Browse content similar to 21/10/2011. Check below for episodes and series from the same categories and more!
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This programme contains strong language. | :00:04. | :00:08. | |
Tonight on The Review Show, sexual compulsion, political betrayal, and | :00:08. | :00:13. | |
a disturbed and highly disturbing childhood. We bring you our | :00:13. | :00:19. | |
selection of films from the 55th BFI film festival. The last major | :00:19. | :00:24. | |
movie extravaganza of the year. The opening galah film 360 was written | :00:24. | :00:33. | |
by screen mitre Peter Morgan, and directed by City of God turf, | :00:33. | :00:36. | |
Fernando Morales. The festival closes next Thursday with an | :00:36. | :00:44. | |
adaptation of Terence Ratikan's drama, The Deep Blue Sea. The | :00:44. | :00:53. | |
festival includes Madonna's take on the Wallace Simpson's story. And | :00:53. | :00:58. | |
disaster drama, Doyenne, examining the theory that Shakespeare didn't | :00:58. | :01:01. | |
write his own plays. There is a brace of new British films, which, | :01:01. | :01:07. | |
according to outgoing artistic director, Sandra Hebron, proved the | :01:07. | :01:10. | |
British film industry is in rude health. It is interesting we have | :01:10. | :01:16. | |
such a strong line up from the UK, is because we are saying it for a | :01:16. | :01:19. | |
second consecutive year. There is no shortage of films with | :01:19. | :01:23. | |
challenging subject matter. I have said flipantly that there are lots | :01:23. | :01:27. | |
of films that deal with murder, suicide and psychosis. The films | :01:27. | :01:31. | |
are not issue films, they are very fine stories well told with great | :01:31. | :01:37. | |
casts, strong performances. Tonight on Review, we look at Lynne | :01:37. | :01:41. | |
Ramsay's adaptation of Lionel Shriver's best seller, We Need To | :01:41. | :01:47. | |
Talk About Kevin. George Clooney's political thriller, The Ides Of | :01:47. | :01:55. | |
March. Shane, about sexual compulsion. AndDown casts one of | :01:55. | :02:00. | |
the smaller dramas we fest value. We look at a pitch black Austrian | :02:00. | :02:06. | |
film, inspired by hidious life events. Lighter relief hopefully in | :02:06. | :02:10. | |
the panelists' own selections from the festival. | :02:10. | :02:19. | |
From the red carpet to the studio, I'm joined by four film aficionados. | :02:19. | :02:27. | |
The writer of the film festival, Hannah McGill, one-time agony aunt, | :02:27. | :02:35. | |
Indrit Krasniqi, Matthew Sweet and Mark Millar. You can kick our ass | :02:36. | :02:40. | |
on Twitter. First up, George Clooney for President, anyone, | :02:40. | :02:44. | |
Clooney play as governor and presidential hopeful in The Ides Of | :02:44. | :02:50. | |
March. The film attempts to look at the contemporary murky world of | :02:50. | :02:57. | |
politics. Clooney adapts the play FarogateNorth, a story of betrayal, | :02:57. | :03:02. | |
power and sex. Are you OK. It is OK, it is the right thing, nothing bad | :03:02. | :03:08. | |
happens when you do the right thing. With the all-star cast, Evan Rachel | :03:09. | :03:12. | |
Wood, George Clooney and Ryan Gosling, it is set around the | :03:12. | :03:17. | |
Democratic primary in the race for the cadidacy. It is not a film | :03:17. | :03:26. | |
about politics, it is a film that takes place in the political world, | :03:26. | :03:30. | |
All of the things we experience in our daily lives. We are telling the | :03:30. | :03:35. | |
human story in a political landscape where the stakes are very | :03:35. | :03:39. | |
high because it is about determining the next leader of the | :03:39. | :03:42. | |
free world. Ryan Gosling plays Stephen Meyers, the press secretary | :03:42. | :03:47. | |
to the governor Mike Morris, played by Clooney, whose seduction at this | :03:47. | :03:52. | |
hands of intern Molly, leads to a destructive chain of events. | :03:52. | :03:57. | |
Tonight is good. You have my number, it is programmed in your phone. | :03:57. | :04:06. | |
Under Mary. I know your name is Mary. My name is Molly. I thought | :04:06. | :04:12. | |
she was ballsy and sure of herself. She's a young woman in tune with | :04:12. | :04:20. | |
her sexuality, but not in a cheap, weird, Monica Lewinsky sway, she | :04:20. | :04:24. | |
knows what she wants, and is going after it. She's honest about it. I | :04:24. | :04:28. | |
loved playing that role of a girl throwing all these very powerful | :04:28. | :04:34. | |
leading men totally off their game. There is something in American | :04:34. | :04:39. | |
politics where it is a seduction, I guess, you are really trying to woo | :04:39. | :04:44. | |
these people, millions at a time, and that is very much like, it is a | :04:44. | :04:49. | |
very seductive process, often in desuctions in our every day lives | :04:49. | :04:54. | |
we are ut - seductions in our every day lives we are putting on a | :04:54. | :04:57. | |
different face. Does The Ides Of March bring anything new to the | :04:57. | :05:01. | |
political corruption genre. Republicans have no-one out there | :05:01. | :05:04. | |
who can touch this guy, for this moment, this election, this primary, | :05:04. | :05:12. | |
is the presidential. That is the State of the Union. | :05:12. | :05:14. | |
Hannah McGill, does this bring anything new to political | :05:14. | :05:18. | |
thrillers? I think it is not necessarily trying to bring | :05:18. | :05:21. | |
anything new, if anything it is trying very hard to exist within a | :05:21. | :05:25. | |
tradition of corruption thrillers. To do something very mainstream | :05:25. | :05:29. | |
