Archive for October, 2013

A different way of seeing: Scott Stark’s The Realist

October 31st, 2013 - admin

It’s now over ten years since Scott Stark devised his ‘alternating-image’ technique; switching between left and right perceptions of stereo photographs to impose a persistent trembling on each otherwise still image.  At one and the same time, it comes across as emphatically modern – this is self-evidently the stuff of a new technological process – and a throw back to early crude attempts at movement, enlivening a stationary frame rather than capturing motion in front of the camera.  It creates an unresolvable tension – a persistent filmic anxiety – with the flickering images trapped in a non-space somewhere between reality and illusionism.

 

Stark finds a new home for his technique in ‘The Realist’, with the title being an oblique reference/homage to an early post war stereo camera carrying the same name but it comes, of course, loaded with multiple connotations.

 

He creates a deeply reflective pessimism, an apocalyptic hyperreality that takes consumerism to its end game but with a very different conception of its consequences to the usual Godardian self-destructive cannibalism.

 

This is a place where unborn shop front mannequins come alive – Zombies in reverse – serving as idealised mirror images of ourselves, reduced to the clothes that we desire.  They traverse shopping malls with heavy movements reminiscent of Boris Karloff’s Frankenstein, vibrating and quivering from one still to the next.

 

Pristine consumer products seduce us, as they might a passer-by.  Akin to a Jeff Koons artwork, their appeal rests on a perfection of the new, but it is one that the consumer is destined to destroy.

 

The desolation in Godard’s ‘Weekend’ did not preclude some kind of rebirth, a non-capitalist alternative rising like a phoenix from the ashes.  Stark’s world is one already dying, a soulless twilight zone where consciousness has drifted away, leaving us to stare at soulless reflections of ourselves in Lacan’s metaphorical mirror. essaydragon.com/

International Documentary Association announce nominations

October 30th, 2013 - admin

All five best documentary nominees for this year’s IDA awards are in the Oscar mix, giving some early clarity to one of the categories most difficult to predict.  Two of the films, ‘The Act Of Killing’ and ‘Let The Fire Burn’ also featured in last week’s Gotham nominations and will benefit from early awards season momentum.  The current Academy Award frontrunner, ‘Stories We Tell’ and one of its strongest contenders, ‘Blackfish’ will start as marginal favourites to take the IDA honours.  But with high profile audience wins at Sundance and Toronto already in the bag, the other nominee, ‘The Square’, could prove to be a powerful presence throughout the awards season.

 

BEST FEATURE AWARD

 

The Act Of Killing, dir Joshua Oppenheimer
Blackfish, dir Gabriela Cowperthwaite
Let The Fire Burn, dir Jason Osder
Stories We Tell, dir Sarah Polley
The Square, dir Jehane Noujaim

 

BEST SHORT AWARD

 

The Education Of Muhammad Hussein, dirs Heidi Ewing, Rachel Grady
The Flogsta Roar, dir Johan Palmgren
Nine To Ninety, dir Alicia Dwyer
Slomo, dir Josh Izenberg
Vultures Of Tibet, dir Russell O Bush

 

HUMANITAS AWARD

 

Anton’s Right Here, dir Evgeniya Blaze
Blood Brother, dir Steve Hoover
Let The Fire Burn, dir Jason Osder
The Square, dir Jehane Noujaim

 

PARE LORENTZ AWARD

 

A Place At The Table, dirs Lori Silverbush, Kristi Jacobson

 

ABCNEWS VIDEOSOURCE AWARD

All The Presidents Men Revisited, dir Peter Schnall
Free Angela And All Political Prisoners, dir Shola Lynch
Let The Fire Burn, dir Jason Osder
The Trials Of Muhammad Ali, dir Bill Siegel
We Steal Secrets: The Story Of Wikileaks, dir Alex Gibney
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Jackass Presents: Bad Grandpa topples Gravity

October 28th, 2013 - admin

1 . Jackass Presents: Bad Grandpa (Paramount) PPI $32m (NE)
2. Gravity (Warner Bros) WBPI $20.3m ($199.8m) (1)
3. Captain Phillips (Sony) SPRI $11.8m ($70.1m) (2)
4. The Counselor (Fox) $8m (NE)
5. Cloudy With A Chance Of Meatballs 2 (Sony) SPRI $6.1m ($100.6m) (5)

 

Jackass Presents: Bad Grandpa, starring Johnny Knoxville, grossed a solid $32m at the North American weekend box office to end Gravity’s three week reign in the No. 1 spot.  The MTV spin-off proved less front loaded than the franchise generally, holding up well over the weekend notwithstanding an average ‘B’ CinemaScore from first night audiences.

 

The other wide weekend opener, Ridley Scott’s The Counsellor, bombed even more than Fox had feared.  Poor reviews and a disastrous ‘D’ CinemaScore condemned the crime thriller to an $8m weekend notwithstanding a strong cast including, amongst others, Michael Fassbender, Penélope Cruz and Cameron Diaz, and a screenplay from leading American author, Cormac McCarthy.

 

Award season hopefuls, Gravity and Captain Phillips, enjoyed strong holds in second and third place respectively.  Gravity earned another $20m – a fall of just 33% – to take its domestic tally to within touching distance of the $200m milestone.  Captain Phillips’s $11.8m return over the three days was only 28% down on last weekend.low cost cialis online cialis online canada reviews generic cialis super force cheap cialis canada pharmacy
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Ben Affleck combines film and politics in new thriller

October 27th, 2013 - admin

Ben Affleck is developing an Eastern Congo set thriller with villagers suffering at the hands of greedy warlords looking to exploit the land’s mineral resources.  The subject is something of a political passion for Affleck, who has long campaigned against the appalling human rights abuses in the region.  Warner Bros are already on board.cialis online nzdiscount cialis online canadageneric cialis names cheap cialis from india
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New No.1 for Northern American box office

October 25th, 2013 - admin

The arrival of Jackass Presents: Bad Grandpa, starring Johnny Knoxville, is set to end Gravity’s domination at the North American box office.  Paramount’s oddball comedy grossed a strong $1.6m during late night Thursday shows and should finish the weekend around the $32m mark.

 

Not even a strong cast, including Michael Fassbender, Penélope Cruz and Cameron Diaz, will prevent the weekend’s other wide release, Ridley Scott’s The Counsellor, from under-performing.  Disappointing  reviews and a general lack of interest will condemn the Cormac McCarthy scripted crime thriller to a poor $10m.

