Forget Xavier Dolan; writer-director Philippe Lesage may be the most exciting filmmaker to emerge from Quebec in the last few years. But unlike the director of Mommy and Heartbeats, Lesage has had some struggle getting his films wider distribution, at least in English-language territories.
Reportedly drawn from autobiographical experience, The Demons, his acclaimed narrative debut after a string of documentaries, earned strong notices – including at Glasgow Film Festival 2017 – and favourable comparisons to the thriller stylings of Claude Chabrol and Michael Haneke. In it, a young boy in Montreal begins experiencing the adult world, as he enters adolescence against a backdrop of local child kidnappings.
For his latest feature, Genesis, Lesage strays into autobiographical territory once more for a tale of teenagers in love. In fact, Genesis loops us back in with the filmmaker’s alter ego Félix (Édouard Tremblay-Grenier), the lead of The Demons, at an older age. This is not a literal sequel, though, which is perhaps wise considering the erratic distribution of Lesage’s films mentioned earlier. Think François Truffaut’s Antoine Doinel series, where seeing every entry isn’t required, but if you do seek them all out you’ll get a little something extra out of the experience…
Full interview for The Skinny
Celebrating its 15th instalment, the Glasgow Film Festival runs this year between 20 February and 3 March, opening with the UK premiere of Jonah Hill’s directing debut, Mid90s. It later closes with another UK first: the premiere of Beats, an adaptation of Kieran Hurley’s award-winning play set in the Scottish rave scene of, well, the mid-90s.
Rest assured, the full festival programme isn’t solely aimed at Generation X and older millennials, though some 90s favourites are among those receiving pop-up screening treatment at creative venues; a 20th anniversary showing of The Blair Witch Project at a secret location sounds terrifying.
With more than 330 individual screenings, talks and events in between the opening and closing galas, choosing what to go to can be tricky. Here are 10 highlights from the stacked programme…
Full feature for the BFI
As an indication of its ever-growing stature on the international film festival circuit, the current artistic director of Switzerland’s Locarno Festival for many years, Carlo Chatrian, has been snapped up to help programme the bigger Berlin Film Festival from 2020. As such, the 71st edition of Locarno seemed to have a bittersweet quality for the talkative festival veterans, as things might be very different next year. Even so, 2018 lived up to expectations of the event as an exciting space for new arthouse fare and as a celebration of older cinema that takes more offbeat choices in terms of paying tribute. We were particularly touched by the inspired choice to give the honorary Vision Award to title sequence designer Kyle Cooper (Se7en, among many credits), and not just because it gave programmers an excuse to screen Sam Raimi’s first Spider-Man film from a 35mm print.
Our personal highlight was the wealth of delights in the festival’s extensive retrospective of American filmmaker Leo McCarey, particularly a screening of The Awful Truth (1937) that had a packed audience in hysterics. That said, the new films on offer were hardly lacking in quality. In an unranked order, here are nine premiering feature highlights, plus one short. We should mention we were sadly unable to catch Mariano Llinás’ 14-hour La Flor, perhaps the most publicised title in competition this year…
Full feature for Little White Lies