Sundance London: Take control

The 10th Sundance Film Festival: London comes to a close this evening at Picturehouse Central, after four days and 15 features, plus short films and various events. I attended one last screening today - of the surprise film (see below), at which the director gave an animated Q&A. And this is the one that turned out to be my best of the fest. I managed to catch all but one of the features; each is above average and worth seeing. Whether they'll all get proper releases is another question. Here's a final collection of comments...

Honk for Jesus. Save Your Soul.
dir-scr Adamma Ebo; with Regina Hall, Sterling K Brown 22/US ***.
Loosely based on a true story, this church-based drama has the aura of a Christopher Guest-style improv comedy, but its humour is on-the-nose rather than riotous. Which is partly because mega-churches are absurd enough without exaggeration. Writer-director Adamma Ebo takes a knowing approach that finds  amusing gags that are sometimes obvious or unnerving. And there's enough complexity in the story to take in both broad nuttiness and darker emotions.

S U R P R I S E   F I L M
Bodies Bodies Bodies
dir Halina Reijn; with Amandla Stenberg, Maria Bakalova 22/US ****
Gleefully mashing-up genres, this riotous black comedy takes the form of a slasher horror movie, but is packed with slapstick mayhem, interpersonal tension and social commentary. It's expertly assembled by the filmmakers and a seriously up-for-it cast to freak us out and make us laugh. But even more intriguing is that the movie pushes us to think about the nature of relationships for today's generation of young people. 

Resurrection
dir-scr Andrew Semans; with Rebecca Hall, Tim Roth 22/US ***
Aside from being grisly and creepy, there isn't much to this bonkers dramatic horror, which sends a woman on a nightmarishly symbolic journey into maternal guilt and paranoia. It's strikingly well-played by Rebecca Hall and an ace supporting cast, and writer-director Andrew Semans keeps the surreal nastiness churning from start to finish. But it's never quite as meaningful or provocative as he seems to think it is.

The Princess
dir-scr Ed Perkins; with Princess Diana, Prince Charles, 22/UK ****
Compiled entirely from news and paparazzi footage, this documentary traces the life of Princess Diana from the day photographers started chasing her until her coffin disappeared from their view. It's a remarkable film that reveals a narrative in how she appeared in the public eye, including clips of her interviews and commentators at the time. Filmmaker Ed Perkins assembles this without overt messaging, although the point is unnervingly clear.

Full reviews will be on the site soon. For more information, visit SUNDANCE LONDON >

Sundance London: Make a connection

Sundance Film Festival: London may only last four days, but the 15 films in the lineup are all buzzy titles that audiences and critics have an appetite for. And one of the best things about this festival is that every screening includes a Q&A with filmmakers and/or cast members. Even if someone can't attend, such as Lena Dunham with her new drama Sharp Stick (above), she shows up in a zoom call, interviewed about the film specifically for those of us who had just watched it. Of course, this means that the lovely spaces at Picturehouse Central are all taken over by VIP or press events (I can at least get into the press ones). Here are some more highlights...

Sharp Stick
dir-scr Lena Dunham; with Kristine Froseth, Jon Bernthal 22/US ****
After a 12-year break from filmmaking Lena Dunham is once again inventively challenges the way women are depicted on screen. She cleverly spins a lightly fantastical tale about a young woman's coming of age that's so defiantly complex and thoughtful that it often feels shocking. But it shouldn't be, and that's the point. Packed with layered, frankly amazing characters, it's the kind of film that should start important conversations.

Hatching [Pahanhautoja]
dir Hanna Bergholm; with Siiri Solalinna, Sophia Heikkila 22/Fin ***.
Cleverly mixing over-the-top beauty with insidious nastiness, this Finnish thriller remains sunny and smiley even as scenes become very grisly indeed. Blackly comical touches combine with underlying emotions to pull the audience in, as director Hanna Bergholm draws out important themes and thoroughly freaks out the audience. As it warps into gleefully yucky body horror, the film also finds surprising meaning in the personal drama, including some moving emotions.

