory of David Tennant's suit as he walked the red carpet!

I digress. It's now the penultimate night of the film festival - are we growing weary, or about to go out with a bang?

Which is a nice segue into A Serious Man, the new film from the Coen Brothers, because it deals with this sense of things about to end.

Michael Stuhbarg plays Larry Gopnik, he's a conscientious professor, family man and Jewish. But all this is threatened as his job is in jeopardy from some blackmailing Koreans and anonymous hate mail. He's financially ruined by his depressed brother and the Columbia Record Club. Now his family life is falling apart as his wife asks for a divorce. At least he's got his health...

And the succession of Rabbis are no use either, despite his faith. Religion plays an important role. You could say this is a religious parody. - a good man to whom many bad things happen with no explanation. When he is on his roof, he sees over his neighbor's fence and looks at his neighbor's beautiful wife naked in her yard - just as King David saw Bathsheba. When his son Danny is looking at the oncoming tornado it recalls God speaking to Job, from out of the whirlwind, that He will not explain why these bad things have happened to him.

It's a typically droll character study from the Coen's - light on realism, heavy on 'quirkiness'.

To be honest I don't see the appeal. The cartoonish acting prevents me from actually caring about the characters, even when they appear to be in peril. The humour is also too self-conscious. I can see the brothers trying to explain why a particular joke works. I didn't laugh once. That said, there was a sizable contingent chuckling in my screening, although I noticed with interest that they were mainly older - a clear age gap. Perhaps this existential film is designed to appeal to a particular demographic, of which I am not a part?

London Film Festival Awards Special - 2009 Highlights!

Tim Macavoy — 2009-10-28T11:03:00+00:00

This year, for the first time, the London Film Festival hosted a dedicated awards ceremony. In honour of that I have created my own round up of the festival, in the guise of awards! If you'd like to know the real ones follow this link to day 16 highlights: London Film Festival: Day 16 - Inside Movies

What's that? You don't care about their awards? It's all a sham? You want to know the REAL (for legal reasons I should say 'not real') winners? Here they are: This year, for the first time, the London Film Festival hosted a dedicated awards ceremony. In honour of that I have created my own round up of the festival, in the guise of awards! If you'd like to know the real ones follow this link to day 16 highlights: London Film Festival: Day 16 - Inside Movies

What's that? You don't care about their awards? It's all a sham? You want to know the REAL (for legal reasons I should say 'not real') winners? Here they are:

First up the Best Dressed on the Red Carpet award goes to the cast of A Single Man. With director Tom Ford having so much experience in the fashion industry it's hardly surprising. Just look how stylish they are (and serious, bless 'em). The film is also a design dream with some suave screen-acting to boot.
London Film Festival: Day 4 - Inside Movies

Leading nicely on from clothing - the Fig Leaf Award for Best Gratuitous Nudity. I was tempted to honour Julianne Moore for disrobing with Amanda Seyfried for some girl on girl in Chloe, especially as she still looks so good for her 48 years of age. However, the theatre troupe in Taking Woodstock unselfconsciously threw off their fabric shackles in every other scene, lending a joyous freedom to the burgeoning sexuality of 60s liberalism - hazah!
London Film Festival: Day 14 - Inside Movies

Next is the Worst Documentary I Felt Obliged to Watch award. As I left the familiarity of Leicester Square and wandered out to the dark and dangerous environs of...Covent Garden, I found myself trapped in a little screening room being told by director/screenwriter Ken McMullen that he had finished cutting An Organisation of Dreams at 2:30am that morning. 'Well that's a good sign,' I thought. But by then it was too late. I was already being subjected to nonsensical French philosophising from Derrida and Stiegler, mixed with a sort of noir detective narrative and quotes from Shakespeare. Apparently it was an investigation into the institution of cinema as a political tool. I just thought they were all high.

Moving on to a more positive moral message, the award for Best 'War is Bad' Film goes to Balibo, which escaped my reviewing prowess in earlier days - so here it is now.

Inspired by Jill Joliffe's book Cover-Up, this film follows the 'true story' of Roger East (Anthony LaPaglia) an experienced war journalist, who reluctantly travels to East Timor to uncover the truth behind the diasappearance of five Australian journalists. He is drawn into a conflict between the Timorese and invading Indonesian forces by their Secretary of Foreign Affairs, in the hope that he will expose the atrocities to the
United Nations. Oscar Isaac gives a stunning performance as Jose Ramos-Horta, the passionate young governmental figure, who would go on to win the Nobel Peace Prize. It's a strangely uplifting experience to watch this, at times gratuitous film, because it seems as though things will work out in the end. As long as stories are told, then the past will heal. It also cleverly allows the viewer to doubt the honourable intentions of the missing journalists, suggesting inter-channel competition and pride played their parts.

