London Film Festival 2024

Written by Hailey Passmore 

In cinemas throughout London, and on tour around the UK, the 68th annual BFI London Film Festival took place from the 9th of October until the 20th. Over 150 films and limited series sneak peaks were shown. It is difficult to see even all the films that interest you at the London Film Festival, but the following thirty were the ones I was lucky enough to view this year.

Digital Library - Tuesday 1st October

Thanks to my press accreditation, I had access to the festival’s digital viewing library. With this pre-festival digital access, the first film I watched was Baby (Caetano, 2024) on 1st October. Marcelo Caetano’s film Baby follows Wellington (Joaão Pedro Mariano) after his release from São Paulo detention center, and with no contact from his parents or any resources, he is completely alone. During an encounter with a man named Ronaldo (Ricardo Teodoro) at a porn theatre, Wellington is thrown into a new world of surviving and sex. Wellington and Ronaldo’s relationship grows into conflicting passion, jealousy and eventually complicity. In a passionate way, Caetano’s film shows the underground of sex workers and how difficult it can be for juvenile’s to find their way in the world after being in detention centers. 

Pre-Festival - Monday 7th October

Monday 7th October was another day of in-person pre-festival screenings. That day I was able to watch Good One (Donaldson, 2024), The Gutter (Lester & Lester, 2024) and I’m Your Venus (Reed, 2024). Good One follows 17-year-old Sam (Lily Collias) on a weekend backpacking trip in the Catskills with her father, Chris (James Le Gros), and his oldest friend, Matt (Danny McCarthy). While at a glance it may feel like this film is a “coming of age” film, once it ends, it becomes clear to the audience that Sam had already been more mature than most teenagers. The purpose of the film, or the deeper message, felt more of that of Sam coming to the realization of her situation and relationship with her father. While Linda Donaldson picks gorgeous shooting locations to showcase the nature in the film, it is the acting talent of Collias that carries the film. 

Directed by Yassir and Isaiah Lester, The Gutter follows Walt (Shameik Moore) as he strikes up a friendship with former pro bowler Skunk (D’Arcy Carden). While Walt and Skunk begin to discover that Walt may be the next best bowler, the only thing standing in their way is racism, alcoholism and Linda “The Crusher” Curson (Susan Sarandon). Perhaps more enjoyable for other members of the audience, I felt a little uncomfortable during the film. The Gutter has its moments, but it was definitely made with a specific audience in mind. Which is an amazing thing for a film screening at any festival.

I’m Your Venus is a timely and moving documentary following the unsolved murder of star of Paris Is Burning (Livingston, 1990), Venus Xtravaganza. Audiences are shown Venus’ two families – biological and ballroom – working together to find answers and celebrate her legacy. While we can all appreciate a documentary, it’s difficult to know what is staged/scripted and what is genuine. I’m Your Venus is shot like a typical documentary, with nothing that provides any extra effect. Venus’ brothers begin the search, perhaps out of the blue, for the killer of their sister and to get her legal name changed. Though they clearly had the right intentions at heart, in some moments, it felt like they would make the journey all about themselves. The most positive and heartwarming parts of the film were with the Xtravaganza family and when the brothers helped them cement Venus’ legacy. Having this documentary made is hopefully a step in the right direction for the LGBTQ+ community and for victims like Venus. 

Day One - Wednesday 9th October

As the premiere of Blitz (Director, 2024) was sold out, I chose to see A Traveler’s Needs (Sang-soo, 2024) instead. Reuniting with Isabelle Huppert director Hong Sang-soo directs another one of his stylistic films. Iris (Huppert), a French woman in Seoul, begins to teach French in an unfamiliar fashion. Her teaching methods allow her to pursue her own personal interests. In just one single day Sang-soo takes audiences along Iris’ journey through four different encounters. With her curiosity, Iris questions students and strangers for information about their country’s poetry and history, and even the relationships the strangers have with each other. Having never seen a Sang-soo film before, I went into A Traveler’s Needs blind. Even though it is simple following the events of one woman’s day, Sang-soo provides subtle comments and camera choices that allow for the audiences to laugh and enjoy the comedic aspects that can be found in the everyday and the mundane.

Day Two - Thursday 10th October

The press and industry screenings I attended this morning were Conclave (Berger, 2024) and Elton John: Never Too Late (Cutler & Furnish, 2024). Directed by Edward Berger, Conclave follows exactly what you think it would. After the loss of the Pope, Cardinal Lawrence (Ralph Fiennes) is tasked with leading the next Conclave and the selection process of the next Pope. While the world’s Cardinals gather in the Vatican halls, Lawrence realizes he is in the center of a conspiracy theory. The star-studded cast includes Fiennes alongside Stanley Tucci, John Lithgow, and Isabelle Rossellini. Even though the plot of the film seems straightforward. Berger takes the audience on a wild ride and hooks them right from the start.

