London Film Festival - Film Reviews

DJ Ahmet is a beautifully shot coming-of-age story from Georgi M. Unkovski about a 15-year-old boy in rural North Macedonia navigating first love, big dreams, and village traditions. The relationships were a real highlight for me - Ahmet’s bond with his little brother was so sweet, and Aya’s growth into a strong, independent character made her storyline just as engaging. Visually, the film shines: the cinematography paired with the colour work made for a rich, atmospheric watch (props to the colourists here!). And with its surprising moments of humor - especially the older man with the computer - it was a really enjoyable film to experience. - Madi Morphet

Enzo is a tender coming-of-age drama centred around 16-year old Enzo, a reserved teenager from a privileged background, quietly searching for his place in the world. Taking a job on a building site, he’s drawn into unexpected relationships that spark both tension and self-discovery.  While it moves at a measured pace, the naturalistic style and heartfelt acting make it engaging throughout. With moments so powerful that the cinema fell silent, Enzo leaves a lasting impression as a thoughtful and moving film. - Sally O’Kelly 

Vie Privée (A Private Life), directed by Rebecca Zlotowski, is a sharp and stylish French mystery-thriller with Jodie Foster delivering a brilliant performance in flawless French. As psychiatrist Lilian Steiner, she’s stubborn and emotionally reserved, which makes her investigation into a patient’s suspicious death both gripping and, at times, surprisingly funny - some of her stubborn moments were so relatable and that really tickled me. The evolving warmth between her and her ex-husband (Daniel Auteuil) adds real depth and has you rooting for their relationship as they piece the mystery together. The plot kept me constantly guessing and so absorbed that the film flew by. With strong support from Virginie Efira and Mathieu Amalric and atmospheric cinematography by George Lechaptois, it’s a clever, engaging watch that balances suspense, humour, and style. - Madi Morphet

Fwends

“It’s better to be brave and crazy than nothing” and Fwends certainly isn’t the latter. At its boldest, Fwends shines with somewhat chaotic but electric energy. However, it struggles through the quieter stretches where its messages don’t quite hit and suddenly the pacing for a relatively modest 92 minutes feels quite testing.

Focusing on a friendship between two twenty-somethings, it nicely contrasts the awkwardness of reconnecting with an old friend after time apart with the easy familiarity of being with someone you’ve always known. The improv sparks in places but lands flat at others, much like the monologues which can feel like straight off the page soapboxes.

Fwends touches on some interesting themes but rarely digs into them without feeling too contrived.- Sally O’Kelly 

Twinless, written and directed by James Sweeney, is a darkly funny and deeply affecting psychological comedy that I didn’t want to end. Dennis, played by Sweeney, is written to be so awkward and hilarious that I just couldn’t hate him - he made the film for me, and I was laughing out loud in the cinema. Paired with Roman, played by Dylan O’Brien, their dynamic was magnetic and at times even hysterical. This was my first time seeing O’Brien in a film, and I was genuinely impressed - he gave such a convincing and authentic performance that I felt like I was looking right into his character’s grief. The mix of humour, tension, and heartbreak kept me constantly wondering about the fate of these two friends after everything the twins had been through, and it left me thinking about them long after the credits rolled. A sharp, funny, and surprisingly moving film. - Madi Morphet

The Thing With Feathers

“What is the line between grief and despair?” Cumberbatch’s therapist asks early on and that’s exactly what The Thing with Feathers sets out to explore. The claustrophobic camerawork and intense sound design pull you straight away deep into its uneasiness as you follow an unnamed father’s struggles after the death of his wife. But while the shadows and hints of the crow are genuinely unsettling, seeing it in full breaks the spell, the costume and voice just don’t quite work. Unfortunately, that rules two thirds of the film out. If only it had fully committed to horror rather than just dipping its toes in. An ambitious adaption that may resonate deeply with some more than others. - Sally O’Kelly 

Life After takes a careful look at the complex debates surrounding assisted dying, exploring how policy, disability, and personal choice intersect. The topic itself is deeply interesting, and each story and perspective moves you in a different way, encouraging reflection on the issue as a whole. While the pacing can feel slow at times, Davenport’s sensitive approach ensures the film leaves a lasting impression. - Madi Morphet

Lurker is an unsettling look at obsession, control, and the power of celebrity. Oliver is an effortlessly charming rising star, on the cusp of something big, who has surrounded himself with “yes people”. The newest member to infiltrate his entourage, Matthew, is awkwardly eager with a touch of psychopath. Both are magnetic to watch. You sense from early on that things might not end well, but it’s fascinating to watch it unfold. The pacing drags a little in the final third but a satisfying end makes it forgivable. - Sally O’Kelly 

Love, Brooklyn is a heartfelt look at love, ambition, and the messy decisions that come between the two. André Holland plays a charming yet infuriating writer who can’t seem to get out of his own way, constantly choosing his career and his article over the women who genuinely care for him. Both Nicole Beharie and DeWanda Wise are incredibly likeable on screen, bringing warmth and sincerity to their roles, which makes it all the more frustrating to watch him make the wrong choices.

