Edinburgh International Film Festival: In Competition Feature Film Reviews

Words: Sean Russell

For the third year running, the Edinburgh International Film Festival and The Sean Connery Foundation partner together for The Sean Connery Prize for Feature Filmmaking Excellence. At the 79th edition of the festival, ten world premieres are in the running for a £50,000 cash prize to support the Director’s next project, all decided by an audience vote.

WINNER: Skintown by Kieron J. Walsh

Capsized

Directed by Lindsey Ryan

United States

A family holiday on a boat spirals out of control as each of them discovers they might not have a home to return to when it’s over. The loveable yet very troubled father, Ray (Rhys Ifans), is lured to the cash prize of a fishing tournament in a last ditch effort to save his family.

What stands out in this film is the depth each actor brings to their performance. Rhys Ifans brings a boggling likeability to Ray. He becomes harder and harder to root for but, as an audience, you always hope for redemption. As the eldest daughter (and twin) Nicole, Sarah Catherine Hook handles the circumstances well as her future hopes and dreams hang in the balance. There is a great deal of complexity in her choices which she handles with teenage angst.

However it is the ever-enduring and emotional punch-bag matriarch, Diane (Lily Rabe), that is the anchor of this film. Throughout the whole film you can see that she only wants what’s best for her family and children, shielding them and picking up the debris from Ray's actions. She is stuck. So when she makes a decision for her own happiness, we are left with such a feeling of pride.

Throughout, despite all their flaws, you hope the family pulls through together as a unit, perhaps because you know this will be the last time they are together. With a perfect blend of humour and drama, carried by layered and engaging performances by the whole cast, this crowdpleaser is my pick of the festival.

First Zone

Directed by Thom Lunshof

Netherlands

Fenna (Hadewych Minis) is torn from her home inside an offshore wind turbine after a storm and embarks across an apocalyptic wetland to return. It is through the people she meets on the journey that awaken dormant compassion for the world and its inhabitants.

This film carries a unique concept, epitomised with the Zones. Inspired by districts in the Netherlands, a country that 26% of their land mass sits below sea level, where there are layers of defenses and water management such as dams and polders. Focusing on the human story within this world, it makes indirect comment on the rising sea levels of the climate crisis. There is very little exposition for this world as the audience knows fully how it came to be: we’re living it.

What is even more unique to this world is the generosity of humanity. In this bleak expanse of water, it is surprisingly filled with hope. Contrasted only by a brief mention of those in Zone 7 who are more prone to barbarism, the world brings the harshness not the people. Perhaps I am more cynical in my worldview and the lack of onscreen violence in a world such as this was something unexpected. However as Fenna’s hardened heart melts, with the help of young and quirky Ive (Violet Braeckman), any lingering pessimism will fade away.

This is a film that treats the audience with the utmost respect, with an incredible and understated performance by Minis. It only really stumbles when it comes to pacing, which sometimes spends too long meditating on the barren expanse than driving through the action.

As the only foreign language film in this category, and perhaps the most ambitious, First Zone perfectly showcases the effects of climate change through a human story of finding hope.

The Mad World of Harvey Kurtzman

Directed by Bart Simpson

Canada, United Kingdom

A documentary feature that is visually vivid and immersive on the life of satirical MAD magazine contributor, Harvey Kurtzman. The Mad World of Harvey Kurtzman features a wide cast of interviewees from his family to filmmaker Terry Gilliam and The Simpson’s Matt Groening.

As the only documentary in competition, it obviously stands out. However its form is not the only reason. Between interviews and archival footage, cartoons and illustrations are brought to life capturing the dry humour and edge of Kurtzman himself. 

This documentary would be an excellent watch to anyone with an interest in comic books or grew up in the 90s. However as a stranger to Kurtzman and MAD Magazine (apart from one Simpson’s reference which always went over my head) this documentary is very welcoming. His story is put together in a way that conveys who he was as a person while allowing the audience to be brought along the chapters of his life.

However I feel that it was received more as an in memoriam, rather than a deep dive into the complexities, such as working with Hugh Heffner. It perhaps lacked a deeper through-line that is bigger than the work, making it more a celebration of life.

Mission

Directed by Paul Wright

United Kingdom

A disillusioned restaurant worker, Dylan (George MacKay), over the course of a week blows up his own life and tries to seek meaning as he tries to find that feeling of being alive in the extremes.

This film is character led, and what a lead they have. George MacKay dominates the screen as Dylan. He skillfully brings a relatability initially to his performance which gets us on his side, he’s funny, saying what he wants. But, over the course of the rest of the film he brings a deep, unpredictable intensity to Dylan, as he spirals deeper into violence and absurdity.

Accompanied by archival footage of riots and grinding soundtrack, we are only given slight respite in scenes with love interest Becky (Emma Naomi) and sister Claire (Rosy McEwen) who seem still stuck in the same rut as Dylan, without the courage to break out. It’s in these moments, amongst the chaos and apathy, that we question the lack of real world consequences for his actions which never seem to appear.

Mission is a film that takes a simple, relatable premise and pushes it to the extreme, down into a deeply uncomfortable pit. It’s a frighteningly intense experience where you will feel that you are missing out on life.