 

Gravity, which has enjoyed three consecutive weekends in the No. 1 spot, should gross somewhere close to the mid-point between the two openers.cialis 20 mg for sale cialis overnight delivery online can you order cialis online cialis 5mg online canada
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Carey Mulligan to play suffragette

October 24th, 2013 - admin

Oscar-nominated, Carey Mulligan (‘The Great Gatsby’, ‘Shame’, ‘An Education’), has joined the cast of Sarah Gavron’s latest feature, ‘Suffragette’.  Mulligan will play an early supporter of the feminist movement, who turned to violence after peaceful protests had no impact.  Abi Morgan returns from Gavron’s promising debut, ‘Brick Lane’, to provide the script. http://pro-essay-writer.com/

B for Boy (world premiere)

October 24th, 2013 - admin

Saudi Arabian women, not only colluding in their own suppression, but brainwashing the next generation into the ways of an extreme patriarchal society, became a major talking point stemming from Haifaa Al- Mansour’s Venice hit, ‘Wadjda’.

 

Chika Anadu now takes up a similar theme in her debut feature, ‘B For Boy’, but pushes it to a new level with women in contemporary Nigeria.

 

Both films serve as a reminder of the surrounding circumstances that can sometimes complicate human rights issues; the victims become perpetrators – in this case, gender police – in a vicious cycle that is very difficult to break or mitigate.  Nor do they easily lend themselves to outside intervention even though the consequences are often appalling.

 

Anadu participated in Cannes’s Cinefondation Residency programme and developed the script for ‘B for Boy’, which received a world premiere at this year’s London Film Festival.  Tackling a serious social issue with insight and maturity, this engaging feature deserves a wider distribution beyond the festival circuit.

 

Lying at its heart, a 39 year old wife, Amaka, is under serious pressure to bear a son before its too late.  She is pregnant but a refusal to determine the baby’s sex has aroused the suspicion of her tenacious mother-in-law, who has a potential second wife at hand in case Amaka fails to deliver.  Then, disaster strikes, a miscarriage irretrievably damages her womb, rendering future child birth impossible and condemning her to a potential life on the sidelines unless she can conceal her change of circumstances.

 

The drama unfolds around groups of binary opposites; the new middle class, a modern Christianity and women’s rights v traditional tribal communities, ritualistic religious beliefs and a primitive gender construct.  But it never feels like a contrived plotting device, Anadu in some way imposing a convenient form of Structuralism onto the action.  These are tensions that derive from a society that she seemingly depicts without contrivance, and come to a head in a pivotal scene where a rebel rousing priest fires up local village women condemning Amaka as a witch.

 

Newcomer, Uche Nwadili, lends Amaka a restrained dignity of the kind that masks an inner emotional turmoil, which pushes against the surface and only occasionally breaks through.  It’s an affecting performance that falls into that category peculiar to talented unknowns – now common place in world cinema – and often steels the film.

 

Nonso plays her husband, who, caught in a tug of war, sits on the fence.  Anadu was fiercely critical of this character during the post screening Q&A, reproaching his indecision as a weakness.  But, as an outsider looking on, it was difficult not to have sympathy for his predicament and, in the end, his general withholding of support seemed a massive step in its own right.

 

A truly shocking climax turns everything on its head.  A desperate Amaka gets involved in an illegal adoption, one that inflicts a despicable act of cruelty against another mother and compounds the society’s patriarchal assumptions.  It’s a well judged sequence that could have gone horribly wrong and makes a political point very clearly.ordering cialis online legal cialis 20mg online kaufen generic cialis england can i order cialis online
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Damian Lewis comes aboard new Herzog feature

October 22nd, 2013 - admin
Werner Herzog’s Gertrude Bell biopic, ‘Queen of the Desert’, is taking shape with Damian Lewis being the latest recruit.  Nicole Kidman, who took over from Naomi Watts, plays the intriguing Bell, a leading spy, political figure and explorer during the early part of the last century.  Herzog will commence shooting during December with the film unlikely to arrive until 2015.cialis price in bangladesh buy cialis australia paypal generic cialis sublingual generic cialis 10mg online

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Strong opening for ’12 Years A Slave’ in the speciality market

October 21st, 2013 - admin

Fears surrounding the marketability of Steve McQueen’s award season contender, ’12 Years A Slave’, fell away over its opening weekend in the North American speciality market.  Fox Searchlight opened the film in 19 theatres and enjoyed a strong $50.5k per screen average, some $15k higher than the studio’s expectations.  It sets up a classic platform release expansion in line with growing momentum.generic cialis paypal payment cialis price in saudi arabia buy cialis 60 mg online generic cialis from india reviews
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Child’s Pose

October 21st, 2013 - admin

According to Calin Peter Netzer, his third feature, ‘Child’s Pose’, represents a departure from the Romanian New Wave, portraying a deeply troubled relationship between an overbearing mother and her adult son without being a direct commentary on post Ceausescu Romania.  But it doesn’t come across that way.

 

This is a blistering attack on the country’s nouveau riche who have taken over where the Communist Party left off when it comes to sleaze and operating with a complete disregard for the law.  Institutions behave as they did back in the day, begging the question as to how many generations will it take – if ever – before systematic corruption falls away.

 

New Wave regular, Luminita Gheorghiu, steps up from being an engaging character actress in support roles to taking on the lead and delivers a performance of remarkable depth and subtlety.  She plays matriarch, Cornelia, something of a major operator; every bit a formidable opponent by anybody’s reckoning.

 

When her only son, Barbu, kills a child through reckless driving, Cornelia is devastated but not for the deceased or his humble family.  She springs into action with a psychopathic disregard for the consequences, systematically intimidating the police and calling on friends in high places to rig the evidence and close ranks.

 

Jacques Lacan would have had a field day unpicking her obsession with Barbu in the name of motherly love; one that spills over to quasi-incest when giving him an unwanted back massage.  She uses the language of a spurned lover, furious that he will not respond to countless mobile messages and hates his partner with a passion.

 

Bogdan Dumitrache is suitably intense as Barbu, unable to rationalise his thoughts beyond despising Cornelia, almost ceasing to exist beyond an all consuming misanthropy.

