Jozi Gold Director’s Discussion

Jozi Gold (2019) was screened at Leeds University Union as part of the Hyde Park Picture House On The Road programme in conjunction with the UK Green Film Festival on Sunday 7 November 2021.

Following the film was a discussion with host Sai Murray and film director Sylvia Vollenhoven (who joined via Zoom from South Africa). Capturing the urgency of the current conversation around climate change and the deep links between UK politics, policies and institutions and the impact this has on other countries. The discussion was recorded and here we have a transcription for you to enjoy.

You can watch the film here: https://vimeo.com/ondemand/jozigold

SM: Sylvia is not only a filmmaker, an award winning journalist, playwright, writer and knight fellow. Her book about identity, the Keeper of the Kumm won the award for literature, and her dance drama adaptation of the book was showcased on the main programme at the South African National Arts Festival, nominated for various awards – best director, best documentary, playwright, award for human rights in the arts etc.. Individual artist, activist and it’s our real pleasure to welcome you to this screening. Brilliant so we have a select audience gathered here today who I’m sure have questions and responses but I’d also like to begin by thanking you for such an inspiring film, a very provocative film and a really important film. Some really really interesting facts and also the way the film was put together and characters. I guess my first question comes from a conversation I had around the film with one of the people who invited me here today who is from South African heritage and who’s here. Our reaction I guess to knowing this film was about Johannesburg, about mining and your choice to follow this character – because we begin with the stilettos, with the very ornate dressed individual of the white woman but you being a black film director, that was not what was expected but she is such an interesting and intriguing character who has done a lot of good and her activism is having a lot of results. So could you speak about the choice to follow this individual and how you perhaps first became aware of her activism?

SV: Greetings! Thank you for screening the film and thank you for this opportunity. How I first got to hear about this is there’s a tiny magazine in South Africa that is small in numbers and audience but very very powerful. It’s an investigative journalism magazine called Noseweek and the editor of that magazine and I have worked together at different media houses and I’ve always been following his work and I’d seen so much of Mariette Liefferink’s activism in Noseweek. In fact, we feature in the film that Superwoman power image – that came out of Noseweek! The editor also has a son who is a journalist and Adam Wells had been following Mariette’s story and filming and he’s more of a print journalist rather than a filmmaker and he was following her around for 4 years. He has a friend who’s the director of a film in Norway and spoke to Stephan about finishing this film that he had been filming for four years but didn’t know how to structure and didn’t know how to put it all together. Stephan said well I have a friend in Sweden, Frederick Garrington[?] At WG Film would be very interested in the story, and Frederick said I’ll get on board if Silvia is the South African producer and my co-director because Frederick and I have been working together for many years and we also are very close friends for decades, having covered apartheid together and I used to be a correspondent for a Swedish outlet. So that’s how it came about. But I must say when Adam Wells, the South African journalist, came to see me and said Frederick said he’s on board if you become the South African director I was not agreeable! I just had not met Mariette and I thought I’m not going to sit here so many years after South African democracy and allow a white Africans woman to tell us what is wrong with South Africa. It just didn’t sit well with me. But then I went to Johannesburg and in Cape Town at the time and changed my mind completely. There were two things that changed my mind mainly, there were lots of little things, but the two main reasons were her integrity and her passion and the second reason was that being an activist myself I knew how important it was to have an image that was out of the ordinary, that would stop people in their tracks, and not only did she have this exotic image that was attention getting and we could use to our advantage for the activism that the film is hoping to elicit but also in the mining industry, dominated by men, and a certain kind of patriarchal class, they don’t see her coming, and by the time they sit up and take notice she’s already in the Supreme Court with a huge court case. So I thought well given my activism background I could really work with this woman.

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Bill’s Festival Highlights

Another good year! Special thanks to the Leeds International Film Festival 2021 team for screening an impressive selection of films despite Covid and the non availability of the Hyde Park Picture House and Leeds Town Hall this year.

I watched a total of 8 films

Dear Future Children (2021). Very powerful interviews with young women activists facing huge personal risks in Hong Kong, Santiago and an Ugandan village, plus Q&A with the director.

The Ants and the Grasshopper (2021) following two Malawian women who share experiences of climate change with people from a wide variety of backgrounds in the USA. Great to have this screened while the COP26 Climate Conference was being held in Glasgow. (Available on LeedsFilmPlayer until Thursday)

No Straight Lines: The Rise of Queer Comics (2021), with interviews with some key American women and men artists. The documentary shows how they adapted from underground comics in the late 60s, to supporting people through the AIDS epidemic, leading on to graphic novels and a Broadway show. (Available on LeedsFilmPlayer until Thursday)

Seven Samurai (1954). Great to see on the big screen. Actors were really tough in those days!

