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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Don’t worry, Old Etonian Damian Lewis calls claims of privilege in acting “nonsense!”

The actor says over-representation of the privately educated at the top of acting is nothing to worry about – and his many, many privately educated peers agree.

In the last few years, fears have grown over the lack of working class British actors. “People like me wouldn’t have been able to go to college today,” said Dame Julie Walters. “I could because I got a full grant. I don’t know how you get into it now.”

Last year, a report revealed that half of Britain’s most successful actors were privately educated. The Sutton Trust found that 42 per cent of Bafta winners over all time were educated independently. 67 per cent of British winners in the best leading actor, actress and director categories at the Oscars attended fee-paying schools – and just seven per cent of British Oscar winners were state educated.

“That’s a frightening world to live in,” said James McAvoy, “because as soon as you get one tiny pocket of society creating all the arts, or culture starts to become representative not of everybody but of one tiny part. That’s not fair to begin with, but it’s also damaging for society.”

But have no fear! Old Etonian Damian Lewis is here to reassure us. Comfortingly, the privately-educated successful actor sees no problem with the proliferation of privately-educated successful actors. Speaking to the Evening Standard in February, he said that one thing that really makes him angry is “the flaring up recently of this idea that it was unfair that people from private schools were getting acting jobs.” Such concerns are, simply, “a nonsense!”

He elaborated in April, during a Guardian web chat. "As an actor educated at Eton, I'm still always in a minority," he wrote. "What is true and always rewarding about the acting profession is that everyone has a similar story about them being in a minority."

Lewis’s fellow alumni actors include Hugh Laurie, Tom Hiddleston, Eddie Redmayne – a happy coincidence, then, and nothing to do with the fact that Etonians have drama facilities including a designer, carpenter, manager, and wardrobe mistress. It is equally serendipitous that Laurie, Hiddleston and Tom Hollander – all stars of last year’s The Night Manager – attended the same posh prep school, The Dragon School in Oxford, alongside Emma Watson, Jack Davenport, Hugh Dancy, Dom Joly and Jack Whitehall. “Old Dragons (ODs) are absolutely everywhere,” said one former pupil, “and there’s a great sense of ‘looking after our own’." Tom Hollander said the Dragon School, which has a focus on creativity, is the reason for his love of acting, but that’s neither here nor there.

Damian Lewis’s wife, fellow actor Helen McCrory, first studied at her local state school before switching to the independent boarding school Queenswood Girls’ School in Hertfordshire (“I’m just as happy to eat foie gras as a baked potato,” the Telegraph quote her as saying on the subject). But she says she didn’t develop an interest in acting until she moved schools, thanks to her drama teacher, former actor Thane Bettany (father of Paul). Of course, private school has had literally no impact on her career either.

In fact, it could have had an adverse affect – as Benedict Cumberbatch’s old drama teacher at Harrow, Martin Tyrell, has explained: “I feel that [Cumberbatch and co] are being limited [from playing certain parts] by critics and audiences as a result of what their parents did for them at the age of 13. And that seems to me very unfair.”

He added: “I don’t think anyone ever bought an education at Harrow in order for their son to become an actor. Going to a major independent school is of no importance or value or help at all.” That clears that up.

The words of Michael Gambon should also put fears to rest. “The more Old Etonians the better, I think!” he said. “The two or three who are playing at the moment are geniuses, aren’t they? The more geniuses you get, the better. It’s to do with being actors and wanting to do it; it’s nothing to do with where they come from.”

So we should rejoice, and not feel worried when we read a list of privately educated Bafta and Oscar winners as long as this: Chiwetel Ejiofor (Dulwich College), Emilia Clarke (St Edward’s), Carey Mulligan (Woldingham School), Kate Winslet (Redroofs Theatre School), Daniel Day-Lewis (Sevenoaks School, Bedales), Jeremy Irons (Sherborne School), Rosamund Pike (Badminton), Tom Hardy (Reed), Kate Beckinsale (Godolphin and Latymer), Matthew Goode (Exeter), Rebecca Hall (Roedean), Emily Blunt (Hurtwood House) and Dan Stevens (Tonbridge).

Life is a meritocracy, and these guys were simply always the best. I guess the working classes just aren’t as talented.

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

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