62nd LONDON FILM FESTIVAL (10th-21st October 2018) DAY 8
Every day (from October 10th to October 21st) I will be selecting the London Film Festival choices you have a chance to get tickets for and the movies you are unlikely to see in London very soon unless you go to see them at the Festival. Here is the LFF's main website for the general information you need. Don't worry if some of the recommended films are sold out by the time you read this as there are always some tickets on offer which go on sale 30 minutes before each screening. Here is all the information you need about the best way to get tickets.
Madeline's Madeline also screens at BFI Southbank on October 19th. Full details here.
New Yorker review:
Josephine Decker’s film, in its dramatic contours, is an utterly clear and classical drama about a Queens family. Miranda July plays Regina, an excessive, boundary-challenged, somewhat out-of-control single mother of a sixteen-year-old girl named Madeline (Helena Howard). Madeline, who is confronting mental illness, is an acting prodigy and the youngest member of a Manhattan-based experimental-theatre company run by a director (Molly Parker) who is emotionally vampirizing Madeline to sustain her own artistry.Decker’s first two features, “Butter on the Latch” (2013) and “Thou Wast Mild and Lovely” (2014), marked one of the most notable débuts in the modern American cinema; the films’ scathing emotional realms were matched by a freedom in the creation of images and the shaping of drama that suggested a complete reimagination of moviemaking. They were also produced on micro-budgets, in very limited locations, with just a handful of actors. “Madeline’s Madeline,” which has somewhat more substantial funding (though likely just cab change for a studio production), ranges extensively among indoor and outdoor locations and features an ample array of actors young and old, a varied spectrum of tones, a sense of a city that’s infused with its heroine’s creative passions, intimate tensions, personal histories, and medical troubles. The closest comparison is to Kenneth Lonergan’s “Margaret,” with its fusion of a teeager’s private life and the life of New York. But where Lonergan’s Upper West Side film was framed on the vectors of power and the romance of bourgeois connectedness, “Madeline’s Madeline” is a drama of furious disconnection, a cinematic gear-grinding of a working-class family of modest means who seem hardly at home in their own neighborhood and are relentlessly abraded by contact with the deceptively welcoming milieu of art. Decker’s film, which is shot (by the cinematographer Ashley Connor) in jagged angles and torn edges, with physical energy and piercing clarity, is filled with the urgent drive for artistic creation—as well as with the practicalities and pitfalls, the sincere ardor and the manipulations, deceptions and delusions, that the worldly ways of art entail.
Richard Brody
Here (and above) is the trailer.
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