The Electric Sheep team round up their favourite films of this year’s London Film Festival.

Hunger

A gripping, powerful and hauntingly beautiful film, Hunger is artist Steve McQueen’s slow-paced dramatisation of the last months in the life of Irish Republican Bobby Sands, who starved himself to death in 1981 in protest against the British government’s refusal to treat convicted IRA members as political prisoners. Despite an arguably impressive display of physical violence, there are moments when stunning shots of artistic beauty lend the film a grim poetic atmosphere. The result is a mesmerising choreography that demands utter commitment from the actors (an extraordinary central performance from Michael Fassbender), and it is also an inventive bursting forth of McQueen the filmmaker. PAMELA JAHN

Waltz with Bashir

Ari Folman’s brilliant animated documentary about the 1982 Lebanon war was one of the best films at the LFF. This is a brave and powerful movie, both stylistically and in its treatment of Folman’s involvement in one of the most controversial episodes in Israel’s history, the massacres at the Sabra and Shatila refugee camps. The animation beautifully conveys the depth and intensity of Folman’s story as he meets with fellow friends, soldiers and journalists in his attempt to counter the collective amnesia suffered by witnesses of the event. This is an astonishing, unmissable piece of filmmaking with one of the most harrowing and moving endings seen in years. SARAH CRONIN

United Red Army

Koji Wakamatsu’s latest film is by far the most complex, stunning and utterly demanding film I’ve seen in the course of this year’s festival circuit. In 190 visually and conceptually engrossing minutes, United Red Army traces the history of the Japanese militant left from its origins in 1960 to its escalation in the early 1970s. Basing his film on comprehensive research as well as his own memories and connections to some members of the Red Army faction when it was still active, Wakamatsu not merely reveals the gruelling events that took place at the time, he once again pushes the boundaries of filmmaking in almost every take, taking the story from docu-style drama to claustrophobic chamber piece into breathtaking action thriller in the final act. What remains is a profound and painful dissection of ideology itself, rendered with an impressive clarity that is rarely seen on the big screen. PAMELA JAHN

Afterschool

I found myself utterly stunned by Antonio Campos’s feature debut Afterschool. A class video project in an upscale American prep school accidentally captures a tragedy, and we follow the reactions of the school, its pupils, and particularly of the boy, Robert (Ezra Miller), who shot the incident, an alienated and unpopular student who becomes a source of anxiety for the institution. If, as is usually the case, high school/college movies are intended as portraits of America in microcosm, then this is the most bilious, vicious picture of that nation I’ve encountered in years. It’s a tough watch from the outset, with an unsettling montage of internet clips giving way to the face of Robert as he wanks away to some unpleasant porn, and never stops being unnerving thereafter. The dark nature of the story is emphasised by visually inventive, oddly framed photography throughout; imitating both the lopsided compositions of amateur cameramen and the disaffected gaze of a sociopath, it builds its own woozy unhealthy atmosphere, a world viewed through the wrong head. It’s creepy and smart and it may just screw with your head for days. MARK STAFFORD

Home

A happily eccentric middle-class family live in the ideal, open surroundings of the French countryside, right on the edge of a long unused motorway. However, when the motorway is suddenly opened to swarms of traffic, their lives become intolerable as the noise, pollution and danger invades their lives. As the disruption to their normal routine eats away at their freedoms, they descend into semi-primordial behavioural patterns and bizarre somnambulant rituals. Beautifully filmed, with a superb, believable cast (Isabelle Huppert is outstanding), Home explores the deep ramifications of urbanisation and the impact of rampant capitalism upon the human psyche. On one level it’s a witty, modern-day environmental parable, and on another it’s a surreal descent into the subconscious fears and desires of the id. Birthed from the same otherworldly penumbra as classics like Weekend, Themroc and The Discreet Charm of the Bourgeoisie, Home is a unique and strange masterpiece where Kafka meets Ballard on the arid tarmac of the Motorway. JAMES DC

Hansel and Gretel

A South Korean grown-up reworking of the familiar children’s story, Yim Phil-sung’s Hansel and Gretel is a dark, surreal fairy tale weaving themes of lost innocence, dysfunctional families, revenge, trust and love. When a young man driving along a country road crashes his car, he is taken to a ravishing house in the middle of the forest by a strange, ethereal young girl. He is looked after by her family but when he tries to go back to his car the next day, and the following days too, he finds he cannot leave the forest. Forced to remain with the three children and faced with a series of bizarre occurrences, he gradually disentangles the web of mystery that surrounds the children to discover the truth about their identity. The enchanted house and forest are beautifully depicted, the children are suitably ambivalent and the film’s atmosphere is perfectly balanced between sinister and magical. A real treat. VIRGINIE Sí‰LAVY