with an idea of political corruption that, it tests your | :05:29. | :05:34. | |
boundaries slightly, but it is quite safe. It is extremely | :05:34. | :05:37. | |
efficient film. Like its beautiful director, it doesn't have a hair | :05:37. | :05:40. | |
out of place. It is efficient and slick. What it lacks is something | :05:40. | :05:46. | |
of edge and depth and a little bit of roughness, something a bit more | :05:46. | :05:52. | |
experimental they might have done with this. It works extremely well. | :05:52. | :05:56. | |
There might be a claim of a hint of originality, where Clooney is | :05:56. | :05:59. | |
central, it is more about the back room staff and the influence they | :05:59. | :06:02. | |
have? That is true, Clooney's presence is communicated more by | :06:02. | :06:07. | |
the poster that we see of him everywhere in the film rather than | :06:07. | :06:12. | |
by the performance. I thought is this George's very expensive way | :06:12. | :06:16. | |
he's not going to run for the presidency itself. This is one of | :06:16. | :06:20. | |
those films that comes along every few years that has to reassure and | :06:20. | :06:24. | |
explain to liberal Americans why they don't have the President they | :06:24. | :06:28. | |
want in the White House. They can go away and think there is | :06:28. | :06:32. | |
something wrong with the system, it is not our fault and they can go | :06:32. | :06:39. | |
home and absolve themselves of responsibility. The cult of youth | :06:39. | :06:43. | |
is very large here, did you find it disturbing, or are you well versed | :06:43. | :06:48. | |
that it is probably very young and inexperienced people controlling | :06:48. | :06:52. | |
politics? Young and inexperienced people voting, I imagine. I | :06:52. | :06:55. | |
expected there to be a flood of youth and so there should be. What | :06:55. | :07:01. | |
I thought about this as a film, and I think that is right, it fits into | :07:01. | :07:07. | |
a background. I felt it need rad better core. Everything around it | :07:07. | :07:10. | |
worked - needed a better core. Everything around it worked. When | :07:10. | :07:14. | |
it came to the point where the story needed to happen it flattened | :07:14. | :07:21. | |
out. It is like a kinder surprise with no surprise. | :07:21. | :07:25. | |
It is smart and sassy, then a couple of things happen and the | :07:25. | :07:29. | |
narrative changes and the whole film gets a little bleaker? | :07:29. | :07:33. | |
reminded me of early 1970s cinema, which Clooney has done in the past. | :07:33. | :07:41. | |
It felt like a modern version of The Candidate, and Robert Redford | :07:41. | :07:44. | |
was the Clooney of his day. It hadn't moved on though, it felt | :07:44. | :07:49. | |
like a film of that era. It doesn't have the dark heart of that 70s | :07:49. | :07:53. | |
film making, it is too assured, it is too much of a product, really, | :07:53. | :07:59. | |
there is no kind of wobble or edge to it. This is much more cynical? | :07:59. | :08:03. | |
It is cynical and not. One thing I found interesting about it, there | :08:03. | :08:07. | |
is an element where the point is you have to accept that even your | :08:07. | :08:14. | |
hero candidate, even your wonderful man, the poster is the Obama poster | :08:14. | :08:19. | |
with "believe" writtenen to, even he might have a flaw. Your corrupt | :08:19. | :08:23. | |
depraved little people behind the scenes with their machinations, | :08:23. | :08:26. | |
they want the good President. They have to accept that you have | :08:26. | :08:29. | |
terrible things in your personal life but they will get together and | :08:29. | :08:33. | |
make America a better place. It is cynical and sentimental at the time. | :08:33. | :08:37. | |
They say you have to accept Uruguay will be damaged and broken and | :08:37. | :08:41. | |
still try to - your guy will be damaged and broken but you have to | :08:41. | :08:45. | |
still try to get him there. What felt new was having a Democratic | :08:45. | :08:48. | |
villain, in a sense it is always the Hollywood thing to make a | :08:48. | :08:53. | |
character like that a Republican. It felt slightly fresh, it was like | :08:53. | :09:00. | |
trying a few fresh things, making the back room guys the important | :09:00. | :09:06. | |
thing. He's a good buy politically and bad guy behind the scenes. | :09:06. | :09:11. | |
is an old story. Interestingly, they were going to release this and | :09:11. | :09:16. | |
do it in 2007, but then the optimisim around Obama they | :09:16. | :09:20. | |
realised they couldn't do that. Now the world is more jaded, does it | :09:21. | :09:25. | |
reflect that? I was thinking about this, even if he was successful and | :09:25. | :09:28. | |
wonderful and pristine in his personal life and a bad politician, | :09:28. | :09:31. | |
we wouldn't care. He was very careful making this film and | :09:31. | :09:34. | |
putting it out when he did. I don't think it really says anything | :09:34. | :09:37. | |
necessarily new, but it does shore up things we already learned. We | :09:37. | :09:44. | |
learned from the 1970s and 1980. learned from television series like | :09:44. | :09:47. | |
the West Wing that women were strong figures and had a certain | :09:47. | :09:52. | |
amount of control. Here they are interns or harassing journalists? | :09:52. | :09:56. | |
This was interesting, it would have been interesting to play with the | :09:56. | :09:59. | |
sexual politics and have a powerful women. American politics has | :09:59. | :10:05. | |
powerful women in positions of authority. Weirdly in this film | :10:05. | :10:10. | |