Paris, 13th District (2021). Some interesting insights into life in the eight tower blocks of Les Olympiades.

Medusa (2021). A Brazilian feminist horror film. Despite an interesting soundtrack and colour design I struggled to follow the plot in this one.

Compartment No. 6 (2021). A great film showing the common humanity shared between a female Finnish archaeology student and a male Russian mineworker on a long train journey to Murmansk.

The Hand of God (2021). The first half is the hugely entertaining story of a gathering of an extended Italian family, followed by the story of how this and other life experiences have influenced the director’s (Paolo Sorrentino’s) work.

This is but a small taste of the huge range of films on offer. Once again it shows the importance of International Film Festivals in building the  global understanding that we so urgently need.


Bill Walton

Leeds International Film Festival 2021

It’s that time of year again and #LIFF2021 is heading back into venues and also making lots of films available to watch online. Earlier this week committee members Bill Walton and Andy Smith attended the launch of the festival and share their first impressions.

For me one of the delights of the Leeds International Film Festival has been settling into the comfy seats of the Hyde Park Picture House, and watching several films in a row. A pleasure deferred until November next year…

This year we had the usual LIFF launch, with a breathless back to back screening of many short trailers for 55 minutes. This approach does give an impression of the variety of films on offer but is not ideal for decision-making. However I came away with a few clues:

But this is just scratching the surface. I haven’t had time yet to delve into the printed programme yet, so these impressions are very much subject to change. I suggest that you have a look for yourself!

Bill Walton

I always look forward to the LIFF preview so after missing last year it was with a sense of anticipation that I went along to the Vue on Wednesday especially as the venue was bragging about their new seats….I could have happily watched more trailers [and you now can – see below] but was glad that the screening was only 55 minutes as I could not have slouched in those seats for any longer despite having fiddled with the adjustment throughout, there was not a comfortable setting for a back now in its 7th decade….

It was a whirlwind of trailers….

I picked out the same ones as Bill plus:

Our task is now to go through the brochure and working out which films and venues align with work and other commitments with the backstop of the Leeds Film Player [the clashfinder can help with this]

Andy Smith


The festival guides are available from Vue Leeds in The Light, Leeds Town Hall now and more sites around Leeds and Yorkshire soon. For a guide in the post, email your details to leeds.film@leeds.gov.uk.

A PDF version is available online and tickets and passes are on sale now.

A number of festival fans have also put together some things that may help you plan your festival.

  • Clashfinder – see what films are on at the same time, highlight your choices, export to your calendars
  • The Films of #LIFF2021 – a Letterboxd list of most of the films showing at the festival
  • Online films at #LIFF2021 – a Letterboxd lists of most of the films available on the Leeds Film Player during the festival
  • LIFF2021 Trailers – a YouTube playlist of 80+ trailers for films at the festival

Leeds Film Festival Extended

Leeds Film Player

Normally at this time of year the film festival will have come to end but as we all know this year is far from normal. Plans to show films in venues had to be cancelled as cinemas closed again at the start of November but this has made the online selection even stronger and many of the films are still available until the end of the month.

I found the Leeds Player to work very well with only a few minor niggles, it’s certainly better than offer online film festival platforms with no visible watermarks and the ability to cast to TVs.

Here’s my selection of the films I liked the most that are still available to watch until November 30th.

Poster for Anne at 13,000ft

Anne at 13,000 ft

A divisive film but one I really liked with a very strong central performance; it stuck with me for days after viewing.

Poster showing Aida in front of a warehouse of refugees.

Quo Vadis, Aida?

A really powerful film centred around a translator in Bosnia, 1995 as the Serbian army take over her town. It manages to be both intimate and cover the larger scale of what happened and always feels very relevant.

17 year old Selma eating a honey cigar

Honey Cigar

A late addition to the online programme but a great coming of age film with a really good central performance that wonderfully captures the life of French-Algerian teenager living in Paris in the early nineties.

Illustrated bear wearing a regal robe with a number of human and bear character standing behind him

The Bears’ Famous Invasion

One from the Young Film Festival selection but this charming animation is a delight for all ages (and only £3 to rent).

