After his men are killed in Burma. A lone soldier returns home in search of solace. Hiding a dark secret and confronted by an unrelenting journalist, he's forced to face the ghosts of his past one last time.

The classic story of Peter Pan is wildly reimagined in this ragtag epic from Benh Zeitlin, director of BEASTS OF THE SOUTHERN WILD. Lost on a mysterious island where aging and time have come unglued, Wendy must fight to save her family, her freedom, and the joyous spirit of youth from the deadly peril of growing up.

Directed by: Benh Zeitlin

For f*** sake that’s a lot of f***s.

In Jumanji: The Next Level, the gang is back but the game has changed. As they return to Jumanji to rescue one of their own, they discover that nothing is as they expect. The players will have to brave parts unknown and unexplored, from the arid deserts to the snowy mountains, in order to escape the world’s most dangerous game.

Directed by: Jake Kasdan

Written by: Jake Kasdan & Jeff Pinkner & Scott Rosenberg

...in theaters December 13.

The End of the F***ing World 2 streaming Nov 5.

LITTLE JOE follows Alice (Emily Beecham), a single mother and dedicated senior plant breeder at a corporation engaged in developing new species. She has engineered a special crimson flower, remarkable not only for its beauty but also for its therapeutic value: if kept at the ideal temperature, fed properly and spoken to regularly, this plant makes its owner happy. Against company policy, Alice takes one home as a gift for her teenage son, Joe. They christen it ‘Little Joe.’ But as their plant grows, so too does Alice’s suspicion that her new creation may not be as harmless as its nickname suggests.

Directed by Jessica Hausner

Starring Emily Beecham and Ben Whishaw

From the motion picture HARRIET, the Original Song "STAND UP" is written by Joshuah Brian Campbell & Cynthia Erivo.

Based on the thrilling and inspirational life of an iconic American freedom fighter, HARRIET tells the extraordinary tale of Harriet Tubman's escape from slavery and transformation into one of America’s greatest heroes. Her courage, ingenuity, and tenacity freed hundreds of slaves and changed the course of history.

Times change. Duty endures.

As Queen Elizabeth II (Olivia Colman) faces a rapidly changing Britain, her family continues to struggle against the needs of the monarchy and the wants of their fracturing personal lives. 

Season Three of The Crown arrives November 17th.

Jordan Waller writes and stars in this dark comedy horror about a couple of siblings who leave post-Brexit England to find their birth mother in outback Australia, only to discover a town full of bloodthirsty oddballs, played by Helen Dallimore, Gary Sweet, Kerry Armstrong, Kevin Harrinton and Don Bridges.

An incisive and compassionate portrait of a marriage breaking up and a family staying together. From Academy Award-nominated filmmaker Noah Baumbach and starring Scarlett Johansson, Adam Driver, Laura Dern, Alan Alda and Ray Liotta.

BLACK HAT WINS 2019 IRIS PRIZE IN CARDIFF

BLACK HAT, a drama set within LA’s Hasidic community and directed by Sarah Smith, wins the £30,000 prize for an international LGBT+ short film

Teen trans drama MY BROTHER IS A MERMAID, directed by Alfie Dale, wins the awards for Best British Short and the Audience and Youth Awards.

Winner announced by Queer as Folk/Years and Years writer Russell T Davies

Black Hat, directed by US director Sarah Smith, has been announced as the winner of Cardiff’s annual international LGBT+ short film award, the Iris Prize. Her film tells the story of a closeted Hasidic Jewish man living in Los Angeles and was a second nomination for Sarah and producer and writer Philip Guttman, who were shortlisted for their comedy D. Asian in 2015. She is the fourth woman to win the prize.

The £30,000 prize, supported by The Michael Bishop Foundation, allows Sarah to make another short film here in the UK. Eleven films have been produced by Iris Prize winners to date, the first being Colonial Gods, from Academy Award-nominated writer and director Dee Rees (Mudbound).

The winner of the Best British award, sponsored by Pinewood Studios, is My Brother is a Mermaid; a magic-realist story about a trans teen living in a dilapidated seaside community. The film, directed by Alfie Dale, was also the winner of both Cardiff University’s Iris Prize Youth Award and the Buzz Magazine Audience Award.

Best Feature went to And then We Danced, a romantic drama set in a prestigious Georgian dance academy, with special mentions going to UK director Hong Khaou’s film Monsoon and the documentary Changing the Game.

Best Performance in a Male Role went to Monsoon’s star Henry Golding(Crazy Rich Asians, A Simple Favor), with Best Performance in a Female Role being won by Linda Caridi from the Italian comedy Mom + Mom (Mamma + Mamma).

The awards took place during the Iris Carnival at Cardiff’s Tramshed, with live music from BLɅCKƎLVIS, a “food village” supplied by Co-Op.

The winner of the Iris Prize was announced by writer and producer Russell T Davies (Queer as Folk, Doctor Who, Years and Years).

“Visually stunning… a perfectly crafted and concise work of art”

Speaking of Black Hat, International Jury chair Jake Graf said, “It shone a light on an often unseen community in a sensitive, tender and positive way, without casting judgement. We found the lead charming and likeable, the film visually stunning, and responded well to this perfectly crafted and concise work of art. Accomplished, enjoyable and captivating.”

In an event on Saturday, Black Hat was announced as one of three films in the final running for the Iris Prize, the other films being Ponyboi, directed by and starring intersex actor River Gallo, and Marguerite, directed by Marianne Farley, which was previously nominated for an Academy Award.

“Marguerite elicited an unprecedented emotional response from our jury,” said Graf, “with many of us in floods of tears. Not only did it depict an underrepresented section of our community, but it did so with subtlety, empathy and charm.”

Speaking of Ponyboi he added that it was, “Original and dreamlike… a visual feast. The lead performances were as strong as the cinematography. Fresh, original filmmaking.”

Join the adventure of a lifetime and watch the action-packed new trailer for Disney’s JUNGLE CRUISE.

The trailer was launched via a fun-filled Instagram Live featuring Dwayne Johnson, interacting with a boat full of skippers from the Jungle Cruise attraction at The Disneyland Resort.

Inspired by the famous Disneyland theme park ride, Disney’s JUNGLE CRUISE is an adventure-filled, Amazon-jungle expedition starring Dwayne Johnson as the charismatic riverboat captain and Emily Blunt as a determined explorer on a research mission. Also starring in the film are Edgar Ramirez, Jack Whitehall, with Jesse Plemons, and Paul Giamatti.

Jaume Collet-Serra is the director and John Davis, John Fox, Dwayne Johnson, Hiram Garcia, Dany Garcia and Beau Flynn are the producers, with Doug Merrifield serving as executive producer.

Disney’s JUNGLE CRUISE opens in U.S. theaters on July 24, 2020.

The Robinson family, part of a highly trained mission to establish a new colony in space, is unexpectedly pulled off course forcing them to crash land on a lost planet.

Official music video by MIKA performing “Sanremo” – off the new album "My Name Is Michael Holbrook" available now: https://MIKA.lnk.to/MNIMHYD

Hannah Gadsby’s tenth solo show was Nanette. It did alright.

Nanette played around Australia and the UK for 18 months – taking out the top prizes at the Melbourne and Edinburgh festivals, before sitting down in New York and dropping a Netflix special in June 2018.

This won her a Peabody Award and started a global conversation that continues today.

Now Gadsby is back, making her debut appearance at Southbank Centre with her new show, Douglas.

While Nanette was a random barista, Douglas is a very specific dog, and the only thing they have in common is they’ve inspired Gadsby to put pen to paper and turn out a show you couldn’t possibly expect.

Gadsby found her voice with Nanette, and with Douglas she plans to use it.

In theaters February 7, 2020

 

The plot revolves around six billionaires who fake their own deaths and form an elite team to take down the bad guys.

The MONOS movie by Alejandro Landes has won the 2019 edition of the Sebastiane Awards. The LGTBI awards of the 67th San Sebastian Festival.

This production of Colombia has a youth and choral cast to speak with great filmic power on issues such as violence, sexuality, inequalities … Where it seems that Colombia is talked about but in reality we are talking about all of us.

The jury of the 20 Sebastiane Prize said:

In a world in which the binary dichotomy is blurred; Monkeys offers us a story that is put on both sides of all things. But it is also placed nowhere. The films of good and bad, the gay and the straight, the separation between man and woman, victim and victimizer … are binomials that throw us away from the real debates. Disputes about violence, sexuality or social inequalities.

In the filmic development Alejandro Landes does not use the highlands, the jungle and the river as scenarios but as moods of a group. In that group the only moral compass is called Rambo and is a queer character.

 

by David Anderson Cutler

The BFI London Film Festival is upon us again [that was a quick year!]...with a staggering choice of LGBT films and short films. It will be nigh on impossible to cover every [LGBT] film...but, we will try to do our very best. So...here are the films on our watch-list...subject to changes and clashes...enjoy!

