The 67th BFI London Film Festival, which is scheduled to be presented over twelve days from 4 to 15 October 2023, has announced the full programme line-up.
The London Film Festival will invite audiences to return to its flagship venues in the heart of London – BFI Southbank and the Southbank Centre’s Royal Festival Hall – which between them host Galas, Special Presentations and Official Competition.
The festival will present a diverse programme of films, shorts, series and immersive works from 92 countries, featuring 79 languages playing across the 12 days of the festival. This includes 99 works made by female and non-binary filmmakers – 39% of the programme.
Every feature and series will screen to audiences in the UK for the very first time, with many shown publicly for the first time ever anywhere in the world. Premieres include 29 World Premieres (14 features, 2 series and 13 shorts), 7 International Premieres (6 features and 1 short) and 30 European Premieres (22 features, 1 series and 7 shorts).
This year’s Opening Film will be the International Premiere of Saltburn, directed by Emerald Fennell, which will screen simultaneously at selected cinemas across UK. The festival will close with the World Premiere of Kibwe Tavares and Daniel Kaluuya’s dystopian drama, The Kitchen.
Please take a look at the full lineup below and check out more information about the festival here.
HEADLINE GALAS
Opening Night Gala: SALTBURN (UK, dir.-scr. Emerald Fennell)
Closing Night Gala: THE KITCHEN (UK, dir. Kibwe Tavares, Daniel Kaluuya)
American Express Gala: ONE LIFE (UK, dir. James Hawes)
The Mayor of London’s Gala: CHICKEN RUN: DAWN OF THE NUGGET (UK, dir. Sam Fell)
Cunard Gala: THE HOLDOVERS (USA, dir. Alexander Payne)
ALL OF US STRANGERS (UK, dir.-scr. Andrew Haigh)
THE BIKERIDERS (USA, dir. Jeff Nichols)
THE BOOK OF CLARENCE (USA, dir.-scr. Jeymes Samuel)
THE KILLER (USA, dir. David Fincher)
KILLERS OF THE FLOWER MOON (USA, dir. Martin Scorsese)
MAESTRO (USA, dir. Bradley Cooper)
MAY DECEMBER (USA, dir. Todd Haynes)
NYAD (USA, dir. Elizabeth Chai Vasarhelyi, Jimmy Chin)
POOR THINGS (UK, dir. Yorgos Lanthimos)
SPECIAL PRESENTATIONS
BFI Patron’s Special Presentation: THE END WE START FROM (UK, dir. Mahalia Belo)
Series Special Presentation: GRIME KIDS (UK, dir. Abdou Cisse)
BFI Flare Special Presentation: HOUSEKEEPING FOR BEGINNERS (North Macedonia-Poland-Croatia-Serbia-Kosovo, dir.-scr. Goran Stolevski)
THE BOY AND THE HERON (Japan, dir. Hayao Miyazaki)
COBWEB (South Korea, dir. Kim Jee-woon)
FALLEN LEAVES (Finland, dir.-scr. Aki Kaurismäki)
FOE (Australia, dir. Garth Davis)
HIT MAN (USA, dir. Richard Linklater)
LES INDÉSIRABLES (France-Belgium, dir. Ladj Ly)
MEMORY (Mexico-USA-Chile, dir.-scr. Michel Franco)
OCCUPIED CITY (UK-Netherlands, dir. Steve McQueen)
PRISCILLA (USA-Italy, dir.-scr. Sofia Coppola)
THE ZONE OF INTEREST (USA-UK-Poland, dir.-scr. Jonathan Glazer)
LFF AWARDS
OFFICIAL COMPETITION
BALTIMORE (Ireland-UK, dir.-scr. Christine Molloy, Joe Lawlor)
DEAR JASSI (India, dir. Tarsem Singh Dhandwar)
EUROPA (Austria-UK, dir.-scr. Sudabeh Mortezai)
EVIL DOES NOT EXIST (Japan, dir.-scr. Ryusuke Hamaguchi)
FINGERNAILS (USA, dir. Christos Nikou)
GASOLINE RAINBOW (USA, dir.-scr. Bill Ross IV, Turner Ross)
I AM SIRAT (Canada, A COLLABORATION BETWEEN DEEPA MEHTA AND SIRAT TANEJA)
THE ROYAL HOTEL (Australia, dir. Kitty Green)
SELF PORTRAIT: 47 KM 2020 (China, dir. Zhang Mengqi)
STARVE ACRE (UK, dir.-scr. Daniel Kokotajilo)
TOGETHER 99 (Sweden-Denmark, dir.-scr. Lukas Moodyson)
So, Kajol and Twinkle Khanna’s show, Two Much, is already near its fourth episode. And people keep asking: why do we love watching stars sit on sofas so much? It’s not the gossip. Not really. We’re not paying for the gossip. We’re paying for the glimpse. For the little wobble in a voice, a tiny apology, a family story you recognise. It’s why Simi’s white sofa mattered once, why Karan’s sofa rattled the tabloids, and why Kapil’s stage made everyone feel at home. The chat show isn’t dead. It just keeps changing clothes.
