Supervising Producer
An aspiring Broadway singer is convinced to participate in a small-scale production for her local Christmas celebration. Along the way, she finds hope and unexpected mentorship towards her dream career. But will her professional success come at the cost of her chance at love?
Associate Producer
Janie, a rising marketing executive living in The Big Apple, returns to her hometown of Woodland Falls when her Great-Uncle Randall passes away. Randall has even arranged for his farmhand, Dylan to help at the event, which is being held in the farm’s sprawling barn. Aware that her Manhattan boyfriend is anxious for her to return to the city so the pair can jet off to a previously planned holiday on the beach, Janie begins to feel an unexpected emotional tug about living life in a more authentic, meaningful way.
Associate Producer
An actual princess has some mechanical issues and is temporarily grounded. Does she have time for a lobster roll? It is Christmas time in Maine which means snow, quaint scenery, and lots of Christmas lights near the ocean. With the crew distracted attending to the repair, Princess Amelia deplanes to walk through a magical Christmas tree lot near the airport perimeter.
Supervising Art Director
A priceless relic is stolen from identical royals Queen Margaret and Princess Stacy, who enlist the help of their sketchy look-alike cousin Fiona Pembroke to retrieve it.
Art Direction
Frankie Boyle is Harvey Higgins in a comedy about how conquering your demons might not always produce the desired results. Harvey is given an ultimatum by his wife - refrain from drinking alcohol on a business trip or return to an empty house. Will Harvey be able to save his marriage?
Producer
Documentarian Paul Kelly returns to the festival with his latest collaboration with the band Saint Etienne, following the loose trilogy of London films Finisterre, What Have You Done Today, Mervyn Day and This Is Tomorrow, all recently published on BFI DVD. In the decade since Finisterre Kelly has built a reputation as a distinctive voice in British cinema, developing a lyrical style that draws on the psychogeography and people of the city and its culture. How We Used To Live is effectively a prequel to Finisterre, a meditation on London life today and a glance back at a receding Britain. Using colour footage from the 1950s to the 1980s, taken from the BFI National Archive, the film covers the ‘New Elizabethan’ age from the optimism of the post-war era to the dawn of Thatcherism. Soundtracked by Saint Etienne’s Pete Wiggs and scripted by the band’s Bob Stanley with Travis Elborough, the film is for anyone who has ever tried to understand their city. (Source: LFF programme)
