The 2015 BFI London Film Festival has long been and gone, but I’ve finally gotten round to doing a quick wrap-up of all the films I saw. Admittedly, I only managed to see four out of a line-up of hundreds but they are all worth talking about, and three of them are waiting to be released in the UK.
My most anticipated film of the festival (and also the one that was released right after its LFF screenings) also ended up being my favourite. Billed as an unconventional love story from Dogtooth and Alps director Yorgos Lanthimos, The Lobster depicts a world in which singletons are taken to a remote hotel where they must find a partner within 45 days or face being turned into an animal. Though absurd in its set-up and often very funny, like the best sci-fi (or alternate near-future semi-dystopia or wherever/whenever the setting might be), it has a lot to say about our own reality, namely love and relationships, and the weird rituals, mechanics and quirks that make no sense taken out of context and viewed dispassionately – even if there is something strangely moving about the central character’s own quest for companionship. Though his first film in the English language, Lanthimos’ dry deliberate tone and stilted dialogue fits well with the international cast, lead Colin Farrell especially good playing our sadsack ‘hero’. It’s weird, sad, dark and hilarious, reminiscent of Chris Morris’ Jam if anything, and one of the best films of the year.
Winner of the Best Director prize for Hou Hsiao-Hsien at the Cannes Film Festival and topping Sight and Sound’s Critics Poll as the best film of 2015, The Assassin comes already heavily garlanded. But it’s a case of cinematic Emperor’s New Clothes if there ever was one. Critics may fool you with words like transfixing, captivating, or imaginative to describe the film. But what they really mean is that it is empty, dull and plays around with its aspect ratio a bit. It’s possible to have a beautiful film that also manages to captivate with its story and character, but The Assassin is deliberately vague on both counts for seemingly no reason other than perhaps to make snobby arthouse audiences feel like they are watching a proper film rather than something as trifling as a simple ‘martial arts movie’. And what action is here is incredibly brief, a rush of fast edits that amount to very little, simply there to punctuate the tedium and keep you from dropping off to sleep. The bulk of the film involves people in pretty clothes walking into nicely decorated rooms and telling other people what is happening, who then sit there and think about it for a bit, and then onto the next scene. And yes, there are some rather gorgeous shots, but nothing more breath-taking than any desktop backgrounds that come pre-loaded onto a new laptop. If you don’t find yourself checking your watch repeatedly throughout, you’re either lying or not wearing a watch.
The LFF Surprise Film is always a hot ticket and a bit of a treat (though the list of past entries is an eclectic bunch all right). And out of all the potential offerings, Anomalisa was the one I hoped for after hearing great things coming out of its other festival appearances. And lo and behold, so it was. Charlie Kaufman’s latest work is naturally as Kaufman-esque, for want of a better word, as previous favourites, witty and strange and emotionally engaging. But in teaming up with co-director Duke Johnson, together they have also crafted a quite remarkable animation to boot. And it’s not just a gimmick, rather the animation serves many functions, story, character and humour, creating a distancing effect while simultaneously making you invest more as you find humanity in something not quite real without a living, breathing human being entering the picture and spoiling everything, much as with Don Hertzfeldt’s It’s Such A Beautiful Day, for example, makes you care deeply for a stick man. Here though the 3D printed models offer greater detail but also a deliberate sense of the uncanny, especially as our lead character, a relatable but crucially not necessarily likeable writer (played by David Thewlis) is surrounded by a sea of identical faces, be it man, woman or child, all voiced by Tom Noonan. To describe what Anomalisa actually is would perhaps reveal too much as the story itself is slim and contained (not unlike The Lobster, set largely in the confines of a hotel, the unnatural atmosphere of which Anomalisa perfectly captures), but the directions it takes and the choices it makes offer much to take away for further thought and reflection. And yet, how it ranks amongst the likes of Being John Malkovich, Eternal Sunshine of the Spotless Mind, Synecdoche New York is hard to say. Upon initial viewing, it didn’t quite make the same impact on my heart, gut and mind as those films. I liked it a lot, but perhaps the second time, when its aims are clearer, it will connect more. Still, for any fans of his previous films, it is essential viewing.
THE BOY AND THE BEAST
With The Girl Who Leapt Through Time, Summer Wars, and Wolf Children, Mamoru Hosoda has become maybe the best working anime director currently in the business. His latest is as thrilling and beautiful on a technical and emotional level as one has come to expect, though suffers from a few too many standard anime narrative conventions and character beats to be considered one of his best. A young street urchin finds a passage to a world of anthropomorphised animal creatures and is taken under the wing of a grumpy bear who reluctantly decides to train him as an apprentice so that he then may challenge for rule of the domain. There is an enjoyable antagonism between the two; even when there is the risk of their relationship sliding into sentimentality, the film holds off from letting them become too fond of one another, so when those emotional payoffs come, it feels earned and genuine. And it means you get more entertaining scenes of them getting on each other’s nerves. It does however lose its way during the inevitable segment in which they go their separate ways, a return to the human world and a forced love-interest perhaps adding an extra dimension to the characters but offering very little that’s engaging. It adds a fair chunk to the run time too, bringing a lively buoyant fantasy up to that point to a halt. But for the most part, whether through its entertaining mismatched-buddy comedy or its spectacular action set-pieces, The Boy and the Beast still has much to offer.