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.
Angela Robinson brings together a top notch cast for this mind-blowing backstory of Wonder Woman creator Dr William Moulton Marston and the two women who almost certainly inspired her. In 1941, psychologist Marston (Luke Evans) pseudo-nymously published Wonder Woman as ‘propaganda for a new type of woman who should rule the world’. Marston’s secret, kept from his neighbours in their quiet suburban enclave, is that he lived in a long-term polyamorous relationship with two women. One was Olive Byrne (Bella Heathcote), niece of famous suffragette Margaret Sanger. And then there was his wife, fellow psychologist and lawyer Elizabeth (Rebecca Hall). Robinson’s film seductively imagines the years leading up to the emergence of the comic superheroine: the trio’s love story, their link to early feminism and their interest in sadomasochistic play. It’s a rivetingly good yarn, one that underlines just how much Wonder Woman was intended as feminist and queer disrupter of mainstream values. You’ll never see the golden lasso in quite the same way again!
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.
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?
Find out about Discovery Passes