It has been just over a week since LBFF 2024 ended, so now that we have all had time to process, it is the perfect time to look back and remind ourselves of it all and celebrate the festival’s success. This year’s London Breeze Film Festival- its 9^th overall, and first since rebranding and expanding from Barnes Film Festival in October last year – was bigger and better than ever, with 725 film submissions, and six venues across London screening a diverse selection of independent short and feature films from around the world.

I came aboard in early September as an operations assistant to help with the run-up to the festival. I was immediately welcomed to the team and entrusted with some exciting tasks including: writing descriptions for each of the shorts programmes and choosing their order of play for the screenings, designing the certificates to be presented to the Children & Youth Showcase filmmakers, adding many of the films and their information to the website for the online viewing hub, helping to curate the feature film events, communications, and even teaching an animation workshop.

Wednesday evening was abuzz with anticipation for the start of Breeze- the Opening Gala screening of ‘In Camera’- plus a Q&A with director Naqqash Khalid and actress Josie Walker- at Riverside Studios, which was the main hub for the festival this year. It was the perfect way to kick off the festival, and the first marker for months of hard work coming to fruition.

Thursday was Industry Day in Riverside Studios’ River Room, with a packed itinerary of panel discussions, a pitching event presented by SMASH Media, and networking drinks. Meanwhile in the gallery area, RCA students exhibited their Spatial Storytelling work- immersive stories told in virtual spaces. The artistry and innovation on display here was impressive.

We were proud to host the UK premiere of Iranian filmmaker Oktay Baraheni’s ‘The Old Bachelor’ on Friday evening at Riverside Studios- a stand-out moment of the festival for me. Iranian music welcomed guests into the screen, and the 3h12m epic family saga played to a rapt audience.

Over the weekend I was at the beautiful Garden Cinema for the morning screenings of Kensuke’s Kingdom. After Saturday’s screening, we were lucky enough to be joined by the directors of the film, Kirk Hendry and Neil Boyle, for a Q&A session. The children asked brilliant and insightful questions, and it was lovely to see them all so engaged with the film. Kirk and Neil kindly stayed afterwards to talk to the children and sign posters for them. After Sunday morning’s screening I taught a 30-minute animation workshop, showing the children how to create a bouncing ball animation using a flip book. Seeing them use their creativity and imaginations to embellish what I had shown them and produce their own versions of the exercise was a rewarding moment.

In the afternoon I was able to catch the Around the Globe and IMPACT shorts programmes at All Is Joy Studios in Soho. It was a thrill to be able to watch these stunning films on a big screen alongside some of the filmmakers, and to have the chance to talk to them about their work afterwards. Renowned explorer and writer Neville Shulman CBE was the host of the panel after the IMPACT shorts, for a discussion on sustainability in the film industry.

One of my many highlights of the festival was Saturday evening’s London Premiere of ‘Between the Lights.’ We decorated the room with fairy lights, candles (battery powered of course), and a mini Christmas tree by the red carpet. Champagne and sweets were served to guests, while Christmas music played in the background. We wanted to set the mood for the film- a supernatural romance set at Christmas- and create a sense of occasion for the film’s London premiere. Lead programmer and festival coordinator Madeleine Casey hosted a fantastic Q&A with director and producer Michael and David Groom and the two leads of the film, Inès De Clercq and Samuel Edward-Cook. It was a magical evening overall.

We ended the festival on a high with Sunday evening’s Closing Gala screening of ‘Snow Leopard,’ a film with breathtaking cinematography and performances. The awards ceremony was a celebration of the filmmakers who had poured their heart and soul into their projects, and it was wonderful to be able to celebrate with them all.

Many of the audience members throughout the festival were friends and family of the filmmakers, people who work in the film industry, as well as people who just love independent film, which is testament to the inclusive and supportive environment that Breeze fosters. I also discovered that some of the selected filmmakers had met and become close friends through the festival, which I was so pleased to hear, because one of Breeze’s main goals is to create a sense of community and bring filmmakers together.

By the end, I felt a mixture of relief that the festival had been a success and sadness that it was over, as I thoroughly enjoyed every aspect of being part of it.

Are you a filmmaker, screenwriter, or producer looking to gain ground in the film industry? London Breeze Film Festival invites you to join our celebration of diversity, creativity and passion this week from 23 – 27 October. 

