Club Kid

4 stars

CAUTION: Here be spoilers

Opening on a big New York night out we meet Peter (Jordan Firstman, Rotting in the Sun) and his crew barrelling into the club night he promotes for a wild night of dancing, drugs and sex.

After escaping unexpected attention from Briton Leonara (Paris Petitjean, feature debut), Peter is later hooking up in the dark room. Leonara appears and the guy Peter is with wants to watch him have sex with her as they disappear into the darkness.

Jumping roughly 10 years later and Peter is still an active club promoter on the scene with a low-key drug-selling side hustle. 

Sharing his apartment with self-proclaimed ‘aspiring queer philosopher’ Nicky (Eldar Isgandarov (The Debut), Peter gets up late in the afternoon, watches porn, uses hook-up apps and repeatedly misses calls.

When Peter arrives exhausted and far from sober to a meeting with investors, business partner Sophie (Cara Delevingne, Her Smell) is furious. Wanting to expand their club event into a brand says says she’ll do it on her own.

Getting home Peter is stunned to find Nicky with Briton Edison (Kirby Howell-Baptiste, Cruella) and a boy Arlo (Reggie Absolol) who he is told is his son.

Edison explains, to a flabbergasted Peter, that Arlo is the son of Leonara who committed suicide the week before and had made Edison promise she would take Arlo to him if anything ever happened to her.

Casually saying “you get a kid and he’s good to go, just a bit of trauma” Edison leaves, ignoring Peter’s protests, for ‘maybe two hours’.

Taking Arlo for pizza, the 10 year-old is immediately sick due to a dairy intolerance and they set off to find Edison.  Peter is immediately caring, asking Arlo to take his hand going into a party and telling him not to look at anything.  The search is in vain when they discover Edison has returned to London.

Forced to stay together, Peter is impressed with Arlo’s musical tastes – Cocteau Twins and Massive Attack.

When his friends suddenly group arrive for a pre-party, telling them “don’t talk about dicks or drugs”,  Arlo asks if they are trans, saying he loves dolls.

The group tell Peter to go to his own party and amusingly push him to allow them to ‘cancel’ Sophie, a move that has later repercussions.

Peter and Arlo bond one night with Arlo telling him he knows how his mum died, Peter says it’s ok to be sad, sharing that he has no self-esteem.

They make a shared playlist they can each add to and Peter shows his desire to change by writing in his notes app “no more drugs, they do not feel good, not good for Arlo”.

Arlo seems quite well-adjusted, considering the circumstances he has been through, so wisely the film gives him some anger issues – an aggressive fight in the park – to show not all is well.

This leads to Arlo having counselling with handsome Oscar (Diego Calva, Babylon) who catches Peter’s eye and the two are soon texting each other.

Arlo learns DJ skills from Saffron (Saturn Risin9, feature debut), and quickly it’s decided he’ll will do opening set as ‘Night Shift’ at Peter’s new venue.  The crowd love it and both it’s another bonding moment for Peter and Arlo.

Peter meets Oscar and, while they clearly have chemistry, Oscar claims it is not a date although it is not long before sparks fly between the pair.

When Arlo’s next DJ set is delayed and a worried Peter is uncomfortable with Arlo seeing the crowd getting high and the party is intensifying. He briefly loses Arlo when trying to get out of the party and Sophie spots them leaving.

Later, Sophie regretfully admits that in anger she contacted the authorities, leading to a tearful farewell as Arlo is hastily swept back to England and Peter is supported by lawyer Lydia (Vicki Pepperdine, Poor Things). 

In court, Peter talks movingly of Arlo’s wisdom and him being the first person to something good in him. But after proof of his drug sales is discovered, custody is awarded to a friend of Leonara’s and Peter is told it would be best for a period of no contact with Arlo.

A year later Peter has enrolled in school and is working in a bar. He is told Arlo’s birthday wish was a phone call and Peter battles to hold it together while they talk. He signs off “love you, buddy” and falls into Oscar’s arms.

In the final moments, Peter sees a party taking place but carries on walking down the street.

With a father and son thrown together and then bonding, Club Kid could be seen as a 21st-century gay Kramer vs Kramer, adding comedy and minus the divorce.

Firstman’s New York scene appears authentic and the characters fit naturally into the party scene.

As Peter, Firstman is believably messy and chaotic but ultimately sweet and easy to root for. He and Absolom have excellent chemistry and are well cast, sharing exactly the same mop of curls.

As Oscar, Diego Calva’s feels a little underdeveloped. He is very touching in one of the climactic scenes but is more of an attractive cipher showing the possibility of a happy future for Peter rather than a fully formed character.