Brian and Charles
dir Jim Archer; with David Earl, Chris Hayward 22/UK ****
With disarming charm that sneaks up on the audience, this offbeat British comedy-drama is packed with wonderfully quirky characters who bring a relatively simple narrative to sparkling life. Director Jim Archer takes an amusingly deadpan approach that adds an involving kick to the script, which was written by lead actors David Earl and Chris Hayward. So even if the story is rather silly, it's underscored with real heart.

Fire of Love
dir Sara Dosa; with Katia Krafft, Maurice Krafft 22/Can ***.
With a wealth of amazing footage, this documentary follows intrepid volcanologists Katia and Maurice Krafft, who skilfully filmed their adventures around the world. Filmmaker Sara Dosa assembles this material to vividly capture their passion for both molten lava and each other. Much of the imagery is so astonishing that it leaves us gasping for breath. But it's the likeable couple at the centre that holds the interest.

Full reviews will be on the site soon. For more information, visit SUNDANCE LONDON >

Sundance London: Best friends forever

The Sundance Film Festival London is always a short, sharp shock, as it only lasts four days but features a flurry of acclaimed films. On the final day, I caught up with the short film programme and also attended the surprise film screening...

Zola 
dir Janicza Bravo; with Taylour Paige, Riley Keough 20/US ***
Based on a "true" story from a Twitter thread, this arthouse movie is loose and deliberately cartoonish. Director-cowriter Janicza Bravo keeps the story moving with chattering dialog that feels like a joke the audience can't possibly get. Meanwhile, the selective sound mix and swirling camerawork echo a leery male gaze. And as characters hit the road over a long weekend, what the story reveals about youth culture is chilling... FULL REVIEW >

Misha and the Wolves 
dir-scr Sam Hobkinson; with Misha Defonseca, Jane Daniel 21/Bel ****
This may be a documentary, but it has more outrageous twists than most mystery thrillers. Filmmaker Sam Hobkinson tells the story with range of inventive techniques, including firsthand interviews, archival photos and clips, dramatic recreations, animation and some movie-style trickery. And the people interviewed on-screen have a wonderfully earthy charm. What emerges is a riveting exploration of the power of storytelling itself, especially when sympathy is brought into play.

After last year's virtual festival, Sundance London's surprise film screening returned this year, only revealing the title once everyone was ready for it to begin. The film itself was a disappointing choice, as it comes from Sundance 2020 (all others were from Sundance 2021), and it also previously screened in the main programme for the London Film Festival 2020, where I first saw it. But it's a good film, and the awesome Harriet Walter was there to introduce it in person...

Herself
dir Phyllida Lloyd; with Clare Dunne, Harriet Walter 20/Ire ***.
Intensely personal, this Irish drama quickly gets under the skin as it centres on a woman who has been a victim of horrific domestic violence finds an inventive solution to her precarious situation. It's an intriguing mix of the happy and bittersweet, plus a few downright awful moments, beautifully directed by Phyllida Lloyd to catch internal feelings and earthy realism. And actor-cowriter Clare Dunne is terrific in the central role... FULL REVIEW >

Sundance Shorts
Sundance London brought seven short films from its January festival, a fascinating range of mini-epics. Each of these shorts has a singular perspective, exploring situations that centre on nationality, ethnicity and religion while inventively using drama, archival documentary and animation. Six were from the USA, often with international angles, while my favourite, Les Criminels, is a terrific drama set in Turkey. It's about as a two amorous young university students who are threatened with arrest and worse as they seek somewhere they can have a bit of privacy.

• For more festival information: PICTUREHOUSE: SUNDANCE
• Visit Shadows on the Wall's anchor page for SUNDANCE LONDON for links to all reviews.

Sundance London: See the world

The Sundance Film Festival London continues today with an event about the ethics of documentary filmmaking and a special screening of Visconti's classic Death in Venice, which is of course the subject of the festival doc The Most Beautiful Boy in the World. This is a busy, short blast of a festival, and many of these films will never see a big screen in Britain again, so it's worth the effort to get down to Picturehouse Central or some of the other venues that are hosting screenings and events. 

Cryptozoo
dir-scr Dash Shaw; voices Lake Bell, Michael Cera 21/US ***
Essentially Jurassic Park with fantastical creatures, this energetic animated romp is made by various artists in their distinct styles, then inventively stitched together on-screen. There's a wildly original mix of imagery, all beautifully hand-drawn from sketches and line art to vividly detailed colour illustrations. Writer-director Dash Shaw's story may not be terribly complex, but it's loaded with deeper themes and properly grown-up touches that will win it a following.

