2025 Retrospective Highlights of Britain at Locarno Pageant

The upcoming Locarno Movie Festival in August is set to delve into British cinema with its captivating retrospective titled Great Expectations: Exploring British Post-War Cinema from 1945 to 1960. This retrospective serves as a pivotal part of the festival’s programming, drawing significant interest and excitement among attendees.

The retrospective is a significant component of the film festival’s offerings and stands out as a major attraction for many attendees. It features new restorations and rare screenings that showcase the artistry of British filmmaking. Previous seasons have honored renowned filmmakers like Douglas Sirk, while last year’s focus on The Girl with the Torch celebrated the centenary of Columbia Pictures, indicating the festival’s commitment to honoring cinematic history.

Ehsan Khoshbakht, the film curator behind the festival’s previous programming, returns this year with the Great Expectations retrospective. He shared insights exclusively with Variety about the film selections and the guiding principles that influenced his choices for this year’s lineup.

What Criteria Guided Your Film Selections?

My selection process involved several specific criteria: a) only films that are set entirely in Britain were chosen, excluding iconic works like “The Third Man”; b) fantastical premises were avoided, meaning no horror or fantasy genres; c) only contemporary films were included, steering clear of period pieces and those focused on World War II; and d) British New Wave films were also excluded. With these focused filters, the retrospective encapsulates a rich exploration of the British character and culture during the transformative years between 1945 and 1960.

How Did the War Shape British Cinema?

Humphrey Jennings’ 1945 documentary, “A Diary for Timothy,” poses a vital question: What’s next for Britain? This retrospective responds to that inquiry by tracing the fictional narrative of Timothy through 45 carefully selected films. Although the war is not depicted, its aftermath permeates each frame, as discussions among characters reflect the realities of rationing, the black market, and bomb sites. The theme of rebuilding is poignantly addressed in Muriel Field’s “The Happy Family,” which highlights the renovation and planning of the South Bank just before the Festival of Britain.

Does the Exclusion of Fantasy Mean More Focus on Social Realism?

Not at all. The films selected for this retrospective are highly stylized, showcasing the brilliance of the British studio system and the craft of genre filmmaking. “The Happy Family” stands out as a lighthearted comedy, while we also feature several gripping crime thrillers such as Basil Dearden’s “Pool of London” and Ralph Thomas’ “The Clouded Yellow.” Additionally, we are excited to present the world premiere of the 4K restoration of “Whispering Smith Hits London,” directed by Francis Searle, prior to its transformation into the horror genre.

What Influenced the Inclusion of Specific Films?

My approach involved a careful rationing of selections. We aim to present one-third major classics, such as “Passport to Pimlico,” another third comprising lesser-known works by acclaimed directors, including Alexander McKendrick’s “Mandy,” a 1953 film about a little deaf girl. The final third will spotlight British B films: modest yet well-crafted movies that exemplify the strength of British cinema during this era.

Why Are Children Prominent in This Retrospective?

Indeed, children appear prominently in this program, notably in the film “Hunted” by Charles Crichton, which holds personal significance for me as it won the Best Film Award at Locarno in 1953. This film, like “Timothy” and “Mandy,” portrays childhood amidst the ruins of postwar Britain. Furthermore, Powell and Pressburger’s “I Know Where I’m Going” opens with a striking image of a young girl crawling on the floor, symbolizing innocence and determination. This highlights another recurring theme of the retrospective: the north-south axis and the journeys undertaken by children in search of a better life.

Are All the Filmmakers from Britain?

Interestingly, many filmmakers featured in this era’s cinema were not British. A paradox of this time is that, from an external perspective, British cinema may appear insular. However, there was significant migration of talent, particularly from Central and Eastern Europe, and even from Hollywood due to the Blacklist, including notable directors like Joseph Losey, Jules Dassin, and Cy Endfield. We are proud to showcase Edward Dmytryk’s “Obsession,” which exemplifies this cross-cultural influence.

What Led to the Selection of “Peeping Tom” as the Finale Film?

“Peeping Tom” ignited a notably intense backlash from British critics, echoing a broader trend of dismissing studio filmmaking under the guise of good taste—a uniquely British phenomenon. This raises intriguing questions about what constitutes good taste in cinema. The discussions surrounding “Peeping Tom” highlight its exploration of cinema itself, marking a pivotal moment in British film history. Michael Powell’s decision to create this film independently signifies the end of an era characterized by collaborative efforts seen throughout the program, including partnerships such as the Bolton brothers, Launder and Gilliat, and the Boxs.

How Does This Year’s Collaboration Compare to Last Year’s with Columbia Pictures?

This year, I am collaborating with the British Film Institute (BFI). Most of the prints presented will come from the BFI National Archive, and their support has been invaluable, especially from key figures like James Bell and Josephine Botting. Additionally, a book will accompany the retrospective, featuring a collection of newly commissioned essays by some of the finest writers, illustrated with stills and images from the BFI collection.

This interview has been edited and condensed for clarity.

The Locarno Film Festival in Switzerland is scheduled to take place from August 6 to 16, showcasing a remarkable array of cinematic works.