Archive for November, 2016


The surge in ‘political correctness’ in Western society over recent years has helped fuel a push-back from the far right in politics… as well as the rise of extremist groups like ISIS (not that I want to get into war or foreign policy decisions here – but their hatred of our ‘privileged’ Western way of life also cannot be ignored). Now, we have to figure out a way of dealing with it that doesn’t only include what we’ve been doing up to this point. It will need something more.

Mainstream politics is changing. The UK government earlier this year campaigned hard for remaining in the EU, only to be humiliated when 52% of the voting public showed they weren’t listening, or at least didn’t want to. In the US election, Hillary Clinton was very much the candidate of the ‘establishment’; for whom supporters claimed her experience alone qualified her more for presidential office than counterpart Donald Trump. It’s true; if the presidency was a normal offer of employment for which prospective candidates had to submit a CV and go through an interview for the job, Clinton would have been a shoe-in, and was still seen as such even in the democratic environment where we should know anything can happen. Those at the top became complacent, thinking people would vote the way they ‘should’ vote, trusting that the majority would ‘see sense’ and that things would inevitably go the right way.

For too long the US establishment mistakenly looked at Trump as the underdog – someone who perhaps would provide an easy opponent against whom the Democrats could guarantee the first female president. I won’t get too much into party politics here, but let’s just say if it had been Bernie Sanders going against Trump in this election, I daresay we would have seen a different outcome; but nor would so many people be in uproar right now at the fact that a perceived sexist misogynist pig could get as many votes as a woman whose greatest attribute, aside from her gender (which I’m sure the Democrats hoped would suffice), was ‘experience’.

Politics for so long has been about a cult of personality; to the extent that most who considered themselves ‘decent’ people thought there was no chance anyone could possibly vote for a candidate like Trump. Rather than trying to answer the concerns raised by Trump regarding the establishment, concerns clearly shared by those planning to vote for him, they instead called into question his character – something which many of his supporters actually considered secondary. Yes, some people dared not be offended so easily. Quite a lot of people, as it turned out, hadn’t bought into the politically correct mindset that dictates we must all be offended by certain things.

Yet that mindset is still being pushed in the aftermath of this election, and (to a lesser extent perhaps) the EU referendum that preceded it. Those who have voted for personal reasons this year have been largely labelled racist, misogynist or a variety of other general labels, thrown by people over the Internet to strangers they don’t know, based on the perception created by a minority who’ve taken to bullying others in public places without being openly challenged for it. People would rather take a recording with their phone and/ or condemn the actions online later, when they’re back in their safe space.

Everyone’s brave when they’re given a keyboard with which to fight their own little battles. But put them in the midst of an actual problem or confrontation, and that’s when your politically correct cultural bubble won’t protect you. We’re part of a generation that hasn’t had to fight any great wars; we’re subject to a movement that seeks to somehow convince us that words are the real enemy, that being offended is the real evil.

Speaking of online labeling, it is the emergence of mass social media usage that has given rise to a greater cultural awareness of how things work, including politics… People are more aware than ever of the kind of corruption that occurs at the highest level. True, president Obama has shown us that it is still possible for the establishment to inspire the general public; all it really takes is charisma, which I’m afraid Clinton just did not have. Many people now consider a vote against this establishment as a victory.

Notice as well, how when people look back at Obama’s tenure as president, their first thought won’t be that he was only elected ‘because he was black’. No, he is perhaps the most charismatic leader of modern times, and it largely helped carry him through two terms. The social justice, politically correct movement wanted Hillary Clinton to be president mainly so they could say we had elected the first female president. But these things shouldn’t be forced; when a candidate comes along who is able to engage with people, as Obama did, and to a lesser extent as Trump has been able to do, they will find success. It would be shallow, not to mention quite insulting for anyone to claim that Obama was elected for his colour rather than on merit; it would be equally insulting for a woman to be elected president just because she was a woman. There will be a female president in the near future, I’m sure of that; but it will be someone who is able to bring people together and inspire others better than Hillary Clinton could do.