Poster featuring a woman in a white suit covered in blood holding a pair of shears.

The Columnist

It doesn’t always make a lot of sense and can get quite silly but this is also the most fun I had watching a film for quite some time. A black comedy about a newspaper columnist taking on social media trolls.

I didn’t have time to explore the Cinema Versa strand but hear that Andrey Tarkovsky. A Cinema Prayer and Kubrick by Kubrick are worth watching. I’m making my way through the Shorts, as always this is a varied selection but so far have been consistently good.

I was slightly worried that there may not be as many good films this year but once again it has been a really good programme. I only saw one film that was (arguably) bad and there were a few I struggled to get on board with but I’m glad I saw everything else. You can see my comments on all of the films along with star ratings on my Letterboxd list.

LIFF 2019 Preview: Retrospective

Verna Fields

The Festival Retrospective this year offers a distinctive programme:                              ‘Mother Cutter Women Who Shaped Film’.

The women shaping film in this case are the editors, an important aspect of film-making which women have often dominated and which for much of the industry history has been one of the few areas where women had similar opportunities to men; another interestingly is scriptwriting.

The retrospective title is that of the nickname of Verna Fields, a long-standing editor in Hollywood. Her work included such disparate titles as Medium Cool {1969) and Jaws (1975). The former, a classic of the counter-culture, is the title screening in the Retrospective.The programme screenings are split between The Victoria at the Town Hall and the Hyde Park Picture House. Note, some titles are screening twice, some only once; so check the Brochure and calendar.

With the exception of the most recent ‘Mad Max’ release all of the titles were produced using photo-chemical film with the appropriate techniques. This means that the editing not only involves viewing, selecting, and arranging the complex tapestry of film shots and sequences in relation to sound tracks; it was physical manipulation,  cutting and splicing reel film, nearly always 35mm. So it is a little disappointing that only four of the titles in the programme are being presented in this format. All screen at the Hyde Park Picture House.

‘Beau travail’

Beau travail (1999.) [Wednesday 13th and Friday 15th November].

This is an adaptation of Herman Melville’s story ‘Billy Budd,Sailor’ by the director Claire Denis with Jean-Pol Fargeau. There have been other film versions of the Melville story but this is the most ambitious, with the narrative moved from a ship-o’-war to a Foreign Legion outpost in North Africa. Two important collaborators on the film were cinematographer Agnès Godard and film editor Nelly Quettier. Both have worked on other important films. Agnès Godard was cinematographer on a fine Italian film Golden Door / Nuovomondo (2006). Nelly Quettier worked on the equally fine and more recent Italian film Happy as Lazzaro / Lazzaro felice (2018).

‘Dancer in the dark’

Dancer in the Dark (Denmark and thirteen other territories, 2000)                                    [Monday 18th and Tuesday 19th November].

This is a post-Dogmé film from Lars von Trier. As you might expect it moves to a harrowing climax. Before that a young immigrant single mother [played by singer Björk) is living in rural USA in 1964. Her world of escape presents musical sequences set in her factory workplace. The film was edited by Molly Malene Stensgaard who had to manipulate DVcam video before its transfer to 35mm film. She has worked on a number of Lars von Trier titles, including the outstanding Melancholia (2011). This film won the prestigious Cannes Palme d’Or.

‘Movern Callar’

Movern Callar (Britain, Canada 2002).                                                                                                        [Tuesday 19th and Wednesday 20th November].

This was the second feature directed by Lynne Ramsay. This, and the earlier Ratcatcher (199),.seem to me better than her later films with US participation. Samantha Morton in the title role plays a grieving young woman who goes on a journey and an odyssey to Spain. The film was edited by Lucia Zucchetti. She also edited Ratcatcher, and, a little later, the highly successful The Queen (2006).

‘The Tempest’

The Tempest (Britain 1979). [Monday 11th and Wednesday 13th November].

The talented and subversive Derek Jarman adapts William Shakespeare: later he added Christopher Marlowe Edward II (1992). ‘Such stuff as dreams are made of …’ in a completely distinctive treatment. The editor Lesley walker, in only her second feature, provided an editing style that matched the unconventional style of Jarman. Her later work includes popular hits like Mama Mia (2013) but also other unconventional titles like Fear and Loathing in Las Vegas (1998). The film originated on 16mm.

Esfir Shubb

The Fall of the Romanov Dynasty / Padenie dinastii Romanovykh (USSR 1927),        [Monday 11th November].

