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What caught Craig’s eye at the BFI London Film Festival ?

Monday, October 22, 2012

Mill London 2D scheduler Craig Heathcote is this months roving film reporter, as he provides an insight into his highlights from last week's film feasting…

You've got to admire the programmers of the annual British Film Institute London Film Festival, they've certainly covered all bases. Over the last week I've spent twenty minutes watching a monk-like figure shuffling a step per minute (literally) around the streets of Hong Kong, clutching a bag and a bread roll. I've witnessed the often uncomfortable demise of a washed-up stand-up comedian as his life crumbles around him. I've observed a psychological thriller unravel in the back office of a burger bar. And I also spent two hours watching Fatboy Slim music videos. These disparate offerings are just a small pick of the celluloid pleasures on offer at this year's festival.

In its 56^th year the festival has decided to focus its usually broad categories into more niche groupings; from 'love' to 'debate' to 'thrill' and 'cult' every palate is catered for. Of course it wouldn't be the LFF without it's plethora of glitzy premiers and gala screenings. This year's spearhead being Tim Burton's Frankenweenie, attracting the usual roster of A-listers at the Leicester Square premiere. Crafted from stop-motion 3D animation, across eighteen months on three giant stages at London's Three Mills Studio's the film features 115 VFX shots completed by NVizible -including copious rig removal, CG water and matte painting set extensions.

Now to the shuffling monk.Beautiful 2012, a collection of shorts commissioned by the Hong Kong Film Festival incorporates an admirable range of themes and styles across four contrasting films based on the question "What is beautiful?" Whilst by nature infuriatingly and painfully slow to watch, Director Tsai Ming-Liang admirably manages to makeWalkerengrossing and humorous - with a little help from the urban beauty of Hong Kong and the lyrics of Sam Hui. The most humorous and touching offering of this bunch,My Way, follows a male to female transsexual as he deals with the indecipherable emotions such a process involves… and the fact he still has a dismayed wife at home.

In this Olympic year there are naturally a plethora of strong offerings from some of London's greatest filmmaking talents. Broken marks the screen Directorial debut of Rufus Norris (recent work includes London Road at London's National Theatre, Les Liaisons Dangereuses on Broadway.) Starring Tim Roth and introducing the superlative Eloise Laurence as our twelve-year-old hero Skunk. When Skunk witnesses a brutal act of violence between two of her neighbours, and she begrudginglyattracts her first boyfriend, the certainties and innocence of her childhood begin to ebb away. Broken is a strange mix of kitchen sink drama, black humor and shocking moments. Whilst this formula makes it incredibly watchable it's also its downfall,  as it's a great ensemble piece but it doesn't quite hang together successfully. However it's certainly one to watch for Laurence's performance alone and the dreamy cinematography. 

Equally as watchable was Tom Shkolnik's feature debutThe Comedian. Wholly improvised in workshops with the cast, it tells the tale of a call centre worker and failing stand-up comedian Ben, aged 32, who is stuck in an inescapable rut. As he is torn between two unsuitable relationships, struggles through painful comedy gigs and dealing with his jobsworth call-centre boss, this is a film that will resonate with so many of its audience. Whilst charming and very touching at points the improvised scenes do over-run, and at times feel empty.

If I had to make the difficult decision to recommend only one film from those I saw at this year's festival it would be New York writer/director Craig Zobel's Compliance. The film caused a storm at Sundance this year and certainly provoked gasps through-out and an uncomfortable silence as the credits rolled at this screening. A prank phone caller posing as a police officer manages to cerebrally manipulate a burger bar manager in to believing one of her staff has stolen from a customer. But that's just the beginning. The twisted caller manages to embroil a number of other pawns in his sick game, leading to some disturbing scenes and genuine jaw-dropping moments. A unique and original subject matter examining how far a rational human being could go when they believe they're under the instruction of an authority figure, you want to constantly yell at the screen in frustration of the characters gullibility. The premise is ludicrous and yet the final shocking twist in this dark tale is that every single bit of is true. Based on an American case where seventy similar known calls were made, this is a truly uncomfortable yet though-provoking film. Go see it.

In time of ever-shrinking budgets the variety on offer at this year's LFF slate has really demonstrated that sometimes all you need is an original idea or great story to engage your audience. Well done, BFI. See you next year.