From another perspective, things have happened during Obama’s time as president that has gradually seen people who may have voted for him previously, now be turned off. The rise of ISIS means we are living in a different world now than when Obama was first elected, and their undeniable association with the Islamic faith has provided an extra incentive for single-minded people to vote for the kind of rhetoric that Trump – and the ‘leave’ side of the EU referendum in the UK – has come out with (though don’t me wrong, I acknowledge – unlike some other people – this was only one small part of the campaign, and for a lot of people, an insignificant one). As the ostracism of Muslims and other minorities may only serve to push them into the manipulative hands of extremists and greater hatred of us in ‘the West’, we could be heading for an uncomfortable few years to come.

We’re seeing now that political correctness is laughable in the face of extremism. It serves to reinforce our privilege. That is not to say, of course, that we shouldn’t respect each other, that we shouldn’t value different opinions and viewpoints, but the balance has been unsettled. PC culture has gone too far in trying to force a polite society in which everyone thinks a certain way and doesn’t offend each other.

Being around people who think differently from us, those who have other opinions we may not be used to, is healthy. Even getting offended from time to time is healthy. It’s how we learn. Respect for each other isn’t something that can be forced; it’s something to be earned. There is supposed to be a balance somewhere, in which we feel comfortable in being ourselves but at the same time don’t think everyone else around us should be the same way.

Our PC culture has gone some way to unsettling this balance, and the drastic push back from the other side is something we are now seeing take form. Because many people feel they’ve been forced into accepting everything, from other cultures to other lifestyles, opinions and viewpoints, they now want to close the borders instead (to cite one example).

This culture of being afraid of offending each other has made Western society reluctant to call bullshit when necessary. Then someone like Trump comes along, who says things the establishment would dare not say, who in the process freely and willingly risks offending whole groups of people, and in doing so speaks to a group who felt the same way as he but were reluctant to say it openly.

It’s something new, something that a lot of people haven’t seen in the mainstream for a very long time… They’re so used to everything being polished and orderly, of politicians saying the right things, smiling at the right times, looking perfect for every photo opportunity. They’re tired of the comfortable political system that has formed in the years since the latter stages of the Cold War, at which point countries in the West had really begun to get their houses in order and set up some kind of peaceful political structure.

Western countries like the US, the UK, most of the EU, became comfortable with their ‘system of structure’. Then along comes a catastrophic event like 9/11, an attack on this way of life and in some ways the catalyst for the problems we’re faced with today, and everything began to change again…

When the structure comes under attack, people start looking around for who’s to blame, and we inevitably begin to point fingers at each other, letting our minds become clouded as we’re bombarded with various conflicting messages in this digital age. Granted, in 2001 it was easy to see who was to blame – those evil people over there in Iraq who don’t share our treasured Western values. Therefore we had to invade them to get our ‘revenge’ and stand up for these values; an action that began a chain reaction leading to where we find ourselves today. That certain things have since come to light regarding the Bush administration (I won’t be going into them here, except for the use of one key word: oil) is in no small part to blame for the major loss of faith in ‘the establishment’ and the rise of an outsider like Donald Trump.

One must remember, the ‘digital age’ is still relatively young – social media itself has only hit its ‘boom’ period during president Obama’s tenure in office. Up until around 2008 it was still somewhat niche. Now everyone talks about ‘giving us a like on Facebook’ or how many Twitter followers they have… and this has changed how the population thinks, it has changed how we communicate. It can be used to communicate messages positive or negative, of hope or despair, on a mass global scale in a matter of seconds, and everyone wants to get involved to show they have a voice. They want to be acknowledged so they feel their opinion has value.

Some who voted for Trump will have felt that their voices weren’t being heard, either by the establishment or by those of us who try to impose political correctness on others. Many of them we don’t see on social media, probably because, again, so many of us refuse to engage with those who think differently on issues we feel strongly about. We think Facebook and Twitter are good barometers of the broad social climate, and are then shocked to find out half the country might dare to disagree with us.

