BFI London Film Festival 2024
After another turbulent and disruptive year in 2023 for a film industry in constant flux, cinema returned with a vengeance in 2024, once again taking over an autumnal “Big Smoke” and UK cinemas beyond, courtesy of the the British Film Institute (BFI), as the 68th edition of one of the world’s most accessible major film festivals— the London Film Festival (LFF)—gathered global cinema players in the British capital once again.
In a now established recent tradition once a again a mix of physical and virtual online events both in the capital and other UK cities brought nearly 200 features, upcoming TV series episodes and XR programmes to UK audiences in London’s South Bank as well as the West End and beyond—ushering in a return of glitz & glamour thanks to the end of the WGA and SAG-AFTRA strikes which kept many of the stars away from last year’s event . . . but whom are now back with a vengeance.
Once again indie players from across the globe as well as major studios with their own indie labels returned bringing much anticipated titles competing for our attention, up against major streaming players like Netflix, Apple and Amazon who have themselves taken a major chunk of the industry. As usual the films were divided into thematic strands and gala screenings, plus of course a small selection of titles in the festival’s official competition. You can see the full schedule of this year’s LFF feature films and much more on the official BFI site here, and all of our LFF reviews so far here . . . but stay tuned for many more to come.
Screenings
Week 1
Wednesday the 9th
Blitz
Image Source: Getty Images BFI
In keeping with the recently re-established tradition at the LFF, the honour of opening the festival was once again a homegrown affair once bestowed upon acclaimed British filmmaker Steve McQueen, who brought along his stars Alex Jennings, Sally Messham, Harris Dickinson, Leigh Gill, Benjamin Clementine, Paul Weller, Elliott Heffernan, Saoirse Ronan, CJ Beckford, Stephen Graham, Joshua McGuire, Mica Ricketts and Erin Kellyman for the opening gala screening of their striking, culturally contemplative period portrait of wartime London and its people ‘Blitz’.
A World War II tale following the fortunes of Londoners during the Nazi bombings of the city, centred around a young East End mother’s struggles to track down the son she sent to the country for safety, but whom decided to return alone and traverse a dangerous and scarred city back to his home. ‘Blitz’ is out in selected UK and US cinemas on the 1st of November, before streaming on Apple TV+ from the 22nd of November, you can check out our review here.
Blitz at the LFF (courtesy of BFI)
The Surfer
Image Source: Getty Images BFI
The first Wednesday’s ‘Cult’ strand brought the pick of opening day’s other screenings as Aussie cinema (by way of Ireland and the US) and director Lorcan Finnegan returned to the LFF for the UK premiere of their twisting and trippy Aussie beachside thriller with a hint of Spaghetti Western ‘The Surfer’. A subversive and misleading tale of identity and belonging, centred around a man humiliated by an insular local surf cult upon his return to coastal Australia to reclaim his roots, plunging him into a crisis of conscience and identity as he’s pulled into a dangerous conflict and left stranded in a spiral of self doubt and desperation. The director was joined by some of his crew, ‘The Surfer‘ has no confirmed UK or US dates yet.
The Surfer clip (courtesy of BFI)
The Gutter
Image Source: Getty Images BFI
The opening day this year also brought plenty of chuckles and some US participation in the ‘Laugh’ strand when debutant sibling writer/director duo Isaiah and Yassir Lester brought their modern yet classic American sports comedy ‘The Gutter’ to the LFF faithful. A farcical underdog tale revolving around a bold self-styled down-on-his-luck bartender at a failing inner city bowling alley, who discovers a hidden talent at the sport which could save the business and turn his life around . . . if he can get over a bitter returning champ and the pro-bowling obstacles thrown in his path. The directors were present on the LFF red carpet, ‘The Gutter’ has no confirmed dates yet.
The Gutter trailer (courtesy of Magnolia Pictures)
Thursday the 10th
Conclave
Image Source: Getty Images BFI
The first Thursday at the LFF this year culminated in Catholic thriller style when German director Edward Berger brought along his stars Ralph Fiennes, Isabella Rossellini and Stanley Tucci for the big headline gala screening of their Vatican-set political drama adaptation of the 2016 Robert Harris novel ‘Conclave’.
