At the Movies In London Again For the First Time at 67th BFI London Film Festival By Writer and Contributor Stephanie Mardesich
Since c. 2000 I’ve been a press delegate for the BFI London Film Festival (LFF) at least a dozen times, on “hiatus” since 2019 because of the global travel issues. I was glad to return in October (4th – 14th) for the 67th annual event; and great to be back in London, England “again for the first time” to enjoy the history, culture and dining in my favorite city where I’ve traveled countless times, and lived , seeing longtime friends and make new acquaintances.
Replete with movies stars, Red Carpet events, programs in multiple venues including South Bank where British Film Institute (BFI) is located. My personal favorite is the Curzon Mayfair classic single screen cinema located in one of London’s most charming, if not famous “neighborhoods” (see link for more at end of article).
LFF is an opportunity for public and press to view an amazing array of international movies and for me consider what might be programmable for LA Harbor International Film Festival (I’m director/founder since 2003).
My “hone away from home” is The Milestone Hotel, Kensington – just across from Kensington Palace – delightful, elegant yet cozy catering to their guests with gracious, warm hospitality. Kensington is my favorite part of London, and easy transport to and from the West End (well, not exactly as traffic is bustling more than ever) where most films screened. The No. 9 bus, or taxi, though many use the lyft or uber transport, is best transport, and always a lot of walking. The Kensington High Street tube is also convenient though this visit I preferred to be above ground especially since the weather was splendid, as warm and sunny as California!
The “press and industry” (P&I) screenings are my preference to avoid big crowds and see early in the day, often as early as 8 am. My genre focus is documentary, general audience appeal (nothing too strange or “edgy”) and short films; usually not the main stream pictures, though this year there were two “big movies” that intrigued: Killers of the Flower Moon (released in USA Oct. 2) and Maestro (to be released in USA Dec. 20). I can recommend both for different reasons and with some cautionary notes that follow.
With nearly 200 films programmed to I viewed about 12 movies (and walked out of at least three) that were misrepresented or didn’t suit my sensibility. Chose some highlights for your viewing consideration.
Along with viewing films there are favorite exhibition spaces that beckon over the years including Kensington Palace this year with “Crown to Couture” a feast for opulence with provocative juxtaposition of the NYC Met Gala and European “Court” ritual and etiquette; at the Victoria & Albert Museum “Chanel” was off the runway with retrospective of the legendary designer Gabrielle “Coco” Chanel including dozens of original garments depicting her immense style and trending over the decades she reigned as “Queen of Couture.” Viewing the fashion themed exhibits was a pro pos of the side trip I made to Paris after the film festival and the cinematic theme that threads through all my travels. Paris will be featured next month by the way.
At LFF corresponding to “Crown to Contour” the exciting feature documentary High & Low revealing story couture wonder boy House of Dior’s John Galliano (British) who “fell from grace” after making some inappropriate comments caught on video while he was sitting in Paris café and very drunk. Knowing nothing about Galliano, though a fashion maven friend gave me an accurate account, I was mesmerized by Galliano’s charisma and honesty. The filmmaking style reminded me of Shirley Clarke’s famous documentary Portrait of Jason with the close up one on one camera capturing the man open and honest revelations.
It’s a sure Oscar® contender for Best Documentary in coming year; along with another outstanding LFF tour de force documentary Swan Song (National Ballet of Canada).
About the movies (alphabetically aligned):
Killers Of The Flower Moon (USA, Apppian Way/Apple Studios, 2023, 206 min., R, dir. Martin Scorsese)
Reversing the notion of LAHIFF education outreach program "Read the Book, See the Movie" (RBSM) I viewed the film based on the book of same title by David Grann, and might read the book “At the Movies In London Again For the First Time at 67th BFI London Film Festival” Vol. IV, No. 6 was last selection for the San Pedro/PVP book club/salon yours truly is a founder and participant of. I had chosen not to read it because of the underlying violence of the story offending my sensibility. When I noticed it was programmed in the BFI London Film Festival, I decided to attend a P I screening (at 8 am!) to see if I'd view the entire film and I was able to sustain. For those who have read the book, the premise would be understood. Suffice to say director Scorsese admittedly took dramatic license and made some changes; and that often occurs in transition from source material to screen adaptations. The story is disturbing, if not depressing, considerable violence inevitable given the factual aspects of the c. 1926 story of Osage Indians who were systematically killed for the sake of their oil rich land fortune(s).
There's an "authentic" feel about the movie with regard to the opening and style depicted, almost documentary in with juxtaposition of photos and news clips. Performances are strong with Leonardo Di Caprio (his strained look with furrowed brow and twisted mouth was a bit much), Robert DeNero, and Lily Gladstone in lead rolls and likely Academy Awardâ contenders. The film has had immense promotion internationally and will clearly be touted for multiple award(s) consideration. Music punctuates the mood and action throughout the film; (late) Robbie Robertson credited for that aesthetic choice.
At three and a half hours it's too long by about 20 minutes and the ending is a bit Busby Berkley with the director insinuating himself that detracted from the final impact.