 

The film’s best scene has Cornelia coming into contact with a witness looking for hush money in return for changing his statement.  Vlad Ivanov, bringing to mind his unforgettable performances in ‘Four Months, Three Weeks and Two Days’ and ‘Police, Adjective’, gives him a worldly malice, one that Cornelia instantly recognises but cannot easily counter.  Their quiet cat and mouse negotiations are captivating; threats and double meanings always clear and the outcome never certain.

 

And there is a well judged ending, when, after much talking, silence ultimately speaks louder than words and offers the characters a crumb of hope for the future.

 

Stylistically, there are departures from some of the characteristics that we have come to associate with the New Wave – primarily, the long take, Eastern European style – but its strong shared sensibility and thematic similarity override all else.  It is no less a film for it; simply different from Netzer’s proclamation.

 

The jury and international critics were at one when ‘Child’s Pose’ debuted at the Berlin International Film Festival earlier this year and won the Golden Bear and the FIPRESCI Prize.buy cialis canada online buying cialis online in canada cialis price chemist warehouse brand cialis 5mg online
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‘Gravity’ in complete control

October 20th, 2013 - admin

1. Gravity (Warner Bros) WBPI $31m ($170.6m) (1)
2. Captain Phillips (Sony) SPRI $17m ($53m) (2)
2. Carrie (Screen Gems) SPRI $17m (NE)
4. Cloudy With A Chance Of Meatballs 2 (Sony) SPRI $10.1m ($93.1m) (3)
5. Escape Plan (Lionsgate-Summit) Lionsgate International $9.8m (NE)

 

Alfonso Cuarón’s Oscar contender ‘Gravity’ continued to control the North American box office, after grossing a commanding $31m during its third weekend in play.  The sci-fi drama, which Warners expanded to a market high 3,820 theatres, had a mere 28% week-on-week fall and now stands on a stunning $170.6m domestically.  3D premium rates accounted for a notable 82% of the film’s weekend proceeds.

 

‘Captain Phillips’ enjoyed a decent second weekend hold in line with expectations to put it neck and neck with ‘Carrie’ for the runner’s up spot.  Both films finished the weekend on $17m and we shall have to wait for the actuals before knowing the outcome.

 

Sony, which distributes both films, will be reasonably satisfied with the weekend’s takings.  ‘Captain Phillips’ has increased its running total to an early $53m, providing a solid base for Sony’s award season campaign.  Although ‘Carrie’ opened $1m less than studio predictions (and $3m+ below market expectations), it should receive a boost from being the only horror film in the market at Halloween.  Its ‘B-‘ CinemaScore from first night audiences doesn’t seem to have had a massive impact with the slight fall since Friday arising more from the usual horror genre front loading.

 

Summit’s Sylvester Stallone/Arnold Schwarzenegger vehicle, ‘Escape Plan’ debuted on $9.8m in keeping with the market’s general gloomy forecast but not as low as some analysts had suggested.  It was an unqualified disaster for the weekend’s other wide release, Bill Condon’s WikiLeaks’ drama, ‘The Fifth Estate’, which could only muster a spectacularly awful $1.7m.

 

UPDATE: Late Sunday night figures indicate that ‘Captain Phillips’ finished the weekend on $17.3m ($0.3m higher than ‘Carrie’)generic cialis ireland cialis overnight delivery canada price of cialis 5 mg at walmart buy cialis 20mg australia
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‘Gravity’ set for third consecutive box office win

October 19th, 2013 - admin

Alfonso Cuarón’s ‘Gravity’ grossed $9m on Friday for another outstanding start to the weekend at the North American box office.  With a week-on-week fall of just 28%, the sci-fi drama is continuing to develop some serious momentum ahead of the awards season.  It should exceed $30m over the three days but seems unlikely to hit the surprisingly high $35m predictions of some market analysts.

 

Kimberly Peirce’s horror remake ‘Carrie’, starring Chloë Grace Moretz and Julianne Moore, arrived on a slightly disappointing $6.6m.  After factoring in the usual front loading for the horror genre, it will finish the weekend in line with Sony’s $18m forecasts but less than the $20m+ market expectations.

 

Paul Greengrass’ ‘Captain Phillps’ is well placed for a decent second weekend hold.  The Somali pirates thriller earned a further $5.1m on Friday – a 40% drop – and could challenge ‘Carrie’ for second place.

 

Things could have been worse for the opening of Summit’s Sylvester Stallone/Arnold Schwarzenegger vehicle, ‘Escape Plan’.  Its $3.3m Friday tally was equal to the market’s overall gloomy predictions but some analysts doubted whether it would even hit the $3m mark.  The ‘R’ rated action thriller should continue to perform at the same rate throughout the weekend.

 

It was an unmitigated disaster of the first order for Bill Condon’s WikiLeaks’ drama, ‘The Fifth Estate’, starring Benedict Cumberbatch as Julian Assange.  Debuting in 1,769 theatres, it could only muster a truly abysmal $587k on Friday and faces box office oblivion over the weekend.  Perhaps ongoing political sagas should be left to documentaries.cialis price in usa generic cialis at walmart generic cialis pictures cialis online overnight shipping
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US release for ‘Gabrielle’

October 19th, 2013 - admin

eOne has acquired US distribution rights to Louise Archambault’s second feature, ‘Gabrielle’, winner of the audience award at this year’s Locarno International Film Festival.  Gabrielle Marion-Rivard plays a young woman determined to establish her independence in defiance of a genetic disorder.  It is Canada’s foreign-language Oscar submission and has a subject matter likely to attract Academy voters.generic cialis release date ordering cialis online safe generic cialis mastercardcialis price in mexico
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Celsius Entertainment comes aboard ‘Rosa’

October 19th, 2013 - admin

Celsius Entertainment has taken sales rights to Ray Lawrence’s keenly awaited fourth feature, ‘Rosa’, starring Elena Anaya and Emily Browning.  Screenwriter, Beatrix Christian, returns from the filmmaker’s ‘Jindabyne’, and adapts Lloyd Jones’ complex romance saga, ‘Here at the End of the World We Learn’.  Lawrence will commence filming next spring.purchase cialis online canada cialis 5mg price uk generic cialis available in canada cialis online 5mg
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’12 Years a Slave’ begins platform release

October 18th, 2013 - admin

Fox Searchlight has launched Steve McQueen’s high profile awards contender, ’12 Years a Slave’, at the North American box office.  Following a conventional platform release pattern, it opens in 19 theatres today before a modest expansion next weekend.  Searchlight will take stock thereafter.

