What more is Catalan cinema ?¹

What more is Catalan cinema ?¹ :

Camera Catalonia at Cambridge Film Festival

More views of - or before - Cambridge Film Festival 2017 (19 to 26 October)
(Click here to go directly to the Festival web-site)

4 September (revised 4 October)

What more is Catalan cinema ?¹ :

Camera Catalonia at Cambridge Film Festival

It's the inevitable filmic follow-up to What is Catalan cinema ?... !

Three years ago, leading up to the third season of Camera Catalonia at Cambridge Film Festival [then in its 34th season], the question was posed What is Catalan cinema ? - in answering which, some of the defining features seemed to be :

Catalan cinema : Does it fit descriptions such as Sassy / Sexy / Surreal / Sensuous / Subversively ritual, and bathed by the Mediterranean ?
— THE AGENT APSLEY (@THEAGENTAPSLEY) June 12, 2014

Yet, as well as all these things (which, along with the Catalan films from 2012 to that date, are considered in more detail in What is Catalan cinema ?), succeeding seasons of Camera Catalonia have shown that the autonomous region in Spain called Catalunya – which, as with Scotland, some would see have a greater, independent status [highly relevant at the time of revising this piece...] – gives us cinema that :

* Remembers its history, right back to when Spain took control of Catalunya, in Claudio Zulian's (claudiozulian1's) thoughtful Born (2014) (@Bornfilm), reconstructing a few connected lives at the time of the War of the Spanish Succession (1701–1714), with Vicky Luengo a most desirable mistress to Josep Julien and the sister of Marc Martínez (Julien’s wealthy debtor, until Julien proves to back the wrong side in the war…)

* In the Catalan people, presents ones as reserved as the British, who - in two films that star the radiant Nora Navas (Tots volem el millor per a ella (We All Want What’s Best for Her) (2013) and L’adopció (Awaiting) (2015)) – manage to avoid talking to each other, but try to make happen what they assume should happen. In doing so, do they seem to lose sight of who is getting hurt, and for what real reason... ?

Find it here, as it's written and posted, before #UCFF can tell you on 8 September more about Camera Catalonia... :https://t.co/98qnF063z9 pic.twitter.com/rVwmLw5R8m

— THE AGENT APSLEY (@THEAGENTAPSLEY) September 5, 2017

* Looks to literature such as Shakespeare, either in the feel - in Barcelona Summer Night (Barcelona, nit d'estiu) (2013) - of A Midsummer Night's Dream...

Or, in Hammudi al-Rahmoun Font's shocking telling of a classic tragedy, in Otel.lo (Othello) (2012) : 'OTHELLO is a cinematographic essay about power, desire, jealousy and deceit ; a thought on the boundaries between fiction and real life' (from IMDb)

Hammudi (with The Agent) at Cambridge Film Festival 2014

* Films as diverse as Ficció (Fiction) (2006), Fill de Caín (Son of Cain) (2013), and Menú degustació (Tasting Menu) (2013) are, in their quite different ways, further evidence² of flexibility in, and of creative thinking about, employing conventional elements of story-telling - and of both the expectations to which their nature gives rise and what writers and / or directors do to subvert them

Screened at #CamFF, films as diverse as Menú degustació (Tasting Menu) (2013), Fill de Caín (2013), Ficció (2006) :https://t.co/98qnF063z9 pic.twitter.com/X7zmtiEHQo

— THE AGENT APSLEY (@THEAGENTAPSLEY) September 11, 2017

* Or they do not subvert them - but surprisingly please, in Traces of Sandalwood (Rastres de sàndal) (2014) [this link is to TAKE ONE’s (@ TakeOneCinema's) review], with its Bollywood-infused tale of the (in)credulity of a loved and lost young girl, who is adopted into a Catalan family, and cannot believe that an Indian film-star knew her as a child - because she is her sister !