This week marks the beginning of our biggest film festival to date. Hosting unmissable events across West and South West London, we invite you to immerse yourself in five days of film screenings, Q&As, guest panels, immersive experiences, key networking events, and more for filmmakers and passionate moviegoers alike. 

The spotlight event: 

Industry Day takes place this Thursday [24 October] and aims to support and encourage creative professionals to network and learn more about all stages of the filmmaking processes. Either for those who are at the initial stages of launching a career, or established creatives looking to refine their skills and make valuable connections, this event offers a wealth of insights and opportunities to foster growth and collaboration within the industry. 

“Industry Day connects all filmmakers from all genres with industry professionals, whether first timers or those who are seasoned in the industry – there will be lots to learn with entertaining debates and exciting sessions throughout the day” 

The Industry Day begins at 9am with a networking breakfast at the Olympic Studios in Barnes. Then cycle or bus to catch the My SMASH Media pitching presentation and workshop at Riverside Studios for 10:30am. 

From 11am to 1pm, there is free time to catch the Spatial Storytelling immersive experience in the foyer gallery of Riverside Studios (find more information below). 

Writing and Directing for the Screen: From 1pm to 1:50pm, listen to the award-winning filmmaking duo Christine Molloy and Joe Lawlor, BAFTA nominated director and writer Alex Kayode-Kay and award-winning documentary filmmaker Tamana Ayazi discuss the auteur nature of being independent filmmakers. 

Funding Your FIlm: From 2pm to 2:50pm, the multi award-winning documentary filmmaker and producer Jane Ray, filmmakers David and Michael Groom and Alex Kayode-Kay discuss ways and means of funding your film. 

Distributing and Marketing Your Film: From 3pm to 3:50pm, Founder and CEO of Together Films Sarah Moses is joined by LBFF alum and director of the successful feature film Granada Nights, Abid Khan, to discuss the work of a distributor, including when and how filmmakers should seek distribution.

From 4pm to 5pm, there is an opportunity to be the audience of a pitching competition, where five finalists will pitch their documentary proposals to a panel of experts from the industry, Christine Molloy, Sarah Modes and the CEO of streaming platform WaterBear, Sam Sutaria. 

To end the action-packed day, Industry Day Pass holders and panel guests are invited to come together in the cinema bar downstairs at Riverside Studios for complimentary drinks and networking from 5pm to 6pm. 

“Tickets are going fast, so make sure you don’t miss out” 

What else to expect from London Breeze Film Festival this week: 

The festival kicks off on Wednesday, 23 October, with a gala opening film, In Camera, at our flagship venue, Riverside Studios. This premiere event sets the tone for an exciting week ahead, showcasing remarkable talent and storytelling. Director Naqqash Khalid and star cast members will join us on stage after for a Q&A. 

Come along to The Arches in Battersea to view screenings of four short film programmes from selected filmmakers who submitted to LBFF and are in competition. From 2:30pm to 6:30pm on Thursday and Friday, see how you would choose to win in both UK and International categories. 

Watch Ibrahim Nash’at’s critically acclaimed documentary feature, Hollywoodgate, at Phoenix Cinema. This event has a special recorded introduction by Nash’at and is followed by a discussion between Jane Ray and Tamana Ayazi. 

Walk into Spatial Storytelling, our FREE immersive show from 12pm until 6pm on Wednesday and Thursday at Riverside Studios. We explore the potential of narrative space through the extension of virtual reality headsets and interactive media. This showcase brings together sixteen projects from MA Animation, MA Digital Direction and MA Information Experience Design and features a mix of virtual reality, augmented reality, video games, custom software and performance pieces. 

Two screenings of Kensuke’s Kingdom at The Garden Cinema each day this weekend offer our young audiences a chance to see the British animation feature film as part of our Impact Day and Family Day programmes. On Saturday, meet the co-director and animator Kirk Henry in a Q&A following the screening, and on Sunday, participate in a FREE animation children’s craft activity. 

Whether you are an aspiring filmmaker, already established, or just jumping into the fun this weekend, there is something for everyone this week so click here to see everything we offer.

Authentic Neurodivergent Representation: Why it Matters and why it is Better!  – Written and co-written by Georgia de Gidlow

Growing up neurodivergent is already isolating, and this isn’t helped when no one on our  screens is like us. But recently, there has been some progress. CBBC’s Emmy nominated and Royal Television Society award-winning TV adaption of ‘A Kind of Spark’,  is based off the book written by autistic author Elle McNicoll. It puts a proud spotlight on  neurodivergent experiences. It takes care to ensure authenticity, notably by hiring  autistic actors to play autistic characters. Being part of this production showed me why  authentic representation is so critical.