 

The studio is looking to take advantage of the film’s Toronto success and strong reviews and establish word-of-mouth momentum ahead of the critics awards.  It has targeted a $40k per-screen average for this weekend.

 

Chiwetel Ejiofor plays a free black man from the east coast who is illegally abducted into slavery before the Civil War.  A strong supporting cast includes Michael Fassbender, Brad Pitt and Quvenzhané Wallis.cialis price in malaysiacialis online uk pharmacycialis order online india buy cialis 100mg online
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Release date for ‘The Grand Budapest Hotel’

October 17th, 2013 - admin

Fox Searchlight will release Wes Anderson’s next feature, ‘The Grand Budapest Hotel’, in North American theatres next March.  It’s a comedy drama set in 1920’s Europe, which surrounds the bizarre antics of a revered but mischievous concierge.  A strong ensemble cast includes Ralph Fiennes, Saoirse Ronan and Owen Wilson.

Next Allen feature receives title

October 15th, 2013 - admin

Woody Allen has announced that the evocative sounding ‘Magic in the Moonlight’ will be the title of his next and 47th feature.  A stellar cast includes Oscar winner Colin Firth alongside, amongst many others, Emma Stone, Jacki Weaver and Eileen Atkins and the film will arrive in North American theatres next summer.  Allen has done his usual exemplary job keeping the plot under wraps but it is set in the South of France, probably during the Thirties.

IDFA reveal opener

October 15th, 2013 - admin

‘Return to Homs’, the keenly awaited feature from Syrian filmmaker, Talal Derki, will open this year’s International Documentary Film Festival Amsterdam (IDFA).  Derki’s topical documentary focuses on two peaceful protesters, who turn to arms in the Syrian city of the film’s title.  The IDFA runs from Nov 20 to Dec 1.

Lance Armstrong biopic set to enter production

October 15th, 2013 - admin

Stephen Frears’ Lance Armstrong biopic will commence shooting later this week in France and the UK.  Danny Boyle’s regular scriptwriter, John Hodge, has adapted the script from David Walsh’s ‘Seven Deadly Sins’, the author’s account of his attempts to expose Armstrong as a drugs cheat.  Ben Foster leads the cast, which includes Chris O’Dowd, Guillaume Canet and Jesse Plemons. essay writing images

Stuart Hall Project, The

October 14th, 2013 - admin

The video art installation, ‘Deadpan’, was one of three pieces that contributed to Steve McQueen winning the controversial but prestigious Turner Prize seven years before embarking upon his successful feature film career.  It was a powerful recreation of the famous stunt from Buster Keaton’s silent movie, ‘Steamboat Bill, Jr’, where a building front collapsed around the silent comic’s oblivious character, who was saved by an open window embrasure in the wall.  In McQueen’s version, the artist stands self-consciously, using all the willpower that he could muster to prevent himself from blinking as the wall crashed against the ground.  The images covered a huge wall in the Tate and demonstrated in McQueen’s silent indignation what it felt like to be on the receiving end of racism without a right of reply.

 

John Akomfrah’s remarkable new documentary is a portrait of the influential theorist, Stuart Hall, who has devoted his life to giving Britain’s alienated black population a voice and rationalising the social trends that explain the behaviours behind the racism McQueen so memorably evoked.

 

Hall was amongst the first wave of West Indians migrating to Britain during the postwar period.  He enjoyed a brilliant academic career at Oxford and soon established himself as a leading figure in Britain’s New Left.  Akomfrah drew from umpteen hours of archival material – public and private – to piece together his life and work with one constantly informing the other in a montage that becomes a working illustration of Hall’s theories with Hall himself as the subject.

 

With the benefit of hindsight, it is now far harder to distinguish between the many ideological theories that flourished during this period but few observers were able to describe the formation of outsiders’ identities in relation to mainstream values – consensual or otherwise – with such precision and accessibility than the charismatic Hall, who was perfect for the new TV medium.

 

And neither is it easy to place Hall within a wider context.  He is from a generation of left wingers coming to terms with the Soviet Union brutally crushing the 1956 Hungary uprising and alienating Socialist intellectuals in the process.  It forced them towards mainstream politics and Hall, in particular, had a huge influence on 1990’s revitalised Labour.  The time was right for a Socialist realignment, a coming together of left wing forces to counter the Reagan/Thatcher aftermath and the right’s strangle hold on the West.  But, looking back now from a more uncertain time – where the contradictory forces of globalisation are creating a new conflict – we find a more reflective Hall, one that is far less comfortable with his political home.

 

Akomfrah gives it all cinematic form with carefully selected pertinent images that evoke the times and create a Derek Jarman style film poem in their own right.  And a superb Miles Davis soundtrack from Hall’s favourite musician could not have complimented it more vividly; covering each of the various phases in Davis’ development from his early cool jazz – ridiculously overlooked by white critics at the time – to his fully liberated and explosive electronic fusion of the early 70’s.  Akomfrah presents it in chronological order but don’t think that this serves as a filmic metaphor with Davis’ radical changes somehow reflecting a more emancipated post modern society.  Fascinatingly, it is a constant in Davis’ playing that sets the tone, his unforgettable muted melancholy. https://pro-essay-writer.com

‘Gravity’ maintains momentum internationality

October 14th, 2013 - admin

‘Gravity’ easily retained the No.1 spot at the international weekend box office after grossing a further $28m over the three days.  The Venice opener was active in 38 markets and now stands on a solid $68m internationality after two weekends in play.  Russia remained its most profitable market where a $4.3m weekend increased the film’s territory total to $14.5m.

 

‘Stalingrad’ opened in Russia and Ukraine and claimed second position after earning a strong $14.3m from the two territories.  It is the fourth feature from Fedor Bondarchuk, who won the Russian Golden Eagle Award for ‘9th Company’.

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October 14th, 2013 - admin

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‘Gravity’ over performs during second weekend

October 13th, 2013 - admin

London Film Festival gets under way tomorrow

October 8th, 2013 - admin

London Film Festival opens tomorrow with the European premiere of Paul Greengrass’ Somali pirates thriller ‘Captain Phillips’, starring Tom Hanks and Barkhad Abdi.  In keeping with London’s reputation for screening many of the best features from the year’s festival circuit, the winners from 2013’s Berlin, Cannes and Venice (‘Child’s Pose’, ‘Blue Is The Warmest Colour’, ‘Sacro Gra’) all receive UK premieres.  But it has also attracted the festival’s usual range of potentially interesting world premieres from fringe filmmakers, including the latest features from Paul Kelly and Rob Brown.  Chika Anadu’s debut feature, ‘B For Boy’, has already attracted a buzz ahead of its world premiere on Sunday.