The Nest 
dir-scr Sean Durkin; with Jude Law, Carrie Coon 20/UK ***.
Earthy and intriguing, this intensely personal drama has a terrific balance of humour and darkness, keeping the audience on edge with a subtle sense of foreboding. Writer-director Sean Durkin is determined to subvert expectations, carefully guiding the point of view to deepen the characters in unexpected directions, mirroring the misdirection that fills each person's life. And even if the film meanders a bit, the cast relishes the sharp dialog... FULL REVIEW >

Human Factors 
dir-scr Ronny Trocker; with Mark Waschke, Sabine Timoteo 21/Ger **.
There's an intentionality to this dark German drama that holds the interest, even if writer-director Ronny Trocker keeps everything far too enigmatic to properly connect with the audience. But then this is a film about disconnection, as a family is quietly pulled apart by a series of misunderstandings, clashing personalities and unnervingly insidious betrayals, some of which are unconscious. Still, letting the viewer in would have helped a lot.

Pleasure 
dir-scr Ninja Thyberg; with Sofia Kappel, Revika Anne Reustle 21/Swe ***
There's a bold point at the centre of this Swedish drama set in the Los Angeles porn industry: that even women who are intentional about becoming adult movie stars are still being exploited and often abused by men. Filmmaker Ninja Thyberg says this through virtually each scene in this compelling but repetitive story. It's finely acted and shot with a riveting point of view. But it never feels personal.

• For more festival information: PICTUREHOUSE: SUNDANCE
• Visit Shadows on the Wall's anchor page for SUNDANCE LONDON for links to all reviews.

Sundance London: Feel the Love

The ninth Sundance Film Festival London kicked off tonight, bring a selection of top movies from the January festival to Picturehouse Central for four days of screenings and special events. Press screenings were packed into three days earlier this week, and I'm also planning to attend a couple of screenings on Sunday to watch some shorts and see what the Surprise Film turns out to be. This is always an enjoyable micro-festival, with lots of filmmakers present and a nicely relaxed atmosphere. I'll be back with daily blog entries, starting with three of my favourite films. The first won the top awards at Sundance in January.

Coda 
dir-scr Sian Heder; with Emilia Jones, Troy Kotsur 21/US ****
Beautifully written and directed by Sian Heder, this enormously engaging story digs deep into its themes, challenging us to look at deafness through a new perspective. Even if the open-hearted story is familiar structurally, there's an edge to the character interaction that resonates strongly through joy, pain and a steady stream of sharp humour. This allows the strong cast to create people who resonate deeply, and perhaps even inspire us.

Censor
dir Prano Bailey-Bond; with Niamh Algar, Michael Smiley 21/UK ****
Set in the late 1980s, this horror thriller is infused with political issues of the era that are equally fresh today. It's strikingly directed by Prano Bailey-Bond in genre period style, taking a dreamy dive into the mind of the central character, who is played with thoughtful intensity by Niamh Algar. Knowingly subverting the genre, this unusually witty, challenging freak-out also has an appropriately emotional gore-filled payoff.

The Most Beautiful Boy in the World
dir-scr Kristina Lindstrom, Kristian Petri; with Bjorn Andresen, Robine Roman 21/Swe ****
Combining artful new footage with astonishing archival clips, this documentary works on various levels to explore the nature and impact of beauty. It's a profile of Bjorn Andresen, cast as the representation of beauty by iconic filmmaker Luchino Visconti in his 1971 classic Death in Venice. Half a century later, Bjorn remains haunted by this. And the film reveals him as a man making peace with some powerful ghosts... FULL REVIEW >

• For more festival information: PICTUREHOUSE: SUNDANCE
• Visit Shadows on the Wall's anchor page for SUNDANCE LONDON for links to all reviews.