Why Indian audiences can’t stop watching chat shows from Simi Garewal to Karan Johar Instagram/karanjohar/primevideoin/ Youtube Screengrab
Remember the woman in white?
Simi Garewal brought quiet and intimacy. Her Rendezvous with Simi Garewal was all white sets and soft lights, and it felt almost like a church for confessions. She never went full interrogation mode with her guests. Instead, she’d just slowly unravel them, almost like magic. Amitabh Bachchan and Rekha, they all sat on that legendary white sofa, dropping their guard and letting something real slip out, something you’d never stumble across anywhere else. The whole thing was gentle, personal, and almost revolutionary.
Simi Garewal and her iconic white sofa changed the face of Indian talk showsYoutube Screengrab/SimiGarewalOfficial
Then along came Karan Johar
Let’s be honest, Karan Johar changed the game completely. Koffee with Karan was the polar opposite. Where Simi was a whisper, Karan was a roar. His rapid-fire round was a headline machine. Suddenly, it stopped being about struggles or emotions but opinions, little rivalries, and that full-on, shiny Bollywood chaos. He almost spun the film industry into a full-blown high school drama, and honestly? We loved it up.
Kapil Sharma rewired the format again and took the chat show, threw it in a blender with a comedy sketch, and created a monster hit. His genius was in creating a world or what we call his crazy “Shantivan Society” and making the celebrities enter his universe. Suddenly, Shah Rukh Khan was being teased by a fictional, grumpy neighbour and Ranbir Kapoor was taunted by a fictional disappointed ex-girlfriend. Stars were suddenly part of the spectacle, all halos tossed aside. It was chaotic, yes, but delightfully so. The sort of chaos that still passed the family-TV test. For once, these impossibly glamorous faces felt like old friends lounging in your living room.
Kajol and Twinkle’s Amazon show Two Much feels like friends talking to people in their circle, and that matters. What’s wild is, these folks aren’t the stiff, traditional hosts, they’re insiders. The fun ones. The ones who know every secret because, let’s be honest, they were there when the drama started. On a platform like Amazon, they don’t have to play for TRPs or stick to a strict clock. They can just… talk.
People want to peep behind the curtain. Even with Instagram and Reels, there’s value in a longer, live-feeling exchange. It’s maybe the nuance, like an awkward pause, a memory that makes a star human, or a silly joke that lands. OTT gives space for that. Celebs turned hosts, like Twinkle and Kajol in Two Much or peers like Rana Daggubati in Telugu with The Rana Daggubati Show, can ask differently; they make room for stories that feel earned, not engineered.
How have streaming and regional shows changed the game?
Streaming freed chat shows from TRP pressure and ad breaks. You get episodes that breathe. Even regional versions likeThe Rana Daggubati Show, or long-running local weekend programmes, prove this isn’t a Mumbai-only appetite. Viewers want local language and local memories, the same star-curiosity in Kannada, Telugu, or Tamil. That widens the talent pool and the tone.
From White Sofas to OTT Screens How Indian Talk Shows Keep Capturing HeartsiStock
Are shock moments over?
Not really. But people are getting sick of obvious bait. Recent launches lean into warmth and inside jokes rather than feeding headlines. White set, gold couch, or a stage full of noise, it doesn’t matter. You just want to sit there, listen, get pulled into their stories, like a campfire you can’t leave. We watch, just curious, hoping maybe these stars are a little like us. Or maybe we’re hoping we can borrow a bit of their sparkle.
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