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A gathering on the seventh floor of One Hundred Shoreditch hotel in east London is honoring the nominees for the British independent film awards (Bifas). The attendees are sporting a trendy style with sharp shoulders, emerging designers, and luxurious fabrics, reflecting the innovative and fashion-forward nature of the British film industry.
Is each year as thrilling as this one? Or could these nominees signify the beginning of something new, the peak of a fresh wave? The strong box office success of top contenders Scrapper and Rye Lane is promising – both have surpassed $1 million in worldwide earnings – as is the intangible overall atmosphere. “It certainly feels that way,” says Paris Zarcilla, writer-director of SXSW award-winning horror film Raging Grace, which will be released in the UK on December 29th. “I believe we are witnessing people finally being able to create exactly the type of films they want, without having to second-guess what audiences want.” Zarcilla’s own film, the first British-Filipino feature in UK cinema history, is a prime example of the greatness that can be achieved with this approach.
Last year, Charlotte Wells’s touching and perceptive film Aftersun swept the Bifa awards, taking home seven out of 16 nominations, including best film and best director. This year, the competition is fierce and varied. The phrase “British independent film” no longer brings to mind a specific type of gritty and depressing social realist drama. While there is still a place for those types of films – as devoted lovers of British cinema, we will never let go of our BFI Alan Clarke box sets – the typical Bifa film is now more difficult to define. It can be as unpredictable as the plot of the psychological noir Femme, as soulfully surreal as the film industry satire In Camera, or as emotionally gripping as All of Us Strangers, Andrew Haigh’s supernatural drama about relationships featuring indie favorites Andrew Scott and Paul Mescal.
At tonight’s party, the buzz seems to belong equally to all these films and more. South London romcom Rye Lane is clearly as adored as it is adorable. People can’t stop talking about the consent issues posed by Molly Manning Walker’s How to Have Sex or the emotional immediacy of the performances in Mahalia Belo’s forthcoming dystopian thriller The End We Start From starring Jodie Comer, while Abdou Cisse’s fabulously titled short Festival of Slaps is, by firm consensus, as explosive as it sounds.
Predicting the ultimate recipients is more challenging than ever, as they are all deserving of recognition. This is not a mere participation award, as many of the nominees have already been honored at prestigious international festivals, receiving accolades such as Un Certain Regard and special jury prizes. Fortunately, Bifa stands out not only with its nominees but also with its trophy design. The winners will receive a stylish 1kg trophy made from marbled blue-and-white recycled plastic, making it both environmentally friendly and easy on the wallet, in contrast to Bafta’s 3.7kg trophy made of marble and brass.
Is there something else, besides car exhaust, that has wafted over from the financial district through the evening breeze? According to Katherine Waterston, a nominee for best supporting actress for her role in The End We Start From, it is clear what that something is: “People always ask, ‘Why are there so many talented young filmmakers in England?’ Well, it’s often because they are able to take risks, thanks to institutions like the BFI, BBC Film, and Film4, who give them a chance and support them as they take those risks.”
Indeed, if there’s one thing that unites 2023’s Bifa-nominated cohort it’s this embrace of the “high-risk, high-reward” ethos: “I mean there’s a film called How to Have Sex,” chimes in Rye Lane star David Jonsson. “Just Googling that is risky!”
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The Bifa awards ceremony is scheduled for Sunday, December 3.
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Suggestions for Sexual Intercourse:
Mia McKenna-Bruce has been nominated for the award for her outstanding lead performance.
It’s rare that a film connects with audiences on the bass-throbbing, heart-pumping, trauma-unpacking level that How to Have Sex has done. Molly Manning Walker based her debut feature on her own post-GCSE clubbing holidays, but somehow it also tells the story of every awkward, drunken British adolescence, including that of star Mia McKenna-Bruce: “Before we even started filming in Malia, the script had me talking to my old school friends about all those times that we pretended we enjoyed the ‘jokes’, pretended to be OK with them, when, actually, you’re not.”
Even though she convincingly plays a 16-year-old in the movie, McKenna-Bruce is actually 26 years old. She has also acted in EastEnders and will be in Netflix’s 2022 adaptation of Persuasion. However, her standout role as Tara is what has gained her recognition. The realization of this significant achievement hit her during the standing ovation at the Cannes Film Festival premiere of How to Have Sex. She reflects, “To this day, it’s the most unbelievable and intense moment of my life… And I’ve even had a baby since then!”