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CRITICAL WEEK

BEST OUT THIS WEEK:
Limbo • The Sparks Brothers
The Boy Behind the Door • Ailey
The Most Beautiful Boy in the World
ALL REVIEWS >

There were also a few non-festival films this week. Dwayne Johnson, Emily Blunt and Jack Whitehall are hugely entertaining in the Disney adventure Jungle Cruise, which might be overblown, bit it's also a lot of fun. The well-made Spanish dramatic thriller The Offering is dark and sinister, and hides its secrets too long. The beautifully assembled doc Ailey traces the life and legacy of the iconic Alvin Ailey with terrific archive footage. And I also caught up with this one on a big screen...

Nowhere Special
dir-scr Uberto Pasolini; with James Norton, Daniel Lamont 20/UK ****
Beautifully written and directed, and inspired by a powerfully emotional true story, this film follows a single dad (James Norton) seeking a home for his young son (Daniel Lamont) before cancer takes him. While the premise is wrenching, scenes are packed with buoyant life, revealing the terrific connection between a wryly funny working-class father and his wide-eyed son. Both Norton and the bright little Lamont are first-rate, avoiding sympathy to create a vivid, life-affirming exploration of the impact of mortality. Definitely worth a look.

Coming up this next week, I'll be watching James Gunn's sequel/reboot The Suicide Squad, coming-of-age thriller John and the Hole, the caper thriller Playing God, the Scandi-thriller Wildland, Brazilian drama The Fever, animated adventure Moonbound.

Sundance London: Build a happy home

The 6th Sundance Film Festival: London kicked off on Thursday night at Picturehouse Central. This brief festival only runs for three days, as the Park City festival programmers bring 13 films and two programmes of shorts to London audiences. Annoyingly, I had already planned a holiday for the first half of this week, so I missed all of the press screenings and will be unable to see virtually all of the films as I usually do. I'll have to make due with those I've already seen, and the ones I can catch at busy public screenings over the weekend. Here's the first set of highlights from this year's programme...

Hereditary
dir-scr Ari Aster; with Toni Collette, Alex Wolff 19/US ****.
Writer-director Ari Aster makes his feature debut with a boldly original premise that builds involving character drama as it thoroughly freaks out the audience. The horror climax may be somewhat hysterical, but the journey there features first-rate acting from the entire cast, plus skilfully controlled filmmaking that creates a terrifying experience that's both darkly emotional and delightfully bonkers.

First Reformed 
dir-scr Paul Schrader; with Ethan Hawke, Amanda Seyfried 17/US ***
Paul Schrader once again takes a provocative look at religion in America in this dark and twisty drama that has all kinds of repercussions in today's headlines, from climate change to extremism. Anchored by very strong performances, the film gets increasingly intense as it continues, implying in unmistakable ways that it's headed for something awful. Although Schrader himself seems unsure about where he wanted it to go... FULL REVIEW >

The Miseducation of Cameron Post 
dir Desiree Akhavan; with Chloe Grace Moretz, John Gallagher Jr 18/US ****
There's an almost eerie honesty to this teen drama, which makes it feel bracingly current even though it's set 25 years ago. With naturalistic performances and a topic that has become uncomfortably timely all over again, the film worms its way under the skin. Based on a novel by Emily Danforth, director-cowriter Desiree Akhavan gives the film an autobiographical tone, which adds a proper kick of resonance.

Films That Made Me
Three filmmakers whose work is featured in the Sundance London programme have selected the movies that inspired them. And they are introducing special screenings at the festival...

• Debra Granik (Leave No Trace) presents Celine Sciamma's stunningly original, moving and insightful coming-of-age drama Girlhood (2014) from France... SHADOWS' ORIGINAL REVIEW > 
• Desiree Akhavan (The Miseducation of Cameron Post) brings Morvern Callar (2002), Lynne Ramsey's bleakly brilliant drama starring Samantha Morton... ORIGINAL REVIEW > 
• Jennifer Fox (The Tale) chooses Tarnation (2004), Jonathan Caouette's astonishing kaleidoscope of an autobiographical documentary... ORIGINAL REVIEW >

Sundance London: Get out of there

The fifth Sundance Film Festival: London wraps up tonight at Picturehouse Central. It's been a terrific collection of films this year - a varied selection of American indies made by gifted filmmakers. Repeat cast members included Lakeith Stanfield (Crown Heights and The Incredible Jessica James) and David Warshofsky (Beatriz at Dinner and Wilson). And the surprise film Patti Cake$ is likely to end up in my top 10 movies of the year. Full reviews will appear on the site as the films open, but here are some final blurbs...