This title, originally on 35mm, is screening from a 16mm print; the format used in film societies and by Kino in 1930s, when Soviet films were almost impossible to see in Britain. Directed and edited by Esfir Shubb, this is a pioneer compilation documentary. Shubb worked through thousands of metres of stock footage, short films and newsreels to produce 1500 metres that traced the the developments in Russia from 1913 to the revolutionary year of 1917 and the final dissolution of the Russian ruling class. Shubb could be called the ‘mother cutter’ of Soviet cinema. Many of the famous talents learned from her tutelage, including the young Sergei Eisenstein. The film has no sound track but uses title cards and will have live musical accompaniment by Jonathan Best at the piano.

These five films are the only photo-chemical prints in the Festival. The number seems to go down year by year; so apart from the quality of the films these screenings are also an opportunity to enjoy a’ vanishing prairie’ of reel film.

************************************************************************

Note: a bonus.

Green for Danger  (Black and White, 1946) by Lauder and Gilliat is also a 35mm print, the second screening is on Thursday a,m. This is a murder mystery with a fine performance from Alastair Sim. Edited by Thelma Myers [later Connell]. She learned her craft on films like The Life and Death of Colonel Blimp (1943) and worked on many more titles including the fine black and white drama The Hill (1965).

I can also happily report that the 35mm prints of The Tempest and Green for Danger  were both good and that for Beau Travail was excellent.

 

LIFF2019 Preview #2

Next in our series of posts on Leeds International Film Festival, Hannah tells us about her festival plans…

Last week, on a bit of a nostalgia trip, I watched the French film A Town Called Panic (2009) This showed on bonfire night at the Picture House during LIFF24 in 2010 and was my first taste of the film festival. Since then, my festival has steadily grown from the occasional odd film when I happened to be in Leeds to being an essential fortnight of my autumn calendar, around which all other things must be carefully arranged.

This year I’m going full tilt into LIFF (can we call it LIFF33?). After 2018, I said I’d take it easy and have time to reflect between screenings, maybe pop home occasionally, check in with my family or go for some leisurely lunches. You know, the things it’s nice to do when you’ve taken a week off work. Unfortunately somewhere in the planning, that idea has been bulldozered. The changes in ticketing for the festival, a jam-packed programme to choose from and a kind of film festival FOMO have conspired to keep me as square-eyed as ever.

At the time of writing, I’m lining up 45 screenings across the 16 days of festival; from Hollywood yet-to-be-blockbusters like Jojo Rabbit and Little Monsters, French animation (I Lost My Body), and East Asian action (The Gangster The Cop The Devil, The Wild Goose Lake) to documentaries like The Hidden City, shorts (ALL the animation) and a smattering of classics (All About Eve, Bonnie and Clyde). It’s going to be an effort, but when the line-up is this varied and exciting, I want to make the most I can of the opportunity.

The Picture House has been the scene of some of my favourite LIFF memories and this year has some exciting offerings:

  • The Fall of the Romanov Dynasty – A 1926 silent found-footage film marking the 10th anniversary of the 1917 revolution with live piano accompaniment.
  • The Hidden City – a documentary by Víctor Moreno on subterranean worlds; the pipes, tunnels and transport beneath our cities.
  • Night of the Dead and the inaugural Sci-fi Day – the marathon events at HP are staples of the film festival programme and this year the line-up includes a sci-fi run back to back with NOTD. If you’re really going for it you could attempt both, and I’m sure some will!

Outside the Picture House, I’m really looking forward to:

  • The Gangster The Cop The Devil – Thanks to LIFF, I’ve discovered a love of Korean action. A gangster and a police officer hunt a serial killer – the trailer is promising and I have high hopes.
  • Come to Daddy – Elijah Wood in a grizzly family drama. It might tip into type-casting, but Wood does wide-eyed terror well and I expect it to be put to good use here.
  • Days of the Bagnold Summer – the directorial debut from Simon Bird (Will from The Inbetweeners) is an adaptation from the graphic novel of the same name by Joff Winterhart. A story of a teenage boy and his mum navigating a long summer holiday together. The cast includes British favourites Alice Lowe, Monica Dolan and Tamsin Greig, with Earl Cave (Nick’s son) in the central role.
  • Family Romance LLC – A Werner Herzog documentary exploring a business in Japan that rents out actors to substitute in others’ lives, like a nonfiction rendering of Yorgos Lanthimos’ 2011 film Alps. That film was strange enough and I’m interested to see how the real version might work. From the trailer and bits I’ve read online, it’s going to be an odd one.