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Wednesday 2 October 2019...

The Personal History of David Copperfield
By Armando Iannucci

Here's a book...a wild re-imagining of an absolute classic...

Undoubtedly, the purists will loathe it...it's akin to a cubist doing an interpretation of the Mona Lisa. Mr Iannucci has been a tad extravagant with the original material...rendering it into mainstream comedy [with generous dollops of sentimentality] rather than the satirical/cynical wit that he is best known for.

Those, unlucky enough to have never read the book...will be duly entertained. It is a fine production for the uninitiated. But...there remains that great big elephant [in the film] that needs to be addressed: The casting. Certainly, [one of] the boldest casting decisions ever made. In Mr Iannucci's defence, as he explained in the Q&A, he wanted to reflect a modern-day, multi-ethnic London...in Dickens' time! A bold move, a bolder decision...but, does it work? Yes, it [in part] does...in that ethnicity should never matter...and, for that [alone], this film should be applauded.

You Don't Nomi
By Jeffrey McHale

Definitely...a film for a small niche market...to be part of the intended audience:

1. You have to have seen Showgirls.

2. You have to have either loved, liked [or - at least - appreciated] what Paul Verhoeven was trying to say!

3. You have to be able to - willingly - digest absolute fantasy...courtesy of Adam Nayman and his book: It Doesn’t Suck: Showgirls - without which, this film would probably never have been made.

The big question is: Does Jeffrey McHale's [almost] academic reappraisal - of one of the worst films ever made - manage to change hearts and minds? No, it's a simple as that!

No amount of analysis, re-analysis and proselytizing will change the fact that Showgirls is...garbage. Apart from some archive footage, Paul Verhoeven does not take part...shouldn't the man - himself - defend his own film instead of these two flunkies?!?

Without his input, You Don't Nomi  is reduced to nothing more than mere [flunky] fandom...and, just like its inspiration, is laughable...for all the wrong reasons.

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Thursday 3 October 2019...

The King
by David Michôd

Take a piece of history, give a nod to William Shakespeare, oomph it up with a few big names, some [historical] inaccuracies [aka poetic licence] and a budget to die for...the result is this...The King - a rather savage, sweeping and assured version of the 'facts'. 

This is a film about manipulation and masculinity...moreover, this is about the brain behind the brawn. Watching Timothée Chalamet jostle to the tune of the puppet master(s) - until the penny eventually drops - is as revelatory as the revelation itself. This young man can act...it will come as no surprise if he receives the nod from Oscar. In fact, this film has Oscar-worthiness written all over it...even Robert Pattinson's small [as in role] but perfectly formed Dauphin may bag him an award for best supporting actor! He steals the show...with his heavily accented menace.

Joel Edgerton deserves due praise for both being [gruff and amiable] John Falstaff and co-writer...the script manages the complexities of the story without being overly complex...now that's clever. Sentimentality does get a look in, without it being soppy. As we all [should] know, Prince Hal's mighty moment was Agincourt...the film's climactic battle scene does not disappoint. Filmed with breath-taking savagery while still retaining the absolute futility of it all. Impressive to say the least...and that is what this film is...impressive.

The Miracle of the Sargasso Sea
by Syllas Tzoumerkas

Structure is everything...especially in film! Strong foundations are crucial...without them everything falls apart. Ironically, this film has the strongest of foundations - the opening scene is fierce. And then, sadly, it literally falls apart...for a while...waiting for something to happen...when that 'thing' eventually does [belatedly] happen, the audience couldn't care less. Why? Because...what Syllas Tzoumerkas [erroneously] did is to make his central character so bloody unlikeable that you don't give a hoot if this drunken police chief solves the [long awaited] crime or not. Obviously, she does...in an absolute [inconceivable] flash!

All this film needed was a brutal script editor, someone who could see the wood behind the trees. Quite possibly, Mr Tzoumerkas' intention was to present humdrum daily monotony as a foil against the abject disturbia that follows. It certainly is as disturbing as disturbing gets...but, the lead up, all that flaff...well, disappointingly so, let's just say that there was way too much flaffing around before the final event and leave it at that!

Matthias & Maxime
by Xavier Dolan

Xavier, Xavier, Xavier...where have you been?

After a cacophonous and dissenting win at Cannes with the divisive It's Only the End of the World [although we loved this film]. And, following the full-on flatulent disappointment of The Death and Life of John F. Donovan, Monsieur Dolan [thankfully] returns to what he does best...with one almighty problem!

That 'problem' is none other than that old chestnut itself...being too close, doing too much. The importance of a script editor can never be exaggerated...M&M desperately needed one to shave off all the unnecessary bristle. In John F. Donovan, Monsieur Dolan infamously cut Jessica Chastaine from the entire film [he lost quite a few Hollywood Brownie points with that manoeuvre]...if he had employed that same tactic with M&M, by cutting out the entirely unnecessary scenes with Harris Dickinson...and, by listening to and acting on a script editor's advice, M&M would have been a far better film than it is.

Saying that...M&M is [still] a fine film...with so much heart and wounded soul. Boys born on different sides of the tracks...friends with aspirational benefits, friends destined to become so much more. Monsieur Dolan infuses his character with a decent, deep-down delicacy...he is everything that Matthias is not and vice versa. Yet, they fit. Their relationship is as lovely as it is frustrating to watch...with their histories concluded and their futures yet to be decided...this is all about will they or won't they.

All Matthias & Maxime needed was a closer shave to be more of a marvel than it already is...!

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Friday 4 October 2019...

Bacurau
by Juliano Dornelles & Kleber Mendonça Filho

When you cheer at someone's head being blown off...you just know that these directors hit the nail squarely on that head!

Take one tiny pueblo in the middle of nowhere, populate it with some 'savoury' characters...throw in a flying saucer, some mind-altering drugs and a few murderous guns...Bacurau is a place you wouldn't want to visit...but, will definitely want to experience...from afar, from the comfort of your living room!

From where it starts to where it ends up is akin to popping a pill [or two] downed with a bottle of Mezcal...this is definitely a trip into foreign and strange territories. The cruelty is unnerving, the corruption is soul-destroying and the twists and turns are a hallucinogenic rollercoaster return to normality.

As a statement on poverty, Bacurau is relentless. This is a community that is - quite literally - preyed upon...by absolutely everyone, in ways you couldn't imagine. Yes, it's political. No, it's not a head-spinning whine against capitalism. This is a thrilling, often hysterical, shot-gun approach to social commentary. This is what happens when everything goes barking mad and the underdogs collectively raise their hackles. Seriously...the is sensational film-making.

Monos
by Alejandro Landes

Lord of the Flies with a bit of Johnny Mad Dog, snippets of Deliverance and a soupçon of Apocalypse Now...yip, a sensorial smörgåsbord of cinematic references...with a [vital] difference. This is Colombia's dilapidated state-of-affairs...thrown out, for all the world to see...made accessible through the power of film.

Alejandro Landes grinds his axe...into a searing and scathing edge. For this is not fiction, this is the reality that Colombians have been living with for decades. The exploitation, the brain-washing, the arming of children is a practice so heinous...yet, it [inexplicably, criminally, negligently] persists all over the world.

Monos is a difficult film to watch...as it should be. It's finely crafted with some remarkable performances. There is little in the way of sympathy for these kids, there are a few nuggets of vulnerability...but, bearing in mind that these are just [manipulated] kids, the sympathy should gush...Señor Landes presents it as it is...asking the question: What would you do if this happened to your own child? A tough one to imagine, this film will help.

Remarkable.

Trouble
by Mariah Garnett

The trouble with Trouble is...there really isn't a very interesting story to be told.

Sorry to have to say that...but, what may have had potential [to be made into a film] proved to have little-to-no potential at all...rendering this to be a masterclass in getting blood out of a stone...with some bizarre [gender] identity issues thrown in, along with some drag queens, simply [it would seem] to increase the run-time to that of a feature.

For Mariah Garnett, this is a personal travelogue into her family history and beyond. After many years, she reunites with her estranged father...you would think that this would be an emotional journey...surely, an emotional reunion...for the audience, it's not. If it was for her, she certainly doesn't show it on camera.

Apologies...but, some [most] familial stories really ought not to be shared...they are only interesting to those involved...even with the 'artistic' flourishes!

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Saturday 5 October 2019...

The Lighthouse
by Robert Eggers

Madness...pure and utter madness! You'll either love it or loathe it...we loved it!

Apart from a few brief appearances by a mermaid, this is a duel of words and a jousting of minds...between [equally matched] Willem Dafoe and Robert Pattinson...both knock it out of the park unreservedly. Robert Eggers sets the malignant tone from the off...stern black and white, claustrophobic aspect, wildly angular sets and a soundscape that will shake the bejeezuz out of you...that bellowing foghorn!

