The 63rd BFI London Film Festival (LFF) features highly anticipated films from Noah Baumbach, Michael Winterbottom, Céline Sciamma, Robert Eggers and Marielle Heller (to name a few). It’s set to be a great year for original screenplays but there are some innovative and surprising adaptations lined up too: from Armando Iannucci’s The Personal History of David Copperfield to Václav Marhoul’s 35mm, black and white war drama, The Painted Bird. To help you find your way through this epic programme here’s my guide to the film adaptations screening at the festival between 2nd and 13th October and the novels that inspired them. If you’re waiting in long festival queues or grabbing a coffee between screenings, these are the books you need to have in your bag!
Armando Iannucci’s adaptation of Charles Dickens’ immensely detailed novel is LFF’s opening night gala. Famed for his political satires (The Death of Stalin, In The Loop) and writing once again with long-time collaborator Simon Blackwell (Veep, The Thick Of It), Iannucci’s David Copperfield promises to be no ordinary costume drama. Dev Patel is cast as the titular hero in a refreshing move that flouts the conservative traditions of the genre. Speaking to Indiewire last year, Iannucci said:
“I want it to feel real and present, even though it’s set in 1840 in London. I want it to feel immediate and current. And therefore I want the cast to be much more representative of what London looks like now, and I want a lot of the behaviour in the film to feel current and contemporary.”
Worth a watch before the festival is Armando’s Tale of Charles Dickens, a one hour documentary made for the BBC in 2012. Here Iannucci explores the relevance of Dickens’ complex world, his humour and his darkness, in modern Britain.
This adaptation of J.M. Coetzee’s novel, Waiting For The Barbarians has one of the strongest casts at this year’s LFF. Starring Mark Rylance, Johnny Depp and Robert Pattinson, the film explores oppression in a fictional regime. Yet its story is increasingly relevant. Producer Andrea Iervolino told The Observer that Rylance, as The Magistrate, “plays someone who realises that the government was trying to scare the population by saying that ‘the barbarians are coming, bad people are coming, the invasion is coming’. Actually, the government was only instilling fear.”
The screenplay is the first written by Coetzee himself and is directed by Ciro Guerra (Embrace Of The Serpent).
HP. Lovecraft’s short story about a strange meteor crash, The Colour Out of Space, has already been brought to the screen three times: in Daniel Haller’s Die, Monster, Die! (1965), Ivan Zuccon’s Colour From the Dark (2008) and Huan Vu’s German language film Die Farbe (2010). Now, Richard Stanley (Hardware, Dust Devil) revisits the story in what the LFF programmer Michael Blyth describes as “a thrilling combination of absorbing family drama and outré sci-fi madness”. According to Blyth its a “slick, stylish and suitably perverse interpretation of Lovecraft’s notoriously ‘unfilmable’ cosmic philosophies”.
A trailer is not available yet but screenshots from the film are suffused with a swirling purple mist; a hypnotising, otherworldly, psychedelic glow. If you liked Jeff VanderMeer’s Annihilation or the 2018 film adaptation from Alex Garland, you should definitely give Color Out Of Space a look.
Eurídice is an unfulfilled housewife in 1940s Rio de Janeiro. When her sister returns after a failed elopement, the women try to escape their mundane lives. The adaptation of this debut novel from Martha Batalha won the Prix Un Certain Regard award at Cannes earlier this year. And the film’s critical acclaim onscreen seems set to eclipse the novel itself. Variety called it “high emotion articulated with utmost sincerity and heady stylistic excess,” while The Hollywood Reporter describes it as “a haunting drama that quietly celebrates the resilience of women even as they endure beaten-down existences”.
Taika Waititi’s controversial comedy-drama Jojo Rabbit has headline billing at the LFF. It’s based on the novel Caging Skies by Christine Leunens and follows a boy recruited into Hitler’s Youth. The novel has been celebrated for its emotional complexity but can Waititi, with his unique brand of zany comedy (What We Do In The Shadows, Hunt for the Wilderpeople), pull this off? We’ll have to wait and see. What we do know, is that Waititi has added the character of Hitler, who he plays as a figure in the boy’s imagination. Speaking to the Los Angeles Times, Waititi said:
“To me, this movie feels like a cautionary tale… It’s not about something that happened all these years ago. It’s right on our doorstep now and we’re minutes away from this same [garbage] happening all over again.”
Jojo Rabbit promises to be the kind of radical adaptation that asks even more questions of its audience. Earlier this month it was reported that Disney, who acquired the film through the purchase of Fox Searchlight, could be worried that the film is “too edgy” and might “alienate Disney fans”. They just made it a must see.