A Ghost Story
dir-scr David Lowery; with Casey Affleck, Rooney Mara 17/US ***.
A quirky oddity of a movie that's more than a little indulgent, this spiritual odyssey explores issues of life, death and time with a poetic sensibility, almost as if Terrence Malick made an extended Saturday Night Live sketch. It's so absurd that it feels like it should be funny, but the tone is strikingly somber, even morose. And while it's too mannered to be emotionally involving, it's impossible to look away.

Wilson
dir Craig Johnson; with Woody Harrelson, Laura Dern 17/US ***
A jarringly offbeat tone keeps the audience on its toes for this scruffy comedy, which is essentially a celebration of a hyperactive, hopelessly optimistic curmudgeon. Based on screenwriter Daniel Clowes' graphic novel, there's nothing very realistic about this character, but the script is brittly funny, with hints of real insight under the goofy surface.

The Incredible Jessica James
dir-scr James C Strouse; with Jessica Williams, Chris O'Dowd 17/US ****
With a perceptive script and a wonderfully nuanced lead performance from Jessica Williams, this comedy has a lot of very honest things to say about the difficult choices we make relating to both relationships and careers. But while the film has moments of pointed intensity, nothing is ever laid on thickly. Instead, writer-director James Strouse keeps the audience laughing at the witty dialog and surprising characters all the way through.

Patti Cake$
dir-scr Geremy Jasper; with Danielle Macdonald, Bridget Everett 17/US *****
A loud blast of fresh air, this crowd-pleasing comedy-drama is impossible to watch without generating a huge smile and probably a few tears. It's a forward-thinking story of frustration and ambition that almost anyone in the audience can identify with, and it's populated with an eclectic bunch of messy, loveable characters. If you have the ability to find beauty in even the most unlikely places, it's pure bliss.

Sundance London: Do the right thing

The fifth Sundance Film Festival: London kicks off tonight at Picturehouse Central, and the next four days will feature 14 feature films and 15 shorts, plus some revived classics. It's a great chance to see movies that are just a bit off the beaten path and then mix with the filmmakers and cast members too - and Picturehouse is a great place to hang out! Here are my comments on four films, with more to come over the weekend...

Crown Heights
dir-scr Matt Ruskin; with Lakeith Stanfield (pictured above), Nnamdi Asomugha 17/US ***
A powerful true story is recounted skilfully as this drama spans 21 years in the life of a man wrongfully accused of murder. Writer-director Matt Ruskin has several urgent things to say about the American judicial system, although his approach chronicles the events like a well-made TV docudrama rather than building a proper cinematic narrative arc. This leaves us feeling informed but not hugely involved, but it's essential that this story is told.

The Big Sick
dir Michael Showalter; with Kumail Nanjiani, Zoe Kazan 17/US ****
With a network of complex, realistic relationships, each with its own trajectory, this film feels rather long and somewhat tonally jarring for a comedy. It veers from snarky humour to giggly romance to some very bleak emotions as it goes along, but the themes it explores are powerfully resonant. And they give the film a surprising kick that echoes long after the credits roll.

Marjorie Prime
dir-scr Michael Almereyda; with Lois Smith, Jon Hamm 17/US ****
A rather talky script and lofty themes make it obvious that this film was adapted from a stage play (the playwright is Jordan Harrison). It's the kind of movie that holds the attention simply because it touches on so many big ideas in ways that spark thought. It's too brainy to be emotionally involving, but it's a bracing exploration of memory that carries a real wallop. It might even change the way you define your relationships.

Bushwick
dir Cary Murnion, Jonathan Milott; with Dave Bautista, Brittany Snow 17/US 1h34 **.
This busy thriller unfolds in unexpected ways as it propels us along with the characters through an inventive premise. But it's all a bit haphazard, with uneven writing and acting and a gnawing sense that there isn't much of a point to all the carnage. Still, it's a ripping little action movie that refuses to let its low-key production values get in the way of its big ambitions.

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CRITICAL WEEK
The only non-festival movie I've seen in the past week is Wonder Woman, which I really loved despite the too-digital climax. Sundance London continues over the weekend (watch for more updates here and full reviews on the site). Screenings coming up next week include the Tupac biopic All Eyez on Me and Tom Cruise's The Mummy reboot.