Aina Clotet, as Paula (Sita) - meeting her sister Mina (Nandita Das), and, later, reflecting on herself, and her identity

* Those living at the extremes of experience, in both Tots els camins de Déu (All The Ways of God) (2014) and El camí més llarg per tornar a casa (The Long Way Home) (2014)

Upper : Marc Garcia Coté in Tots els camins de Déu (2014)

Lower : Borja Espinosa in El camí més llarg per tornar a casa (2014)

* Adapts stage-plays very cinematically, whether Sílvia Munt [interviewed here], making a film of Josep María Sagarra's classic work El Cafè de la Marina (2014), or Ventura Pons of a contemporary writer in El virus de la por (The Virus of Fear) (2015)

Marina Salas in El cafè de la Marina (2014)

(Upper) Rubén de Eguia and (Lower) Albert Ausellé and Diana Gómez in El virus de la por (2015)

* Finally, documentaries by Catalan directors - although now listed in the Festival's main sequence (alphabetically with the others and the feature films) - tend to explore identity and connections to Catalan history, whether telling of the band-leader Xavier Cugat's career in film and music, during which he introduced Latin orchestration and rhythms to dance-music and Hollywood films and t.v. (although, which was probably little known, Cugat had been born in Catalunya, but had been an emigrée to Cuba with his family when young), in Diego Mas Trelles' Sexo, maracas y Chihuahuas (Sex, Maracas & Chihuahuas) (2016)

Or - in another realm of translocation - telling of how much better treated and regarded Americans of Afro-Caribbean descent were during their time in Spain (fighting the fascist forces of General Franco) than in the States - especially after going there. So #CamFF 2015 guest Jordi Torrent (with his co-writer / director Alfonso Domingo) showed in Héroes invisibles : Afroamericanos en la guerra de España (Invisible Heroes) (2015) [for which #UCFF interprets the sub-title as ‘The part played by Afro-Americans in The Spanish Civil War’], to the extent even that records that proved their participation hardly (were meant to) be available / survive

Ramon Lamarca (left), with Festival guest Jesús Monllaó (before the poster for Monllaó's
Fill de Caín (2013)) - by and courtesy of David Riley

Catalan cinema - to judge by the films that Camera Catalonia programmer Ramon Lamarca (pictured above) brings to Cambridge (and also the ICA (@ICALondon)) - is high-quality work that values its audiences enough to respect them :

Join us for the sixth year of a Catalan strand at Cambridge Film Festival, Camera Catalonia, to see why he and #UCFF give it due regard

End-notes :

¹ A deliberate nod to the inelegance of following up Analyze This (1999) with Analyze That (2002) (fairly criminally unwatchable, unless being very kind - for their other, better work - to Crystal and De Niro ?)... [Cristina Roures, pictured, is the Festival's Operations and Hospitality Manager (and, of course, is Catalan).]

² Camera Catalonia in 2012 (its first appearance at #CamFF) had included V.O.S. (2009), which is also – along with Ficció (2006) - the work of director Cesc Gay.


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Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

A historically informed and painterly work of cinema

This is a review of Born (2014) for the ICA's #CatalanAvantGarde series

More views of – or before – Cambridge Film Festival 2015 (3 to 13 September)
(Click here to go directly to the Festival web-site)

22 August

This is a review of Born (2014) for the #CatalanAvantGarde series
at The Institute of Contemporary Arts (ICA)

Tickets can be booked here

Note on the title of the film* :

Born is nothing to do with birth, but denotes an area of Barcelona known as El Born (or El Bornet), sometimes conflated with that of La Ribera (meaning ‘the bank’ (of the coastal variety)) in such a way as to denote both areas by the term ‘Born’.

A late-nineteenth-century building survives, called the Mercat del Born (constructed from iron, and formerly a public market), and on its site, when development was planned there (in 2002), extensive remains of the mediaeval city were discovered. Amongst other people, Albert Garcia Espuche has written about this area’s history, and his La Ciutat del Born was an inspiration for this film.


Two years ago, at Cambridge Film Festival (2013) [@camfilmfest / #CamFF], there were two screenings of Eyes on the Sky (Mirant al Cel) (2008) in the Catalan strand (Camera Catalonia) :

That film centred on memories of, and one’s present relationship to, the time when the Italian Air Force was helping Franco’s fascist forces by bombing Barcelona (16 to 18 March 1938), and is described in What is Catalan cinema ? as Movingly mixing documentary, acting, and faux-documentary to dig into past pain. Born evokes that period in Catalan history by observations that one of the characters makes in tidying up the wreckage, and whatever can be salvaged, during the city’s bombardment in the War of [the Spanish] Succession (1701–1714) :

First time was ten years ago. Then it was the French. Now the British. And they will do it again. And every time it will be worse. And us, the poor… the people who only want to earn an honest living, will always be under the bombs. Until we say enough.


