This year’s event runs from November 5th until the 20th. There is a set of WebPages (www.leedsfilm.com) and a printed brochure. I prefer the latter as it is easier to scan the programme for films that fit one’s interests. Note this year’s brochure has introductory briefs for the different sections of the Festival and then an A – Z listing of the films. I found the old format with the films divided into sections easier to browse. For the first time the Brochure also indicates films screening on 35mm – i.e. ‘reel’ film. I counted eleven of these. However, the Brochure does not distinguish between the various digital formats – DCP, Blu-Ray, DVD etc. There is usually a Catalogue available at the start of the Festival that provides this information. This year there are fourteen venues, though the core of the Festival will be the Hyde Park Picture House, Leeds Town Hall, Vue Cinema in the Light and the Everyman. Its Centenary Year, the widest range of formats and the beautiful ambience of the Hyde Park should make this the star attraction.
The Hyde Park’s Centenary falls on November 7th. Its Open House will see films screening all day and an evening event that includes films produced in 1914, [though the BFI has only made these available on digital]. These screenings are part of a larger festival innovation – Free Screenings. There is a special page on the Film Website – Eventbrite – where reservations can be made.
The Festival programme is organised more or less in the established manner. So there is a range of new and contemporary films from round the world. The Festival opens with an adaptation of Vera Britain’s ‘Testament of Youth’, one of a number of films referencing World War I. Previews also include the Cannes Award Winner Winter Sleep. A friend in Italy, where the film was released last week, tells me that it is very long but very fine. There are also prize-wining films from the Venice, Karlovy and Annecy Animation Festivals. Plus popular style films from Iceland, India and Mexico (among others).
The Leeds Festival has a tradition of quality retrospectives. This year we have a series of films by or about the Swedish master, Ingmar Bergman. The programme includes two of his finest – Persona (1966) and Through a Glass Darkly (Sâsom I en spegel, 1961). Two lesser-known bur very able Spanish directors are featured – Luis García Berlanga and Juan Antonio Bardem. Both worked during the Franco dictatorship, when censorship was extreme. Films like Welcome Mr Marshall (Bienvenido, Mr Marshall, Berlanga 1952) and Death of a Cyclist (Muerte de un Ciclista, Bardem 1955) offer intriguing possible subtexts. They are joined by Alex De La Iglesia, whose output is as little known in the UK. And there are two films by Soviet director Konstantin Lopushansky: that he worked as an assistant to Tarkovsky will give you some sense of his approach.
Unsurprisingly there is a section on War and Cinema. The key films in this programme are J’accuse (1918) directed by Abel Gance and La Grande Illusion (1937) directed by Jean Renoir. They are outstanding examples of the best in French cinema, though unfortunately the Gance seems likely to be on digital video. There is also a video installation with a range of film material from World War I at the Royal Armouries Museum – a welcome combination of a major event and a major exhibition centre.
Masters of Film Comedy offers sight of films from Buster Keaton, Stanley Kubrick and Jacques Tati. More intriguing is Hollywood Greats: European Origins, with directors like Fritz Lang, and Billy Wilder represented by the films they made before they quit Europe for Hollywood. And there is the Hollywood bred Josef Von Sternberg working in Europe – with his muse Marlene Dietrich.
There are the regular Underground Voices, Music on Film and Cinema Versa providing opportunities to see films that experiment in subject mater and form. There is a substantial number of titles from Fantasy Cinema and an Anime Day, Day of the Dead and Night of the Dead, always popular. And there is a selection of recent short films from around the World. Finally there are three films that dramatise The American Nightmare – possibly even more relevant given very recent events.
It looks like being a full, varied and exciting sixteen days. As usual the major problem will be the choices that have to be made. A number of the films get two screenings, so check the brochure carefully. One gripe though – the Brochure offers ‘four acclaimed British regional comedy dramas, one from each of the UK home nations’: there are only three ‘home nations’, and these only narrowly missed being reduced to two. Eire, including the six counties in the north, is a separate country if not yet a united state.