Naturally Cara Delevingne fits right into the party scene as messy frenemy Sophie, while amongst the queer squad of friends, Saturn Risin9 stands out as Saffron bringing a relaxed cool energy.

Isgandarov is a real highlight as Nicky. He has many of the films biggest laughs and funniest moments. Along with The Debut, the newcomer from Baku is having a fantastic breakout moment.

Club Kid is a very funny and ultimately touching story about unexpected connection and finding yourself which marks Firstman as a real talent to be excited about.

Club Kid screened as a UK Premiere at the 2026 BFI London Film Festival.

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The Debut

4 stars

CAUTION: Here be spoilers

Having seen Serena Cherry (Bernadette Peters, Pennies from Heaven) raise the roof with her audition, we see the backstage buzz as others await their turn including strait-laced Mona (Julianne Moore, Still Alice) looking out of place amongst the aspiring thespians.

Cruelly cut-off mid-chorus by the notorious director Jerry (Paul Giamatti, Sideways, The Holdovers), Mona surprises herself by yearning for the role of Miss Danielle.

With a husband and older children who routinely ignore her, Mona sees the show as an opportunity for something new, so is crushed when Jerry tells her they have been rehearsing for weeks with Cherry in the role.

However, after a late-night call she is thrust headfirst into rehearsals the next morning with the cast at pains to make her feel welcome and comfortable.

She does not, though, impress Jerry with her first attempts at her opening line. On the second day the rest of the cast are sent home leaving Mona to rehearse with Jerry.

To force her to find the character of the building’s superintendent, Jerry takes Mona through an exercise where she must get the rent from him.  What follows is a show-stopping monologue where a desperate Mona descends into talk of eating rats and getting the plague if she can’t get his rent.     

Pleasingly Eisenberg’s script doesn’t tread the obvious crowd-pleasing path of the meek performer being lifted up to give a tremendous performance.

Jerry takes Mona, delighted to have to wear a tool belt, on a research trip to experience a real apartment block. Taking confidence, from there she continues on an, almost surreal, quest for realism wanting everything about her character to be as truthful and accurate as possible.

Moving into a fleabag hotel, she steals the super’s uniform and, in an effort to use tools, inadvertently short circuits the building and electrocutes herself. 

Arriving at the tech rehearsal, in the stolen uniform with newly dyed hair and eyebrows, she adds lines and stage directions and informs Jerry she will mark her big song to save it for opening night.  This pushes the director over the edge as he demands she reads the fucking script.

After finding out her family have no intention of attending, she finds Jerry staying above the theatre and he tenderly expresses some jealously as a former actor wishing he was on the stage.

On opening night Jerry and the cast are held in suspense on whether Mona will say a crucial line to set up the finale, she does before fainting and receiving a huge ovation as she is carried off.

The final scene sees a composed Mona, now living happily in her own apartment, about to audition for Jerry for a new show. 

At the centre of The Debut, and crucial to the film’s success, is a glorious grandstanding performance by Moore. She laughs, cries, sings, loses control and entertains and convinces at every turn.

You care about and root for Mona, particularly seeing how her family treat her, in the unexpected journey she finds herself on.

Moore has numerous hilarious moments, including a moment of brilliant physical comedy during an early one-on-one practice, and absolutely brings down the house with her late rehearsal monologue with Jerry.

It is certainly a turn which will see the Oscar-winner back in the conversation for another statuette which would be very well deserved.

At Moore’s side is Giamatti delivering another terrific turn which could well receive Academy recognition.

Jerry is perhaps a more familiar character, but Giamatti brings the necessary gravitas and presence as the respected, dominating director who only very briefly shows some vulnerability behind the director’s chair.

Halle Bailey (The Little Mermaid), with her brilliant vocals, gives the show within the film real credibility but also a genuine sweetness as Stef.  She is effervescently kind and supportive to Mona from the go which leads to a crucial eleventh hour pay-off in the final performance.

Eldar Isgandarov (Club Kid) more than earns a shout out as Piotr, the cheerful cast assistant, every moment he is on screen leads to a laugh or at the very least a smile. 

Fresh from his screenplay nomination for A Real Pain, Eisenberg again shows himself to be a writer and director of great skill.

He crafts a series of believable songs for the show – singing well himself in his minor role – with Mona’s big number ‘This City May Have Chewed Me Up (But It Hasn’t Spit Me Out)’ being a significant highlight.

