1 World 100 Lonely, a new film by Brian McGuire
...the two greatest tragedies in life are getting what you want, and not getting what you want: this is a paradox that lies at the heart of Brian McGuire’s 1 World 100 Lonely... Review
It has been said that the two greatest tragedies in life are getting what you want, and not getting what you want: this is a paradox that lies at the heart of Brian McGuire’s 1 World 100 Lonely, a wonderfully heart-breaking film that explores love and human relationships from a fresh perspective.
McGuire portrays a variety of experiences that many of us will be able to empathise with – the realization that someone may not be all that you had hoped, or may be more – that the ones you love have the power to plunge you into or pull you out from the depths of internal turmoil; through two interconnected storylines, we follow five characters as they try to figure out that elusive little thing called love.
Shot entirely on a mobile phone, the action feels natural and spontaneous with a gritty, documentary-like edge; although the frequent, shaky close-ups can be jarring at times, 1 World 100 Lonely is the perfect antidote to the clean-cut, mass produced romantic flicks churned out by mainstream media. The film’s emotional undulations are perfectly underscored by an original soundtrack (free to listen to and download on SoundCloud), courtesy of LA electro mellow punk group Haxsaw & Dugin, of which Brian McGuire is also a member.
Lead actors Robert Murphy, Lara Heller, Farah Moans and Mark E. Fletcher are so relaxed in their roles that the fictitious nature of the film is easily forgotten. The dialogue feels natural and unrehearsed in the best possible sense of the word, understandable yet impressive considered in light of the fact that there was no script.
A particularly noteworthy exchange takes place early on in the film between RexMen (Robert Murphy) and his long distance love interest Nosaneen (Lara Heller). We watch a head on collision as conflicts of interest and cultural differences become increasingly evident; a mesmerising train-wreck, each character tries in vain to express what they had hoped from the other. Metaphorical expression “we’re jumping on a bridge before we get to the river” is interpreted literally as “bungee jumping and a sense of adventure” – “I’m crazy for coming here” is met with “I’m crazy about you too”; Murphy and Heller exemplify the sad reality that the way we see or hear things is often clouded by our own hopes and desires, and that other people are flawed vessels into which we often place fragile and misguided expectations.
The film’s universal appeal lies in its acknowledgement and interpretation of the idea that to love and to be loved is the greatest happiness of existence – ultimately, we are all just lonely hunters looking for a connection to help ease our days away. Whether you are lucky enough to have found your significant other, continue to search, or exist blissfully in singularity (like me!), this film is definitely worth a watch.
4/5
1 World 100 Lonely premieres on Monday 28th September at the Raindance Film Festival, available to view again on Friday 2nd October.
Arcade Fire: The Reflektor Tapes
This September, Arcade Fire are offering fans a unique insight into the making of Reflektor, their most recent, critically acclaimed international bestselling album.
This September, Arcade Fire are offering fans a unique insight into the making of Reflektor, their most recent, critically acclaimed international bestselling album. Featuring 20 minutes of previously unseen footage as well as an unreleased track, The Reflektor Tapes will be screened in cinemas for a limited time, unveiling the sights behind the sounds that we have loved since Reflektor’s release in 2013.
Directed by award winning LA based filmmaker Kahlil Joseph, the film recontextualizes the album experience, transporting the viewer into a kaleidoscopic sonic and visual landscape. Meeting at the crossroads of documentary, music, art, and personal history, it promises to be a unique and authentic cinematic experience; with Arcade Fire granting previously unprecedented access to Joseph, fans can expect a truly honest and intimate glimpse into the lives of the Canadian indie rockers.
“There were parts of the Reflektor tour where I think we, Arcade Fire, came the closest in our careers to putting on stage what we imagined in our heads. We were insanely lucky to have Kahlil Joseph documenting from the very beginning."
Until The Reflektor Tapes opens in cinemas on the 24th of September, fans can appease themselves with the newly released exclusive music video for the track ‘Porno’, created by Kahlil Joseph and featuring footage from the film.
Cinema listings and tickets available soon at: TheReflektorTapes.com
AMY
A review of the biopic film featuring the infamous jazz vocalist.
‘When I tell people what I am, I say I am not a singer, I’m a Jazz singer,’ Amy sets straight in her ballsy attitude in a short candid clip of her practicing in a studio. That sets the tone of the film directed by documentary filmmaker Asif Kapadia. First and foremost her love of music particularly Jazz which framed her style and a compillation of short candid videos all merged together seamlessly, bounded by the story of a young Jewish girl’s rised to stardom and fame and the tragic pitfalls that consumed her life and eventually took it away. The film itself was first debuted at a late night screening at this year's Cannes and has since snowballed from indie flick into one of the most anticipated biopics to hit the screens this year.
Image via clickypic.net
The videos are led by interviews of famous names who had been touched by the late songstress and the characters that framed her career, from the narration of her childhood friends Juliette Ashby and Lauren Gilbert who stood by her throughout her success and recognition, her father Mitch who plays a key storyteller in this biopic, to her former manager Raye Cosbert, her musical collaborators friends, Mark Ronson and Tony Bennett, to name but a few, as well as conversations with her ex-husband Blake Fielder-Civil, with whom Amy had developed her tumultuous relationship with drugs and alcohol.
