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GORDON PARSONS recommends an entertaining account of the years between Germany’s defeat in WWI and Hitler’s seizure of power
London Film Festival 2013
Some hard-hitting features made this year's London Film Festival better than average, reports MARIA DUARTE
MIGUEL YOSHIDA explains the evolution and influence of the Cuban Casa De Las Americas in joining culture to the revolutionary struggle
ANDY HEDGECOCK is charmed by a skilful adaptation of Tove Jansson’s lyrical portrait of three generations of a family, overcoming grief
ALEX HALL treads warily through a messy, dialectical struggle fought in the mundane machinery of driving licences, criminal law, and birth registries
MICHAL BONCZA, FIONA O’CONNOR, JAMES WALSH and ANGUS REID review Atlas of Disappearance, Love Me Tender, Bouchra, and This Tempting Madness
Flitting between myth and the modern world, Medusa is determined to steer clear of human affairs. When her resolve crumbles, the result is petrifying in every sense
The world premiere of Saving Mr Banks, the extraordinary story of how Mary Poppins was brought to the big screen, drew the BFI London Film Festival to a glamorously fitting close.
Sharply funny, yet an unabashed tear-jerker, it pits the prickly PL Travers (a magnificent Emma Thompson) against Walt Disney (Tom Hanks) in a tooth-and-nail combat to prevent the Hollwood mogul from turning her beloved literary creation into a "cavorting and tinkling" cartoon character.
Not only did Hanks (below) close the festival, he also opened it with biopic Captain Phillips. In Paul Greengrass's nail-bitingly tense drama about the 2009 hijacking of a US cargo ship by Somali pirates, he gives one of the best performances of his career.
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MARIA DUARTE recommends a remarkable study of the friendship between a Palestinian and a Pakistani, broken by a hostile state
ANDY HEDGECOCK, MARIA DUARTE and ANGUS REID review Synthetic Sincerity, Our Hero, Balthazar, Heartstopper Forever, and A Year In London
RITA DI SANTO takes us through the prize winners, and takes the temperature of a festival that prioritised narratives of exile, state violence and class division
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