 

Selected world premieres:

 

B For Boy, Chika Anadu (Nigeria)

 

Chika Anadu participated in the Cinefondation Residency programme at Cannes Film Festival and developed a script for her debut feature, ‘B For Boy’.  Tackling a serious social issue in her native Nigeria, a married woman makes extraordinary efforts to conceal that she cannot provide her husband with a son.  The pre-festival buzz suggests that there may be an eye catching performance from newcomer, Uche Nwadili, in the lead role.

 

 

Blackwood, Adam Wimpenny (UK)

 

Adam Wimpenny makes his belated feature debut with a supernatural thriller, ‘Blackwood’, after a career in TV, principally making light entertainment shows.  Ed Stoppard plays a history professor who encounters strange visions after moving to the country when recovering from a traumatic breakdown.  Wimpenny, who was one of Screen’s 2011 Stars of Tomorrow, has already made his mark on the festival circuit with his short film, ‘Roar’, which picked up the best screenplay prize at Rhode Island.

 

 

The Do Gooders, Chloe Ruthven (UK)

 

Documentary filmmaker, Chloe Ruthven, returns to her native Palestine and explores the thorny subject of foreign aid to the area.  The film’s title, ‘The Do Gooders’ provides an indication of its likely direction.

 

 

Eliza Lynch – Queen Of Paraguay, Alan Gilsenan (Ireland)

 

Alan Gilsenan’s intriguing latest documentary explores Brazil’s and Paraguay’s opposing accounts of Eliza Lynch following an 1870 war between the countries.  Based on Michael Lillis’ and Ronan Fanning’s book on the subject, ‘The Lives of Eliza Lynch’, there is huge scope for Gilsenan to explore history as a national construct.  Maria Doyle plays Lynch in re-enactments.

 

 

Fandry, Nagraj Manjule (India)

 

Nagraj Manjule’s first feature, ‘Fandry’, takes a potentially intriguing look at the Indian caste system through the eyes of a poverty stricken school boy, whose ambitions cause complications at both ends of the scale.  As is often the way with any class division, his own family opposes social mobility in a dogged defence of the status quo.

 

 

Gone Too Far!, Destiny Ekaragha (UK)

 

Malachi Kirby and O.C. Ukeje play two brothers, who meet for the first time and find it difficult to understand each others’ cultures having lived in different continents.  It is Destiny Ekaragha’s debut feature following three shorts, including ‘Tight Jeans’, which screened at the London Film Festival five years ago.

 

 

How We Used To Live, Paul Kelly (UK)

 

Documentary filmmaker, Paul Kelly, returns with his latest impressionistic take on London, ‘How We Used To Live’.  The title provides a pointer to the film’s tone with Kelly raiding the BFI National Archive for footage of the postwar years.

 

 

The Last Impresario, Gracie Otto (Australia)

 

Gracie Otto makes her feature debut with a documentary portrait of the legendary promoter,  Michael White, who is probably best known in the film world for producing ‘Monty Python’s The Holy Grail’ and ‘The Rocky Horror Show’ but has made his name more for countless stage productions, including the 1978 West End version of ‘Annie’.  White has also established a reputation as a wild party animal and shows no sign of slowing down in his eighties.  John Waters and Barry Humphries are amongst the contributions.

 

 

Leave To Remain, Bruce Goodison (UK)

 

Bruce Goodison switches from TV to the big screen for his intriguing ‘Leave To Remain’, a drama firmly rooted in reality.  Three real life asylum seekers star in an immigration drama portraying life for teenagers stranded in an alien country without their parents.  Goodison is best known for his documentary, ‘SAS: Iranian Embassy Siege’, which received a BAFTA Flaherty TV Documentary nomination.

 

 

Love Me Till Monday, Justin Hardy (UK)

 

Experienced TV filmmaker, Justin Hardy, who received a Primetime Emmy Award for ‘The Last Dragon’, returns to the London Film Festival with his latest feature, ‘Love Me Till Monday’.  Georgia Maguire plays a twenty something looking to overcome the tedium of daily suburban life after graduating from university.

 

 

Sixteen, Rob Brown (UK)

 

Rob Brown made six shorts, including ‘Silent Things’, which picked up the New Arrivals Award at Rotterdam, before directing his first feature, ‘Magic Hour 3’.  His follow-up, ‘Sixteen’, has a former African child soldier looking to make a new life in London but getting caught in another violent situation against his will.

 

 

Sniffer, Buddhadeb Dasgupta (India)

 

Veteran Bengali filmmaker, Buddhadeb Dasgupta, is still going strong, making three features in as many years.  The last of three, ‘Sniffer’, has Nawazuddin Siddiqui (‘Talaash’, ‘Gangs of Wasseypur’) playing a ponderous private detective, who seems at odds with traditional culture and modern society.  Dasgupta, a familiar filmmaker on the festival circuit, won a special director’s award for ‘Uttara’ at the Venice International Film Festival during 2000.

 

 

Sx_Tape, Bernard Rose (US)

 

Versatile filmmaker, Bernard Rose, returns to the horror genre for his low budget latest feature, ‘Sx_Tape’, starring Caitlyn Folley, Diana Garcia and Ian Duncan.  Two couples discover that there is more than meets the eye to an abandoned hospital but the conventional sounding plot should prove deceptive.

 

 

Vara: A Blessing, Khyentse Norbu (Hong Kong)

 

Bhutanese filmmaker, Khyentse Norbu, has adapted Sunil Gangopadhyay’s short story, ‘Blood and Tears’ for his first film in ten years.  Set within Norbu’s neighbouring India, Shahana Goswam, recently seen in ‘Midnight’s Children’, plays a model who has an illicit romance with a sculptor.  Norbu’s last feature, ‘Travellers and Magicians’ won the emerging director’s award at the Asian American International Film Festival.generic cialis from canada cheap cialis pills online cost for cialis cialis for sale canada
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Deadlock revisited

October 7th, 2013 - admin

Seldom has anybody captured a sense of global despair quite like Roland Klick in his outstanding second feature, ‘Deadlock’.