With a programme that offers such a variety and by giving myself the freedom to take some risks, the LIFF experience to date has dramatically expanded my cinematic horizons. Before discovering them in the cinema, I probably would have skirted all sorts of excellent foreign-language films because they felt like too much of a challenge and I definitely wouldn’t have gone out to see many documentaries on the big screen. These days the reluctance has vanished and recent years have been a feast of the weird and wonderful.

Taking an afternoon off work to go to the cinema feels like a decadent treat, something you can file under ‘self care’ and spoil yourself rotten at a matinee. Take a whole day off to go to the pictures and it might start to feel strange – more than one film at this time of year and you’ll barely see daylight. Take a few more and step out of your day-to-day life, disconnect from rolling news and immerse yourself in the moving image. There in the dark, you might learn something new, experience something you wouldn’t have otherwise, and lose yourself in other people’s imaginations. It really is the most wonderful time of the year.

LIFF 2019 starts on Wednesday. I’ll see you in the cinema!

#LIFF2019 Preview #1

In the run up to the Leeds International Film Festival we’ll be taking a look at some of the films making up this years programme. First up is Stephen…

I wasn’t sure what to expect in this years selection of films but after last year’s late addition of Roma I was hopeful we’d get a chance to see The Irishman on a big screen. Disappointingly it wasn’t in the launch programme but that big gap on Thursday 7th was soon to be filled with Scorsese’s latest. This feels like the real opening film of the festival for me and I just hope the Town Hall seats aren’t too uncomfortable for the three and half hour running time. Netflix seem to making more effort to get this in cinemas and it should also be playing at the Picture House after the festival.

I love the variety of films shown at the festival and often find myself drawn towards the weirder sounding films. There don’t seem to be that many oddities in this year’s programme but perhaps that because the strangeness has gone into the mainstream with Jojo Rabbit. I’ve loved all of Taika Waititi’s films so far (Boy, What We Do In The Shadows, The Hunt For The Wilderpeople, Thor: Ragnarok – I still haven’t seen Eagle vs Shark) and I’m sure this won’t disappoint although the trailer left me a little cold.

In between those opening and closing films I’m currently planning on seeing around 50 films (and therefore really grateful that the Gold Explorer pass was introduced). Over the years I’ve come to trust the programming team and think there’s usually a good reason to see any of the films in the programme. I’ve tried to take a more practical approach to my schedule this year, trying to avoid dashes across town or upturning my entire plan to fit in films I assume I’ll be able to see elsewhere e.g The Cave, The Two Popes, Ordinary Love and Matthias & Maxime (by the way isn’t it strange that there are two films called The Cave as well as Marriage Story and A Marriage Story in the programme). If you are still making your plans and want to see a better view of when films are showing you may find this Clashfinder useful.

Most of the films I’m looking forward to are from directors I already know and have been praised at other film festivals. All of the following have headline slots and are likely to be popular:

  • Marriage Story – Noah Baumbach’s latest.
  • The Nightingale – Jennifer Kent’s follow up the The Babadook (2014).
  • The Lighthouse – I wasn’t a fan of The VVitch (2015) but keen to see what Robert Eggers has done with this.
  • Portrait of A Lady On Fire Girlhood (2014) and Tomboy (2011) are fantastic and Céline Sciamma’s latest film very different from those, she was also screenplay consultant on one of my favourite ‘forgotten’ LIFF films Bird People (2014).

Some of the lesser known films I’m looking forward to include:

  • Patrick – Really not sure what to expect from this but it was one film in the trailer reel that really stood out as a typical WTF LIFF film.
  • The Incredible Shrinking WKND – another strange sounding one dealing with time-loops. It’s part of the Sci-Fi day at Hyde Park and I’ve taken the easy option of settling in the the entire day.
  • La Belle Époque – the idea of being able to recreate any moment from the past sounds like an intriguing one.
  • Little Monsters – more well known but looks like a lot of fun.

I’m disappointed I haven’t been able to fit in more of the classic films, the Mother Cutter strand is a great idea and a wonderful selection of films. I do have some free time so I may be able to fit some of these films in as well. I’m also glad that the short films are getting more screenings, I’ve not been able to get to many of these in the last few years but this year it seemed easier to fit them around other films.