anybody with any power is men, the important conversations are between | :10:10. | :10:15. | |
men. The women are the First Lady, which are I adore you and do what | :10:15. | :10:20. | |
you have to do. The intern, she is key, what happens to her happens to | :10:20. | :10:24. | |
everybody else, she's a victim in the end. There was no women with | :10:24. | :10:27. | |
authority. That was a weird decision, particularly from George | :10:27. | :10:30. | |
Clooney, you want more parity, but it would have made it more | :10:30. | :10:39. | |
interesting rather than the intern a disposable bimbo. Marissa Tomei | :10:39. | :10:43. | |
is in it as the journalist? Women are the grit in the oyster to be | :10:43. | :10:49. | |
annoying. It is a boys club, you have your Hillary Clintons, but in | :10:49. | :10:53. | |
personal experience it is a boys' club. That intern being abused, I | :10:53. | :10:56. | |
think I have never really seen before, I thought that was quite | :10:56. | :10:58. | |
brave, especially the ending, I thought that was a bleak ending | :10:59. | :11:03. | |
where you thought there is a prosession of these people. | :11:03. | :11:07. | |
Political exploitation. A new twist on that. Moving on, I want to move | :11:07. | :11:11. | |
on to the fastest-selling film at this film festival Shame, the | :11:11. | :11:18. | |
second feature from artist film maker Steve McQueen, it reunites | :11:18. | :11:28. | |
:11:28. | :11:28. | ||
him with Michael Fassbender, who portrayed Bobby Sands in Hunger. | :11:28. | :11:32. | |
Shame, Michael Fassbender is a high flying but has an addiction to sex. | :11:32. | :11:38. | |
Another story with a man in his 30s with a dark secret, a film from | :11:38. | :11:45. | |
Austria which reflects recent real- life events. Michael is the | :11:45. | :11:51. | |
directoral debut, casting films such as the Piano Teacher and the | :11:51. | :11:55. | |
White Ribbon. Both contentious. The topic of Michael could hardly be | :11:55. | :11:59. | |
more controversial. Michael is a 35-year-old office worker who holds | :11:59. | :12:03. | |
captive Wolfgang, a ten-year-old boy. The film follows five months | :12:03. | :12:09. | |
of their life together. Charting in painstaking detail their daily | :12:09. | :12:19. | |
:12:19. | :12:26. | ||
routines, inside and out of their With such a provocative storyline, | :12:26. | :12:30. | |
he was under no illusion about the difficulty that lay ahead in | :12:30. | :12:37. | |
securing the right actors for the roles. By France was on a film | :12:37. | :12:41. | |
academy - by chance I was on a film academy and I had to see a lot of | :12:41. | :12:45. | |
films by a lot of people. There were two good short films, at that | :12:45. | :12:51. | |
point I knew it was the guy that should play Michael. He said he was | :12:51. | :12:55. | |
afraid, he didn't want to do this. He needed time to think about this, | :12:55. | :12:58. | |
and discuss it with his family and friends. After two weeks he called | :12:58. | :13:02. | |
me and said he really wanted to do it. He was adamant from the outset | :13:02. | :13:07. | |
that Michael would not be an emotionally manipulative film, but | :13:07. | :13:11. | |
a sparse and clinical observation of the story. But with real life | :13:11. | :13:17. | |
cases, such as that of Joseph Fritzel, was it necessary to make a | :13:17. | :13:22. | |
film about the subject at all. Another film at the festival, to | :13:22. | :13:26. | |
chronicle the troubled life of a 30-something man, is Shame. | :13:26. | :13:31. | |
Starring Michael Fassbender and Carey Mulligan. Fassbender plays | :13:31. | :13:36. | |
Brandon a New York executive who works and plays hard, but his | :13:36. | :13:39. | |
carefully constructed lifestyle masks his addiction to sex and the | :13:39. | :13:44. | |
drive for constant fiscal gratification. There are plenty of | :13:44. | :13:49. | |
precedents for boundary-breaking nudity and sexually explicit | :13:49. | :13:54. | |
material, but 40 Years Of Queen cites a film from the 70s as a | :13:55. | :14:04. | |
:14:05. | :14:07. | ||
major inspiration. - McQueen cites a film from the 70s as a major | :14:07. | :14:10. | |
inspiration. In last Tango in Paris, it is the physicality of brand | :14:10. | :14:15. | |
dough. There is a fragility in Michael, he's a man's man, he's | :14:15. | :14:18. | |
bold, physical. There is a certain fragility in him that is so | :14:18. | :14:25. | |
beautiful. That take as very brave actor. Will audiences find Shame as | :14:25. | :14:30. | |
daring a provocative as Hunger, and will Michael give anen sight into | :14:30. | :14:40. | |
what leads men into extreme patterns of behaviour. | :14:40. | :14:45. | |
Does Shame explain to you enough why the character Michael is as he | :14:45. | :14:48. | |
is? I don't think you need to see anything about his background. The | :14:48. | :14:51. | |
purpose of Shame, and the purpose of talking about sexual addiction | :14:51. | :14:56. | |
is talking about the detatchment from intimacy, and yet craving | :14:56. | :14:59. | |
intimacy at the same time. As we know he has a complicated | :14:59. | :15:03. | |
relationship with his sister, it sounds weird but not as weird as | :15:03. | :15:06. | |
you might think. I don't think we need a lot of explanation. I think | :15:06. | :15:10. | |
McQueen has done a beautiful job showing us this story, showing us | :15:10. | :15:16. | |
enough of his fragility without taking us too deep. Is it daring, | :15:16. | :15:20. | |
transgressive, or are those things irrelevant? I found it rather | :15:20. | :15:24. | |
