London Film Festival Welcomes Audiences Back to the Movies

The 78th Venice Film Festival - Photo call for "Last Night In Soho" out of competition - Venice, Italy, September 4, 2021 - Actor Anya Taylor-Joy poses. REUTERS/Yara Nardi
The 78th Venice Film Festival - Photo call for "Last Night In Soho" out of competition - Venice, Italy, September 4, 2021 - Actor Anya Taylor-Joy poses. REUTERS/Yara Nardi
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London Film Festival Welcomes Audiences Back to the Movies

The 78th Venice Film Festival - Photo call for "Last Night In Soho" out of competition - Venice, Italy, September 4, 2021 - Actor Anya Taylor-Joy poses. REUTERS/Yara Nardi
The 78th Venice Film Festival - Photo call for "Last Night In Soho" out of competition - Venice, Italy, September 4, 2021 - Actor Anya Taylor-Joy poses. REUTERS/Yara Nardi

Movies from 77 countries will screen at the 2021 London Film Festival, as Britain’s leading cinema showcase welcomes mass audiences back to movie theaters after a pandemic-disrupted year.

The festival program, announced Tuesday, includes 158 features, down from 225 during its last pre-pandemic edition in 2019. The 2020 festival was a curtailed collection of 58 films, most screened online.

This year, mask-wearing, full-capacity audiences will be able to attend gala screenings at London’s riverside Southbank Centre, with many of the premieres screened simultaneously at movie theaters across the UK.

About 37% of the features are directed by women — not yet parity, but up from a quarter four years ago and “heading in the right direction,” The Associated Press quoted festival director Tricia Tuttle as saying.

The festival opens Oct. 6 with the world premiere of “The Harder They Fall” — a Western from British director Jeymes Samuel with a Black-led cast — and closes Oct. 17 with the European premiere of Joel Coen’s “The Tragedy of Macbeth,” starring Denzel Washington and Frances McDormand as Shakespeare’s murderous Scottish royals.

The lineup includes 21 world premieres alongside prize-winners and headline-grabbers from the Cannes and Venice film festivals, including Jane Campion’s Montana-set Western “The Power of the Dog” and Edgar Wright’s swinging-60s horror romp “Last Night in Soho,” both of which premiered in Venice this month.

Also on the schedule are French director Julia Ducournau’s techno-sexual thriller “Titane” — winner of Cannes' top prize, the Palme d'Or — Paul Verhoeven’s lesbian nun drama “Benedetta” and Wes Anderson’s whimsical “The French Dispatch,” both of which also premiered at the French Riviera festival.

The London festival will also feature Maggie Gyllenhaal’s Elena Ferrante adaptation “The Lost Daughter”; Reinaldo Marcus Green’s “King Richard,” which stars Will Smith as the father of Venus and Serena Williams; Kenneth Branagh’s homage to his home town, “Belfast”; Jacques Audiard’s “Paris, 13th District” and Todd Haynes’ music documentary “The Velvet Underground.”

Another highlight is Chilean director Pablo Larrain’s “Spencer” — a film whose first publicity shot of Kristin Stewart as Princess Diana was enough to set off a frenzy of anticipation.

“I don’t think there’s a film fan alive who doesn’t want to see this film after that still was released,” Tuttle said.
Embracing television as well as cinema, the festival is also screening the first two episodes of the third series of media-dynasty drama “Succession.”

Festival organizers are still unsure how the coronavirus pandemic will affect plans for red-carpet premieres and parties. Four-fifths of British adults are fully vaccinated, and there are few restrictions on social life. But infections remain high, and are expected to climb further now that children are back at school.

Tuttle says a few films in the lineup deal explicitly with the pandemic, including Matthew Heineman’s documentary “The First Wave” and “7 Days,” a coronavirus romcom about a couple locked down together after a disastrous first date.

“We were wary of going too heavily into the pandemic,” Tuttle said. “We’ve just chosen films that charmed us or felt too urgent not to include in the program.”



