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Three to see today: Tuesday 10 October

Three unmissable films with tickets still available at today's BFI London Film Festival.

Professor Marston & the Wonder Women

The incredible story of the man behind Wonder Woman and the women in his life.

Winter Brothers

Vinterbrødre

Two quarry-worker brothers are swept into a vicious feud in this intensely performed and aesthetically distinctive debut, featuring House of Cards’ Lars Mikkelsen.

Savagely beautiful and shot mainly on 16mm, Icelandic visual artist and filmmaker Hlynur Pálmason brings a unique perspective to bear with his debut feature. Pálmason’s rendering of the hermetic world of brothers and limestone quarry workers Emil and Johan exhibits both an outsider’s clarity of view and an artist’s visionary imagination. We follow the daily routines, habits and rituals of the siblings and their co-workers amidst a wintry industrial landscape. Disorienting sounds and abstract visuals create a visceral impression of constricted lives, where tension and violence simmer close to the surface. Emil may live and work cheek-by-jowl with others, but human connection and sexual intimacy are painfully absent, so he attempts to seek some solace in VHS-inflected reveries, homemade liquor and graphic fantasies. Pálmason’s economic and arresting storytelling hints at a more significant personal odyssey, but his open and reflexive approach ultimately invites you to draw your own conclusions.

Sarah Lutton

Dead the Ends

Benedict Seymour’s experimental feature is an urgent, engaging journey into the London riots and our current political situation via imagery from dystopian science fiction.

Bookended by the 2011 London riots, Seymour’s dramatically, politically urgent new film, making its world premiere at the LFF, retells the story of Chris Marker’s La Jetée. A man has been sent back into the past as a way of rescuing the future, his tale told by way of the Narrator who riffs on familiar film dialogue and contemporary references – unpicking the political implications of his journey and our retro obsessions. A collage, narrative, essay film hybrid, Dead the Ends, plunders some fifty years of cinema – including dystopian sci-fi – and uses emojis and gifs as ways of exploring the undercurrents of historical and current visual language, as well as present entrenched, systemic inequality. Cross-currents of thought and broad swathes of material are incisively manoeuvred, whilst, in its intellectually and dramatically gripping shape and scope, the piece feels part-situationist, part-Borgesian. It asks, in richly creative fashion, how did we get here?

William Fowler

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