Special mention also to Mugabe and the White African, for also pointing out that 'War is Bad' (It's good. The documentary, not war, as I've said.)

The Best Red Carpet Moment goes to Bunny and the Bull, where Noel Fielding was accompanied by some fish people. That's it.

The Best Reason to Make a Film award goes to Stephen Poliakoff for his pre WW2 thriller Glorius 39. He said: "It was an untold story, and I wouldn't be here if it wasn't for brave people like Romola's [Garai] character." Follow the link to find out why that is:London Film Festival: Day 13 - Inside Movies

Special mention to Underground, one of the BFI's restoration projects which is also very deserving.London FIlm Festival: Day 11 - Inside Movies

The Pie and Mash Award for Cliched Portrayal of a London Gangster goes to Ray Winstone in 44" Chest. Yes, he's got a strong London accent, he beats his woman, he's a bit mental and dribbles when he gets emotional. Special mention to The Disappearance of Alice Creed, for repeating the 'gay psychopath' trick, unfortunately it was a lot more entertaining than the former mess, so misses out on this award.
London Film Festival: Day 5 - Inside Movies

Now it's a return to negatives with the Worst Casting Award. Actually I'm cheating here, because it goes to Brad Pitt as Boris Johnson! At the mayor's Gala screening of Bright Star (London Film Festival: Day 7 - Inside Movies) he was asked who he would like to play him in a biopic. He replied "um, that fellow, Brad Pitt. Or if not him then Clooney." As if Clooney isn't busy enough in this festival!

Personally I think he should be portrayed by a British actor - let's see...blond, toff, public school...I know...

Speaking of Clooney in everything, he is the recipient of this year's Omnipresent Award. With three features in this year's festival he had his work cut out for him. But even with relentless press conferences and red carpet appearances he kept up his chirpy exterior, while deftly avoiding questions about his personal life. Well done Fantastic Mr George! Here's the links to all his movies:

Fantastic Mr Fox - The London Film Festival - Opening Night! - Inside Movies
The Men Who Stare At Goats - London Film Festival: Day 2 - Inside Movies
Up in the Air - London Film Festival: Day 6 - Inside Movies

That's it for 2009, hope you've enjoyed it and see you next year!

London Film Festival: Day 14

Tim Macavoy — 2009-10-27T09:43:00+00:00

Sashaying my way down the red carpet, I nearly trod on Imelda Staunton - she's so little. It's day 14 of the festival!

Ang Lee was also present to introduce his new feature Taking Woodstock. Star Demetri Martin, who plays Elliot Tiber one of the organisers of the infamous festival, was absent, prompting more criticism of his reluctance to promote the film. Sashaying my way down the red carpet, I nearly trod on Imelda Staunton - she's so little. It's day 14 of the festival!

Ang Lee was also present to introduce his new feature Taking Woodstock. Star Demetri Martin, who plays Elliot Tiber one of the organisers of the infamous festival, was absent, prompting more criticism of his reluctance to promote the film.

Which is a real shame because Martin is superb as the interior designer, returned from Greenwich village to the Catskills to help run his parents dilapidated motel. When Elliot hears that a neighbouring village has revoked its license for a 'hippy' music festival, he contacts the organisers and offers his motel, and a local farmers land to make Woodstock happen. You know the rest.

But actually the film shows little of the musical highlights, and surrounding historical events such as the moon landing are confined to passing TV reports. It's a much more personal story about a young man seeking acceptance from his parents, and longing for his own freedom away from his hometown.

It's billed as a light and entertaining film, which is not untrue, comic moments come aplenty from Staunton's formidable matriarch and Dan Fogler's theatre troupe leader, who strip off at every opportunity. But this also belies an unexpected emotional depth that's only fleetingly glimpsed, thanks to Martin's restrained performance - an achievement for someone is new to acting from the stand-up comedy scene.

Contrasts between the cliche of late sixties liberalism, and the realities of prejudicial hangover are perfectly exemplified by Elliot's mostly hidden homosexuality, while straight couples cavort naked around his land.

Ang Lee has a great skill, not just in lush cinematography, or organising hundreds of extras in a field, but in finding these fragile moments that enrich a simpler story. In this sense, it's not a million miles from Lee's Brokeback Mountain The word 'beautiful' is often repeated in TW, and it sums it up...beautifully.

London Film Festival: Day 13

Tim Macavoy — 2009-10-27T05:54:00+00:00

It was halfway through Stephen Poliakoff's new movie Glorius 39 that I drew a comparison with The 39 Steps - I thought because it was a well crafted spy thriller. Afterwards my mum suggested it might have been because of the number 39. Oh yeah.