In this one way, the writers of the screenplay [credited as including Albert Garcia Espuche (please see the note on the film’s title (above)), and director Claudio Zulian] momentarily step outside the period, making a reference that necessarily reaches forward in time to those both attacking, and trying to defend, Barcelona more than 220 years later [and, in turn in Eyes on the Sky, to the lives of combatants, on each side, 70 years later].

The cover of Albert Garcia Espuche's publication

Not that concerns such as whom to trust, borrowing money to feed one’s family, and being subject to external forces, influences and events are not, now as then, what we will recognize as part of life, but – in every other respect than this passing allusion – Born does what it can to keep closely to its period : the approach of Claudio Zuliano, with which both his cast and crew show themselves to be quite in accord, seems to be not to convince us that the action is in the early 1700s, but for them to believe it themselves. So, not for the first time with Catalan film-making, one finds oneself referencing a piece by Borges (previously, it was with Hammudi Al-Rahmoun Font’s Otel.lo (2012) (@otel_lo), from this blog's review of which this is quoted) :

The Argentinian writer Jorge Luis Borges, composing a story, in essay form, that touches on the life of the Spanish writer Miguel de Cervantes (Pierre Menard, ‘Author of the Quixote’ (‘Pierre Menard, autor del Quijote’)), imagined how someone (in this case, the fictional Pierre Menard) becomes as Cervantes, partly, at first, by living in exactly the same circumstances as Cervantes and then ends up recreating, word for word, parts of his most famous oeuvre (so, maybe, Borges mocking - amongst literary and intellectual fashions and factions – the Laplacean theory of determinism (as well as the writer(s) whom academics consider the model(s) for Menard) ?)


Not method acting as such necessarily, but, as one looks at these locations and how the actors are deporting themselves, one never has in mind that stagey character of, say, some BBC adaptations of Dickens, where one just senses that a street of Georgian properties has been doctored to look as if it is now being occupied in Victorian times [sometimes, one recognizes the Inns of Court in disguise, as they have been well preserved by the legal profession]. Much more, one thinks of how Ralph Fiennes’ The Invisible Woman (2013) looked and felt, and because it was so beautifully lit: Born has a painterly regard for how its scenes are composed, and in the use of light and dark*** (another point of contact with Otel.lo (and also El Cafè de la Marina, which screened earlier in the #CatalanAvantGarde series – please also see below).

The film falls into three sections, named after Bonaventura (Bonaventura Alberni : Marc Martínez), his sister Marianna (Vicky Luengo), and Vicenç (Josep Julien), an ambitious businessman, who is one of the former’s creditors : in this respect, as well as in the interconnectedness of people who live in proximity to one another, one is reminded of Marcel Pagnol’s Marseille trilogy (on which there is more information here in relation to El Cafè de la Marina (2014) (another film in #CatalanAvantGarde)) : the first two parts, in Daniel Auteuil’s version, screened at Cambridge Film Festival in 2013, Marius (2013) and Fanny (2013).


Unlike, though, Auteuil’s films of gorgeous technical clarity of image, this film resembles Otel.lo, by making good use of an edgy, documentary style, which really first comes into its own after fifteen minutes : we track Bonaventura, following a confrontation with his landlord, and the immediacy involves us in his inner workings, through the language of demeanour and expression, as he walks the streets.

As we will see both Marianna and Vicenç do, we are with Bonaventura when, after refreshing himself with water from the spring, he makes an important realization / decision in his life, and not conveyed in speech – no moment of soliloquy, but in his look, and then in his movements and gestures, until his purpose becomes clear with what the Notary announces a couple of minutes later. For those who like this sort of approach, and realize that a really good piece of cinema may have been made with dialogue not in English, Born has great dramatic quality, and all the rootedness in how ships and trade govern people’s lives and fortunes that we esteem in a play such as The Merchant of Venice.

Tickets can be booked here

End-notes

* Derived from the Wiki articles http://en.wikipedia.org/wiki/Mercat_del_Born and http://es.wikipedia.org/wiki/Barrio_de_La_Ribera.

