Welcome to the second instalment of our Edinburgh Film Festival 2014 blog. The festival is in full swing with screenings and both European and world premieres taking place daily. Events are taking place all over the city and we even took part in our very first Ceilidh. Here’s our latest round-up of what we’ve seen at the festival so far.
WE ARE MONSTER
WE ARE MONSTER is the true story of the failings of the prison system at Feltham Young Offenders Institute which led to the murder of Zahid Mubarek by his racist cell-mate Robert Stewart just hours before the former was due for release. With little security or medical history regarding Stewart director Antony Petrou is keen to highlight, perhaps laboriously in some cases, that the prison guards did not take the warning signs about the killer’s behaviour seriously enough. Leeshon Alexander, who also wrote the script, plays the dual role of Stewart and his subconscious; oddly more compelling as the manifestation of Stewart’s evil beliefs than as the man himself. WE ARE MONSTER is not a particularly enjoyable watch but its’ power lies in the unsettling.
THE SKELETON TWINS
Despite the mis-leading title, THE SKELETON TWINS is not a low budget zombie horror flick; it’s the latest film from director Craig Johnson and co-written by the man behind BLACK SWAN – Mark Heyman. The drama centres around brother and sister Milo & Maggie; estranged for 10 years but brought back together by botched suicides. Bill Hader shows incredible flair for a darker role than those he is accustomed to with his natural comedic abilities allowing for the film to avoid dipping into melancholy. His chemistry with on-screen sister Kristen Wiig makes the partnership a believable and joyous one to watch, the two having worked together on SNL in the US. Wiig is also outstanding as troubled Maggie, desperate to fix others’ problems without looking at her own. Heart-warming, emotional and brilliantly acted by the leads and a talented supported cast to boot, THE SKELETON TWINS is a stand-out of the festival so far.
VIOLET
How does a fifteen year old boy express something he has never felt before? That’s the task facing Jesse (Cesar De Sutter) in Bas Devos’ debut feature VIOLET. He’s the the only witness to his best friend’s murder and adapting to life encased with sorrow is a struggle. It’s an intimate look at one of our darkest emotions in grief and connects as sharply as to almost feel as though an intrusion into a young boy’s life. The decision to include minimal dialogue, as well as scenes with absolutely no soundtrack, give the film an ethereal quality and draw the audience into Jesse and his trauma. An interesting character study, beautifully shot.
Look out for more news and reviews from EIFF 2014 over the next week as we bring you our festival guide and highlights by clicking here.
