Movies that blew us away at Leeds International Film Festival

Last month International Excellence had the pleasure of relocating to Leeds, Yorkshire's (ahem...) shining beacon of urban light, to indulge in a host of exclusive film screenings, premieres and dips into the archives of cinema. Needless to say, as people who eat, sleep and breathe film- in addition to the obligatory combination of food, dreams and fresh air- a good time was had, and had by all at that. 
With an audience of over 40,000 attending the 28th Leeds International Film Festival in November the event's position as the UK's premiere regional celebration of celluloid and digital productions is unquestionable. This time round saw arguably the most impressive list of filmmakers to date unveiling work during the 15-day marathon, too, further bolstering its status amongst the finest festivals of its kind in Europe. Public-led, with press offered seats on an 'if-it-doesn't-sell-out-basis', as you might expect from a city with one of the bluntest accents in the land, this is really about content and substance over style, and what follows is a roundup to prove it.
Concerning Violence (pictured)
Without question our favourite film from 2014's offering, whilst it's disappointing this somewhat academic video essay didn't make it into the Top 20 audience selection everyone present at Hyde Park Picture House was blown away by it. So much so this was one of the few screenings we attended that garnered audible applause as the credits rolled, and deservingly so. Narrated by Lauryn Hill in a severe, confrontational tone, the idea is simple. Explore instances wherein colonialism has been challenged through the application of greater violence than the imperialistic forces could muster, and argue that in order to end tyranny- both of the physical and economic kind- action must be taken. It's harder to think of a time we have felt more embarrassed to be white Europeans, yet the overall point is that ethnicity doesn't matter- political, moral and ethical standpoints do. 
Welcome Mr. Marshall 
Continuing the theme of imperialism, albeit on a much lighter note, here we found ourselves in a Castilian village during the inter-war period. With Spain struggling as the rest of Europe was at this time, locals begin to make preparations for visiting Americans, who are here to decide which settlements should be entitled to money from the Marshall Plan; a financial aid package offered to the countries devastated by the fallout from World War I (including the Great Depression). As such, the Mayor orders residents to begin erecting a falsified image of their village, which falls in line with what they believe the U.S. would want to see (read: quaint), acting as an amusing but poignant allegory for the loss of identity suffered by the continent as it fell under the New World's order. 
Because I Was A Painter 
Another title we feel privileged to have seen, Because I Was A Painter looks at the remarkable art works that were created secretly within Nazi concentration camps. Perhaps the most heartbreaking being those of a young girl, who melded the disturbing realities of life as it was whilst interned with a touching escapism that, if nothing else, highlights the differences between what childhood should be about, and what a childhood spent in the shadow of death is actually like. Needless to say, these macabre facilities have long-since become museums, but the fundamentals of that juxtaposition remain just as prevalent in other parts of the world- from Syria to Afghanistan- meaning this is less retrospective than it initially appears, and more an important, contemporaneous watch. 
Lessons of Darkness 
When you see Werner Herzog's name in the programme attendance is almost compulsory. And, despite the overweight chap in the seat behind deciding this was the screening that should be accompanied by a huge bag of nuts (you know who you are), the legendary director didn't disappoint. If Concerning Violence was more essay than documentary, then Lessons of Darkness is surrealist non-fiction. The soundtrack comprises a booming classical score akin to 2001: A Space Odyssey (also shown at Leeds this year just before the BFI launched it on general re-release nationwide), and the cinematography fits in with that otherworldliness as we pan across the burning oil fields of a post-Gulf War Kuwait, showcasing an environmental catastrophe in progress and the industrial fire fighters charged with trying to put out those flames. 
Vessel 
Yet more evidence to support the theory that our experience in Leeds was more thought-provoking than entertaining, Vessel tells the inspirational story of the Women On Waves charity, which embarked on a failed attempt to sail to Ireland, load up a boat with pregnant women who- for one reason or another- needed an abortion, and sail them out to international waters to perform the treatment away from the laws of government and Catholicism. Despite the plan being foiled, what followed was public activism aimed at challenging policies that restrict women's choices on whether to keep a child in nations where thousands still die from backstreet terminations, including a brave decision to inform and educate on safer methods for women to induce the process themselves.
Birdman
Shown nearly two months before it goes on general release, LIFF 28 scored something of a coup by securing the rights to screen Birdman. Boasting an ensemble cast of esteemed Hollywood players- including Michael Keaton, Emma Stone, Zach Galifianakis and Naomi Watts- it provided welcome relief from our penchant for investigations into important issues. As witty as it is mature, the premise looks at a burnt out actor who decides to direct a Broadway show in an attempt to claw back some of his former glory, largely garnered from a spell playing a superhero. The problem being his ego hasn't waned since that period, despite the fact most of the world has forgotten his name. Definitely one to watch on the mainstream circuit from 1st January- when it finally opens in Britain. 
The Boy and The World 
There was plenty of animation on offer in Leeds this time round, as ever, but none stood out as much as The Boy and The World. For starters, it looks so innocent we wanted to cry, but then it also hit harder than the majority of live action pieces could ever hope to. By positioning the viewer as the eponymous boy, we're given a view of the world from the perspective of a child, who, whilst searching for his father, comes up against many of the problems modern society faces and creates, none of which make sense through the eyes of someone yet to be corrupted or become biased, leaving right-minded audiences questioning why we can't all think like this when it comes to globalisation.