Caution: Violence, and strong language to be considered.
https://www.imdb.com/title/tt5537002/?ref_=fn_al_tt_1
Swan Song
(Canada, Canadian Broadcasting Co./Mercury Films Inc.,/Quiet Ghost, 2023, 100 min., dir. Chelsea McMullen)
World renowned acclaimed prima ballerina Karen Kain, retired from the stage, eventually assumed role as director of National Ballet of Canada and after the “virus” restrictions lifted, was at the help to stage a unique production of Swan Lake that revived the nearly broke ballet company.
The tour de force documentary reveals the creative process behind the curtain to mount the production and the innovative interwoven with stories of the “corps de ballet”, principal star, and Kain’s own reflection on her career and being open to introducing new concepts. Tchaikovsky’s emotional score is at the core and of course contributes to the emotion of the experience. The film is exceptional and deserves any and all recognition, tributes and award nominations.
https://www.imdb.com/title/tt28490634/?ref_=fn_al_tt_3
High & Low: John Galliano
(UK/USA/France, 2023, KGB Films/Conde Naste Entertainment, 116 min.dir. Kevin MacDonald
Fast paced, provocative feature documentary reveals the history, rapid and subsequent “fall from grace” and journey to recover of controversial fashion designer John Galliano, Spanish by birth, yet raised in Britain.. Brilliantly directed with fast paced editing yet contemplative one on one monologues from Galliano whose magnetic charisma are totally captivating. Studded interviews include “supermodels” movie stars: Kate Moss, Charlize Theron, Penelope Cruz, Naomi Campbell. Don’t miss this amazing movie!
https://www.imdb.com/title/tt27795526/?ref_=fn_al_tt_2
Maestro (USA, Sikelia Productions/Amblin Entertainment/ Fred Berner Films, 2023,129 min., R, dir. Bradley Cooper)
Be prepared to learn more about Leonard Bernstein and his wife Felicia………than you might like to. The film is powerful Bradley Cooper filling dual role directing the picture and portraying the illustrious conductor/composer Leonard Bernstein. The film reveals the complex love story of Bernstein and his wife actress Felicia Montealegre Cohn Bernstein (Carey Mulligan) spanning over 30 years from the time they met in 1946, through two engagements, their 25 year marriage, her health diagnosis with breast cancer that eventually lead to her demise; and their three children Jamie Bernstein, Alexander Bernstein and Nina Bernstein Simmons who supported the production and its candor.
“At the Movies In London Again For the First Time at 67th BFI London Film Festival ” Vol. IV, No. 6
The art direction depicting the 40s, 60s and on including high end haberdashery and Chanel suits created authentic feel, along with never ending cigarette smoking. At times it felt “affected” with regard to the acting though performances were convincing, particularly the leads Cooper and Mulligan (she’s always “perfection” in my opinion).
Dramatic, if not poetic, the film is symphonic in structure with bold and emotional music a pro pos of the subject. Compelling to the end, mystifying in many ways.
Caution: The intimacy of the marital relationship and Bernstein’s bi-sexuality, of which I was ignorant ergo un-prepared, though managed to stay with it, is to be considered before viewing the film
https://www.imdb.com/title/tt5535276/?ref_=nv_sr_srsg_1_tt_4_nm_3
Coco Before Chanel (not in festival – included vis a vis “Chanel” exhibit)
(Warner Bros., France/Belgium, 2009, 105 min., PG13, dir. Anne Fontaine)
Biographical depiction of early years of the legendary couture designer Gabrelle “Coco” Chanel (Audrey Tatou). From time she and her sister were abandoned by their father and left at a convent to working in a provincial bar, and both a seamstress for the performers and a singer, adopting the nickname “Coco” from early childhood. Her an entrée into French society evolves from liaison with Baron Etienne Balsan (Benoit Poelveoodre) and her flair and sense of design develop from millinery creations (like America’s famed “Halston”) as she develops her natural gift for design with influential style. Another romantic link with Englishman Arthur Capel (Allesandro Nivola) offers further opportunities, with more complications.
Academy Awardâ nomination for Best Costumes; Four BAFTA nods, including Tatou for Best Actress.
https://www.imdb.com/title/tt1035736/?ref_=fn_al_tt_2
Overall this year’s LFF, https://www.bfi.org.uk/london-film-festival/news/full-programme-67th-bfi-london-film-festival albeit a lot to choreograph in terms of screening times and venues (the press office staff was so helpful!), was one of my best experiences covering the film festival, and always a pleasure to be in my favorite city.
As Dr.Samuel Johnson stated: “….when a man is tired of London, he is tired of life; for there is in London all that life can afford." I’m never tired of or being in London!
Other films to watch for when release dates are to be announced (probably for 2024):
Les Indesirables (France)
The Pot au Feu (La Passion de Odin Bouffant) (France)
(stars Julliette Binoche)
About:
67th BFI LFF:
https://www.bfi.org.uk/london-film-festival/news/full-programme-67th-bfi-london-film-festival
Curzion Mayfair: https://www.curzon.com/venues/mayfair/
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