It was easy to assume that before watching the film there would be an element of pure tragedy as Amy’s life and death was so readily noted in the media, this is true but there is also a component of good that this film delivers too. It is Amy’s side of the story from beyond the grave. It is told mostly through her voice, whether it be through her melancholic lyrics of depression and love loss or her ability to be a young silly girl, talking in accents, showing her affection to her closest friends in her personal voicemails she had left them which the film offers so honestly. She is also shown to be hilariously fun to be around, with her blunt tongue and wicked sense of humour, which she showed in one piece of archive footage of an interviewer who tried comparing her to singer Dido, her facial expression of complete disapproval lit the whole cinema with laughs.
What is clear to suggest from the way Amy acted in her short life, was that she was grieving a pain that went unnoticed for most of her life, a pain that was disguised and fuelled later on with men, drugs and alcohol and that her initial complexity was with her family separation at a young age between her mother and father. This issue is something a lot of a young people can relate to, but the real tragedy that the film uncovers was her continuous secret battle with bulimia and the painful affects this had on her body, which proved ultimately to be a key contributor in her death at the age of twenty-seven.
Amy’s private vulnerability and personal struggles did not always get the better of her, as she successfully channeled these into her craft, her timeless lyrics, five Grammy wins and forging the world famous albums Frank (2003) and Back to Black (2006) consecutively as well as stand alone singles that will live forever such as Rehab and Love is a Losing Game. In the end, what the film shines a light on is the idea that Amy was a legend of our time who helped bring classic jazz to the forefront of popular culture, the unique old-school jazz stylings of her voice were epitomised by the legendary Tony Bennett himself when he says at the end, ‘Amy was up there with Billie holiday and Ella Fitzgerald,’ which was a very true comparison and a contrast that has proved since her death to be a voice that will live on with us far longer than her life.
If you haven’t already, watch Amy at your nearest cinema. My personal recommendation, check it out in the intimacy of the Electric Cinema in Shoreditch.
Amy was released in UK cinemas 3rd July 2015.
The Directors we loved at this year’s Cannes festival
Here is a compilation of some of the most anticipated directors acknowledged this year.
Emmanuelle Bercot. Photo via www.notrecinema.com
This year’s Cannes film festival showcases the works of some remarkable directors and directorial debuts. As part of their ‘Director’s fortnight’ film list, the independent section running parallel to the festival, highlights the directorial talent in feature film, documentary and shorts. One of the most significant progresses has been the achievement of more female directors recognized for their work. Here is a compilation of some of the most anticipated directors acknowledged this year.
Standing Tall. Photo via www.screedaily.com Opens 13th May 2015
Emmanuelle Bercot
One of the many female star-directors pinned to be this year’s main attraction of the festival. Her French feature, Standing Tall has already received global attention and will be the festivals opening night selection. Bercot has already made a name for herself as a successful actress and with Standing Tall she has added successful director under her belt too. Bercot’s social realist drama tells the story of a troubled teenager Malony (Rod Paradot), who is ordered to straighten out his act by a judge. The film deals with issues of the governmental system that is designed to help kids like Malony collides with his changing personality and problems about family dysfunction. Young convincing Paradot debuts his acting for the first time and arguably steals the show in his emotional and unsettling performance alone. This film has already raised comparisons to the Dardeene brothers who have been acclaimed for their achievements in social realism drama, proving Standing Tall is in fact towering over the film selection at this years Cannes and due to be a success nationwide.
Philippe Garrel. Photo via doctorbcinema.wordpress.com
Philippe Garrel
In the Shadow of Women opens May 14th 2015 | Photo via blogs.indiewire.com
French director Garrel takes direction from 60’s new wave cinema in his infidelity drama, In the Shadow of Women. The film shot in black and white centers on the relationship between a documentary-making couple. It is a power balance dictated by the husband Pierre who begins an affair, leaving wife Manon ‘in the shadow.’ Garrel delivers a new take on romance articulating the strange ways we follow desire and lust. There is something to be said about the French acclaimed directors leading this years festival in that their style and their quality never fall short on delivering to the audience even more so in their native France.
A Tale of Love and Darkness opening date TBA | Photo: www.sandiegored.com
Natalie Portman
The Oscar-winning actress makes her directorial debut about the birth of the state of Israel in her film, A Tale of Love and Darkness. The Israeli-born star brings Amos Oz’s international bestseller to the big screen and tells the tale of a boy coming of age in the tumultuous period before and after Israel’s independence from British order. The film shows the complexity of the Arab-Israeli conflict that has rarely been touched upon in Hollywood before. Portman also stars in and wrote the screenplay adaptation of Oz’s work proving her potential behind the camera is just as impressive as in front.
Rick Famuyiwa. Photo via www.tribune.com.ng
Rick Famuyiwa
Famuyiwa introduces his new feature Dope debuting the multi-talented hip-hop artist A$AP Rocky as well as many other well-known names in the music industry. Dope has been making waves since its premiere at Sundance and has since gained a massive following. The film tells the story of young Malcolm (Shemeik Moore) surviving high school in the tough neighbourhood in Los Angeles. He gets invited to an underground party by chance which unfolds his adventure that could allow him to being accepted as cool or ‘dope’ by his peers but ultimately is a story about self-discovery and self-acceptance. Dope is a film for this generation loaded with 90’s hip-hop reference and cleverly stylised to be a fresh urban take on teenage-hood, it most certainly will have no trouble finding its audience once it is released worldwide.
Dope opens on June 19
Check out the full programme of films and directors exhibited at Cannes Film Festival 2015 and The Director Fortnight section
‘Voguing’ through NYC subways in this gritty new film by Clayton Vomero
NYC based filmmaker Clayton Vomero introduces his raw short GANG, following the day in the life of three friends as they rap, sing and vogue their way around Staten Island.