Switching gears from Hollywood blockbuster, is documentary Elton John: Never Too Late directed by R.J. Cutler and David Furnish. There was no specific time in Elton John’s life, I felt, that this documentary focused on. It covered the early years, his career, becoming addicted to substances, recovery, and then it all leads up to his farewell tour. The full circle story portrayed in the film by Cutler and Furnish was that his first big show was at Dodger Stadium, and that was where he ended his farewell tour. Comprised of newly shot footage and archives, Elton John: Never Too Late feels more like a slide show than a smooth-running documentary. Styles changed throughout the film, and it did not feel very easy to follow chronologically. 

Based on the novel of the same name, Alfonso Cuarón adapted Disclaimer into a limited series for Apple TV+ releasing later this October. As part of the London Film Festival, Cuarón took part in a Disclaimer: Special Event for London audiences with the first three episodes being screened alongside. The limited series Disclaimer is based on the novel of the same name written by Renée Knight. The main premise of the series follows Catherine Ravenscroft as she is at her prime, until all of a sudden, a novel appears in her post. As she reads the novel, she begins to realize it contains revealing information about her darkest secret – a story she assumed was dead and buried. As the first three episodes play, each of Catherine’s family members – husband Robert (Sacha Baron Cohen) and son Johnathan (Louis Partridge) – slowly receive their own copies of the book, and Stephen Brigstocke (Kevin Kline), who is behind this plot, slowly tears Catherine’s life to shreds. With incredible acting, set design, editing, and much more, episodes 1-3 of Disclaimer leave you wanting to know more, wanting to know what happens to Catherine. Will she get away with it? Only episodes 4-7 will reveal. 

After premiering at Berlinale in February 2024, La Cocina (Ruizpalacios, 2024) has been a film I’d been eyeing to see. Starring Rooney Mara, Raúl Briones and Anna Diaz, La Cocina follows along with the restaurant “The Grill”, a New York tourist trap that services thousands of customers. During a lunchtime Friday rush, money has gone missing from the till and all the workers are questioned. What felt so thrilling about La Cocina was the stylistic and camera choices made to evoke the emotions and the feelings that would be felt in the situations the characters were going through. These choices along with the score helped grab viewers and keep them involved the entire film. 

The final film of day two was Memoir of a Snail (Elliot, 2024). Thoroughly enjoying this form of animation made it a simple watchlist choice. Director of Mary and Max (2009), Australian Adam Elliot is back with his newest stop motion animation film that took eight years to make. Memoir of a Snail takes place in 1970s Australia and tells the story of Grace (Sarah Snook). More specifically, Grace narrates the troubles and loss that has inflicted her throughout her childhood to her pet snail as she sets it free. It begins with her mother dying during the birth of her and her brother Gilbert (Kodi Smit-McPhee and them being raised by their paraplegic-alcoholic father Percy (Dominique Pinon). From here, it seems nothing ever good happens to Grace. She tells her snail friend about her life and loses everyone along the way. Perhaps, however (without spoiling), there may be a happy end in sight. Elliot takes precision and care throughout the animation process but keeps his figures imperfect so as to show the art form through and through. With gorgeous animation, the plot of the story just tears at one’s heart. 

Day Three - Friday 11th October

Even though I had already seen it at TIFF in September, I needed to watch Emilia Pérez (Audiard, 2024) with a film festival audience again. I also attended the red carpet for the film as well. All four female leads – Karla Sofia Gascón, Zoe Saldaña, Selena Gomez and Adriana Paz – along with director Jacques Audiard greeted fans on the carpet before proceeding to the press area and then presenting the film. Emilia Pérez follows Rita (Saldaña) an underrated lawyer working in Mexico when she is all of a sudden approached by crime lord Manitas to help him transition into the woman he has always wanted to be, Emilia Pérez. The film does not focus on Emilia’s transition to a woman, but the mental journey she takes afterwards. Losing love – Jessi (Gomez) – gaining new love – Epifania (Paz) – and dealing with the consequences of her actions, Emilia Peréz is a story about hope and transitioning in more ways than one. 