And how do we respond? The only way the Internet knows how; by broadly labeling, throwing insults at people we don’t know, and panicking that the world we live in may not be the perfect cosy little one we thought political correctness had achieved.

But the digital age also provides hope for those who think everything’s suddenly gone to shit. Things like racism and bigotry will phase out of society over time, as people are exposed to more stuff and naturally become more educated – the Internet is perhaps best used in this capacity. I don’t deny that racism and bigotry helped swing the vote in both ‘Brexit’ and the US election. Yes, there were a LOT of voters voting who were not racists and bigots, but that doesn’t allow us to discount the fact that those things DID swing the vote in both cases, because both cases were narrow victories. We know by the rhetoric that was being thrown around by the campaigns in both cases beforehand, and by those who feel they’ve been empowered in the aftermath.

American citizens need to remember that slavery of human beings of a different colour to white folk is still a relatively recent tragedy, and something their country has never really dealt with. Racists do still exist, that’s the undeniable and unfortunate reality, but there are now far less of them than there once was, and no, Trump’s victory does not automatically imply that half of the US is still overtly racist.

Education is relentless in the long run, and the answer to our concerns is to keep strong in our own convictions and beliefs. History has shown us that hate and bigotry doesn’t win. But it is also now showing us, perhaps, that the other extreme of political correctness doesn’t win either.

More of us need to be willing to stand up to things like racism when we see it on our doorstep. To not be afraid of offending people by calling out bullshit if it is for the greater good. To accept that different opinions exist, but they do not necessarily imply evil intentions.

Perhaps politics in 2016 has helped wake some of us back up from our complacency and realise this once again. We’ve become too comfortable, too reliant on ‘political correctness’ to make the world a nicer place rather than doing the hard work ourselves. Too worried about what people say, rather than focusing on what people do. Trump is a fine example of someone who’s taken advantage of that, and stepped into the void created by the failed US political system, of which Hillary Clinton was the finest model. If she had been half as radical as her opponent with her message, we wouldn’t be here now – but the best reason her supporters could come up with for voting Clinton was ‘experience’. That’s not what American or British people wanted this year; their message was “enough of the status quo”. Mainstream politics needs to step up and listen if it wants to win them back.

I, Daniel Blake.

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That a film like I, Daniel Blake won the Palme d’Or at Cannes in a year when radical politics has risen to challenge the establishment is significant. There are those who would try to disregard its bleak vision of a man beaten down by an illogical, unfair and even inhumane system as being ‘unrealistic’, but these are the same people who have never been in the position of this film’s central character. Any of us who have ever had to visit a job centre in the UK will have empathy with Daniel Blake.

I find the state of the welfare system in the UK to be a great irony. Originally set up as a noble cause, to provide for those in a vulnerable position, whether currently looking for work or unable to do so, it has become something quite different. A system, under the Conservative government especially, that assumes everyone using it is some kind of scrounger exploiting those of us who are ‘hard working’.

Therefore it now operates under a set of guidelines, checks and balances that take away the human aspect. Claimants sit at a desk where they are interrogated and, if the exact answers are not provided, if everything is not done strictly by the book, they risk losing everything. The reason we often hear to justify this is that the government wants to “encourage people to find work”, and seemingly their way of doing this is to make life as difficult and uncomfortable as possible for those who don’t have a job. As if not having a job somehow amounts to living a dream that everyone who works is missing out on. The reality for most of us, of course, is precisely the opposite. As humans, work is the bread and butter that gives our life meaning; most of us not only want to work, but like to work, and those who don’t fit that bracket are, in actual fact, few and far between – yet it is that minority who are often cited as reasons to punish the majority. It is they who get the headlines in tabloid press.