I had the privilege of acting in this production as Keedie Darrow, the older sister of Addie  Darrow, who is played by the talented Lola Blue, also autistic and ADHD. We had the  unique experience of performing characters that deal with the same cognitive reality.  What made this rare opportunity even more powerful was the reaction of the show’s  neurodivergent viewers. They expressed both what it meant to them to see themselves  represented on-screen and in us as young, female, autistic public figures.

My thanks for ‘A Kind of Spark’ extends far beyond my own gratitude for the opportunity  it provided me as an actor. For my community, it has had a profound impact on those  within it, who now feel represented, and the neurotypical people who have watched it, who now have a better understanding of our neurodivergence. And if that impact isn’t  enough to persuade upcoming producers to consider telling neurodivergent stories,  perhaps the awards and international recognition will…

Now, I want to address the term ‘neurodivergent’. Often the term “neurodiverse” is  thrown around, but it’s important to clarify that neurodivergence means something  more specific. Everyone is neurodiverse, because everyone has a different and uniquely  brilliant brain. However, those who are neurodivergent (i.e. who have a  neurodivergence, including ASD, ADHD, BDP and Dyslexia), function differently than  those with the ‘prominent neurotype’, i.e. the neurotypical population.

Living in a world designed for neurotypical people creates many challenges that are  specific to neurodivergent individuals, from navigating social norms to the burnout  created by the exhausting effort of ‘masking’ (trying to appear neurotypical). Let’s not  forget that society is tailored to cis-gendered white men. Neurodivergent individuals that fall outside of these identity groups face added challenges that will manifest in  distinct ways depending on their neurodivergence.

Notably, there is a serious lack of variety in the portrayal of neurodivergent people.  Autistic people especially are regularly portrayed as white males with high-needs, and  although these portrayals are one hundred percent valid, often other types of autistic  people across the spectrum are left out. This contributes to the issue of autistic women  and people of colour being vastly undiagnosed or diagnosed late.

The last few years have taught me how significant of a remedy authentic representation  is to the othering experience of being neurodivergent. This lesson began with the book.  The power of reading something that related to my disability hit me immediately as I  read the blurb through teary eyes. It reads, “other people’s minds are small. Your mind  is enormous. You don’t want to be like other people”. Before discovering this kind of  representation, I could’ve never predicted the healing impact it would have on me.

Fans of the show clearly felt the same about the TV representation. The reaction was  incredibly moving. Some viewers even expressed how it had empowered their child to  shamelessly wear their ear defenders for the first time in months, or how it made them  realise that they might be autistic, leading them to receive a diagnosis.

This type of authenticity was so novel that older individuals sought out the show for the  affirmation it would give, despite the target audience, as this comment from a fan  demonstrates; “I have a rather big age gap with the show’s characters, yet I still see  myself reflected in the way autism is represented in the show. I see the younger self me  who always felt out of place, and never knew there were others like me out there.” I was  overwhelmed by the transformative impact of the show, both in making viewers feel  empowered and also less alone.

Only neurodivergent actors can truly bring the depth to the roles that is necessary  to provoke this kind of reaction. But this depth has another purpose- enhancing  performances and adding to the quality and enjoyablilty of the production. 

An actor or a script-writer may be utterly skilled and well-researched, but they will still  lack the ability to capture the intricate, lived experience of being neurodivergent. The  minute, unique ways that neurodivergence interacts with identities, personalities, and  environments produce traits that are woven into our essence. It is impossible for  neurotypical people to recognise what is beyond the surface.

It is in these tiny nuances to a character’s expression that will bring a neurodivergent  character to life and create a compelling performance that people can feel moved by  and connected to. Neurodivergent artists give layered performances that are exciting and interesting to watch as they will be utterly unique in the realm of film and television.

Because on-screen authentic neurodivergent stories are so unique and provoke such deep connections with neurodivergent viewers and their loved ones, such productions  will bring viewers. The rise of such media is therefore not only beneficial to consumers,  but also to producers.

My advice to any budding directors or producers would be to seek out neurodivergent  stories. Take advantage of this gap in the market! The focus does not need to be  neurodiversity, but through the act of applying a neurodivergent lens, a production is  transformed into something layered, and thus interesting. Creative, and thus

entertaining. And finally, utterly unique and part of the bigger picture of creating a media  landscape that reflects those who have gone for so long unrepresented, and thus  revolutionary.