Day Four - Saturday 12th October

After not attending press screenings yesterday, I “caught up” today and watched three films. The three press screenings included It’s Not Me (Carax, 2024), Super/Man: The Christopher Reeve Story (Bonhôte & Ettedgui, 2024) and Sebastian (Mäkelä, 2024). It’s Not Me is a self-portrait created by Leos Carax in the style of free-form documentary short film. I had not yet seen a Carax film, but having seen this short makes me want to seek out his films. It’s Not Me features pieces of his last 40 years of filmography as well as films from other directors pieced together in what really feels like an experiment. Perhaps it could be called an experiment with one specific message in mind. Of that, I am not quite sure. When it comes to the original Super-Man films, I have not yet got around to watching them. Watching Super/Man: The Christopher Reeve Story has made me want to explore these films sooner. This did not simply feel like a documentary, it felt like it was made with great cinematic intent. Of course, it follows the life of Christopher Reeve, but it doesn’t focus on him as Super-Man. It looks at all aspects of his life. Using archive footage, film scenes, friends and family interviews, and much more, Super/Man brings Reeve’s story to life. What I believe is the most important, and touching part of the film is that they don’t keep the bad out of the film. They include the positives and negatives that came with loving and knowing Christopher Reeve. The directors chose to show him, not as a hero, but as a human – flawed and imperfect. Then lastly, Mikko Mäkelä’s Sebastian told the story of 25-year-old Max (Ruaridh Molica) living in London with dreams of becoming a writer. Told from the perspective of an LGBTQ+ protagonist, Max creates an alternate persona, Sebastian, and takes on the role of sex worker for first        -hand research for his debut novel. With ups and downs, too much partying, and even getting caught, in the end Max realizes it is best to be himself and stay true to his writing no matter how he conducts his research. A very moving film, and unlike normal films about sex workers, having a writer as the protagonist allowed for a sense of poetry and softness to come across in this field of work.

On the evening of the 12th, I attended the UK premiere of The Piano Lesson (Washington, 2024). Adapted from a stage play, The Piano Lesson follows brother and sister – Boy Willis (John David Washington) and Berniece Charles (Danielle Deadwyler) – as they fight over their prized family piano. As the two siblings bicker, family and friends observe as the two discover haunting truths about their past and their family legacy. With the typical Hollywood camera style, The Piano Lesson’s highpoint comes from Washington and Deadwyler. Along with the other actors, the two protagonists bring their talent to the film and do not disappoint. Where the film lacks is the clear adaptation from the stage play. There are elements that would have worked better on stage that did not come across perfectly in the film. That being said, however, without having seen the play, I cannot be certain. 

Day Five - Sunday 13th October

Today’s screenings included One to One: John & Yoko (Macdonald, 2024), Savages (Barras, 2024) and Grand Tour (Gomes, 2024). After watching Elton John: Never Too Late the other day, I could not see why I wouldn’t try and watch One to One: John & Yoko. While the two films follow events that occurred around the same time, they are, of course, two completely different films. The documentary follows the time period when John and Yoko live through a turbulent era of American history and become cemented in it as well. The most interesting aspect of the film is the use of the found footage and archive footage pieced together. That along with phone call recordings between John or Yoko and others. It allows the audience to see the two as raw as could be found. 

In 2016 director Claude Barras brought French film My Life as a Zucchini to screens. Eight years later he is back with his newest animated film, Savages. In Savages, young Kéria (Babette De Coster) rescues a baby orangutang from construction workers as they begin to tear down the tropical forest in Borneo. As she raises the orangutang, her cousin Selaï (Martin Verset) comes to live with them. One day, the two get lost in the forest but come to learn it is a safer place than the new construction and now must fight for the safety of the forest and its inhabitants. It is hard not to compare the two films together when they share the same director and animation style. While the animation of Savages is still just as lovely, it falls a little short on the plot. Perhaps a little slow, or less of an emotional message to connect with audiences, Savages is a lovely film but falls shy compared to My Life as a Zucchini. 

The last film of the day was one I had hoped to see at TIFF in September, but since I couldn’t, thankfully I was able to see it today. Directed by Miguel Gomes, Grand Tour takes place in 1917 Burma (now Myanmar) and follows British diplomat Edward (Gonçalo Waddington) as he runs away before marrying. His first stop on his getaway is Singapore, and his fiancée follows him. As Edward continues to move from city to city, he unknowingly sends his wife on a chase across Asia, or perhaps, a “grand tour”. The highlight of the film was its use of black and white. As the film takes place in the early 1900s, the feel of that period is brought to the screen with the style used to create Grand Tour. This allows the audience to feel as if they are watching a film made around the same time its events take place. However, overall it did feel as though the film took up its over two hour runtime, and could perhaps have been a bit shorter.

Day Six - Monday 14th October

Monday’s viewings included three press and industry screenings and one UK premiere. Bring Them Down (Andrews, 2024), Viêt and Nam (Minh Quy, 2024), and The Balconettes (Merlant, 2024) were the press screenings, and Nickel Boys (Ross, 2024) was the premiere at Royal Festival Hall. 

