On this week’s 2000 episode of “That’s the Thing,” Alex and Nick discuss a fable about faith, authoritarianism, the cosmos, and a giant whale in Béla Tarr’s masterpiece, Werckmeister Harmonies.
After a brief hiatus, Alex and Nick resume their 2000 retrospective with a look back on Ang Lee’s Martial Arts classic Crouching Tiger, Hidden Dragon. Plus two cult gems from Fritz Lang and Michael Bay (yes, that Michael Bay).
My last day of writing about the London Film Festival has certainly instilled a bittersweet feeling within me. Not that I’ll be missing writing about several films a day; I am looking forward to spending the immediate future finishing my dissertation (“looking forward” being very generously applied here) or stepping away from the plethora of films I saw this year, some of which I was unable or uninterested in writing about. But with this final selection of films, all in some respects about social outcasts navigating an often inhospitable status quo, I had to bid goodbye to this year’s selection with a quiet degree of satisfaction in knowing that, regardless of when a film is screened, there’s always the potential for a truly great film to reveal itself at LFF.
My penultimate day with the London Film Festival was full of films disparately dissimilar from one another. My viewings of these films ranged from tranquil to frazzled, along with everything in between. If there is one shared trait between these entries, it could be a polyvalent display of human communion and either the bonds it strengthens or rends in tattered, even bloody pieces. What today only reified was my long-held belief that despite dire fears about the industry’s standing, the eclectic breadth of cinema is as adventurous as it’s ever been. That’s a comforting thought, even if some of these films were anything but comfortable to watch.
There has perhaps never been a more vivid example of the dynamic between collective solidarity and selfish individualism than in the last year. I was thinking a lot about these aspects when watching the otherwise incongruous films from LFF on this fifth day of reviews, their disparate visions of isolation and engagement inducing a swathe of emotions within me. These varying depictions of hope and futility subsequently tap into the best and worst we have to offer for one another in a global society, and the uncompromising intelligence of these films speak as clearly to a COVID-era longing for stability as anything else I’ve seen at the festival.