London Film Festival Best Film Winner 2024

on October 27, 2024

The 2024 London Film Festival celebrated an exceptional array of cinematic talent, with the Film Critics Association members voting to honor this year’s best films. The Film Critics Association’s member picks reflect not only the high caliber of filmmaking on display, but also the enthusiasm and dedication that make the London Film Festival a pinnacle event of the year.

The Film Critics Association’s London Film Festival 2024 Best Films

10. Queer

For a long time, Daniel Craig has, amongst many things, been synonymous with the blockbuster; he has thrilled us in five James Bond action epics and lit up the screen as the lead detective in the ongoing Knives Out film series. With his latest role in Queer—Luca Guadagnino’s gorgeously produced and thrillingly reflective adaptation of William S. Burroughs’ novel of the same name—Craig gives us the same piercing looks, hypnotic charisma, and the melding of serious drama and lighter comedy that we’ve always had. But he is also sparkingly weird and bone-chillingly doomed in Queer.

Guadagnino is no stranger to hopping between genres, sometimes even in the same film, and with Queer, he gives us another dazzling and unique experience. Set in 1940s Mexico City, it follows Craig’s William Lee, an American expat with an alcohol and drug addiction who becomes infatuated with a young man named Eugene Allerton (a deceptively simple performance from Drew Starkey). Supporting performances from the likes of Jason Schwartzman add further life and comedy to the film. Lee’s descent into alcoholism, drug addiction, and doomed love is painful to watch; Craig has never played such a broken character.

Sublime cinematography and original music from Guadagnino-regulars Sayombhu Mukdeeprom and Trent Reznor and Atticus Ross respectively, as well as brilliant needle drops from the likes of Nirvana, give us a fascinating insight into a tortured world and life that hops from the streets to the remote jungles of Mexico. Queer might lose some viewers in the route it takes to this hallucinogenic, jungle-based third chapter, but its transportative effect is undeniably strong.

Big experimental swings from Guadagnino across the chaptered structure of Queer are regular, but none more so than in the film’s unforgettable final stretch. Guadagnino splashes elements of horror and an existential crisis into what has previously largely stayed true to its groundings as a historical biopic. There are similar notes of thrilling intrigue and scandal as Guadagnino’s other film this year, Challengers (also written by Kuritzkes), but with the added weights of depression, loneliness, and uncertainty. With a conclusion that is reminiscent of Charlie Kaufman’s Synecdoche, New York, Queer forms into what might just be Guadagnino’s best film yet.

Will Stottor

9. Hard Truths

Mike Leigh returns to London and domestic dramas for another of his fine-tuned collections of observations on modern life, coming from the point of view of one of his most memorable characters. Hard Truths tells the story of Pansy (An on-fire Marianne Jean-Baptiste), a Karen of horrendous proportions, lashing out at anything and anyone that causes her even the slightest annoyance. Meanwhile, Pansy’s sister Chantelle (Michele Austin, delightful) is choosing happiness, running her business and family with a smile on her face. When a family occasion brings the two together, the ‘hard truths’ of the title rise to the surface.

As with his best work (Think Naked, or Secrets & Lies), Leigh promises honesty, depth of character and emotions on a grand scale. He employs his sensible but character-driven direction to craft a tale of how people respond to the various pressures of life. In Leigh’s first film made post-Covid, he examines how people responded to the worldwide crisis, and finds that the mental scars have yet to heal. When we first meet Pansy, we’re not encouraged to like her, and her ravings could turn off a casual audience. Stick with it, though, and Hard Truths eventually proves devastatingly tender and humane. As in so many of his other films, Leigh is keen to remind us that behind every smile, tantrum and tear lies a story, and usually not a happy one.

As always, Leigh assembles a stunning array of collaborators to bring his story to the screen. The cast are uniformly excellent, with Jean-Baptiste due awards consideration for finding the heart beneath Pansy’s frosty exterior. A typically considerate Leigh script (workshopped with the cast) is by turns sour and sweet, and the restrained visual palette of (the recently deceased) DoP Dick Pope ensures all eyes are on these characters, as they crumble and reform before us. Hard Truths is Leigh doing what he does best: telling relatable stories in ways that neither patronize nor embellish.