In his feature length directorial debut, Christopher Andrews takes the Irish countryside and turns it into this thrilling drama where a fight occurs between neighbours. Bring Them Down follows Michael (Christopher Abbott), the last son in a shepherding family, as a conflict rises with his neighbour Gary (Paul Ready) and son Jack (Barry Keoghan). The events that occur due to this conflict leave both families altered for the worse. What is incredible about the film is the use of the score and camera techniques that draw the audience deeper into the action, making them feel like they are truly immersed in the film. 

Viêt and Nam has great intentions but falls short with the slow burn route it tries to take. Following Nam (Pham Thanh Hài) and Viêt (Ðào Duy Bào Ðjnh), in the depths of underground coal mines, as they cherish every last moment together as one prepares to cross the sea for a new life. The film is gorgeous and the love between the two characters comes across as genuine, but little happens within the over two-hour film that allows it to be well worth its length.

Written with frequent collaborator Céline Sciamma, Noémie Merlant’s directorial debut The Balconettes (2024) is entertaining and female at heart. During an intense heatwave in Marseille, three roommates meddle with neighbours from their balcony. All is fun to them until one night of drinking with a boy turns into a bloody mess. All three leads – Souheila Yacoub, Sanda Codreanu, and Merlant – were witty and hilarious bringing laughter to moments that could have been quite dark. The Balconettes shows Merlant has potential as a director, and hopefully she and Sciamma will continue to collaborate on future projects.

Tonight was the UK premiere of Nickel Boys (2024) directed by RaMell Ross. Based on the novel of the same title, Nickel Boys follows a powerful friendship formed between two young Black teenagers at the Nickel reform school in Florida. Elwood (Ethan Herisse) is caught in the wrong position in a stolen car and sent to Nickel for his “crimes”. There he meets Turner (Brandon Wilson) who “takes him in” and helps him throughout their time in Nickel. As the film occurs in the United States during the times where people of colour were treated horrendously – they still are now – it is a difficult film to watch, but a story told in such a beautiful way, with outstanding acting. The one thing that changes the perspective of the film is Ross’ choice to shoot in a first person point-of-view which changes between the two boys depending on whom the storyline follows more closely in that moment. A difficult watch, but well worth it in the end.

Day Seven - Tuesday 15th October

To fit in a press screening on day seven of the London Film Festival, I chose to watch Viktor Kossakovsky’s Architecton (2024). Using the visual word more than dialogue, Kossakovsky explores the material that makes up the world in the 21st century: concrete. Reflecting on the natural destruction that occurs on the planet as well as man-made destruction, the audience is left to interpret what the message of the documentary might be. As Kossakovsky does not use dialogue until the epilogue in the end, the use of visual storytelling allows for multiple interpretations to be made by the audience before his true message is revealed. While this may be a downfall to his message, it does cause one to think and reflect on how we live on the planet today. 

After winning the Palme D’Or at the Cannes Film Festival in May this year, what film festival wouldn’t want to screen Sean Baker’s Anora (2024). Anora (Mikey Madison), a young sex worker from Brooklyn, meets and impulsively marries the son of an oligarch. Expecting this to be her chance at a Cinderella story, not everything is as it seems. Once Russia hears the news, her fairytale story is threatened as the parents head to New York to annul the marriage. With beautiful colouring and a high production value, Anora provides two hours of entertainment for the audience. However, in a low percentage of the audience, some might have wished for a different outcome in the end, or more character growth. 

A Real Pain (Eisenberg, 2024) stars Jesse Eisenberg and Kieran Culkin as estranged cousins David and Benji. To honour their beloved grandmother, the two reunite for a tour through Poland. All is well until the pair’s old tensions resurface and family drama comes into play. Another festival film with vibrancy even as it surrounds a dark place in history. Culkin and Eisenberg banter well together in character, providing jokes and punchlines to the audience. The film can cause one a great deal of reflection, but it can also provide comfort, entertainment, and a reminder that it is okay not to be okay. 

Day Eight - Wednesday 16th October

Julie Keeps Quiet (Van Dijl, 2024) was today’s first press screening. The film follows Julie (Tessa Van den Broeck), star player of an elite tennis academy, who’s life revolves around the sport she loves. All of a sudden, however, her coach falls under investigation when her former teammate dies. During the investigation, all of the team players are encouraged to speak up, but Julie remains quiet. While the film is beautifully shot, that is not the important or most well-done aspect of the film. I believe that the choice to show the power a superior and elder can have over a young ‘apprentice’ is deep. Julie Keeps Quiet shows how strong this can be with what it chooses not to say, not with what it does say. Sometimes silence is more powerful than words. 