disappointing compared with Hunger, such a beautiful film you were | :15:24. | :15:29. | |
given time to observe and explore. This is rather choppy. I'm not sure | :15:29. | :15:32. | |
whether a drama that is essentially about a man deciding whether or not | :15:32. | :15:39. | |
to throw away his collection of jazz mags, it is not Sophie's | :15:39. | :15:43. | |
Choice. I found the whole thing overblown. There is a seen where | :15:43. | :15:48. | |
he's writhing around in on the floor in the rain, in a scene of | :15:48. | :15:56. | |
romantic agony. I wonder whatever, it is a 90-minute film of male | :15:56. | :16:02. | |
anger and self-pity. Is that a British male summation that it is | :16:02. | :16:08. | |
about your jazz mags, when they were researching the film in | :16:08. | :16:12. | |
England it wasn't an open condition here. They had to go to America. Is | :16:12. | :16:15. | |
it a particularly American condition? I think the fact it was | :16:16. | :16:19. | |
set in America it was an attempt to say something about the city of New | :16:19. | :16:23. | |
York and the degree of isolation and commercialism and separation | :16:23. | :16:26. | |
that is particularly New York. In some ways the fact it is set in | :16:26. | :16:32. | |
America, even though the actors are British, Irish, the director is | :16:32. | :16:36. | |
British, contributed to that slight feeling of remove that I had from | :16:36. | :16:40. | |
it. Agree with Karen, the theme of sexual addiction is about emotional | :16:40. | :16:45. | |
remove. The film, in some ways it puts you through the ringer of | :16:45. | :16:49. | |
watching this guy doing the same thing over and over again. It | :16:49. | :16:54. | |
doesn't give you any sense of transformation, or of why this is | :16:54. | :16:57. | |
happening, or of what you are learning about him. In way it was | :16:57. | :17:01. | |
just like, fine, you like having sex, go ahead. Isn't addiction | :17:01. | :17:06. | |
about that idea that it isn't necessarily transformative? I'm not | :17:06. | :17:12. | |
the guy to ask! For me it does explain it so beautifully, and in | :17:12. | :17:18. | |
such a minimalistic fashion. It starts off like a post MoD all fee, | :17:18. | :17:27. | |
you hate him and find - postmodern Alfie, then you see there is | :17:27. | :17:30. | |
something there, it is his sister, they are naked in front of each | :17:30. | :17:35. | |
other, he can't stand to be in the same room when she has sex, he has | :17:35. | :17:38. | |
to go for a run. You know they have come from the bad place. This isn't | :17:38. | :17:42. | |
about hand washing, it is not washing his hands all the time. | :17:42. | :17:45. | |
There is some lovely character work in it. It is a beautiful plot. | :17:45. | :17:51. | |
There is a seen with a very awkward date where he takes a co-worker out | :17:51. | :17:55. | |
to a restaurant. It is excruciating and beautifully played. It is a | :17:55. | :18:00. | |
movie about abuse, both characters were abused, then the whole film | :18:00. | :18:05. | |
unfolds back on itself again when you think about it. It is such an | :18:05. | :18:12. | |
understated movie, a brilliant writing on the part of Abi Morgan. | :18:12. | :18:18. | |
The American movies are clunky with the flashbacks, and yet they say it | :18:18. | :18:21. | |
quietly. For me it is the film of the year. It is the best film I | :18:21. | :18:26. | |
have seen. You say you loved Hunger, you're not sure about this. He is | :18:26. | :18:31. | |
still a great film maker, there are still traits, with the repetition, | :18:31. | :18:34. | |
it is a beautiful-looking film, he has the long, long shots. Does that | :18:34. | :18:41. | |
redeem it for you? I don't think it has the paint qualities of Hunger. | :18:41. | :18:46. | |
I don't think the images are quite as original as Hunger. The tempo of | :18:46. | :18:50. | |
it seems less original too. The wonderful thing about Hunger was | :18:50. | :18:54. | |
the time that we spent within all of those images. There is no | :18:54. | :18:59. | |
equivalent of that here. I found that so self-indulgent in Hunger, I | :18:59. | :19:03. | |
liked it, but I feel this is a guy who has honed his skills, when he | :19:03. | :19:08. | |
keeps the scene going longer than you would expect it is an effect. | :19:08. | :19:12. | |
When the running sequence goes on you feel you are eavesdropping on | :19:12. | :19:19. | |
someone's life. There is a really long threesome as well. That was | :19:19. | :19:25. | |
long. Let's move on to Michael. No real link except that it is another | :19:25. | :19:35. | |
:19:35. | :19:35. | ||
Apology for the loss of subtitles for 86 seconds | :19:35. | :21:01. | |
man in his 30s with a dark secret. The power comes from the repetition, | :21:01. | :21:05. | |
essentially this is not a Gothic melodrama of any sort at all. This | :21:05. | :21:10. | |
is a film about domestic routine. So we see these two figures, the | :21:10. | :21:16. | |
captive, and the man who has taken him prisoner doing the washing up. | :21:16. | :21:21. | |
Eating Spam and peas. We also see him washing himself after clearly | :21:21. | :21:25. | |
sexually abusing the boy. There is a horrible kind of equivalence | :21:25. | :21:35. | |
:21:35. | :21:40. | ||
It never loses sight of the pervesity of the villain. You | :21:40. | :21:44. | |
appreciate how this sort of situation might be normalised for | :21:44. | :21:48. | |
everybody involved in it because it is the same thing over and over | :21:48. | :21:52. | |
again. I never felt manipulated, I watched it, it was moving, it was | :21:52. | :21:59. | |