Polite Society
Priya Kansara, breakthrough performance
You expect Priya Kansara to enter the room with a roundhouse kick, such is the all-action ferocity of her breakthrough performance as aspirant stunt woman Ria in Nida Manzoor’s Polite Society. She says she loved training for the film so much, she’s carried on practising jujitsu in her daily life: “I’m fully conditioned. I can beat up all of the bad guys!” she says with a convincingly mean mug. “No, I’m joking. I’d be the first to run away in any situation!”
Kansara’s entrance in Bridgerton’s second season was a graceful glide, fitting for her role as a debutant in a few scenes. However, she is always ready to fight for the film’s success: “This movie may not fit the typical mold for awards, but it also doesn’t fit into the commercial action-comedy category. It stands out and I am proud to have been a part of something unique and unconventional.”
Femme
George MacKay and Nathan Stewart-Jarrett delivered a stellar joint lead performance.
The excitement of meeting actors who are different from their on-screen personas is amplified when the stars of the movie Femme begin to speak. This is because their dark and intense romantic thriller, which will be released on December 1, not only showcases incredible acting, but also delves into the idea of performance in our everyday lives. According to Nathan Stewart-Jarrett, who portrays Jules, a drag performer who becomes entangled in a complex power dynamic with his former attacker turned lover, the film explores themes of masculinity and the various layers of Jules’ character, and how he finds empowerment throughout the story.
George MacKay, who co-stars in the film, enthusiastically nodded along, indicating that he was equally inspired. While he is most recognized for his role as a young soldier in Sam Mendes’s Academy Award-winning film 1917, MacKay shines in his portrayal of closeted ex-convict Preston. He credits this to the atmosphere on set, explaining, “The crew was incredibly young and there was a palpable sense of energy and enthusiasm throughout… Even when filming the night scenes in London, it felt like we were rebelling against something.”
The Beginning is the End
for
Katherine Waterston won the award for best supporting performance.
In the survival thriller The End We Start From, actress Katherine Waterston portrays a strong and resilient woman who is able to maintain her sanity and humor in the toughest circumstances. Waterston praises the talented screenwriter Alice Birch for creating such an intriguing character, admitting that she was initially nervous about taking on the role. However, playing the character of O ultimately reignited Waterston’s love for acting. The film will be released on January 19th.
Waterston, a well-known actor from both Britain and America, has received a total of 14 nominations for her performances throughout her career. However, this particular nomination for the Bifa (British Independent Film Award) holds a special significance. She believes that British independent films offer more creative freedom and therefore, present more compelling and unique characters as they are not created by a group of people.
In Camera
of 7 years
Nabhaan Rizwan gave the best lead performance in 7 years.
In a perfect world, the slick, highly intelligent, always composed lead of In Camera (set to be released next year) would have already been chosen as the next 007. However, after starring in cult projects such as Riz Ahmed’s Mogul Mowgli and the TV miniseries Station Eleven, would taking on the role of an established icon even be desirable? “You can still be an artist and participate in a franchise,” explains Nabhaan Rizwan. “I would only do it if I am given the freedom to approach it in my own way and question everything… We must question everything we are handed down: from our parents, our cultural upbringing, and the industry we are entering.”
The chance to ask questions was made possible through Rizwan’s dynamic collaboration with debut writer-director Naqqash Khalid on In Camera. The fact that such a bold and thought-provoking film was able to be produced and receive award recognition is a clear indication of the thriving British film industry. Rizwan expresses his own sense of renewal from this project, stating, “This feels like a new beginning in many ways, like a first step, even though it’s not. I enjoy working with first-time directors, especially Naqqash, because we learn to walk together and also learn to soar together.”
Rye Lane
by an actor:
The award for best joint lead performance by an actor goes to Vivian Oparah and David Jonsson.
Vivian Oparah responds with a deadpan tone when congratulated for her role in the most talked-about romantic comedy of the year (or even the decade). She describes it as a “horror” and clarifies that it portrays the struggles of dating in London. Fans of Rye Lane will surely recognize this as one of the many instances of playful humor that characterizes Yas and Dom (played by David Jonsson) as they embark on a walking tour of Peckham’s most romantic spots.
The pair’s efforts to promote the movie have brought them beyond the boundaries of south London, and along the way they have formed a strong chemistry, resulting in unintentionally matching outfits. Oparah expresses her frustration at this occurrence, as she looks at her green-patterned dress and Jonsson’s green-tinged gold shirt that appears even greener without the camera flash. Jonsson jokingly claims that Oparah dislikes him, to which she responds with a grin and a brief moment of gritted teeth before bursting into laughter once again. While writers Nathan Bryon and Tom Melia and director Raine Allen-Miller may have created the “rom” aspect of Rye Lane, the “com” aspect is very much genuine.
Source: theguardian.com
