London Film Festival 2015 Opening film: Suffragette

From the Director that gave us Brick Lane, Sarah Gavron directs the first ever feature film to tell the story of how women's fight for the vote. With a stellar cast; Carey Mulligan, Meryl Streep and Helena Bonham Carter the film follows a group of working class women taking their fight to Westminster.

Mulligan stars as Maud, a housewife who defies her husband and thus risks losing custody of her children in the fight for equality. Streep plays Emmeline Pankhurst, the leader of the Women's Social and Political Movement Union who went through hunger strikes and property destruction as a means of protest. 

Mulligan has always been very outspoken about the issue of sexism specifically in the film industry, she told Time Out in April this year;

"The mere fact that it's taken 100 years for this story to be told is hugely revealing..it took years of struggle and women being tortured, abused and persecuted and its never been put on screen. It's such a reflection of our film industry that that story hasn't been told" 

We particularly like the poster art for the film which suggests, (as does the trailer) that this will be a gritty drama outlining the violence that followed these women in their fight for equality. 

Emotive film art released on Emmeline Pankhurst day - July 14th, 2015  

The film poster utilises the colours purple, white and green which were a key part of the Suffragette movement. Purple signifying dignity, white showing purity and green meaning hope. 

Film poster for Film4 backed, Suffragette (2015)

The film will premier at this year's London Film Festival at the Odeon Leicester Square on October 7th. Currently in it's 59th year, the BFI London Film Festival will run until the 17th October. 

To get priority booking on all films this year, become a member today. 

Link to the BFI website: http://www.bfi.org.uk/lff 

LFF: Natasha meets Desiree Arkhavan - Interview with the Director of Appropriate Behavior (2014)

It was 1.15pm and I was still in bed surrounded by tissues, vitamins and half a dozen half empty mugs of ginger tea - I must get up and go and meet Desiree Arkhavan, I was supposed to be there for 2pm and yet still hadn't managed to get out of my pajamas's - my first interview with a Director from LFF so you'd think I would be prepared. I wasn't. My agenda for the day was simple, partake in a casual free-flowing conversation and to get a selfie of Desiree and I - with this in mind, I'm not sure you'll get meaty answers but you'll certainly get an atmospheric sense of my experience today along with Arkhavan's essence. And perhaps a couple of laughs.

Here we go.

In the plush grounds of The Mayfair Hotel, tucked away in the profusely overheated Salon room (take note, Mayfair Hotel: put the god damn heating down, it was like the Sahara in there..), LFF hosted a relatively informal Afternoon Tea session with a couple of fantastic Directors.

A delightful range of herbal teas and coffee were available along with some amazing sandwiches (I helped myself to two), mini brownies and macaroons. Tiny PR girls manically wondered around the room with their clip boards asking for names and publications from the press. 

'The Film Tree - Natasha Saifolahi'. 'Sorry umm you're not on the list...(a pause for what seemed like an eternity) oh yes here you are, you're just under freelance because your email address wasn't connected to your publication, so I didn't realise!".

Ouch.

The tiny lady asked me to wait at the bar and so I did helping myself to an unusually large mug of black coffee and a brownie - I could see Desiree sat on the table about two meters ahead being interviewed by Persians - being Persian myself it was very obvious they were Persian. Us Persians have a way of spotting other Persians. It's almost like we have a radar. My sister says it's something to do with how we walk. I'm not so sure.

I've been getting over a flu and thought I was on the mend but the tube journey itself was challenging. Must power through. As I got closer to the table where Desiree was seated (the Persian press had eventually departed), I began to sweat profusely, what am I doing here? I am not even prepared, mentally, spiritually and certainly not physically. The caffeine fears had hit me teamed up with the vulnerable flu person I had become these past couple of days. It was probably the coffee. Along with the sugar from that brownie..must have pushed me over the edge.

I managed to pull myself together and sort my hair out (it was wonderfully straight and sleek when I left the house but had morphed into an afro due to the intense heat).  As I approached Desiree rather abruptly, she was taking a mouthful of her cake - when I apologised for interrupting, she kindly said it's fine - so I sat down to begin what you may want to call an interview but since listening to the voice recorder post-interview, it was me rambling on trying to find a hook, a connection to befriend this super cool Director who's film I absolutely fell in love with. Read my review on Appropriate Behavior by clicking here. 

For my first ever interview and considering I had the flu and a body temperature of 109, I think I did okay. I hope you enjoy reading!

