More views of - or at - Cambridge Film Festival 2011
(Click here to go directly to the Festival web-site)
25 September
Since (whenever that was) this blog was inaugurated (born? baptized?), there have been large numbers of page-views not only from the UK, but also from the States, and, puzzlingly (why so?) from Russia (15 overall, with 12 in the last week)…
I am also told by Blogger about operating-systems (which is a predicatble result) and browsers (with a close-run thing at the top between (in decreasing order, for what it’s worth with this size of sample) Safari, Firefox and Explorer.
I cannot honestly say that any of those figures really do much for me, other than to point out what a pivotal posting mine was on the night that Dimensions premiered, but they make me revert to a different question, that of the Festival’s attempt to assess the Festival favourite:
It’s great that people are being asked, this year, to put a card into one of five boxes (5 being the top score), but some screenings sell out (Tinker, Tailor, Solider, Spy as the opening film, for example, in Screen 1), whereas, last night (I think) I was in danger of being the only person in my late show.
So you can have hundreds of people voting in one or two screenings, so perhaps as many as four to five hundred possible votes (for, say, Screen 2 then Screen 1, as with Dimensions, I was told on asking (I was only in the first show), and the attempt is to compare that with something in Screen 3 only once that was only half full.
Need I say more about where the problem lies?
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Saturday 24 September 2011
Dimensions: Through the looking-glass of time? (1)
More views of - or at - Cambridge Film Festival 2011
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24 September
Although it is received wisdom that ‘I can’t be in two places at once [or at the same time, in a variant]’, not only is that usually just an excuse, but it also might not stand up to examination in the light of developments in cloning.
All that apart, more or less, the immense popularity of Dimensions, which has seen it (after having screenings in Screens 2 and then 1) shown again this afternoon meant that I could go through the wormhole of watching again: I know that the phrase does not sound favourable, but this is my review, and I am in a whimsical mood, in no way intended to detract from viewing twice to see what happened to something that I thought fine the first time.
Why did I think it fine? It is an extremely intelligent film that uses the concept and theory of time-travel to say something about what I described in my Festival blog as longing. I still think that it is longing, not just obsession – I think that one can be obsessed about something (e.g. my head being cut off by Jackie Chan) that (unless we are being psychoanalytical), on the face (pun intended!) of it, one does not long for, and long for something that does not obsess one.
I said that it is longing for something that one cannot have or that may not do me any good. In this film, that turns out not to be true on either count, and also to involve a paradox. The events are separated by a period of fifteen years, but, in some respects, the characters seem unchanged, seem stuck in some childish ways (as we all probably are – now who wants to play the psychology card, after all!), seem full of what I want to call longing. (I call it longing not only because I can’t use the German word Sehnsucht, and, because of the connotations, I don’t want to use yearning.)
I shall have to finish this review later, so this is a stub (as Wikipedia would call it)…
If you want to Tweet, Tweet away here
(Click here to go directly to the Festival web-site)
24 September
Although it is received wisdom that ‘I can’t be in two places at once [or at the same time, in a variant]’, not only is that usually just an excuse, but it also might not stand up to examination in the light of developments in cloning.
All that apart, more or less, the immense popularity of Dimensions, which has seen it (after having screenings in Screens 2 and then 1) shown again this afternoon meant that I could go through the wormhole of watching again: I know that the phrase does not sound favourable, but this is my review, and I am in a whimsical mood, in no way intended to detract from viewing twice to see what happened to something that I thought fine the first time.
Why did I think it fine? It is an extremely intelligent film that uses the concept and theory of time-travel to say something about what I described in my Festival blog as longing. I still think that it is longing, not just obsession – I think that one can be obsessed about something (e.g. my head being cut off by Jackie Chan) that (unless we are being psychoanalytical), on the face (pun intended!) of it, one does not long for, and long for something that does not obsess one.
I said that it is longing for something that one cannot have or that may not do me any good. In this film, that turns out not to be true on either count, and also to involve a paradox. The events are separated by a period of fifteen years, but, in some respects, the characters seem unchanged, seem stuck in some childish ways (as we all probably are – now who wants to play the psychology card, after all!), seem full of what I want to call longing. (I call it longing not only because I can’t use the German word Sehnsucht, and, because of the connotations, I don’t want to use yearning.)
