Preview: Ten of the best at this year's London Film Festival

Tickets for LFF 2013 go on sale on this Thursday (12 Sept). Our film critic Ryan Gilbey picks ten of the most promising films from this year's line up.

With booking for this year’s London Film Festival opening to BFI members on Thursday 12 September (and to the public on Friday 20 September), it’s time for the customary lucky-dip round-up of some of the most promising titles in the programme. As usual, I’ve tried to exclude the big, headline-grabbing movies that will doubtless be sold out within seconds, or which go on release anyway within a few days or weeks of being unveiled at the festival.

The opening film, Paul Greengrass’s factually-based Captain Phillips, which puts Tom Hanks at the helm of a US container ship hijacked by Somali pirates in 2009, will be hitting cinemas nationwide a week later, where you can see it for a fraction of its £32 Opening Night Gala price. Similarly, why grab a two- or three-week jump on Stephen Frears’s Philomena (which won Venice’s Best Screenplay award for Jeff Pope and star/co-writer Steve Coogan, and opens on 1 November) Alfonso Cuarón’s admittedly long-awaited Gravity (8 November), this year’s Palme d’Or winner Blue is the Warmest Colour (15 November) or The Selfish Giant (25 November), the Oscar Wilde-inspired new film from Clio Barnard, director of the visionary semi-documentary The Arbor? Go digging instead.

Surprisingly, neither of the films which took the top prizes last weekend at the Venice Film Festival are currently to be found on the LFF horizon—Golden Lion winner Gianfranco Rosi’s Sacro GRA, a documentary set on and around the Grande Raccordo Anulare (Rome’s ring road), and the runner-up, Tsai Ming-liang’s Jiaoyou (Stray Dogs), which Nigel Andrews of the Financial Times described as “a kind of madly lyricised Lear of the Taipei underworld.” But there is always time for last-minute additions, even outside the Surprise Film category (which tends to be reserved for something English-language and broadly audience-pleasing: last year the slot was taken by Silver Linings Playbook). Below are ten try-your-luck picks, some big, some small, taken from those titles already confirmed for the 57th London Film Festival:

At Berkeley

Master documentary-maker Frederick Wiseman takes four hours to explore life at Berkeley University as it is shaped and threatened by budgetary cuts of more than 50 per cent.

Computer Chess

Andrew Bujalski is one of the progenitors of the US indie “Mumblecore” movement (along with Greta Gerwig and director Joe Swanberg, whose new film Drinking Buddies is also in the LFF). I’ve heard great claims made for his 1980s-set study of chess geeks developing a computer program that can trounce a human opponent at the game.

Eastern Boys

Writer-director Robin Campilo usually co-writes and edits with Laurent Cantet, branching out every now and then with his own work. He made Les Revenants, which inspired the recent hit TV series The Returned, and now he has directed this drama about the relationship between a middle-aged French man and a Ukrainian teenager.

Exhibition

The only title on this list that I’m not recommending sight unseen is this creepy but compassionate third feature from Joanna Hogg (Unrelated, Archipelago), about an artist couple preparing to sell the spectacular Modernist home in west London that has been their protective shell.

Great Passage

The compiling of a new dictionary over 14 years is the starting point for this humorous tale from Japan. The LFF brochure calls it “Dickensian.” That’s enticing enough for me.

Kon-Tiki

The incredible story of Norwegian explorer and anthropologist Thor Heyerdahl, who set out in 1947 on a hazardous raft-trip from Peru. A Canadian friend said of one CGI-enabled sequence in the film: “For a moment, I felt the way I did seeing movies as a tyke, awestruck at the cheap thrills movies can provide.”

Night Moves

Kelly Reichardt frustrated as many viewers as she impressed with her doggedly realistic western Meek’s Cutoff (for the record, I was in the latter camp). Her new film is a thriller about environmental activists played by Jesse Eisenberg (who can also be seen in the LFF in Richard Ayoade’s The Double) and Dakota Fanning.

12 Years a Slave

Rave reviews have flooded in from the Toronto Film Festival for the third film from British artist and director Steve McQueen (Hunger, Shame). This reportedly powerful slavery drama stars Chiwetel Ejiofor, Michael Fassbender, Brad Pitt and Benedict Cumberbatch.

Under the Skin

An obvious pick, perhaps—I selected it at the start of this year as one of the films I was most looking forward to in 2013—but the polarised reaction from Venice to Jonathan Glazer’s adaptation of Michel Faber’s novel about a predatory alien (Scarlett Johansson) has surely only inflamed the sense of anticipation.

