The Levelling (Hope Dickson Leach, 2017)

Ellie Kendrick may be familiar to most as Meera Reed in Game of Thrones, but she has been extremely busy outside of Westeros with a series of challenging roles on stage and off. Her latest appearance, this time as the star of drama feature The Levelling, sees her take on the complex character of Clover, a British girl who returns to her farmhouse home after the unexpected death of her brother Harry (Joe Blakemore).

The tone of the film is inevitably dark and the setting is as grim as it is claustrophobic. The whole film plays out entirely within the confines of the farm, as Clover is forced to come to terms with what has happened whilst also dealing with a tattered relationship with her father Aubrey (David Troughton), a man who is either unable or unwilling to open up emotionally and would rather just carry on as if nothing has happened.

You may be forgiven for a reluctance in diving head-first into this film. When the main star is also a bit character in one of the biggest television series of all time, there is a nagging thought that she may have been cast solely to appeal to fans of Game of Thrones. Certainly the cynic in me can’t get past the fact that the timing of the release has been chosen to cash in on it; it is a matter of weeks before it enters its seventh season.

To presume this would be wholly wrong. Kendrick delivers an absolutely phenomenal performance, swaying between headstong frustration to childlike confusion. It’s a great showcase of her talents and a great piece of evidence that there will be life in her career beyond the final season of Game of Thrones next year.

Writer / director Hope Dickson Leach does well with the location of the film to let the audience know that this is a place that is almost uninhabitable. There’s no respite from the damp, grimness of the untended farmhouse and its surrounding land. The fact that she has achieved so much in her debut feature should be enough for the industry to take note. There’s a lot of talent here.

The subject matter may not appeal to some and may be too challenging for others, but this is definitely an emotional journey worth going on.

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BFI London Film Festival 2016 – First weekend review

I’ve had a fantastic time over the first week of the BFI London Film Festival. I’ve laughed, cried, been angry and been confused by a rich plethora of cinematic delights.

Here is a link to all the films I’ve managed to catch so far:

A United Kingdom
La La Land
Frantz
Dancer
Creepy
Psychonauts: The Forgotten Children
Queen of Katwe

Here’s to the second week of the festival!

BFI London Film Festival 2016 – Preview

I’ll be heading down to the BFI London Film Festival this weekend to catch a handful of films. I’ve picked a broad range, from headline galas to complete leftfield choices that may be my only chance to see a film on the big screen.

Here’s what I’ll be catching:

– La La Land (Damien Chazelle, US)
– Frantz (François Ozon, Germany)
– Dancer (Steven Cantor, UK)
– Creepy (Kiyoshi Kurosawa, Japan)
– Paul Verhoeven in conversation
– Psychonauts, The Forgotten Children (Pedro Rivero, Alberto Vázquez, Spain)
– Queen of Katwe (Mira Nair, US)

I’m most excited about the Queen of Katwe red carpet premiere that I’ll be lucky enough to attend, and Frantz will be screening at the specially-created Embankment Garden Cinema. 

I’ll be firing out reviews of each as I get the chance over the weekend. Maybe I’ll see one or two of you down there!