So...it's two men alone on a rock for weeks...surely, there's got to be some kind of subtext!?! Oooh there is, a smidgen. But, if you let your imagination run wild [as Mr Eggers did], that subtext is as subtle as a brick banged into your face. Robert Eggers, as he said himself: "Nothing good can happen when two men are trapped alone in a giant phallus." And nothing does!

It ain't pretty, it is bizarrely comic and it will invoke a few WTFs...all-in-all, this is just a brilliantly realised nightmare. Not one for the more prudish nor bird lovers!

This is Not Berlin
by Hari Sama

One for the underage kiddies who [all] desperately want to be overage!

The year is 1986 [in Mexico City]...for those of us who lived, loved and partied through the 80s, This is Not Berlin had the potential to cause a wave of nostalgia to wash over us. Apart from some of the song choices, it [sadly] didn't. And, for those of us who lived in big cities, balancing on the various stepping stones to full-out-and-proud homosexuality, This is Not Berlin will - quite possibly - infuriate...perhaps, even anger.

So...why all this negativity? This is Not Berlin is a victim of these politically correct times. This [film] may be set in the 80s...but, the sentiment is distinctly present day...the obvious target audience being the queer kids now. Hey, there was none of that [reclaimed] queer then...we were all just 'gay' trying to get on and feeling a bit safer in [big city] numbers. Remember, the 80s [and 90s] were decades of horror...no matter how much we [all] partied and rocked the establishment...the spectre of HIV/AIDS was never far away...no matter where you were, machismo Mexico or hedonistic Berlin...

Hari Sama lays it on thick, too thick...his vision of the 'sexuality revolution' is more pastiche than the then reality. Still, the queer kids [of today] will probably give it an approving nod...because, none of them were born when this film took place...and, few of them realise and/or respect what their older generation did for them!

Monsoon
by Hong Khaou

Story-telling takes on many forms, Hong Khaou has his own style and voice...infused with delicacy and, surprisingly, [considering the many themes explored] serenity. Quite easily, Monsoon could have slipped into a melodramatic deluge of emotion...thankfully, it doesn't. Instead, we are given room to think, moments just to watch a process of exploration and self-realisation. This is a carefully constructed mood, a thoughtful sense of being. The three tenses are given a voice...past, present, future...as are the conditionals...what could/should/would have been/be...as for the future...well, that all depends on the here and now...those 'ifs' - this all sounds terribly complex and that is the innate beauty of this film, Hong Khaou manages to demystify the complexity...via a gentle and poised performance by Henry Golding...

Monsoon may [or may not] sweep you away emotionally...but, it will linger...asking - politely - where are you? Where is your place? Not many filmmakers are bold enough to ask such questions...Hong Khaou does, politely.

A lovely, careful film.

Jojo Rabbit
by Taika Waititi

Rib-tickling and spine-chilling...both, at the same time!

Taika Waititi has outdone himself...here's a director, an actor, a writer at the top of his own game...and, thankfully, doesn't take himself too seriously. His performance on the red carpet [@London Film Festival] was...nothing short of bizarre...and, a breath of fresh air!

From Charlie Chaplin to Mel Brooks, not many have taken on a caricature of Hitler [and succeeded]...Taika Waititi joins this 'elite' - with his camp, crazed, comical führer...it's sure to offend many.

It's a tricky road to navigate, war & Nazism seen through a young boy's eyes & mind...where do you draw the line? Well...it would seem, you don't...throw it all up into the air and if you have the gift of being able to direct young actors [especially in comedy]...then, for sure, you're quids in! Taika Waititi directs kids with a stuffed wallet. Roman Griffin Davis is a wee marvel as he jumps between naivety, innocence and curiosity...all awhile sensing the penny starting to drop...it's a daft and dark road to his enlightenment.

There are even a couple of gay Nazis...Sam Rockwell and Alfie Allen, are a not-so-subtle couple of contrasting screaming, sweet-and-sour Nellies...the uniform re-design [scene] is an instant classic in absolute absurdity.

Jojo Rabbit is absurd...and [weirdly], has garnered much [undeserved] criticism from critics [what do they know!?!]...way too cantankerous and analytical to enjoy a film that [brilliantly] mixes the highs and lows of childhood with the absolute horrors of war.

Kids will love it. Everyone will love it...apart from those daft critics! A wee gem of a film.

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Sunday 6 October 2019...

Honey Boy
by Alma Har'el

It's no surprise when Shia LaBeouf surprises...here, he surprises in a way you wouldn't expect!

There is nothing wrong with the film per se...it is a [fairly] finely crafted piece with two standout performances from Mr LaBeouf and Noah Jupe [playing father and son]. There are even moments of deft directorial flourishes. The only problem is...after all of his antics over the years, can you really take Mr LaBeouf seriously?

This is Shia's catharsis...thrown into the public realm...for all to see, for all to dish out their sympathies and empathies...of course, it's an uncomfortable film to watch. It is just as uncomfortable to witness...a child being utterly exploited presented via the cinematic equivalent of a tabloid front-page.

If this had not been written by the man himself, if this was not his story, if he had not played his own father...so many 'ifs'...then, it wouldn't be the film it is. This is a head-line grabbing testimony. It's just that...that formidable reputation gets in the way...perhaps, wishfully, this is exactly what Mr LaBeouf needed...a grand venting of all the crap that life prematurely threw at him. Hopefully, this release will be followed by the 'relax' he so obviously needs. And then, who knows, he could become a credible, seriously-taken actor...here, he shows [amply]...he has the talent.

Still, as a statement on the consequences and repercussions of 'child stardom' - it packs a mightily powerful punch.

Sid & Judy
by Stephen Kijak

Seriously, she didn't stand a chance...being surrounding by vultures...who pecked and picked the very flesh off of her bones.

Gleaned from [some would say a dubious] memoir [by Sid Luft], personal photographs and archival footage...Sid & Judy is both pleasure and pain. Her star shone so brightly...she died, June 22, 1969, aged 47.

Judy Garland needs no introduction, her story is familiar territory for many...yet, Stephen Kijak has rooted and rummaged and assembled...Judy as you've never seen her before, Judy as you have never heard her before...and, Judy...a version of events, you did not know.The impeccable highs, the death-defying lows...the drugs, the alcohol, the marriages, those men...who eagerly snatched the money she earned without offering a helping hand...something she so desperately needed. Judy will always be an icon...when she sang...she sang with her heart on her sleeve. Torch and tragedy have never been so painfully [nor painstakingly] portrayed.

This is an astounding homage...punctuated with highlights; live on stage, singing with Ms Streisand. Truly, un-missable.

Don't Look Down [Haut perchés]
by Olivier Ducastel & Jacques Martineau

Odd...strangely compelling...but, definitely odd...in an absurdist sort of way.

Olivier Ducastel & Jacques Martineau seem to be channeling Jean-Paul Satre, there's a whiff of his 'No Exit' surrounding Haut perchés - so, you wouldn't be wrong in thinking that an existential vibe permeates throughout this peculiar offering. Not everyone's cup of tea and - quite possible - not everyone's cup of coffee either...it is a challenging bit of work that would have benefited more from the few [rather bizarre] scenes of levity...the 'flossing' scene is an instant, weirdly and insanely out-of-place [in a good way] classic. The film just needed a bit more of that insanity.

Saying that...this is an insane film...and, considering there is only one set [an apartment with a rather lovely Parisian rooftop view], the cinematography is slick and colourful. The performances...each character has their moment...and, can't be faulted. It's an interesting, technically accomplished film...it [too] has its moments, it just needed more of them and, perhaps, a few less words.

Blackbird
by Roger Michell

Get the hankies ready...this is raw emotion with a [last-minute] realised dysfunction that really screams: It's never too late to make amends.

A re-make of the Danish film, Silent Heart...with some big names attached. This is ensemble acting at its absolute best...held together by a director who knows how to treat his actors.

This is the peeling off of layers until you get to the hearts of all that matters...love, sexuality and fidelity all take their respective bows...but, it's the assisted suicide that takes centre stage. Taking charge, taking control...before it's too late...Susan Sarandon gives everything and more.

There are no judgments...each states their case, for or against...and all just want one [maybe two] more days, weeks, months. But, when that indelible line is self-drawn...it would take something and more to back down.

Sam Neil delivers a quiet and contemplative performance...both as husband and doctor, he segues away from the Hippocratic Oath and marital vows...further strands to add to the complexity of the situation.

And, this is a situation that most will neither want nor be able to contemplate...yet, Roger Michell's direction offers a familiar hand...family squabbles and family secrets persist even in the face of finality.

How would you cope? That's what the film asks, there are no right or wrong answers. There is only respect and to be respectful...indeed, a difficult film to watch...all kinds of emotions will well up...but, ultimately, it will leave you with only one...respect.

