Capital Celluloid 2023 — Day 282: Tue Oct 10

The Sweet East (Williams, 2023): Curzon Soho Cinema 8.45 & 9pm

67th LONDON FILM FESTIVAL (4th - 15th October 2023) DAY 7

With its date at the end of the year, London is a "festival of festivals", as the new Telegraph film critic Robbie Collin put it in one of his previews, so the films shown have mostly been seen and commented on by critics who have watched the features at such high-profile festivals as Cannes, Venice, Toronto, Sundance and Berlin.

So I'm making it simple with one recommendation a day. I will be concentrating on the repertory choices but I've also read the reviews of the contemporary releases and talked to and listened to the trusted critics all year and I am as confident as I can be that this is the pick of the movies within the parameters I have set. Firstly, there's no point highlighting the major gala films - they will be sold out quickly. Secondly, there is little to be gained in paying the higher Festival ticket prices to see films that are out in Britain soon. I will be returning to the London Festival films worthy of seeing and set to be released in the coming months on this blog as and when they get a general release in London.

Every day (from October 4th to October 15th) 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.

This film also screens on October 6th at ICA Cinema. Details here.

BFI introduction:
Cinematographer Sean Price Williams’ feature directorial debut emulates the scuzzy vitality of his DOP work for the Safdie brothers (Good Time) and Alex Ross Perry (Her Smell). A walk on the wild side of Americana, it’s a sly, self-conscious, state-of-the-nation address, whose bizarre tangents and impasses are expertly channelled through the insouciant disaffection of Talia Ryder’s protagonist.
Leigh Singer

Here (and above) is an extract.

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