I saw five screenings at the 38th Leeds International Film Festival - here are my highlights

It was right here in Leeds that the world’s first films were made by Louis Le Prince back in 1888. And more than a century later, it’s thrilling to see that the creative flame is still burning.

The organisers behind this year’s Leeds International Film Festival have brought a truly exciting mix of films to local cinemas, and I’ve spent the last few days delving into some fantastic flicks from across the globe.

The opportunity came just as we launched our new #LoveYour campaign at the Yorkshire Evening Post, that aims to celebrate all that Leeds has to offer.

I was lucky enough to take in some of the city’s most atmospheric venues, from the historic Hyde Park Picture House, the world’s last surviving gas lit cinema, to the ultra-comfortable sofa seats at The Everyman in Trinity Leeds.

The films I saw were all part of the Constellation programme, the main section of the festival, other than 1982 classic The Draughtsman’s Contract, which was a joy to experience for the first time.

From heart-wrenching dramas to powerful documentaries, these films were a reminder of the magic of cinema. Here are my highlights from this year’s festival -

All Shall Be Well - Dir. Ray Yeung, 2024

This poignant film about grief won the prestigious Teddy Award at this year’s Berlin Film Festival. It follows Angie (Patra Au) and Pat (Lin Lin Li), a lesbian couple who have lived together for years. Their fondness is made immediately apparent as the film opens with a warm family meal.

But any semblance of harmony is quickly shattered by Pat’s death, powerfully conveyed through Angie’s quiet devastation - unbearable meetings with lawyers; crying alone in a phone booth. And as if dealing with grief wasn’t bad enough, it’s compounded by the legal precarity of having no claim over the home they shared, as Pat’s brother Shing (Tai-Bo) asserts it should go to his family. This proves difficult for Angie to challenge without legal recognition of her partnership with Pat.

Visually, the film’s claustrophobic framing mirrors the family’s emotional entrapment in Hong Kong’s towering apartment blocks. But there are still moments of beauty - particularly in one tender scene where Angie and her friends scatter petals into the sea, honouring Pat in their own way.

Patra Au’s deeply affecting performance captures both Angie’s vulnerability and quiet strength. Similarly, Leung Chung Hang, who plays an empathetic grandson, adds emotional complexity and conflict.

The film gave me pause to reflect on the injustices of situations like Angie’s. It’s a sobering reminder of how marginalised people can be left unprotected, even after decades of shared love. But while the social critique is sharp, the unrelenting sadness does weigh heavy - and a few lighter moments wouldn’t have gone amiss.

Union - Dir. Stephen Maing, Brett Story, 2024

This deeply human documentary had me hooked from the start - the first frame shows an enormous cargo ship loaded with containers drifting along the water, hammering home the colossal force that is Amazon.

The film tells the story of campaigners’ efforts to become the first unionised Amazon workplace in the US, and mostly follows organiser Chris Smalls. It’s clear from the start that he’s a force to be reckoned with. Charismatic and unconventional, I found myself rooting for him at every turn - even when his tactics were unusual (distributing free marijuana to workers, for example).

But what was particularly effective about this documentary was the filmmakers’ ability to balance the David vs Goliath stakes with intimate, human moments. Chris’ home life, the camaraderie among his fellow organisers, and even their squabbles, were all captured with honesty.

The hidden camera footage from inside the warehouse is absolute gold, especially the clips with so-called ‘union busters’. As the film builds toward the vote, it plays out like a political thriller. I was on the edge of my seat. And while the victory at JFK8 is a triumphant moment, the pre-credit text hits like a gut punch. This film is inspiring, maddening, and also quite funny. I could easily have watched more - and would happily have binged this as a miniseries.

Bird - Dir. Andrea Arnold, 2024

This is a striking film that leaves a definite impression. I was quickly drawn into the world of youngster Bailey, played with remarkable subtlety by Nyika Adams, who finds solace in filming birds on her phone. She lives in a squat with her chaotic father whose latest get-rich-quick scheme involves milking a psychedelic toad to fund his upcoming wedding.

Bailey’s life is further complicated by the violence happening around her. Her peers are involved in disturbing attacks on characters living on the estate, shown through graphic phone footage. These scenes are harrowing and realistic, a reminder of the danger that permeates Bailey’s world.

Then comes Bird, played by Franz Rogowski, a mystical figure in a kilt who appears in the fields around Bailey’s estate. He’s searching for his long-lost family, but, more importantly, offers Bailey a friendship she’s never experienced before. Their unlikely duo is at the film’s heart - but the magical elements in those scenes did feel a bit heavy-handed at times.

What elevates Bird is its performances. Nykiya Adams delivers a quietly powerful performance, showing her character’s vulnerability and resilience to everything happening in this bubble. Meanwhile, her feckless but lovable dad offers much-needed comic relief without veering into caricature.

Though its absurd elements didn’t always land for me, Bird is an engaging coming-of-age story that explores family and violence with a distinctive voice. It’s messy, but so is life.

The Draughtsman’s Contract - Dir. Peter Greenaway, 1982

This gripping mystery is dark and hilarious, and was easily the best film I saw at this year’s festival. Set in 17th Century Wiltshire, it follows egocentric artist Mr Neville, who has been hired by the owner of an opulent estate to make 12 drawings of the gardens. But this commission quickly spirals into a complex web of manipulation.

It’s utterly masterful. The divine costumes and stunning cinematography were a visual feast, almost dreamlike. Meanwhile, a Purcell-inspired score by Michael Nyman was just fabulous. Even the estate itself becomes a character in the story, its ornate gardens mirroring the labyrinthine minds of the characters in the house.

Fast, witty dialogue feels like it has been plucked from a classic novel - only sharper. It is often delivered with such precision that it’s easy to miss its poison in each moment, surely warranting a second watch.

The plot itself unfolds like a puzzle - and the twist at the end is shocking, turning everything the viewer thought they knew on its head. I only regretted I had not come to this film sooner.

The Editorial Office - Dir. Roman Bondarchuk, 2024

This darkly comic drama by director Roman Bondarchuk is set in Ukraine just before the Russian invasion. It follows Yura, a young biologist photographing animals out in the wilderness. But his plans are turned off course when he spots arsonists starting a forest fire. Yura tries to alert the local paper, but finds that no one is interested in the story. What follows is an exploration of the corruption and fake news that have taken root in society.

Yura is a great protagonist - well-meaning and easy to empathise with. That’s perhaps why his journey to disillusionment resonates so well. I felt frustrated alongside him as he discovered that, in some circles, truth is largely irrelevant.

Visually, the film is stunning, with wide, sweeping shots of desolate landscapes. The distant fire that smoulders on the horizon is the perfect metaphor for the looming spectre of war.

But despite its heavy themes, The Editorial Office manages to balance its bleakness with an absurd sense of humour. I was lucky enough to hear Bondarchuk and writer Alla Tyutyunnik talk after the film, offering a greater insight into their concerns about misinformation. This was a thought-provoking and funny watch, and it left me with a definite sense of unease about the fragility of truth.

We’re writing a love letter to Leeds - here’s how you can get involved

We’ve launched our new #LoveYour campaign to celebrate the amazing local businesses, people, places and quirks that make Leeds so great.

The campaign, which comes in the run-up to the festive season, will be a love letter to the city as we focus on everything from amazing pubs to top notch chippies, from the most beautiful walks to family favourite attractions.

Our reporters are out and about experiencing the community afresh and reporting back, but we also need you to share your top local tips. If you #LoveYour - we want to know what and why.

Let us know what you think makes Leeds special by emailing [email protected].