A tense character mystery set after the death of the Catholic church’s leader, when a respected Cardinal is charged with leading the Conclave in its secretive effort to select a new Pope only to be drawn into into an ideological conflict between Cardinal factions and a conspiracy by powerful players to undermine certain candidates, which he must unravel and expose before the foundations of the Church are irreversibly shaken. ‘Conclave’ is out on the 25th of October in the US and on the 29th of November in the UK.
Ralph Fiennes on Conclave at the LFF (courtesy of BFI)
Elton John: Never Too Late
Image Source: Getty Images BFI
The second big gala screening of the day brought a bona fide music legend back home, as Elton John graced the LFF red carpet flanked by directors R.J. Cutler and David Furnish for the UK premiere of the past-to-present documentary chronicle of one of the most beloved and successful musical artists of the last 100 years ‘Elton John: Never Too Late’.
Combining present day film with past footage (some never seen before) from 1975—a crucial but tumultuous year for the pop & rock legend—when he played his largest US shows including the legendary Los Angeles performance at Dodger Stadium, bridging the two very different times for him personally and the world generally with the return to same venue nearly 50 years later for the final US shows of a glittering career, in what is a melodic and emotional swansong for a true music legend. ‘Elton John: Never Too Late’ streams on Disney+ from the 13th of December.
Elton John: Never Too Late trailer (courtesy of Disney+)
Memoir of a Snail
Image Source: Getty Images BFI
The LFF’s official competition also got plenty of action on the first Thursday and a return of some much welcomed stop-motion when Australian writer/director Adam Elliot brought a UK premiere of his quirky homegrown snail-lover animation and the eventual competition winner ‘Memoir of a Snail’. An offbeat 1970s-set Aussie dramedy revolving around outcast snail-collecting bookworm Grace, whose life takes a downward shift when she’s tragically separated from her twin as a child, only for it to take a life-affirming hopeful turn when she meets eccentric senior Pinky—who has lived life to the fullest, including rubbing shoulders (and much more) with major figures of music and politics. Elliot walked the LFF red carpet with some of his crew, ‘Memoir of a Snail’ is out now in Australia and on the 25th of October in the US, with no UK date yet.
Memoir of a Snail trailer (courtesy of BFI)
On Becoming a Guinea Fowl
Image Source: Getty Images BFI
The second official competition screening of the day brought British-Zambian writer/director Rungano Nyoni back to the LFF after the success of her 2017 debut ‘I Am Not A Witch’—represented on the red carpet by her star Susan Chardy and her tennis ace husband Jeremy Chardy—for the screening of her homegrown African dramedy character reflection ‘On Becoming a Guinea Fowl’.
A characterful Zambian family drama tale of tradition, trauma and self-realisation, centred on a self-styled young woman coming to terms with a family tragedy, while dealing with the history of abuse and complicity it brings to the surface for her and her cousins, ‘On Becoming a Guinea Fowl’ is out on limited release in the US on the 13th of December, and on the 6th of December in the UK.
Friday the 11th
Anora
Image Source: Getty Images BFI
Friday number one at the LFF this year brought the current Palme d’Or winning film and daring visionary American indie filmmaker Sean Baker back to London, as he once again focuses his lens on sex workers and those on the margins of modern working-class America to give the festival faithful a headline gala screening of his wild and unorthodox Cinderella story ‘Pretty Woman’ inspired comedy/drama ‘Anora’.
The tale of a spirited young New York exotic dancer and working girl who finds a seemingly fairytale way out of the sex industry when she beguiles and swiftly marries a wild and wealthy young Russian, only for his disapproving parents and their minions to try and put an end to this ill-advised impromptu marriage . . . with hilariously chaotic consequences. Baker was joined on the red carpet by his star Mikey Madison, ‘Anora’ is out now in the US, and on the 1st of November in the UK, you can see our review here.
Sean Baker on Anora at the LFF (courtesy of BFI)
Emilia Pérez
Image Source: Getty Images BFI
The day’s other big headline gala was a Latin American Spanish language affair by way of France which saw visionary French writer/director Jacques Audiard return to the LFF, alongside his stars Zoe Saldaña, Selena Gomez, Karla Sofía Gascón and Adriana Paz for the UK premiere of their Mexican singing character crime drama and unconventional fever dream LGBTQ+ meditation on identity ‘Emilia Pérez’.
