As expected, the London Film Festival gave the UK the first proper taste of every big player in this year’s awards season that’s already premiered as well as throwing a few exclusives of its own. Consequently, our monitoring chart has experienced a big shake-up, signalled by the arrival of the three clear leads in the race until now: ‘Gravity’; “12 Years A Slave” and “Captain Phillips”, as well as the latest works from the Coen Brothers; Stephen Frears and Ashgar Farhadi, also likely to earn many a nomination. With such a incredibly packed programme we had to give some other equally resonating works a miss, among them ‘Saving Mr. Banks’; ‘Nebraska’; “All Is Lost’ and the Cannes Palme D’or winner “Blue is The Warmest Colour’, soon to be released in our screens.
Next to the big names, the festival was also a good showcase for some of the International submissions for the Academy’s Foreign Language Oscar. As well as Iran’s already mentioned choice, Farhadi’s ‘The Past’; other favourites in this category are Chile’s ‘Gloria’; Mexico’s ‘Heli’; Romania’s “Child Pose’; Cambodia’s ‘The Missing Picture’ or Palestine’s ‘Omar’.
We could make a third group of films composed mainly by arthouse gems not specially aiming at award recognition, but nevertheless likely to feature among the critics’ end of the year selections. Our favourites were such well received films as ‘The Selfish Giant’; ‘Like Father, Like Son’; ‘Strangers by the Lake’; festival winners ‘Ida’ and ‘My Fathers, My Mother & Me’; US Indies ‘Short Term 12’ and ‘The Spectacular Now’. All of them help reassure we are heading for another twelve months of excellent cinema.
Check the full updated list here:
 | GRAVITY ★★★★★ Alfonso Cuarón The film IMAX and 3D were invented for. Cuaron’s ambitious sci-fi opus has dwarfed the already high expectations of audience and critics alike. Jaw dropping. Intense. Thrilling. Expect it to sweep the board on technical accolades; plus the extraordinary cinematography of Emmanuel Lubezki, his own directorial work and Sandra Bullock assured performance will definitely be a fixture this award season |
 | 12 YEARS A SLAVE ★★★★ Steve McQueen The acclaimed British director takes his raw, controversial style closer to the mainstream with his as harsh as accurate depiction of slavery and life in the plantations. Superbly crafted, although sometimes it feels Oscar-baity, and boasting one of the best casts of the year. Many believe if the graphic depiction of abuse and violence is not an obstacle for Academy voters, this year’s Oscar it’s his to lose. |
 | CAPTAIN PHILLIPS ★★★★ Paul Greengrass Exhaustingly tense and gripping, this Somali pirates hijacking drama based on true events is the most accomplished US thriller in ages. Paul Greengrass takes his directorial style one step further and provides Tom Hanks with his best role in years. Rave reviews and box office success also guarantee its status as one of the year’s favourites and certain best picture nominee. |
 | BLUE JASMINE ★★★★★ Woody Allen This time is for real. Allen’s best film since ‘Everybody Says I Love You’ surprises in many levels. If he could make it to the best picture shortlist with something like ‘Midnight In Paris’, he may have a strong chance to repeat the achievement. Cate Blanchett is shaping herself as the one to beat in the actress race and the whole cast shines, particularly Sally Hawkins as her good natured foster sister. The writing is at his sharpest, more fine-tuned to reality in decades. |
 | INSIDE LLEWYN DAVIS ★★★★½ Coen Brothers The Coens went out of their comfort zone again to portrait Greenwich Village’s bohemian folk scene in the sixties with this story of a young musician’s quest for his ever elusive big break. Surprisingly, it feels like the brothers at their most classic. Winner of Cannes’ grand prix, Oscar Isaac’s breakthrough role, a fine screenplay and star-studded soundtrack are its biggest assets. |
 | PHILOMENA ★★★ Stephen Frears Pleasant tear-jerking human interest tale of elderly woman looking for his son, taken away from her by the nuns in the internship she was sent to. Another high in Frears’ career; gives Judi Dench the perfect vehicle for a new claim at the Oscar and Steve Coogan a good counterpart role, as well as a chance to get in the screenplay race. There are bigger fish this season, but few will pull the audiences’ emotional strings as strongly. |
 | STORIES WE TELL ★★★★½ Sarah Polley The child actress turned successful auteur earned an original screenplay nomination with her debut, ‘Away from Hell’, and even if the follow-up was a bit of a disappointment, this documentary digging in her family’s past to unveil the shocking secrets behind a curtain of myths and half-truths is her best work to date. It could see the young Canadian being honoured for her writing again as well as a place in every shortlist with top films of the year. |