In this '39' refers to the year, the second world war is imminent. There was a society of poeple (mainly aristocratic) who believed that Britain's landscape and culture would be destroyed if it entered into war with Germany. They though that a pact with Hitler, including giving financial aid, would be preferable. It was halfway through Stephen Poliakoff's new movie Glorius 39 that I drew a comparison with The 39 Steps - I thought because it was a well crafted spy thriller. Afterwards my mum suggested it might have been because of the number 39. Oh yeah.

In this '39' refers to the year, the second world war is imminent. There was a society of poeple (mainly aristocratic) who believed that Britain's landscape and culture would be destroyed if it entered into war with Germany. They though that a pact with Hitler, including giving financial aid, would be preferable.

Embedded within this predicament is the Keyes family. Adopted daughter Anne (Romola Garai) is blond, an actress and in many ways the black sheep. When it seems her friend Hector (David Tennant) has taken his own life, she believes he may have been killed by the secret service for his support of Churchill and the war.

Cue the classic spy mystery, only be centring on the family it packs a more emotional punch than is usual. The masterful change of tone from light to dark relfects the shift into turbulent times for society at large.

Garai is sensational as a woman who, although scared and distraught, maintains a believable, steely determination throughout. Bill Nighy as the patriarch of the Keyes family is caring, but elusive, a difficult balance that will wrongfoot the audience all the way.

Stephen Poliakoff's writing is suspenseful and has taken a trick or two from the master, with some inspired tracking shots, lending a feeling of being watched to this creepy and moving film.

London Film Festival: Day 12

Tim Macavoy — 2009-10-25T10:04:00+00:00

Pop will eat itself - and so will the press in the following post-modern review...

It was a fascinating experience sitting in the press screening at the Vue cinema Leicester Square, watching a film about press journalists conducting interviews in Leicester Square. I don't think any audience will laugh as hard as we did at the glaringly obvious suggestion that some 'journalists' don't check their facts, copy and paste press releases, or simply make it up. Pop will eat itself - and so will the press in the following post-modern review...

It was a fascinating experience sitting in the press screening at the Vue cinema Leicester Square, watching a film about press journalists conducting interviews in Leicester Square. I don't think any audience will laugh as hard as we did at the glaringly obvious suggestion that some 'journalists' don't check their facts, copy and paste press releases, or simply make it up.

This is part of the argument in British documentary Starsuckers by Chris Atkins. It deals with the desire for fame, questionable charity efforts and a range of celebrity based issues that become confused. It's like several episodes of Panorama edited into a broken narrative. Naive it may be, but it also has entertainment, especially with the fake stories that Atkins feeds to the British press to see how they choose content.

"We wanted to do a test to see how they would react. It is just showing the public what goes on behind the stories that they pay for every day. We kept trying to do things that they wouldn't print and it happened a couple of times but they pretty much printed most of what we said," Atkins said, adding that their stories had featured in The Sun, Daily Express, Daily Mirror and Daily Star newspapers.

Leaked stories include Sarah Harding's love of quantum physics, Amy Winehouse's flaming hair (both amusing ) and then rather more worryingly, and illegal, medical records from Harley Street clinics.

The 'baby boozers' section, where parents volunteered their children to advertise alcoholism for 15 minutes of fame was on the nose, however we have just seen that in Bruno.

The exposure of Live 8 is more hard-hitting, setting out some facts in an unsensational way. Which was a relief after the barrage of earlier CBBC style narrating, complete with magic tricks. The heavily edited (for legal reasons) interview with Max Clifford is also quite tantalising. It just about gets the message across that collusion between the media and PR is something needs to be addressed - and not by the Press Complaints Commission, who are really just the papers anyway.

With a little more follow-up this would have made a worthy television series.

London FIlm Festival: Day 11

Tim Macavoy — 2009-10-24T11:34:00+00:00

Something different for day 11. I'm taking you back in time, courtesy of the sterling work done by the BFI.

Passions run deeper than the Northern Line in Anthony Asquith's tale of love, jealousy, treachery and murder on the London Underground. Eighty years later, your average tube ride might not be quite as eventful, but anyone who has exploited the city's public transport system to romantic advantage will find much to recognise. Something different for day 11. I'm taking you back in time, courtesy of the sterling work done by the BFI.

Passions run deeper than the Northern Line in Anthony Asquith's tale of love, jealousy, treachery and murder on the London Underground. Eighty years later, your average tube ride might not be quite as eventful, but anyone who has exploited the city's public transport system to romantic advantage will find much to recognise.