Again Once Again
by Romina Paula

Not much ado about practically nothing!

This is a bit of a peculiar hybrid...a playwright/theatre director's first film...part fiction, part autobiographical, part documentary, part drama. As a whole, it's underwhelming to say the least.

It's a bit of everything...it's a bit static, it's a bit sparse. She's a bit lesbian, a bit heterosexual...probably, although unstated, totally bisexual. She's either left her partner or is [just] on a little break...and, it all amounts to a dithering disinterest.

If this had been a straightforward documentary about Romina Paula's mother [her actual mother plays her mother in the film]...then, yes, something interesting could have been gleaned from this mundane misadventure. She [the mother] certainly has a rich and untapped history about immigration and re-settlement...but, alas, the director's creativity got in the way.

All in all, this is a mid-life crisis that is neither mid-life nor critical. It's just a film that doesn't know what it is! Not exactly a glittering debut!

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Monday 7 October 2019...

The Two Popes
by Fernando Meirelles

Complete and utter fantastical fiction...encased in fact!

Pope Benedict vs Pope Francis vs Pope Benedict...and, the words of Anthony McCarten [surely, he must get the Oscar!], this is like a court transcript with all the theatricality you would expect from two of the most high-profile defendants/claimants...ever!

Fernando Meirelles - miraculously - makes his audience the judge. God doesn't feature [much]...perhaps, he's the lone [unnecessary] juror...a little lost in the struggles of defense, duty and destiny. This is not about 'Him' - this is about two men with [questionable] histories [possibly & probably] unbefitting of the office in which they occupy.

Anthony Hopkins is - truly - terrifying as Joseph Aloisius Ratzinger [Benedict], from Hitler Youth to the Holy See, an intellectual homophobe and the 'cleaner' & 'fixer' of many of the many child abuse crimes. How he 'fixed' them is an entire film of its own...and, Señor Meirelles & Mr McCarten deliver a masterstroke, eschewing any presumption and/or controversy...they simply leave this man's [full] story open for investigation by the audience. It's clever...so clever in fact that Ratzinger becomes - in front of our very eyes - a darling little old man who has a child's excitement for new discoveries.

Pizza. Fanta. ABBA...wholly hysterical.

More worldly-wise, Jonathan Pryce's Francis is a stark contrast. Benedict is painted from shade to light...Francis, quite the reverse. A different kind of homophobe...but, still...a homophobe. The great reformer...but, still...has not reformed. His part in the Dirty War...and, yes...more sex abuse scandals...Julio Grassi, convicted by the State, admonished but not laicized...by him. Really, the question simmers for a while...then, boils to the point of asking: Is this man fit for his office?

You decide.

Massive questions, massive intellect...and, massively entertaining...with equal amounts of laughter, tears and anger. Expect the unexpected...for it does come! Superb direction. Performances without criticism. But...the star that shines brighter is...the writing.

Bravo...seriously, BRAVO. 

And Then We Danced
by Levan Akin

T-R-A-D-I-T-I-O-N!!!

Where [exactly] did tradition get us? Absolutely nowhere, that's where! Okay, okay...a slight concession [for the purists]...it's a good place to start [evolution] from! Evolve...we must.

Levan Akin's film is startling...in its view of [toxic] masculinity within a context that turns its back against any form of toxicity...the world of dance. But, in Georgia...a country landlocked by tradition, constrained by conservatism and dominated by religious devotion...dance is manly, dance is tradition. Dance does not deviate from its origin.

This is a country that sits on a geographical crossroads...and, as Western influences unrelentingly flow in, the strict orthodoxy is being challenged...by the youth...and, by the President who has declared his desire to join the European Union. In 2000, Georgia adopted the Council of Europe's standards relating to the decriminalisation of homosexuality. However, homophobia is a major cause for concern...the Georgian Orthodox Church does not shy away from expressing its [absolute] revulsion of homosexuality.

So...this is where a young, gay, talented dancer finds himself...quite literally, stuck between a rock and a hard place. He finds [requited] love, a [reviled] community and [repressed] expression...he is the 'new' Georgia...with an unenviable fight on his hands.

That fight is expressed through a sensational dance routine...a dance that pays homage to the tradition while daring to evolve. It is dazzling.

And Then We Danced is not an easy watch...but, it is absolutely gripping from start to finish. There are moments of joy, of cruelty, of anger, of frustration, of heartbreak and sadness...of determination...by a determined young man. Levan Gelbakhiani, a professional dancer, in his first film role, simply excels in the vast array of emotions that his character is forced to face, manage and, possibly, conquer.

Levan Akin's film is the voice of the disgruntled. It's bold and brave and beautiful. Easily, one of the finest films of the year. 

Gösta
by Lukas Moodysson

If ever a TV series was made to make you scream at the screen...then, this is it! Mr Moodysson shows humanity in all of its glory...and, all of its horror. This is the undiluted exploitation of kindness. It's horrible, heart-warming and hysterical.

Gösta is kindness with a capital 'K' - and, at every opportunity, his kindness is abused...and yet, as trodden upon as he is...he goes into every situation with a smile and an out-stretched helping hand. You would be forgiven for screaming 'sucker' - but, because he is some damn lovely, you actually feel the pain that he should feel. Those deep-rooted protective instincts certainly do kick in...Mr Moodysson manipulates both his characters and his audience. The effect is a little unnerving...unsettling even, asking: Have you ever abused the kindness of strangers, of friends, of family? Look inward, answer truthfully...this is what Gösta achieves...some serious soul-searching. How remarkable is that!

Our only quibble...only 4 episodes were screened. Talk about leaving you wanting more!

The Disappearance of My Mother
by Beniamino Barrese

Benedetta Barzini does Greta Garbo...I want to be alone! She wants to disappear.

What makes this film/portrait a little bizarre [and hard to swallow] is that she throws herself...onto any old catwalk, in front of any old camera...and then, there's this film! Not exactly the way to go when you want to disappear!

It would be an understatement to say that Ms Barzini is a tough, difficult, opinionated woman...she's definitely hard-work...as is this film. It's all just a bit too oedipal...her son, the filmmaker, is besotted with his mother and - weirdly - decided to share his feelings with the rest of the world.

And...just when you think it can't get any weirder...it does. He brings in younger models and dresses them like his mother [as she was in her heyday] replete with fake mole! Absolutely bamboozling and pointless.

Although this is a film about Benedetta Barzini...but, with all the various detours, it really does become more about the filmmaker himself. Now, there are two ways of interpreting this film...is this a premature obituary? Or, a vicarious stab at fame? Whatever it is, there's something not quite right about it...whether it be the abject invasion of privacy or the unnerving obsession, it's film that needed some objectivity. Being too close to the subject is fraught with difficulties...here they all are! 

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Tuesday 8 October 2019...

Portrait of a Lady on Fire
by Céline Sciamma

As delicious as it gets! This is direction!

Céline Sciamma's back catalogue is mightily impressive, especially her writing. But, with this portrait, this [daring] auteur leaps out of her comfort zone and jumps into the world of period drama and romance...

And, breathtakingly, reveals her alarming [an enviable] artistry...too few films have, too many directors forget [or, are incapable of]...the artistry. Portrait of a Lady on Fire is paint-by-emotion...

This is a film to watch and feel. There are no deafening abstractions, there are no unnecessary words...all that there is...is craft, precision and delicacy. It just seems so effortless...and, as a result, becomes as immersive as any film can be.

What's more startling...this is a political film...without the throat-ramming politics! This is feminism...without the adjunct aggression. But...there is anger...and, as resigned as it is...it's there, knee-deep in the futility of the situation. This about familial expectations and reluctant acceptance...this is about love...unmentionable, unexpected, intolerable, intricate love. Nothing last forever...but, as long as it lasted for a time...no-one can take that away. This bittersweet, cinematic memory.

A tear-inducing beauty. 

End of the Century
by Lucio Castro

Lucio Castro demands - perhaps - too much from his audience. Quite literally...nothing happens in the first 10 minutes. An overwhelming sense of dread creeps in...maybe...nothing will happen in next 74 minutes!

As they say, patience is a virtue...and, all good things come to those who wait. Señor Castro takes his time, his actors - also - take their time to settle into their roles...and then, the magic starts to happen. Seriously, this story will resonate with many...those with emotional baggage, those with regrets, those who let 'the one' get away!

Ever wondered where [your] ex-lovers are, what they're doing, how they got to where they are wherever they are? Those moments of quiet reflection accompanied by a sad [or wry] smile...perhaps, a tear?

This is exactly what Lucio Castro has captured...'what ifs' and regrets mixed with temporal joy and ever-lasting sorrow...because of the man who got away! The road gets rougher, it's lonelier and tougher...where's Judy when you need her!?!