observational, it let you make up your mind. I never felt | :21:59. | :22:02. | |
manipulative, it is brilliantly cast, and the director is casting | :22:02. | :22:08. | |
director. You would also say that he's one of the few directors who | :22:08. | :22:13. | |
might take on this subject matter. He's brave not fool hard yi to make | :22:13. | :22:17. | |
the film? It is a very good film, I can't say I enjoyed watching it, | :22:17. | :22:24. | |
I'm glad I saw it. It is more generous and humane than anything | :22:24. | :22:29. | |
Michael Hanniker, he would want to punish us for watching film. Can we | :22:29. | :22:37. | |
permit the trafality of having Sonny by Boney M playing in the | :22:37. | :22:42. | |
credits? That is fine, you could regard it as a lapse of taste, it | :22:42. | :22:48. | |
shows how to read the emegmatic ending of the film, I don't want to | :22:48. | :22:53. | |
describe it, it is one of the brilliantly chosen moments to end | :22:53. | :23:01. | |
the film. It kept us off suicide watch. This week was the bleakist | :23:01. | :23:11. | |
:23:11. | :23:12. | ||
week of films I had to admit. We had to go and see The Lion King to | :23:12. | :23:18. | |
cheer ourselves up. There is more dark drama to come in Junkhearts a | :23:18. | :23:23. | |
debut feature that is part social realism and part fairytale set on | :23:23. | :23:28. | |
the streets of East London. Junkhearts tells the story of a | :23:28. | :23:34. | |
former soldier, and his unlikely friendship with a teenage girl, a | :23:34. | :23:40. | |
bond that could be broken when her homeless boyfriend muscles in on | :23:40. | :23:43. | |
the affair. The director wanted the film to have an optimistic feel. | :23:44. | :23:48. | |
The way we see the world, especially younger people, is | :23:48. | :23:53. | |
through magical eyes, that is what Lynette brings into Frank's life, | :23:53. | :23:58. | |
where suddenly you notice the patch of sunlight coming into the room. | :23:58. | :24:05. | |
There is joy and colour. We played Frankie's quite desaturated and | :24:05. | :24:11. | |
colourless life, until Lynette comes along. There is a vibecy. | :24:11. | :24:16. | |
was sniffing glue at eight, supping Bud at nine, I don't do crack or | :24:16. | :24:22. | |
coke, thanks any way. Are you a runaway. Eddie Marsan's Frank, is | :24:22. | :24:25. | |
suffering from post-traumatic stress disorder, a condition of | :24:25. | :24:33. | |
which the film's director has firsthand experience. When the | :24:33. | :24:38. | |
tsunami happened I was in Phuket, I was a doctor, and my training | :24:38. | :24:42. | |
kicked in, I helped in the immediate process. I was helping | :24:42. | :24:46. | |
out in liaison between the mass mortuaries. I came back from that | :24:46. | :24:50. | |
with a degree of post-traumatic stress disorder. When I read the | :24:50. | :24:53. | |
script I really connected to that element of it, suddenly the film | :24:54. | :24:59. | |
maker part of me came alive. gradual takeover of Frank's life | :24:59. | :25:05. | |
and home by the drug dealer, Danny, reflects a modern day issue, that | :25:05. | :25:08. | |
of cuckooing. People will target a vulnerable person, it could be an | :25:08. | :25:13. | |
older person, someone like Frank. Someone with learning difficulty, | :25:13. | :25:18. | |
and they will target them, befriend them and then take over their | :25:18. | :25:22. | |
property, it is quite common. given the theme as covered in the | :25:22. | :25:27. | |
film, can there ever be a happy ending. | :25:27. | :25:32. | |
The idea for us wasn't to make an issue-driven film, for us the film | :25:32. | :25:37. | |
is one about probably love, redemption, and family | :25:37. | :25:40. | |
relationships, relationships between fathers and daughters. I | :25:40. | :25:45. | |
think what we took is a structure where there is a social phenomenon, | :25:45. | :25:51. | |
what we were doing is creating a human story from it. | :25:51. | :25:55. | |
Matthew Sweet, was this an impressive debut film? It is an | :25:55. | :26:00. | |
apprentice work. It begins in quite a clumsy and clunky way. When these | :26:00. | :26:06. | |
two protaganists meet each other on a street in London t has the | :26:06. | :26:12. | |
feeling of an improv, about seeing where the seen goes and it might | :26:12. | :26:15. | |
expose something about Britain today. As it progressed I began to | :26:15. | :26:20. | |
feel something for these characters and rather moved by them. I | :26:20. | :26:24. | |
desperately wanted a happy ending to be generated somewhere. Yes, I | :26:24. | :26:34. | |
:26:34. | :26:36. | ||
can see the scepticism building Were you as moved? I agree, I think | :26:36. | :26:41. | |
there are elements of this that veer towards cliche, there is this | :26:41. | :26:46. | |
sort of talk about the heart of gold, there is the redemption of | :26:46. | :26:51. | |
broken people. The way in which it takes what could have been a slice | :26:51. | :26:56. | |
of gruingy, nasty social realisim and does something shiny with it, | :26:56. | :26:59. | |
and tries to create a mainstream movie narrative about the story of | :26:59. | :27:04. | |
life on the streets, there are problems with it, I did find it | :27:04. | :27:08. | |
affecting, I did find myself pulled in by it, absolutely. Karen, you | :27:08. | :27:13. | |
were enlightened by the state of contemporary Britain, I can see by | :27:13. | :27:17. | |
the raised eyebrows? I'm the only one who understands sex addiction! | :27:17. | :27:22. | |
I was looking forward to this film, I thought it would be promising, I | :27:22. | :27:26. | |