FT: First of all congratulations on the film, I can't begin to tell you how much I enjoyed it, being Persian myself, it was such a pleasure to watch and I identified with your character in many ways - can you tell me how the script came about and about the shooting process.

DA: Thank you. So I was making my web series (The Slope) and I knew I wanted to make something inexpensive and that was comedy so I thought that was something I could handle for my first feature. At the time I was dealing with the aftermath of a break up and having come out to my Iranian family and I wanted to inject those theemes into a narrative but then take real liberty in the narrative so thats how that film happened.

FT: Being a creative, did you find that to be quite therapeutic?  

DA: Yeah. I mean I always like to deal with subject matter that's personal to me.. that's just my way of interacting with the world, I think that's just a a sickness I have that I need to keep the dialogue going. So that's always been my personality. I mean I like to leave therapy to the therapist office, I don't think its been my therapy but I feel like first and foremost you're thinking about your audience and about entertainment.

FT: What I found so fascinating is your film is a coming of age tale explored with the medium of culture and how that can be quite problematic especially when you're gay/bi - I was quite nervous how you'd handled the cultural aspect, as a consequence of your sexuality and coming out, are there any elements in the culture you feel stand offish about?

DA: Sorry..what was the question again?

FT: Sorry I am babbling..

DA: No you're not babbling! (Said very sincerely)

FT: (laughing..) Sorry. How do you feel about the issue of Persian guilt, is this something you've experienced and do you think it's leaked into your film and lead character.

DA:  Yes but I think we, when I say we, I mean my Producer and I, we both worked on the script. I think we chose to make her head strong and not at all guilty - I mean, I personally have a LOT of guilt but it was important to me to illustrate a person who was first and foremost true to herself and lived almost a double life, and did that claiming to be for the sake of her parents, trying to protect them, so clearly she has guilt but in other aspects in her life she doesn't have any guilt at all (pauses) But definitely.. there is SO much guilt. I think there is guilt in Persian community to be (pauses) I was going to say 'selfish' but I don't mean 'selfish'  in a negative sense, I mean taking care of your needs and your desires and in my parents generation  (unfortunately the recording was interrupted with a mobile phone signal so I couldn't make out a line or two - unfortunate as this was the most interesting part of the entire interview!!!) ..... (continued) anything you do for yourself is secondary to what you feel you obliged to be.

FT: Completely understand that. Although my upbringing was slightly different, my mother is a Buddhist and a practicing Psychotherapist and my dad left his cultural connections in Iran a long time ago after he left pre-revolution...

DA: Whoaaa..that's awesome.  

FT: So, the next question is the dreaded question: Lena Dunham. How do you feel about people comparing you to her?

DA: It's certainly not a dreaded question -I actually think its a huge compliment and I'm a big fan of her work and I should be so lucky to be compared to her..We have different lives and background, the fact our work is personal, I totally see the parallels, the reason I am not offended by this question or feel weird about it because I know we are telling very different stories and we are different people with different back stories. It's funny to me because the connotation to the question is "we already have a Lena, there is no room". That's when its a little odd to answer the question because I sometimes wonder if its made with the implication with the you know, been there done that, its been said before.

FT: I think that's a gender thing. I think if you were men and Lena was a Liam, it wouldn't be the case. But you know, that's a shame but something women in the industry have to battle with daily. 

 

DA: I  agree, exactly. There are so many incredible female driven stories that have been coming out in the past few years and audiences have been interested to see all of them. So I say great, you know, more comparisons are fine as long as it brings people to the theaters as long as people stay investing in these stories and we are able to make them then that's great.

FT: Do you think you will always stick to comedy or do you think you will go down the drama route?

DA: Yeah, I like comedy and drama - I never pick one or the other. My next feature has dramatic elements but its very funny and in my life I identify mostly as a comedian. That's my way of interacting with the world, to try to be funny.

FT: Is your new feature set in New York?

DA: Nooo (said in a playful inquisitive tone)

FT: London?

DA: Yeah ha! No I wish, I would love that! I have two projects right now, one is an adaptation of a young adult novel, its set in Montana, USA and the other project is based in New York.

FT: So you were born and raised in New York - did you visit London often?

DA: Yes I did - I did a year abroad in college at Queen Mary University - I love London and my Producer lives here so I come every six months to spend time with her. We did the colour correction in London , we also did the finance here and I wrote a lot of the script here. I see London as a second home to me. I love it here, I plan to come back here to work on the next script. 