Book First or Film First? A reflection on film adaptations 

Are you a book first or a film first kind of person when it comes to film adaptations? This is a question I put recently to an audience at a film screening of an adaptation of Alexander Maksik’s 2013 novel, ‘A Marker to Measure Drift’, adapted for the screen by Maksik and screenwriter Susanne Farrell. The film was called Drift.

Interestingly, just over half the audience indicated they would read the book first when they knew a film adaptation was in the offing or just released. And our two Q&A guests were divided in their opinion. The question I would like to pose is does reading the book first spoil the experience of watching the film?

Let me state my position. I immediately buy the book if I hear of a film adaptation that interests me. Why? Because the book is the source material. It is the original piece of creativity and I want to know it first as it was intended to be known: in book form (be that physical or audio). It does of course mean that when I see the film, I have pre-conceived views of the plot, narrative and characters, so the question becomes will the film match my pre-conceptions, or can I accept the inevitable changes the filmmakers will have made because the film stands alone as an interpretation of the novel in film form. Just as a ballet or opera interprets an original text through dance or singing, so a film adaptation should be free to interpret a book using its unique methods and medium.

When I subsequently see the film adaptation, I experience a mix of feelings. I can be captivated by the realisation of the world of the book through set and costume design or locations, and I can easily be emotionally manipulated by the films sound design.  But, when it comes to the screen play, I can get frustrated by changes made that take away from rather than enhance or capture the spirit of the original text.

To give an example, [spoiler alert!] Yorgos Lanthimos’s 2023 adaptation of Alistair Gray’s ‘Poor Things’ poorly represented a novel that was written in, for and about his beloved Glasgow. Glasgow does not feature in the film. Lanthimos’s Bella is child/woman who is enabled to have a second chance at life (which she grabs lustily) by the men in her life. She appears to have agency as she matures, but she has no real independence from patriarchy. However, Gray’s Bella is given the opportunity to have her say in the final part of the novel and she turns the whole narrative the reader has just enjoyed completely on its head, as she reveals herself to be a self-determined and self-made woman in charge of her own destiny. Gray also has a lot to say about the social condition of the poor in Glasgow and some of the European cities Bella travels to, and its capitalist causes; and the degradation of women whatever their social status by men, topics Lanthimos glosses over.

This is not to say that Lanthimos’s adaptation is not a good film. It is beautifully crafted, a visual treat in set and costume, and extremely well acted. But if it left you in any way dissatisfied with Bella’s narrative arc or the vacuous social politics embedded in it, my advice is to read the book.

A film adaptation that I admire greatly because of it captures the essence of the original text in film form, is John Huston’s 1987 film of James Joyce’s ‘The Dead’, the final story in Joyce’s collection of short stories, ‘Dubliners’ (1914). The film stays mostly true to the narrative and is exquisitely rendered in its 1904 Feast of the Epiphany domestic setting with all elements of the film cohering as a paean to Joyce’s melancholic novella of opportunities missed, lost loves and stasis.

The cast, led by the late, great, Donal McCann, and Angelica Huston in possibly her finest role, is mostly made up of Abbey Theatre actors who work seamlessly together to bring Joyce and adapter Tony Huston’s words to life with vigour, humour and a profound humanity.

As John Huston’s last film, which he directed attached to oxygen cylinders and via a monitor away from the action, it stands as a testament to his versatility and creativity right to the end. He died three months before its release to critical acclaim and many awards nominations and wins.

In contrast, what greater accolade can a film adaptation receive than for the writer of the original book to state the film is better! This is apparently what Mario Puzo said of The Godfather (1972) as he was in his final days having reached the age of 100 in 1999. He said he wrote the novel, a departure from his previous pulp fiction and children’s books, to get himself out of considerable debt. The book went on to sell over twenty-one million copies and was optioned for what was to become a multi-million dollar franchise with the subsequent three films of the same name.

Finally, with regard to Drift (2023), this very good adaptation captures so many aspects of this novel, not least in its wordless  first fifteen minutes as a war-displaced Liberian woman (played by Cynthia Erivo) drifts homeless and lost in her PTSD around the Greek island she has been abandoned on. Even as it condenses and changes or adds certain narrative threads, such as its emphasis on the lead character’s bond with her wayward sister, and the focus on an intimate item of clothing that symbolises both their bond and its violent loss, the film never loses sight of the book’s central tenet, that we all need someone to find us when we are lost and to hold us as we grieve.