He shows a real experience of the world of community theatre, capturing the feel of life backstage and in the rehearsal room with humour and affection.

The Debut is a great success for all involved but particularly Eisenberg, Moore and Giamatti.  Anyone who has felt unseen or found themselves with an unexpected new dream will relate.

The Debut screened as the closing night UK Premiere at the 2026 BFI London Film Festival.

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Tender Loving Care follows the lives of best friends Rosie and Amy, working in the care system in London, alongside Amy’s elderly parents Birdie and Geoff in celebrated writer-director Mike Leigh’s latest comedy-drama.

Tender Loving Care

5 stars

CAUTION: Here be spoilers

Mike Leigh’s Tender Loving Care is a hugely moving film filled with so much love that it practically pours off the screen.

It is a film about family, chosen family and the beautiful place where the Venn diagram between the two overlap and interconnect.

As with many Leigh films, the focus is on character rather than plot with a ‘slice of life’ structure following the four leads Rosie (Alice Bailey Johnson, Hard Truths), Amy (Kate O’Flynn, Happy Go Lucky), Birdie (Marion Bailey, Vera Drake) and Geoff (Paul Jesson, Mr Turner).

Opening on a tight close-up of bushy eyebrows, we’re introduced to elderly George (Alan Williams, London Boulevard) in a hospital bed as social worker Rosie patiently tries to talk through his care plan as he largely ignores her.

Rosie has more joy outside of work, with best friend Amy moving back in with her after the end of her relationship. The pair support each other, sharing stories and frustrations from work and enjoying evenings on the sofa joyfully drinking wine.

Amy works in the care system supporting young people and scenes, of both her and Rosie, in their respective roles form an integral part of the film as they try to connect with people. 

Amy shows great kindness and empathy in scenes with different teenagers, trying to support a fraught mother (Sandy Foster, Fisherman’s Friends) and looking out for a young colleague she sees struggling.

Nervous about revealing her break-up to parents, Birdie and Geoff, Amy recruits Rosie for moral support. Birdie and Geoff see Rosie as a second daughter so, while concerned about Amy, are relieved to know that Rosie is looking out for her.

Married for fifty years, we see Birdie and Geoff giggling together and singing in the kitchen, they love spending time with Amy and have an innate sweetness which is never cloying.

Their caring side is evident in the kindness they show bereaved friend Josie (Tilly Vosburgh, Peterloo) who comes around for a cup of tea after recently losing her husband while being estranged from her son. 

The focus of the third act is a sudden fading of Geoff’s health with a possible onset of dementia leaving him fragile, tired and less lucid. Birdie and Amy, supported by Rosie, are lovingly by his side doing their best to put on a brave face in Geoff’s presence. 

Closing full circle, the final moments show another close-up of George’s face as it’s revealed that he is alone living on the street without the loving network that Geoff has around him.

Leigh’s gift for creating grounded realistic characters is clearly evident with many scenes feel like fly-on-the-wall docudrama. They are brought to life magnificently by a tremendous ensemble cast, who all bring experience from previous Leigh projects.

As Amy, newly minted Emmy award-winner O’Flynn (Best Supporting Actress in a Comedy Series, Widow’s Bay) is wonderful creating a fully three-dimensional character who is a caring daughter and a supportive friend and colleague.

Amy just about keeps her emotions below the surface – doing her best to cope with the sadness of the end of her relationship and being confronted by her father’s health issues – with just a few hints of it coming to the surface.

Bailey Johnson steps up brilliantly, after small parts in Mr Turner and Hard Truths, bringing humour and real heart as Rosie.

Arriving home after being stood up, Rosie is visibly frustrated and angry and yet able to see the funny side demanding a hug from Amy’s huge teddy bear Mr Fuzz.

Late on Rosie sees Amy starting to struggle at Geoff’s bedside and gives her one of the most loving and supportive winks in cinema history.

Leigh’s real-life partner Bailey (and Bailey Johnson’s real-life mother) brings great heart and depth as Birdie.

Whether reminiscing about Geoff’s proposal, worrying about Amy’s love life and then being confronted by the sudden decline of her partner, Birdie is the emotional heart of the film with Bailey playing all the notes perfectly.

She does her best to calmly support Geoff and not show him her fear and concern which is revealed when she melts into Amy’s hug in the kitchen

Jesson imbues Geoff with real sweetness and vulnerability as Geoff, bringing the gradual onset of his health problems to life sensitively and realistically.  When Birdie is talking about her desire for grandchildren, he touchingly replies that he just wants Amy to be happy.