 

Klick filmed it in the Negev Desert, near to Israel’s nuclear weapon facility and its rehearsal site for the country’s attack on the Egyptian airfields ahead of the Six-Day War.  It’s the most inhospitable of places; desolate, arid, windswept, almost non-terrestrial in its appearance and with death in the air.

 

‘Deadlock’ arrived in the old West Germany during 1970 and received its only official theatrical release courtesy of Denmark two years later.  Cult status – cinema’s essential safety net – rescued it from almost certain oblivion and, even now, it remains unknown in many quarters notwithstanding its high profile and vocal fans including the Chilean master of film provocation/arthouse cult, Alejandro Jodorowsky.

 

It is the ultimate acid Western, with a psychopathic anti-hero going through the motions anaesthetised to everything and existing – and no more – in a terrible violent nihilism of his own making.  Even a prolonged (anti)climatic standoff cannot awake its protagonists from an overpowering ennui where they, seemingly, have little or no interest in the outcome.  One cannot be arsed to get out of his chair and the other barely seems to notice.

 

The astonishing opening scene has the sardonically named ‘The Kid’ moving towards us from the far distance, swaying and wobbling uncontrollably until collapsing before the camera and almost falling out of the screen ‘Radio Days’ style.  Playful casting has Marquard Bohm in the part; his generic Rock star appearance looking more suited to ‘Spinal Tap’ with the opening suggestive of a drug fuelled trip gone horribly wrong.

 

Mario Adorf plays Charles Dump, a wonderful hybrid between a Palestinian revolutionary and Mexican bandit, who notionally works for a mining company and lives in an abandoned village with a prostitute and her daughter.  Dump claims to have some kind of law enforcement role but seems more interested in getting his hands on the Kid’s suitcase, stuffed to the brim with dollar notes.  Overcome by indecision – or, more precisely, fear – he fluctuates between removing a bullet from the Kid’s arm – echoed in a broken arm of a nostalgic model cowboy swinging high above the action – and smashing his head to smithereens or some other convenient killing.

 

And then there is Sunshine, the Kid’s partner in crime come to collect his share of the proceeds from an unspecified bank job.  Scottish actor, Anthony Dawson, best known for playing Captain Lesgate (Swann) in ‘Dial M for Murder’, does a superb job as the charming death machine, who encapsulates malevolence in his every word, smile and movement.  More inverted symbolism – Klick composes everything with an artist’s eye – has a blinding sun in close-up; an awesome, severe and hostile motif and play on the character’s name.

 

Three is a crowd and so on but the plot becomes irrelevant.  This is the end of an era, a decade’s false hopes and the Western genre, all wrapped up into a Cold War apocalyptic nightmare that fires its metaphorical bullets at the audience.

 

Not before time, the Goethe-Institut London, in collaboration with the Cambridge Film Festival and Berlin’s Filmgalerie, is spear-heading renewed interest in Klick’s work.cialis 100mg online cialis for sale online in canadageneric cialis tadalafil 40 mgcialis retail price
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‘Gravity’ rockets to No.1

October 7th, 2013 - admin

1. Gravity (Warner Bros) WBPI $55.5m (NE)
2. Cloudy With A Chance Of Meatballs 2 (Sony) SPRI $21.5m ($60.6m) (1)
3. Runner Runner (Fox) Fox Int’l $7.6m (NE)
4. Prisoners (Warner Bros-Alcon) Lionsgate International $5.7m ($47.9m) (2)
5. Rush (Universal) Exclusive Media $4.4m ($18.1m) (3)

 

Alfonso Cuarón’s ‘Gravity’ made a flying start at the North American weekend box office, exceeding market expectations by $15m to set a new October record.  Cashing in on an awards buzz, strong reviews and an ‘A-’ CinemaScore from first night audiences, the Venice opener finished the three days on a massive $55.5m to beat the previous October record holder ‘Paranormal 3’ by $3.5m.  Both of the film’s leads, George Clooney and Sandra Bullock, achieved their best ever openings.

 

It was a disastrous session for the other wide weekend opener, ‘Runner Runner’, starring Justin Timberlake and Ben Affleck.  Brad Furman’s crime thriller stumbled to an atrocious $7.6m being $2.4m below already low market expectations.

 

Last weekend’s No. 1, ‘Cloudy With A Chance Of Meatballs 2’, split the two openers to finish in second place.  Sony’s family animation grossed a reasonable $21.5m, taking its revised running total to 60.6m after two weekends in play.price of cialis in canada cialis for sale uk cialis price philippines buying cialis online legal
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‘Gravity’ conquers international markets

October 7th, 2013 - admin

Alfonso Cuaron’s ‘Gravity’ achieved world domination at the weekend box office, with international markets grossing $28.4m in addition to the film’s North American record $55.5m October launch.  Russia, as is often the way,  proved the Venice opener’s strongest international territory where 92% of its strong $7.5m came from 3D screenings.

 

Last weekend’s No. 1, ‘Young Detective Dee: Rise of the Sea Dragon’ was the only other show in town.  Relying heavily on the Chinese market, Tsui Hark’s action thriller earned an additional $19.5m, taking its international running total to an impressive $72m.best price cialis 20mg low price cialis purchase cialis on the internet price of cialis 20mg
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Gravity massively exceeds expectations

October 6th, 2013 - admin

For the second week running market analysts have been wide of the mark; firstly overstating – and in some cases wildly – returns for Cloudy With a Chance of Meatballs 2 and now, hopelessly, underestimating the pre-release momentum that proceeded Gravity’s arrival on Thursday night.  In both cases, the studios added to the confusion with overcautious expectations.

 

A combination of awards buzz and strong reviews propelled Alfonso Cuarón’s sci-fi thriller to an astonishing $17.5m Friday (and late night Thursday) and takes it into potentially record breaking territory.  With an ‘A-‘ CinemaScore driving the already powerful word of mouth, the Venice opener should hit $50m, which, in itself, would be the highest ever October launch for a non-franchise release, but it has an outside chance of topping Paranormal 3’s $52m franchise record.  Both of the film’s stars, George Clooney and Sandra Bullock, will achieve their best ever openings.