** Essentially, to see whether Charles III or Philip V would rule Spain (amongst other countries).

*** The director of photography and art director are, respectively, Jimmy Gimferrer and Lali Canosa. One is reminded of the use of darkness in masterpieces by Caravaggio, such as The Supper at Emmaus :

If you want to Tweet, Tweet away here
Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

A historically informed and painterly work of cinema

This is a pre-Festival review of Born (2014) (for Cambridge Film Festival 2015)

More views of – or before – Cambridge Film Festival 2015 (3 to 13 September)
(Click here to go directly to the Festival web-site)

This is a pre-Festival review of Born (2014) (for Cambridge Film Festival 2015)

Note on the title of the film* :

Born is nothing to do with birth, but denotes an area of Barcelona known as El Born (or El Bornet), sometimes conflated with that of La Ribera (meaning ‘the bank’ (of the coastal variety)) in such a way as to denote both areas by the term ‘Born’.

A late-nineteenth-century building survives, called the Mercat del Born (constructed from iron, and formerly a public market), and on its site, when development was planned there (in 2002), extensive remains of the mediaeval city were discovered. Amongst other people, Albert Garcia Espuche has written about this area’s history, and his La Ciutat del Born was an inspiration for this film.


Two years ago, at Cambridge Film Festival (2013) [@camfilmfest / #CamFF], there were two screenings of Eyes on the Sky (Mirant al Cel) (2008) in the Catalan strand (Camera Catalonia) :

That film centred on memories of, and one’s present relationship to, the time when the Italian Air Force was helping Franco’s fascist forces by bombing Barcelona (16 to 18 March 1938), and is described in What is Catalan cinema ? as Movingly mixing documentary, acting, and faux-documentary to dig into past pain. Born evokes that period in Catalan history by observations that one of the characters makes in tidying up the wreckage, and whatever can be salvaged, during the city’s bombardment in the War of [the Spanish] Succession (1701–1714) :

First time was ten years ago. Then it was the French. Now the British. And they will do it again. And every time it will be worse. And us, the poor… the people who only want to earn an honest living, will always be under the bombs. Until we say enough.


In this one way, the writers of the screenplay [credited as including Albert Garcia Espuche (please see the note on the film’s title (above)), and director Claudio Zulian] momentarily step outside the period, making a reference that necessarily reaches forward in time to those both attacking, and trying to defend, Barcelona more than 220 years later [and, in turn in Eyes on the Sky, to the lives of combatants, on each side, 70 years later].

The cover of Albert Garcia Espuche's publication

Not that concerns such as whom to trust, borrowing money to feed one’s family, and being subject to external forces, influences and events are not, now as then, what we will recognize as part of life, but – in every other respect than this passing allusion – Born does what it can to keep closely to its period : the approach of Claudio Zuliano, with which both his cast and crew show themselves to be quite in accord, seems to be not to convince us that the action is in the early 1700s, but for them to believe it themselves. So, not for the first time with Catalan film-making, one finds oneself referencing a piece by Borges (previously, it was with Hammudi Al-Rahmoun Font’s Otel.lo (2012) (@otel_lo), from this blog's review of which this is quoted) :

The Argentinian writer Jorge Luis Borges, composing a story, in essay form, that touches on the life of the Spanish writer Miguel de Cervantes (Pierre Menard, ‘Author of the Quixote’ (‘Pierre Menard, autor del Quijote’)), imagined how someone (in this case, the fictional Pierre Menard) becomes as Cervantes, partly, at first, by living in exactly the same circumstances as Cervantes and then ends up recreating, word for word, parts of his most famous oeuvre (so, maybe, Borges mocking - amongst literary and intellectual fashions and factions – the Laplacean theory of determinism (as well as the writer(s) whom academics consider the model(s) for Menard) ?)


Not method acting as such necessarily, but, as one looks at these locations and how the actors are deporting themselves, one never has in mind that stagey character of, say, some BBC adaptations of Dickens, where one just senses that a street of Georgian properties has been doctored to look as if it is now being occupied in Victorian times [sometimes, one recognizes the Inns of Court in disguise, as they have been well preserved by the legal profession]. Much more, one thinks of how Ralph Fiennes’ The Invisible Woman (2013) looked and felt, and because it was so beautifully lit: Born has a painterly regard for how its scenes are composed, and in the use of light and dark*** (another point of contact with Otel.lo (and also El Cafè de la Marina – please see below)).

