Its the time of the year again – the BFI London Film Festival resturns for 2017 and I got a set of tickets for a host of movies. I’m excited to be a part of it again. Reviews to come soon 🙂
Here is the line up
Chauka, Please Tell Us The Time
An urgent and powerful documentary, shot in a detention centre where asylum seekers trying to reach Australian shores are indefinitely detained. Secretly shot on a mobile phone by Iranian journalist Behrouz Boochani while detained on Manus, in Papua New Guinea, the film is a collaboration with Dutch-Iranian filmmaker Arash Kamali Sarvestani. Boochani recounts, via the testimonies of fellow inmates, the abuse and violence inflicted and the precarious state of limbo they find themselves in. Chauka, the name of the dreaded solitary confinement unit within the detention centre, was originally the name of a beautiful bird and symbol of the Manus Island
Loser pizza-delivery boy Angelino and his flaming-headed buddy Vinz live in a Californian ghetto called Dark Meat City. It’s a cockroach-infested hell hole but it’s home and orphan Angelino survives by keeping his big round head down. However, after clocking a mysterious girl Angelino starts seeing odd things about certain people on the street. And this They Live-style revelation sends him on the run from some shadowy square-jawed men in black. Pop culture references abound, from Batman and Ren and Stimpy to Grand Theft Auto. But nothing comes close to the high levels of WTF-ness on display here
Blade Of The Immortal
The great Miike Takashi’s 100th movie. Based on the famous manga series by Hiroaki Samura, a samurai cursed with immortal life teams up with a young girl to avenge the murder of her parents
Let the Corpses Tan
The directors of neo-giallo classics Amer and The Strange Colour of Your Body’s Tears turn to Jean-Patrick Manchette’s crime novel Laissez Bronzer les Cadavres! for their latest inspiration. Beneath the unforgiving heat of the blazing Mediterranean sun, a woman residing in a remote villa seeks artistic inspiration. Her solitude is shattered when a gang of criminals in possession of 250kg of stolen gold arrive in search of a hideout, with the cops in hot pursuit
Dead the Ends
Trailer – Dead the Ends (2017) from Benedict Seymour on Vimeo.
Bookended by the 2011 London riots, Seymour’s dramatically, politically urgent new film, making its world premiere at the LFF, retells the story of Chris Marker’s La Jetée. A man has been sent back into the past as a way of rescuing the future, his tale told by way of the Narrator who riffs on familiar film dialogue and contemporary references – unpicking the political implications of his journey and our retro obsessions. A collage, narrative, essay film hybrid, Dead the Ends, plunders some fifty years of cinema – including dystopian sci-fi – and uses emojis and gifs as ways of exploring the undercurrents of historical and current visual language, as well as present entrenched, systemic inequality
The Florida Project
That The Little Rascals is an inspiration for Sean Baker’s magical, magnificent and madcap follow-up to Tangerine (LFF2015) makes perfect sense when you see this story of childhood, set against the backdrop of America’s failed economy. Six-year-old Moonee (the astonishingly good Brooklynn Kimberly Prince) lives with her mother and other castaways from the American dream in a candy-floss-coloured roadside motel in Orlando. Disney World is just up the road, but their budget dayglow home is no plush hotel resort. Halley, Moonee’s mother, is only just an adult herself. More of an incorrigible older sister than a parent, she gets a kick out of juvenile hijinks, with utter disregard for their consequences.
I’m soooooo looking forward to this