 

In contrast, the other weekend release, Runner Runner, starring Justin Timberlake and Ben Affleck, had a disastrous launch.  Brad Furman’s crime thriller could only muster $2.7m on Friday, leaving it facing an appalling $8m weekend.cialis online paypal payment generic cialis daily generic cialis cheapest price buy cialis europe
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Another heist thriller for Boyle

October 5th, 2013 - admin

Danny Boyle will adapt a fiction feature from Havana Marking’s diamond heist doc, ‘Smash and Grab: The Story of the Pink Panthers’.  The diamond crook in Blake Edwards ‘The Pink Panther’ inspired the name for the international jewel thieves that ran rings around Interpol and many police forces.  Some of the actual thieves and police contributed to the documentary, providing an ‘insider’ view of organised crime 21st century style.  Fox Searchlight is already on board to co-finance and distribute the film.purchase cialis online cheap order cs cialis online cialis generic buy cialis canada pharmacy
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‘Gravity’ set for strong launch

October 5th, 2013 - admin

An awards buzz, strong reviews and wide social network coverage should drive Alfonso Cuarón’s sci-fi thriller ‘Gravity’, starring George Clooney and Sandra Bullock, above Warner Bros’s projected $35m at this weekend’s North American box office.  It has already accounted for 60% of Fandango’s weekend pre-sales and debuts on a high 3,450 sites, including 315 IMAX theatres.  ‘Gravity’ opened this year’s Venice International Film Festival out of competition.cialis price in uae cialis overnight shipping mail order cialis from canada buy genuine cialis uk
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Fincher returns to ‘Black Hole’ adaptation

October 4th, 2013 - admin

Brad Pitt’s production company, Plan B, is reviving David Fincher’s big screen version of Charles Burns’ acclaimed twelve-issue comic book series, ‘Black Hole’.  Fincher first came on board the adolescence nightmare five years ago but his last feature, ‘The Girl With The Dragon Tattoo’, forced it down the pecking order.  After Fincher entered production on ‘Gone Girl’ earlier this year, ‘Black Hole’ seemed to have slipped off his radar.order cialis online fast shippingcialis 20mg price in pakistan generic cialis pills cialis price comparison walmart
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Les Choses de la Vie’s place in film history

October 3rd, 2013 - admin

It is perhaps more than a coincidence that Claude Sautet did not compete for the Cannes’ Palme d’Or and come to international prominence until his fourth feature, ‘Les Choses de la Vie’ (‘The Things of Life’).  After making his big screen debut with ‘Bonjour sourire!’ as early as 1956, he made two films during the Sixties, ‘Classe Tous Risques’ (‘The Big Risk’) and ‘L’arme à gauche (‘The Dictator’s Guns’), and their polished and considered style clashed with the then vibrant, progressive and, often, freewheeling, La Nouvelle Vague (The New Wave), which dominated critical discourses.

 

But things had changed when ‘Les Choses de la Vie’ arrived at the beginning of the next decade; La Nouvelle Vague filmmakers had moved on to other concerns and the world was a far more introspective, cautious and uncertain place.  The time was right for Sautet’s more reflective approach and look at ordinary middle class life, which we see through the memories of a Parisian architect fighting a losing battle after a serious car accident.

 

And yet, it is far from being an exercise in conservative filmmaking.  Viewing the film now free of the muddled decade end post-mortems, it comes across as the natural heir to another vein of Sixties modernism, Left Bank intellectualism. Sautet’s exploitation of montage and striking cinematography is in perfect alignment with the protagonist rationalising the contradictions that confounded him in life but where any new clarity is hard fought and always qualified.  It offers a very different view of the bourgeoisie from Chabrol’s out and out cynicism; one that does not shy away from its foibles but contextualises them within a much deeper psychological profile.  In its mix of ambiguity and partial resolution, there is an obvious bridge from Alain Resnais’ complex narrative structures to the forensic psychological dramas prevalent in North European cinema ever since.order cialis canada price of cialis at costco generic cialis online usa cialis fast delivery

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50th anniversary of a masterpiece

October 3rd, 2013 - admin

The sometimes overlooked sci-fi classic ‘Ikarie XB 1’ is predominantly known – and quite rightly so – as an important precursor of Gene Rodenberry’s original Star Trek TV series and Stanley Kubrick’s ‘2001: A Space Odyssey’, where the influence is greater than the later productions have generally acknowledged.

 

Jindrich Polák made the film from behind the Iron Curtain in Czechoslovakia during 1963, a year after the Cuban missile crisis and against the backdrop of escalating American troops arriving in Vietnam.  Set in the distant future, an interstellar starship stumbles across a ‘pre-historic’ space vessel from the 1960’s, full of Cold War nuclear weapons and dead bodies that had succumbed to a combination of radiation and lethal in-fighting.

 

The crew distance themselves from their ancestors as we might from appalling acts from the past.  This is a sophisticated bunch, a mix of genders, ages and nationalities living in harmony, almost a prototype for the Starship Enterprise.  They embody principles from the Enlightenment, Marx and William Morris’ Utopianism – an antithesis of the horror relic – but it comes across, at least, now, as surprisingly dystopian; a civilised society which has traded the soul for rationalism.

 

It sets up an intriguing correspondence of ideas, underlining a commonality of thought from oppositional intellectuals that crossed the NATO/Eastern Block divide; one that condemned both sides in equal measure.  Polák adapted it from ‘The Magellanic Cloud’ (‘Obłok Magellana’), a 1950’s novella from Stanisław Lem, who also provided the source material for Andrei Tarkovsky’s later existential sci-fi masterpiece, ‘Solaris’.

 

Crucially, the film arrived during the same year as ‘Something Different’ (Věra Chytilová) and ‘Black Peter’ (Miloš Forman) and picked up on the same groundswell of dissension that drove the Czechoslovak New Wave and, ultimately led to the Prague Spring five years later.cheap cialis online pharmacy price of cialis at walgreens cialis 5 mg cost walgreens cialis price per pill walmart

 

Polák’s reluctance to speculate on the form of extraterrestrial intelligence feeds directly into ‘A Space Odyssey’. www.phonetrackingapps.com/samsung-galaxy-tab-3-parental-controls

From the archives

October 2nd, 2013 - admin

We are launching our new ‘perspectives’ page by republishing an interview that filmmaker, Gareth Jones, gave to our editor, Graham Eley, ahead of the Wales One World Festival 2011.  Although the interview focused on Jones’ feature, ‘Desire’, he expressed interesting and well argued opinions that ran contrary to our strong auteur position.  Two and half years down the road, we remain committed to the notion of the filmmaker as a single controlling author but feel that it is appropriate to provide an alternative viewpoint.

