Programme Notes

BFI Southbank

This Must Be the Place

One of four programmes celebrating the latest in short filmmaking talent. Places that we arrive at, leave from, and end up. Places that conjure up a memory that knocks you sideways, makes you laug...

My Eye Is My Ear

The return of the programme exploring Deaf lives and culture. Now an annual staple, LSFF presents new short films exploring Deaf lives, culture and language. Submitted from all over the world, the...

The Breadwinner

+ Q&A with Nora Twomey Why make The Breadwinner? Why not? Nora Twomey already had a good thing running at Cartoon Saloon, the animation studio she set up in 1999 in Kilkenny, Ireland, with fel...

The Holdovers

It’s been a long wait for followers of Alexander Payne since the extraordinarily dark eco-satirical science-fiction epic Downsizing in 2017. That film sharply divided critics and viewers (though ma...

The Enigma of Kaspar Hauser

SPOILER WARNING The following notes give away some of the plot. The Enigma of Kaspar Hauser is a story with a beginning and an end; or at least, being based on a historical case, it feels as if it...

Rock ‘n’ Roll Cinema

Since teenagers ripped up the seats to Bill Haley and his Comets at screenings of Rock Around the Clock in 1956, cinema and pop music have been instrumental in disaffected and rebellious youths dis...

The Holdovers

+ Q&A with director Alexander Payne and actors Paul Giamatti and Da’Vine Joy Randolph It’s been a long wait for followers of Alexander Payne since the extraordinarily dark eco-satirical scienc...

The Beast

When Walerian Borowczyk’s erotic fable The Beast was first released in France in August 1975 it marked a decisive moment in the critical evaluation of the Polish-born filmmaker. Previously heralded...

A Serious Man

In 25 years of filmmaking, Joel and Ethan Coen have established themselves as a major international voice, a postmodern sensibility overcome with cosmic jokiness. If No Country for Old Men, in all ...

Woyzeck

SPOILER WARNING The following notes give away some of the plot. Consistent in nothing if not his eccentricity, Werner Herzog has only in his two most recent features (his eighth and ninth) bothere...

The Thing

When John Carpenter’s The Thing was unleashed into cinemas in 1982, it received an almost unanimous critical drubbing on both sides of the Atlantic. Critic after critic griped about weak characteri...

Song of the Sea

If you set out to assess the global state of play for feature animation, you might come up with three creative hot spots. The US west coast, home to the likes of Pixar, Disney and DreamWorks, is an...

Looking for Mr. Goodbar

Looking for Mr. Goodbar is a film about women’s lib that owes as much to Erica Jong as it does to received wisdom from the male establishment. It exists in a curious margin of late-1970s American c...

Scala!!!

+ intro by co-director Ali Catterall Fasten your seatbelts for the return of the homegrown hit of this year’s LFF, featuring John Waters along with John Akomfrah, Adam Buxton, Caroline Catz, Mat...

The Portrait of a Lady

The Portrait of a Lady bestows on the world one of the greatest heroines in fiction. As read by Campion’s film, Isabel Archer (Nicole Kidman) is a gauche and difficult young American on the brink o...

Pee-wee's Big Adventure

The screening on Friday 12 January will be introduced by Ben Roberts, BFI CEO Pee-wee Herman, the on-screen persona of comedian Paul Reubens, is perhaps the most consistently developed comic crea...

Nosferatu the Vampyre

A contemporary review Given the current fashion for remakes, together with the bubbling revival of German film production, it’s to be expected that the Caligari era, stretching gloriously from Rye’...

Grizzly Man

Timothy Treadwell is an unusual protagonist for a Herzog film: he has a high, squeaky voice, a mildly effeminate manner and a stridently sentimental impulse towards animals. This seems unlikely in ...

Salo, or The 120 Days of Sodom

Pasolini’s hopes, energies and talent were focused on resistance to the sameness of culture, to the homogenising, consumerist demands of capital, its creation of (false) desires and the politico-so...

Taking its title from the number of films Fellini had completed up to this point, 8½ features filmmaker Guido (Marcello Mastroianni) being besieged by sycophants and collaborators as he struggles t...