Month: October 2011

I Saw Six Films at the LFF and All I Got Was This Lousy Blog Post


So, The London Film Festival. Or LFF. Or, The London Festival of Film!

In a way, LFF seems to me to be a “greatest hits” of all the festivals that came before it. I mean, no one really cares about it in the way that they care about Cannes, or TIFF, or Venice, but it’s here and it’s showing a lot of potentially good films and we all should probably take as much advantage of it as we can.

Of course, the amount of advantage that I could take of it wasn’t that much compared to some. My purse strings stretched to six films, all of which I was fairly certain would be great, and considering I was only really disappointed by one, I’d say that’s pretty good going. It’s hardly comprehensive coverage of the festival, but here they all are. As you can probably tell from these reviews, Weekend was my clear favourite of the festival. It’s hard to express the impact it had on me without it sounding like hyperbole, especially for a film so slight, but it’ll be staying with me for some time and has shot to somewhere very high up on my favourite films ever list. However, if I was going to recommend you go and see any of these films, I’d probably have to pick The Loneliest Planet. It may have plenty of flaws, but it’s story is so unique, and the way it tells it so fascinating, that I really want more people to see it than inevitably will.

These were all originally posted as I saw them on, which had pretty excellent LFF coverage across the board from a whole bunch of people who seem to really care and think about film, so you should totally mosey on over and check them out.



Melancholia (von Trier, 2011)

Lars von Trier is an interesting director. His films are never less than projects – full-blown, high-concept, often dazzlingly audacious and over-the-top things, almost to the point of absurdity. The problem is, I’m never quite sure whether he’s made a genuinely good film. He’s made a bunch of very interesting ones, sure, and Melancholia is no exception: There are some moments in it that are so staggeringly good that I was left quite literally breathless, and there are moments that left me almost completely cold. What we have here is a companion piece to 2009’s Antichrist without half of that film’s histrionics, and it’s probably von Trier’s best film since his magnum opus, 2003’s Dogville. But whether it’s actually good rightly remains open to debate.