A Spanish language crime/drama/musical hybrid tale of a jaded Mexican lawyer tired of a career defending criminals and helping them evade justice, who unexpectedly finds a way out when a feared cartel boss hires her to get him out of a life of crime and help him realise a lifelong dream—becoming the woman they were born to be, only to find that the past is not so easily left behind. ‘Emilia Pérez’ is out on the 25th of October in the UK, and on the 1st of November in the US before streaming on Netflix from the 13th of November.
Emilia Pérez trailer (courtesy of BFI)
Under the Volcano
Image Source: Salaud Morisset
Friday’s official competition slate threw up a couple of timely Easter European stories forged from the legacy of the Soviet Union, the first of which saw Polish writer/director Damian Kocur bring a modern Ukrainian family drama under the shadow of war to the LFF for the UK premiere of ‘Under the Volcano’. It follows the fate of a happy young Ukrainian family, whose idyllic summer holiday in sunny volcanic Tenerife suddenly plunges their life into chaos and uncertainty by the outbreak of war thanks to the Russian invasion of their country, effectively turning them into refugees with no control of their future. ‘Under the Volcano’ has no confirmed dates yet.
April
Image Source: Goodfellas
The second official competition screening of the day was a Georgian affair which saw writer/director Dea Kulumbegashvili make her LFF feature debut and bring her second film for a UK premiere of ‘April’. A rural Georgian character drama revolving around a countryside gynaecologist with integrity, who has her internal fortitude and integrity tested when the death of a newborn turns locals against her, and her continuing dedication to her values and her patients puts her at risk. ‘April’ has no confirmed dates yet.
Saturday the 12th
The Piano Lesson
Image Source: Getty Images BFI
The pick of the first Saturday’s screenings at the LFF this year was an American period drama affair courtesy of Netflix which saw director Malcolm Washington accompanied by his stars John David Washington and Danielle Deadwyler, Ray Fisher and Michael Potts for the special presentation UK premiere of their adaptation of the acclaimed August Wilson stage play ‘The Piano Lesson’.
Set in 1930s Pittsburgh during in the aftermath of the Great Depression, where the Charles family reflect on their difficult history as African Americans in the tumultuous history of the United States, seen though the legacy of their family heirloom piano and its own origins, as they struggle to decide what to do with it and the implications for their past and future. ‘The Piano Lesson’ is out on the 8th of November in select UK and US cinemas, and then streams on Netflix from the 22nd of November.
The Piano Lesson trailer (courtesy of BFI)
The Wolves Always Come at Night
Image Source: Getty Images BFI
Saturday’s official competition proceedings saw a rare occasion where Mongolian cinema got its time in the LFF sun, as Australian filmmaker Gabrielle Brady was joined by her stars and co-writers Davaasuren Dagvasuren and Otgonzaya Dashzeveg for the UK premiere of their ecological docudrama and character portrait of those most affected but least able to cope with climate change, ‘The Wolves Always Come at Night’. An inventive documentary-drama hybrid centred around the two co-writers of the film, parents and shepherds in rural Mongolia whose lives are uprooted by the effects of a climate change they had no hand in, forcing them to leave everything they know and move their family to the big bad city. ‘The Wolves Always Come at Night’ has no confirmed dates yet.
The Summer Book
Image Source: Getty Images BFI
Saturday also brought Nordic cinema to the LFF—by way of Britain and with a splice of legendary Hollywood—when Anglo-American director Charlie McDowell was accompanied by his screenwriter Robert Jones and company for a special presentation screening of their adaptation of Tove Jansson’s (creator of the Moomin series) acclaimed Finish novel ‘The Summer Book’. A family drama tale of dealing with loss and connecting with wilderness, set on a small Finish island where a grieving young girl forms a stronger bond with her elderly grandmother and widowed father in the everyday summer life of rural Finland, exploring everything from nature to their lives and everything in between . . . except for the painful subject of love and her mother’s death. ‘The Summer Book’ has no confirmed UK and US dates yet.
Harvest
Image Source: Getty Images BFI
The day’s other standout special presentation screening brought a pillar of the “Greek Weird Wave” back to the festival when writer/director Athina Rachel Tsangari returned to the LFF red carpet, with her stars Harry Melling, Rebecca O’Brien, Thalissa Teixeira, Caleb Landry Jones, Rosy McEwen and Frank Dillane in tow for the UK premiere of their hallucinatory adaptation of Jim Crace’s acclaimed novel ‘Harvest’.