 

GE:  Desire is very literary in its approach, do you consider the written text to be the most important aspect of the film?

 

GJ:  DESIRE is a wordy film, there’s no doubt. It has to be. With only four actors, two kids and one house, you need to keep the ball in the air. This doesn’t bother me, I planned the film that way. The spoken word, as a vital element of film dramaturgy, has been consistently downgraded under the influence of television’s pale pretence of sociorealism, the only version of reality now generally acceptable on screen. As my jaded screenplay writer says in DESIRE: ‘If you’re staying here for any length of time I won’t have you talking like a soap script. We all do it nowadays but there have to be limits.’ The way we speak is as much a part of character definition as costume or gender and our speech patterns vary more than we think. They certainly should do in any work that aspires to more than slavish rehearsal of presumed norms. National traditions vary, but one cannot imagine French cinema, for instance, granting the license to inarticulacy that is worn here as a badge (or fetish) of authenticity often associated with class values. My grandfather was a tanner, the son of miner, and few have spoken more intensely, precisely and intimately than he did. Listen to radio interviews and you’ll find there is enormous vitality, coherence and poetry in our spoken language. The anxiety of making oneself understood is part of the stress of modern living, which you cannot convey adequately through characters who abandon all effort to express themselves in an inarticulacy often bequeathed them by lazy or inhibited writers. The real cost of inarticulacy was brilliantly conveyed by The King’s Speech, which explores this very issue. Language is also unfortunately a weapon, and characters identify themselves by the way they fight. The voiceover in DESIRE is literary in flavour, I admit, but this corresponds to the writerly preoccupations of my character. His thoughts invite criticism, doubt and irony, but they also help locate his inner striving. Cinema should invite us to think, as well as free-float.

 

GE:  Auteur theory remains very influential notwithstanding years of post structuralism.  Do you think that the screenwriter receives adequate credit in general?

 

GJ:  The screenwriter is scandalously undervalued in the industrial process and whenever I direct my own work I try and remedy this. However brilliant the realization of a film, the script (as Hitchcock reminds us) is everything. It is quite wrong that a director who has not directly contributed to a first draft should assume the auteur credit ‘A film by’ merely by virtue of having assembled a ‘production draft’. The screenplay writer’s fate can be various but little in current industrial practice is calculated to bring out anything approaching genius. Having served his time on the writing team of a long-running soap (in which his wife still acts – badly, in his view), Ralph is seeking a form of redemption as auteur that will almost certainly be denied him, as no one ‘in the current climate’ will fund his film. Except, as we know, the film (or at least a film called DESIRE) has emerged from his despair.

 

GE:  We found all of the performances in Desire very real.  Would you like to comment on the way that the actors brought the characters alive on screen?

 

GJ:  I am grateful to you for this comment, as nothing would have saved the film (no costumes, sets or landscapes) had the performances been mediocre. I love working with actors, I admire what they do and I enjoy immensely the business of creating living, three-dimensional characters from total pretend. Just like a kid, really. My actors all entered into the game and, thankfully, it worked. A large dose of hidden humour certainly helped. So did rehearsals, followed by a demanding schedule. There was no time for nerves and very little for retakes. So what you see is what you get. Scripts can be overdeveloped and shoots can be overlaboured. Perfection often comes at the price of spontaneity. How often does one leave the cinema feeling slightly flat? That might be because the life has been squeezed out of performances by the tyranny of the camera. Actors should be watched, not surveilled. Ideally we should forget the camera completely. If only for this reason (another being lack of space), I never moved the camera but chose to intercut instead. Remarkable how good old-fashioned montage can lure one in, where wobbly handheld ‘vérité’ simply alienates. With only four characters on screen it was also essential to trace their development arcs in detail. With such a taut canvas, the unfolding psychology drives the narrative onwards and creates suspense. Ralph, in the hands of Oscar Pearce, is both vague and devious, vulnerable and duplicitous, his stratagem overtakes him and he gets far more than he bargained for. Daisy Smith as Phoebe gives us a power-mum papering over the cracks until she strips the plaster off her life completely. Néné understands English far better than she speaks it and has a hidden agenda that tragic-comically inverts any hint of exploitation by this monstrous but thoroughly normal family. We have let ourselves be cowed by sociological curses like ‘dysfunctional’ and other forms of modern superstition. We’re so scared of disapproval that we fear to look the gamut of human behaviour straight in the eye. The language exchanges between English and French are also vital to the film’s theme. Anyone who has fallen in love with a foreigner will know how sexy the business of language can be.

 

GE:  What impact do you think that WOW has had in promoting world cinema in Wales?

 

GJ:  In the ten relatively short years of its existence WOW has made itself an indispensable portal for world cinema in Wales and has found itself an inquisitive and open-minded audience willing to be persuaded. I started my career directing theatre tours in the mid/late 1970’s and I know that Wales has one of the most demanding audiences in the world. I also know how much hard work it is, and I salute WOW’s founders and its many friends and helpers.

 

GE:  How important is the film festival circuit as a credible alternative to theatrical distribution?

 

GJ:  I think the two will always complement each other. Success on the film festival circuit can create commercial crossovers, but not often enough for my liking. Frankly, the dominance of generic fare in commercial distribution is so monolithic that creative cinema would die without the festival circuit.

 

GE:  Are you able to tell us anything about your future plans?

 

GJ:  I’m developing another film of my own, this time set in Wales. I’m also adapting a novel about Holocaust survivors arriving in Israel for a Berlin-based company. And our company Scenario Films runs the European training programme Babylon all year round.  I like working with other writers, directors and producers. It protects one from Ralph-syndrome.prozac 30 mg dosecost of fluoxetineside effects of fluoxetine hcl 20 mgapo-fluoxetine 10 mg
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Hillary Clinton doc not proceeding

October 1st, 2013 - admin

Charles Ferguson has abandoned his Hillary Clinton documentary after receiving next to no co-operation from potential interviewees more concerned with gaining a position within the former Secretary Of State’s administration should she secure the Presidency in three year’s time.  CNN were producing the political documentary, which would have received a theatrical release before its TV airing.  Ferguson won the Oscar doc for his last feature, ‘Inside Job’.prozac 30 mg dosecost of fluoxetineside effects of fluoxetine hcl 20 mgapo-fluoxetine 10 mg
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