At The Movies BFI London Film Festival “Selects” By Cinematic Expert Stephanie Mardesich
In October I traveled to the United Kingdom as press delegate to the 68th BFI London Film Festival I’ve attended since the 46th. I viewed at least 20 films in ten days, and walked out of two. In years past I’ve enjoyed many speakers and forums, afternoon teas with filmmakers, however this year was strictly viewing movies; and some cultural and dining pleasure.
The most memorable and outstanding film was I’m Still Here (Brazil, 2024) next was the unusual documentary Patrice: The Movie (USA) that’s been invited to be programmed at the 22nd LA Harbor International Film Festival closing day DocSunday March 16, 2025. More about the latter in 2025.
There are several films I saw that opened in USA citywide in October, or will have limited runs in December. One of the big pictures that was touted was Maria about the superb soprano and true “diva” of the opera in the last century, the extraordinary Maria Callas. My late Mother greatly admired the star singer and in c.1981 I gave her the book Maria Callas: The Woman Behind The Legend by Ariann (nee) Stassinopoulos Huffington (Simon & Shuster, 1981,383 pp). I found the book still in our home library and began reading the tome in anticipation of seeing the film in London. I also chose it for our local book club that “salon” last meeting of 2024.
Ordinarily I would not write about a film I could not commend, at least partially, however this film is ambiguous in that regard. It’s rather speculation about the last week of Maria Callas’s life when she resided in Paris, France coping with her “demons.” In spite of some flashback scenes as an attempt to provide historic perspective, it lacks exposition, void of feeling, mostly cold, vacant and the diva (portrayed by Angelina Jolie) is miscast. The persona of the actress undermining celebrated Callas. Though I knew something about Callas when I viewed the film I’d barely begun re-reading the book and the film is not based on this or any tome per se.
If you choose to see the film I do recommend reading Huffington’s book, or there are others, and at least have some awareness about the legendary lady, or you’ll be lost in the metaphors. There is so much available about her from interview clips, segments of her performing, CDs, countless articles.
A few of the movies that impressed me, good, bad or indifferent:
We Live In Time (France/UK, Studio Canal/Film4/SunnyMarch; 2024, 98 min. R, dir. John Crowley)
An auto accident brings together chef/restaurateur Almut (Florence Pugh) and recently divorced Tobias (Andrew Garfield) in this poignant, charming, often humorous quirky, bittersweet love story with tear-jerker ending. When Almut accidentally down Tobias he’s injured, yet stable. He pursues her and almost gives up. Their unlikely romance ensues over a decade as they fall in love, build a home, have a child, and plan to marry when another fate befalls Florence, shattering their life, yet sustaining a deep and unique love. Garfield is charming, Pugh a dignified compelling beauty. Both give authentic tough and vulnerable performances that feels real. Caution: nudity and language.
More: https://www.imdb.com/title/tt27131358/?ref_=fn_al_tt_1
Maria (Italy/Germany/Chile/USA; The Apratment/Complizen Film/Fabula; 2024, 124 min., R, dir. Pablo Larrain)
World renowned soprano Maria Callas, considered the greatest opera singer in the of the 20th century “interpreted” in the last week of her life in 1977 confronts her demons, past love, personal and stage identity. Difficult to follow the story devised by screenwriter Stephen Knight and the interpretation by director (k known for films about two other iconic women Jackie and Spenser). The films focus spins from Maria Callas (Angelina Jolie) and the relationships with her (maid) Bruna (Alba Rohrwacher) and (butler) Ferrucio (Pierfrancesco Favino) and annoying journalist probing her psyche and soul. Also included is Callas sister “Jackie” Yakinthi (Valeria Golino) reflecting on the disturbed relationship with her mother. It is not a “bio picture” as one might assume. It’s vague and meandering emphasized by Jolie continually walking in rather frozen posture, through out her abode and all over Paris with abstract illusions that distract rather than depict. The script is flawed and the direction abstruse. Jolie is postured and posing like she’s moving in slow motion. It’s exhausting to watch and does not truly reveal the real woman behind the star.
More: https://www.imdb.com/title/tt22893404/?ref_=fn_al_tt_1
The Room Next Door (Spain/USA, El Deseao/MovieStar+, Pathe; 2024, 107 min., PG13, dir. Pedro Almodovar)
Sad story of the protagonist war correspondent Martha (Tilda Swinton) coping with a cancer death sentence and appealing to a long time friend author Ingrid (Julianne Moore) she’s little if any communication with for eons to be near her during her final time alive. Another movie, sorry to state that I can’t recommend, however it’s highly touted based on Spanish director/screenwriter Almodovar’s high reputation and his first film in English, it’s stagnate. There’s no real emotion or feeling, the actors seem to be reading their lines. The pristine scenes from interior to exterior monochromatic and cold.
