Edinburgh International Film Festival 2025
Concessions
Maz Bouzidi
Genre: Comedy, Dark Comedy, Drama, Film, Fringe Film, Satire
Venue: EIFF
Festival: Edinburgh International Film Festival
Low Down
A 90’s cult classic and contemporary film student walk into a bar…
Review
Maz Bouzidi, the film’s director, might as well say; ‘Film lovers- come to the cinema to watch a film about film lovers who work in a cinema.’ Alas that would be too easy to try and simplify the film- with identity being one of the big themes attached to the story.
The film takes place in modern society albeit having a 90’s filter and edge. We are taken to the Royal Alamo- an independent cinema that is closing after struggling to sell tickets for films such as ‘Schindler’s List: Refuelled’ and ‘Taft! The Musical’- a Hamilton rip off. It is discussed that film watching in the cinemas are not worth it when we have streaming at home which is more accessible and cheaper.
The theatre philosopher (played by Greg Roman) seems to disagree. We are taken through the auditorium where a cleaner attempts to brush popcorn into his brush pan while Philosopher rushes into a spiel about the importance of cinema. It’s gorgeous and funny and a little mad. This is helped by the jarring shots that seem rather inspired by Wes Anderson.
We meet multiple characters surrounding the theatre- but our two main protagonists are Lorenzo (Jonathan Price) and Hunter (Rob Riordan) who are long time FOH workers at the cinema. The two friends react very differently to the closure of their employment chapter at the Alamo. This is where most of the conversation about identity is brought in. Who are they outside of this consistency and what will they do now?
This is also a concern felt by their manager Luke Plimpton (Steven Ogg) who feels as mad as ‘Armond’ from White Lotus. He spends a lot of time shouting at the local hippies that loiter outside and swears at all the ignorant customers he encounters. He is the main comedic relief and is a wonderful character for the rest of them to bounce off.
We see a posthumous performance of the great Michael Madsen, playing a (almost) retired stunt man who ventures into the cinema hoping to be recognised for his latest film. He is joyful and cheeky and I’m not even sure if that’s just the character. Madsen’s last role is apt of what he is. A big name leaving a legacy behind him- but he does so while poking fun at Hollywood and being deemed a ‘legend’. Thats how legends are made.
This film is highly intelligent. The writing by Bouzidi is quick witted and deprecating. Derrick Chen’s cinematography is outstanding and it is immediately complimented by the genius editing of Erin DeWitt who seemly makes ‘Concessions’ feel like a ‘cult classic.’ It’s relatable to any one creative, a lover of films, FOH staff, people who work for the public and quite frankly, cinema goers. I have a feeling one day it will end up as cult classic- but for now it’s a precious gem that’s about to be revealed. So lets hope it’ll be coming soon to a cinema near you. And as I’ve learnt from this film, remember to be nice to the FOH team, they may be going through something…
