No posts about films, but I've been busy creating lists that may be of interest, so via Letterboxd one can check the lists of:
#LFF2024 : https://boxd.it/B15lY
#LFF2023 : https://boxd.it/B11dQ
#LFF2022 : https://boxd.it/B10Vs
#LFF2021 : https://boxd.it/B10BW
So that’s my #LFF2022 top 10 locked. A lot of quality going on at #LFF this year so it was a tough call but this is where I’ve landed.
Very interested to see what others have got
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Well that’s my first #LFF as press done and what an absolute blast it’s been.
So many fantastic films watched, wonderful people met and levels of self-doubt conquered. It’s been quite the journey.
Maybe the real #LFF2022 was the friends we made along the way
GLASS ONION (dir. Rian Johnson)
Written with razor wit & executed with diamond-cut precision, #GlassOnion is a very worthy #KnivesOut followup. Gleefully toying with our whodunit expectations, Rian Johnson & Benoit Blanc twist & turn their way into our hearts once again #LFF2022
PINOCCHIO (dir. Guillermo del Toro)
Heartfelt & heartbreaking, #Pinocchio is a beautifully textured, elegantly animated retelling of a classic. As mortifying as it is magical, @RealGDT blesses us with a dark & delightful rumination on love, life & loss. Disney take note #LFF2022
I LOVE MY DAD (dir. James Morosini)
About as cringe as cringe comedy gets. If, like me, that’s your bag, then #ILoveMyDad is an absolute blast. Patton Oswalt & James Morosini make for a fantastic pairing in a hilariously twisted father-son story with a heart of gold #LFF2022
EMPIRE OF LIGHT (dir. Sam Mendes)
I’m not mad, just disappointed. Considering the talent involved with #EmpireOfLight it should be much better. Overall, it’s fine. It looks & sounds great & Coleman is fantastic yet Mendes’ poor writing & confused direction let it down #LFF2022
THE BANSHEES OF INISHERIN (dir. Martin McDonagh)
McDonagh’s best work since In Bruges. Banshees is a beautifully balance of heartbreak & macabre humour with a razor-sharp script & a collection of terrific performances. A parable-laced, contrary crowd pleaser that lingers #LFF2022
Fantastic day out for members of the Create Lab at @BathPsychology, exploring the @BFI LFF expanded exhibition on immersive storytelling. #LFF2022 #phdlife
Feckin hell. Gonna let it sit but this might just be my film of #LFF2022
So pleased I’m going to see this on Sunday at @BFI #LFF2022 https://twitter.com/playbill/status/1580295660355883008
BROTHER (dir. Clement Virgo)
Beautifully shot, written & acted. Clement Virgo crafts an affecting reflection on identity, brotherhood & love in all its forms. #Brother gets a little lost in its own meditative state at times but never lets its emotional engagement slip #LFF2022
TRIANGLE OF SADNESS (dir. Ruben Östlund)
Ridiculous, hilarious and gloriously grotesque. #TriangleOfSadness may be overlong and uneven but when it hits it’s stride, it’s a thing of absurd beauty. A chundering cascade of gross-out satire that’s not easily shaken off #LFF2022
THE WHALE (dir. Darren Aronofsky)
With heart, humour & aching humanity, Brendan Fraser puts in a deeply affecting, career-high performance that elevates #TheWhale above its contrivances & outside its cramped confines. This man is a gift. He must be protected at all costs #LFF2022
AFTERSUN (dir. Charlotte Wells)
#Aftersun had me floored. Fractured recollections fade in & out as Wells’ assured direction nails our complex relationship with the memories of our loved ones. Also has the most heartbreaking finale of #LFF2022 so far…& that’s saying something
WOMEN TALKING (dir. Sarah Polley)
A riveting slow burn with a powerful payoff, #WomenTalking grows into a potent story of courage & conviction. Claire Foy & Jessie Buckley lead a cracking cast, with Polley’s writing & direction making the most of the film’s restrictions #LFF2022
ENYS MEN (dir. Mark Jenkin)
Shot on disorientating 16mm, Mark Jenkin follows up Bait with a thoroughly unnerving folk horror freakout. With barely a word spoken, Jenkin utilises isolation, intense sound design & unsettling editing to craft a gloriously grainy ghost story #LFF2022
Still a puddle of emotion from Aftersun. This one ain’t leaving me #LFF2022
#NowWatching Enys Men
Only time will tell whether a grainy Mark Jenkin folk horror is the right viewing choice for my fragile Sunday morning brain #LFF2022
KLOKKENLUIDER (dir. Neil Maskell)
Part Harold Pinter, part Ben Wheatley, Neil Maskell’s directorial debut is a dark, sharp-witted slice of claustrophobia. A smart little conspiracy thriller that piles on the tension but is at its best when irreverent & painfully awkward #LFF2022
JEONG-SUN (dir. Jeong Ji-hye)
A quiet, understated exploration of shame, sexual exploitation & cyberbullying. Intimate & painfully real, JEONG-SUN shirks any temptation to be flashy with its subject in favour of a mundanely affecting approach. Low-key but striking stuff #LFF2022
MY FATHER’S DRAGON (dir. Nora Twomey)
They’ve done it again. Far broader than anything Cartoon Saloon have done before, #MyFathersDragon nevertheless burns with same level of emotion, storytelling & flawless animation we’ve come to expect from the studio. Loved it #LFF2022
Fair play to them, the kids were alright. Mostly well behaved and their cheering/clapping at appropriate moments actually warmed my cold, dead heart. If the overall energy is anything to go by, #MatildaTheMusical is gonna be a huge hit, trust #LFF2022
LOVE LIFE (dir. Kōji Fukada)
A quiet, affecting melodrama punctuated by moments of tragic humour. Both slight & emotionally dense, #LoveLife gets a little lost within itself at times, yet Fukada has managed to craft an honest, beautifully poignant tale of loss & trauma #LFF2022
MATILDA THE MUSICAL (dir. Matthew Warchus)
Delightful. #Matilda offers just the right mix of book & stage show to keep everyone happy. Hits the feels & the right notes to prove itself a worthy adaptation. Young Alisha Weir is a star & Emma Thompson absolutely rips it up #LFF2022
The teachers of the kids in front of me are passing them all sweets and cakes. This will not end well #LFF2022
There are more children in this #MatildaTheMusical screening than I have ever seen in my life and I’m not sure my brain is ready for it #LFF2022
GOD SAID GIVE ‘EM DRUM MACHINES (dir. Kristian R. Hill)
A fascinating, smartly researched look back at the criminally forgotten Detroit pioneers of techno and an informative - if a little disjointed - reflection on revolution, innovation and musical appropriation #LFF2022
