8 September
I've just found that one of the films mentioned in the last posting has its own web-site, which might prove interesting to explore:
http://dimensionsthemovie.com/2011/08/23/cambridge-film-festival-dates/
Wednesday 7 September 2011
Popular items
8 September
There was no need to guess that - as the Festival web-site announces has happened - the opening film would sell out, but also:
* Black Butterflies has been lifted out of the German strand into the main listing of features
* Gerhard Richter: Painting has been moved out of the screen that it was in (Screen 3, the smallest) into Screen 2 (the middle-sized screen) for the screening that I booked
* Dimensions, for which there was little choice when I came to book (and had to, because the other screening gave rise to a clash), has also sold out
A useful feature to keep an eye on, and it would be even better if a section of that web-page gave an alert when tickets are selling fast for a particular film or one (if more than one) of its screenings...
There was no need to guess that - as the Festival web-site announces has happened - the opening film would sell out, but also:
* Black Butterflies has been lifted out of the German strand into the main listing of features
* Gerhard Richter: Painting has been moved out of the screen that it was in (Screen 3, the smallest) into Screen 2 (the middle-sized screen) for the screening that I booked
* Dimensions, for which there was little choice when I came to book (and had to, because the other screening gave rise to a clash), has also sold out
A useful feature to keep an eye on, and it would be even better if a section of that web-page gave an alert when tickets are selling fast for a particular film or one (if more than one) of its screenings...
Those CFF events (so far...)
7 September
Friday 16
Saturday 17
Sunday 18
Monday 19
Tuesday 20
Wednesday 21
Thursday 22
Friday 23
Staurday (?) 24
Sunday 25
Thursday 15
4.45 Ace In The Hole
8.00 Opening film: Tinker, Tailor, Soldier, Spy (sold out)
Friday 16
12.45 Tomboy
3.15 Rembrandt Fecit 1669 (Jos S.)
8.00 The Illusionist (Jos S.)
11.00 The Day The Earth Caught Fire - decide on the night
Saturday 17
12.45 Jess + Moss
3.00 Black Butterflies
8.15 Jos Stelling in Conversation (Q&A)
10.30 Don't Be Afraid Of The Dark
Sunday 18
3.15 No Trains No Planes (Jos S.)
5.45 White White World
8.15 Burnout
Monday 19
1.00 Bombay Beach
3.30 The Camera That Changed The World + another
5.45 A Useful Life
10.30 Sympathy For Mr Vengeance - decide on the night
Tuesday 20
8.15 Drive
11.00 Red State - decide on the night
Wednesday 21
3.15 As If I Am Not There
8.15 Dimensions (sold out)
11.00 Wild Side - decide on the night
Thursday 22
12.30 The Seventh Seal
11.00 Bullhead - decide on the night
Friday 23
3.30 Jo For Jonathan
6.00 The Nine Muses
8.15 Gerhard Richter: Painting
10.30 Red White & Blue - decide on the night
Staurday (?) 24
12.30 Kosmos
8.00 Tyrannosaur
10.45 Guilty Of Romance - decide on the night
Sunday 25
3.15 Sleeping Beauty
6.00 Surprise Movie (probably sold out)
8.30 Closing film: The Look
Days of Heaven
6 September
This 'new digital restoration' from the British Film Institute of a title from 1978 is what the Arts Picturehouse, the BFI and the festival are all about : the opportunity to see something that is only just being premiered or has otherwise not been easily obtainable.
The feature itself was, for me, a bit like a fairy tale - it appears, although not accurately in terms of any correlation between what the images show us and what the voiceover seems (or seeks) to tells us about the underlying situation, to be the narration of a 12-year-old girl, but, for my mind, not nearly as cleverly as in the case of the narrator of Haneke's The White Ribbon.
The person with whom I watched it - and the lobby card, issued with a still (not, as I recall, a scene from the film as screened), bears this view out - commented that there were people in rags posed against the stunning landscape in neat array, and even the rags were beautifully done. Maybe that is part of the fairly tale, the mystification and magification of the (to my mind) somewhat unlikely series of events that unfolds:
If it hadn't come first, one could have sworn that Days of Heaven was playing with the theme of Indecent Proposal - as it is, given that Demi Moore in the latter film bears what I would say is more than a passing resemblance to Brooke Adams (playing Abby), I wonder whether there was a tribute being paid, and, if so, how many spotted it at the time. Certainly, as to the result of these interactions (on the world and the characters), one thinks inevitably of Exodus (if that isn't the young girl's wishful thinking of vengeance, stirred up by some religious teaching to which she makes reference), or even Genesis and the garden of Eden, but, with what one source states is a quotation from Leviticus.
Maybe, maybe not, and with the Bonnie and Clyde tone of part of the close of the film, one isn't exactly encouraged to dwell on it, or, with that strand, how Abby seemingly ends up unscathed and able just to disappear from sight (unless, again, as a fairy-tale fictionalizing, where actions don't necessarily have consequences).