As expected for a Leigh project, Tender Loving Care is brilliantly cast down to the smallest roles with actors coming in for a single scene and knocking it out the park.  Chief among these are Vosburgh, perfect as the crumpled grieving widow and Foster’s desperate and despairing mother.

It is a film highlighting the importance of support, in its various forms and differing qualities, and how everyone deserves it whether it is from family or from professionals.

In the Leigh filmography, Tender Loving Care feels like a natural companion piece to Happy-Go-Lucky and Another Year ,whose characters could easily live in the same London.

It will surely strike a chord with anyone who has faced losing their favourite people or has cared for beloved older relatives.

Leigh has stated that Tender Loving Care is his final film and, if it does prove to be his swan song, he goes out on a beautifully meaningful note.

Tender Loving Care screened as a UK Premiere at the 2026 BFI London Film Festival.

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CAUTION: Here be spoilers

Awards

Winners

As the 70th BFI London Film Festival ends, the BFI today announces the winners of this year’s LFF Awards. Showcasing an incredible range of talent from across the world, the Competition sections are a celebration of exciting new cinematic works. The winning films are:

IMPERIUM, Dir. Sergei Loznitsa wins Best Film Award in Official Competition

9 TEMPLES TO HEAVEN, Dir. Sompot Chidgasornpongse wins Sutherland Award in First Feature Competition

CONCRETE LAND, Dir. Asmahan Bkerat wins Grierson Award in Documentary Competition

AMAN, Dir. Rahul Roye wins Short Film Award in Short Film Competition

The winning films, which were chosen by four esteemed LFF Juries, explore a fascinating breadth of themes and stories including a revelatory examination of history and empire, a meditative exploration of family, faith and the cycles of life, an intimate portrait of resilience in the face of displacement and cultural erasure, and a nuanced exploration of identity and masculinity. 

The winning short film AMAN is available to watch for free on BFI Player until 25th October.

Voting for the ever-popular LFF Audience Awards closes on Wednesday 21 October. The winners of Best Feature Film and Best British Discovery categories will be announced in due course. The 2025 winners of LFF Audience Awards included Chloé Zhao’s period drama Hamnet, which won the Audience Award for Best Feature Film, and Yemi Bamiro’s documentary Black Is Beautiful: The Kwame Brathwaite Story, which won the Audience Award for Best British Discovery.

This year’s Jury Presidents were: Sam Pollard (Official Competition), Amir El-Masry (First Feature Competition), Sandhya Suri (Documentary Competition) and Helen Simmons (Short Film Competition).

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A LONG WINTER

2 STARS

CAUTION: Here be spoilers

Adult brothers Mike (Fred Hechinger, Thelma) and Tommy (Kit Connor, Warfare) share a room in their parent’s home, Mike has been away and returned while Tommy is leaving for the forces imminently.

Out shopping in the small town his mother Louise (Catriona Balfe, Belfast) Mike spots her having a quick drink in a bar which she covers up.

During a family dinner, Louise has a moment of melancholy saying she misses her mother’s cake-making revealing a reflective sadness.

Discovering a delivery of alcohol, Lester (Ebon Moss-Bachrach, No Hard Feelings) pours away the wine leaving his wife distraught.

In a moving moment Mike says he will get his mother some food and she quietly says it’s not food she wants.  Perhaps naively Mike is insistent they should just give her the wine she wants.

Soon after they discover Louise, with the family dog, has headed out into the snow.  Lester and Mike start to search but a storm strikes and their van gets stuck in the snow.

Returning home, phone lines are down and soon roads are closed limiting search efforts.

Lester suspects that local man Ben (David Furr, 13 Hours) will know Louise’s whereabouts and regales to them that Louise was once found at Ben’s with their hands on each other with Ben making sure to tell everyone.

Lester aggressively confronts Ben, in front of the police, when he arrives at the house and Ben says Louise left because of Lester.

Louise’s brother Frank (Martin Freeman, Hot Fuzz) tells Mike that Louise had begged Lester on her hands and knees to move away from mountains.

Confronting his father, Lester says she would have drunk herself to death in the city with Mike painfully replying Lester did not keep her safe.

The police break to Mike that it is now an effort to recover a body and he’s memorably told to ‘follow the vultures’ who will circle when a body is visible in the thawing snow.

Mike walks through the snow daily, looking for any sign, creating friction with Lester who wants him doing work in the house. Later Jimmy (D’Pharaoh Woon-A-Tai, Caught Stealing) comes to live to support around the house, and he gradually becomes company for Mike.

In the final scene the haunting screeches of a dying vulture, which echo around the mountain, will stay with you once the credits role.