In the Q&A that followed the screening, co-adapter, Susanne Farrell spoke of the inevitability of adding aspects of herself and her life into all her screenwriting (something Puzo also spoke of – ‘Don Corleone’ is based on his mother!). She also spoke of the need to read the novel then put it away and write the film.

To conclude, when I can, I will always try and read the book first, but I can still watch the film adaptation and enjoy it as a different art form that requires a different kind of language from the written page: the language of moving images and sounds as well as dialogue, but no less read albeit on (hopefully) the big screen of the cinema.

by LBFF’s Festival Coordinator and Programmer, Madeleine Casey

Female Strength in FIlm: Moving Beyond Stereotypes and ‘Soft Power’? 

Strength has always been a personal locus of intrigue and, to some extent, confusion wrapped up in gender binaries with sayings like “you throw like a girl” and “that takes balls” being commonplace in our culture today. To many, ‘strength’ connotes power, resilience and courage; the absence of weakness. So, with the ongoing Olympics in mind, I venture to explore what specifically female strength truly means, revealing how it has become its own discipline, driven by representations of female protagonists within film. 

While the Olympics demonstrates both physical strength in the same way for both men and women, current movements in politics have made me realise how deeply embedded in gender these notions are. Rachel Reeves in particular epitomises how when women rise up to power, and exhibit hegemonic notions of strength, they are chastised by our media and its users. So, how much of our political reality is influenced by representations within film media? 

On X, formerly Twitter, users have taken recent opportunities to share their strikingly negative views of Rachel Reeves. Common words that circulate the platform include, “abrasive”, “serious”, “lacks passion”, with one user saying she is not the “type of woman” you want in your day-to-day life. Clearly, “there is something about Rachel that makes her unlikeable”, as another writes. While many would argue these comments refer to her politics, especially following the recent commotion around certain ‘black holes’, none of these tweets made any reference to her actions as Chancellor, purely commenting on her temperament. I can’t help but wonder if these comments are influenced more by her gender, and how society expects certain genders to perform, than her politics? Think back to September last year when Sir Gavin Williamson breached bullying and harassment policies in the House of Commons. At best, he was called upon by the media, and parliament, to apologise. At worst, his character was referred to as ‘not good enough’. So, are films and a lack of independent female protagonists within action genres the reason our society holds female politicians to a different standard than their male counterparts?

Having recently watched Guy Richie’s 2023 film ‘The Ministry of Ungentlemanly Warfare’, I was particularly taken aback at the only female protagonist’s depiction of her strength, and her value for the plot, softened by her conformity to traditional notions of femininity. While her male counterparts display physical prowess, aggression and strategy, the strength of Marjoie Stewart (Eiza González) lies in her ability to network, and the particular use of her beauty. Despite her vital role, her contributions are ultimately overshadowed by the normalcy of male heroism. This trend is far from new, starkly reflected within the ‘James Bond’ franchise, and ‘Mission: Impossible’ alike, which subjugate gendered perceptions of strength into realms of common-sense culture. It is this acceptance of the ‘default male’ assumptions of power within films which seep into real-life presumptions of strength. 

Take Jacinda Adern, for example, Prime Minister of New Zealand from 2017 to 2023. Celebrated globally for her leadership during the Covid-19 pandemic, Adern exhibited female strength at its finest. Yet, she too fell victim to the cultural norms of femininity, in conflict with her role in government. In the UK, she became known as a ‘soft power’ – a term coined by Eleanor Roy from the Guardian in 2020, evolved from her ‘compassionate’ and ‘empathetic’ leadership. While the term aims to be flattering, it limits the perception of her strength, framing it as secondary to more traditionally accepted forms of power. As such, women in power are subject to representational obstacles which inhibit being seen as strong or powerful in its entirety. 

Ultimately, true strength comes from the ability to dethrone gender conventions, setting one’s own path for success no matter who they are. Films must evolve in their stagnant portrayal of female strength, recognising it as not only an extension of male heroism, but as a unique and multifaceted attribute in its own right. By doing so, cinema can more accurately reflect the diverse and profound ways in which women exhibit strength, both on and off screen.

This month’s LBFF newsletter has a report on our sensational preview screening of multi-award-winning smash hit new film, KNEECAP. We also have super exciting news of a call out for short and feature length documentary pitches. And we’re giving you the latest updates on our London Breeze Film Festival 2024 plans. To find out how you can get involved, read on.