This is torch song without the song, this is agony without the pain...this is magic with all the trickery that illusion requires. This will ache - possibly break - many a heart...and leaves you quietly reflecting...

What a way for a film to leave you...wiping those bittersweet tears from your cheeks. Moving...so very moving.

 

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Wednesday 9 October 2019...

Walking with Shadows
by Aoife O'Kelly

This is a bit of a head-scratcher...an 'Irish lass' [that's how she describes herself] directs a story about a gay man...set in Nigeria, adapted from the 2005 eponymous book by Nigerian writer, Jude Dibia.

So...a few firsts. First feature by Aoife O'Kelly. First Nigerian book and the first Nigerian/British co-production ever to deal with homosexuality...yes, there is a great big elephant in the room that needs to be addressed, how on earth did Aoife O'Kelly get involved?

In these days when [a growing number of] voices are [quite rightly] screaming about more inclusivity and more diversity [within the film industry]...here's an African, black gay man's story...directed by a white [northern hemispherical] woman! Yes...we do want more women directors...but, at the risk of sounding like a bit of a reactionary...couldn't 'they' [the producers] have found someone more suited to this material? Perhaps, someone who wasn't so far out of their [cultural] comfort zone?

The other big question is: Does the film suffer because of the director? In some ways it does...rather than getting under the character's skin, it's more a case of looking in on him...in other words, everything is shown rather than felt. This story needed tangible and monumental feelings of...anger, frustration, betrayal...desolation and disappointment. For example, the exorcism scene had all the necessary ingredients for a potent [and pivotal]  duel between fury and terror, doubt and devotion. It should have been climactic...but, alas, no. What Walking with Shadows lacks is...passion. It's just a little too safe and understated.

It's not a bad film [especially for being a first feature]...and, it has to be applauded for its obvious bravery. Look...it could have been...but, it's nowhere near to being a Moonlight...a multi-Oscar-winning [small] film, directed by a gay African-American man about a gay African-American man. When you can get this close to the subject, you can get right under the skin.  

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Thursday 10 October 2019...

Moffie
by Oliver Hermanus

When a filmmaker hits the nail on the head, capturing an experience, a memory, something that will resonate deep within...that is a filmmaker who demands and deserves attention.

This goes out to all the 600,000+ boys and men who were conscripted during the South African Border War which lasted for 23 years, 6 months, 3 weeks and 2 days.

This goes out to all the men who remember their first instances of same-sex attraction...Oliver Hermanus captures that moment with harrowing perfection and precision.

Way before the nude-infested internet, a naked man rarely [mostly never] appeared on screen. Swimming pool changing rooms were the place where young [gay] boys could - furtively - glimpse at a mature naked man. It was thrilling, dangerous, heart-thumping...and, breath-taking. Being 'caught' was unimaginable...because, we really did not know what we were really doing...but, we knew it was [somehow] wrong. It was an amalgamation between looking, wishing, hoping and desiring. It was curiosity and innocence all rolled into one...it's all here, in Moffie.

And...this goes out to all those boys and men who ended up in Ward 22. A 'hospital' where gay and conscientious objectors were 'treated' by Aubrey Levin...a man most foul.

Here's to the survivors of that war and of Ward 22...and, here's to the dead on both sides. It's time for your stories to be told...Christiaan Olwagen's [exceptional] Canary brought South Africa's contemporary history to a new audience. Oliver Hermanus continues the story...two very different films, different voices...both, mighty fine films of the same inexhaustible story.

Easily, one of the best films to come out of 2019.

And, finally...here's to all those who opposed Apartheid. Let your voices and stories continue to ring out! 

 

Lost Lives
by Dermot Lavery

Quite simply...a work of extraordinary emotion and art.

No judgments. No sides taken. No political statements. Just testimony and remembrance of lives lost...through fault of their own, through no fault of their own...by being in the wrong place at the wrong time, by being in the right place at the wrong time. This 'war' - euphemistically called 'The Troubles' - call it what you will, it was/is and will always be a war...and, war is as indiscriminate as it is a profound indictment on humanity's ongoing and persistent failures.

This is a requiem...that soars. This is a monument...and, a monumental piece of work wrought out of concern and compassion. Visually beautiful. Audibly gracious. Emotionally...rivers of tears...respectful, reflective...and, hopefully, reparative. 

Let this not just be a film to mark the 50th anniversary of 'The Troubles'...let this be an end and a beginning. And, as the 3,700+ names roll...whoever you are, wherever you are, whatever you may think...life is precious. The very last name...Lyra McKee. RIP...each and all.

Earthquake Bird
by Wash Westmoreland

Earthquake Bird has [nearly] all the ingredients to make a mighty fine film, Oscar-winning actress, a director who directed Julianne Moore to Oscar glory, Ridley Scott as producer and Chung-hoon Chung as the cinematographer...so, what went wrong?

The script...that's what went wrong. It's so...lacklustre and, in places, [totally] incomprehensible...not in an intended psychological way either. For example, Alicia Vikander goes on a weekend trip to a small island with her boyfriend and friend...climbing up a hill, she becomes all woozy and - basically - conks out. When she wakes, she finds that her BF and friend have buggered off to continue - without her - their sightseeing! WTF! Ask yourself: What would you do if that had happened to you? C'mon, it would be an abrupt end to both relationships. But, no...she goes chasing after them [and finds them rather quickly]. Duh!

Then...there's the big reveal. Sharp in-take of breath, it wasn't as predictable as it seemed. Phew. The only problem is...the big reveal turned out to be a major glitch in the script! And from that point on...the film and the story [totally] collapse in on themselves.

But...hey...it sure does look good! Just goes to show...even with the best recipe, no matter how good it looks, the proof is in the tasting. Eathquake Bird leaves no lasting, pleasure-inducing flavour. 

Fanny Lye Deliver'd
by Thomas Clay

Think back to those films that left a distinct chill in your bones...The Wicker Man, Witchfinder General, The Devils and the ilk...this is the territory where Thomas Clay is going with this one.

Alas...a hodge-podge of style and theme is the result. As they say, less is more...and, Mr Clay dishes it out in great big generous dollops...in other words, he throws everything at the screen...some material sticks and some...lands on the floor with an audible splodge.

There are two couples, one spewing religious repression, the other extolling the virtues of free and unbridled love...cue: Lesbian/bisexual pas de trois. And...rather graphic it is too...with Freddie Fox displaying [in the blink of an eye] a rather large, engorged, prosthetic willy...only to be upstaged [and blinded] by his gleaming white teeth. Dentistry in 1657 was state-of-the-art, it would seem!

Not only do we have these co-habiting, incongruous couples...throw into the mix, a badly acted, laughable [for all the wrong reasons] comedy duo...as Cromwell's law-men. They dish out the law with neither remorse nor compassion...nor any credulity whatsoever.

With a strong start, a [too] theatrical middle, a rather rushed, ultra-violent ending and an epilogue that ought not to have made it into the final cut...Fanny Lye delivers too much more and not enough less...rather than feeling a chill in your bones, you will feel as if you have been walloped across the face with a muddy shovel.

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Friday 11 October 2019...

 

Zombi Child
by Bertran Bonello

Quite easily the most boring 'zombi' film ever made...but, to be fair, this is - most definitely - not the zombie flick where decomposed corpses drag themselves slowly towards fresh juicy flesh. This goes behind that myth, into the voodoo, delving deeper to uncover the zombie truth!

It sounds quite interesting, doesn't it? Alas, frustratingly, no...

Cut to...present day, a privileged, Catholic girls school...replete with a vile teen sorority imbued with sapphic desire. Back to Haiti in the 60s. Back and forward it deliriously goes. It's a film of two halves that never - satisfactorily - come together. Contrasting and comparing between the then and the now...

Yes, we get the message, loud & clear...this is cultural appropriation and the bastardisation of that culture...done to satiate that white privilege bloodlust.

What was Bertrand Bonello thinking? This is shabby allegorical mayhem...rather than zombie mayhem. And, good grief, does Monsieur Bonello - quite literally - like to lecture!?! To such an extent, he actually presents an elongated scene of a teacher delivering a fatuous, meandering, historical monologue...

More back and forth...and, then, it becomes horrible horror...with - quite possibly - the worst demonic lyp-synching ever to be seen on the big screen...way back in 1973, The Exorcist managed to do a damn fine job with demonic possession...what happened in 2019?

It has to be said...this a director who has produced some [truly] remarkable films...this is not one of them.

Zombie fans will loathe it. Anthropologists will probably consider it a masterwork!

Two of Us
by Filippo Meneghetti

Perfectly laid plans crushed by reluctance, secrets and circumstances [and people] beyond your control...this is Filippo Meneghetti's [mighty] debut feature.

This is poised and elegant film-making. A film that will rip at your heartstrings and make you consider the bigger picture...if this was you, what would you want? When decisions are taken away from you...what else have you got left?

