Let me clarify the above headline – I’m not miffed about Amour the Film. I haven’t seen it. I’m miffed because I cannot go and watch it. Which exacerbates my
trivial resentment against the large majority of the over-privileged BFI members, who all bought tickets en masse, sending us all destitute mortals into cinematic oblivion. Film festivals are so bourgeois!
A statement that’s completely unfounded, by the way. I’m merely expressing my furore upon discovering – after eleven days of waiting to book a ticket (BFI members get to bask in sheer privilege, obtaining first access to tickets a week-and-a-half ahead of the great public) that my toil was futile. On that fateful day of 24 September, when tickets are made available for public booking, I waited until midnight only to be met by these two ominous words: SOLD OUT.
Lesson of the year – get a fucking BFI membership and stick a silver spoon up my arse. I am deeply sorry I have disappointed you Michael Haneke. For consolation, I have defended Amour for being out of the Official Competition and for not having the honour to be in the Opening Night Gala. What kind of a festival who shuts out a Haneke out of the main competition anyway?
Haneke is not impressed.
Stepping aside my peevishness, Day Two of the festival sees a flurry of films across the capital – Thomas Vinterberg’s return to Earth and to filmmaking, the social drama The Hunt (which I’m going to see on Saturday), the documentary about Stanley Kubrick’s The Shining, Room 237 and Wadjda – a remarkable feature from Saudi Arabia where movie theatres and cinemagoing have been banned over the last 30 years, making this an extraordinary cultural movement from Middle East cinema. It’s also directed by Saudi Arabia’s first ever female director, from a nation where women are banned from driving and other basic human activities, let alone make films.
And then there’s Amour. I am still trying my hardest to get through that hurdle and look forward for tomorrow’s two main cinematic events: Xavier Dolan’s Laurence Anyways and Benh Zeitlin’s Beasts of the Southern Wild. Bring on tomorrow!