Philip Bagnall

8. The Seed Of The Sacred Fig

Iranian cinema at its best has a particular gift for not only exploring the country’s particular social and political situations, but also for dealing in universal truths of human nature, and The Seed Of The Sacred Fig excels at both. It offers not only a searching examination of the reality of daily life in the country around protests and civil unrest after the death of Mahsa Amini in custody in 2022, but also the effect that being caught across both sides of that situation has on a family. Mohammad Rasoulof’s film has not been well received by Iranian authorities; the director had to move to a safe house in Germany after the Iranian government sentenced him to eight years in prison. He’s certainly not afraid to attempt to illustrate what he sees as the dangerous and oppressive reality of the situation, incorporating video footage of both the real life protests and their aftermath into the narrative.

Iman (Missagh Zareh) is an investigating judge in the Revolutionary Court, but it’s made clear to him that he’s not expected to investigate the cases before him, some of which involve death sentences. His position puts his family at risk, especially when a friend of his two daughters is injured during the protests. He’s given a gun for his protection, but it quickly goes missing; suspicion then falls on his wife Namjeh (Soheila Golestani) and his daughters (Mahsa Rostami and Setareh Maleki). What starts out as a fractious domestic drama soon develops into a taut thriller, with even a simple car journey descending into paranoia and fear. Rasoulof allows a gradual escalation of events, keeping the extreme and absurd actions of Iman against his own family to preserve his own position – and, indeed, his own life – grounded within a disturbing believability. As each of the family members becomes entrenched within their own positions, there’s a certain inevitability to the outcome, but only because of the highly charged situation that the overarching national crisis has caused.

There are flickers of hope within The Seed Of The Sacred Fig, but they are offset against the despair of events still fresh in the minds of the whole nation. It’s both a damning indictment of a misogynistic regime, with the family a microcosm for the wider reality of Iranian life, and a gripping drama which culminates in a tense stand-off and a confrontation of hard truths. The hard truth is that Rasoulof is yet another Iranian director forced to risk a high price in exchange for offering a critique of his home nation, but the result of his efforts is never less than utterly compelling.

Mark Walsh

7. Super/Man: The Christopher Reeve Story

Christopher Reeve shot to stardom as Superman in the late 70s and throughout the 1980s , an icon for fans the world over. Of course his life took a tragic turn when was paralyzed from the neck down following a horse riding accident 1995. He devoted the last decade of his life to raising awareness for spinal injuries, helping fund pioneering research alongside his wife Dana. While Reeve died in 2004, he remains a vital figure in the history of modern Hollywood, his story is now explored in Super/Man: The Christopher Reeve Story from directors Ian Bonhôte & Peter Ettedgui. It is an examination of the man away from Superman, exploring his wider filmography and resilience in the face of adversity. It is a raw, unflinching look at the difficulties he and his family faced but a rewarding watch, especially for long term fans of Reeve.

For those solely familiar with Reeve’s turn as the man of steel there is plenty to glean from this film from his work outside of the franchise in the likes of Somewhere In Time and Monsignor, clearly showing how frustrated he had become by the trappings of a franchise and associated fame. It is a shame his role in the stellar Remains of The Day isn’t mentioned more but that is a small blight and it would be hard to cover the entirety of his career in 1hr40 minutes while covering his familial life and charitable work.

There are plenty of fascinating anecdotes from his almost brotherly bond with Robin Williams, explored frequently, showing how much the two meant to each other. He led an incredibly active life, making his accident all the more shocking but the film really captures his determination to overcome his obstacles and continue to work, directing his first feature in 1997 In the Gloaming to a strong reception.

It is the focus on his family that really makes the film hit home emotionally showing how close the family became after his accident having been split between two homes prior with his wife Dana and young son Will, who was three at the time of the accident. We get a real sense of how Dana dedicated her life to caring for the pair. His children Alexandra, Will and Matthew give a raw, earnest depiction of their father at various stages in their life with a clear sense of warmth.

Chris Connor

6. Memoir of a Snail

As Guillermo del Toro likes to occasionally remind us, “Animation is not a genre for kids. It’s a medium for art.” Of course, animated features can be works of art for kids as well as adults, and Memoir of a Snail proves that point.

Adam Elliot, director of fan favourite Mary and Max, returns with another endearing, emotional story that uses the stop-motion medium to stunning effect. Grace Pudel, brilliantly voiced by Sarah Snook, recounts her story of grief and loneliness to her pet snail Sylvia. Set in 1970’s Australia, it’s a surprisingly mature film aimed at general audiences. The cast of weird and wonderful characters encounter homophobia, bullying, death, and even sexual fetishes.