The film falls into three sections, named after Bonaventura (Bonaventura Alberni : Marc Martínez), his sister Marianna (Vicky Luengo), and Vicenç (Josep Julien), an ambitious businessman, who is one of the former’s creditors : in this respect, as well as in the interconnectedness of people who live in proximity to one another, one is reminded of Marcel Pagnol’s Marseille trilogy (on which there is more information here in relation to El Cafè de la Marina (2014) (another film in Camera Catalonia 2015)) : the first two parts, in Daniel Auteuil’s version, screened at Cambridge Film Festival in 2013, Marius (2013) and Fanny (2013).

Vicky Luengo as Marianna

Unlike, though, Auteuil’s films of gorgeous technical clarity of image, this film resembles Otel.lo, by making good use of an edgy, documentary style, which really first comes into its own after fifteen minutes : we track Bonaventura, following a confrontation with his landlord, and the immediacy involves us in his inner workings, through the language of demeanour and expression, as he walks the streets.

As we will see both Marianna and Vicenç do, we are with Bonaventura when, after refreshing himself with water from the spring, he makes an important realization / decision in his life, and not conveyed in speech – no moment of soliloquy, but in his look, and then in his movements and gestures, until his purpose becomes clear with what the Notary announces a couple of minutes later. For those who like this sort of approach, and realize that a really good piece of cinema may have been made with dialogue not in English, Born has great dramatic quality, and all the rootedness in how ships and trade govern people’s lives and fortunes that we esteem in a play such as The Merchant of Venice.


End-notes

* Derived from the Wiki articles http://en.wikipedia.org/wiki/Mercat_del_Born and http://es.wikipedia.org/wiki/Barrio_de_La_Ribera.

** Essentially, to see whether Charles III or Philip V would rule Spain (amongst other countries).

*** The director of photography and art director are, respectively, Jimmy Gimferrer and Lali Canosa. One is reminded of the use of darkness in masterpieces by Caravaggio, such as The Supper at Emmaus :

If you want to Tweet, Tweet away here
Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

For posting 1111, a portal-page to the TAKE ONE interviews...

More views of – or before – Cambridge Film Festival 2015 (3 to 13 September)
(Click here to go directly to the Festival web-site)

17 October

Interviews conducted for, and published by, TAKE ONE, a Cambridge-Film-Festival-based – and mainly on-line (http://takeonecinema.net / @TakeOneCinema [formerly www.takeonecff.com]) – publication [except at the time of Cambridge Film Festival (@camfilmfest / #CamFF)]

In Saffron Walden : was one an amazing present (from another) ? - and, with the other, does that have to be 111 IKC ? pic.twitter.com/njhUbl3mOO

— THE AGENT APSLEY (@THEAGENTAPSLEY) August 1, 2015

An accreting series of links, by order of interviewee's name (date of publication is in square-brackets, and the film-title links to the IMDb (@IMDb) web-page for the film) :


Claudio Zulian [23 September 2015] :
Interview with Claudio Zulian – Anthony Davis spoke to Claudio Zulian, the creator of the film BORN, which screened at this year’s Cambridge Film Festival. [BORN follows the 18th century adventures of coppersmith Bonaventura, his sister Marianna and the rich merchant Vicenç, in the disappeared neighbourhood of El Bornet in Barcelona.]

Born (2014) ~ bornfilm.org ~ @Bornfilm

Daisy Hudson [14 January 2017] :
Half Way – We spoke to Daisy Hudson whose documentary chronicles her family’s devastation when they find themselves at the mercy of the housing crisis. [HALF WAY chronicles the experience of a family of three women trapped in a homeless limbo.]