It is a film full of deer-stalker hats and fur-collared coats with the most literal title, it is perpetually snowy, freezing and windy. The incredible landscapes and shots of the snow are very impressive with the breathtaking Alberta vistas standing in for Colorado.

Much like Haigh’s earlier films Weekend and 45 Years A Long Winter is far more about character than plot.

In this case, however, it is obviously adapted from a short story – by Colm Tóibín author of Brooklyn – and has been stretched out to a feature film without having enough story to warrant it.

Mike’s unspoken sexuality – shared looks with a young police officer and imagining him in the next bed and some later moments with Jimmy – feels like an unresolved and incomplete addition.

While the search for Louise is initially compelling, as it is soon determined she is dead, and therefore effectively resolved. In a couple of places, score is used to create suspense which just is not there.

Mike is very much a passive lead – almost acting as an audience surrogate – and Hechinger is given very few notes to play.

The early scenes between the brothers are effective, with Hechinger and Connor having nice chemistry, but after Tommy’s departure it is not revealed if he receives the letters Mike sends him or if he is indeed still alive.

Balfe plays Louise’ sadness well has one great crying breakdown before leaving the film while the rest of the supporting cast are solid.

A Long Winter is one for Haigh completists and fans of beautiful wintery landscapes.

A Long Winter screened as a UK Premiere at the 2026 BFI London Film Festival.

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A mysterious gentleman by CHRIS DREW

Rose

4 stars

Here be spoilers

Opening to a barren burning landscape, a narrator (Maris Growaldt, The White Ribbon) introduces “a true tale of a deceiver” as Rose (Sandra Hüller, Toni Erdmann) arrives at the small village presenting as a man.

Wearing a bullet around her neck, Rose says it went straight through her mouth giving her the significant scar on her face.

She explains she has been serving as a solider for ten years during the Thirty Years War, her family have died and she’s in possession of documents to inherit a farm.

The villagers are suspicious and an offer to buy the farm is made, but she wants to settle and can pay for farm workers.

After calmly surviving a close encounter with a bear, Rose bravely kills the bear when it attacks a villager. Gaining the local’s respect, a hat and coat are made from her from the bear’s coat.

Cutting to a year later Rose has settled. A farmer (Godehard Giese, The Book Thief) won’t sell Rose additional land but will instead give her his daughter Suzanna (Caro Braun, feature debut).

The pair are married with Rose telling Suzanna she values her purity and will reserve it. The following day she awkwardly asks Suzanna to sing, who nervously obliges.  f

The farmer insists consummation will validate the marriage and so Rose uses a strapped device in the night.  The following day Suzanna believes she is pregnant and an astounded Rose is suddenly being congratulated as an expectant father

When a baby arrives, weeks early, Rose is astonished and has complex feelings towards fatherhood but reproduction gives further esteem in the community.

However, life becomes significantly unsettled when Rose collapses after being badly stung by bees. Washing her, Suzanna is shocked to see her crotch and uncover the truth.

Suzanna tells the workers she will lead the farm while the master is recovering, gaining a strength and confidence, despite the circumstances.

Waking up, Rose shares her story with Suzanna her story, told in narration, with Rose no longer carrying secrets alone.

The pair choose to remain a unit but are soon disrupted when one of the maids tells others about Rose’s identity and a group of villagers arrive demanding Rose drops her trousers to prove herself a man. Rose angrily denies being a fraud, saying everyone must show their body if it is a requirement.

Rose and Suzanna leave with the baby and make a den in the woods. We’re told in narration that  they are discovered on the third day and brought back to the village.

Awaiting trial for three months we discover Rose is pregnant by rape and in court she’s forced to reveal her back story.

Convicted to death by sword, after the baby has been born, Rose is devastated to hear Suzanna was sentenced to death by drowning.

In the increasingly sombre and bleak final scenes, Rose writes her story and requests a rehearsal of the death ceremony. Rose rejects seeing the baby, for the sake of the child

The execution is described in detail, by the narrator, as we end with a long extended close-up of Rose’s face.

As expected Rose is led by yet another superb performance by Hüller. The Oscar nominee is fully believable as a woman confidently passing as a man. Instead of adapting a false deep voice, the actress brings Rose’s male persona to life with a sternness, posture and manner.

Equally convincingly angry and in the quieter emotional moments, the effective prosthetic and make-up creating the scarring adds to the belief Rose is a male soldier.

Although she is getting regular offers from Hollywood, it is pleasing to see Hüller still fully committed to, and excelling in, European cinema.     