As always we’d love to hear from you, please leave comments below or head over to our Twitter and Facebook pages to tell us what you’re looking forward to at the Festival.

Bill’s Highlights From #LIFF2018

Bill Walton looks back at his highlights of Leeds International Film Festival 2018:

This year I got to 32 screenings, the majority at the Hyde Park Picture House. My choices were nearly all booked in advance from the programme, often with little background knowledge. This can mean missing out on some films that turn out to be very popular, but also means a lot of delightful surprises. Now that the experience has had time to settle, here are the films that stuck in my mind.

Night Train

A lot of my highlights were in the Time Frames section, and were in black and white: Night Train (1959), 12 Angry Men (1957), Odd Man Out (1947), The Docks of New York (1928) with live musical accompaniment, and my festival favourite La Notte (1961) which is just beautiful. I also enjoyed comedies like After Hours (1985) and Happy New Year, Colin Burstead (2018).

Capernaum

One of the things I like about the Festival is the rare chance to see films made in areas of conflict, often in the face of physical danger and on a financial shoestring. I would highlight Capernaum (2018) set in Beirut, The Journey (2017) set in Baghdad, and The Reports on Sarah and Saleem (2018) set in West and East Jerusalem. They were nicely complemented by the thoughtful documentary What is Democracy? (2018).

Tampopo

Then there were delightful films like The Kindergarten Teacher (2018) – another top film for me -; a very funny Japanese food-based comedy Tampopo (1985); In The Aisles (2018) set in a huge German supermarket; and highly original Belgian animations This Magnificent Cake + Oh Willy (2018).

I avoided headline films like Peterloo (2018) and Suspiria (2018) because I know that I’ll soon be able to catch them when they are released more widely. A big thank you to everyone who made LIFF 2018 possible.

 


Bill Walton

My #LIFF2018 roundup

The film festival is over for another year and what an amazing two weeks it was. I managed to fit in 47 films with a total running time of 82 hours which I thought was a lot until I saw somebody had made it to 70-something screenings. I think it’s an incredible achievement by everybody involved that it’s possible for somebody to see so many films and find something to like about all of them. There were some films I struggled with (Happy As Lazzaro and Birds of Passage) but I think this was more down to my own tiredness (one of the problems of seeing so many films). Other films such as Genesis 2.0, Killing God, Await Further Instructions and I Feel Good all had great ideas that got a bit lost in the final film.

My favourite films this year were all retrospectives from the brilliant Time Frames series. I’ve always loved the Before films and it was relief to find Before Sunrise was as good as I remembered. I finally got to see 12 Angry Men for the first time and it was every bit as good as I had expected. 12 Angry Men was one of many films that seemed surprisingly relevant for 2018, as was Sidney Lumet’s other film,  Fail-Safe, another first viewing for me and made even more tense by the shadow of Trump hanging over it.

Of the new films it was Anna and The Apocalypse that I enjoyed the most. It’s the best Scottish zombie high school Christmas musical you’re going to see for some time and the soundtrack (out now) is brilliant. The audience for Pond Life seemed to be made up mostly of cast, crew and their friends and I’m not sure how many festival goers saw it or what people not involved with the film thought of it. It’s far from a perfect film but there was something about it that I really loved and I do hope that when it’s released next summer it finds an audience that appreciated it as much as I did.  In Fabric was another new film that completely pulled me in;I can’t begin to explain what it was about but I absolutely loved it.

This year I was also pleasantly surprised by a lot of the more ‘mainstream’ films. One of my few 5 star ratings was for Beautiful Boy and Can You Ever Forgive Me?, Widows, The Kindergarten Teacher and Colette were all much better than I was expecting.

I’ve tried to put all the films I saw in some order over on Letterboxd where you can also find my brief thoughts hastily written between films or at the end of a long day.

It would be great to hear your thoughts on the festival in the comments or if you would like to write a longer blog post (on the festival or anything else) get in touch.

Film Festival Programme 2018

The full programme for the 32nd Leeds International Film Festival (LIFF2018) is out now. The film guide should be available to pick up in the usual places, including the Picture House (an online version doesn’t seem to be available yet). The programme is  on the Leeds Film City website,  a Clashfinder has been put together which is really useful tool to help plan your festival and there’s a Letterboxd list of all the films.

There are more than a hundred films to choose from as well as several programmes of short films and other events. The difficult process of deciding what to see begins and we’d love to hear what you think of the programme and are planning to see; let us know in the comments and we look forward to seeing you in November.