A ‘Parful’ Night!

We had the time of our lives at the Riverside Studios last Friday evening for our sold out preview screening of KNEECAP – the multi-award-winning debut feature from Rich Peppiatt. Thank you to everyone who came and supported the last Summer Breeze event on that hot, hot summer night. You were mighty!

There was so much love and laughter in the room for the film, the Kneecap lads, and our special guests: producer Jack Tarling, actors Adam Best and Jessica Reynolds, and Q&A host, producer and festival programmer, Gerry Maguire. From the get-go, as the opening scenes leapt out at us from the big screen, everyone in the cinema was captivated by this explosively heightened comedy drama origin story of the eponymous band’s journey from West Belfast obscurity to national and now global phenomenon.

Following the screening, the audience was regaled with fascinating and funny stories of how the film evolved. You can catch the Q&A on our Instagram where you will also hear more about the not unsurprisingly unconventional working practices of the three lads in the band, Mo Chara, Móglaí Bap and DJ Próvai, who give stunning debut film performances alongside the likes of Michael Fassbender, Simone Kirby and Josie Walker.

Special mention and thanks must be given to Darragh and the team from Conradh na Gaeilge for providing a pop-up Gaeltacht which they set up in the foyer. Novices and Gaeilgeoirs (Irish speakers) alike came together to chat before settling in to watch this Irish/English bilingual film.

We’ve had Kingston University MSc students with us for the past semester lending us  marketing and events support. They did a great job of adding to the vibrant atmosphere on Friday with a superb playlist that included Kneecap’s 5* debut album, Fine Art.

Finally, thanks to Andy Gulland (andygulland.com) and Lorraine Jones for photography. To see more of their great photos from this and other Summer Breeze events, head over to our social media platforms.
If you missed our preview of KNEECAP you can catch the film before it opens across the UK on 23rd August at a preview screening with our friends at Kiln Cinema, in partnership with the Irish Culture Centre, on 13th August.

Pitch Your Documentary To The Industry!

We have a very exciting partnership and event planned with My SMASH Media for LBFF 2024.

London Breeze Film Festival (LBFF) in association with My SMASH Media has opened a call-out  for short and feature documentaries.

Five shortlisted entrants will be invited to a two-hour pitching workshop during the festival on Thursday 24th October to hone their skills before they pitch to a panel of documentary industry experts and a live audience later that day.

This is a fantastic FREE opportunity to
• refine your pitching skills
• test your idea in front of industry experts
• network with industry professionals and fellow filmmakers

And you never know where that might lead you with your filmmaking aspirations.

Timeline and Deadlines:

Deadline for receiving proposals: 8th September

Notification of shortlisted documentary makers: 25th September

Pitching Workshop and Event: 24h October

So don’t delay! Create your pitch on My Smash Media’s website and you could be on your way to LBFF 2024 and making your first or next documentary.

London Breeze Film Festival 2024 – The Latest News

As our Summer Breeze season comes to a close, the team at LBFF now have a rather sizeable mountain to climb to ensure that every one of the approximately 700 films we have had submitted is watched more than once. Please note, the late deadline has been extended to 29th July. So there is still time for you to submit your film HERE. Notification date is 1st September, after which we will announce the selected films.

Save the Date! Our industry programme will be happening on Thursday 24th October in Riverside Studios’ River Room. It will begin at 10.30am with the My SMASH Media pitching workshop, detailed above, for the five selected documentary filmmakers. It will be followed by three industry panels with industry professionals to be announced, which will take attendees through the filmmaking process from writing and directing, funding your film, and how to market and distribute your finished film. After a short break, we will reconvene for the live pitching event with our five shortlisted filmmakers in front of documentary industry experts. Finally, we will repair to the bar for a networking drinks reception before our evening screenings begin.

Watch out for further announcements next month about our Gala Opening Film (23rd October), Eco Day screenings and panels (26th October), Youth & Family Day (27th October) and two special Pay What You Can screenings of one of the most exciting feature animations of the year (26th & 27th October).

We are actively seeking sponsors, supporters and volunteers. If you would like to help us make the 9th edition of our film festival the biggest and the best to date, get in touch to find out how to below.

FILM FREEWAY SUBMISSION DEADLINES

July 29, 2024 – Late Deadline

September 1, 2024 – Notification Date

London Breeze Film Festival Dates:  23rd – 27th October 2024

Submit your film here.

