LFF: 12 Years A Slave Dir. Steve McQueen (2013)

“I don’t want to survive. I want to live” 

Steve McQueen, the British director behind Shame (2011) and Hunger (2008)  has created an overwhelmingly powerful film; 12 Years A Slave. Based on a true story, the film is set in 1840s America and tells the story of Solomon Northup (played by Chiwetel Ejiofor) , a talented African-American violinist, living in Saratoga, New York.

The film opens with our protagonist suffering as a slave and then skips back in time to when he was a free man. Through various flash backs the audience is taken on his journey. We learn that Solomon is well respected among his community in Saratoga, cheerful, full of integrity and family values, Solomon is an instantly likable central character -  His kind face and emotive eyes are constant reminders of the injustice - His performance is flawless and the audience instantly warms to his courageous and appreciative demeanor. We know from American History that the Southern states of America were heavily pro-slavery whereas the more developed areas such as, New York, were overall much more liberal and against slavery. 

The plot is as follows; Solomon is offered a job by two seemingly friendly and successful artists. They explain the job as a 'circus' and tell Solomon his 'talents are undeniable'. After the two men wine, dine and drug him, we learn they've kidnapped him to sell him as a slave and transport him to Mississippi.

The film is packed with an exceptional cast - Paul Giamatti (Sideways, The Ides of March) makes a short but notable appearance as an auctioneer of slaves. He roams around the room in a sales-man manner whilst the slaves stand stark naked. Selling them with a killer line of “My sensitivity extends to the length of a coin”  & “He will grow into a fine beast” the atmosphere is instantly set. This is a very barbaric snap shot of American history.

Film still - Paul Giamatti

After Northcup courageously strikes back at to one of the slave owners, he is hung to a tree - There is a brutally long shot of Northcup balancing up just by the tip of his toes. As this occurs, the audience can see other slaves get along with their day; children can be seen in the background playing in the fields, various people are walking around without a blink of an eye to what is going on. The depiction of this situation being completely normal is utterly chilling.

Cotton plantation owner, Edwin Epps is played by Michael Fassbender - He is particularly harrowing, similar in some ways to Leonardo Dicaprio’s slave owner role in Django Unchained. Fassbender delivers a frightening disposition. A sadist in many ways - He gets kicks from waking up the slaves in the middle of the night, making them dance and entertain him. 

He fluctuates from appearing affectionate to a complete vicious torturer. He also happens to be completely sexually infatuated with his most hardworking cotton picking slave, Patsey (played by Lupita Nyong'o) with whom he regularly rapes and beats. “No sin – Man does what he pleases with his property” – One of the most chilling lines from the film.

Sarah Paulson plays his wife and gives a remarkable performance as the ice-cold Mistress Epps, driven by her intense jealously she is the regular instigator of Patsey's abuse - Her attempts to completely rid her from their lives almost drives her to suicide. In the most uncomfortable sequence she encourages Master Epps to ‘Whip the life out of her’ – This sequence is particularly difficult to endure.

Film Still - Michael Fassbender & Sarah Paulson

The cutaway shots of the Mississippi River are visually stunning and particularly important – McQueen has clearly done his research;  During the 1800s the River was a symbol of enslavement as well as freedom. Many slaves traveled to be sold via the river whereas others tried to escape.

Brad Pitt, Executive Producer on this feature makes a bizarre cameo as the 'good guy' – Liberal in views; he forms a bond with Solomon and helps him out. I found his performance irritating in many ways but his short air time was to be expected.

The film comes to a righteous close with Solomon in complete tears and constant apologies to his family – 12 Years A Slave is not only an exquisite feature, it’s a vital one exploring the genuine horror that coexisted in the US only two hundred years ago. This will certainly be a favourite at the awards season in early 2014 and it’s completely deserving of the hype that is to follow. 

LFF: Blue Is The Warmest Colour (2013) Dir. Abdellatif Kechiche

Tunisian-French director, Abdellatif Kechiche’s film is deeply moving - Fearlessly sexy & utterly original. This coming of age film about a young lesbian couples relationship, excites all the senses.

Adele (played by Adele Exarchopoulos) is a seemingly shy fifteen year old, after a brief affair with a boy at school she begins to discover her sexuality and breaks it off with the devastated young boy. Bewildered by her feelings, whilst the cosmic sounds of a street steel band can be heard, Adele crosses paths with blue-haired, Emma (played by Lea Seydoux). There is an instant connection as both girls look back at each other lingering onto that bit of magic. The steel bands are heard again, during the last sequence of the film, suggesting something good on the horizon for Adele or perhaps it’s a reminder of their initial meet. Either way it’s a beautiful sentiment. Adele is an aspiring teacher and Emma an artist – The two girls meet again at a gay bar and hit it off immediately.

The filming is intimate in style; Intense close ups of characters faces allows the audience right into the heart of the story. This is about Adele and Emma. Nothing else. The sex scenes are extremely courageous and surprisingly, despite the film being directed by a man, it lacks any shred of maneuvering the gaze to a male focused angle.

The obvious beauty of this film lays in the fact there are many art-house elements to it. There is a continuous blue motif beginning with Emma’s hair colour leading to the art direction and costume. Nature plays a central character in the film hinting at a watchful spiritual- guardian surrounding the couple and their pivotal moments. The sun can be seen, shimmering out between their heads as they part from their first poignant kiss; the autumn leaves dancing around as Adele rests her head on their bench.