NYC based filmmaker Clayton Vomero introduces his raw short GANG, following the day in the life of three friends as they rap, sing and vogue their way around Staten Island.
The 17-minute film features Mela Murder and Denasia Moore, two members of the Major Lazer dance team. Ghostface Killah’s son, Infinite Coles, plays the third friend. Together, the three friends in their gang shed light on youth culture and what it means to grow up in electric and gritty New York City, with particular focus on ‘voguing’ culture.
Voguing is a stylized form of house dance characterized by model like poses of linear arm and leg movements arising from Harlem ballrooms by African and Latino Americans. It is Mela Murders character that boldly takes the lead in this contemporary articulation of voguing and its significance on expression.
According to Clayton, the inclusion of dance in his film was a medium used by the characters to express their confidence despite the many social restraints imposed on them. In an interview Clayton remarks; ‘It’s a story about people; it’s not about being gay, or black, or poor or dancing. It’s just about being a person and looking for other people like you. The beautiful thing about Mel, Inf, and D’s friendship is that they help each other to be their most confident selves. They don’t look to each other for approval; they encourage each other to be who they are. I think voguing is just an expression of confidence for them.’
The film itself is heavily urbanised with contemporary dance and Lo-fi music playing an intrinsic part in forming the narrative as well as the very real-to-life dialogue that takes you right back to being a teenager. The film deals with themes of identity and social circumstances with the idea that you can make the most of whatever you have. The friends in the film are restrained economically, but they do not allow this to affect their experiences as a young person living in New York, and together they grow their own confidence performing carefree through the city with no feelings of burdens or barriers. Through the course of living out their life they deal with personal issues about love and friendship, encouraging each other to be strong individuals.
If any young person were to watch anything of significance in their life, GANG is sure to be right up there as a film for this generation and undoubtedly the film of the year for any young New Yorker and those wishing to recount their childhood. It is a film that is about growing, giving so much of itself as a film to the audience in terms of its moral and its authenticity, which makes it all the more exciting to know of Clayton’s plan to transform this short into a feature length film. Watch out for Clayton’s next film and if you haven’t already checked GANG you can preview it through this link.
The Outdoor Cinema presents films under the Shoreditch stars
The Outdoor Cinema Company promises to be the new edition in line of al fresco stargazing cinema watching, dubbing themselves as ‘The best Outdoor Film experience in the UK.’
We’ve all heard of your Secret Cinema, Hot tub cinema, Pillow cinema and all the other assortment of companies showcasing your beloved movies in remarkable spaces.
Now as the summer season is approaching, The Outdoor Cinema Company promises to be the new edition in line of al fresco stargazing cinema watching, dubbing themselves as ‘The best Outdoor Film experience in the UK.’
The concept works similarly to the rest, remaining tight-lipped about the program of films that will be screened in the aim of surprising viewers. The films will be screened at night to the backdrop of the glistening stars promising to offer a dynamic and enchanting cinematic experience. The company has organized its UK tour stopping and setting up cinemas in multiple cities and towns from Bristol to Bradford to Lincolnshire and London.
The London event will take place on the 5th June and tickets will be made available when registering at The Outdoor cinema website and information about films will be divulged at a later date.
But for now, if the idea of paying in excessive amount for tickets to watch a film seems like an unappealing prospect. Recently, The Secret Cinema defended its £75 ticket price tag for their latest Star Wars installment. The next logical step would be to register and sign up for more feasible options like The Outdoor Cinema and experience a refreshing approach of viewing movies.
Register and Sign up for tickets and further information: The Outdoor Cinema Company
Image taken from Outdoor cinema instagram
Tribeca Film Festival 2015
Artists, innovators and film enthusiasts all gather for NYC’s 10th annual Tribeca Film Festival.
Daniel Arsham ‘Future Relic 03’ Photos by James Law
The tenth annual Tribeca Film festival presented by AT&T took off last Thursday in the Tribeca district of Manhattan in New York City.
The film festival was founded in 2002 by Jane Rosenthal, Robert De Niro and Graign Hatkoff with the aim of celebrating New York City as a major filmmaking center.
Tribeca runs from the 16th April until the 25th April with an overwhelming compellation of events, talks, screenings, exhibitions and discussions guaranteed to satisfy all film fanatics.
This year’s film line-up represents a significant landmark in Tribeca’s fourteen year history with 40 of the 119 feature-length films directed by women and even more significant for Tribeca, 11 of those 40 women are from New York City. This is an increasingly relevant subject, which references the surge in female filmmaking over the recent years. (see also, Rooms 17 Presents: A female Perspective in Film)
Staying with the feminism theme, documentary ‘Code: Debugging the Gender Gap’ will feature in the film festival. Code is a documentary exposing the shortage of American female and minority software engineers and explores the reasons for this gender gap. Code raises the question: What would society gain from having more women and minorities code?
One of the biggest names to feature in this year’s line-up is a talk by Courtney Love who discusses the impact of watching the documentary movie about her late husband Nirvana front man Kurt Cobain, ‘Montage of Heck’. Love discusses the personal effects this film has had on her views about her late husband’s suicide, which is compiled of journals, photography, songs, recordings and artwork from the 90’s rock icon.
Another highlight comes from the Star Wars mastermind himself, George Lucas who candidly talks about the newly released trailer for the latest edition in the Star Wars franchise; ‘Star Wars: The Force Awakens.’ The creator discusses informally as part of this year’s Tribeca Talks Series.