GET INVOLVED WITH LONDON BREEZE FILM FESTIVAL 2024

We are looking for sponsorship and partners for our 2024 Festival in October and year-round programme over 3 dynamic and wonderful venues in London. Please share this opportunity in your networks as we have packages for local, regional and national companies who are looking to open up markets to willing and exciting new audiences. Please contact angeline@londonbreezefilmfestival.com for more information, pricing and pitch deck.

Never miss an opportunity to attend an exciting preview, workshop or film festival event with London Breeze. Sign up to our newsletter now!

This week, the London Breeze Film Festival proudly celebrates Refugee Week with a special screening of “Drift,” directed by Anthony Chen. Refugee Week, established in the UK in 1998, has a rich history of community-powered events dedicated to honouring and supporting refugees. The theme for this year, “Our Home”, calls on audiences to consider the essence of what constitutes a home, and its significance for individuals of all backgrounds. Dima Mekdad, Co-Chair of Refugee Week, explains that the celebration allows us to find “solace in our extraordinary human ability to hold grief and joy side by side”; It is in this joy in which we find resilience. 

“Drift” tells the story of an African refugee, Jaqueline, resolved to a life in isolation longing for a lost home. In her search for belonging, she finds unexpected companionship in a tour guide named Cellie. Through their bond, Anthony Chen explores how human connections transcend cultural and social barriers, ultimately eclipsing traditional values of what a ‘home’ is. 

‘Home’ is defined as “a dwelling place; a person’s house or abode; the fixed residence of a family or household.” Each understanding connotes, permanence, and a sense of inherent belonging. Initially, this definition resonated with my own perceptions. Yet, the Oxford Dictionary’s interpretation falls short of reality. Does this truly mean that immigrants and refugees lack a home? For the 448,620 refugees housed by the UK, as of 2023, the meaning of home is a far more complex than ours. In recognising this from a position of privilege, we achieve the union of joy and grief which Mekdad encourages through celebrating Refugee Week. 

When attempting to conceptualise what makes a ‘home’, several questions ran through my mind. Is it the material possessions held within a house? Is it the location? The family history and the people? Although many readers may acknowledge the latter as a key defining feature of a home, ultimately, home is a feeling unbound by linguistic or physical restrictions. 

The importance of accepting these complexities should not be understated. Black and white meanings within our language influence the way in which we perceive and treat immigrants. Without noticing, our lexis maintains the steadfast dichotomies which fragment our society. For instance, superficial connotations of ‘home’ further remove refugees from any sense of belonging here in the UK, justifying rhetoric that immigration endangers the myth of a cohesive British “culture, identity and values”, as stated by Nigel Farage in his Reform UK manifesto. 

These issues are increasingly present, and stem from stubborn understandings of what true belonging really means. It is perhaps through the evocative power of films that we can restore the human essence behind belonging, offering a nationwide antidote to the depersonalisation of refugee stories. 

In the search for a home, too often too many people look towards the destination and not the journey. Yet, nomadic or not, our homes are as mutable as our character. They fluctuate throughout our lives and are reaffirmed through social interactions and establishing a community, big or small. If ‘our home’ is where we truly belong, then it cannot fundamentally exist in isolation from the self. Home is established together and together, we belong. 

Here’s a report and photos from Wednesday night’s packed special preview of BALTIMORE and a reminder of what’s to come next week at our two Oscar Shorts Nights. We also have a sizzling sizzle reel for you to enjoy to get a flavour of Wednesday’s exciting preview event.

What a great evening we had last night at Riverside Studios for the preview screening of BALTIMORE. An enthusiastic and excited audience gathered in the downstairs cinema foyer for this preview event and to meet our special guests, the film’s directors, Christine Molloy and Joe Lawlor, and one of its stars, actor Dermot Crowley.

BALTIMORE is a thrilling 98 minutes of tightly constructed drama based around the true story of English heiress turned revolutionary, Rose Dugdale (played with great intensity by Imogen Poots). In 1974, along with three armed accomplices, Dugdale leads her renegade IRA gang on the biggest art theft in the world at that time from Russborough House, Co Wicklow. The film jump-cuts between the violent heist, the gang’s hideout, and Rose’s trajectory from reluctantly blooded fox hunter, through feminist radicalisation at Oxford, and into armed struggle against the backdrop of Bloody Sunday. This is not a biopic; rather an edge-of-your seat period drama with moments of well-placed humour, that explores questions of class, privilege, radicalisation, armed struggle and what it takes for a woman to determine her own fate for good or bad. It feels fresh, relevant and is totally gripping.

