LFF: Let's get lost

The 67th London Film Festival kicked off last night with a gala screening of Emerald Fennell's Saltburn, although due to the ongoing actors strike, Fennell was the only person representing the film on the red carpet. I had a great chat with her at the after party, which stretched late into the night. It's only Day 2 and I'm already hideously sleep-deprived. But that's how festivals work, so I'll hang in there for the next 10 days catching up with this year's big festival titles. Here are highlights from the first two days...

Saltburn
dir-scr Emerald Fennell; with Barry Keoghan, Jacob Elordi 23/UK ****
With a story that echoes The Talented Mr Ripley, Emerald Fennell dives into the dark side of Britain's class structure. Wonderfully heightened, the film's deranged vibe is instantly gripping. Vicious swipes are delivered with backhanded relish by an excellent cast in stiff-upper-lip mode. Where the story goes is vivid and unnerving, simply because the storytelling is so full-on. We may have seen it before, but never quite like this.

The Killer
dir David Fincher; with Michael Fassbender, Tilda Swinton 23/US ***.
Steely and clinical, this stylised hitman thriller plays out in a series of carefully planned set-pieces, reflecting the approach of both Michael Fassbender's eponymous killer and director David Fincher. It looks terrific, churning skilfully through action, intrigue and pitch-black drama, each scene infused with wry wit and icy violence. Yet while the artistry is first-rate, the film lacks an emotional connection that might have pulled us in deeper.

Fingernails
dir Christos Nikou; with Jessie Buckley, Riz Ahmed 23/US ****
With its understated fantastical premise and a delicate, observant pace, this offbeat romance plays out in beautifully unexpected ways that will reward viewers who can be patient with its hushed tone. Working in North America, Greek filmmaker Christos Nikou is grappling with the awkward impossibility of quantifying love. Sensitive writing and directing provide insight alongside adept, nuanced performances from Jessie Buckley, Riz Ahmed and Jeremy Allen White.

The Eternal Memory
dir-scr Maite Alberdi; with Augusto Gongora, Paulina Urrutia 23/Chl ****
This documentary about the nature of memory works on several powerfully moving layers, exploring the importance of maintaining a truthful account of history through the lens of a couple grappling with the effects of dementia. The film is also a ravishing real-life love story, shot largely by the couple themselves, with extensive new and archival footage. And gifted Chilean director Maite Alberdi assembles it to beautifully offbeat human rhythms.

All full festival reviews will be linked to Shadows' LFF PAGE >

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C R I T I C A L   W E E K

Movies I watched this week included the 50-years-later sequel The Exorcist: Believer, which started well then fell apart; the somewhat undercooked relational thriller Fair Play; the witty Dutch animated adventure Oink; and Wes Anderson's witty and stylish four shorts based on Roald Dahl stories, starting with The Wonderful Story of Henry Sugar. Films this coming week include Mind-Set and Cat Person. And at London Film Festival I'll be watching Bradley Cooper's Maestro, Todd Haynes' May December, Sofia Coppola's Priscilla, Andrew Haigh's All of Us Strangers, Saoirse Ronan in Foe, Annette Bening in Nyad, Austin Butler in The Bikeriders and many more.