I, Daniel Blake showcases this questionable system in a simple but powerful and poignant way. It is, in similar (if less dramatic) fashion to Son of Saul, a film that transcends its medium. To give some kind of rating for its ‘entertainment’ value almost feels beside the point, though it does still somehow manage to entertain.

Dave Johns, a stand-up comedian when he’s not acting, plays the title character. His performance ensures, despite the somewhat depressing subject matter, that we ourselves never feel down while watching the absurdity unfold. There is an empathetic quality to the character that’ll put a smile on your face as he deals with the hand he’s been dealt. Such is the connection formed with him over the course of the film that it’s absurd to think anyone could accuse this of feeling unrealistic, even if they do point out that it’s fiction, which it is only in the strictest sense. Daniel Blake may not be a real person, but there are a lot of real people who feel that they are Daniel Blake.

Some may feel put off by director Ken Loach and his heavy-handed approach to social issues, but I can’t stress enough just how important this film feels at such a time as this. The winds of change are blowing in politics right now and I, Daniel Blake raises an issue that could be part of that change. It would require some to swallow their pride and admit this isn’t simply a “work of fiction”, but the message will at some point be taken heed of. If there’s one film this year that I’d encourage everyone – regardless of personal taste – to support above all others, it would (probably) be this one.

10 / 10

The original Godzilla, released in Japan in 1954 and rich in thematic influences from the atomic bomb that ended the Second World War, is one of my favourite films; one I can still enjoy today despite its humble special effects. So it should come as no surprise that this is one of my most anticipated movies right now.

Shin Godzilla was released in Japan back in July, and had a limited theatrical run in North America as Godzilla Resurgence. Unfortunately there’s no word on a UK/ European release yet, and as of writing it doesn’t look like there’s going to be any time soon. But I am hopeful we’ll be seeing this film on the big screen over here at some point in 2017. An imported DVD/ Blu-ray copy would be a poor substitute.

In the trailer below you can decipher Godzilla’s iconic roar, almost unchanged from the 1954 original, and a similarly refreshing vintage soundtrack that feels reminiscent of the old monster movies from Godzilla’s peak years. His design, as well, returns somewhat to the roots of the franchise (now 31 films old, including this one), though this is apparently the largest version of the creature yet.

I can’t wait for some kaiju action when Godzilla eventually finds his way to these shores again – hopefully someone at Toho gets the message.

 

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Granted, this piece is almost a month late – in fact I think it’s almost one month to the day when I started writing it – but it’s been a pretty busy time for me lately.

This year’s BFI London Film Festival was one of the biggest and best ever. Here I’ll be offering an overview of my favourite movies from my time there, though if you want to read a little more about the festival itself and see the full selection, head over to the BFI website.

London Film Festival has typically tended to be a good barometer of the year’s best films and 2016 has been no exception – a number of the films screened will be deservedly gracing numerous end of year lists, and it also showcases the main contenders for awards season next January and February. Unfortunately though I wasn’t able to see all of them; this isn’t my full time job after all. What I’m going to give you here are 15 films I think deserve special mention out of the selection of screenings I was able to attend while there.

Screenings that I missed and are therefore not featured here, but films that will inevitably feature in awards season, included: Damien Chazelle’s La La Land (expected in the UK early next year), Tom Ford’s Nocturnal Animals starring Jake Gyllenhaal and Amy Adams (which I have since seen and will review separately), Amma Asante’s A United Kingdom with David Oyelowo and Rosamund Pike (opening night gala), and Ben Wheatley’s Free Fire (Brie Larson looks excellent in it and will be a Best Supporting Actress nominee for sure – closing night gala).

