The Tyranny of the Schedule
The BFI London Film Festival, now in its 70th year, is a glorious assault on the senses for any film lover. For nearly two weeks in October, London’s South Bank transforms into a global cinema hub, packed with red-carpet galas, major awards contenders,
and talks from directing royalty. This year was no different, with big buzz around Andrew Scott’s heartbreaking turn in 'Elsinore', Olivia Colman’s wonderfully bizarre performance in 'Wicker', and Martin McDonagh’s latest dark comedy, 'Wild Horse Nine'. You arrive with a plan, a list of must-sees downloaded to your phone. You’re determined to catch the films everyone will be talking about for the next six months. But the festival grind is real. After a few days of rushing between screenings, you’re bleary-eyed, over-caffeinated, and your perfectly curated schedule starts to feel less like a guide and more like a prison.
A Shot in the Dark
That’s when the opportunity for chaos—or serendipity—presents itself. A two-hour gap appears. The buzzy film is sold out, but there’s a screening for something you’ve never heard of starting in ten minutes. The festival guide offers only a cryptic, one-line synopsis. This year, for me, that film was 'The Liberation'. It wasn’t a gala, and it had none of the pre-release hype of a big studio picture. It was a 'random pick' in the truest sense. Walking into that theater felt like a leap of faith, a small rebellion against the carefully managed hype machine. You don't expect much; you’re just hoping for something interesting enough to keep you awake. You have no idea you’re about to stumble upon your new favorite film of the year.
When the Lights Go Down
'The Liberation' tells the story of Rita, a woman whose quiet life is upended when she falls under the sway of a charismatic cult leader. What could have been a standard drama is elevated by a trio of incredible performances and a director who trusts his audience. As Rita, Carrie Coon delivers a towering, heart-wrenching performance that is already generating early awards buzz. She perfectly captures the slow erosion of self, a journey from mundane dissatisfaction to total devotion. She’s matched by Lily James as the hypnotic and unsettling cult leader, and a revelatory turn from Bella Ramsey as the daughter trying desperately to pull her mother back from the brink. The film uses a non-linear structure, cutting between Rita’s initial seduction into the cult and her family’s later efforts to save her, creating a deeply moving portrait of grief, trauma, and the deceptive allure of belonging.
Catching Lightning
Leaving the theater, I had that electric, post-movie buzz that every cinephile chases. It’s a feeling of seeing something truly special before the rest of the world has caught on. And soon, it became clear I wasn’t alone. A quick scroll through social media showed a growing chorus of praise from other festival-goers who had taken the same gamble. Critics who saw it were equally effusive. Within 48 hours, what had been an under-the-radar entry was becoming one of the festival’s word-of-mouth hits. Screenings started selling out. People were talking about Coon’s performance as a potential awards contender. My 'random pick' was now a hot ticket, a shared discovery. This is the unique magic of a film festival—not just seeing the big, pre-approved hits, but being part of the moment a small, unexpected film begins its journey.
