Blogging the London Film Festival: the highlights

Ten to watch, as recommended by us

The 53rd London Film Festival begins on 14 October. Among the hundred-plus films drawn from around the world are the latest Coen brothers comedy, a biopic of the poet John Keats and not one, but two, films starring George Clooney. Over the coming weeks, the NS culture team will bravely attend as many screenings as possible and blog about it here. In the meantime, here is our pick of ten highlights to whet your appetite:

Fantastic Mr Fox (dir: Wes Anderson)

Anderson, director of quirky comedies such as The Royal Tenenbaums, makes his first foray into animation with this adaptation of Roald Dahl's classic children's story.

The White Ribbon (dir: Michael Haneke)

The Austrian-born Haneke has long been known for his punishing films, but his last, Funny Games, proved a little too much for our own Ryan Gilbey. Will this tale of malice and spite in early-20th-century Germany fare any better?

Bluebeard (dir: Catherine Breillat)

Famously retold by Angela Carter in her story collection The Bloody Chamber, this fairy tale gets a low-budget treatment from the provocative Breillat.

Tales from the Golden Age (dir: Cristian Mungiu)

The 20th anniversary of the fall of communism is being marked by various arts projects. Here, the acclaimed Romanian director Mungiu presents a series of vignettes of life under Ceausescu. You can read the NS review of his previous film, 4 Months, 3 Weeks and 2 Days, here.

Oil City Confidental (dir: Julien Temple)

After giving us documentaries on the Sex Pistols and the Glastonbury Festival, Temple turns his attention to Britain's much-maligned pub rock scene.

She, a Chinese (dir: Xiaolu Guo)

Guo is better known for her novels (the most recent of which we reviewed here), but she is also an accomplished film-maker. She, a Chinese tells the story of a young immigrant in Britain and features a score by John Parish, the PJ Harvey collaborator.

Hadewijch (dir: Bruno Dumont)

With a visual style that has more in common with the painters of his native Flanders than any of his contemporaries, Dumont cuts something of an outsider figure in French cinema. Hadewijch is tipped to be his best work yet -- while you wait for it, read this 2007 NS interview with the director.

Journey to the Moon (dir: Kutluğ Ataman)

Ataman, who was nominated for the Turner Prize in 2004, may be better known to NS readers as a video artist -- Fisun Güner wrote about him in April. Journey to the Moon reconstructs an incident from 1950s Turkey.

Perestroika (dir: Sarah Turner)

Structured around a journey on the Trans-Siberian Express, this exploration of amnesia is a promising highlight of the festival's experimental film strand.

Bad Lieutenant: Port of Call New Orleans (dir: Werner Herzog)

Herzog, the visionary German director who has been making films since the 1960s, is enjoying a late surge in popularity. This remake of a 1992 Abel Ferrara crime drama, starring Nicholas Cage, is a departure from his recent run of documentaries. You can read our Q+A with the director here.

Daniel Trilling is the Editor of New Humanist magazine. He was formerly an Assistant Editor at the New Statesman.

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Do the abusive messages sent to One Direction members reveal a darker side to fandom?

Incidents like this are often used to characterise all young female fans, but this isn’t about fandom. It’s harassment. 

One Direction’s Niall Horan is the internet’s favourite innocent blond goofball. He spends his days tweeting platitudes about golf and the weather, Snapchatting his reactions to whatever is on his TV, and thanking his fans for everything they’ve done for him. His social media presence is generally one of cheerful bemusement.

So, last night, the web went into maternal #ProtectNiall mode when he took to Twitter to highlight the darker side to fame.

A group of “fans” got hold of Niall’s number, and started frantically texting, WhatsApping and calling him. After two weeks of constant abusive messaging, despite requests to stop, Niall tries to use his platform to get them to stop.

Around the same time, screenshots of the supposed messages started to circle online. (I certainly can’t prove whether they’re real or not, but they first surfaced before Niall’s tweets and feel genuine.) The pattern that emerges seems to be one of frantic, attention-seeking messaging, extreme shock and surprise when he writes back, and, when Niall only requests that they stop messaging him and respect his privacy, the really nasty stuff starts. Messages range from “You invented cancer” to “If [your nephew] was my kid I’d sell it”; from “You’re so stupid and r*tarded” to “I hope your house blows up”.

Niall’s responses are extremely Niall in their politeness. “Why do I deserve to have a bad day?” he asks one. “You guys are bullies,” he tells them. “Go away please.”

As soon as the screenshots emerged, so did suspicions about the identity of the individuals in question. A set of five or six Twitter handles were circled by fan accounts, encouraging people to block and report the usernames to Twitter. Some of the owners of these accounts themselves claim to have been part of the conversations in question, to varying degrees. These account owners are seemingly women, under the age of 18, who have supposedly been involved in other recent One Direction harassment incidents.

One of those incidents came just days before Niall’s tweets. A person suspected to be a member of this group of “fans” got hold of another band member’s phone number: Louis Tomlinson’s. You can listen to a recording of the phone conversation between them that leaked online. After telling him her Twitter handle, Tomlinson asks the caller how she got his number. “You’re a fucking bitch and I hope your baby dies,” she says. Louis responds with a variation on the ancient proverb, “Lawyer up, asshole.” He seemingly tweeted about the incident later that day – and Niall retweeted him.

Fan accounts insist that the same Twitter users were also involved in hacking the iCloud of Anne Twist, Harry Styles’s mother, and leaking hundreds of photos of her son online.

The whole situation is a complicated mess. Parts of the messages feel as though they have been influenced by the style of accounts desperately trying to get the attention of celebrities on Twitter. If you look at the top reply to any tweet from a celebrity with millions of Twitter followers, the responses are calculated to shock the most in an attempt to get noticed. Maybe it’s a weird combination of sexual and violent imagery, or a sexist or racist slur. This is harassment itself, but its ubiquitousness can make it seem less offensive or extreme. Perhaps this kind of behaviour is easier to ignore on Twitter or Instagram – if you have millions of followers, you presumably can’t be notified every time one of them interacts with you online. When it moves into your private sphere, I can image it becomes more terrifying than annoying. Maybe these girls were simply swept up in the cultural moment, and failed to grasp the consquences of their behaviour.

Is it a damning indictment of the hysteria of teenage girls? The scary state of twenty-first century fandom? The problems of anonymity offered by the internet? It’s true that the internet has offered new ways for fans and celebrities to have a more direct connection with one another: for the most part, a mutually beneficial arrangement.

But the revelation of the internet has also been that it is a tool through which fundamentally human behaviours are expressed. Over the last few decades, we have learned that aggressive behaviour online is not limited to largely non-existent stereotypes of spotty virgins in their mothers’ basements, or teenage girls developing “dangerous” sexuality. Grown men and women, mothers, fathers, daughters, sons all do it. It’s also not a behaviour that is inherently connected to online spaces: children and teenagers might experiment with moral boundaries through cyberbullying, but they also might do it via anonymous notes in lockers or whispers in school corridors. People of all ages, professions and genders harass others.

The real problem is not celebrity culture or the concept of teenage fandom or social media. As Louis Tomlinson rightly identifies, it’s that our laws have failed to catch up. If we continue to treat harassment as harassment, in all spaces and by all perpetrators, we’ll have a better chance of minimising it.

Anna Leszkiewicz is a pop culture writer at the New Statesman.