So, not including the above four, here are 15 of the best from this year’s BFI London Film Festival:

15. Le Mechanique de L’Ombre (Scribe)

A French espionage thriller that takes the genre in an unexpected direction, feeling fresh and original because of it. The story of Monsieur Duval, a depressive alcoholic with little else to distinguish him from the average middle class office clerk, who loses his job and is forced to take on work transcribing secret telephone conversations on behalf of a shady employer. When he seemingly overhears a murder on one of the conversations, Duval finds himself getting sucked deeper into a mysterious plot despite his unassuming nature… This one likely won’t be getting much of a wide release in the UK, but it’s worth checking out on DVD or Blu-ray. I won’t claim Scribe is anything spectacular, but it’s one of the more entertaining thrillers I’ve watched in recent times.

14. Magnus

A cool, crisp documentary on the life and sharp rise of Norwegian chess prodigy and current chess world champion Magnus Carlsen; as a big fan of the game and of Carlsen’s unpredictable, ‘intuition’-based playing style, this one appealed to me straight away.

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At a brief 75 minutes, the film never drags and in fact may be considered too short by some. But for me that length is perfect. Carlsen himself is a reserved figure, an unashamed introvert who has no problem being rude in social situations to read about chess and further his mastery of the game. Often, in fact, he’ll seem lost in the space of his mind, his ‘own world’ – and we see how lonely a place it can be as well, with even the family and friends who he personally values so much unable to comprehend what goes on in his head. A bite-size gem of a movie.

13. Graduation

Romanian director Cristian Mungiu shared Best Director at Cannes this year for this family drama focusing on the socio-political environment of Romania. It also provides an insightful look into parenting and the notion of how far one is willing to bend their integrity in order to give their children the best life possible (which, in this case, is ‘escaping’ Romania via a scholarship to Cambridge). A typically masterful European movie made with skillful insightfulness, and unbridled honesty pertaining to the often-curious patterns observed in human behaviour.

12. Goldstone

Sequel to 2013’s Mystery Road (one of the more underrated movies of the past few years – check it out), Goldstone sees the return of aboriginal detective Jay Swan as he attempts to solve a missing persons case that inevitably turns out to be linked to a larger plot.

This is a smart sequel, possibly an even smarter movie than its predecessor. It doesn’t simply pick up where Mystery Road left off; rather, Jay Swan has changed considerably as a character due to certain things that have happened in his life since his last outing. The film doesn’t rush into revealing these details too quickly, instead settling into a groove dealing with this movie’s independent storyline, which also means anyone who’s never seen the first movie can enjoy this film without needing to. For those who have seen its predecessor, trying to work out what’s changed with this central character – you may not recognise him to begin with, such has been his change – adds an extra element of intrigue.

Otherwise, Goldstone deals with themes like human trafficking, capitalism, and aboriginal natives being driven off their land by rich white men for the sake of (what else?) expansion and profit. When all’s said and done, this film is probably deserving of a higher place on the list, if it weren’t for the emotional connection I had with certain others to come.

11. Queen of Katwe

Just released widely in UK cinemas, Queen of Katwe is set to be, I hope, Disney’s biggest hit of 2016.

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Based on the true story of Ugandan chess prodigy Phiona Mutesi, Queen of Katwe is another film that first jumped out at me because of its subject matter. It turned out to be much more than just another movie about chess, though. Yes it has the feel-good vibes one would expect from a movie of this nature; yes, it is undoubtedly one for the entire family to enjoy (and probably my favourite ‘family movie’ of the year). Having said that, there’s still a ‘rare’ quality about this film; considering it’s a full-scale Hollywood Disney movie set in Uganda, with an exclusively black cast.

I shouldn’t say “if there’s only one film you see this week, make it this one” in a week when I, Daniel Blake is also released, but I certainly want to at this moment.

10. Frantz

Francois Ozon has made some of my favourite films over the past few years – In the House and The New Girlfriend were two of the best movies of 2012 and 2014 respectively.

Frantz is another departure for the talented director; filmed predominantly in black and white, it’s an unconventional romance set in France in the immediate aftermath of the First World War. Uniquely the character of Frantz himself only appears in flashbacks, the story revolving around a German man who knew him during the war travelling to France to meet his family. French-German relations of the time period are examined from both sides, as the film begins in France from the perspective of a German, then ends in Germany from the perspective of a French character. Colour is used sparingly in the film, but is effective when a transition takes place. This is another great outing from Ozon.