What did, though, for me give the greatest reward, other than the photography of wide skies, are the minute depictions of nature (locusts, otters (?), pheasants, and so on), which are interspersed with (what one would assume is) the main action, and which, with the adept editing, give it richness and texture, and, even, a hint of heaven.
Tweet away @TheAgentApsley
This 'new digital restoration' from the British Film Institute of a title from 1978 is what the Arts Picturehouse, the BFI and the festival are all about : the opportunity to see something that is only just being premiered or has otherwise not been easily obtainable.
The feature itself was, for me, a bit like a fairy tale - it appears, although not accurately in terms of any correlation between what the images show us and what the voiceover seems (or seeks) to tells us about the underlying situation, to be the narration of a 12-year-old girl, but, for my mind, not nearly as cleverly as in the case of the narrator of Haneke's The White Ribbon.
Richard Gere & Brooke Adams
Days of Heaven (1978) pic.twitter.com/IynS09DaUD
— Mademoiselle Cinéma. (@BelleDeJour15) December 2, 2014
The person with whom I watched it - and the lobby card, issued with a still (not, as I recall, a scene from the film as screened), bears this view out - commented that there were people in rags posed against the stunning landscape in neat array, and even the rags were beautifully done. Maybe that is part of the fairly tale, the mystification and magification of the (to my mind) somewhat unlikely series of events that unfolds:
If it hadn't come first, one could have sworn that Days of Heaven was playing with the theme of Indecent Proposal - as it is, given that Demi Moore in the latter film bears what I would say is more than a passing resemblance to Brooke Adams (playing Abby), I wonder whether there was a tribute being paid, and, if so, how many spotted it at the time. Certainly, as to the result of these interactions (on the world and the characters), one thinks inevitably of Exodus (if that isn't the young girl's wishful thinking of vengeance, stirred up by some religious teaching to which she makes reference), or even Genesis and the garden of Eden, but, with what one source states is a quotation from Leviticus.
Maybe, maybe not, and with the Bonnie and Clyde tone of part of the close of the film, one isn't exactly encouraged to dwell on it, or, with that strand, how Abby seemingly ends up unscathed and able just to disappear from sight (unless, again, as a fairy-tale fictionalizing, where actions don't necessarily have consequences).
What did, though, for me give the greatest reward, other than the photography of wide skies, are the minute depictions of nature (locusts, otters (?), pheasants, and so on), which are interspersed with (what one would assume is) the main action, and which, with the adept editing, give it richness and texture, and, even, a hint of heaven.
Tweet away @TheAgentApsley
Monday 5 September 2011
Not yet the festival
Saying that, to-night's special science showing of Enigma had all the hallmarks of the best festival events:
* A packed screening
* An introduction from the front
* A talk By Dr James Grime (pictured), infomed by a demonstration, about what we were about to see in terms of what the Enigma machine was, did and why it was important to decode its messages and who worked out how to do it
* The film itself, which was rather more implausible thriller - complete with the unlikely prodigious agility and speed of a Cambridge mathematician who did not look in shape - pinned onto the background of the workings of Bletchley Park than any meaningful story
* A chance to ask questions about the accuracy of details in the film, the set-up at BP, and the Engima machine, as well as to photograph it and even press a key and see a different letter light up, still working 75 years on!
* A packed screening
* An introduction from the front
* A talk By Dr James Grime (pictured), infomed by a demonstration, about what we were about to see in terms of what the Enigma machine was, did and why it was important to decode its messages and who worked out how to do it
* The film itself, which was rather more implausible thriller - complete with the unlikely prodigious agility and speed of a Cambridge mathematician who did not look in shape - pinned onto the background of the workings of Bletchley Park than any meaningful story
* A chance to ask questions about the accuracy of details in the film, the set-up at BP, and the Engima machine, as well as to photograph it and even press a key and see a different letter light up, still working 75 years on!
Tweet away @TheAgentApsley
Saturday 3 September 2011
Booking tickets
4 September
A film (or event) booked for every day of the festival - 15 to 25 September, based at The Arts Picturehouse, Cambridge, but venues elsewhere - and including the opening and closing films.
Twenty-five tickets so far, and others to be decided on, nearer the time - or on the day. The Blue Festival Pass, giving 30% off the Picturehouse members' ticket-prices, is proving very handy and cost effective, and even entitles to free tea and coffee at the bar!
Tweet away @TheAgentApsley
A film (or event) booked for every day of the festival - 15 to 25 September, based at The Arts Picturehouse, Cambridge, but venues elsewhere - and including the opening and closing films.
Twenty-five tickets so far, and others to be decided on, nearer the time - or on the day. The Blue Festival Pass, giving 30% off the Picturehouse members' ticket-prices, is proving very handy and cost effective, and even entitles to free tea and coffee at the bar!
Tweet away @TheAgentApsley
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