Despite those moments of exasperation, the film is an enjoyable watch, full of chemistry and emotional depth. It captures the push and pull between love and self-interest in a way that feels honest and human. From a production perspective, there were moments where the audio quality slipped, which was a bit distracting, but overall, Love, Brooklyn still delivers a touching and relatable story of connection, heartbreak, and second chances. - Madi Morphet

It’s undeniable that Train Dreams is a beautiful film to look at, every frame feels like a time capsule capturing a changing America at the turn of the century. Joel Edgerton delivers a quietly powerful performance as wood logger Robert as he struggles with the time away from his family. But for all its visual poetry, the story feels too familiar, like ground already covered. A gentle and film but one that never really takes off. - Sally O’Kelly 

As someone who’s never seen a Knives Out film before, what an introduction to the franchise! Wake Up Dead Man had everything; it was funny, scary, and by the end, I was hunched over in my seat. Daniel Craig’s Benoit Blanc completely surprised me; his dramatic southern accent took me off guard (he’ll always be James Bond in my head), but he’s so funny, over the top in the best way, and full of charisma (and bonus points for him waving at me on the carpet!).

Josh Brolin gave a standout performance as the priest, and I genuinely felt for his character. The rest of the cast complemented each other perfectly, and the twist at the end was completely worth the wait.

I always judge how good a film is by whether I check my phone to see how much time is left, and with this one, I didn’t check once. I was locked in from start to finish. -Madi Morphet

Father Mother Sister Brother

Father, Mother, Brother, Sister tells three parallel stories about the complicated ties between parents and their children. Each strand offers something different with quirky performances, sharp writing, and just the right amount of humour to keep things engaging. The fun parallels between the stories definitely connect with the audience. It’s a slow burn that lingers longer than expected, full of moments that will be even more enjoyable on a rewatch. - Sally O’Kelly

After the Hunt

As a Guadagnino fan, I had to see After the Hunt, and it did not disappoint visually. He really knows how to compose a beautiful scene. The colour grading is gorgeous, the soundtrack is spot on and at times even quite comedic, and he uses some particularly interesting shot compositions, including focusing on actors’ hands during conversations to convey performance in a more visually engaging way.

That said, I didn’t fall in love with any of the characters the way I have with others during the festival. Their constant arguing made it hard to fully emotionally invest, and I won’t be rushing to watch it again. - Madi Morphet

Moss & Freud
Kate Moss was undoubtedly the queen of noughties indie sleaze, but Moss and Freud chooses not to dwell on that side of her life. Instead, it focuses on her intimate relationship with painter Lucian Freud. Both Ellie Bamber and Derek Jacobi deliver brilliant performances with plenty of chemistry, though I wish Ellie had played Moss with a slightly cooler edge rather than ditsy party girl.

It would have been fascinating to see a sharper contrast between the chaotic, tabloid-fuelled world Moss inhabited and the quiet intensity of Freud’s studio. We are much more at ease in Freud’s studio than in the chaos of the clubs, with the film unsure how to handle the grit and glamour of Moss’s wilder years. Overall, an interesting story with a lot of potential, but one that could have made some bolder choices to really deliver. - Sally O’Kelly

Jay Kelly
Jay Kelly left me wondering what it really wanted to say. Is it a reflection on the regret of working in the film industry, sacrificing your personal life for a strangers’ entertainment, or was it a slightly self-indulgent “look what we give up for you” story? Neither reading is particularly flattering and both are quite annoying. The film has solid characters but seems unsure what to do with them, sending them on a meandering trip through France and Italy that feels more lost than lyrical. The over abundance of character side plots was further evidence of this. There was still some great Baumbach lines in there and Adam Sandler delivers another quietly brilliant performance but overall, nothing special for another movie about Hollywood. - Sally O’Kelly

Bugonia

Yorgos, you’ve done it again. Another wild ride with Bugonia, completely audacious, hilarious and at times, genuinely shocking. It’s a more simplified film than some of Lanthimos’s recent work, where most of it plays out as a two-hander between Emma Stone and Jesse Plemons. Both navigate the tonal shifts perfectly, making the bizarre premise feel completely effortless.  It’s unpredictable, playful and packed with memorable moments. One of Lanthimos’s most enjoyable films in a while. - Sally O’Kelly