Life is all about choices...you pick and choose, rightly or wrongly, rejoice or regret...and, with age, there is the opportunity to take stock, to reflect, to smile, to grimace...perhaps, even, to make amends.

Two of Us delivers many a potent message...

Don't dilly-dally, grab the bull by the horns...before it's too late. Because, you never know when it's too late!

Be prepared for the unthinkable...because, sad but true, the unthinkable invariably [and eventually] happens.

Respect your mother, her life, her wishes, her past, her secrets, her wishes.

And, finally, respect those who love those you love.

This is a monumentally mature piece of work...graced by two precise and comparative performances. Opposites attract and the hand fits perfectly inside the glove...this is love...in all of its joy and terror.

This is immaculate and heartbreaking film-making...merci pour cela.

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Saturday 12 October 2019...

 

Death Will Come and Shall Have Your Eyes
by José Luis Torres Leiva

The great leveler...Death. It comes to us all.

This is - truly - an agonising watch. Not just because of the subject matter...a woman with terminal cancer refuses any further treatment...she has reached her enough-is-enough. Her wife has to grin and bear her decision. When someone makes such a mighty decision as this, to disagree with it is akin to shouting at clouds...it's pointless, it's worthless...and, a little selfish. But...every minute together counts.

This is not one of those bucket list finales. This is like reading the final chapter of a tragic book, José Luis Torres Leiva - quite literally - gives these ladies neither background nor backstory. Leaving you to guess [or, colourfully imagine] the series of events that led to where these ladies are now. That - indeed - is a very big ask.

The success of the film really does rely on your own state of mind...some will - indeed - find it too slow and excessively morose. Others will be able to relate and contemplate...to and over this finality. It is a difficult and paradoxical film...you see, there really is nothing difficult about death, it happens...regardless.

Definitely...a film that supplies much food for existential thought. 

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Sunday 13 October 2019...

The Irishman
by Martin Scorsese

The old 'gangster' heavyweights of Hollywood [via New York] have been reunited for one last hurrah!

The result is...3 hours and 29 minutes of...wordy, [other] worldly weirdness. Seeing [CGI] rejuvenated faces is akin to witnessing botched plastic surgery [of a loved one]. There is an initial shock to the senses...and then, you get used to it [kind of], after all...it's the same person underneath!

Comparisons have to be made with Sergio Leone's [magnificent]: Once Upon a Time in America - both lengthy and sprawling films. Leone keeps the pace rattling forward whereas Mr Scorsese stumbles...with too many conversations that brake the momentum. The stories are similar...and, this story is familiar...who doesn't know about Jimmy Hoffa?!? It's all old-ground with older actors...doing what they do best, being themselves.

The Irishman will - undoubtedly - be nominated for a shed-load of Oscars...whether it will win any is a matter for the Academy voters! Perhaps, if 40 or so minutes had been cut...it would stand a better chance of snatching a trophy. 

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The films we wanted to watch...but, alas, those damn clashes!!!

Finis Terræ
by Jean Epstein

           

La Bufadora, starring Daniel Franzese and Tom Goss, follows two men, as they struggle through a violent and explosive relationship.

CUNNINGHAM traces Merce’s artistic evolution over three decades of risk and discovery (1944–1972), from his early years as a struggling dancer in postwar New York to his emergence as one of the world’s most visionary choreographers. The 3D technology weaves together Merce's philosophies and stories, creating a visceral journey into his innovative work. A breathtaking explosion of dance, music, and never-before-seen archival material, CUNNINGHAM is a timely tribute to one of the world’s greatest modern dance artists.

Directed by Alla Kovgan

In theaters December 13th.

Inspired by a shocking true story, a tenacious attorney (Ruffalo) uncovers a dark secret that connects a growing number of unexplained deaths due to one of the world's largest corporations. In the process, he risks everything – his future, his family, and his own life - to expose the truth.

Starring: Mark Ruffalo, Anne Hathaway, Tim Robbins, Bill Camp, Victor Garber, Mare Winningham, William Jackson Harper, Bill Pullman

Directed by Todd Haynes

In Theaters November 22

Two space hunters are tracking down a machine trying to free itself. After taking it down, they witness a mystical phenomenon: the ghost of a young woman pulls itself out of the machine, as if the spaceship had a soul. Trying to understand the nature of this entity, they start chasing the woman through space… Blood Machines is directed by the French filmmaking team known as Seth Ickerman

Sección Oficial

LA TRINCHERA INFINITA / THE ENDLESS TRENCH

Aitor Arregi

Jon Garaño

Jose Mari Goenaga

España – Francia

Higinio y Rosa llevan pocos meses casados cuando estalla la Guerra Civil y la vida de él pasa a estar seriamente amenazada. Con ayuda de su mujer decidirá utilizar un agujero cavado en su propia casa como escondite provisional. El miedo a las posibles represalias, así como el amor que sienten el uno por el otro les condenará a un encierro que se prolongará durante más de 30 años.

VENDRÁ LA MUERTE Y TENDRÁ TUS OJOS / DEATH WILL COME AND SHALL HAVE YOUR EYES

José Luis Torres Leiva

Chile – Argentina – Alemania

Dos mujeres que han compartido toda una vida juntas se ven enfrentadas a la enfermedad de una de ellas. La mujer enferma decide no seguir ningún tratamiento y ambas se mudan a una pequeña casa en el bosque hasta el día que la muerte llegue a sus vidas. Es así como volverán a reencontrar el amor que con el tiempo fue sepultado por la rutina. Poco a poco fortalecerán su relación mientras fuera de la cabaña la muerte aguarda su momento.

PATRICK

Gonçalo Waddington

Portugal – Alemania

Mário, un niño de 8 años secuestrado en el centro de Portugal en la primavera de 1999, reaparece 12 años después en una celda en París. El periodo de desaparición esconde un terrible secreto y todas las complejidades de este misterioso personaje.

New Directors

LE MILIEU DE L’HORIZON / BEYOND THE HORIZON

Delphine Lehericey

Suiza – Bélgica

Verano del 76. Una ola de calor está provocando que el campo suizo se seque a toda velocidad. En un ambiente sofocante, Gus, que tiene trece años y es hijo de un granjero, ve cómo su entorno familiar y su inocencia se resquebrajan: está viviendo el fin de un mundo. Segundo largometraje de su directora.

Horizontes Latinos

DE NUEVO OTRA VEZ / AGAIN ONCE AGAIN

Romina Paula

Argentina

Romina vuelve a la casa familiar después de haber sido madre. Alejada del padre de Ramón, su hijo, se refugia en la casa de su madre, Mónica. Allí se ve sumergida en la temporalidad de su madre, de ella como hija, e intenta dilucidar qué desea. De visita en Buenos Aires, Romina da clases de alemán, intenta retomar su vida de soltera, salir de noche. Quiere saber cómo era antes de la experiencia del amor a su hijo. Necesita comprender quién es, retornando a sus orígenes y reconstruyendo algo de la historia familiar. Debut en la dirección de la escritora, dramaturga y actriz Romina Paula. Presentado en la sección Bright Future del Festival de Rotterdam.

EL PRÍNCIPE / THE PRINCE

Sebastian Muñoz

Chile – Argentina – Bélgica

Cine en Construcción 34

San Bernardo, Chile, 1970. En una noche de borrachera, Jaime, un joven de 20 años solitario y narcisista acuchilla a su mejor amigo en un aparente arrebato pasional. En la cárcel conoce a El Potro, un hombre mayor y respetado a quien se acerca necesitado de protección, ternura y reconocimiento. Jaime se convierte en El Príncipe y descubre el amor y la lealtad mientras asiste a la violenta lucha de poder en la prisión. Seleccionada en la Settimana della Critica del Festival de Venecia.

MONOS

Alejandro Landes

Colombia – Argentina – Países Bajos – Alemania – Suecia – Uruguay

En la cima de una imponente montaña, donde lo que a primera vista parece un campamento de verano, ocho niños guerrilleros apodados ‘Los Monos’ conviven bajo la atenta mirada de un sargento paramilitar. Su única misión es clara: cuidar a la doctora, una mujer americana a la que han tomado como rehén. Cuando esta misión comienza a peligrar, la confianza entre ellos empezará a ponerse en duda. Premio Especial del Jurado en Sundance.

TEMBLORES / TREMORS

Jayro Bustamante

Guatemala – Francia – Luxemburgo

Pablo es un hombre de 40 años, casado y padre de dos maravillosos niños. Es un modelo a seguir y un cristiano evangélico practicante. Pero su perfecta vida tradicional comienza a quebrarse cuando se enamora de un hombre y sus sentimientos entran en conflicto con sus creencias. Su vida se convierte en un infierno de intolerancia represiva cuando su familia y su iglesia deciden hacer lo que sea preciso para curarle, forzándole a reprimir sus impulsos mediante terapia. Presentado en la sección Panorama de la Berlinale.