Restored by the BFI National Archive and presented with a live performance of Neil Brand's new score by the Prima Vista Social Club, Asquith's love story is one of the great British silent feature films, which is remarkable for the fact that he was a Prime Minister's son, and it was one of the first to explore characters from the working class. It's also one of the great films about the capital - a journey through the Underground (many of the scenes were filmed at Waterloo) via old London boozers and open-topped buses to a climactic chase through Lots Road power station that magnificently reveals the smoking roofscape of the coal-fuelled city.

In the late 1920s Asquith, along with Hitchcock, was one of the most audacious young talents working in British film. At the age of only 26 he demonstrates an assured and spare style with some remarkably cinematic flourishes clearly inspired by contemporary German and Russian filmmakers.

The film archive is decaying faster that it can be restored. For me, this demonstrates why the BFI deserves public funding - when you can see great films like this that entertain, and explain why our capital is unique in its method of stepping off an escalator!

London Film Festival: Day 10

Tim Macavoy — 2009-10-23T11:51:00+00:00

Day 10 is getting sexy with Atom Egoyan's Chloe, but is it satisfying?

Julianne Moore is Catherine, a gynaecologist who suspects that her husband David (Liam Neeson) is having an affair. Moore hits neurotic (not without cause) from the start, believing everyone is having sex apart from her. Even their teenage son Michael (Max Thieriot) has a girlfriend to stay the night, much to her chagrin. Day 10 is getting sexy with Atom Egoyan's Chloe, but is it satisfying?

Julianne Moore is Catherine, a gynaecologist who suspects that her husband David (Liam Neeson) is having an affair. Moore hits neurotic (not without cause) from the start, believing everyone is having sex apart from her. Even their teenage son Michael (Max Thieriot) has a girlfriend to stay the night, much to her chagrin.

It becomes apparent early on that Moore has been miscast, despite her obvious talent. She just cannot pull off a middle aged woman, worried about her looks when she is really still so stunning - as the more intimate scenes prove. (Despite having to answer many questions about being 'older' from irritating womens magazines.)

We hit the meat of the story very quickly as she hires escort Chloe (Amanda Seyfried) to seduce David. Chloe relishes providing her with graphic details of their illicit encounters, which Catherine finds both distressing and arousing.

These scenes are so unrealistically written that it belongs on the end of a sex chat line.

Seyfried is very sensuous and watchable as the title character, but at no point do I believe is anything less than a device. She said: "[Chloe] is so inconsistent...it's almost like I'm playing so many different characters."

Moore continues: "[Catherine] sees her as a conduit to her husband. She doesn't even acknowledge this girl as a human being." This perhaps explains my feeling of the actors being puppets.

There is a good story somewhere in the emotional core of this film, about how difficult it is to keep the spark in a long term relationship. I feel the original material, Anne Fontaine's French film Nathalie, was more unflinching when it came to raw emotion. Unfortunately the producers have seen fit to reinvent this as a clunky and obvious thriller, comparisons with Fatal Attraction will be made.

Producer and Director both paid tribute to Neeson's work ethic after his unfortunate loss during shooting, although both actresses remained respectfully silent when faced with such questions.

London Film Festival: Day 9

Tim Macavoy — 2009-10-22T15:35:00+00:00

Day 9 at the festival sees me losing patience with glib drama - why haven't I seen a sci-fi yet?

Based on Simon Carr's popular memoir, and directed by Scott Hicks (Shine), The Boys are Back is a confessional drama about modern family life - complicated, fractured but still with great possibilities for love and joy. Day 9 at the festival sees me losing patience with glib drama - why haven't I seen a sci-fi yet?

Based on Simon Carr's popular memoir, and directed by Scott Hicks (Shine), The Boys are Back is a confessional drama about modern family life - complicated, fractured but still with great possibilities for love and joy.

Clive Owen, in what is popularly seen as a departure form his typical roles, is Joe Warr, a wisecracking sportswriter whose beloved second wife dies suddenly, leaving him to bring up their six-year-old son Artie alone.

Struggling with his own loss, he has to face the daily challenges of single parenthood, whilst trying to cope with Archie's expressions of grief. In the midst of this arrives Harry, Joe's teenage son from his first marriage, who brings his own personal baggage into the mix. Joe decides the best way forward is least-resistance parenting, and introduces a 'just say yes' philosophy.

Credit to the film for maintaining a realistic approach to a difficult situation. By Owen's admission, he isn't necessarily likeable and never aims to play the hero. In fact all the male figures show extreme immaturity, and I was left with an overwhelming sense of pity for the likes of 'Fathers for Justice' and all other non-costume wearing single dads who do a fine job of raising their kids without developing their cringe-worthy stories into an international feature of bad publicity.