Deviating from the Hollywood blockbusters, Tribeca exposes audiences to the complex world of abstract filmmakers like Daniel Arsham, who has built his career combining art, performance, architecture and film in his short ‘Future Relic 03.’ ‘Future Relic’ is a series of shorts with the concept depicting a future civilization at various points before and after a major ecological change on Earth. In his latest project ‘Future Relic 04,’ Arsham shoots his film inside a space shuttle set. Arsham’s film will premiere as part of the shorts program entitled ‘Gallery Opening’ at the Tribeca Film festival.
There will also be the Artists Award Gallery Exhibition, which showcases the works of world-renowned artists who create and donate works to be presented to the Tribeca Film festival’s award winners.
Tribeca promises to be the platform of future film making and viewing, exploring, educating and exposing audiences to the next big thing to come out in cinema in the all inspiring backdrop of NYC. More importantly, you don’t need a special VIP invitation, you just need to be available and in New York to purchase your reasonable festival pass and begin exploring all that the festival has to offer.
Tribeca Film Festival 2015 | Image taken from the Tribeca Film Festival website
Hackney-made acrobatic expression of ‘Bromance’
Bertil Nilsson’s new short film ‘Bromance’ tells a story of brotherly affection through the artistic movement of acrobatic dance.
Bertil Nilsson’s new short film ‘Bromance’ tells a story of brotherly affection through the artistic movement of acrobatic dance.
Swedish born Nilsson collaborated with the award winning, experimental acrobatic company, Barely Methodical Troupe, to create this 3-minute short.
Nilsson describes his film about the exploration of “…intimacy of physical interaction between guys; of their bromance. The concept of the film was to set something unusual in the real world, almost a documentary in the most abstract of senses.”
It’s refreshing to watch the affection of three men depicted through this close union of dance moves that interlace with each other to create this free flow choreography.
The familiar East London streets of Hackney where the boys relay their professional dance routine gives this film its contemporary edge, which paired with the theme of the film, translates as a beautiful and modern depiction of love and friendship.
Nilsson is used to pairing dance with film, as a trained photographer, he shot his collection ‘Naturally’ based on contemporary dance expressions in natural surroundings.
There is a level of purity in Nilsson’s work in his natural subjects and themes, which elevate its beauty and resonates with its audience. After watching ‘Bromance’, it left me with a profound feeling of togetherness you cannot find easily with just anything.
Watch Bromance and check out Bertil Nilsson’s photography collection
Images via Bertil Nilsson website
Simon Payne’s NOT AND OR to screen at Close-Up Film Centre
On the 16th April the Close-up Film Centre in Shoreditch will play host to a night of weird and wonderful digital creations by abstract filmmaker Simon Payne.
On the 16th April the Close-up Film Centre in Shoreditch will play host to a night of weird and wonderful digital creations by abstract filmmaker Simon Payne.
Close-Up is committed to supporting and developing the exhibition of independent and experimental cinema, focusing on the cross over between the arts and film culture.
The night is part #4 of their Teaser Screening series of videos. Simon’s film ‘Not And Or,’ will be screened last along with some of his other digital exerts such as, ‘Colour Bars’ and ‘Cut Out.’
The films all turn on the concept of indefinite qualities of images, colour, shapes and sounds from shot to shot or moment-to-moment. Hence, his erratic film making style, which sees Payne subvert the ideas of what we think we see by manipulating time and space.
In ‘Not And Or’, we see black and white quadrilaterals spinning in virtual space that alternate with the same static shapes re-filmed from screen in real space. The second half of the piece is the same as the first, but flipped, reversed and re-filmed again, through successive generations – adding while taking away.
The program includes pieces from 1997 to 2014, from observational films to hard-edge abstraction primarily focused on experimental video, promising to open up your mind to the different dimensions at the interface of digital design.
The screening is a futurist’s call for new autonomous cinema for the modern age, helping to merge the lines between artistic mediums of art and film. The event ultimately calls upon us the viewers to debate the notion of what we consider as art and the question: Can video installations be considered a form of artistic expression in the same way film is?
Expand the realm of art in this rare screening of mind-altering digital videos. Alternatively, invest in a worthy membership at the Close-Up Film Centre that allow committed film enthusiasts to raid their huge archive of experimental and independent films and discount admission on film screenings.
Shorts On Tap present WOMEN IN REVOLT
There doesn’t need to be a special day to celebrate the talents and triumphs of women, particularly in film. As this event proves in every essence, celebrating the theme of women by female filmmakers.
The Art of Female-film-making
On April 6th Shorts On Tap will present its first recurrent series: Women In Revolt in London’s Stow Film Lounge. This will be the first of three screenings that will take viewers on an exploration into female-film-making. The programme is in collaboration with Club Des Femmes: a positive female space for the re-examination of ideas through art and is funded by Film London’s Boost Award.
The night promises to deliver the best of female film- making talent with a selection of extraordinary work depicting, challenging and describing every essence of womanhood.
The series also investigates the female form and the casual use of female nudity that is a topic silenced by our generations commodification over sex and sexuality. This event aims to give power and ownership of the female body back to the women who possess them.
But this is not a warning to men, who are welcome to join women on this emblematic march for equality through film.
The first chapter of the series The Chase focuses on the pursuit of a normal childhood. The transition into womanhood and the interior conflicts and challenges encountered along the journey. Chasing happiness, normality and dreams as well as being chased.