thought this would be the new Mona Lisa, fantastic, wonderful | :27:26. | :27:29. | |
performances, I thought it came apart. I found it difficult to | :27:29. | :27:32. | |
watch towards the end. I think it is a brave attempt. I would like to | :27:32. | :27:36. | |
see the director's next work. No, I didn't. It really didn't do enough | :27:36. | :27:40. | |
for me I felt it was cliched and predictable. There are a number of | :27:40. | :27:46. | |
strands we see. One that we haven't mentioned which involves Romola | :27:46. | :27:50. | |
Garai's character, sparsely drawn, but eventually becomes slightly | :27:50. | :27:54. | |
more central. Did that reflect something powerful, the fact that | :27:54. | :27:59. | |
people do have disjointed lives, or was it an accident of inexperience? | :27:59. | :28:04. | |
Can you tell it is a first movie. It would be disingenious to judge | :28:04. | :28:08. | |
it like that. This was the one I was least looking forward to of all | :28:08. | :28:14. | |
of the movies this week, I found it oddly warm hearted, I was surprised | :28:14. | :28:18. | |
at myself. I didn't cry, but I was moved, which is unusual for me. | :28:18. | :28:22. | |
was warm hearted because of the central performance, Eddie Marsan, | :28:22. | :28:27. | |
in particular? It was a great cast. I'm not sure who it was aimed at. | :28:27. | :28:30. | |
When I saw the title, it wasn't something I would naturally see, | :28:31. | :28:37. | |
but I was glad I saw it. Any film with Eddie Marsan's head in it, he | :28:37. | :28:43. | |
was built by the crowman, a root vegtable revived by dark forces. | :28:43. | :28:48. | |
That is an issue with the film is who is it aimed at. It seemed to be | :28:48. | :28:57. | |
going for the Kiddulthood, and Adulthood, is it for the young | :28:57. | :29:01. | |
people or the art house audience or the film festivals. I like that | :29:01. | :29:05. | |
they are taking on a film that could appeal to the mainstream | :29:05. | :29:09. | |
audience while makes points about life in Britain. This confusion for | :29:09. | :29:13. | |
who it is aimed at, one thing seems to emerge is it is an appropriate | :29:13. | :29:18. | |
film for a film festival, this mixture of inexperience and | :29:18. | :29:23. | |
showcases what film festivals should do? This is why film | :29:23. | :29:26. | |
festivals exist, you have a platform for a film like that, it | :29:26. | :29:30. | |
requires an audience and reviews. This film already had distribution. | :29:30. | :29:36. | |
It has some exposure. Film festival audiences are very open minded in a | :29:36. | :29:40. | |
way, that cinema audiences aren't necessarily. To make a serious | :29:40. | :29:43. | |
point about the bleakness, it hit me when I watched so many bleak | :29:43. | :29:48. | |
movies in a row this week, it was shocking. Trfs interesting when a | :29:48. | :29:52. | |
film is regarded as a - it was interesting that when a film is | :29:52. | :29:55. | |
regarded as worthy 0 and interesting for a film gest value | :29:55. | :30:00. | |
it has to make you feel bad. I'm glad we have summer to get us | :30:00. | :30:04. | |
through autumn. It was unrelentingly bleak. | :30:04. | :30:14. | |
:30:14. | :30:15. | ||
It was about post-traumatic stress disorder. You could say it was the | :30:15. | :30:23. | |
tradition of British miserableness. The scene adaptation of Lionel | :30:23. | :30:25. | |
Shriver's novel, We Need To Talk About Kevin. The horrifying crimes | :30:25. | :30:30. | |
committed by a teenage boy in America has plenty of movie | :30:30. | :30:35. | |
precedence, but the perspective of a traumatised and guilt ridden | :30:35. | :30:40. | |
mother is new. It is 12 years since Lynne Ramsay | :30:40. | :30:47. | |
dazzled the Cannes Film Festival with Rat Catcher. | :30:47. | :30:52. | |
Now Ramsay's back, tackling her darkest subject yet. Oscar winner, | :30:52. | :30:56. | |
Tilda Swinton, plays successful travel writer, Eva, who discovers | :30:56. | :31:01. | |
she's pregnant with her first child. When maternal instincts fail to | :31:01. | :31:05. | |
kick in, Eva struggles with her new life. The already uncomfortable | :31:05. | :31:15. | |
:31:15. | :31:15. | ||
bond between mother and son becoming ever-more intense. When | :31:15. | :31:19. | |
Kevin's younger sister suffers a suspicious eye injury whilst in his | :31:19. | :31:25. | |
cautious the rift between Eva and her husband, Franklin, played by | :31:25. | :31:29. | |
John C Reilly seems to widen. did you leave the drain stuff out. | :31:29. | :31:39. | |
:31:39. | :31:44. | ||
I didn't. I put it away. Then how did it get out? It was Kevin. Kevin | :31:44. | :31:53. | |
did it. You needing to talk to someone. | :31:53. | :31:59. | |
With Franklin seemingly oblivious to his son's nature, Eva grows more | :31:59. | :32:04. | |
and more isolated. I thought you didn't like those. They are, what | :32:04. | :32:14. | |
:32:14. | :32:19. | ||
do you call it. An acquired taste. While Shriver's book tells the | :32:19. | :32:24. | |
story through letters written from Eva to her husband. The movie | :32:24. | :32:34. | |
:32:34. | :32:34. | ||
flilts between past and present, as Eva recounts the past. Eva is left | :32:34. | :32:41. | |
to atone for the since of her zone as he languishs in prison. Ramsay | :32:41. | :32:44. | |
sets out to look at the human condition. Does it bring any | :32:44. | :32:49. | |
clarity to the nature versus nuture argument. It is easy to | :32:49. | :32:58. | |
misunderstand something when you hear it out of context. | :32:58. | :33:03. | |
How can I not know the context, I am the context. | :33:03. | :33:07. | |