With a short day today, my second film was The Colors Within (Yamada, 2024). This Japanese animation tells the story of high school student Totsuko (Sayu Suzukawa) who has the ability to see the ‘colors’ of those around her. One day, classmate Kimi (Akari Takaishi) gives off what Totsuko believes to be the most beautiful color. This leads to Totsuko meeting up with Kimi at a bookstore where they meet Rui (Taisei Kido). Although Totsuko cannot play any instruments – to start off with – the three create a band and develop the most beautiful music together. As they practice at an old church on a remote island, the three get closer and form the strongest friendship. As with most Japanese anime, it is beautifully animated and the colors – as this is a film about color – are vibrant. The story is one of love and friendship which pairs well with the colors chosen for the film. 

Day Nine - Thursday 17th October

Today’s one and only screening was that of Ali Abbasi’s The Apprentice (2024). Staring Sebastian Stan as Donald Trump, in his second role of the year, The Apprentice follows young Trump learning to make a name for himself in 1970s New York. As he is hungry for fame and wealth, he comes under the spell of Roy Cohn (Jeremy Strong), a cutthroat attorney whom Trump hires and ends up shaping him into the Trump the world knows today. As the runtime passes, the audience sees Cohn take Trump under his wing, teaching him his three steps for success, by developing a willingness to do whatever it takes in this young Donald Trump. What is eerie about The Apprentice is the timing of its release – right before the US general election – and the fact that even with the comedic jabs it takes at Trump and politics, there is some sort of realism and truth trying to be passed on from Abbasi. Stan and Strong give stellar performances and they each truly embody the character. The Apprentice reveals some internal lookings into Trump’s headspace and leads the audience into learning about how Trump became who he is now, gaining mannerisms from those around him and stomping on everyone along the way. 

Day Ten - Friday 18th October

Ever since it was announced that Angelina Jolie would take on the role of Maria Callas in Pablo Larrain’s final film of his bio-pic trilogy, I have been long awaiting its release. Securing tickets to the UK Premiere of the film allowed me to see it today. Maria (Larrain, 2024) takes place in 1977. Once known as the world’s greatest opera diva, Maria Callas (Jolie) now lives in seclusion in Paris. Alone with her staff and poodles, her health is declining. Out of the blue, she receives a request to go on tour once more. The question that needs answering, is will Callas sing again? And if so, for whom? Jolie is at career best in her role as Maria, and along with Edward Lachman’s gorgeous cinematography, the film barely lacks anything. 

Read the full review here: Maria (Larraín, 2024) Review

Day Eleven - Saturday 19th October

That Christmas (Otto, 2024) and The Room Next Door (Almodovar, 2024) were today’s press and industry screenings at The Picturehouse Central.

That Christmas stars a stellar British cast of voice actors including Brian Cox, Fiona Shaw, Jodie Whittaker, and Billy Nighy. Taking place during what Santa (Cox) refers to as “That Christmas”, the small town of Wellington-upon-Sea is home to several different families. In this span over the Christmas holidays, this town learns to ban together to deal with love and loneliness and saving one of their own. As soon as you hear the voices you can tell which cast member voices who, but the impactful part is the plot of the film. Definitely made as a family film, That Christmas passes on the most important message of Christmas: love, thanks and family/friendship.

Then, in his first English language feature film, Pedro Almodóvar adapts Sigrid Nunez’s novel What Are You Going Through (2020). Following Ingrid (Julianne Moore) and Martha (Tilda Swinton) as they rekindle their lost friendship. They separated when Ingrid became a novelist and Martha a war journalist, now the two reunite after Ingrid discovers Martha’s cancer diagnosis. While the two begin to become reacquainted, Martha asks Ingrid the most intense favour, will she do it? Staying true to Almodóvar style, The Room Next Door is a gorgeously crafted piece of cinema, and it is completed with the acting talents of Moore and Swinton. The only place in which it slightly lacks is the dialogue, which is completely understandable in it being Almodóvar’s first English film. The message passed through the film about hope, love and loss is powerful and important and is delivered through beautiful craftsmanship.

LFF '24 Letterboxd List

Once again the BFI's London Film Festival screened over 100 of the year's newest and popular films. There were more than anyone could have seen in one go. Hopefully, the ones missed will be released soon and the ones I watched should be seen by anyone if they can. Here's to many more years of film festivals at the BFI and the celebration of cinema. 

Poster/photo credits to IMDb, Universal Extras, Rotten Tomatoes, and Letterboxd.

Originally posted on watchedbyhailey.blogspot.com