Supporting cast includes John Torturro as Damian the “ex” of both the gals.
If you’re impressed with the filmmaker and talent, then see the picture in its limited year end release.
More: https://www.imdb.com/title/tt29439114/?ref_=fn_al_tt_1
About the best for last:
I’m Still Here (Brazil/France, VideoFilms/RT Features/MACT Productions; 2024, 136 min., PG13, dir. Walter Salles)
The film opens on warm sunny day in 1971 at he beach in Rio de Janeiro, Brazil. It feels so natural and happy. The archetype happy family is enjoying sun and surf and preparing for going away party for eldest daughter who is off to London, England. The mother Eunice Paiva (Fernanda Torres) enjoys a swim A day or two later former congressman Rubens Paiva (Selton Mello), outspoken critic of Brazil's newly instituted military dictatorship is taken from his home by alleged government officials (they seem more like thugs) told he must give a "deposition" to authorities. He puts on a coat and tie, they take him away and he disappears.
His wife Eunice inquires to no avail, then she is taken in to custody with a hood/blindfold so she has no idea where she is, along with a daughter. Eunice is locked up for weeks in a Spartan windowless space. It’s terrifying and unexplained, then she is released.
The compelling tale is adapted from son Marcelo Rubens Paiva's memoir.
It’s a disturbing political drama, reminiscent of the “Los Desaparecidos” (disappeared) * of Argentina sordid politics, that speaks to the determination and courage of the wife/mother who has to now be head of the family, relentlessly seeking the truth about what happened to her husband. Filmmaker Salles (The Motorcycle Diaries, Central Station) guides Torres in a stoic determined performance that’s award worthy. Torres) in her 25 year pursuit of justice for her husband. Brazil’s submission for Academy AwardÒ for Best International Feature. The casting is perfection, so authentic, deserves its own award. Sony Pictures Classics release.
More: https://www.imdb.com/title/tt14961016/?ref_=fn_al_tt_1
Note: I attempted to find the book and there seemed to be no translation in English available.
Other films recommended to view at the cinema or via internet release:
Superman: The Christopher Reeve Story (USA/feature documentary)
Endorsed by Reeve’s children tracks what occurred after his crippling horse riding accident and spinal cord injury that left him paralyzed. Courageous and bold he kept going and achieved his own “personal best” though afflicted and did much to help others in similar circumstances, even changing legislation for handicapped rights.
Elton John: Never Too Late (USA/feature documentary)
Mostly vanity, however does give some insight into the musician’s personal ethos.
When Fall Is Coming
(France, 2024, FOZ, France 2 Cinema, Playtime; 102 min., dir. Francois Ozone)
Michelle Giraud (Helene Vincent) seems to have a peaceful retirement in a small village in Burgundy, France. She has a “bon copain” (good friend) Marie-Claude Perrin (Josiane Balasko) who she formerly worked with . She’s preparing lunch for her daughter Valerie (Luduvine Sagnier) arriving from Paris, and grandson Lucas (Garlan Erlos) who is to spend his school vacation with her. An unfortunate mistake the plan and her daughter angrily and abruptly departs with Lucas.
Michelle is bereft, yet carries on and when Marie-Claude's son Vincent (Pierre Lottin) is released from prison she hires him to help her with odd jobs. Vincent has learned from his mistakes and has ambition to open a café/club. Michelle helps him and in-kind he demonstrates loyalty and compassion. There’s a “twist” in the story that can’t be revealed. Suffice to state it’s a film to consider and you’ll probably want to enjoy some cuisine francaise, or bake a Quiche Lorraine.
https://www.imdb.com/title/tt29482291/?ref_=fn_all_ttl_1
Bon appetite – Joyeux noel et Bonne Anne 2025!
Stephanie Mardesich, a native of San Pedro from a family who arrived in the harbor area over 100 years ago. An alumna of U.S.C. School of Cinematic Arts; founder-director of the LA Harbor International Film Festival; credited journalist and public relations consultant, she launched "Cinema Stephanie" film critique blogette in 2017. More recently, she created "Eclectic Culture" lifestyle stories and reviews blog. She is also co-producer with Jack Baric (S.P. native and R.P.V. resident) of the oral history project Stories of Los Angeles Harbor Area: For Yesterday, Today and Tomorrow (SOLAHA) - Volume II debuted in March 2020