9. Paterson

Adam Driver hasn’t been short of attention in Hollywood since starring as Kylo Ren in Star Wars: The Force Awakens. He’s found a role here that would define him, if he hadn’t already played one that inevitably will instead.

He plays title character Paterson in this film, a poet who lives in the city of Paterson, New Jersey. A bus driver by day (a trade that allows him to overhear some interesting conversations as the hours tick away), Paterson and his wife live a rather idyllic yet simple existence that feels right out of the American blue-collar storybook. In the evenings and at weekends, Paterson works on his poetry, which, while somewhat unspectacular, helps make him increasingly endearing as the film goes on. We end up connecting closely with this character despite his otherwise uninteresting lifestyle.

His dog in this film also gives an admirable performance; having won the Palm Dog award at Cannes for ‘best performance by a canine’. Paterson is due for its UK release in late November and may well be one I revisit soon.

8. Ma’ Rosa

A strong contender to pop up in the ‘Best foreign language film’ category as an entry for the Philippines, Ma’ Rosa is a stark portrayal of the struggle people have with everyday poverty. Central character Rosa is a mother and wife who casually sells hardcore drugs from her corner shop – out of necessity to ‘get by’. She comes across like a mother to the small, intimate surrounding community and so magnetic is lead actress Jaclyn Jose’s performance (for which she won Best Actress at Cannes) that at no point can you bring yourself to judge her from a moral high ground. Set during rainy season in the Philippines, the film has a kind of eccentric beauty about it, though a good portion of it you spend inside a police station over the course of a night in which police corruption is also exposed. Look out for this one next year.

7. Arrival

It seems inevitable that Denis Villeneuve is set to become this generations Spielberg, Kubrick and/ or Ridley Scott all rolled into one. His previous work has shown similarities to them – he’s set to inherent the Blade Runner franchise with his next project – and Arrival feels like the sci-fi Spielberg and Kubrick would have made if they had worked on one together (A.I. doesn’t count).

Arrival isn’t my favourite Villeneuve movie; that mantle still belongs to the lesser-known Enemy, and I admittedly preferred Sicario to it as well, personally. But let that not take away from the overall quality of this film. It is one of the best, and one of the smartest of 2016. It also has a global theme about different countries and nationalities working together to avoid catastrophe, which should resonate particularly well with people when it is released this week considering our current socio-political climate.

Amy Adams is set to be a frontrunner at the Oscars for her performance in Arrival.

Amy Adams is set to be a frontrunner at the Oscars for her performance in Arrival.

6. The Handmaiden

Korean director Park Chan-wook (of Oldboy fame) returns with a film containing scenes that may rival Blue is the Warmest Colour in their raw, visceral portrayal of lesbian sex.

Obviously depending on your point of view, that could make or break the experience. But The Handmaiden really isn’t about that; rather it’s a winding love story that follows anything but the traditional narrative path, in which characters and their relationships are constantly in question. At least two major twists take place that change your perspective on what came before, giving the film an “I have to see that again” effect. It’s one of the best films of the year, without a doubt. It may even be Park Chan-wook’s best film to date.

5. Christine

Christine is set during a time (the early 1970s) when knowledge of mental health in America was still at an alarmingly primitive stage. The result is an experience that is at once sad and tragic, while you’ll also breath a sigh of relief that we no longer live in such times. Rebecca Hall gives the performance of her career as news anchor and journalist Christine Chubbuck, who shot herself live on air in 1974. The footage hasn’t been available anywhere – presumed destroyed – for some time, resulting in the story becoming somewhat of a modern myth; but it did actually happen, and at the time was as shocking as the portrayal here of elements leading up to the event. Christine herself was suffering from something; whether it was bipolar or a similar disorder is unclear, as though it is heavily hinted at, such diagnoses were non-existent at that time. This film is essentially the story of a woman who battles with demons yet is ultimately unable to defeat them. There was no happy ending for Christine Chubbuck, but thankfully nowadays there is for many who suffer as she did.