Sundance returns to London

After taking a break for a year, Sundance returns to London for 2016, this time in a much more accessible venue at the gorgeous Picturehouse Central in Piccadilly. Over the weekend, the 4th Sundance Film Festival: London is bringing 11 premiere features and a number of shorts, plus lots of events for aspiring filmmakers. It all kicked off tonight with Sian Heder's Tallulah (on-set pic above). Here are comments on the nine features I've seen...

Tallulah
dir Sian Heder; with Ellen Page, Allison Janney 16/US ****.
Skilfully written and directed by Sian Heder, this astute drama explores issues of parenthood from a variety of unexpected angles. The story is complex and gripping, and the characters are deeply engaging as they struggle to make the right decisions in tricky situations. Thankfully, Heder never resorts to glib answers, which makes the film both involving and powerfully moving.

Goat
dir Andrew Neel; with Ben Schnetzer, Nick Jonas 16/US ***.
Based on real events, this grim exploration of frat-house culture would be difficult to watch if it weren't for the strikingly realistic characters at the centre. Ben Schnetzer and Nick Jonas deliver involving performances as brothers with complex reactions to the unbridled masculinity they find themselves in the middle of. And they both provide a strong emotional kick.

Wiener-Dog
dir Todd Solondz; with Greta Gerwig, Ellen Burstyn 16/US ****
Arthouse veteran Todd Solondz continues to slice through the artificiality of human interaction with a series of vignettes that centre around an adorable dachshund. The connections between the episodes kind of fall apart as the film continues, but the characters and relationships are startling all the way through. As are the film's observations about the nature of intelligence.

The Intervention
dir Clea DuVall; with Melanie Lynskey, Cobie Smulders 16/US ***
An engagingly twisted story and especially strong acting bring this ensemble comedy-drama to life, sparking a continual sense of uncomfortable recognition for the viewer. So even if the themes never seem particularly complex, and the gyrations of the plot never terribly revelatory, the film is thoroughly entertaining as it explores some nagging truths about relationships.

Other People
dir Chris Kelly; with Jesse Plemons, Molly Shannon 16/US ****
Themes of mortality and repression make this drama rather heavy-going, but there's a freshness to the ensemble cast that injects jagged humour into every scene. And filmmaker Chris Kelly keeps the tone awkward, which gives the film an improvised atmosphere to help avoid any obvious sermonising.

Indignation
dir James Schamus; with Logan Lerman, Sarah Gadon 16/US ***.
Based on the Philip Roth novel, this tightly controlled film is an intriguing directing debut for writer-producer James Schamus. It certainly doesn't mirror the more free-spirited earthiness of his usual collaborator Ang Lee; this is a blackly pointed drama with intense characters whose actions carry punchy consequences. Which is the story's central theme.

The Greasy Strangler
dir Jim Hosking; with Michael St Michaels, Sky Elobar 16/US *.
With its relentlessly crude filmmaking, this gonzo horror-comedy feels like Beavis and Butt-Head tried to make a mash-up homage to John Waters and David Lynch. Except that the movie is never remotely funny or scary. And director James Hosking spends too much time wallowing in grotesque nudity and repeated catch-phrases to give the premise any kick.

Author: The JT LeRoy Story
dir Jeff Feuerzeig; with Laura Albert, Savannah Knoop 16/US ****
Inventively assembled to tell a story with humour and insight, this film documents the astonishing conundrum of hotshot author JT LeRoy, who turned out not to be a real person after his novel and stories had been published and adapted for film to great acclaim. Filmmaker Jeff Feuerzeig digs deep to tell the full story from the perspective of the woman at the centre of it all.

Weiner
dir Josh Kriegman, Elyse Steinberg; with Anthony Weiner, Huma Abedin 16/US ***.
This is a fascinating documentary about a politician who desperately wants to get past a scandal of his own making. And since we're talking about Anthony Weiner, directors Josh Kriegman and Elyse Steinberg have a seemingly endless supply of wickedly entertaining jokes to work with. Even as the filmmakers remain in fly-on-the-wall mode, the film snaps with energy and wit... FULL REVIEW >