As always with Shorts On Tap, the films will be unveiled on the night and after the films have been screened there will be a platform for discussion and Q&A with the films directors and guest speakers.
Apart from a guaranteed good night out it will be an amazing opportunity to watch some radical independent films, debate social and political ideas and pave the way for more female recognition in the film industry.
What more could you be doing that evening?
Films screening start at 8pm. Show ends approximately at 10pm
RSVP & tickets | Apr 06 2015 20:00 - 22:30 | Stow Film Lounge
Orford House Social Club 73 Orford Road Walthamstow London E17 9QR , E17 9QR London
The Outside In by Director Tristan Shepherd
Tristan Shepherd’s independent short film, The Outside In centred on domestic abuse between a father and his daughter. We had the pleasure to interview the promising director on breaking boundaries in cinema and the magic of shorts.
Last month at the renowned café 1001 in Shoreditch I came across a short film event by Shorts on Tap where I was captivated by Tristan Shepherd’s independent short film, The Outside In centred on domestic abuse between a father and his daughter. Recently, I had the pleasure to chat closely with the promising director himself about his film that is breaking boundaries in cinema and the magic of shorts.
Hello Tristan,
Your film The Outside In deals with the serious topic of domestic abuse, is it something that is personal to you, how did you come to making a film about that issue and what kind of research did you have to undertake before filming?
Thankfully, I have never had a personal experience with domestic abuse and I can never claim to know what victims go through because I made a film about it. This lack of personal experience meant it was essential for me to look very carefully at the subject so I could bring some truth to it.
Of course, it’s impossible to encompass all the details and complexities of a situation like this in a 20-minute film so what Benjamin Noble (screenwriter) and I zeroed in on was the topic of Stockholm syndrome. We were really interested in why a domestic abuse victim doesn’t just leave when the opportunity for escape consistently presents itself? What kind of coping behaviours and relationships develop in order to survive and ultimately what eventually breaks this spell and allows someone to say enough is enough.
The case of Natascha Kampusch was a big influence on the piece.
The film is visually stunning, some can see the broken down walls as a metaphor for the transparent perception of domestic abuse and the fact that it is happening but it is not physically seen. What was your intention of this experimental visual technique?
I really love your interpretation and yes it is certainly one of the ideas I played with, especially during the scene with the policeman. It is also a metaphor for the girl’s mind state; mentally she is imprisoned but psychically she could leave whenever he is not around. The film charts her slowly breaking down the walls in her mind until she realises they don’t exist. However, I must give credit where credit is due. I did not come up with idea of the set, Ben had written into the first draft.
Your style of filmmaking is experimental, what inspires you to create a film in this way?
I love ‘magic realism’. To call this film magic realism slightly misrepresents it but there you go! I like films that are naturalistic in their performances but also step outside the realms of possibility. There are films like Pan’s Labyrinth, Delicatessen or even ones that just have one or two moments that remind you of the infinite possibilities of cinema like the frog rain in Magnolia. I think as soon as you break a rule and do something that in real life would be impossible, you open up a whole new world for yourself as a filmmaker, where you can create your own rules. I think that’s an exciting arena to work in.
It is a short film running for 20 minutes, was that intentional in telling the story effectively and what are your thoughts on short films?
I think it’s really hard to tell a story with a clear beginning, middle and end in short form format. The first cut I had was 25 minutes so I removed a lot of stuff to try and keep the storytelling as efficient as possible. I also wanted to drop the running time to improve its festival chances. It’s difficult for festivals to programme 20-minute shorts, they don’t just slip in neatly; they have no room for them. Eventually, though you get to a point when the story is more important than the length.
The film is heavily symbolic of virginity, childhood, loss, entrapment, there is a specific scene where the father plays with the emotion of his daughter and in a horrific attack shoots her pet guinea pig which was about the only essence in her life that brought her a small sense of happiness. The scene is really hard to watch as it is dealing with strong powerful imagery, I remember even shying away from the direct blow of the bullet; did you want to create a film that made audiences uncomfortable?
Yes I think so. The subject matter is inherently uncomfortable anyway but I wanted the audience to share in our protagonist’s discomfort and helplessness. The film has elements of the thriller genre and I wanted to slowly build the tension throughout and bring it to its peak during the guinea pig murder scene. I figured if I can get a vocal reaction like a gasp from the audience at this moment then I am doing my job.
It’s a key moment in the film because it’s also where the tension breaks and her psychological imprisonment is broken. It’s only when she sees his cruelty directed at something else other than herself she realises how monstrous he really is.
The actors in the film are brilliant and compelling to watch, can you tell me more about how you came to casting them and their backgrounds particularly the young girl?
I got really lucky with Alana. You hear stories of people auditioning 300 kids just to get the right one. Alana was the second person I saw for the role. She’s fantastic young actress who was only 16 at the time of filming. The fact she was home-schooled also gave us more flexibility with our shooting schedule as she has incredibly supportive parents who back her career 100%.
Originally, when casting the man, who may or may not be her father, we were thinking of casting someone a lot older. In the end, we thought if we cast someone who walked the line between being older enough to father but also younger enough be a very inappropriate lover it would leave a fouler taste. Also, because Michael (Stevenson) is so attractive I think people have a harder time tearing down their preconceptions. It’s easy to hate a dirty old man.
As an independent filmmaker what was the process in making this film a reality in terms of budget, money, and support?