4. Chasing Asylum

An eye-opening look at Australia’s rather brutal anti-immigration policies in recent years; a documentary for which its makers took a genuine risk of two years in prison to release. Seeing its content, it’s not hard to work out why.

Honestly, this is a film that I believe everyone needs to see. Not a comfortable experience, especially considering the building anti-immigration sentiment in our own country, but you owe it to yourself to check out this documentary, regardless of the opinion you bring in or take out of it. This kind of thing is what can prevent mass stupidity in our own population and/ or government.

3. Personal Shopper

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Kristen Stewart continues to defy critics who have lamented her acting ability by giving one of the best performances of the year in Personal Shopper – a different kind of ghost story in that it’s not part of the horror genre. There are a couple of potentially frightening scenes for sure, though they will intrigue rather than unsettle you. In general that’s what this film does; set out to intrigue its audience rather than spoon-feed them some cheap popcorn thrills. Stewart plays a young woman whose brother is recently deceased, and whom she believes is attempting to contact her from ‘the other side’. She and her brother were previously psychics, supposedly able to communicate with the dead, though Stewart’s character brings a healthy, refreshing skepticism to the story, preventing the whole thing from becoming eye-rollingly cheesy. Instead there’s an understated quality running throughout this film, right up to an ambiguous ending, that I loved. Others may feel differently depending on taste, but it’s one of the most original movies I’ve seen this year.

2. My Life as a Courgette

Forget what anyone else says – this is the best animated film of 2016. A French-Swiss stop motion that comes in at a compact 67 minutes, it’s the story of a little boy who is sent to an orphanage after the accidental death of his alcoholic mother, where he meets a group of other small children who’ve all lost their parents in various tragic circumstances. Like any top quality animated movie (indeed as 2015’s Inside Out also did very well), it grants the respect to children that they’re able to ‘handle’ serious issues such as the death of loved ones, loneliness, love, and there’s even subtle – yet entirely innocent – references to sex. It’s equally hilarious and incredibly sad. The stop motion on display is also an excellent work of art. Nominated as the Swiss entry for Best foreign language film, I’ll be shocked if this isn’t one of the favourites to pick up that award in February.

1. George Best: All By Himself

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Admittedly this is a somewhat sentimental choice – I’m allowed one occasionally! – but George Best: All By Himself is also one of the most insightful documentaries I’ve seen in recent years. It doesn’t necessarily tell us anything new about one of the world’s best footballers, but it shares an emotional, engaging account of the boy from East Belfast who became football’s first celebrity superstar in the midst of the ‘swinging sixties’ in Britain, and you’ll likely come away from it feeling you know him better as a person than before.

I emphasise that because in recent years it feels like people don’t really look at Best as a normal person – rather, as a flawed genius who ruined his career on the football field because of his obsessive love of alcohol. And that he certainly was – but there was more to the man. All By Himself showcases a boy no different from any of us, who became swept up in a celebrity culture that the football world itself was unprepared for, and one in which he was unable to find any guidance or help, being the first to have experienced it. Growing up in East Belfast myself, this documentary obviously resonated with me, and while I wouldn’t hold any objective claim to it being the best film overall, it was my most memorable experience of this year’s festival.

Now I had been planning to write more in-depth reviews for some of the films here; as we’re at the stage where a few of them are being released widely – Arrival this week, and Paterson coming up as well – I’m instead going to post larger reviews of those films as they come. A notable exception from the above is Nate Parker’s The Birth of a Nation, which I did see at the festival, and I did point out beforehand as a potential contender for Best Picture at the Oscars… Well I’ve changed my mind on that and will be writing a longer review in this case, as I think this film and the context surrounding its production raises some interesting issues worth a larger discussion.