However, significant credit must also be given to Braun who is excellent as Suzanna. In a moving character arc, she displays Suzanna’s shyness, gradual growing confidence and acceptance of Rose and the unexpected situation she finds herself in.

Narration is used interestingly with the narrator asking questions of theme and being tasked to talk  us through multiple significant scenes rather than them being shown.

The black and white cinematography is beautiful and the score of ethereal voices mixed with the gentle sounds of nature gives the film an other worldly quality.

The costuming is strong with Rose’s armour and civilian wear supporting the character successfully in addition to Suzanna’s spectacular bridal headdress.

With it’s increasingly downbeat final act; Rose may leave you in a mood that could ruin your day so it could be advised to schedule a pick-me-up to follow.

Rose screened at Berlin and as a UK Premiere at the 2026 BFI London Film Festival.

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Stolen moments at war by CHRIS DREW

Coward

4 stars

CAUTION: Here be spoilers

Opening with the Belgian troops singing together, keeping morale high during active duty is a major theme in Coward.

One of the young rookies is Pierre (Emmanuel Macchia, acting debut) – whose name we do not learn until much later – who appears less outgoing and confident than most and thus nicknamed ‘Quiet Mouse’.

The rookies are asked to build a stage for the theatrical group ‘Band of Rejects’ where Pierre meets Francis (Valentin Campagne, Colours of Time) who is the frontman of the group and sings, usually performing as a woman.

During their first meeting Francis, affectionately calling Pierre ‘the tall rookie’  pretends they are at a ball and has Pierre close his eyes to feel the son and see red apples.

Pierre is inspired to use wood shavings as snow for the performance and drops them from the loft space above the stage to much delight. At the end of the show, as the crowd’s cheers echoes below, Francis climbs up and they kiss passionately. 

Later Pierre arrives when the cast are shaving their legs – to play women – and Francis asks Pierre to help him, an intimate moment as he shaves up towards Frances’ thigh and they share meaningful glances.

In a shocking moment Pierre stabs through his own hand on the battlefield and is recruited to the Band of Rejects. The performers get to stay in a house while performing and Pierre and Francis spend the night together. 

Pierre asks about future plans and Francis says he will work in his father’s boutique but insists they are free in the band and does not want to lose that.  Pierre’s healing hand and probable recall to active duty threatens that freedom together.

Pierre theorises that they could leave, only moving at night, and find a cabin in the Swiss or Spanish mountains. Francis is less certain of the success of the plan.

During a performance, Pierre slips out the back and waits for Francis at the meeting place. Finding a drawing of a mountain amongst Francis’ things, he walks off into the early morning alone after Francis does not arrive.   

Cutting to two years later, Pierre, now calling himself Edgar, is working on an orchard until the men arrive home from war furious to find a deserter in their home.

Pierre locates Francis’ father’s boutique and finds Francis working there. Saying he needs a suit for a trip to the mountains, Francis measures him.

Pierre says he needs the suit in two weeks, giving Francis back the mountain drawing, and Francis replies “I’ll try” ending on a hopeful note.

With war as the constant backdrop, the physical toll of the soldiers tasks is well emphasised; the crushing weight of having to move a cannon, the strain of having to carry bodies from the battlefield which leaves the men heaving and panting.

The soldier’s costumes are convincing and almost every time any flesh is revealed there are battle scars, however small.  In addition to impressive make-up and effects for the wounded fallen.

There are a couple of scenes of great suspense in the battlefield scenes but the rest of the soldiers never become fully formed characters once the central relationship becomes the sole focus.

Fortunately Maccia and Campagne both deliver excellent performances, for which they shared the Best Actor prize at Cannes, and have believable chemistry.

Maccia really delivers in his acting debut and carries much of the film with many close-ups of Pierre’s face. Throughout Pierre feels removed, detached from the rest of the men but always watching and Maccia captures this otherness effectively.

Pierre gradually becomes more confident and passionate, once the relationship with Francis begins, and Maccia shines in those moments too.

As Francis, Campagne excels at the effeminate singing performing as a woman and repeatedly delivers a sweet smile which makes his whole face light up.

So many gay romantic movies come to a tragic conclusion so it is pleasing that ‘Coward’ joins the minority that do not. 

Coward screened at the Cannes Film Festival and as a UK Premiere at the 2026 BFI London Film Festival.

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4 Stars

Make me a mother by Chris Drew

CAUTION: Here be spoilers

Married couple Saga (Seidi Haarla, Compartment No.6) and Jon (Rupert Grint, the Harry Potter franchise) are moving into her grandmother’s house, where she spent time as a child, deep in the woods in Finland.

