BanterFlix contributor James Oliver takes us on a journey through some of the London Film Festival 2022’s biggest releases, which were screened at Queen’s Film Theatre in Belfast.
Many people associate Christmas with being the most wonderful time of the year (thanks Andy Williams). Not this guy, though; for me, that’s definitely October. There’s a slight chill in the air again, the skies are a beautiful mixture of pinks, purples, and auburn. It’s Halloween season and, of course, the big one, the London Film Festival.
For many years now, Queen’s Film Theatre in Belfast has screened a selection of premieres from the festival and this year was a definite standout in my opinion, as we had the likes of the retelling of Roald Dahl’s Matilda (which opened this year’s festival), Brendan Fraser’s hotly anticipated comeback film The Whale, Martin McDonagh’s eagerly anticipated new feature film The Banshees of Inesherin, and loads more.
This year I made it my mission to attend as many screenings as possible, along with my girlfriend, and we managed to make it to 3 screenings in total. Some will read this article and quote Matthew McConaughey from The Wolf of Wall Street – ‘those are rookie numbers’ – but between seeing other film releases and a full-time job, it was the best we could do. So, we opted for Holy Spider, The Whale, and The Good Nurse. We had tickets for Decision to Leave as well, but due to unforeseen circumstances, we had to leave.
Now, allow me to give a brief review of the 3 titles for your reading pleasure below. No need to worry about spoilers as 2 out of the 3 films aren’t due for release until the end of the year and I certainly couldn’t spoil them on you at all.
Holy Spider (Dir. Ali Abbasi)
This drama/thriller is set amidst the city of Mashhad, Iran between the years of 2000 & 2001, as a serial killer who’s given the nickname ‘The Spider Killer’ stalks the lonely corners of the city at night in search of sex workers to lure back to his lair and kill. Based on a true story, this man was responsible for as many as 16 murders. His crimes draw the attention of a journalist who comes to the city in the hopes of catching him.
The subject matter is bleak, but this is a powerful film that has many layers, most notably how women within this part of the world (and not just the sex workers) were viewed and in some cases are still viewed to this day – that they’re inferior to men. We see this journalist’s journey as she fights with everything she has to protect herself and make her case in a city that doesn’t want her asking these questions and trying to do the right thing. The violence isn’t ever glamorised for the sake of it either, which helps you appreciate this film even more.
The Whale (Dir. Darren Aronofsky)
Its premiere at the Venice Film Festival received a 6-minute standing ovation and reduced a humble Brendan Fraser to tears of joy. The ‘Brenaissance’ is indeed a very real movement. This film sold out on a still image of Brendan Fraser alone – no poster, no trailer, not even a teaser. Just a picture of an overly obese Fraser and the bare bones of a synopsis, which was that he portrays an English lecturer who’s trying to make amends with his estranged daughter, played by Sadie Sink.
And it sold out. If that doesn’t sell you on the hype for this film, then nothing will.
And it’s so much more than the simple storyline we’re offered. Director Darren Aronofsky has given us a truly beautiful, heart-breaking story of this man who, after losing everything, leads to him comfort eating himself into a monstrosity who can’t even stand without an aid. Several scenes of binge eating are uncomfortable to sit through when you understand the context behind it (much like the pie eating scene with Rooney Mara in A Ghost Story) and the musical score that accompanies this film also elevates it from great to phenomenal.
Aronofsky covers all bases – religion, forgiveness, love – and by the end of it you’ll feel every emotion and, unless you’re stone cold, you will leave crying. Nothing can be taken away from Sadie Sink’s supporting role as his daughter, but this film really is all about Brendan Fraser and his grand comeback – and what a performance it is. Don’t be surprised to find him in the running for an Oscar for Best Actor next year.
The Good Nurse (Dir. Tobias Lindholm)
Coming to Netflix at the end of October, The Good Nurse is a true story that stars Eddie Redmayne and Jessica Chastain as nurses Charles Cullen and Aimee. The film opens in 1996 with Redmayne’s character watching in disbelief as one of his patients goes into cardiac arrest before jumping forward several years, where we are introduced to Chastain’s character Aimee, who is informed of a new start joining her floor.
The pair spark up a budding friendship but it’s not long before his and her patients start to die one by one, which leads Aimee to have her suspicions about Cullen himself, and the situation isn’t helped when the police become involved. Over the course of many years, it’s estimated Charles Cullen could have killed as close to 400 patients by injecting their bloodstream with a lethal dose of insulin. Eddie Redmayne is so unhinged in playing this role and one stand out scene will have your jaw on the floor in terms of sheer amazement at the range this man has. As for Jessica Chastain, her last few roles haven’t been as great (I’ve yet to see The Eyes of Tammy Faye) as the likes of Molly’s Game or Zero Dark Thirty, so it’s great to see her in a role where she portrays such vulnerability not just for her own safety but the safety of her children as well. It was a real treat getting to see this on the big screen but be sure to catch it when it lands on Netflix.
Final Thoughts
Thankfully Decision to Leave is getting a limited run in other theatres, so we’re hoping to catch it there. If not it will be taking a free trail and watching it on Mubi.
But that will do it from me for now. If you were at any of the LFF screenings, be sure to let us know your favourite out of them all!
Written by James Oliver | BanterFlix Contributor