Il Divo

Winner of the Jury Prize at this year’s Cannes Film Festival, Il Divo sees director Paolo Sorrentino apply his trademark formal beauty to the life of one of Italy’s most notorious politicians. Seven-time Prime Minister Giulio Andreotti was tried on several occasions for murder, corruption and Mafia involvement, but defended himself successfully each time. The characters accused along with Andreotti are many and difficult to distinguish – expect a re-edit before the theatrical release – but rather than try to establish the facts, Sorrentino chooses instead to focus on the aegis of ambiguity that Andreotti forges for himself. In this character study he could have no better co-conspirator than his The Consequences of Love star Tony Servillo, who is hypnotic as Andreotti. ALEXANDER PASHBY

Momma’s Man

On paper, Momma’s Man doesn’t necessarily hold that much appeal: a thirty-something man visits his parents at their New York loft and finds himself incapable of returning home to his wife and baby in Los Angeles. But director Azazel Jacobs’ film is much more than a sum of its parts. Jacobs cast his own remarkable parents (influential experimental filmmaker Ken Jacobs and artist Flo Jacobs) and shot the movie in the same Manhattan apartment where they’ve lived for the last 40 years. Matt Boren puts in a great performance as their son, who’s desperate to be a little kid again. The location itself is terrific, packed with the eccentric ephemera collected over a lifetime, and while the film’s laid-back pace demands some patience, this funny and poignant film has that indefinable something that marks out the most memorable films. SARAH CRONIN

Beautiful Losers

Pulled from this year’s EIFF line-up at the very last minute, Beautiful Losers was a welcome addition to the small number of worthwhile documentaries included in the LFF programme. In an unashamedly nostalgic but extremely likeable fashion, co-director Aaron Rose looks back in affection at his own achievement, New York’s Alleged Gallery, and the loose-knit group of American artists who became involved in the creative movement that grew around the small storefront space in the early 90s. It features artists such as Barry McGee, Chris Johanson, Ed and Deanna Templeton, Jo Jackson, Margaret Kilgallen, Mike Mills amongst others, with Harmony Korine being no doubt the most weirdly charming contributor. PAMELA JAHN

Not Quite Hollywood

Not Quite Hollywood is music promo director Mark Hartley’s affectionate no-holds-barred-pedal-to-the-metal salute to Ozploitation cinema, charting its rise in the late 60s, fall in the late 80s, and recent resurgence with the likes of Wolf Creek. It rounds up an impressive roll call of talking heads from the scene, who, in true Aussie style, are refreshingly blunt about their experiences and each other, and intercuts them with a generous helping of clips from the films. It’s great fun: Hartley seems to be terrified of boring his audience and packs out his 102 minutes with insane stunts, montages of naked Sheilas, automotive carnage and explosions, and countless outrageous stories, all edited to a zippy sprint. The archive footage of Dennis Hopper scrambling for his life from his burning stunt double would justify your time and money on its own. It’s divided into three sections, sex, horror and action, and the movies can also usefully be divided into three types: familiar late night /video library classics (The Long Weekend, Patrick, Turkey Shoot, Road Games, and of course Mad Max ); films that you can safely avoid (Oz sex comedies of the 70s look just as toe-curlingly Christ-awful as British sex comedies of the 70s, which is some kind of achievement); and, and here is where NQH really scores, the numerous neglected, lost and largely forgotten films which the film makes you desperately want to see. As well as having a high population density of insane stuntmen the country was also clearly never lacking in spectacular outback scenery or 70mm lenses to shoot it with, and from the clips included here alone, the likes of Fair Game and Dead End Drive-In all look glorious. If I must quibble, I’d say that the pacy style of the film excludes any real discussion of the social context, aesthetics or especially the grisly sexual politics of ozploitation cinema; which is sorely needed, especially when the inevitable Quentin Tarantino keeps popping up enthusing about one woman-bashing scene after another. Hartley’s default setting is breathless, shameless celebration over analysis, and NQH often seems to actively avoid deciding whether the films are actually any damn good or not (Though I think it’s a pretty safe bet that Howling 3: The Marsupials sucks koala cock). Apparently, the director has launched his own line of ozploitation DVDs so any viewers wishing to familiarise themselves with some authentic Australian sleaze will soon be able to judge for themselves. Happy hunting. MARK STAFFORD