Another tale about the Nazi occupation, The Painted Bird sees a young boy abandoned and alone wandering through Eastern Europe. The tonal opposite of Jojo Rabbit, director of festivals for the BFI, Tricia Tuttle describes the film adaptation as:
“rarely an easy watch, with scenes some will find distressing. A terrifying and highly relevant exploration of what humanity looks like when there is only vicious survival, with little space for compassion.”
Written by Jerzy Kosinski in 1965, The Painted Bird was well received on its release but became mired in controversy in the 1980s when it was revealed that the literary account was not autobiographical (as had been believed) but fictional. Kosinski’s novel, Being There, had also been cribbed from another writer. Nevertheless, Kosinski’s work has a strong pedigree on screen. Being There took home an Oscar nomination and a win in 1980. “Shot in starkly beautiful 35mm black and white by Kolya cinematographer Vladimír Smutný,” says Tuttle, “The Painted Bird’s textures recall both the crispness of The Bicycle Thief and squalor of Aleksei German’s Hard to be a God.” The innovative trailer radiates horror, set almost entirely to the sound of heavy, rapid breathing.
This murder mystery thriller starring Alicia Vikander is set to hit Netflix in November. LFF offers a rare opportunity to catch it on the big screen.
Vikander plays Lucy Fly, an English woman in Tokyo accused of murder. In their review of the novel, The Telegraph says, with much relish, that Lucy “displays a self-sufficiency, a disregard for whether or not she is being amiable, which is death by a hundred snubs”. It will be interesting to see how the adaptation handles this strong first person narrator. Festival programmer, Kate Taylor, bills it as “a moody and intriguing update on 1980s psycho-sexual thrillers, shifting the emphasis onto the psychology of the female protagonist”. The film comes from Wash Westmoreland, the writer-director behind the female driven films Still Alice and Colette.
Gomorrah, a startling account of the Neoplitan mafia and the first book from investigative journalist Roberto Saviano, was adapted into an award winning film in 2008 and a television series in 2014. Now The Piranhas, Saviano’s novel about child gangs in Naples, comes to LFF. It’s directed by Claudio Giovannesi (Fiore, Alì Blue Eyes) with a screenplay written in collaboration with Maurizio Braucci (Gomorrah) and Saviano himself.
Piranhas took home the Silver Bear for best screenplay at Berlinale where it also received a best film nomination for the Golden Bear. At LFF, it’s billed as “a teenage Scarface meets Romeo and Juliet”. And if that doesn’t make you want to see it, I don’t know what will.
American writer Jack London is most famous for his novel The Call of the Wild. But Martin Eden, written just three years later in 1909, is said to be his most autobiographical. Martin struggles to rise out of poverty, through the class system, to be recognised as a member of the literary establishment.
This is the first time Martin Eden has been adapted for the big screen and the action is transplanted to Naples in this Italian production (it’s the second film written by Piranhas’ Maurizio Braucci screening at the festival).
Chief executive of Film London, Adam Wootton describes how the adaptation, “mixes drama with archive footage to create a unique fable that demonstrates the imaginative vision and creative skill of director Pietro Marcello”. Marcello’s 2015 film Lost and Beautiful featured in Indiewire’s critic poll of the top ten best undistributed films.
This animation, based on the Italian children’s book The Bears’ Famous Invasion of Sicily by Dino Buzzati, comes from the producers of The Red Turtle (2016). It’s directed by Italian illustrator Lorenzo Mattotti whose bright, clean 2D animation has a trace of nostalgia that befits the 1945 classic book.
Back then, Buzzati told a story of starving bears battling with humans before adopting human traits themselves. No surprise then, that it’s been likened to George Orwell’s Animal Farm. Retold in 2019 however, it could be the kind of film that sparks fierce debate. For instance, Jay Weissberg for Variety has already argued that: “The revised storyline… about how bears and humans clash, make amends, and then realize they’re too different to live together, can lead to unfortunate and inadvertent interpretations neither Mattotti nor the original author Dino Buzzati intended”.
Adaptations of the graphic novel Days of the Bagnold Summer (starring Rob Brydon and Tamsin Grieg) and the play Luce (starring Naomi Watts, Octavia Spencer and Tim Roth) are also screening at this year’s LFF. Foreign language adaptations of Laurence Olivier’s novel Ghost Town Anthology, Colin Niel’s Only The Animals and Anna Woltz’s My Extraordinary Summer With Tess should be on your radar too. Unfortunately, however, these novels aren’t currently available in English translations. And finally, this year’s closing night gala is Martin Scorsese’s The Irishman adapted from Charles Brandt’s true-crime biography I Heard You Paint Houses. The film has already set Twitter on fire with news of its three-and-a-half hour run time.