This year’s festival opens in the Victoria auditorium of the Town Hall with The Square, a European co-production which offers a satire on the contemporary art world. It is in English, Danish and Swedish and in standard widescreen and colour. It was filmed in a digital format and is presented in D-cinema. The title won the prestigious Palme d’Or at the Cannes Film Festival.
It launches both the Festival and the ‘Official Selection’ programme. This offers 37 contemporary titles from around the world. They include comedy – Battle of the Sexes (UK/US) dramatising a famous gender battle on the professional tennis court; sexual exploration with Call me by Your Name (Italy plus) directed by Luca Guadagnino and like his earlier I am Love , beautifully filmed rather than dramatic; a British rural drama set in Yorkshire, Dark River from director Clio Barnard; Sean Baker’s follow-up to the scintillating Tangerine, The Florida Project; this time filmed on 35mm rather than an iPhone. Bulgaria’s submission to the Academy Awards, Glory, a drama that symbolizes society through the search for a lost watch; a new film from Michael Haneke, Happy End, examines the aftermath of an industrial accident, ‘happiness;’ is unlikely; Sami Blood is a Swedish ‘coming of age’ drama and a title nominated for the European Lux Prize. All the films are from the ‘transatlantic’ territories, so no Asian or African films.
Most titles get several screenings and quite a few at different venues. However, a number are only programmed in at The Everyman, more a video parlour than a cinema. And several are only programmed in at The Vue in The Light. This multiplex has an unnecessarily high level of illumination in the auditorium during features: maybe the Festival can get them to ‘turn the lights down’: [congratulations, they have].
‘Retrospectives’ includes eight screenings sourced from 35mm prints, [barring accidents]. I make this one more than in 2016, progress. All the films will be projected at the Hyde Park Picture House as the only other venue in Leeds with a 35mm projector, The Cottage Road Cinema, is not participating in the Festival: shame. In another example of progress all the titles are listed in the printed ‘Free Guide’ and are noted on the Festival Webpages.
There is a ‘breakfast’ screening of Amélie (France 2001).
The Deputy / El diputado is a Spanish thriller from 1978, filmed in colour and standard widescreen. The plot involves a left-wing politician, the police and security services, black mail and even treason. The treatment makes all of this both complex and fascinating, widening the story with sexual orientation.
The Lives of Others / Das Leben der Anderen (Germany, 2006) was a popular success on its initial release. It studies the situation of an artist under the Stasi in the German Democratic Republic in the 1980s. What makes the story dramatic is a borrowing from Victor Hugo’s great novel ‘Les Misérables’.
Orphée (France 1950) is a film version of the famous myth by poet and artist Jean Cocteau. The film has a dreamlike quality and is full of actions and settings beloved of the Surrealists. The black and white cinematography really does deserve to be seen on film.
The Party and the Guests / O slavnosti a hostech (A Report on the Party and the Guests, Czechoslovakia, 1966) was part of the 1960s ‘new wave’ and was banned for many years. The film only appeared in Britain in 2008. Shot in academy and black and white, the film is an absurdist drama, at times reminiscent of Samuel Beckett.
Seven Days in January / 7 días de enero (Spain, 1979) is a thriller based on actual events. After the welcome death of General Franco and Spain’s transition to a more democratic society elements from the fascist past attempted to undermine the process.
Taste of Cherry / Ta’m e guilass (Iran, 1997) is one of the fine films from this country’s art/independent sector. The director Abbas Kiarostami is noted for his minimalist approach. Here, in another Iranian film set mainly in an automobile, we spend a few hours with a man debating a fundamental question.
Volver (Spain, 2006) is another excellent drama from Pedro Almodóvar. This is a film centred on women and the fine cast, as a collective, were awarded the Best Actress Award at the Cannes Film Festivals. This is mainly a dramatic comedy but with many of the issues that always fill Almodovar’s films and titillate audiences.
Surprisingly several other films in the retrospective section are on digital even though I am pretty sure that 35mm prints exist. These include Satyajit Ray’s memorable Aparajito (India, 1956) and the Italian political thriller Investigation of a Citizen Above Suspicion / Indagine su un cittadino al di sopra di ogni sospetto (1970).
‘Cinema Versa’ includes the recent Palestinian documentary Gaza Surf Club (produced by German filmmakers in 2016). The film also launches this year’s Leeds Palestinian Film Festival, which runs from the end of LIFF until early December.
‘Fanomenon’ includes the traditional Manga and ‘Day/Night of the Dead’ screenings. And there are the various ‘short films’ competition that cover a wider range of titles than ever.
The most serious lacunae in the programme is the complete absence of Soviet titles. The Centenary of the Great October Revolution [in the new style calendar] falls within the Festival. If this is not recognised as the most significant event of the 20th century then surely the cinema it inspired, Soviet Montage, should be recognised as seminal. It was the most challenging but also the most influential film movement in 20th century World Cinema. We will have to wait for December and a trek to Hebden Bridge for such a film.