Like any classic animated feature, you’ll laugh and cry numerous times throughout the film. Memoir of a Snail’s gorgeously bizarre art direction draws you into Grace’s world, and numerous background details will certainly draw big laughs. It’s a testament to Elliot and the cast and crew that they’re able to perfectly balance the deep sadness running throughout the story with hilarious moments of levity.

Deservedly winning the Best Film Award at the London Film Festival, Memoir of a Snail isn’t just one of the best animated films of the year, but an outstanding, emotional feature in its own right. Animation is an artistic medium, and Memoir of a Snail is an artistic triumph.

Gavin Spoors

5. A Real Pain

A Real Pain is a true lightning in a bottle movie. It balances tender, character driven emotion with scenes filled with hilarious dialogue. Jesse Eisenberg’s direction is fantastic and carries assured confidence in its presentation, but the clear standout is Kieran Culkin who gives one of the best performances of the year.

Aaron Gillingham

4. The Wild Robot

It’s been a stellar year for animation at the London Film Festival. Outside of Memoir of a Snail winning the coveted Best Film award, audiences and critics have been blown away by the likes of silent feature Flow and DreamWorks’ The Wild Robot.

Adapted from the book series of the same name, The Wild Robot continues to prove how western animation is on a hot streak of innovation. Similar to Spider-Verse and the latest Teenage Mutant Ninja Turtles, this is a visually stunning film that merges 2D principles and techniques with 3D processes to create a gorgeous watercolour effect.

At the heart of this simple story is a myriad of complex themes to unpack. On the surface it’s a heart-warming narrative about a robot raising a gosling, but there are themes of motherhood, nature vs technology, and being kind in a violent world. The Wild Robot never looks down on the family-orientated audience, and never shies away from death and important life lessons.

Helping to drive home those messages are Kris Bowers’ emotionally bombastic score, and the voice cast. Lupita Nyong’o avoids the cliched emotionless robot performance and opts for a subtly characteristic direction as Roz, Kit Connor fills goose Brightbill with youthful energy, Pedro Pescal nails the sly outsider with a heart of gold as Fink the fox, and rounding out the cast are veteran voice actors such as Mark Hamill and Bill Nighy.

A triumph in every department, The Wild Robot is another DreamWorks sensation but also another step in the right direction for 3D animation.

Gavin Spoors

3. Nickel Boys

Nickel Boys was lauded by critics and audiences alike at the 51st Telluride Film Festival, and went on to have similar impact at the festivals in New York and London as well. After The Underground Railroad, which Barry Jenkins made into a television miniseries, Nickel Boys is the second successful adaptation of a Colson Whitehead novel, brought to the big screen by director RaMell Ross and his co-writer Joslyn Barnes.

Jim Crow era, Florida, 1962 is the setting for both novel and film. The story follows two African American boys, Elwood and Turner, and their mistreatment at an abusive reform school called the Nickel Academy. Nickel Boys is a special film in many ways, but perhaps most unique is its resolute use of first-person point-of-view, mainly from Elwood’s perspective, but also dipping into Turner’s and some other experimental montages. This results in, undoubtedly, one of the most immersive, resonant, and special films of both 2024 and the latest London Film Festival, where it played in the Special Presentations section.

Ethan Herisse and Brandon Wilson both enjoy star-making turns as Elwood and Turner respectively (Daveed Diggs also stars as an adult Elwood). Herisse, whilst due to the POV is not frequently on screen, gives us emotion and character building in his voicework, and when we do see him, Elwood’s tortured but resolute mindset is perfectly captured. In contrast, Turner’s hopelessness and fatigue at his situation is summed up by Wilson’s performance drenched in defeat and resignation. Together, Herisse and Wilson build a formidable partnership, whilst supporting turns by Diggs and Aujanue Ellis-Taylor as Elwood’s grandmother elevate the stellar screenplay even further.

Of course, special mention is also warranted for DOP Jomo Fray and his camera department. Nickel Boys had the danger of becoming gimmicky in its consistent first-person POV—many “one shot” films, for example, rely only on that one technical aspect, forgetting all other elements—but it is far from a lazy utilisation of a classic technique. Every scene, every POV shot, is evocative and layered, steeped in beauty or horror. Everything, including the montage scenes, enhance the viewer’s experience of sharing in Elwood and Turner’s journey.

The word “masterpiece” might be bandied around a lot after each new great film, but for Nickel Boys, it’s a word that almost feels lacking. Ross’ film feels destined to become a modern classic of American cinema.

