Gilbey on film: What can we expect from this year's London Film Festival?

Incoming Festival Director Clare Stewart shows signs of having created a properly dynamic programme.

Another year, another London Film Festival — though this one distinguishes itself from its immediate predecessors by starting earlier than usual (October 10), running for 12 days rather than the usual 16, spreading out across more of the capital than ever before (reaching Hackney, Islington and Shoreditch), sharing some of its gala screenings with audiences across the country (the opening night attraction, Tim Burton’s stop-motion animated horror Frankenweenie, adapted from his own 1984 live-action short, will be screened simultaneously at other UK cinemas) and incorporating a competitive element that brings it more in line with other major film festivals. This new broom is wielded by the incoming Festival Director, Clare Stewart, former head of the Sydney Film Festival. Stewart will have quite a job filling the shoes of Sandra Hebron, but early signs are that she has concentrated on making the shape and content of the programme properly dynamic.

Now the tricky part: speculation. Looking back at the sorts of festival titles I’ve suggested in past years has thrown up the occasional embarrassment (I was as disappointed as you probably were by Rampart and This Must Be the Place). But not for nothing is the LFF known as a best-of-the-fests affair, rounding up the cream of Berlin, Cannes, Venice and Toronto. Sure enough, the 2012 programme includes this year’s Palme d’Or winner, Michael Haneke’s celebrated Amour; Thomas Vinterberg’s The Hunt, about the downfall of a kindergarten teacher, for which Mads Mikkelsen won the Best Actor prize at Cannes; and the same festival’s Best Director recipient, Carlos Reygadas, for his audacious drama Post Tenebras Lux. The Taviani brothers also return with their Berlin Golden Bear-winning Caesar Must Die, in which a group of prisoners stage Julius Caesar.

If it’s a surprise that neither Paul Thomas Anderson’s The Master nor Terrence Malick’s To the Wonder have made the journey to London from their recent Venice premieres, perhaps that means they are in the running for a different kind of surprise—the LFF’s Surprise Film.

Here are ten other selections from the LFF programme, along with the reasons why I think they could be worth your time and mine:


In the House (Dans la maison)

Because François Ozon, great at camp (Potiche, 8 Women), is even better at psychological thrillers (Regarde la Mer, Under the Sand, Swimming Pool), and this study of the relationship between a teacher (the always excellent Fabrice Luchini) and his talented pupil looks full of promise. Kristen Scott-Thomas and Emmanuelle Seigner co-star.


Seven Psychopaths 

Because no one writes like Martin McDonagh. He also directs here for the first time since In Bruges, with a cast including Christopher Walken, Sam Rockwell and Colin Farrell.



Because the premise of Michael Winterbottom’s drama about a family coping with the long-term imprisonment of one of its number is elevated by its execution: it was shot on-and-off over five years, the better to capture the authentic changes in its cast members.


Hyde Park on Hudson 

Because Bill Murray plays FDR. What more reason do you need?


For No Good Reason

Because it’s a documentary about the great, savage illustrator and cartoonist (not to mention NS contributor) Ralph Steadman.


The Central Park Five

Because it promises to be a powerful analysis of a miscarriage-of-justice case in New York City in the late 1980s.



Because Matteo Garrone’s new film, about a fishmonger who yearns to be on Big Brother, is his first since the extraordinary Gomorrah.


Paradise: Love 

Because Ulrich Seidl (Import/Export, Dog Days) is a continually daring and abrasive director, and this film about sex tourism, the first in a trilogy, would suggest he hasn’t yet defected to the romcom.


Obsessive and Compulsive 

Because this programme of shorts on the theme of obsession includes Up the Valley and Beyond, about Russ Meyer, and Picture Paris, directed by Brad Hall and starring his wife, Seinfeld/Veep star Julia Louis-Dreyfus, as a woman hooked on Paris.


Mekong Hotel  

Because while it may be only an hour in length, it’s also by Apichatpong Weerasethakul (who made Uncle Boonmee Who Can Recall His Past Lives), a filmmaker who crams more treasure, pleasure and meaning into a few frames than most directors do into an entire career.


Booking opens to BFI members on 13 September, and to the public from 24 September.

Photograph: Getty Images

Ryan Gilbey is the New Statesman's film critic. He is also the author of It Don't Worry Me (Faber), about 1970s US cinema, and a study of Groundhog Day in the "Modern Classics" series (BFI Publishing). He was named reviewer of the year in the 2007 Press Gazette awards.

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SRSLY #20: Friends, Lovers, Divers

On the pop culture podcast this week, we talk albums from Joanna Newsom, Bjork and Grimes, Todd Haynes film Carol, and comedy web series Ex-Best.

This is SRSLY, the pop culture podcast from the New Statesman. Here, you can find links to all the things we talk about in the show as well as a bit more detail about who we are and where else you can find us online.

Listen to our new episode now:

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SRSLY is hosted by Caroline Crampton and Anna Leszkiewicz, the NS’s web editor and editorial assistant. We’re on Twitter as @c_crampton and @annaleszkie, where between us we post a heady mixture of Serious Journalism, excellent gifs and regularly ask questions J K Rowling needs to answer.

If you’d like to talk to us about the podcast or make a suggestion for something we should read or cover, you can email srslypod[at]

You can also find us on Twitter @srslypod, or send us your thoughts on tumblr here. If you like the podcast, we'd love you to leave a review on iTunes - this helps other people come across it.

The Links

Joanna Newsom, Bjork and Grimes

Joanna Newsom’s Divers doesn't seem to be on Spotify, but you can get it on iTunes here. Listen to Grimes’ Art Angels here and Bjork's Vulnicura here.

This is a good piece about Joanna Newsom.

This piece makes the comparison with Elena Ferrante that we talk about on the podcast.

Here's Grimes's own post about Bjork.

Tavi Gevinson's interview with Joanna Newsom (where she talks about liking Grimes).



Ryan Gilbey's review of Carol, which he calls “as tantalising as hearing a tender ballad on a tinpot transistor”.

Anna's piece about the photographers that influenced the visual style of the film.

An interesting Q & A with director Todd Haynes.



The full series is available to watch for free here.

Meghan Murphy on friendship break-ups.


Your questions:

We love reading out your emails. If you have thoughts you want to share on anything we've discussed, or questions you want to ask us, please email us on srslypod[at], or @ us on Twitter @srslypod, or get in touch via tumblr here. We also have Facebook now.


Our theme music is “Guatemala - Panama March” (by Heftone Banjo Orchestra), licensed under Creative Commons. 


See you next week!

PS If you missed #19, check it out here.

Caroline Crampton is web editor of the New Statesman.

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