 | THE ACT OF KILLING ★★★★★ Joshua Oppenheimer & Anonymous & Christine Cynn Hailed by every peer, from Herzog to Morris, this unique documentary offered some of the paramilitary heads, now national heroes responsible for the massacre in Indonesia, a chance to re-enact their war crimes; an opportunity they happily embraced filming themselves as stars of action blockbusters or sophisticated musicals. The process took them to finally face the consequences of their actions. Already piling mentions in every possible honour for the genre. |
 | RUSH ★★★★ Ron Howard From a director profusely rewarded by the Academy, the tale of legendary Formula 1 rivalry between James Hunt and Nicki Lauda more than counterbalances the typical biopic shortcomings with a furious pace and astonishing technical skill making you feel like you’re inside the races. Hemsworth gives a solid performance, but it’s Daniel Brühl who could impact the acting races. Sound and production categories and a superb cinematography by Anthony Dod Mantle too. |
 | BEFORE MIDNIGHT ★★★★ Richard Linklater Unexpected last instalment of this unique trilogy which has lifted the romantic comedy genre to new heights. Delpy and Hawke recaptured the magic of their character’s relationship, now well established and with twin daughters of their own. Circumstances have evolved, but their over analytical ways remain intact. With widespread critical acclaim and a former screenplay nomination, its writing is again up for recognition, while the French star is bubbling under in the best actress race. |
 © Carole Bethuel | THE PAST ★★★★ Asghar Farhadi Less intricate than his former work but almost as powerful. The Iranian auteur refines his touch for absorbing, multi-layered drama and goes to the front of the Foreign Language race carrying Cannes winner Berenice Bejó and, as a longer shot, his screenplay with him; an attempt to repeat the achievement of his classic ‘A Separation’. |
 | ENOUGH SAID ★★★½ Nicole Holofcener The US indie filmmaker fifth feature is arguably her best; currently a box office hit, this superior rom com about the difficulties that age brings to dating has a well-observed and heartfelt screenplay and two towering performances by TV favourite comedian Dreyfuss and the late Gandolfini, whose onscreen chemistry is the film’s main attraction. As the Academy’s last chance to reward a superb actor makes it a work not to be dismissed. |
 | WADJDA ★★★★½ Haifaa Al-Mansour One of the favourites for the Foreign Language Oscar, the first film directed by a Saudi female and shot entirely in the kingdom, cleverly uses the deceptively simple story of a girl saving to buy a bicycle, and the rejection she faces as that’s not socially acceptable, to look at a wider picture of discrimination faced by women in the traditional Arab society. Charming, poignant and cleverly overcoming the strong censorship of her country, Wadjda has conquered audiences everywhere it has been released. |
 | PRISONERS ★★★ Denis Villeneuve Despite genre movies not always being the Academy’s cup of tea; a plot with too many twists and the moral controversy surrounding Hugh Jackman’s character taking justice on his own hands, the Canadian director is a former foreign language Oscar nominee (Incendies) and has forged a superior childrens ‘kidnap thriller that resonated big with audience and critics; its cast features six former nominees and one winner and boasts a fantastically claustrophobic cinematography by long time overdue master Roger Deakins. |
 | BLACKFISH ★★★½ Gabriela Cowperthwaite This shocking study on the intelligence of whales and the effects captivity has in their behaviour was a hit at Sundance and everywhere it got released. It also brilliantly, though sometimes verging on sentimentality, builds up the case against their commerce and exploitation in water parks. With a record 151 documentaries eligible for the Oscar, ‘Blackfish’ faces strong competition, but the appeal of its subject and the way it proves its point makes it stand out from the crowd. |
 | AIN'T THEM BODIES SAINTS ★★★½ David Lowery Another Sundance favourite, hushed dialogues and gorgeous cinematography in this debut earned comparisons to Malick’s Badlands . A similar storyline about a young couple’s crime and the love triangle they form with the local sheriff after the guy takes the heat and goes to prison will surely be remembered by critics and independents (Three Gotham nominations). Its cinematography and Rooney Mara’s heading an excellent cast are the areas likely to get more recognition. |
 | UPSTREAM COLOR ★★★★ Shane Carruth Another of the favourites for the Gothams, this long awaited follow-up to ‘Primer’ delivered an even more mind-blowing, experimental proposition and conquered everyone from its Sundance premiere. Its puzzling narrative about a couple whose love lives are affected by a strange parasite; a brilliant cinematography and an unique personal vision rather unrivalled in today’s American indie scene confirmed it as one of the year’s critical darlings. |
 | GLORIA ★★★★½ Sebastián Lelio Paulina Garcia should be piling up awards for her terrific, bittersweet portrait of woman in her middle-age embracing life and trying to look for a new chance in love. Chile’s submission to the Foreign Oscar was also rewarded in Berlin and looks set to conquer the popular vote wherever it gets a release. Its screenplay is also a force to be reckoned, although the sheer competition in that field might be a tough obstacle to overcome. |
