Imagine stepping into a world where cinema dares to defy expectations, blending bold storytelling with unexpected twists that challenge what we think we know about films. That's the electrifying promise of the 2025 London Film Festival (LFF), where innovation meets inspiration, and every screening feels like a revelation. But here's where it gets controversial: In an era of blockbuster reboots and formulaic hits, is this 'formally daring' approach to filmmaking a bold evolution or a risky gamble that might alienate mainstream audiences? Stick around, and you'll discover why this festival could redefine how we experience movies—and perhaps spark a debate on what truly makes a film unforgettable.
As always, curators face the thrilling dilemma of selection: what to include and how to present it. For those eager to dive into uncharted territories, the festival boasts 27 world premieres, encompassing eight full-length features. Alternatively, catch up on standout releases from this year's global circuit, such as Jim Jarmusch's Venice triumph, Father Mother Sister Brother—a quirky family saga that explores the intricacies of sibling bonds and personal reinvention (check out the review at https://www.hollywoodreporter.com/movies/movie-reviews/father-mother-sister-brother-review-jim-jarmusch-1236358004/). Then there's Jafar Panahi's Cannes-winning gem, It Was Just an Accident (reviewed at https://www.hollywoodreporter.com/movies/movie-reviews/it-was-just-an-accident-review-jafar-panahi-iran-1236222539/), a poignant Iranian tale of unintended consequences that subtly critiques societal norms. Don't miss Joachim Trier's Sentimental Value, a heartfelt exploration of memory and loss; Kaouther Ben Hania's The Voice of Hind Rajab (learn more about the filmmaker at https://www.hollywoodreporter.com/movies/movie-news/kaouther-ben-hania-on-gaza-drama-the-voice-of-hind-rajab-1236357534/), a powerful documentary shedding light on human rights in Gaza; Noah Baumbach's Jay Kelly, starring George Clooney in a role that flips Hollywood stereotypes; Chloé Zhao's Hamnet, a lyrical adaptation of Shakespeare's world through the lens of grief; or Richard Linklater's Blue Moon, a meditative journey through time and relationships.
Kicking off the festivities is Rian Johnson's latest Knives Out adventure, Wake Up Dead Man, a star-packed mystery with Daniel Craig and Josh O'Connor leading the charge. Wrapping up on October 19 is Julia Jackson's 100 Nights of Hero, a vibrant queer narrative that leaves audiences buzzing.
Kristy Matheson, the Australian programming director overseeing her third LFF for the BFI, shared insights with THR on this year's choices, surprising geographic elements, symbolic motifs, and the allure of celebrity draws. (For more on her vision, see https://www.hollywoodreporter.com/movies/movie-features/lff-2024-interview-premieres-stars-strikes-1236006703/).
When asked about selecting the opening and closing films, Matheson described them as a festival's 'shorthand' for its essence. Both selections highlight filmmakers who have graced London screens before, returning with fresh energy. Rian Johnson's Knives Out trilogy continues to captivate, reinventing its universe with British flair through Craig and O'Connor's performances. It's an American production with a distinctly British vibe—fun, engaging, and masterfully crafted, making it a jubilant launch. Julia Jackson's 100 Nights of Hero, following her 2023 debut Bonus Track, is a proudly local queer story that's bold and entertaining, a fitting celebratory close.
With eight world premieres, Matheson elaborated on a few standouts. Moss & Freud chronicles Lucian Freud's portrait of Kate Moss, celebrating London's artistic spirit and the profound bond between two contrasting figures—an artist and an icon. It's a surprising tribute to personal growth and creativity. Then there's The Death of Bunny Munro, a series adaptation of Nick Cave's novel directed by Isabella Eklöf, featuring Matt Smith's compelling lead role. Super Nature, a Super 8 documentary, examines humanity's ties to nature through global perspectives, offering a magical big-screen experience rooted in the U.K.
And this is the part most people miss: Overarching themes emerge, like the 'formally daring' nature of this year's cinema, where directors push boundaries to innovate. Symbolic 'totem animals' also appear—birds dominate this lineup, from Philippa Lowthorpe's H Is for Hawk (starring Claire Foy and Brendan Gleeson, with stunning avian imagery) to Singing Wings, which delves into animal-human connections and broader existential questions.
Geographically, the festival draws from 79 countries, with strong showings from the MENA region and sub-Saharan Africa. Italy shines particularly bright, not just with regular entries but with diverse offerings. Marco Bellocchio's series Portobello is a gripping, well-acted drama, while Gianfranco Rosi's Below the Clouds and Carolina Cavalli's The Kidnapping of Arabella showcase Italy's cinematic versatility—from documentaries to sophomore features.
Matheson emphasized diversity, noting 42% of films come from female or non-binary directors. This reflects London's multicultural fabric and global stories, aiming for inclusivity so audiences see themselves or discover new worlds. It's about creating connections, sparking excitement, and fostering personal growth through exposure to varied narratives.
Star power plays a key role, with ensemble casts like Wake Up Dead Man's joyful mix or Jay Kelly's all-star lineup (George Clooney, Adam Sandler, Laura Dern, Billy Crudup, Riley Keough). Actors are stepping outside their usual roles—think Brendan Fraser in Hakari's Rental Family, delivering a tender performance that defies expectations, or Amanda Seyfried in Mona Fastvold's The Testament of Ann Lee, showcasing her depth beyond singing. This trend suggests top talents seek meaningful collaborations, blurring lines between fame and artistic integrity. But here's where it gets controversial: Does casting big names in unconventional roles elevate indie films, or does it overshadow emerging voices and perpetuate Hollywood's star-centric culture?
Finally, Matheson is thrilled about the immersive NOWISWHENWEARE (the stars) in LFF Expanded—a cosmic room of 4,000 reactive LED lights promising an ambitious, otherworldly adventure.
What do you think? Is 'formally daring' cinema the future of film festivals, or should we prioritize accessibility for broader appeal? Do you agree that star power enhances or hinders artistic innovation? Share your thoughts in the comments—let's debate!