FT:  When I watched your film, Frances Ha! and GIRLS, I feel like I've been let in on a 'hip' secret, wait, 'hip' makes me sound like a grandma but it feels like I'm let in on a secret about the "cool" places in New York like Brooklyn. It's very alien to me because I've only visited Manhattan once when I was fifteen. The area and the culture translates really well in your film, I pick up on the general culture of the area even though I've never visited - do you think you'll always set your films in Brooklyn?

DA: Thank you. No - I think the stories that have been personal to me were based in the neighbourhoods that I lived in. I was shooting in my home so I was shooting what I knew but I would like to be more ambitious and ideally, if I am able to raise more money, up my budget for my next work try to get outside of my back yard.

(note: during this moment, one of the tiny PR ladies walked past us and gently touched my shoulder  - I thought to myself, how lovely, a supportive gesture, was my anxiety that obvious? I smiled at her and focused back on my interview It was only when she came back a second later asking me to wrap the interview up did I realise what was going on..)

FT: Okay, I need to wrap up - that's it from me. Thank you so much for your time. It was so lovely to meet you and good luck with your next projects.

 

DA: Thank you, it was lovely to meet you.

From my 15 minutes with Desiree Arkhavan it's very clear just how immensely perceptive she is - she has a certain solemn essence to her which is particularly intriguing and at times baffling - She was ready to engage in conversation and give honest and interesting answers. Certainly one to watch. 

We are very pleased that UK film distributor, Peccadillo Pictures have picked up Appropriate Behavior and it'll have a general release across selected cinemas in early 2015.

Naturally, I forgot to take a selfie of Desiree and I - the only picture I did take was of the delicious offerings from LFF to us press.

What an amazing spread... I'll certainly be attending an LFF Afternoon Tea Session next year and next time, I will be better prepared, with clear thought out questions, no flu and I SHALL leave with a selfie.

LFF: Night Bus (2014) Dir. Simon Baker

We had high expectations for Night Bus for the obvious reasons - set in London on the No39 Leytonstone double decker bus. This character led drama uses multiple shared experiences between a number of people in the confined space of the night bus. Unfortunately this feature is excruciatingly painful to endure.

The characters are dull and all too familiar here - there also appears to be a chauvinistic undertone to most of these conversations, often painting Londoners as rude and one dimensional - There are a bunch of sales men on their way home from a strip club, a Muslim girl and her friend discussing in a causal, humorous manner why she wears a hijab, two black teen boys listening to their music ever so loudly, a middle class couple arguing after dinner out with another couple (also worth noting that their argument makes absolutely no sense) and a Northern young couple dressed in Tiger onesies.

There is also a middle aged man whom we learn is going through a divorce, desperate to get home and constantly on his mobile, he's interrupted by two drunk Polish men singing bizarre songs that went on far too long. Stereotypes. There is nothing original or captivating about Night Bus. Perhaps that's the point which would have been acceptable and admirable if these characters had some depth. They don't.

First time Director, Simon Baker, has certainly wooed us with his slick editing skills and repetitive shots of the bus - he used these intervals as means to 'wrap up' individual sequences with characters on the bus. Night Bus glorified the bus driver, the film almost felt like a TV advert for London Transport, encouraging youngsters and drunkards to be aware of the challenges bus drivers face.

Irritating, bizarre and arrogant. This feature lacked charm and substance.

LFF: Appropriate Behavior Dir. Desiree Arkhavan (2014)

First feature director, Desiree Arkhavan's Appropriate Behavior is a coming of age tale of twenty something American - Iranian, Shirin coming to terms with her recent break up and attempting to come out as bisexual to her traditional Iranian family.

Set in hipster paradise Brooklyn New York and following the trials and tribulations surrounding out spoken and fiercely confessional Shirin, the similarities to Lena Dunham's GIRLS were obvious. However, upon watching Appropriate Behavior, it's clear that Arkhavan stands on her own feet and has an entirely different tone to Dunham and her counterparts such as Greta Gerwig. Reason? Until now we have yet to have seen the issue of sexuality and culture explored in quarter-life crisis, solipsist tales. We have certainly been here before but Arkhavan shows a distinct and unique style in storytelling.

There are some extremely moving and perceptive sequences, one in particular is during the threesome where Shirin emotionally checks out - the detachment the lead character is feeling is expressed so eloquently just through the shifty camera work and Arkhavan's silence - it's the most emotive sequence in the film.