Out There

Directed by Simon Ryninks

United Kingdom

Maz (Nerys Amber Stocks) blames herself for her scientist fathers disappearance but as she spots a suspicious object hovering about her Welsh hometown, she recruits her best mate, a local conspiracy theorist and local psychic (and weed dealer) to uncover the truth.

Out There is such a grab bag of genres; from Sci-Fi and mystery to coming of age and comedy. Based on a series of real life events in Wales during the end of the 20th century, at the heart of this film is profoundly sad as a young girl tries to come to terms with the death of her father. However, with so much going on, the story gets lost and it struggles to find what it is.

That being said it is an incredibly entertaining watch and, with its cast, is proudly Welsh. From grounded performances, like Stock’s ever-curious Maz, to the more outlandish characters such as eccentric conspiracy theorist Bryn (Aneurin Barnard) and hippie proprietor Shifty Gruff (Michael Sheen). Although individually they have their value and are all recognisable members of a small community, at times they do feel like they exist in different films.

Out There is a film that undoubtedly has its charm, but as it’s story gets lost in all the noise you can’t help but want a bit more depth.

Pretty Babies

Directed by Tyler-Marie Evans

United States

Two best friends Maria (Emily Alyn Lind) and Luna (Sadie Stanley) flee their hometown with old Hollywood stars in their eyes. Unprepared for what lies on the road, the young girls find themselves drawn into sex work industry by two hitchhiking prostitutes for some quick cash, promising that it’s only “temporary”, that on the other side they too can be “born again”.

With each floating vignette of hotels and motels the girls find themselves at, their dream stays strong but each has their limits until the world forces their hand. Lind and Stanley bring such a unique vulnerability to each of their characters and a relationship to each other which echoes years of secrets and promises.

These scenes however, strung together, have a lack of the spiralling momentum relying on occasional heavy, handed events to push the girls on the next journey. This sforzando-esque structure weakens the emotional build between the girls when it finally bursts out.

Pretty Babies is a raw, female-led portrait of idolatry and wannabe-ism where, even in the darkness, their friendship burns bright.

Sacred Creatures

Directed by Frieda Luk

Canada, Italy

When three estranged siblings reunite in rural Italy, the middle sister Miriam (Olivia Luccardi) who views her psychiatric episode as a spiritual awakening, becomes a leader of a cult-like group of local Italians.

Each of the siblings neatly fits into an archetype; Michelle (Romina D’Ugo) as the responsible, driven and sensible older sister; Ray (James Cusati-Moyer) as the impish and immature younger sibling. It appears that the film begins with the forgotten middle child Miriam being put into the limelight for the first time, upsetting the balance.

Olivia Luccardi’s performance is one that is steeped in mystery. Despite being the centre of the story, the audience are left out from her thoughts and her inner-circle. This does create a saint and prophetic-like essence to her character, however we rarely know enough to keep fully-invested throughout.

Despite some initial, heavy-handed exposition, Sacred Creatures is utterly compelling. It is a film filled with mystery and intrigue however, the lack of development and twists make the story stagnate in murky confusion. 

Skintown

Directed by Kieron J. Walsh

Ireland, United Kingdom

Set in Northern Ireland during the 1994 ceasefire, two best mates wanting to escape Enniskillen (a.k.a. Skintown) are tasked by two local Orangemen to sell stolen “vitamin e” at a club night.

This film carries an apolitical politicism. Its focus largely on the lives of the disenfranchised youth makes the lack of picking a side a choice. A path towards a better tomorrow. They just want to live their lives. Vinny (Jack Rowan), who also voice-overs a lot of the film, creates an instantly relatable and likeable character. His partner-in-crime, Jonty (Chris Wally) is the lovable rogue, with his antics always getting the pair into trouble. 

With a shock finale we are brought back into the bigger world: the harsher world. It’s been brewing in the background of the film the whole time. It is from here that the film only stumbles slightly. Although the drastic slowing of its pace echoes grief, we can’t help but feel the loose ends could be tied up a little quicker.

As a whole Skintown is a defiantly funny and heartfelt story of friendship and wanting to get out. It packs a punch, and is one that you will carry with you.

The State of Us

Directed by Olli Gardner & Jake Harvey

United Kingdom

Struggling to come to terms with the inevitably of losing his best friend Taylor (Callum Scott Howells), Frankie (Samuel Bottomley) breaks him out of hospice care for one final night of fun and debauchery.

The film anchors itself on the outstanding performances of Bottomley and Howells. As brothers from other mothers, since Frankie was taken in after his father was not able to cope with his mother’s death, the pair portray such a detailed shared history. Although initially presented as yin and yang, this film is a middle finger to cancer as we find that the boys are more similar than we thought on their jaunt around Bradford.

There is little to fault in this first feature, however at times it does feel a tad predictable. There are some moments, such as a somewhat shoehorned romantic subplot between Taylor and Rosie (Safie Oakley-Green) that appear slightly ideal. With some cliche soundtracks, we all knew that this comedy wasn’t going to last.

The State of Us, despite its heartbreaking premise, is a film sincerely filled with life. With moving and captivating performances, it is definitely one to watch.