Much was made in the press conference about how you will identify with the film if you are a parent. But should you need to be for a night out at the movies? I'm not. I found it all very irritating. Perhaps that's their point, perhaps it's an excuse.

London Film Festival: Day 8

Tim Macavoy — 2009-10-21T15:52:00+00:00

BBC films have invested wisely in An Education, based on the memoirs of journalist Lynn Barber.

Jenny is a student, struggling with her A level Latin, which she needs to get into Oxford University. When an older man picks her up one day, he shows her an exciting life full of Jazz bars, art and trips to Paris. It is a mile away from her mundane home life. Now Jenny must choose which will be her future. BBC films have invested wisely in An Education, based on the memoirs of journalist Lynn Barber.

Jenny is a student, struggling with her A level Latin, which she needs to get into Oxford University. When an older man picks her up one day, he shows her an exciting life full of Jazz bars, art and trips to Paris. It is a mile away from her mundane home life. Now Jenny must choose which will be her future.

Carey Mulligan as Jenny is cute - in an Audrey Hepburn sort of way - helped by her styling. She plays immaturity brilliantly, avoiding the traps of angst and stroppiness, in favour of a compelling need to understand and experience adulthood.

She explains: "It wasn't a time when there were teenagers, you were either a child or a young adult...there was no time to be ridiculous."

But hormones did abound in the press conference as Casey wished that men still dressed in that gorgeous manner, and Dominic Cooper (replacing a last minute dropout by Orlando Bloom - thank goodness) enthused that it was the time when the pill was about to be launched, my, my.

There is a point to this observation that Britain was the verge of the swinging sixties, but not quite free of 50s conservatism. A penny pinching culture of unrealised optimism.

Peter Sarsgaard, as Jenny's older love interest, is charming without being sleazy, which could have been another cliche.

Director Lone Scherfig was obviously aware of these tired issues and wanted to create something fresh, which she achieves with aplomb. Perhaps she also benefited from having a foreign/outside eye on the period, in order to select only what was needed for the story.

But it is Nick Hornby's adapted script that sparkles for me, bouncing along with wit that entertains the audience, without masking the underlying drama.

Keep an eye out for Carey Mulligan next year, as she is tipped for awards, and can be seen in the upcoming Wall Street 2.

As Jenny would say - "Tres bons, c'est magnifique!"

London Film Festival: Day 7

Tim Macavoy — 2009-10-20T14:29:00+00:00

Award winning writer/director Jane Campion (The Piano, An Angel At My Table) returns to themes of art and the senses with Bright Star.

It explores the brief, but intense relationship between Fanny Brawne and poet John Keats.

Keats had a tumultuous life, his work was savaged by the criticism he had a tough upbringing in which his family were struck down by tuberculosis; it would also claim his life at the age of 25. Award winning writer/director Jane Campion (The Piano, An Angel At My Table) returns to themes of art and the senses with Bright Star.

It explores the brief, but intense relationship between Fanny Brawne and poet John Keats.

Keats had a tumultuous life, his work was savaged by the criticism he had a tough upbringing in which his family were struck down by tuberculosis; it would also claim his life at the age of 25.

All this considered, we are offered an undramatic, pensive sort of film. Much like Keats own writing, it is wordy, well paced and full of sensual delights. With Campion's directing you can smell the crocuses and feel the breeze on your face.

Ben Whishaw is the perfect choice to portray a man who lives through his thoughts, and is perhaps the most fragile element at work. This contrasts nicely with his friend Brown (Paul Schneider) who is rude and overbearing, driven by ambiguous desires of love and jealousy. Less can be said about Abbie Cornish as Brawne, who mostly fringes on 'petulant', which I found surprising in a female driven film.

Beautiful and thoughtful, but more a passing love-note than an epic for the ages.

And now for something much more modern:

The first half of The Disappearance of Alice Creed reads like the subplot of an action movie; a typical kidnapping scenario, with the absence of a hero. Then the twists kick in. It would spoil the experience to relate too much of the plot, but I'll just say that the relationships between the two kidnappers, and the girl being held to ransom are not what they first appear.

The setting is ambitiously sedentary, but there is enough suggestion of the outside world to avoid claustrophobia. The directing is neat enough, although it never reaches the tension of a full-on thriller. The actors (including Eddie Marsan in what must be his 3012th British film this decade) play their characters on the verge of breaking for most of the film. This becomes a little tiresome and might have better served the unpredictable script with greater shades of light and dark.

London Film Festival: Day 6

Tim Macavoy — 2009-10-19T18:02:00+00:00

"If you're going to make a movie about a guy who fires people for a living, and you still want to like him, that actor has to be damn well charming. I don't think there's a more charming actor alive than George Clooney."