We Are the Best!

There was relief at the festival press launch when a trailer for this comedy-drama about a female, teenage punk band in 1980s Stockholm indicated that the filmmaker Lukas Moodysson, here adapting a graphic novel by his daughter Coco, had returned to the wit and energy of his early features (Show Me Love—aka Fucking Amal—and Together).

The London Film Festival runs 9—20 October.

Documentary filmmaker Frederick Wiseman, whose film "At Berkeley" will play at the LFF on 12 and 14 October. 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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Would the BBC's Nazi drama SS-GB have felt half so resonant a year ago?

This alternate history is freighted with meaning now we're facing the wurst-case scenario. 

Would SS-GB have felt half so resonant a year ago? Though the clever-after-the-fact Nostradamus types out there might disagree, I can’t believe that it would. When it comes to the Second World War, after all, the present has helpfully stepped in where memory is just beginning to leave off. The EU, in the process of fragmenting, is now more than ever powerless to act in the matter of rogue states, even among its own membership. In case you hadn’t noticed, Hungary, for instance, is already operating as a kind of proto-fascist state, led by Viktor Orbán, a man whom Jean-Claude Juncker, the president of the European Commission, jokingly likes to call “the dictator” – and where it goes, doubtless others will soon follow.

The series (Sundays, 9pm), adapted from Len Deighton’s novel, is set in 1941 in a Britain under Nazi occupation; Winston Churchill has been executed and the resistance is struggling to hold on to its last strongholds in the countryside. Sam Riley plays Douglas Archer, a detective at Scotland Yard, now under the control of the SS, and a character who appears in almost every scene. Riley has, for an actor, a somewhat unexpressive face, beautiful but unreadable. Here, however, his downturned mouth and impassive cheekbones are perfect: Archer, after all, operates (by which I mean, barely operates) in a world in which no one wants to give their true feelings away, whether to their landlady, their lover, or their boss, newly arrived from Himmler’s office and as Protestant as all hell (he hasn’t used the word “degenerate” yet, but he will, he will).

Archer is, of course, an ambiguous figure, neither (at present) a member of the resistance nor (we gather) a fully committed collaborator. He is – or so he tells himself – merely doing his job, biding his time until those braver or more foolhardy do something to restore the old order. Widowed, he has a small boy to bring up. Yet how long he can inhabit this dubious middle ground remains to be seen. Oskar Huth (Lars Eidinger), the new boss, is keen to finish off the resistance; the resistance, in turn, is determined to persuade Archer to join its cause.

It’s hard to find fault with the series; for the next month, I am going to look forward to Sunday nights mightily. I would, I suppose, have hoped for a slightly more charismatic actress than Kate Bosworth to play Barbara Barga, the American journalist who may or may not be involved with the British resistance. But everything else seems pretty perfect to me. London looks suitably dirty and its inhabitants’ meals suitably exiguous. Happiness is an extra egg for tea, smoking is practically a profession, and
the likes of Archer wear thick, white vests.

Swastikas adorn everything from the Palace of Westminster to Trafalgar Square, Buckingham Palace is half ruined, a memorial to what the Germans regard as Churchill’s folly, and the CGI is good enough for the sight of all these things to induce your heart to ache briefly. Nazi brutality is depicted here as almost quotidian – and doubtless it once was to some. Huth’s determination to have four new telephone lines installed in his office within the hour is at one end of this horrible ordinariness. At the other is the box in which Archer’s mutinous secretary Sylvia (Maeve Dermody) furiously stubs out her fag, full to the brim with yellow stars.

When I first heard about The Kettering Incident (Tuesdays, 12.20am; repeated Wednesdays, 10pm) I thought someone must have found out about that thing that happened one time I was driving north on the M1 with a more-than-usually terrible hangover. Turns out it’s a new Australian drama, which comes to us on Sky Atlantic. Anna (Elizabeth Debicki), a doctor working in London, pitches up back in Tasmania many years after her teenage friend Gillian disappeared into its Kettering forest, having seen a load of mysterious bright lights. Was Gillian abducted by aliens or was she, as some local people believe, murdered by Anna? To be honest, she could be working as a roadie for Kylie, for all I care. This ponderous, derivative show is what happens when a writer sacrifices character on the altar of plot. The more the plot thickens, the more jaw-achingly tedious it becomes.

Rachel Cooke trained as a reporter on The Sunday Times. She is now a writer at The Observer. In the 2006 British Press Awards, she was named Interviewer of the Year.

This article first appeared in the 24 February 2017 issue of the New Statesman, The world after Brexit