I shall have to finish this review later, so this is a stub (as Wikipedia would call it)…
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Experiences of Festival events
More views of - or at - Cambridge Film Festival 2011
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24 September
I shall (try to) be kind first, before being cruel – but, sadly, the latter is deserved.
Neil Brand’s voyage through and sample of the film music of Bernard Herrmann (Knowing the Score) was, despite the numerous technical hitches (most of which, as Neil suggested, can be blamed on the stubborn spirit of Bernie that we came to glimpse that afternoon): the on-screen presentation and the examples chosen were clear, Neil identifying the various instruments and effects as the clips ran (audio only for Psycho, with Neil talking us through the instrumentation for strings on screen) was instructive, and, above all, the enthusiasm for and energy involved in explaining the subject were patent.
Contrast that with an event called The Tartan Terror, and one is at the other end of the spectrum. When I came to write about this ‘evening’, which my friend Punyaketu and I decided to spend somewhere else (even in the face of some well-chosen segments from films distributed by Tartan: we saw part of Irreversible, Old Boy, and Man Bites Dog), I was reminded of James Naughtie in King’s chapel, supposedly interviewing another James, composer James MacMillan – as Naughtie made one well aware, he knew his interlocutor (or, more accurately, intended interlocutor) from other encounters, but, one hopes for MacMillan’s sake, not ones where Naughtie coasted, and dilated endlessly before asking questions that: were not worthy of the ticket-price that some had paid, did not leave them much space for the time that they, too, were supposed to have to ask questions, and seemed to leave the other James cold, too, though he did the best to enliven with his answers a session that was becoming dead on its feet.
Now, I wouldn’t suggest that prior consumption of alcohol played any part on either occasion, but Peter Bradshaw fell into exactly the same trap, snaring himself on the belief that, simply because something (not always very fluently – lots of ‘um’s and ‘uh’s, especially at the beginning) was coming out of his mouth, it needed to be said and said until he could think of nothing else to say.
Frankly, it does not matter whether this was billed as Hamish McAlpine (funnily, like MacMillan, another Scot, though I think that he described himself as a pretend one, after an introduction that was in danger of swallowing the whole night) in conversation or being interviewed, it was neither. It was self-indulgent and not interesting (or simply another case of the questioner forgetting why he is (meant to be) there), and, when McAlpine did (get allowed to) start speaking (after lengthy digressions or irrelevant anecdotes about being with directors at Cannes), Bradshaw was speaking affirmations (or even contradictions) into his microphone, rather than just letting the man who was meant to be his guest – and, after all, the focus of the event – talk in peace.
I gave it 1 out of 5, and had a much better conversation of my own somewhere else instead! (And I hope that poor McAlpine isn't left terrified to be invited to do anything else similar, where he might be given the opportunity to saw something...)
(Click here to go directly to the Festival web-site)
24 September
I shall (try to) be kind first, before being cruel – but, sadly, the latter is deserved.
Neil Brand’s voyage through and sample of the film music of Bernard Herrmann (Knowing the Score) was, despite the numerous technical hitches (most of which, as Neil suggested, can be blamed on the stubborn spirit of Bernie that we came to glimpse that afternoon): the on-screen presentation and the examples chosen were clear, Neil identifying the various instruments and effects as the clips ran (audio only for Psycho, with Neil talking us through the instrumentation for strings on screen) was instructive, and, above all, the enthusiasm for and energy involved in explaining the subject were patent.
Contrast that with an event called The Tartan Terror, and one is at the other end of the spectrum. When I came to write about this ‘evening’, which my friend Punyaketu and I decided to spend somewhere else (even in the face of some well-chosen segments from films distributed by Tartan: we saw part of Irreversible, Old Boy, and Man Bites Dog), I was reminded of James Naughtie in King’s chapel, supposedly interviewing another James, composer James MacMillan – as Naughtie made one well aware, he knew his interlocutor (or, more accurately, intended interlocutor) from other encounters, but, one hopes for MacMillan’s sake, not ones where Naughtie coasted, and dilated endlessly before asking questions that: were not worthy of the ticket-price that some had paid, did not leave them much space for the time that they, too, were supposed to have to ask questions, and seemed to leave the other James cold, too, though he did the best to enliven with his answers a session that was becoming dead on its feet.