Hannah McGill, some of the publicity material calls it an | :33:07. | :33:10. | |
emotional thriller, Lynne Ramsay calls it a psychological horror | :33:10. | :33:15. | |
story? I saw it as a black comedy, definitely a horror. Definitely not | :33:15. | :33:20. | |
an issue movie. You are going off beam with this if you see it as a | :33:20. | :33:25. | |
film about women's roles or parenting or America, or about | :33:25. | :33:30. | |
murder. I think it is a fantasy of the worst possible experience of | :33:30. | :33:35. | |
parenting. Which actually, and I found quite fun in a very dark way. | :33:35. | :33:39. | |
I didn't find it traumatic to watch. We have watched some dark material | :33:39. | :33:45. | |
this week, but I think this one actually I saw it as a very, almost | :33:45. | :33:50. | |
operatic heightened piece of melodrama that is actual lie quite | :33:50. | :33:56. | |
funny. Were we supposed to be on her - Actually quite funny. Were we | :33:56. | :34:01. | |
supposed to be on her side, my judgmental side kicked in. I don't | :34:01. | :34:04. | |
think we're supposed to be on anyone's side, she's not the nicest | :34:05. | :34:08. | |
woman in the world and he isn't the nicest person in the world and it | :34:08. | :34:12. | |
is ambiguous. The first 30 minutes I hated it, I saw them as the most | :34:12. | :34:17. | |
up themselves media couple who were just crap parents. I wasn't that | :34:17. | :34:21. | |
mad on the rest of it. With the book you have a narrative voice | :34:21. | :34:26. | |
where you have a freedom as a reader to read it very, very | :34:26. | :34:29. | |
critically. That you are free to suspect that this woman is the | :34:29. | :34:35. | |
author of her child's awfulness, in some way. You don't have that | :34:35. | :34:40. | |
freedom here. I know Lynne Ramsay says she wanted to give an intense | :34:40. | :34:49. | |
subjecttivity to this film, I don't think it has it. It wouldn't have | :34:49. | :34:53. | |
if she stuck to the form of the book? She needed to find some | :34:53. | :34:56. | |
device to allow us to give a sceptical reading of Eva, I don't | :34:56. | :34:59. | |
think there is room for that. think you could have a sceptical | :34:59. | :35:04. | |
reading of Eva, I thought she was a bit of a cow. We are not giving | :35:04. | :35:08. | |
room to doubt the voracity of the events we see before us, I don't | :35:08. | :35:12. | |
think. There are no children in the world like Kevin, they simply don't | :35:12. | :35:16. | |
exist. Any kind of statement that the film might be making, maybe you | :35:16. | :35:20. | |
are right it is not trying to make a statement of any kind at all. Any | :35:20. | :35:26. | |
statement it might be trying to make is taken out by that, it can't | :35:26. | :35:29. | |
talk about post-natal depression, or dislocation between parent and | :35:29. | :35:35. | |
child, because such children don't exist in the world. Ez ra Miller | :35:35. | :35:39. | |
who plays the final version of Kevin said he could understand and | :35:39. | :35:41. | |
the character took him over, and there was something very familiar | :35:41. | :35:46. | |
about that child? I don't know if there are children, I'm not parent, | :35:46. | :35:50. | |
I don't know, you're a parent? There probably are. We hear stories | :35:50. | :35:57. | |
about children that do these kinds of things. Obviously they exist. | :35:57. | :36:02. | |
delay speaking until the moment they can torment their parents. | :36:02. | :36:05. | |
is called autism isn't it. I feel conflicted about the film, he hated | :36:05. | :36:12. | |
it when I saw t I have worked very hard to overcome my hatred of the | :36:12. | :36:17. | |
film. Because Matthew hates it! is beautifully crafted, it is | :36:17. | :36:22. | |
beautifully crafted, very heavy on the symbolism. In a way I was upset | :36:22. | :36:26. | |
because I felt emotionally manipulated. There is a crudeness | :36:26. | :36:32. | |
about it. That clip we saw there, gobbling up those lychees whilst | :36:32. | :36:36. | |
talking about somebody's eye being removed. Smacking you around the | :36:36. | :36:42. | |
face. Any self-respecting horror director would reject that as | :36:42. | :36:46. | |
vulgarity. I don't think she understands the cliches of horror | :36:46. | :36:52. | |
well enough. You can't blame her of doing that, if she was given Lovely | :36:52. | :36:56. | |
Bones, it would have been fantastic film. It might have been a | :36:56. | :37:00. | |
marginally better film? Much better, much better. This is a career film | :37:00. | :37:04. | |
for her. She's putting a lot of technique, a lot of effort, a small | :37:04. | :37:10. | |
budget. She has done brilliantly, but I found it really offensive. | :37:10. | :37:16. | |
This ambivalence is coming through in all of us. The character played | :37:16. | :37:20. | |
by Tilda Swinton, the ambivalence has to be there, she knows she | :37:20. | :37:25. | |
should love her child and she can't bring it through. Is the whole | :37:25. | :37:28. | |
thing built on ambivalence. Everybody I have spoken to this | :37:28. | :37:33. | |
week has said five-star. It is cat nip for the Review show audience, | :37:33. | :37:38. | |
it is a Lionel Shriver book, Tilda Swinton in the lead, and directed | :37:38. | :37:42. | |
by Lynne Ramsay. Everybody watching the show will love it. By the end | :37:42. | :37:47. | |
of the first act I got into it. First act I hated it, I wasn't on | :37:47. | :37:52. | |
her side but I was enjoying the ride. She did a great job. Cat nip, | :37:52. | :37:57. | |
there will be a lot of Twittering about that. What about the | :37:57. | :38:00. | |
