It is just about half way through the BFI London Film Festival, and there have been some great films shown. Here are some LFF 2017 highlights from the first week of screenings…
LFF 2017 Highlights – Unmissable
Call Me By Your Name
Luca Guadagnino’s Call Me By Your Name is undoubtedly one of the most romantic films of the year. Starring Armie Hammer and Timothée Chamalet, the film offers wonderful storytelling, beautiful imagery, and great performances. READ MORE
Dee Rees’ Mudbound is a film with heart. The screenplay has a poetic quality, and is ably backed up by Rees’ directing and performances from the talented cast. READ MORE
Dave McCary’s feature debut perfectly balances comedy with a sweet and sincere tale. Brigsby Bear is very, very funny without diminishing its dark premise. Co-writer and star Kyle Mooney stands out in particular. READ MORE
LFF 2017 Highlights – Best of the Rest
Agnieszka Holland’s wonderful Spoor blends mystery and comedy with a thriller to create a rather memorable film. With a great central performance from Agnieszka Mandat, Spoor is a very enjoyable film. READ MORE
Todd Haynes’ adaptation of Brian Selznick’s novel is the right kind of whimsy. Transporting the audience to the New York of the 1920s and 1970s, Wonderstruck features some great performances. READ MORE
Ingrid Goes West
Aubrey Plaza shines as a social media-obsessed young woman in Ingrid Goes West. Matt Spicer’s debut is achingly contemporary and a lot of fun. READ MORE
Loving Vincent blends technical achievement with an engaging narrative. Marvel at the hand drawn animation in the style of Vincent Van Gogh, whilst learning about his final days. READ MORE
The Meyerowitz Stories (New and Selected)
Noah Baumbach delivers yet again, with the brilliantly The Meyerowitz Stories (New and Selected). The film features an enviable cast, and includes Adam Sandler’s best performance for years. READ MORE
The BFI London Film Festival runs from 4th-15th October 2017. See the full programme here.
Director Todd Haynes’ Wonderstruck is whimsical and enchanting. The film is captivating at times.
Ben is a young boy living in the 1970s who wants to know who is father is. Rose is a girl in the 1920s obsessed with a silent movie star. Both Ben and Rose’s obsessions lead them to New York City…
Based on Brian Selznick’s novel, with a screenplay written by Selznick himself, Wonderstruck is a charming tale of friendship and discovery. The film focuses on two strands which eventually become entwined. Each of these strands are depicted in a distinct way.
The film blends mystery with drama, and a little bit of comedy. Haynes’ protagonists are children, and he positions viewers to see things through their eyes. There is a sense of wonder which is unshakeable. The astonishment at being in Manhattan will be familiar to anyone who has been to the city as a visitor.
Given that the protagonists are deaf, it is no surprise that there is not an abundance of dialogue. This does not hinder Haynes from conveying emotions, or nuance. The burgeoning friendship between Ben and Jamie is lovely to watch. Rose, meanwhile, comes into her own in the second half of the film.
Cinematography in the film is great. New York is beautifully photographed in both eras the film is set. Haynes draws a distinction between periods with the use of colour and black and white. This is further emphasised by Carter Burwell’s brilliant score, and the soundtrack overall. Performances in the film are great, especially from the young cast. Oakes Fegley, Millicent Simmonds and Jaden Michael are all great, and Julianne Moore is as reliable as ever.
Wonderstruck is an ode to curiosity. It is sometimes sentimental but ever so charming.
Wonderstruck is screening at the BFI London Film Festival in October 2017.
Based on Patricia Highsmith’s novel, Carol is a sumptuous and engaging romantic drama.
Working in a department store in New York, shop girl Therese meets married older lady Carol when the latter comes into the store to buy a Christmas gift. The two embark on a friendship that spells danger for Carol’s home life…
Director Todd Haynes’ Carol is a entertaining drama which offers good performances and great production values. The film concentrates on the relationship between the wealthy Carol and the younger shop girl Therese in a time when any non-traditional relationship was taboo or worse. The film works in social issues of its 1950s setting in a way that seems a natural outcome of the relationship.
Haynes’ direction and Phyllis Nagy’s screenplay are effective at keeping viewers engaged throughout the film. Carol and Therese’s relationship is portrayed in a compelling way; the writing and performances make it easy to get on board with the protagonists. Both characters are depicted in a believable fashion, and are given enough personality to engage with the audience. Viewers will root for the couple, even if their union looks doomed. The ending of the film is a brilliant stroke.
The period setting calls for issues with a same-sex relationship to be at the forefront. Carol respects this; the film’s narrative allows for a number of different aspects to be brought up. The illustrations of these problems are entirely convincing. Moreover, the film highlights other differences in Carol and Therese’s relationship, namely age and class. These social issues are dealt with a slighter hand, yet still represent the constraints of the period.
Cate Blanchett delivers as competent a performance as ever; she is completely convincing as Carol. Rooney Mara offers perhaps her best performance to date. Her quiet understatement seems perfect for Therese. Carter Burwell’s score is magnificent, and Sandy Powell’s costumes are wonderful. This is particularly true of Blanchett’s glamorous wardrobe.
In spite of the social issues at play, Carol is ultimately a love story. The film is a finely executed piece of romantic drama.
Carol is being screened at the London Film Festival in October 2015.