Film Still - Adele - Blue motif

A romanticised depiction of food is depicted; Constant close up’s of Adele candidly eating her spaghetti with much vigor. Emma’s family prefer oysters which reflects their open minded attitude to Emma’s sexuality compared to the couple having to pretend their merely friends during a visit to Adele’s, less hip parents. What does this preoccupation with food suggest? Sheer indulgence. Gratifying the senses without a crumb of shame or hesitation about it.

During the second half of the film, once Adele and Emma are living together, Adele appears to have become a silent muse to her upcoming artist girlfriend. She cooks spaghetti for all of their friends and her to-the-point worldly views become a form of commodity to Emma and her Satre reading, art loving friends.  Adele has become domesticated, the housewife concerned for the stagnant state of their relationship. Emma’s focus is on friends and speaking about her art. Time has caused the fire to dampen down between the two of them. By addressing this very common issue in relationships, the film is alluring to a wider audience than one may at first glance expected. 

This is not by no means, a film merely aimed at lesbians nor is it gratifying the male fascination and curiosity with lesbian sex. Blue Is The Warmest Colour is a 3-hour feature yet it does not feel as long as it should. It’s thoroughly mesmerizing and will leave you wanting more.

LFF: Captain Phillips Dir. Paul Greengrass

Just when you thought Tom Hanks had nabbed every single endearing and heroic role in film history, Captain Phillips graces our screens. Based on the true story of an American container ship that is attacked by Somali pirates, Hanks plays middle - aged, cool-headed Captain Phillips desperately trying to protect his crew and travel across the African seas to deliver US goods.

The shaky camerawork throughout the film puts you right in the heart of the action; you are on this ship with Hanks. Anxiety enters audience’s bloodstream right from the beginning – The eerie green dots vigorously coming closer to the ship on the radar is when the adrenaline really starts to churn.

The Somali pirates are petrifying, almost demonic in appearance; Unpredictable and barbaric, their interactions with the American crew set the tone immediately. This is a film about civilisation being attacked by a tribal community, desperate and vengeful. Phillips voluntarily is taken hostage in the second half of the film. His proactive demeanor is consistent throughout and this leads up very nicely to his emotional breakdown when he is finally rescued by the Navy. 

Film still -
Somali Pirates

The film subtly orchestrates a patriotic melody during the second half of the film; The US Navy deal with the situation in an effortlessly seamless and triumphal manner - They even manage to jump out of a helicopter in a Spiderman-esq manner with no glimmer of light for direction on where to land. 

Unlike the usual run of the mill action-thriller plots, Captain Phillips contains no cut away shots of Phillip’s family back home staring longingly at the phone or a window. Nor does it contain any melodrama in its depiction of the attack. Instead, the film offers a believable atmosphere with some fantastic performances.  

There is an outstanding short sequence towards the end of the film when Hanks is blindfolded covered in the Somali’s blood, hands tied and wailing in sheer agony. The camera, for the first time in the film, stays fairly still until Phillips is able to tug the blind fold down.  It’s dealt with sensitively and Hank’s emotional breakdown whilst he is being inspected by medics is truly moving. This is by far the most emotionally raw role Hanks has ever played.

Captain Phillips is a tense, sophisticated and well executed film. However the celebration of America (as to be expected) is at times embarrassing to endure.  This will certainly be a favourite at the awards season in early 2014.  

London Film Festival : 2013

Currently in its 57^th year, BFI London FilmFestival returns on October 9^th showcasing an impressive 235 feature films, 134 short films from 57 countries all around the world. Divided up into categories; Love, Dare, Laugh, Thrill, Sonic, Family, Journey, Documentary, Experimenta and Treasures, there is something to cater to all tastes.

Opening this year’s festival is British Director, Peter Greengrass’s Captain Phillips, which tells the story of a Captain (played by Tom Hanks) who is taken hostage by Somali pirates. Based on true events this promises to be a favourite action/thriller from the line-up.

One from the documentary stem comes the stunning, How We Used To Live. A poetic vision of London with footage from the BFI National Archive tracing back to the 1950s, the film covers the various eras from post war and the Thatcher days. This documentary appears to be more like mediation on London life today as well as a longingly glance back into the past.

Blue Is The Warmest Colour is another film we are immensely excited about, winning the prestigious Palme d’Or award at this year’s Cannes film festival, this French feature tells the story of a young lesbian couple’s meeting and possible end. Director, Steve McQueen’s (Shame, Hunger)  highly anticipated, soon to be, Oscar favourite, 12 Years A Slave will be showcasing this year too.

Film still - Blue Is The Warmest Colour

Starred Up, a low budget Brit film starring the immensely talented British actor, Jack O’Connell (Skins, This Is England) follows the life of a troubled teenager who is transferred to an adult prison where he finally meets his match.

Chilean born director, Sebastian Lelio graces London with his charming feature, Gloria. A favourite from this year’s Toronto Film Festival, Gloria is a free spirited fifty-something regular on the middle aged single scene. Deemed to be one of the most unique and compassionate films of our time, you need to see this.

London based filmmaker; Joanna Hogg’s Exhibition is an intimate examination of a contemporary artist couple whose living patterns are threatened by the sale of their home. Set in London, Hogg’s feature promises to be visually, enthralling to watch.

Film still - Gloria

Another British offering is Hello Carter, set in London; the story follows a recently homeless and single man and his desperate attempts to win back his ex by embarking on an adventure throughout London to find her.

The 12 day festival screenings take place at some of the most luxurious sites all around London, from the Screen on the Green in Angel to The Ritzy in Brixton and the Odeon West End.

This year’s festival is by far the most eclectic and exciting yet and you can still buy tickets directly from the BFI website.