symbolism that began with that extraordinary scene in the tomato | :38:00. | :38:07. | |
festival in Spain, and then to the paint door with the blood. I am | :38:07. | :38:11. | |
already getting a look that it was heavy-handed, it was elegant wasn't | :38:11. | :38:17. | |
it? Yes it was Anne resting image. There is too much else in the - It | :38:17. | :38:22. | |
was an arresting image. There is too much else in the film that is | :38:22. | :38:27. | |
heavyhanded. At one point Kevin forewarns us that he's going to do | :38:27. | :38:32. | |
something bad, he almost wagles his eyebrows at us. I don't think it is | :38:32. | :38:36. | |
made as a horror movie, I don't think it tells you anything more | :38:36. | :38:43. | |
about children than Damien The Omen. If it is a horror film, fine, if it | :38:43. | :38:52. | |
has other ambitions, I don't buy it. Working in the tenets of horror? | :38:52. | :38:58. | |
think a real director could have handled that more deftly. It is | :38:58. | :39:02. | |
held together by a terrific performance by Swinton and the | :39:02. | :39:08. | |
child Ezra Miller? I think great performance and Ramsay is great at | :39:08. | :39:16. | |
directing actors. Casting Eva, she's odd, offputting in some ways. | :39:16. | :39:20. | |
I think she creates a character who you don't automatically warm to, | :39:20. | :39:24. | |
that is good. She's really good at being non-vain on screen. She | :39:24. | :39:29. | |
doesn't need to look gorgeous all the time. She's edgy and peculiar, | :39:29. | :39:33. | |
it is a strange character being played by an actress with a | :39:33. | :39:36. | |
capacity to do oddness. I think that really works. I think the | :39:36. | :39:39. | |
combination of her with John C Reilly, this very warm, benign | :39:39. | :39:43. | |
presence, is very interesting. I think all the kids are really good | :39:43. | :39:49. | |
as well. There we must stop talking about the We Need To Talk About | :39:49. | :39:57. | |
Kevin. What else has caught your eye? Go and see Anonymous, Rhys | :39:57. | :40:00. | |
Ifans, a fantastic cast, Roland Emmerich doing a story about the | :40:00. | :40:04. | |
true story of Shakespeare. thought that was written by | :40:04. | :40:08. | |
Christopher Marlow? It could have been anyone for all we know. It is | :40:08. | :40:12. | |
absolutely wonderful. A wonderful performance, and it is great to see | :40:12. | :40:18. | |
a big budget director doing a small film. A little British film called | :40:18. | :40:22. | |
Weekend by a director called Andrew Haye, very different from the stuff | :40:22. | :40:27. | |
we have talked about. Very simple, a story about two people meeting, | :40:27. | :40:32. | |
having a kind of almost romance, and just a beautiful story. So | :40:32. | :40:37. | |
confidently directed, lovely film. We have a clip. The morning after | :40:37. | :40:43. | |
the first meeting. I saw you in the club and I thought you were, I | :40:44. | :40:51. | |
thought you were out of my league, I liked your T-shirt. What league | :40:51. | :40:57. | |
are you in? I don't know, third division maybe. | :40:57. | :41:05. | |
Karen said memorably that people are calling it gay Brief Encounter? | :41:05. | :41:08. | |
It is wonderful performances, so simple, absolutely about character | :41:08. | :41:15. | |
and script, no bells and whistles. It is culling out in cinemas. - | :41:15. | :41:21. | |
Coming out in cinemas. I like the story of a man who thinks a big | :41:21. | :41:25. | |
catastrophy is coming to his community. It manages all the | :41:25. | :41:28. | |
shifts of perspective that We Need To Talk About Kevin didn't, in that | :41:28. | :41:32. | |
you are both in and out of his delusions, you don't know if it is | :41:32. | :41:35. | |
a real catastrophy or a metaphorical one, it is all of them | :41:35. | :41:39. | |
at the same time and beautifully handled. Beautifully handled to get | :41:39. | :41:47. | |
the final boot in. Nice one. would say an old Italian movie | :41:48. | :41:56. | |
called The Killing, the title alone is - the Man That Kills Bad People. | :41:56. | :41:59. | |
By Roberto Rossellini. The title sucks me in, I have never seen it | :41:59. | :42:04. | |
before, it is nice to go and see an old movie you haven't in the cinema. | :42:04. | :42:13. | |
What's the premise of it? I haven't seen it yet! But The Machine That | :42:13. | :42:19. | |
Kills Bad People. That is enough. All four of you have proved exactly | :42:19. | :42:26. | |
why we need film festival, to show the obscure, and the ease sow | :42:26. | :42:31. | |
terrik. Thank you to all my guests tonight. The London Film Festival | :42:31. | :42:34. | |
continues until next Thursday, find out all the details on the films | :42:34. | :42:39. | |
discussed on the website. You can review the reviewers on Twitter. | :42:39. | :42:46. | |
Stay tuned on BBC Two for Later With Jools. You can see an | :42:46. | :42:51. | |
interview with Steve McQueen on The Culture Show. Kirsty will be here | :42:51. | :42:56. | |
with her guests to discuss what what is tipped as the plays of the | :42:56. | :43:04. | |
year 13 at the National. And the 3- D version of Tin Tin from Peter | :43:05. | :43:09. | |
Jackson. Here is a little. Before he lost consciousness he tried to | :43:09. | :43:19. | |
:43:19. | :43:22. | ||
tell me s I think he was spelling out a word. Karaboudjan? Does that | :43:22. | :43:29. | |
mean anything to you? Great Scotland, yeah. It is extraordinary, | :43:29. | :43:33. | |
Worthingtons has a half price sale on bowler hats. Great Scotland Yard | :43:33. | :43:38. |