Half Way (2015) ~ halfwayfilm.co.uk ~ @halfwaydocu

Desiree Akhavan [20 September 2018] :
Interview with Desiree Akhavan – Anthony Davis spoke to Desiree Akhavan at the Cambridge Arts Picturehouse recently after the screening of her film THE MISEDUCATION OF CAMERON POST. He began by asking whether she had been influenced by ONE FLEW OVER THE CUCKOO’S NEST or GIRL, INTERRUPTED…

The Miseducation of Cameron Post (2018) ~ CamPostFilm.com ~ @campostfilm

Dunstan Bruce [17 October 2014] :
A curious life – We spoke to Dunstan Bruce at Cambridge Film Festival this year about his documentary A CURIOUS LIFE, which follows the winsome Jeremy 'The Levellers' [@the_levellers] Cunningham on a trip down memory lane via squids, folk-punk festival mayhem and the Battle of the Beanfield

A Curious Life (2014) ~ acuriouslife.co.uk/Blog ~ @a_curiouslife

Hammudi Al-Rahmoun Font [9 January 2015] :
Font's Othello – Anthony Davis spoke to Hammudi Al-Rahmoun Font about his entertaining and provocative Catalan adaptation of OTHELLO, screened at CFF2014

Otel.lo (Othello) (2012) ~ otello.cat ~ @otel_lo

Ken Loach [6 June 2014] :
In conversation with Ken Loach – Ken Loach visited the Cambridge Arts Picturehouse with his new film JIMMY’S HALL; Anthony Davis spoke to him about journalistic vitriol and corporate propaganda

Jimmy's Hall (2014) ~ http://www.facebook.com/JimmysHallFilm ~ @JimmysHallFilm

Laura Rossi [17 October 2014] :
Interview with Laura Rossi – Anthony Davis spoke to composer Laura Rossi about her experience writing music for BFI Silent Film JANE SHORE (1915), currently touring the UK

Jane Shore (1915) ~ http://www.laurarossi.com/janeshore/ ~ @thelaurarossi

Magali Pettier [28 August 2015] :
Addicted to Sheep – Anthony Davis spoke to Magali Pettier, farmer’s daughter and director of ADDICTED TO SHEEP, which follows a year in the lives of two sheep farmers.

Addicted to Sheep (2015) ~ http://www.addictedtosheep.com ~ @addictedtosheep ~ @MagaliPettier

Mar Coll [27 September 2014] :
[Appended to Rebecca Naghten's] review of We All Want What's Best For Her (2013) – Anthony Davis spoke to director Mar Coll after the screening, focusing on the mental-health-related themes in the film. (An extract of the interview follows.)

Tots volem el millor per a elle (2013) ~ http://www.totsvolemelmillorperaella.com ~ @Totsvolem_peli

Marc Quinn / Gerry Fox [23 July 2015] :
Interview with Marc Quinn & Gerry Fox [Although there is now a link to the full interview] – On 23 July the Arts Picturehouse screened MAKING WAVES, a documentary in which Gerry Fox records one year in the life of Marc Quinn. The film delves into the nature of creativity, following Quinn across the globe. Shortly before the post-screening Q&A we spoke to director Fox and subject/artist Quinn about his notorious “shit-head”, his bromance with Fox and the film’s examination of Quinn’s Warhol style “assembly line of art workers”.

Marc Quinn : Making Waves (2014) ~ http://www.marcquinn.com ~ @_MarcQuinn

Raf V. [11 February 2018] :
Vlogumentary joy with Rafael V. – In his 2017 documentary JOY, vlogumentary maker Rafael V. asks what it means to be happy – where can we find joy ? A few months on from the film’s release, Anthony Davis caught up with Rafael to discuss his personal approach to cinéma vérité, reflect on what he learned from making this film, and find out about his next project.

Joy (2017) ~ youtu.be/tp1AVRoS77Q ~ @variousgiraffes

Toby Amies [6 November 2013] :
Interview with Toby Amies – Filmed predominantly in his cave, haven, call it what you will, of a council flat, Toby Amies’ touching portrait follows ageing maverick Drak [self-styled Drako Zarharzar] as he goes about his everyday life, or rather his every second. Anthony Davis spoke to Toby Amies following the screening at Cambridge Film Festival.

The Man Whose Mind Exploded (2012) ~ http://itunes.apple.com/gb/movie/the-man-whose-mind-exploded/id894744010 ~ @DrakoZarharzar ~ @TobyAmies

William Fowler [12 October 2012] :
Interview with William Fowler – Following the collection of works, featuring or directed by Bruce Lacey, that he brought to the 2012 Cambridge Film Festival, I spoke to William Fowler, who is Curator of Artists’ Moving Image at the BFI (British Film Institute [@BFI])

The Lacey Rituals (1973) ~ http://www.brucelaceyexperience.com

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Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)