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Author: Louis Bayman, Associate Professor in Department of Film Studies, University of Southampton
Original article: https://theconversation.com/bfi-london-film-festival-2024-a-cinema-academics-look-at-the-year-ahead-on-the-big-screen-242049
This year’s London Film Festival boasted 254 feature and short films, with an all-time high of 44% of the films screened by female and non-binary directors. But the festival’s most newsworthy event concerned a film that wasn’t screened at all.
To the dismay of its director, Havana Marking, the documentary Undercover: Exposing the Far Right was cancelled at the last minute with festival staff citing safety concerns in the wake of the summer riots. The documentary seeks to expose the political influence of a shadowy US-UK network that promotes racist scientific views. Although it missed out on its opportunity for a theatrical showing, the film is now airing on Channel 4 and is receiving good reviews.
Like all festivals, there were prizes to be won and the festival jury awarded best feature film to Memoir of a Snail. This is the first time that a stop-motion animation has won the award. Directed by Adam Elliot and featuring the voice of Succession star Sarah Snook, the jury praised it as “emotionally resonant and constantly surprising”, adding that it “tackles pertinent issues such as bullying, loneliness and grief head-on.”
Read more:
Overtly handmade and so very moving: Adam Elliot’s Memoir of A Snail is a stop motion triumph
This may turn out to be an unpopular decision with critics, given how many of them complained about the emotional nature of the festival’s opening night gala film, Steve McQueen’s wartime drama Blitz. McQueen’s genius for realising the restrictive nature of particular historical moments is always achieved with a special intensity, whether with Irish political prisoners in Hunger or the pre-emancipation US of 12 Years a Slave.
Blitz takes as its setting three days in London in 1940, featuring a child who manages to flee evacuation and has to find his way through a bombed-out London back home to his mother. The film even alludes to Charles Dickens as the boy tries to dodge the ne’er-do-wells of the city streets.
The boy is bi-racial and the film’s representation of the Black life of the city is a corrective to more commonplace images of a monocultural wartime Britain. But its family drama conjures more pathos than is usual for McQueen. The film thus revises, if not destroys, the myth of national unity that has grown up around the blitz. It incorporates racial and class divisions but the critical consensus seemed to be that its sentimentality let the film down.
Alternatively, The Apprentice, the true story of the rise of Donald Trump under the tutelage of cutthroat lawyer Roy Cohn, showed considerable restraint depicting its uniquely polarising protagonist. The film finds Trump dodging lawsuits in the crisis-ridden New York of the 1970s, only to prosper in the greed-is-good real estate boom of the 1980s.
Sebastian Stan’s Trump avoids caricature, almost garnering affection before eventually becoming the babbling fountain of profound vacuity that we recognise today. With excellent performances from Jeremy Strong as Cohn and Maria Bakalova as Ivana Trump the film succeeds most as a revisitation of the iconic images of New York’s modern history through the prism of Trump. This revisitation occurs first in its retro imitation of early Martin Scorsese films and then with the grain of a boardroom melodrama shot on VHS.
The festival also included some righteously powerful political denunciations.
The Seed of the Sacred Fig deserves special mention as an acutely powerful portrait of a family undergoing the increasingly suspenseful stirrings of rebellion amid the “women, life, freedom” protests in Iran.
I’m Still Here, a return to directing from City of God’s Walter Salles, presents the intersection of the personal and the political in a very different way. The film tells the true story of the leftwing congressman Rubens Paiva’s disappearance by the Brazilian military dictatorship in 1971 and the heartbreaking tension of his family’s life-long search for answers.
Other notable returns from veteran directors included Mike Leigh’s depiction of the struggles of mental illness in Hard Truths, a blend of social realism and fairytale set in Gravesend, and Pedro Almodóvar’s first English-language film The Room Next Door. Two films that achieved a particular buzz among festival attendees and that are set to achieve a wide general release are Anora, Sean Baker’s comedy drama about a mismatched marriage between a lapdancer and a Russian oligarch’s son, and Conclave, set around the choosing of a new Pope starring Ralph Fiennes and Stanley Tucci.
I had some personal favourites of the films that garnered fewer headlines. The first is All We Imagine As Light, an allusive portrait of the dislocating effects of modern city life among three female friends in Mumbai. Another is Four Mothers, a remake of the Italian comedy Mid-August Lunch transposed to Ireland. Featuring an aspiring writer whose friends go on holiday and leave their elderly mothers for him to look after, its blend of humour and sensitivity achieves exquisite delicacy.
And finally, The Surfer wins my award for the cinema’s potential for delirious incoherence. Set entirely in a car park overlooking a beach, this comedy-thriller-folk horror explores suburban aspirational masculinity through a characteristically demented star turn by Nicolas Cage.
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