 | THE GREAT BEAUTY ★★★★★ Paolo Sorrentino Italy’s choice for the Oscar is indeed a work of beauty. Sorrentino’s best film to date shows like an X-ray of Roma's decadent society, aggravated by comparison against the city's cultural heritage, told through the eyes of a writer who came to the city in search of inspiration, published an acclaimed debut novel and got sucked in its jet set lifestyle. Critical yet compassionate; meditative yet hectic. It was left empty handed at Cannes, which will probably play in its favour when critics remember the year. |
 | FRANCES HA ★★★★ Noah Baumbach Another acclaimed indie gem, this infectious comedy, not far away from the universe of hip TV series ‘Girls’, is former screenplay nominee Baumbach’s best work to date, but star and co-writer Greta Gerwig is the one who’s deservedly getting all the compliments. Looks like the year’s biggest underdog, but if nothing else, plenty of end of the year critical acclaim is expected. Worringly, the Gothams snubbed it. |
 | THE HUNT ★★★★ Thomas Vinterberg Dogma alumnus Vinterberg returned to form and provided Mads Mikkelsen with a breakthrough, Cannes winner role as the kindergarten assistant falsely accused of child abuse, victim of a witch hunt. Last year it piled on European awards and is Denmarks’s submission for the Foreign Language gong. One of the highest profile titles in contention, it will cause no small shock if it doesn’t get to the final shortlist. |
 (Photo Agatha A. Nitecka) | THE SELFISH GIANT ★★★★★ Clio Barnard Although still too little known for a huge awards breakthrough, Clio Barnard proves to be a worthy heir of British social realism’s legacy and joins the country’s directors premier league with this devastating tale of school rejects turned scrap collectors; a contemporary take on an Oscar Wilde story, blessed with two heart-breaking performances by its two lead children and an equally deserving cast. If nothing else, it should be UK’s critics pick of the year. |
 | IDA ★★★★½ Pawel Pawlikowski Sober look at the scars in Polish history, shot in exquisite black and white about an orphan novice putting faith to the test when allowed to visit an auntie, her only relative alive, to track her parents' fate. Winner of the official competition at the London Film Festival, it marks a well received return to form by Pawlikowski and should carry on collecting honours across the festival circuit, until its finally being released next year. |
 | TWENTY FEET FROM STARDOM ★★★★½ Morgan Neville A joyous tribute to the role of female back-up singer in pop history; Neville’s superb assemble of performance footage seems initially shaped as an anthology of early girl bands to later delve in four personal stories of amazing talents that remained out of the spotlight and their unfulfilled dreams. A true crowd-pleaser and Sundance audience favourite, should become one of the strongest contenders in the Documentary field. |
 | HELI ★★★★ Amat Escalante Escalante won best director at Cannes with the brutal story of a humble family accidentally involved in a drug-related crime. As Mexico’s submission for the Oscars, it has a chance for Academy glory, but extremely violent scenes of animal torture and burning genitalia will be hard to stomach by most of its members. It should at least take this Hispanic director granted with a strong visual personality to a higher level of international acclaim. |
 | THE MISSING PICTURE ★★★★ Rithy Panh One of those rare cases in which a documentary is submitted for Foreign Oscar consideration, this moving look at Cambodia’s traumatic recent past is a memoir of childhood under the bloody Khmer Rouge rule. Real footage mixed with scenes of clay figurines help enhancing its poetic vibe and makes it a remarkable piece of work. Produced in co-production with France, is one of the three docs nominated for the European awards. |
 | OMAR ★★★★ Hany Abu-Assad Friendships, love and freedom fighters blackmailed into betrayal are the backbone of this superbly scripted Palestinian drama, also a strong candidate for the Foreign Oscar. Surrounded in controversy, as everything else coming from the conflict stricken occupied territory unfairly is, Abu-Hassad is a former nominee for ‘Paradise Now’, whom after trying luck in Hollywood has gone back to his roots. |
 | SHORT TERM 12 ★★★½ Destin Cretton Focusing in the open wounds of the kids and their carers in a foster centre, Cretton has shaped one of the most solid US indies of the year that despite its emotional subject, mostly succeeds on avoiding sentimentality. Brie Larsen is one of the underdogs in the crowded best actress race and it should be a strong player at the Spirit and other independent awards. |
 | CHILD'S POSE ★★★★ Călin Peter Netzer Confirming Romania as a Mecca for harrowing drama, this look at the country’s society through a tale of overpowering mother pulling every possible string to prevent his son from being jailed after his car ran over a kid conquered the Berlinale’s Golden Bear and counts as another high profile contender in the race for the Foreign Oscar. Luminita Gheorghiu’s superb performance is also likely to show among many a critic’s selection. |