As Jon sees possible figures in the barks of the trees, we learn that Saga’s grandmother told tales of creatures living in the forest.

Hopeful to start the family, the couple copulate amongst the trees before a hard cut to Saga enduring a harrowing labour in hospital.

Their son is an unusually hairy baby, whose every moment is punctuated by piercing screams which dim in darkness. Doctors tell them “all children are different” and we get occasional hints from her family that Saga had been a difficult child.

Saga, understandably, struggles to bond and, much to Jon’s chagrin and pleading, repeatedly Srefers to the baby as “it”.

A horrific first attempt at breast feeding, where Saga tries to shield her agony from Jon, results in blood flowing from her nipple.S

At a new home/new baby celebration Saga is affected by hearing people’s reaction to her son “babies are meant to be cute”.

Saga hears the trees audibly quieten the baby’s cries and appears to listen to them as suddenly announces his name, with no consultation with Jon, as Kuura which upsets her husband.

The significance of trees continues as one grows back through the centre of the nursery and Saga feels like she sees Kuura.

A sense of foreboding ruminates through every scene; Kuura’s young cousin attempting to play with Kuura results in her losing most of a finger, Saga’s mother has an earring ripped off her and when meeting Jon’s parents Kuura burns his hand on a cold piece of iron.

After cutting herself, Saga is horrified to see Kuura eagerly lapping up the blood. Against her better judgement, she begins to feed him cows’ blood and raw meat and growls back at him as he screams.

Saga coming to understand Kuura’s nature gradually impacts the relationship with Jon, particularly when he discovers the cow’s blood, which escalates in the closing stages.

The screenplay is darkly comic in places, including Jon’s unsuccessful attempts at feeding Kuura ‘here comes the aeroplane’ style.

Wisely limited CGI is used for Kuura as he grows, his face is largely covered in shadow with people’s reactions to him being the most telling.

At the centre is a superb lead performance from Haarla. She is totally convincing as an exhausted mother driven to her wits’ end.  There are elements of body horror, feeling like she’s turning into a tree at times and her broken nails and wild hair signs of a descent into wild behaviour.

Nightborn is certainly not a film for new or expectant Pparents but it’s an enjoyable entry into the folk-horror genre and a confident English language debut for director Hanna Bergholm.

Nightborn had its World Premiere at the 2026 Berlin Film Festival and screened as a UK Premiere at the 2026 BFI London Film Festival.

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4 stars

In 1989 the National Theatre is left reeling, both backstage and in the audience, when leading man Daniel Day-Lewis walks off mid-scene during a performance of Hamlet.

Cutting to a month earlier, we see Ian Charleson (Andrew Scott, All of Us Strangers) as a working actor constantly reminded about his role in Chariots of Fire with strangers regularly testing his manners and patience with hums of the iconic theme tune.

At a time where the gay community are under the threat of HIV and AIDS, Charleson has monthly check-ups and checks his body thoroughly for marks.

During make-up for a role, a mark is found by his eyebrow and Ian is soon diagnosed before discovering he is in demand to take over the role of Hamlet.

Meeting director Richard Eyre (Johnny Flynn, Beast) Charleson is honest about his condition and is adamant he has the energy for the task.

Supported by his friends, including best friend Patsy (Billie Piper, Scoop), he is directed to Dr Margaret Johnson (Olivia Colman, The Lost Daughter) a leading doctor working to prolong the life of AIDS patients.

Dr Johnson is against Charleson’s focus on Hamlet, rather than solely on recovery, but gradually relents as he commits to the treatment.

From there the film follows Charleson and the company at the National in rehearsals alongside the various stages of his medication journey as he meets other patients at the clinic.

Clearly given the subject matter, the film is underpinned with an extreme sadness throughout and effectively captures the devastating impact of AIDS at the time.

In a powerful scene director Derek Jarman (David Dawson, My Policeman) – holding a grudge as Ian has stayed in the closet for the sake of his film career – urges Charleson to go public with his condition to raise awareness and fight the ‘war’.  Ian is fiercely adamant that people will find out when he dies.

There are many genuinely moving moments; Ian’s parents (Peter Mullan, I Swear and Georgie Glen, My Week with Marilyn) visiting him in hospital when he comes out to them, comforting friend and fellow AIDS patient Georgie (Luke Thompson, Bridgerton) when his health takes a turn for the worst and revealing the truth about his condition to the cast of Hamlet.