Perlak

PORTRAIT DE LA JEUNE FILLE EN FEU   PORTRAIT OF A LADY ON FIRE

Céline Sciamma

Francia

Bretaña francesa, 1770. Marianne es una pintora que debe realizar el retrato matrimonial de Héloise, una joven que acaba de dejar el convento. Héloise no acepta su destino como mujer casada y se niega a posar, por lo que Marianne debe trabajar en secreto. Para ello, se hace pasar por dama de compañía, para así observarla de día y pintarla de noche. Entre ellas surgirá una relación muy especial.

Zinemira

GLITTERING MISFITS

Iban del Campo

España

Dirty Martini y Tigger!, estrellas del underground neoyorquino, nos descubrirán algunos de los secretos de sus provocativas y reivindicativas formas de expresión artística en night-clubs y cabarets del off-off Broadway de Nueva York. Al mismo tiempo, nos permitirán entender desde su intimidad cotidiana los motivos, las luchas y las claves que les mantienen como figuras y referentes del neo-burlesque, más de 20 años después de que todo este fenómeno explotara en Nueva York en la década de los 90.

Made in Spain

DOLOR Y GLORIA  PAIN AND GLORY

Pedro Almodovar

España

Dolor y Gloria narra una serie de reencuentros de Salvador Mallo, un director de cine en su ocaso. Algunos de ellos físicos, otros recordados: su infancia en los años 60, cuando emigró con sus padres a Paterna, un pueblo de Valencia en busca de prosperidad, el primer deseo, su primer amor adulto ya en el Madrid de los 80, el dolor de la ruptura de este amor cuando todavía estaba vivo y palpitante, la escritura como única terapia para olvidar lo inolvidable, el temprano descubrimiento del cine y el vacío, el inconmensurable vacío ante la imposibilidad de seguir rodando. Dolor y Gloria habla de la creación, de la dificultad de separarla de la propia vida y de las pasiones que le dan sentido y esperanza. En la recuperación de su pasado, Salvador encuentra la necesidad urgente de narrarlo, y en esa necesidad encuentra también su salvación.

ME LLAMO VIOLETA MY NAME IS VIOLETA

David Fernández de Castro

Marc Parramon

España

Dos familias muy distintas con un punto en común: en ambas, un menor transgénero. Violeta, que acaba de cumplir 11 años, decidió hace tiempo que quería tener nombre de niña y vestirse como tal. Sus padres, desconcertados, tardaron un tiempo en asumir su nueva identidad, y hoy Violeta lleva una vida feliz. La historia de Alan es todo lo contrario: fue víctima de acoso en el instituto y el apoyo de su familia no fue suficiente para evitar un final que conmocionó su ciudad natal.

Fuera de Concurso

Cortometrajes – Zabaltegi

BLUE BOY

Manuel Abramovich

Argentina – Alemania

¿Qué buscás? ¿Me tenés ganas? Vamos a divertirnos… Siete trabajadores sexuales rumanos en Berlín son retratados mientras escuchan y reaccionan a grabaciones de sus propias experiencias. La cámara se vuelve cliente y el proceso de explotación se convierte en espectáculo, resaltando la inevitable performatividad de las relaciones de poder. 

Series – Moviestar+

VIDA PERFECTA

Leticia Dolera

España

María, Esther y Cristina son tres mujeres adultas y complejas que se encuentran en plena crisis vital. Se han dado cuenta de que los planes que tenían para sus vidas no les han dado la felicidad anhelada y prometida. Juntas aprenderán a buscar alternativas y tomarán decisiones que las alejarán de lo que la sociedad tradicionalmente espera de ellas. Las veremos descubrir que su vida no tiene que ser, obligatoriamente, como siempre imaginaron. Serie de ocho capítulos.

Categoría: 2019 Sebastiane Latino

Temblores

Second Star on the Right

One Taxi Drive

Lemebel

Un Rubio

Esto no es Berlín

An isolated and unstable man becomes increasingly unhinged as he explores the hateful rhetoric of an online alt-right community.

Starring: Zachary Ray Sherman, Sally Kirkland, Timothy V. Murphy

Directed By: Rob Lambert

What a re-imagining!

The winner is...

El Príncipe (The Prince)

by Sebastián Muñoz (Chile, Argentina, Belgium), presented in the 34. Venice International Film Critics Week.

"El Príncipe is a passionate portrait of life in a Chilean prison on the eve of Allende’s rise to power in 1970. The savage brutality of prison life is contrasted by intensely emotional relationships between prisoners. Led by a towering Alfredo Castro, the excellent ensemble cast give stirring performances of a powerful script which conveys the paradoxical acceptance of gay attachments in prison at a time when it was not socially acceptable. Sebastián Muñoz’s directorial debut is a bold and erotically charged exploration of recent history which reveals an unexpected tenderness at its heart."

 

 

Academy Award-winning director Paolo Sorrentino returns with The New Pope, his second original series set in the world of the modern papacy. Written by Sorrenttino with Umberto Contarello and Stefano Bises, the nine-episode original series features Jude Law and John Malkovich. Sharon Stone and Marilyn Manson guest star.

This is absolutely hysterical...

In LUCY IN THE SKY, Natalie Portman plays Lucy Cola, a strong woman whose determination and drive as an astronaut take her to space, where she’s deeply moved by the transcendent experience of seeing her life from afar. Back home as Lucy’s world suddenly feels too small, her connection with reality slowly unravels.

Directed by: Noah Hawley

Screenplay by: Brian C Brown & Elliott DiGuiseppi and Noah Hawley

Lionel Essrog (Edward Norton), a lonely private detective living with Tourette Syndrome, ventures to solve the murder of his mentor and only friend, Frank Minna (Bruce Willis). Armed only with a few clues and the engine of his obsessive mind, Lionel unravels closely guarded secrets that hold the fate of New York in the balance. In a mystery that carries him from gin-soaked jazz clubs in Harlem to the hard-edged slums of Brooklyn and, finally, into the gilded halls of New York's power brokers, Lionel contends with thugs, corruption and the most dangerous man in the city to honor his friend and save the woman who might be his own salvation.

 

The nominees are:

Rialto by Peter Mackie Burns (UK, Ireland, 90′, 2019)
Colm is in his mid-forties, married, with two teenage children. Still grieving the death of his father, a destructive figure in his life, Colm struggles with his relationship to his own son, whilst at work a recent takeover threatens his job. Unable to share his vulnerability with his wife, Colm’s world is falling apart around him. In the midst of this crisis, Colm solicits sex from a young man called Jay. This encounter and his growing infatuation has a deep effect on Colm. He finds a comfort in Jay that no one else can provide.
Presented in Orizzonti

El Principe by Sebastián Muñoz (Chile, Argentina, Belgium, 96′, 2019)
Chile, 1970. During a night of heavy drinking, Jaime, a lonely 20-year-old young man, stabs his best friend in what seems a passion outburst. Sentenced to prison, he meets “The Stallion”, an older and respected man in whom he finds protection, and from whom he learns about love and loyalty. Behind bars, Jaime becomes “The Prince”. But as their relationship grows stronger, “The Stallion” faces the violent power struggles within the prison.
Presented in Settimana Internazionale della Critica

House of Cardin by P. David Ebersole, Todd Hughes (USA, France, 95′, 2019)
House of Cardin is a rare peek into the mind of a genius, an authorized feature documentary chronicling the life and design of Pierre Cardin. A true original, Mr. Cardin has granted exclusive access to his archives and has provided unprecedented interviews at the sunset of a glorious career. A vivid, colourful portrait of the refined yet contradictory society Cardin was/is part of, from Veneto (where Pietro Cardin was born 96 years ago) to Paris to Asia; from Jean Cocteau, Jean Marais, Jeanne Moreau, Christian Dior, Visconti, Pasolini to Jean Paul Gaultier, Philippe Starck, Sharon Stone, Naomi Campbell, Dionne Warwick.
Presented in Giornate degli Autori

Barn (Beware of Children) by Dag Johan Haugerud (Norway, Sweden, 157′, 2019)
When crisis strikes we reveal our true colors. Beware of Children traces the dramatic aftermath of a tragic event in a middle class suburb of Oslo. During a break in school 13 year-old Lykke, the daughter of a prominent Labour Party member, seriously injures her classmate Jamie, the son of a high profile right-wing politician. When Jamie later dies in hospital, contradicting versions of what actually happened risks making a difficult and traumatic situation worse. Was it only innocent play behind? Liv, the school’s principal and the secret lover of Jamie’s father, must find the strength to confront a community in distress, and her own highly conflicted emotions.
The tragic event at the center of the story will put to test the balance of all the couples – gay and straight – in the movie.
Presented in Giornate degli Autori