The money was raised as part of three-film project on Indie GoGo. I work with a collective of filmmakers called Take Cover Films, where we rotate the role of director, producer and actor. Everyone wanted a go at directing so we put a big campaign together and raised the money for all three films at once by reaching out to friends, family and people interested in supporting up and coming film talent. Our first film, A Thousand Empty Glasses, had a good run of success at film festivals so I think it gave people the confidence to back us on such an ambitious project.
Finally, I cannot praise this film enough and I am eager to watch your next film, what projects have you got lined up in the near future?
I shot another short film last year called Among Sweet Flowers and Shades, which I have been re-cutting and re-cutting. It should be realised some time this year. It’s a very different to, The Outside In. It explores lose of innocence, entitlement and fame obsession amongst generation Y.
I have a few other new ideas for shorts I’m toying with but ultimately I’m really keen to make a feature film as soon as possible.
What films are you excited to see, any independent films or art house cinemas you think our readers would enjoy?
Werner Herzog has a new film coming out called Queen of the Desert. I’m always interested to see what he’s up to. Malick and Tarantino also have new films this year, they usually cause some controversy and give us something to talk about.
If you’re looking for a straight up recommendation of something I have already seen then I would say the debut film of the Wolfe Brothers, Catch Me Daddy. It’s an excellent piece of refined storytelling, which pretty much side steps any expositional writing altogether. Great performances too.
Thank you very much.
Pleasure.
More Art-House Films Please | What to watch this spring
Catch Me Daddy, The Tribe, White God, The Salt of Earth, Beyond Clueless
Outside the birds are chirping, so that must only mean one thing...spring is here! And what better way to celebrate the end of our long winter hibernation than to get out and catch some new fantastic art-house films.
Not only do art-house cinemas support independent artist but they’re a great way of catching a film that you might never have come across yourself. Think Ukrainian film made entirely in sign language! And that’s just one of the selection in our list of 5 cool art-house films you need to check out this spring.
Catch Me Daddy
An immensely cinematic film by Daniel and Matthew Wolfe, with visually engaging cinematography of expressionist images uplifts this film into something more than social realism. The narrative follows the story of a young Pakistani girl who runs away with her white boyfriend and her father who sends mercenaries in pursuit to find her. The film is set in the Yorkshire Moors which adds to the harrowing bleakness of the story. Non-actors elevate the unique quality of this film. One of the most powerful films to come out of British cinema this year
In UK cinemas 27 February
An immensely cinematic film by Daniel and Matthew Wolfe, with visually engaging cinematography of expressionist images uplifts this film into something more than social realism. The narrative follows the story of a young Pakistani girl who runs away with her white boyfriend and her father who sends mercenaries in pursuit to find her. The film is set in the Yorkshire Moors which adds to the harrowing bleakness of the story. Non-actors elevate the unique quality of this film. One of the most powerful films to come out of British cinema this year
In UK cinemas 27 February
The Tribe
A film which literally needs no translation, The Tribe is a Ukrainian film shot entirely using sign language and no subtitles- a technique which heightens the emotion and adds power to this film. The narrative takes place in a boarding school for deaf children which are run by students like a crime syndicate. This gripping film loses nothing where language is absent and breaks conventions and boundaries in cinema proving dialogue is not everything.
In UK cinemas 15 May 2015
White God
This Cannes winner Hungarian masterpiece emphasising the revolution that comes from a suppressed society embodied in the form of dogs in this political parody by Kornel Mundruczo. The story centres on 13year old Lili whose father abandons her beloved dog Hagen on the streets where he must fend for himself and learns quickly the brutality of the harsh streets, exploited by thugs and wanted by dog catchers, he turns to be as violent as the streets he now has to survive in.
In UK cinemas 26 February 2015
The Salt of Earth
A visually stunning documentary following the Brazilian photographer Sebastiao Salgado’s lens, which captures the subjects of his black and white images and photography projects which took him to the world’s most hostile conflict zones from the gold mines, through the Sahel and the Gulf war oil fires. In this documentary film we learn of the way Salgado is able to capture his unique shots and the befriending nature of the photographer to connect with all of his subjects in order to capture something more captivating. This documentary is as much for the naturist as it is for photography and film buff.
In UK cinemas 3 July 2015
A visually stunning documentary following the Brazilian photographer Sebastiao Salgado’s lens, which captures the subjects of his black and white images and photography projects which took him to the world’s most hostile conflict zones from the gold mines, through the Sahel and the Gulf war oil fires. In this documentary film we learn of the way Salgado is able to capture his unique shots and the befriending nature of the photographer to connect with all of his subjects in order to capture something more captivating. This documentary is as much for the naturist as it is for photography and film buff.
In UK cinemas 3 July 2015
Beyond Clueless
Charlie Lynne takes us back on a journey into the mind, body and soul of teen movies using clips compiled from 200 classic films in this nostalgia trip back to the 90’s where we are reminded of the those teen movies which framed our twenties and re shaped the formula of teen movies in the present... it also presents itself as a bit of a game where you will be working out which young teen star is that A-list actor.
In UK Cinemas 23 January 2015
GUILLAUME PANARIELLO
– Post Production Perfection
French filmmaker Guillaume Panariello uses technology to create a virtual reality. He explores the emerging platforms that accompany film, with impressive visual effects and a unique playful outcome. His most recent film, a music video for ‘Unconditional Rebel’ by Siska was shot on a Phantom 4K in five seconds at 1000fps. A panning shot of a group of eighty extras creating a ‘living dreamlike mural’ . Although the film can often be overpowering with the excessive use of visual effects, it’s undeniable that Unconditional Rebel has a certain flourish, making you unable to avert your attention.