‘Wicked’ and ‘Gladiator’ Make Gravity-Defying Theater Debuts

 People wait to watch a screening of the film "Wicked" at the TCL Chinese Theater in Los Angeles, California, US, November 23, 2024. (Reuters)
People wait to watch a screening of the film "Wicked" at the TCL Chinese Theater in Los Angeles, California, US, November 23, 2024. (Reuters)
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‘Wicked’ and ‘Gladiator’ Make Gravity-Defying Theater Debuts

 People wait to watch a screening of the film "Wicked" at the TCL Chinese Theater in Los Angeles, California, US, November 23, 2024. (Reuters)
People wait to watch a screening of the film "Wicked" at the TCL Chinese Theater in Los Angeles, California, US, November 23, 2024. (Reuters)

With a combined $270 million in worldwide ticket sales, “Wicked” and “Gladiator II” breathed fresh life into a box office that has struggled lately, leading to one of the busiest moviegoing weekends of the year.

Jon M. Chu’s lavish big-budget musical “Wicked,” starring Ariana Grande and Cynthia Erivo, debuted with $114 million domestically and $164.2 million globally for Universal Pictures, according to studio estimates Sunday. That made it the third-biggest opening weekend of the year, behind only “Deadpool & Wolverine” and “Inside Out 2.” It’s also a record for a Broadway musical adaptation.

Ridley Scott’s “Gladiator II,” a sequel to his 2000 best picture-winning original, launched with $55.5 million in ticket sales. With a price tag of around $250 million to produce it, “Gladiator II” was a big bet by Paramount Pictures to return to the Coliseum with a largely new cast, led by Denzel Washington and Paul Mescal. While it opened with a touch less than the $60 million predicted in domestic ticket sales, “Gladiator II” has performed well overseas. It added $50.5 million internationally.

Going into the weekend, box office was down about 11% from last year and some 25% from pre-pandemic times. That meant this week's two headline films led a much-needed resurgence for theaters. With “Moana 2” releasing Wednesday, Hollywood might be looking at historic sales over the Thanksgiving holiday.

“This weekend’s two strong openers are invigorating a box office that fell apart after a good summer,” said David A. Gross, a film consultant who publishes a newsletter for Franchise Entertainment.

The collision of the two movies led to some echoes of the “Barbenheimer” effect of last year, when “Barbie" and “Oppenheimer” launched simultaneously. The nickname this time, “Glicked,” wasn’t quite as catchy and the cultural imprint was also notably less. Few people sought out a double feature this time. The domestic grosses in 2023 – $162 million for “Barbie” and $82 million for “Oppenheimer” – were also higher.

But the counter-programming effect was still potent for “Wicked” and “Gladiator II,” which likewise split broadly along gender lines. And it was again the female-leaning release – “Wicked,” like “Barbie” before it – that easily won the weekend. About 72% of ticket buyers for “Wicked” were female, while 61% of those seeing “Gladiator II” were male.

And while “Barbenheimer” benefitted enormously from meme-spread word-of-mouth, both “Wicked” and “Gladiator II” leaned on all-out marketing blitzes.

Both movies pulled out all the stops in global advertising campaigns that spanned everything from “Wicked” Mattel dolls (some of which led to an awkward recall) to an Airbnb cross-promotion with the actual Colosseum in Rome. For “Gladiator II,” Paramount even took the unusual step of simultaneously running a one-minute trailer on more than 4,000 TV networks, radio station and digital platforms.

Though “Wicked” will face some direct competition from “Moana 2,” it would seem to be better set up for a long and lucrative run in theaters. Even at 2 hours and 40 minutes, the film has had mostly stellar reviews. Audiences gave it an “A” on CinemaScore. The reception for “Wicked” has been strong enough that Oscar prognosticators expect it to be a contender for best picture at the Academy Awards, among other categories.

Producers, perhaps sensing a hit, also took the step of splitting “Wicked” in two. Part two, already filmed, is due out next November. Each “Wicked” installation cost around $150 million to make.

“Gladiator II” has also enjoyed good reviews, particularly for Washington's charismatic performance. Audience scores, though, were weaker, with ticket buyers giving it a “B” on CinemaScore. “Gladiator II” will make up for some of that, however, with robust international sales. It launched in many overseas markets a week ago, earning $87 million before landing in North America.