6 - VIKTORIA by Maya Vitkova
It's hard not to get excited about such an impressively unique vision as Viktoria. Ambitiously covering three decades worth of Bulgarian history, this film is also inspired by the filmmaker's own life and her relationship, or lack of relationship with her mother. The film looks beautiful and spontaneous at the same time, feeling all at once as if employing documentary like realism as well as metaphorical poetry. The cohesion of the visual and the narrative also shows a confidence and maturity by Maya Vitkova that is quite rare to find in a first feature. This might be because of her closeness and dedication to the subject. Nevertheless, Viktoria is also a story with a universal appeal and with plenty of interesting and facinating elements. As well as that, the calm pace of the story allows the emotional sides to sink in with the viewer and makes the film for a priceless and completely rewarding mediatative experience.
Viktoria will be presented in the Love section of the LFF, and screened on Sunday 12 at 20.20 at the BFI and on Tuesday 14 at 15.15 at the ICA.
7 - TIMBUKTU by Abderrahmane Sissako
An examination of Timbuktu's struggled with religious fundamentalism, focusing mostly on a man named Kidane who seems to have found the key to living an idyllic life out in the dunes away from the troubles caused by the Jihad. There is a haunting silence running throughout the film, as one of the points of focus of Sissako's film is that they have abolished the beauty of the characteristic Malian music. Cinematically speaking, it is understood, that such themes have been dealt with before, but it does not take long to understand that Timbuktu is a film that can distinguish itself quite comfortably. This is not just because of the way which Sissako, who grew up in the titular place, deciedes to shoot the desertic place and glorifying its beauty and even allowing it space to breathe through lengthy long shots and more detailed ones that take us through its streets as well as its outskirts - this in turn relealing an emotional attachment of the filmmaker's to it. And it is not just because of the audacity with which he tackles such touchy subjects and delicate matters. Perhaps this film's most impressive and distinguishing feature is its open use of satire, which is sometimes nothing short of exemplary comedic creativity through sequences such as an imaginary football game - due to football having been disallowed - or the representation of the Islamist authorities as gullible figures reminescent of the Keystone Cops. This humour reveals an underlying and poetic sense of hope that is also a driving force in the film which admittedly loses some of its impact in a somewhat trivial ending but nevertheless remains truly impactful.
Timbuktu will be presented in the Official Competition of the LFF, and screened on Friday 10 at 21.15 at the Odeon West End and Saturday 11 at 18.15 at the Curzon Soho.
8 - QUEEN AND COUNTRY by John Boorman
Around thirty years after his film Hope and Glory, John Boorman makes the sequel Queen and Country, which is more or less based on personal experiences and picks up the story where it left off, with the young central Englishman joining the army to fight the Korean War. There is a classic movie charm and appeal to Queen and Country that is rare to come by nowadays. Most particularly, it recalls war comedies of the fifties and sixties that were produced in Britain at the time when this film is set, and so as a result the whole feature is perfectly at ease in its environment. Boorman’s film also feels personal and despite having a lack of heavy messages being much more interested in expressing Boorman’s own formative years in his passions for cinema, the crowd pleasing appeal of the film is well balanced and makes it entertaining and funny with great finesse.
Queen and Country will be presented in the Laugh section of the LFF, and screened on Thursday 9 at 18.00 at the BFI, Sunday 12 at 12.00 at the Odeon West End and Sunday 19 at 21.00 at the Curzon Mayfair.
9 - SOMETHING MUST BREAK by Ester Martin Bergsmark
Sebastian, a transgendered teen's world is rocked by a young man named Andreas. A relationship develops between the two, but as it deepens and develops it also starts to pose an almost unbearable and weighty psychological threat. Free spirited, erotic, romantic and sweet. Eccentric and uproarious in its most ‘punk’ moments, the sweetness and softness of Something Must Break is really what charges the viewing experience. An intriguing exploration of sexuality and self-exploration. This was also possible due to the chemistry shared by the two leading actors. Nevertheless a big chunk of the praise goes to the director, Ester Martin Bergsmark in his feature directorial debut for his match and balance of technical competence and a stylish outlook with plenty of fascinating sensorial enrichments in sound and vision with genuine emotional connection.
Something Must Break will be presented in the First Feature Competition of the LFF, and screened on Friday 10 at 18.15 at the Odeon Covent Garden and on Sunday 12 at 21.00 at the Rich Mix.
10 - DIFRET by Zeresenay Berhane Mehari
A young girl faces an almost certain death penalty after she kills one of her kidnappers. The law is on the kidnappers’ side in accordance to an old Ethiopian tradition that allows such behaviours that lead to marriage. Hope arises when a female lawyer comes to her rescue. Difret by Zeresenay Berhane Mehari is incredibly based on a true story and exposes a subject that is not talked about. Despite its regional implications, Difret feels universally representational as a plea for evolution of mankind’s ethics and an elimination of nonsensical and dangerous traditions. There is also a great use of the theme of female empowerment felt throughout the film. As a human rights feature, it is a greatly affecting able to connect with its audience emotionally. It also looks great, and this is also due to the fact that it is shot in glorious 35mm that not only paints a stunning picture of the landscape of Ethiopia but also reveals Mehari’s love for his home country. This reveals that Difret is not simply a film of protest but an inspiring story and a warm act of love and plea for much needed change.
Difret will be presented in the First Feature Competition of the LFF, and screened on Saturday 18 at 14.45 at the Vue West End and on Sunday 19 at 15.45 at the Rich Mix.