 | THE SPECTACULAR NOW ★★★ James Ponsoldt Earnest, moving and familiar story about the pains of adolescence boasted by a superior screenplay and fine performances by its two young leads; particularly good is The descendant’ Shailene Woodley who amply validates all the promise she showed in Payne’s Oscar nominated film. Another indie underdog in the race likely to surprise if picked by a few precursors. |
 | WALESA, MAN OF HOPE ★★★★ Andrzej Wajda The Polish veteran’s master touch recreating his country’s history is as reliable as ever on this account of the famous union leader whose influence has played an important role in Europe’s recent history and his rise to power. Wajda is always a safe bet as he has been amply rewarded by Hollywood with four of his films nominated to the Foreign language award as well as an Honorary Oscar to the whole of his career. |
 | THE BROKEN CIRCLE BREAKDOWN ★★★½ Felix Van Groeningen Belgium choice for the Foreign Language Oscar is as unexpected as it is terrific. A devastating drama set in the world of a Bluegrass band (yes, In Belgium!) whose lead couple lose their daughter to leukaemia. Flashbacks of the couple’s relationship and intimate moments with their daughter go backwards and forwards punctuated by a good selection of country music, which leads the film emotional tone. Backed by a number of European honours the country connection could open the doors of the States. |
 | STRANGERS BY THE LAKE ★★★★ Alain Guiraudie France’s strange choice for the Foreign race, ‘Renoir’, has deprived far better and more talked about films of an international boost, among them this Hitchcock-influenced thrilling drama about a killer in a gay cruising site conceived as a clever metaphor for gay sexuality courting with the danger of death. Explicit and compelling, rivers of ink will run wherever it gets released. |
 | A TOUCH OF SIN ★★★★ Jia Zhangke More a critical darling than an awards player, this film composed by multiple stories taken from newspapers raises violent and symbolic criticism to the sociocultural changes capitalism has brought to China. This is Zhangke’s most accessible work to date. Not surprisingly China has chosen some other film to represent it. However, since premiering at Cannes its profile hasn’t ceased to grow. |
 | LIKE FATHER, LIKE SON ★★★★ Hirokazu Kore-eda Another heavyweight shockingly snubbed by its country, Japan didn’t submit Kore-eda’s latest despite having won the Grand Jury prix at Cannes and growing rumours that Spielberg himself may direct its American remake. The Nippon auteur’s trademark dealing with families, and children in particular, explores fatherhood in a sensitive and thought provoking manner on its nature versus nurture reflections, through the premise of two families who find out their six year old kids were swapped at birth. |
 | MY FATHERS, MY MOTHER & ME ★★★★ Paul-Julien Robert Winner of the Griegson award at the London Film Festival; it offers a fascinating insight of the life in a German commune during the seventies from the research made by of one of its children looking for his biological father. Having access to an astonishing amount of recordings as if the members of this social experiment were eager to document everything, he also hints at the dark evolution from a welcoming and free spirited way to defy social norm to its closure among accusations of sexual abuse. |
 | BAD HAIR ★★★½ Mariana Rondón Charming Venezuelan gem, winner at San Sebastian festival in which an ashamed mother attempts to repress the ambiguous signs given by his son's sexual awakening, concerned for him not being fit to cope with their macho environment. |
 | CAMILLE CLAUDEL 1915 ★★★½ Bruno Dumont Juliette Binoche elevates this biopic based in the sculptor and Rodin lover's mental asylum confinement. One of Dumont's finest works in his typically frugal manner, it was also snubbed as France’s submission to the Oscars, but her central performance, at least at the Cesars, won’t go unnoticed. |
 | THE ROCKET ★★★ Kim Mordaunt The Australian submission to the Foreign Language Oscar is a cute crowd pleasing comedy, shot in Laos and telling the misadventures of a kid who builds a rocket to win local competition and put an end to the family curse they believe his being a twin brought upon. Featuring some picturesque characters including a show stealing local James Brown impersonator, under its sweet comic heart there are hints at more serious matters such as Lao’s bomb clearing problem. |
 | AN EPISODE IN THE LIFE OF AN IRON PICKER ★★★½ Danis Tanovic Non-professional Bosnian actor Nazif Mujic won the Golden Bear in Berlin for this naturalistic account of the hardships endured by the country’s poorest families. When the pregnant wife of a scrap metal collector falls seriously ill, their lack of any medical insurance nearly leads them to lose their child. Raw and Affecting, Tanovic is a former Academy winner for ‘No Mans Land’, which won’t hurt his chances for another nomination. |