Naturally, much of the emotion comes from Scott who delivers a bravura performance as Charleson. He has much to play; joyful charisma with friends in the early scenes, regret and unfulfillment with his career and the pain and fear of illness while fighting to give the performance of his life.

Scott excels in the rehearsal and performance scenes but is rarely left to deliver many lines before the film cuts away to another part of a montage.

Across the board Scott is surrounded by a strong ensemble. Colman is an excellent foil to Charleson with the doctor disapproving of his stage work in light of his condition, at one stage pointing out that people do not comment on Hamlet being an evening of light entertainment. As one would expect, Colman brings great nuance to Dr Johnson as she gradually softens towards Charleson’s position over time.

As Patsy, Piper gives the film a jolt of energy every time she swings into Ian’s flat while also nailing the quieter moments as a best friend giving her love and support at the most challenging time.

Flynn brings a gravitas and sensitivity as director Eyre while Monica Dolan (Eye in the Sky) is entertaining as stage manager Linda, drying delivering quips but later movingly announcing she can deal with anything as long as Ian doesn’t die on her.

Juliet Stevenson (Truly, Madly, Deeply), as Sylvia Syms, adds further weight to the company of actors at the National as a caring figure for Charleson, confirming she will be driving him home each day and if he gets on his motorbike again it won’t be AIDS that kills him.

Dawson is effective as Jarman both highlighting Charleson’s position with his career and his sexuality and showing him what living with AIDS can be like.

There is strong period detail with plenty of indoor smoking and boxy Volvos on the roads.

It cannot be said to be a subtle film, picking out almost every reference to death in Hamlet and the demise of one character feels extremely telegraphed. Fortunately Stephen Beresford’s screenplay is also littered with grace notes of wit.

Scott is the main reason to seek out Elsinore with the Irishman delivering a tour de force performance which is sure to feature prominently in the awards conversation over the coming month.

Elsinore screened as a European Premiere and the opening Gala at the 2026 BFI London Film Festival and is released on 29 January 2027 in the UK.

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Get your tickets tomorrow at 10:00 7-18 October in London and around the UK We hope you’ve enjoyed going through the line-up for the 70th BFI London Film Festival.   Tickets go on general sale online, in person and by phone on Thursday 17 September at 10:00. Scroll down for more info and booking tips!   If you’re aged 16-25 and have a BFI 25 and Under account, you have a chance to snap up tickets for just £6 – and everyone else can book tickets from £11 including £1 booking fee (subject to availability). Explore the line-up Booking tips for 17 September Check your login on the Festival website today to avoid delays on the day. Follow the links to reset your password if you’ve forgotten it. For any other login issues or to unlock your account, email box.office@bfi.org.uk rather than call. We recommend booking online for the fastest access to tickets. If you are not able to book online, you are welcome to book in person at BFI Southbank (access via the Lightbox entrance, doors will open at 9:15). You can also book by calling 020 7928 3232. Lines will be busy, but please keep trying and we’ll get to you as soon as we can. The website will switch to the waiting room at 9:00. From 10:00 everyone in the waiting room will be assigned a place in the queue to enter the website, login and book their tickets. Tickets will remain in your basket for 40 minutes as long as you remain active on the website. If you stay inactive for more than 15 minutes, the system will log you out and your tickets will be released. Make sure to stay active throughout your session and keep an eye on the time you have to book tickets after entering the website.   For tickets to screenings outside London and around the UK, please visit our partner cinemas’ websites. Access We want everyone to enjoy LFF, and for the experience to be as welcoming, inclusive and accessible as possible.   Get information about screenings and events with access provision as well as venue access, ticket booking and content advice.   To book access tickets, please contact our box office on 020 7960 2102 or box.office@bfi.org.uk and quote ACCESS + YOUR NAME. We welcome calls using text relay services. Access tickets for accessible screenings are kept aside, even if general tickets for a screening are sold out, and are available on a first come, first served basis. Find out more Extra ticket drops Tickets will sell fast once booking opens. In case you miss out on some films or events, don’t forget that:   Booking for free events opens on Thu 1 Oct at 10:00.   Extra tickets are released for some screenings and events on Thu 1 Oct at 10:00. During the Festival, you can try your luck each morning from 10:00 (online/by phone) or in the standby queue 30 minutes before start time. Check full ticket info Follow us on You have received this message because you signed up to BFI emails. You are subscribed as alexa_dalby@yahoo.com. If you have a BFI account you can update your details here. Unsubscribe immediately from all future BFI Marketing emails. Sent by BFI, 21 Stephen Street, London W1T 1LN

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