Will Stottor

2. Conclave

Directed by Edward Berger and starring Ralph Fiennes, Conclave has been one of the most anticipated releases of the second half of 2024 long before its festival run. From the moment it first screened at the 2024 London Film Festival, it was already clear that Conclave was going to be one of the best movies of the festival, if not of the entire year. While reactions tends to be mixed and mostly divided at film festivals, this films seems to have gained mostly positive reactions with both the audience and critics.

Based on a 2016 novel of the same name by Robert Harris, Conclave starts with the death of the Pope. Under the leadership of Thomas Lawrence (Ralph Fiennes), the Dean of the College of Cardinals, the papal Conclave has to gather in seclusion in order to choose who amongst them will become the new Pope. The conclave soon turns into a fight for power where the cardinals ponder and discuss their different attitudes towards the role of the Church in the modern world. While four likely candidates seem to emerge, the main conflict remains between the American liberal Aldo Bellini (Stanley Tucci) and the Italian traditionalist Goffredo Tedesco (Sergio Castellino) who embody opposite ideals on the matter.

With every shot, Conclave allows the audience to take an insider look into Vatican City with its imposing buildings and historic paintings that are just important to the movie as the brilliant performances by the main cast. Fiennes, in particular, shines the brightest as the leader of the Conclave, and the lead of the film itself, in a career-defining performance. Stanley Tucci’s performance is just as monumental, as it is Sergio Castellitto’s portrayal of an unlikeable cardinal which is at once both funny and infuriating for the viewers. The impressive production design that showcases the setting of the film and the tense and ominous score both create the perfect atmosphere for this story to unfold.

Initially, a film about the election of the new Pope may not sound exciting or gripping, and yet Conclave is the most exciting thriller you will watch all year. As he invites the audience to discover the truth behind all the characters, the director also suggests a powerful commentary on the current state of the Church in a film where everyone has something to hide in order to gain the power they so desperately seek.

Clotilde Chinnici

1. Anora

Sean Baker is one of the most distinctive voices in contemporary US cinema. In films like The Florida Project, Tangerine and Red Rocket he has shown a knack for balancing more unsavoury elements of working-class American life. His films have won their share of plaudits for their honesty and blend of humour and heart; rather than showing a superficial glimpse at the topics discussed there is a sense of realism and humanism to them, which helps immerse us in the world of his subjects, making for engaging but at times deeply uncomfortable watching.

Anora his latest film won the Palmes D’or at Cannes and tells the story of Ani (played by Mikey Madison), a stripper/exotic dancer in New York City. Given Ani’s roots as an Uzbek American in a Russian-speaking part of the city she is set up with Russian-speaking clients.

Here, she meets Ivan, an extremely wealthy Russian 21-year-old, and the pair become infatuated, beginning a whirlwind romance. Anie is swept up by the glamorous lifestyle and perks that come with it, including clothes, a mansion, and so much more. Ivan seems keen to distance himself from his wealthy Russian family, who clearly hold high ambitions for him within the family business back in Russia.

Anora builds on the elements of Baker’s previous films and much like The Florida Project shows two sides to the community, the downtrodden area Ani works and lives in compared to the heights and glamour of Ivan’s world. It might seem a hard sell on paper but Baker finds an incredible mix of romance, tragedy, betrayal and humour with elements of all of the above within the same scene, walking the most delicate of tight ropes to perfection.

So much hinges on Madison’s electrifying lead performance, which is full of heart, anger, and a desire to escape the life she’s fallen into, wanting the relationship with Ivan to work. For an actress this early in her career to deliver such a blend is a miracle. Much has been made of the authenticity of the way the sex work is depicted compared to something like Pretty Woman, and Madison is wholly believable. The supporting cast supports her well managing to find a balance between humour and darkness, especially as it takes somewhat of a turn in the second half.

It will certainly be a shock if she is not firmly in the awards conversation with a performance, like the film itself, that shifts from comedy to tragedy, her final moments in the film truly spellbinding. This will hopefully be a platform for Madison in future roles. Beyond Madison, following its Palme d’Or win it looks set to be one of the major Oscars contenders in 2025.

Anora encapsulates all that makes Sean Baker such a distinctive filmmaker, unflinchingly raw and honest while making its 2hr 20 runtime fly by. Baker is involved in so many areas it truly feels like a one-man project, from casting to editing. It is one of his strongest works to date and further defines him as a leading voice of his generation.

Chris Connor

Photos courtesy of the London Film Festival

Anora Best Films London Film Festival