A striking and sobering study on declining traditionalism and the unstoppable march of industrialism anchored in UK history and the Enclosure Act, set in an undisclosed rural Scottish agricultural community whose idyllic pastoral existence is disrupted by new arrivals to their village, rebels as well as establishment harbingers of economic “progress” at a time of turmoil and suspicion, who set of a series of events which threaten their hamlet with ruin. ‘Harvest’ has no confirmed dates yet.
Harvest teaser (courtesy of The Match Factory)
Sunday the 13th
Four Mothers
Image Source: Getty Images BFI
Week one at the LFF this year culminated with plenty of action in the official competition, with the first screening bringing Irish cinema and writer/director Darren Thornton back to the festival with his adaptation of Gianni Di Gregorio’s delightful 2008 Italian comedy/drama take on identity and ageing ‘Mid-August Lunch’, giving London audiences a world premiere of his own with ‘Four Mothers’.
The droll and touching story of a struggling but up-and-coming gay writer trying to balance his professional commitments with his duty to an ageing mother, whose life is turned upside down and given new perspective when his friends elope on a Pride holiday and leave their own elderly mothers in his care. Thornton was joined at the LFF by his cast & crew Colin Thornton, Martina Niland, Eric Abraham, Dearbhla Molloy, Rory O’Neill, Paddy Glynn, Fionnula Flanagan, James McArdle, Gordon Hickey, Gaetan Garcia and Gaeroid Farrelly, ‘Four Mothers’ has no confirmed dates yet.
Living in Two Worlds (Bokuga Ikiteru, Futatsu no Sekai)
Image Source: Getty Images BFI
Sunday’s second official competition entry was a Japanese cinema affair which brought director Mipo Oh to the LFF for the European premiere of her contemporary family drama ode to CODAs and the challenges of deafness ‘Living in Two Worlds’. The family drama coming-of-age tale of a young man living in small town Japan who interprets for his beloved deaf parents, only to spread his wings when he moves to big city Tokyo to begin his own story, only to find he has a unique life perspective thanks to his upbringing. ‘Living in Two Worlds’ has no UK or US dates yet.
Living in Two Worlds trailer (courtesy of BFI)
I’m Still Here (Ainda Estou Aqui)
Image Source: Getty Images BFI
One of Sunday’s several special presentation screenings brought not only Brazilian cinema to the LFF and the country’s relatively recent history to the big screen, but also director Walter Salles (Central Station, The Motorcycle Diaries) back to the festival, accompanied by his stars Fernanda Torres and Selton Mello for the UK premiere of his family drama period portrait of a South American military dictatorship and dramatisation of the Paiva family story ‘I’m Still Here’.
A biographical drama set in a Brazil of the 1970s under strict military rule and adapted from the memoirs of Marcelo Rubens Paiva, centred around his mother who is transformed by the disappearance of their father—a former politician, opponent to the regime and left-wing sympathiser who they suspect was abducted by the military junta—as the family pulls together to uncover his sobering fate no matter how long it takes, whilst becoming targets for harassment and detainment themselves. ‘I’m Still Here’ is out on the 7th of November in Brazil, and on the 7th of February 2025 in the UK.
I’m Still Here trailer (courtesy of Eye For Film)
A Real Pain
Image Source: Getty Images BFI
The pick of the day’s other special presentation screenings was a quirky American indie affair which saw Hollywood star Jesse Eisenberg underline his transition to behind the camera, pulling quadruple duty as writer, director, producer and star whilst joined by his principle co-star Kieran Culkin as well as Jennifer Grey, Will Sharpe and Kurt Egyiawan on the LFF red carpet for the UK premiere of his contemporary road dramedy ‘A Real Pain’. A witty and heartfelt tale of two estranged and very different American cousins who come together on a trip to Poland to honour their dear departed grandmother and re-connect with their Jewish roots, only to get on each other’s last nerve and realise why they grew apart in the first place, whilst letting frustrations off their chests and laying the tricky groundwork for an emotional reunion. ‘A Real Pain’ is out on the 1st of November in the US, and on the 10th of January 2025 in the UK, you can see our review here.
A Real Pain trailer (courtesy of BFI)
Week 2 & Awards—->
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