Bombay Rose by Gitanjali Rao (UK, India, France, Qatar, 93′, 2019)
Amidst the struggle of survival in a big city, a red rose brings together three tales of impossible loves. Love between an unavailable girl and boy. Love between two women. Love of an entire city for its Bollywood stars.
Presented in Settimana Internazionale della Critica

Moffie by Oliver Hermanus (South Africa, UK, 99′, 2019)
Based on André Carl van der Merwe’s book, Moffie (a derogatory Afrikaans term for a gay man) follows the story of Nicholas van der Swart: from a very young age, he realises he is different. Try as he may, he cannot live up to the macho image expected of him by his family, by his heritage. At the age of 19 he is conscripted into the South African army and finds his every sensibility offended by a system close to its demise, and yet still in full force. Set during the South African border war against communism, this is a long overdue story about the emotional and physical suffering endured by countless young men.
Presented in Orizzonti

Psykosia by Marie Grahtø (Denmark, Finland, 87′, 2019)
Viktoria is an odd and extremely self-disciplined researcher in the field of suicide. She is invited to a psychiatric ward to treat the suicidal patient Jenny. Through intimate night conversations, they form a tight bond. Viktoria slowly opens up to experience closeness with another person for the first time in her life, but the closer the two women get, the more it becomes clear that something is not as it seems.
Presented in Settimana Internazionale della Critica

Lingua Franca by Isabel Sandoval (USA, Philippines, 90′, 2019)
In this beguiling drama, an undocumented Filipina immigrant paranoid about deportation works as a caregiver to a Russian-Jewish grandmother in Brighton Beach, Brooklyn. When the American man she’s secretly paying for a green card marriage backs out, she becomes involved with a slaughterhouse worker who is unaware that she’s transgender. When Alex’s machismo is threatened upon discovering her transgender status, he finds himself weaponizing her immigration anxieties to emotionally brutalize Olivia.
Presented in sezione Giornate degli Autori

Ema by Pablo Larraín (Chile, 102′, 2019)
After a terrible accident fractures her family and her marriage, a woman sets out on a risky quest to reset her life, in this incendiary drama about art, desire, and family in which many characters express their feelings through dance. From Chilean director Pablo Larraín, competing for the Golden Lion for the third time after Post Mortem (2010) and Jackie (2016).
Presented in Venezia 76

Here are the Queens...

UNDERWATER is a film that follows a crew of underwater researchers who must scramble to safety after an earthquake devastates their subterranean laboratory. Directed by William Eubank, UNDERWATER stars Kristen Stewart, T.J. Miller, Vincent Cassel and John Gallagher Jr..

This is interesting...

Organisers of the Iris Prize have today (16/08/2019) announced details of the 36 short films competing for the Iris Prize at the 2019 Iris Prize LGBT+ Film Festival. The winning director will be presented with £30,000 to make their next short film here in the UK, supported by the Michael Bishop Foundation.

36 short films compete for the 2019 Iris Prize

19 countries represented in Cardiff final including for the first time Peru, Bosnia and Herzegovina and North Macedonia

The £30,000 prize continues to be funded by The Michael Bishop Foundation

The nominees are:

BLACK HAT - DIRECTOR: SARAH SMITH

BREAK ME (KNUS MEG) - DIRECTOR: IRASJ ASANTI

BY THE END OF THE NIGHT (QUE LA NUIT S’ACHÈVE) - DIRECTOR: DENOAL ROUAUD

CARLITO LEAVES FOREVER - DIRECTOR: QUENTIN LAZZAROTTO

CRASH AND BURN, HONEY - DIRECTOR: DAWID ULLGREN

DANTE VS MOHAMMED ALI - DIRECTOR: MARC WAGENAAR

DELIVERY BOY - DIRECTOR: HUGO KENZO

DUBS - DIRECTOR: ANTHONY GREYLEY

EQUAL - DIRECTOR: GILLIAN CALLAN

FAME - DIRECTOR: LENE POTTGIESSER & CHRISTIAN HÖD

FICUS (FIKUS) - DIRECTOR: ANDREY VOLKASHIN

GIRL FRIEND - DIRECTOR: CHLOE SARBIB

GRETA - DIRECTOR: SPARKMAN CLARK

HOW TO LIVE YOUR LIFE CORRECTLY - DIRECTOR: XINDI LOU

IN CASE OF FIRE (EM CASO DE FOGO) - DIRECTOR: TOMÁS PAULA MARQUES

JOY BOY - DIRECTOR: STEF SMITH

LEAKING BLUE (AZUL VAZANTE) - DIRECTOR: JULIA ALQUÉRES

MARGUERITE - DIRECTOR: MARIANNE FARLEY

MINI DV - DIRECTOR: SHAULY MELAMED

MISS CHAZELLES - DIRECTOR: THOMAS VERNAY

OUTDOORING - DIRECTOR: MAXWELL ADDAE

PONYBOI - DIRECTOR: RIVER GALLO, SADÉ CLACKEN JOSEPH

RENOVATION (REFORMA) - DIRECTOR: FÁBIO LEAL

RUOK - DIRECTOR: JAY RUSSELL

SKIES ARE NOT JUST BLUE - DIRECTOR: LYSANDRE COSSE-TREMBLAY

SKIN - DIRECTOR: AUDREY ROSENBERG

STIGMA (ESTIGMA) - DIRECTOR: DAVID VELDUQUE

STRANGERS - DIRECTOR: JAMIESON PEARCE

TERMINALLY IN LOVE - DIRECTOR: EMILY JENKINS & JUSTIN BLACK

THE BOOTH - DIRECTOR: ROHIN RAVEENDRAN

THE ONE YOU NEVER FORGET - DIRECTOR: MORGAN JON FOX

THE ORPHAN (O ÓRFÃO) - DIRECTOR: CAROLINA MARKOWICZ

THOMAS BANKS’ QUEST FOR LOVE - DIRECTOR: PIP KELLY

U FOR USHA (U USHACHA) - DIRECTOR: ROHAN PARASHURAM KANAWADE

WE OUTLAWS (红裙下) - DIRECTOR: WANG KAIXUAN

WONDER - DIRECTOR: JAVIER MOLINA

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A multi-layered song with a multi-faceted video...mind-blowing!

James Blake - 'Can't Believe The Way We Flow' from Frank Lebon on Vimeo.

Bong Joon Ho brings his singular mastery home to Korea in this pitch-black modern fairytale.

Meet the Park Family: the picture of aspirational wealth. And the Kim Family, rich in street smarts but not much else. Be it chance or fate, these two houses are brought together and the Kims sense a golden opportunity. Masterminded by college-aged Ki-woo, the Kim children expediently install themselves as tutor and art therapist, to the Parks. Soon, a symbiotic relationship forms between the two families. The Kims provide “indispensable” luxury services while the Parks obliviously bankroll their entire household. When a parasitic interloper threatens the Kims’ newfound comfort, a savage, underhanded battle for dominance breaks out, threatening to destroy the fragile ecosystem between the Kims and the Parks.

By turns darkly hilarious and heart-wrenching, PARASITE showcases a modern master at the top of his game.

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This really is a remarkable film...

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The full list of nominated films:

Becoming Cherrie (Dir. Nicky Larkin)
Invisible Women (Dir. Alice Smith)
We Are Dancers (Dir. Joe Morris)
#TradWives (Dir. Anna Snowball)
Fee (Dir. Guen Murroni)
Starboy (Dir. Joelle Bentolila)
Dead Birds (Dir. Johnny Kenton)
My Brother Is A Mermaid (Dir. Alfie Dale)
Marco (Dir. Saleem Haddad)
Deep Clean (Dir. David Wilson)
Dix Pix (Dir. Steven Fraser)
Hey You (Dir. Jared Watmuff)
Dubs (Dir. Anthony Greyley)
My Sweet Prince (Dir. Jason Bradbury)
My Loneliness is Killing Me (Dir. Tim Courtney)

From a screenplay by Shia LaBeouf, based on his own experiences, award-winning filmmaker Alma Har'el (Bombay Beach, LoveTrue) brings to life a young actor's stormy childhood and early adult years as he struggles to reconcile with his father and deal with his mental health. Fictionalizing his ascent to stardom, and subsequent crash-landing into rehab and recovery, Har'el casts Noah Jupe (A Quiet Place) and Lucas Hedges (Boy Erased, Manchester by the Sea) as Otis Lort, navigating different stages in a frenetic career. LaBeouf takes on the therapeutic challenge of playing a version of his own father, an ex-rodeo clown and a felon. Dancer-singer FKA twigs makes her feature-film debut, playing neighbor and kindred spirit to the younger Otis in their garden-court motel home. Har'el's feature narrative debut is a one-of-a-kind collaboration between filmmaker and subject, exploring art as medicine and imagination as hope through the life and times of a talented, traumatized performer who dares to go in search of himself.