So says Jason Reitman about his new feature Up In The Air. It has a similar comedic flavour to his previous films, but balances the schmaltz of Juno with the satirical edge of Thank You For Smoking. Reitman wrote the role of Ryan Bingham specifically for George Clooney. In order to make sure he had his desired actor on board he spent two days at Clooney's Italian home playing basketball.
"If you're going to make a movie about a guy who fires people for a living, and you still want to like him, that actor has to be damn well charming. I don't think there's a more charming actor alive than George Clooney."

So says Jason Reitman about his new feature Up In The Air. It has a similar comedic flavour to his previous films, but balances the schmaltz of Juno with the satirical edge of Thank You For Smoking. Reitman wrote the role of Ryan Bingham specifically for George Clooney. In order to make sure he had his desired actor on board he spent two days at Clooney's Italian home playing basketball.

George Clooney is at his smooth, sardonic best as Ryan Bingham, a management consultant specialising in the field of firing people for companies that are downsizing. His work takes him around the country, helping him pursue his private goal of accumulating ten million miles in his frequent flyer account and with it, entry to an elite club. Faced by a threat posed by Natalie (Anna Kendrick), a new recruit with a plan to introduce video links which would effectively ground Bingham and his colleagues, he talks his way into one last round trip, in which he will show Natalie the ropes and persuade his boss to stick with the status quo. This time he has an added incentive, having just met Alex (Vera Farmiga), the beautiful and sassy frequent-traveller of his dreams.

Reitman's women are always well drawn characters, and in this case a truly original addition to the source material. Vera Formiga said that it was "challenging to play a woman who acts like a man," but is nonetheless assured as Clooney's love interest: "Just think of me as you with a vagina" her character tells him.

Kendrick revelled in her role as an uptight junior jobsworth. "I'm normally so timid in real life," she said. "Telling off George Clooney was pretty awesome." Look out for her crying scene - one of the best I've ever seen.

Reitman is often criticised for his sentimental soundtrack, and admits to being sent samplers by many angsty teenagers. But I find the end song poignant - it was given to him by a 50 year old man, on the experience of losing his job and trying to figure his life out.

More real life experience comes from supporting actors who improvised based on their memories of being fired, in a documentary style framework. It gives the film a natural socio-political depth in these troubled times of massive unemployment, while remaining a quirky romantic comedy.

London Film Festival: Day 5

Tim Macavoy — 2009-10-18T15:06:00+00:00

Violent British gangsters, moody French people - the cliches abound on Day 5 of the festival!

The first foreign language gala premiere in the LFF is The Father Of My Children. This French film from Mia Hansen-Love is loosely based on the life and tragic death of film producer Humbert Balsan. In fiction he is Gregoire (Louis-Do de Lencquesaing), a workaholic struggling with his finances and family life. When he reaches breaking point, it is up to his wife to try and save his cinematic back-catalogue. Violent British gangsters, moody French people - the cliches abound on Day 5 of the festival!

The first foreign language gala premiere in the LFF is The Father Of My Children. This French film from Mia Hansen-Love is loosely based on the life and tragic death of film producer Humbert Balsan. In fiction he is Gregoire (Louis-Do de Lencquesaing), a workaholic struggling with his finances and family life. When he reaches breaking point, it is up to his wife to try and save his cinematic back-catalogue.

It is at this point it almost turns into a different film, it stops being about a man looking at his distant family, and focuses on the quiet daughter (played by Lencquesaing's real life daughter) on her own journey of self discovery. Neither story concludes, which is quite unsettling.

It's a dark drama about the unpleasantries of European cinema, a subject that the French revel in. A British filmmaker would probably have made this a satire, you won't find any laughs here, but it remains sensitive and intriguing.

Also hitting the red carpet last night was the cast of 44" Chest.

Ray Winstone shows his range in this 'gangster' type role. Colin is torn apart by rage and grief when his wife leaves him for another man. So he summons his mates (including Ian McShane and Tom Wilkinson) to help him kidnap the hot young Frenchman. The rest of the film sees Winstone's mental state deteriorate, as he decides whether to kill him, or let him go.

It sounds familiar fayre from the writers of Sexy Beast, but I expected better. Perhaps the repetitive language and lack of action was meant to be Beckettian, but it reads more like a sub-par Philip Ridley play. The sedentary setting would have worked in a dingy fringe theatre, but there is very little to recommend cinematically. It even failed to be claustrophobic, as we are whisked away on frequent and pointless segues. It's a bizarre choice as a directorial debut from Malcolm Venville.

