Programme Notes

BFI Southbank

A Time to Live and a Time to Die

SPOILER WARNING The following notes give away some of the plot. A Summer at Grandpa’s, which Hou Hsiao-Hsien made in 1984, is his sunniest picture, a nostalgic recollection of a childhood that was...

Red Line 7000

I was trying to do something, I tried an experiment. I had three good stories about the race track – I used to race, I know it pretty well – but none of them would make a picture, so I thought mayb...

Okja

Bong Joon Ho on ‘Okja’ It was quite strange: three different ideas came together seamlessly. Some 16 or 17 years ago, when I’d finished my first feature, I had the idea for a story about a little ...

Goodbye to the Past

Although Wojciech Has had already featured strong female characters in his films, (notably Maria Wachowiak’s Lidka in 1958’s Farewells), his fourth feature Goodbye to the Past – also known as Parti...

Mother

Bong Joon Ho on ‘Mother’ What was it about mothers and the maternal instinct that you wanted to explore in this film? I always try to look for another side to that which we always praise or worsh...

The Merry Monarch

+ intro by Josephine Botting, BFI Curator SPOILER WARNING The following notes give away some of the plot. Contemporary reviews Emil Jannings as a jovial royal buffoon in a fantasy-extravaganza. ...

Cheyenne Autumn

The Iron Horse to Cheyenne Autumn… what a career it is! John Ford’s world is a reincarnation of the pioneer spirit recollected and diffused by time and memory: the coming of the railroads, the insu...

One Room Tenants

While The Noose (1957) was set in the then present and Farewells (1958) in 1939 and 1944, Wojciech Has’s third feature One Room Tenants (also known as Roomers and Roommates) goes back further, to t...

The Host

The Host provides a perfect introduction to several of the key facets of Bong Joon Ho’s filmmaking that wind their way through his entire oeuvre and make the films feel distinctly his. First is his...

Hulk

‘One of the finest superhero films ever made, infused with complexities of comic book mythology, it remains a misunderstood epic that was ahead of its time.’ – Samrat M, BFI Member At first glance...

Farewells

The title of Wojciech Has’s second feature is given in the plural – appropriately, because there are numerous farewells threaded throughout its length. Some farewells are bid between people, others...

Volver

Pedro Almodóvar has let his hair go grey. Though his bushy locks remained suspiciously dark well into his fifties, now ‘the snows of time have silvered his temples.’ This poetic description comes f...

Parasite

Last year at Cannes, Lee Chang-dong held up a magnifying glass to Korean society and unveiled his critique on the one per cent vs the 99 per cent in Burning. Now it’s Bong Joon-ho’s turn. Of course...

The Noose

Although less known internationally than it deserves to be, Wojciech Has’s The Noose (1957) was arguably the strongest feature debut made in Poland between the rebirth of the country’s national ci...

A Hole in the Head

When a popular and distinguished director returns to the commercial cinema after an eight-year absence, one is bound to feel some qualms, especially as his best work belonged to a period far remove...

Daisies

When Věra Chytilová died in 2014 at the age of 85, tributes remembered the director as a vibrant innovator, whose uncompromising vision in a decidedly male-run industry made her known as the ‘First...

The Tiger of Eschnapur

SPOILER WARNING The following notes give away some of the plot. In 1958 West German producer Artur Brauner offered Fritz Lang the opportunity to make a new film based on Das Indische Grabmal, scri...

Memories of Murder

SPOILER WARNING The following notes give away some of the plot. Memories of Murder is based on a series of unsolved murders that took place between 1986-91 in provincial South Korea: ten women wer...

Duckweed (aka Floating Weeds)

Part of the Eleven Women TV series, Duckweed marked Edward Yang’s directorial debut following his return to Taiwan. Co-producers Sylvia Chang and Chen Chun-tian envisioned a platform for emerging t...

Nope

In the wake of the success of Get Out and Us, both of which disrupted and redefined the horror genre in singular ways, Jordan Peele was eager to expand his cinematic canvas, embrace a challenge unl...