He works in a modern, progressive way using motion to create atmosphere, controlling the speed to suit the sound delicately and placing effects in post-production that shape his work subtly. Panariello’s passion creates beautifully shot images, always harbouring a pleasing use of colour and detail.
For the love of music and anime: VICTOR JARDEL
I'm a 27 years old French, I live in Paris. I spent 5 years in a Parisian graphic school and made 2 short films with my friends Eddy Loukil and Ghayth Chegaar there -- I was mainly focused on the animation, and listened Senbeï's music in a loop.
After I started to work as a freelance animator. And one night when I went to see Smokey Joe and The Kid playing live (a group former by IRB and Senbeï), I wanted Senbeï's autograph on my newly bought album, just like all fans… but I got to talk to him about my job. I told him that I really wanted to make animated music video. Our collaboration started there.
I started this collaboration with the clip Robbery Anthem Song: a universe had already created in my mind by its sound. I stayed in contact with my friend Eddy Loukil and told him (as an also Senbeï's fan) he could help me to make that clip. So the Grey Monkey Production was created.
We made another clip together for Smokey Joe And The Kid (with Senbeï so) Slow Drag.
I made videos for Senbeï's live then, but Senbeï wanted some simple visuals, so I did it on my own.
Then Senbeï wanted me to make the clip Rain. I really wanted to make live video and feature my characters in 3D. It is a type of video that I really wanted to have in my portfolio. So I went filming in some corners of Paris I like.
It took me 2 months and a half to complete that video (including the inspiration time and the pre-production). I would like to have much more time, but I saw this small leap like a challenge.
My main inspirations come from Ghibli’s universe (the productions studio, Princess Mononoke, Le Voyage de Chihiro ...), Tim Burton's The Nightmare Before Christmas, and some draws I make.
The art is for me the expression of our dreams or nightmares. My creativity comes a lot from my nightmares, I’ve had some sleeping troubles for a while and I think that affects my ideas. I can't complain much because it helps me with work and I love my work.
‘One Glance Backwards’: CHRISTINA PETTERSSON and the Modern Myth
With a diverse body of work and a penchant for bygone art, Miami-based artist Christina Petterssonlooks back in order to look forward.
With a diverse body of work and a penchant for bygone art, Miami-based artist Christina Petterssonlooks back in order to look forward.
While successful as a performance, video, and installation artist, Pettersson is most renowned for her monumental drawings. With a tendency to reference classical mythology and themes of tragic demise, her drawings are compared to history painting of the past. Portrayals of twisted tree-filled forests, ominous animals, and mysterious figures comprise her drawn oeuvre, which is rendered in graphite and done in scrupulous detail.
In addition to otherworldly themes, her drawings also frequently include self-portraits, a tradition heavily rooted in the time-honoured history of art. Whether nude, positioned as a lounging goddess, or actively interacting with her folkloric surroundings, each likeness alludes to the classical artistic genres that first inspired her.
While self-portraiture is a recurring and key theme in her work, Pettersson does not seek to become the focal point of her drawings. Her intent, rather, rests in narrative:
"I want to restore that epic and mythological dimension, a sense of awe and reverence for the world. The fact is they are not much about my personality. I want to be a storyteller. I want to believe that life is still wild."
This fascination with untamed nature is prevalent in Pettersson’s entire portfolio – namely, The Last Look, a video and installation piece. Inspired by the myth of Persephone, this work is comprised of a short film, projected onto a screen positioned above a three-dimensional scene of wild earth.
Still, even with The Last Look, Pettersson conveys her inherent interest in the past:
“Persephone was allowed to leave the underworld every year, yet every year she had to return. She sees the first sign of light at the end of the tunnel, yet already knows its limits. The darkness will drag her down again. Maybe just one glance backwards. History is full of last looks, stories of people who couldn't help themselves, even when instructed not to turn around. It is so uniquely human to crave that finality. But for someone with such power as Persephone? The opening to the underworld is crystallized by her very breath.”
Ultimately, through her drawings, video art, and installations, Pettersson successfully conjures contemporary pieces that, through past traditions and historical inspirations, “embody a restless spirit, a longing for the unbounded and indefinable, and fervent emotion as the truest source of visual experience.”
The art of filmmaking and graphic design with GRIFF
I'm a UK based artist and I illustrate, animate and direct commercials, music vids and short films.
The work used to fall into either abstract artier animation, charming/funny character animation, or harrowing live action drama. Recently they have begun to overlap, with random animation onto of live action/photography, with moments of humour – it’s just taken me ages to realise they don't have to be mutually exclusive.
I think creativity only really comes about through adversity.
Struggles – biblical or political or social – always makes for good art, whereas I can't imagine anything more boring than something painted by Mr Happy on holiday in Niceland.
Adversity doesn't have to relate solely to the subject matter though, it can instead be the circumstances under which it’s made. Give someone infinite resources to make anything they want and they'll create something flaccid, give someone a tiny budget, very little time or a nightmare of a task and the chances are they'll (have to) come up with something inspired.
That’s not to suggest that clients should pay less and reduce schedules (!) but it is beneficial to the artists creativity even if they have to self-impose restrictions, if only to encourage focus. It's no good to blame a lack of money or a tight brief, they should be the things to inspire the solution.
GRIFF , ANIMATION, LIVE ACTION
Alternative Film Screening Venues in London
London is a great place to find alternative and unique events to open your mind and excite you.