A saving grace in this film is John Hurt. He is so funny as he wrings every ounce out of limited dialogue. In total denial of his frailty as he continues to dole out violent threats, while spitting out his false teeth. His homophobic spats with Ian McShane's suave gay character were a treat, as I couldn't help but remember him as Quentin Crisp!

London Film Festival: Day 4

Tim Macavoy — 2009-10-17T10:29:00+00:00

Taking to the red carpet last night - American comedian Charlyne Yi for Paper Heart, but first the VERY stylish boys from A Single Man:

Set in LA, 1962, at the height of the Cuban Missile Crisis, a gentle sense of unrest and paranoia is palpable throughout the film. It is adapted from the novel by Christopher Isherwood, following George Falconer, struggling to find meaning in his life after the death of his long-term partner Jim (Matthew Goode). George is both consoled and challenged by his close friend Charley (Julianne Moore) and a young student (Nicholas Hoult) Taking to the red carpet last night - American comedian Charlyne Yi for Paper Heart, but first the VERY stylish boys from A Single Man:

Set in LA, 1962, at the height of the Cuban Missile Crisis, a gentle sense of unrest and paranoia is palpable throughout the film. It is adapted from the novel by Christopher Isherwood, following George Falconer, struggling to find meaning in his life after the death of his long-term partner Jim (Matthew Goode). George is both consoled and challenged by his close friend Charley (Julianne Moore) and a young student (Nicholas Hoult)

A Single Man has also been hotly anticipated by fashionistas, eager to see the work of first time director, long time designer Tom Ford. His experience shows with beautiful costume and photography, which at times becomes overpowering. You get the sensation that you've slipped into a Gucci commercial and at any moment the sexy Spanish man is going to turn to camera and whisper the name of a new perfume.

The sensation of time is muddled. Quick cuts and slow motion are liberally thrown around. The dialogue suggests this is the theme, but does so in a clunky way. And here Ford's inexperience shows as he fails to stitch the film into a glittering gown (hurray for fashion metaphors).

Superb acting holds this film together, particularly from Firth who manages a subtle, but engaging representation of a man who feels his life is over, but is still scraping for the last drops of absurdist humour and beauty.

The problem with a film about grief is that all the action happens in the opening sequences (and very moving it was too!) leaving the rest of the film to play catch-up. To my mind it never quite makes it. Still pretty and occasionally brilliant, you should still go and watch it!

A Single Man Trailer:

A sort of documentary with wanderings into fiction, Paper Heart, follows comedian and actress Charlyne Yi (Knocked Up) on a search for love. Cue trips to Graceland Chapel in Vegas, moody walks through Paris and interviews with smug old people about how they deserve a medal for being married 312 years. It relies heavily on you finding Yi endearing/amusing. If you don't (and find her just a bit dopey and annoying, like the stoner friend you thought you liked until they repeatedly forgot to buy milk) then it just drags. Fans of Michael Cera might enjoy seeing him act as himself, like it's real, but it's not, only the character of 'him' is just like all his other characters...which I guess are just him.

London Film Festival: Day 3

Tim Macavoy — 2009-10-16T13:44:00+00:00

Had enough of George Clooney already? Then I bring you more mature man candy in the form of Viggo Mortensen, in the post apocalyptic world of The Road.

Adapted by British writer Joe Penhall from the novel by Cormac McCarthy (No Country for Old Men) we follow an unnamed man and his son as they travel across dead landscape, destroyed by an unknown disaster. Nature acts as a third character, challenging the humans to stay alive, when she cannot. Had enough of George Clooney already? Then I bring you more mature man candy in the form of Viggo Mortensen, in the post apocalyptic world of The Road.

Adapted by British writer Joe Penhall from the novel by Cormac McCarthy (No Country for Old Men) we follow an unnamed man and his son as they travel across dead landscape, destroyed by an unknown disaster. Nature acts as a third character, challenging the humans to stay alive, when she cannot.

Director John Hillcoat (The Proposition) has again chosen to weight the pathetic fallacy of the novel with as much importance as the dialogue. Filming locations included New Orleans, still recovering from Hurricane Katrina. Cracked stone and dead wood evoke a tale of decay, matched by The Man's failing health.

It takes an actor of Mortensen's calibre to pull off such a relentlessly bleak film that almost never diverges from the father/son relationship. Mortenson quotes a line from the novel to explain his understanding of the journey: "The frailty of everything revealed at last".

Credit is also due to the film's young star Kodi Smit-McPhee, who deftly embodies the film's central theme of hope and faith in humanity, versus distrust and mortification. Mortensen praised his co-star: "He could be joyful and then just focus and deliver what his character required; the doubt, the fear". Hillcoat said that Smit-McPhee even went so far as sending him a recording of himself and his dad practicing his possible suicide with a gun in his mouth.