In some respects the layout of the film is similar to Woody Allen's Annie Hall, often going back in time to happier (and destructive..) moments with her ex and then back to the present day - it's a sophisticated method and works extremely well. We would have liked to have seen more sequences with Shirin's best friend, Crystal (played by Halley Feiffer) - she is a wonderful addition to the film.

At times it's difficult to warm to the lead actress (played by Director, Arkhavan) - her dead pan expressions can be slightly tedious and hard to digest. Although her charming honesty and overall wittiness engages the audience - with killer one liners such as "you have the sex appeal of a fairy" and "I can't believe you've replaced me with that fetus" it's certainly difficult not to laugh and be utterly taken by this fresh new talent.

We are looking forward to interviewing Desiree Arkhavan tomorrow at LFF's Afternoon Tea Session at The Mayfair Hotel.

To see a clip from the film click here.

London Film Festival 2014: Top Picks

Two hundred and forty eight films in the space of just twelve days - the BFI London Film Festival began yesterday- spread across seventeen venues in London and with press screenings already in full swing, here are our top picks from the festival, in no particular order:

Appropriate Behavior (2014) Dir. Desiree Akhaven

We are ridiculously excited about Appropriate Behavior -   director Desiree Akhavan also stars as lead actress - set in hipster paradise, Brooklyn, New York, this heavily autobiographical, coming of age comedy tells the story of a bisexual Persian girl coming to terms with her break up and figuring out how to come out to her parents. There is no denying the obvious comparisons to Lena Dunham's GIRLS, this confessional debut is one you certainly don't want to miss. Akhavan will also be starring in the new season of GIRLS that airs on Sky Atlantic in early 2015.

The Imitation Game (2014) Dir. Morten Tyldum

 Opening the festival this year is The Imitation Game starring Benedict Cumberbatch and Keira Knightley. With an impressive cast this thrilling and emotional biopic tells the story of mathematician, Alan Turing's work in cracking Nazi Germany's enigma code that helped the allies win World War II. Alongside his tremendous work, the film also touches on Turling's sexuality. In 1950s Britain homosexuality was illegal which leads me to my next point: the film  has all the perfect ingredients for an Oscar worthy film, great cast + thrilling & emotional biopic set in a pivotal moment of history + Weinstein company backing it. Check back tomorrow to read our review on the film.

The Face of an Angel (2014) Dir. Michael Winterbottom 

If you were obsessed with the Amanda Knox / Meredith Kercher news story as much as we were you need to see The Face of an Angel - Michael Winterbottom's film gives us a fictionalised account of the murder - The film stars model and current 'IT' girl Cara Delevigne. We are intrigued to see whether this film has any substance and furthermore which angle it takes on this highly publicised news story.

Foxcatcher (2014) Dir. Bennett Miller

This was a favorite at Cannes film festival this year, based on a true story, Foxcatcher stars Channing Tatum as Mark Shultz an Olympic wrestler whose relationship with his sponsor and brother lead to intense revelations. Not much has been given away about this title but it's certainly Tatum's most meatiest role to date so we're interested to see how his success flourishes as a consequence of his role here.

Night Bus (2014) Dir. Simon Baker

The sheer title of this film excites us - first time feature director, Simon Baker's film tells the story of passengers on a London night bus. Some have secrets others are looking for a fight and a few just looking to make their way home. With a good running time of ninety minutes, this Brit treat looks to be truly endearing and a delight to watch.

Spring (2014) Dir. Justin Benson / Aaron Moorhead

Part horror, part love story - Spring has been noted by critics to be 'POSSESSION meets BEFORE SUNRISE' - twenty-something year old American, Evan, embarks on a soul searching journey to Italy where he meets a girl, Louise, who has a dark secret - breaking the rules of film genres, Spring undoubtedly makes it on our top pick list from LFF this year.






Click here for a full list of other films showcasing at the festival this year.

12 Years A Slave: The Artwork

A typical Oscar poster inundated with positive critic quotes that would usually aggravate the hell out of me. Simple white back drop - stunning typography and Chiwetel Ejiofor leading the way and quite rightly so (the film is exquisite).

i Love. Love. Love...

....Unlike film distributor, Lionsgate Italy's art work that side lined the black actors and opted to highlight the caucasian actors like Brad Pitt - despite his ten minute cameo in the film (yes, he Executive Produced but who cares?)

Seriously, how did this happen...

Lionsgate Italy UK Artwork - 12 Years A Slave

The irony of it all.. Lionsgate have since apologised and withdrawn the art work. Read more by clicking here. 

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.