London is a great place to find alternative and unique events to open your mind and excite you. The film circuit is ever expanding, making a large market for alternative viewing experiences. Here are a few to definitely check out:
The Horse Hospital
Located just outside Russell Square station, The Horse Hospital is a space for ‘underground and avant-garde media’. The progressive arts venue focuses on many disciplines such as art, film, fashion, literature and music to create a collaborative interactive space for underground artists. The only of its type in the UK, it showcases rare films and submissions in its artist led environment. The venue does not exist for financial gain and because of this the building is currently under threat as the underground community is priced out of the city.
Exploding Cinema
This venue is a platform for experimental filmmakers hoping to create DIY cinema, against state funding. It has a common ownership style, with all work copyright free and non-profit. Anyone can contribute. They have shown over 1000 filmmakers work, across different locations to diverse audience. Shunning the elitist ways, they encourage you to get a projector and show your own films, as well as offering the chance to screen them for you at as low a price as possible. This is a revolutionary path for film.
Secret Cinema
This immersive cinema experience, created by Fabien Riggall, showed their first screening in 2007, there has since been a large range of live cinema experiences in different locations throughout London. They are all themed to fit the film with dress codes and items you’re suggested to bring, some including performances accompanying the film. Before the screening, you can wonder around this alternate reality that they have created and interact with characters and actors, who will lead you around and introduce you to parts of the event you may not have explored. The incorporation of live interactive performance is what makes Secret Cinema unique and exciting. The large productions never seem to disappoint with the events always being spectacular and worth the money.
Five Indie Releases To Look Forward To In 2015
This year shall see a large number of exciting releases through film. Some of the most highly anticipated are in the Indie film circuit, lined with great casts, intense directors and unusual inspiration.
Freeheld
Directed by Peter Sollett
Based around a short documentary of the same name Julianne Moore and Ellen Page star as Laurel Hester and Stacie Andree. The film follows a lesbian couple as Laurel Hester, a police officer, is diagnosed with terminal lung cancer and petitions against the board so her partner can receive her pension benefits.
The short documentary itself is very moving and an interesting reflection on LGBT rights. With a strong cast, the feature is one to look forward to.
Knights Of Cups
The latest film written and directed by Terrence Malik (Tree of Life) stars Christian Bale as Rick, a slave to the Hollywood system as we follow his search for something real in a life of illusion. Malik’s latest work is bound to be visually enticing with a constant flow of beautiful, changing images.
Premieres Feburary at Berlin International Film Festival
I am Michael
Directed by Justin Kelly
James Franco plays Michael Glatze, a gay activist who renounces his homosexuality and becomes a Christian pastor. I am Michael is based upon New York Times magazine article ‘My Ex-Gay Friend’ by Benoit Denizet-Lewis, interviewing his old friend Glatze, and comparing this change in him. From his work as the co-founder of Young Gay America to him now saying homosexuality is ‘a cage’, the contrast is alarming. Seeing this strange story unravel on screen should cause a stir of emotions.
Miles Ahead
This see’s Don Cheadle’s directorial debut as he stars as Miles Davis in a biographical film about the jazz musicians life. Cheadle’s obvious enthusiasm shows there has been real work put into this, with the film partly funded by an IndieGoGo project, as he wanted to create a social experience for a social musician like Davis. Biographical films always hold a certain risk when you portray someone iconic. However, There are high hopes for Miles Ahead.
Room
Directed by Lenny Abrahamson
Room is based around the bestselling novel from Emma Donoghue, following the story of five-year-old Jack, who’s held captive in a small room with his mother. The idea for this novel came about after hearing about the Josef Fritzl case, which should give you the idea of how psychologically troubling this feature will be. Interestingly from a child’s point of view, there is bound to be an edge of naivety accompanying the narrative, making it even more chilling.
JOSHUA MORIN: A travel cinematographer
My name is Joshua Morin. I am a travel cinematographer.
I produce a visual journeys of places in the world in under 3 minutes. I use small cameras to capture elements of a region to describe what it's like to be there at that time. I almost always try to keep a consistent subject throughout the journey with the goal that the viewer injects themselves into the scene.
What does art/creativity mean to you?
That is a pretty deep question. For me art and creativity never had a meaning. I believe it is something that will always happen. People are creative and are always pushing the barriers of creativity and art. I have switched from and to many different mediums over the past years. It is something that needs to get out of me in one form or another.
Joshua Morin
Charles Richardson: Rehearsal After Dark
Visual artist Charles Richardson’s latest work is a continuation of his video installation Rehearsal that won the 2014 New Sensations Prize by Saatchi. Richardson has been hailed as one of the UK’s most talented new artists.
Rehearsal After Dark uses a 16mm projection showing the 3D torsos of two figures. The images, distorted and blurred, are layered with bright plastics and other objects. The work flickers on a bright background creating a virtual space. Richardson says he finds ‘the realm of real taken into a virtual space a very interesting proposition’ rather than limiting to solely the virtual and vice versa. The videos are accompanied by eerie piano music that twists the view of the images, creating an audio/visual, surrealist heaven. His work is a good reflection of the current wave of ‘post-internet’ art, highlighting what you can create with modern technology with messages showcased through light creative pieces. As a movement, there always feels like a certain level of irony accompanying it, with a mockery of the digital age. Youthful artists are targeting what they know and the use of video art is ever growing, as shown here, making unique and interesting work with the programs available now, Richardson’s work is a prime example of this.
Rehearsal After Dark will be showing 5pm-12am at Cabin Gallery, until 30th January
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