The entire film is executed with precision, but in a way this is the fault. There's no divergence from a narrow road, and this makes for difficult viewing. Even in extreme situations there is room for shades of light.

London Film Festival: Day 2

Tim Macavoy — 2009-10-16T03:44:00+00:00

It's day two at the London Film Festival and that can only mean one thing - yep, it's another Clooney premiere!

But before we get on to that there's time to appreciate a picture of Mr George and his girlfriend Elisabetta Canalis on the red carpet last night. Let's hope they've brought enough posh clothes for all these upcoming premieres.

Click through for more... Day 2 and it's another Clooney premiere! But before we get on to that there's time to appreciate a picture of Mr George and his girlfriend Elisabetta Canalis on the red carpet last night.

It was a special premiere, because there were actually two of them. Held simultaneously at the two largest cinemas in London, it was just a short walk across the crowded square for the cast and director Wes Anderson to introduce Fantastic Mr Fox to both audiences. The glittering after party was held at the Saatchi Gallery on the Kings Road.

The Men Who Stare at Goats was tonights gala screening, and is quite likely to be my favourite. The tone is what you would expect from the team of Clooney and Grant Heslov of Smokehouse Pictures. Like Good Night and Good Luck it tackles journalism and paranoia, but takes the comedic edge of Leatherheads (which I think was severely underrated). On their working partnership, Clooney said that Heslov was the boss as he had "compromising pictures of him from 1982".

Clooney plays Lyn Cassady who claims to be a former psychic spy. He thinks that his former squad leader Bill Django (Jeff Bridges) appeared to him in a vision, and needs to track him down in Iraq. Reporter Bob Wilton (Ewen McGregor) has something to prove, and accompanies Cassady on what he thinks will be the story of a lifetime.

The satire is pitch perfect as it edges along a political crevasse. The strength comes in the diversity of characters: Clooney is earnest, McGregor is naive, Spacey is sinister and Bridges is hilarious as the army sergeant turned LSD loving hippy.

The actors claim they had "too much fun" on this set, indulging in 5 hour rubber band fights. Clooney continued his run of jokey interviews. Asked if he enjoyed working with Ewen McGregor, he said "After the restraining order it was really hard to enjoy working with him". Clooney had made many political films "where you have to be responsible. But if there was something funny here, we just did it."

He did complain that he'd been so busy promoting his three films in this festival that he'd had no time to enjoy London, or visit his co-star Kevin Spacey at the Old Vic. Spacey rebuffed suggestions that he'd been "taking a break from film", with two films last year and three this, but did say he was returning to leading roles in two movies (Casino Jack and Father of Invention) in 2010, although he is still committed to another six years as Artistic Director in the London Theatre.

The London Film Festival - Opening Night!

Tim Macavoy — 2009-10-15T02:04:00+00:00

And so the fun begins. The LFF opening night gala was Fantastic Mr Fox, an adaptation of the Roald Dahl classic by quirky director Wes Anderson. Filmed in stop motion animation, but owing more to 70s childrens TV than modern Burtonesque features.

The movie is sweet and the filmmakers show dedication and detail. But it struggles to find its audience; not exciting enough for a Pixar generation of kids, not funny enough for adults, and probably not impressive enough for critics.

That said there is some fine vocal talent on display, encouraged by Anderson's use of location sound recording. At the press conference Jason Schwartzman (who plays Mr Fox's son Ash) said that it was a joy to work with such great talent, and he enjoyed just watching his fellow performers, acting like animals and hiding behind bushes.

The 'Fantastic' George Clooney was his usual witty self with sharp dismissive responses. At one point he was asked whether playing a father/son relationship had made him "broody". He replied:

"What's broody? I'm learning so many new phrases over here." The press persisted with personal questions which he deftly avoided answering. He also joked that he was proud to be "officially Foxy" and "didn't enjoy working with Bill Murray."

Murray skilfully wove surreal answers: "unless you've played a badger, we can't even have this conversation", with earnest talk of his fellow actors fine vocal achievements.

On the controversial decision to make the animals American, Anderson said that it was because he wrote American voices better, but he made the farmers British... "Because they're the bad guys," Murray chimed in.

Thank goodness someone said it because all the press were thinking it. It's the one sore point that really sticks out for me. The film is meant to retain its English village setting, but so many Americanisms slip in and out (like the incongruous Action 10 news) that I really wasn't convinced.

We can also rest assured that the moral of the story, according to Clooney, is "stealing is good".

Despite its animation, this is a distinctly Anderson directed film. Whether you like that or not is a personal matter, but it was good enough for Felicity Dahl, who thinks that Roald would have loved it.