Coming direct from their Irish premiere last Friday at Dublin International Film Festival, the directors and co-star of BALTIMORE were welcomed by to the stage for a lively Q&A following the film. The directors, who also write and edit their films, gave a rapt audience insights into their creative process and collaborations with composer, Stephen McKeon (Black Mirror/KIN) and cinematographer, Tom Comerford (Aisha, Rose Plays Julie), whose aural and visual work on BALTIMORE are stunning. Dermot Crowley spoke of this being his first time directed by two people and how the pair work seamlessly to craft shots and scenes. How it was the writing that attracted him to the project as the character of ‘Donal’, an overly friendly local who draws unwitting and dangerous attention to himself from the increasingly paranoid ‘Rose’. Crowley spoke of the meticulous production and costume designs that helped him step straight into this mid-seventies world and character, enabling him to ‘be’ rather than ‘act’ in the role.

Madeleine Casey with Dermot Crowley and Joe Lawlor

LBFF curator Madeleine Casey said, “This was a thrilling night at the cinema. Not only to see such a breathtaking film from these great independent filmmakers, but to hear them and the wonderful Dermot Crowley speak so generously about their process; and to feel and hear the audience enjoy this engaging collective experience so much. Cinema is alive and kicking for sure, and long may that last.”

BALTIMORE releases in UK cinemas on 22nd March. Molloy and Lawlor also directed episodes 2&3 of the second series of Irish crime drama, KIN, which is currently available on BBC iPlayer.

It’s been an incredible year for the festival with the culmination of our new brand launch in October and the fulfilment of our goal to expand the festival to more communities and provide an even larger platform to support and showcase the newest generations of storytelling and creative expression.

We can’t thank you enough for your support over the past year and in our previous guise as Barnes Film Festival – we can’t wait to share the magic of cinema with you next year.

In the meantime, you can catch up on the latest festival updates below. As we sign off for the holidays, I wanted to wish you and yours a very happy Christmas and festival season. See you in the new year!

Sam Cullis, Festival Founder

First event as London Breeze Film Festival sold out!

We had a terrific night at Riverside Studios Hammersmith on 6th December for our sold out ‘Shooting the Breeze’ showcase, screening five new UK short films by exciting emerging talent. All five films were part of the 67th BFI London Film Festival, and included the winner of the Short Film Award, The Archive: Queer Nigerians by Simisola Akande.

We were delighted to welcome Simisola along with filmmakers, Vathana Suppiah and Daljinder Johal (director and producer of Ratthum/Blood) and Yero Timi-Biu, director of Essex Girls, to join us for a Q&A following the screening.

The filmmakers gave generously of their time and their experience to date in the film industry, speaking of the importance of teamwork, mentorship and taking risks. It was a fascinating talk much appreciated by our audience, several of whom are aspiring filmmakers. The other two films in the programme were Joe Weiland’s Gorka and Sean Lyon’s Smoking Dolphins, both adding gallows humour and distinctive voices to the programme.

Save the date for our next event

The LBFF team is working hard behind the scenes to bring you an exciting preview feature event in February. This is a film that is doing really well on the festival circuit, having premiered at the 50th Telluride, sold out at BFI LFF and is set to be a hit at DIFF. Mum’s the word at the moment but save the date: 28th February 2024, and we’ll tell you more in the New Year.

Deadline reminder for 2024 film submissions

April 2 2024: Early bird
May 19 2024: Regular Deadline
July 15 2024: Late Deadline
September 1 2024: Notification Date

A very special thank you to our London Film Academy placement film students. Good luck in your final year!

Coco Laroque Rothstein
Yasein El Saka
Nishi Jiani
Yulia Stepanova

Our filmmakers are being recognised

Helping to grow the next generation of filmmakers is central to our ethos so we are delighted to hear that Phil Dunn’s short film The Stupid Boy, which premiered at our festival in 2022, now has BAFTA and Oscar qualification for 2024. While Essex Girls, directed by Yero Timi-Biu and screened as part of our ‘Shooting the Breeze’ event in November, has been selected for Sundance Film Festival 2024. And Simisola Akande’s The Archive: Queer Nigerians has been longlisted for a BIFA award and is currently on a festivals tour in Lagos and Warsaw.

Thank you for being a part of the London Breeze Film Festival community. We can’t wait to share the magic of cinema with you.