I’ve written up reviews of all the films I saw over the last twelve days, so you can find them by following the London Film Festival tag, but it’s time to reflect about the festival as a whole, and also rank my favourites of course.
First off, there were plenty of really good films, both in competition (an overall competition, a first feature competition and a documentary one too) and in the galas, and I imagine we should credit that to the festival’s director Tricia Tuttle, whose first year this was at the reins (though she was acting director last year).
However, as with every year, I largely eschewed the big gala screenings as well as films that were certain to return to our screens, with a few exceptions (and these generally rank high in my favourites, because they have buzz for a reason). I prefer to go to films with no distributor attached, and mostly films directed by women. Of the 31 films I saw at the festival, 24 were directed (or co-directed in two cases) by women, and 17 of those were women of colour. (The fact that male-directed films rank quite highly in the list below is probably because they have to be pretty special for me to make an exception and go see them.)
The other statistic is that most of the films I saw were not in English, which seems fairly obvious but it’s nice to avoid anglophone cinema occasionally. Even of the three American films I saw, Lingua Franca was focused on a Filipina transwoman so chunks of the dialogue were in Tagalog (and Cebuano). I managed a couple of archival films (from the Treasures strand), but most of those I see at Bologna’s Il Cinema Ritrovato in June.
It’s fair to say that from most of the critical coverage I’ve read, there are plenty of films I am excited to see upon their return. Professional critics (somewhat by necessity) have to see the big names to have an opinion and be part of a wider conversation, but it does mean that a lot of critical coverage (certainly the anglophone British/American critics) tends towards the same narrow list of titles. Many of the big director names started with smaller features, perhaps ones that were a little less assured, and for all the quality found amongst first-time directors, you can’t expect a director’s finest work to be their first, so some of the debuts tend to lurk further down my list.
I’m sure I’ll be seeing more of the LFF 2019 films over the next 12 months or more, as distributors’ release windows can sometimes stretch on rather a long time; one of my favourites from last year, Tehran: City of Love, only got a cinematic release last week in the UK. Already some of the titles are on Netflix, but I hope I don’t have to wait so long to see such lauded films as Bacurau and Atlantics, both films I was very close to adding to my list.
10 The Sharks (2019)
9 Lingua France (2019)
8 A Thief’s Daughter (2019)
7 Overseas (2019)
6 Star-Crossed Lovers (1962)
5 So Long, My Son (2019)
4 And Then We Danced (2019)
3 The Unknown Saint (2019)
2 Sweet Charity (1969)
1 Portrait of a Lady on Fire (2019)
Disclaimer: I am not a film journalist or writer, I did not get press accreditation, and I paid for all my screenings.