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.”



'Shrek' Director Tackles Taboo in Netflix Fairy Tale 'Spellbound'

(L-R) US actress Jenifer Lewis, US-Australian actress Nicole Kidman, US actor Tituss Burgess, US actress Rachel Zegler, Spanish actor Javier Bardem and US actor Nathan Lane arrive for the New York premiere of Netflix's animated film "Spellbound," on November 11, 2024. (Photo by Yuki IWAMURA / AFP)
(L-R) US actress Jenifer Lewis, US-Australian actress Nicole Kidman, US actor Tituss Burgess, US actress Rachel Zegler, Spanish actor Javier Bardem and US actor Nathan Lane arrive for the New York premiere of Netflix's animated film "Spellbound," on November 11, 2024. (Photo by Yuki IWAMURA / AFP)
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'Shrek' Director Tackles Taboo in Netflix Fairy Tale 'Spellbound'

(L-R) US actress Jenifer Lewis, US-Australian actress Nicole Kidman, US actor Tituss Burgess, US actress Rachel Zegler, Spanish actor Javier Bardem and US actor Nathan Lane arrive for the New York premiere of Netflix's animated film "Spellbound," on November 11, 2024. (Photo by Yuki IWAMURA / AFP)
(L-R) US actress Jenifer Lewis, US-Australian actress Nicole Kidman, US actor Tituss Burgess, US actress Rachel Zegler, Spanish actor Javier Bardem and US actor Nathan Lane arrive for the New York premiere of Netflix's animated film "Spellbound," on November 11, 2024. (Photo by Yuki IWAMURA / AFP)

Animated films tackling parent separation and divorce are few and far between.

While live-action kids' classics like "The Parent Trap" and "Mrs. Doubtfire" have used the concept as a launchpad for humorous antics, animation has tended to steer entirely clear of the issue.

"Isn't that funny... you can kill off a parent in a movie like 'Lion King,' or 'Bambi,'" said Vicky Jenson, best known for co-directing "Shrek."

"Disney moms are often dead -- the only time anyone remarries is because the other spouse is dead. This topic of separation, of parents not being able to live together... it's taboo."

But in Jenson's new film, "Spellbound," a princess's parents have been transformed by a dastardly spell into literal monsters.

It is an allegorical device that forces young Ellian to try to "fix" her mother and father, and their broken family.

"We encountered some resistance when we were looking for someone to help bring the movie to the world, a partner to distribute the movie," Jenson told AFP.

"They all reacted the same way, like: 'What a beautiful movie, what a great message.' And then they ghosted us!"

The movie went through a number of different studios, including Paramount and Apple TV+, before ultimately landing at Netflix, which will release the film Friday.

"I credit Netflix for stepping up bravely and partnering with us on this," said Jenson.

"In this environment, it does feel like stories that push the boundaries are more accessible on streaming.

"Theaters are kind of filled with superheroes right now... the big safe bets."

- 'Monsters' -

As the film starts, tenacious teen princess Ellian (voiced by Rachel Zegler) is desperately seeking a cure for the mysterious spell that has transformed her parents, Queen Ellsmere (Nicole Kidman) and King Solon (Javier Bardem).

To make matters worse, she must hide the whole mess from the oblivious citizens of Lumbria.

When the secret gets out, and panic spreads throughout the kingdom, Ellian is forced on a dangerous quest to undo the curse.

But even if she succeeds, she soon learns that her family may never go back to the way it once was.

To make Ellian's reaction to her -- literally -- monstrous parents believable and accurate, filmmakers employed the consulting services of a family psychologist and therapist who specialized in divorce.

"Kids feel like it's their responsibility to fix this. They don't understand that something happened to their parents -- they're acting like monsters," explained Jenson.

The director, and cast and crew, also drew on their own experiences, "because we all know our parents are monsters at one point -- and as parents, we're all monsters at one point," she joked.

- An inverse 'Shrek'? -

The end result is a thoroughly contemporary parable, set in a magical fairytale kingdom.

That has clear echoes of Jenson's smash-hit directing debut "Shrek," but with cause and effect reversed.

"'Shrek' was the modern take on fairy tales. This was a fairy tale take on a modern story," she said.

For Jenson and the filmmakers -- including legendary composer Alan Menken, of "The Little Mermaid,Beauty and the Beast" and countless more -- it was important to bring this "truth about family life" to the screen.

It "is there for so many of us, but hadn't been approached as a myth or as a new fairy tale before," said Jenson.

"Now, a new fairy tale is out there for that experience that so many kids, so many parents, so many families need help through."