BFI LFF: Call Me By Your Name (2017)
★★★★☆
A delightfully nostalgic and evocative portrait of young love, Luca Guadagnino’s Call Me By Your Name has all of the pleasure and only some of the pain.
★★★★☆
A delightfully nostalgic and evocative portrait of young love, Luca Guadagnino’s Call Me By Your Name has all of the pleasure and only some of the pain.
★★★★☆
The (African) portrait of a lady, Alain Gomis’ Félicité is a dazzling, vibrant depiction of Africa, womanhood and dreams of a life.
★★★☆☆
Facing the humiliation of social exclusion after losing a loved one, Sebastián Lelio’s A Fantastic Woman is a heartbreaking portrait of loneliness.
★★☆☆☆
A clarion call against the mistreatment of animals and the hunting confederacy of men, against Agnieszka Holland’s Spoor loses its way in the snowy mountains.
★★★☆☆
Intersplicing oneiric images of deer in the snow with slaughterhouse romance, Ildikó Enyedi’s On Body And Soul is an unexpectedly romantic vision of star-cross’d loving.
★★★★☆
Philippe Van Leeuw’s Insyriated is a suspenseful microcosm of Syria’s civil war played out through its effects on one family and the hard decisions they have to take to survive.
★★★★☆
A gay romance set high in the Yorkshire moors, Francis Lee’s God’s Own Country is a no-nonsense evocation of hard-won life in the country.
★★★★☆
In Martin Provost’s enjoyable The Midwife two outstanding actresses confront birth, life, love and death – as well as each other.
★★☆☆☆
Adapting Hans Fallada’s German resistance novel for the silver screen, Vincent Perez’ Alone In Berlin recreates the plot but none of the drama.
★★★★☆
Aki Kaurismäki is in top droll, compassionate form dealing with the refugee crisis in The Other Side of Hope.
★★★★☆
A portrait of the poet as a young revolutionary, Terence Davies’ Emily Dickinson biopic A Quiet Passion sees a fiercely independent woman martyred.
★★★☆☆
An upstairs-downstairs portrait of Indian independence and Partition, Gurinder Chadha’s Viceroy’s House is a history lesson with a big heart.
★★★★☆
It’s desperate times for democracy in Erik Poppe’s The King’s Choice as Norway’s monarch attempts to save both King and country.
★★★☆☆
An intimate portrait of the codependency of love, Cãlin Peter Netzer’s Ana, Mon Amour falters through its very male gaze.