Now, I wouldn’t suggest that prior consumption of alcohol played any part on either occasion, but Peter Bradshaw fell into exactly the same trap, snaring himself on the belief that, simply because something (not always very fluently – lots of ‘um’s and ‘uh’s, especially at the beginning) was coming out of his mouth, it needed to be said and said until he could think of nothing else to say.
Frankly, it does not matter whether this was billed as Hamish McAlpine (funnily, like MacMillan, another Scot, though I think that he described himself as a pretend one, after an introduction that was in danger of swallowing the whole night) in conversation or being interviewed, it was neither. It was self-indulgent and not interesting (or simply another case of the questioner forgetting why he is (meant to be) there), and, when McAlpine did (get allowed to) start speaking (after lengthy digressions or irrelevant anecdotes about being with directors at Cannes), Bradshaw was speaking affirmations (or even contradictions) into his microphone, rather than just letting the man who was meant to be his guest – and, after all, the focus of the event – talk in peace.
I gave it 1 out of 5, and had a much better conversation of my own somewhere else instead! (And I hope that poor McAlpine isn't left terrified to be invited to do anything else similar, where he might be given the opportunity to saw something...)
A little Chaucerian muse
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24 September
Agents Surlaw and Apsley (when the latter had tired of typing 'The Agent Apsley' in full) did a pleasing duet (I find it so), which I have just found as the product of the special Batterson page on TSG
Sleeping is no Phenomenon
Tinctures of old lead [Apsley ]
A serpent in a tree [Surlaw ]
A pair a-coupling there [Apsley ]
Concealed for all to see [Surlaw ]
Prioress out for love [Apsley ]
May day dawning [Surlaw ]
In December's wake [Apsley ]
Silence on demand [Surlaw ]
For Geoffrey in his lair [Apsley ]
Whose blossom, when it falls [Surlaw ]
Upon his silken hair, [Apsley ]
Betrays those up above [Surlaw ]
All day yawning [Apsley ]
While the tree doth shake [Surlaw ]
http://www.blogger.com/post-create.g?blogID=6288019876957346964
(Click here to go directly to the Festival web-site)
24 September
Agents Surlaw and Apsley (when the latter had tired of typing 'The Agent Apsley' in full) did a pleasing duet (I find it so), which I have just found as the product of the special Batterson page on TSG
Sleeping is no Phenomenon
Tinctures of old lead [Apsley ]
A serpent in a tree [Surlaw ]
A pair a-coupling there [Apsley ]
Concealed for all to see [Surlaw ]
Prioress out for love [Apsley ]
May day dawning [Surlaw ]
In December's wake [Apsley ]
Silence on demand [Surlaw ]
For Geoffrey in his lair [Apsley ]
Whose blossom, when it falls [Surlaw ]
Upon his silken hair, [Apsley ]
Betrays those up above [Surlaw ]
All day yawning [Apsley ]
While the tree doth shake [Surlaw ]
http://www.blogger.com/post-create.g?blogID=6288019876957346964
Counting sheep - or sheep on the brain
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24 September
No, nothing (much) to do with the infamous Gene Wilder sketch in Woody Allen's Everything You Wanted to Know About Sex [...], but just a (somewhat) bizarre opening line from Spoonbill Generator days..., a time when writing poetry this way (and not in that of my youth) was my main creative outlet.
(Somewhere, there's a Generator poem about outlet valves, which, if I can quickly find, I shall append.)
Only Transient Sheep
Hiatus and Hibiscus are the names of my two sheep [The Agent Apsley]
Hiatus likes to hiccough and Hibiscus likes to beep, [Stacy]
The only time I get some peace is when they're both asleep! [P]
Hiatus went to Knaresborough and turned the ladies' heads [TG]
Hibiscus stayed at home and cursed "those wicked slimy reds" [P]
They only cease to argue when they're tucked up in their beds! [TG]
Hiatus lit a candle and intoned a solemn prayer [P]
As a practice that is holy, but a measure that is rare [The Agent Apsley]
Hibiscus, on the other hand, is now a millionaire [P]
Hibiscus dotes on chocolate, Hiatus dines on cheese [The Agent Apsley]
And both are rather prone to do exactly as they please [P]
One wonders if this ovine pair have learned their ABCs [Dano]
And do they have fleas? [nomi]
Hibiscus ate a pencil and promptly down did fall [The Agent Apsley]
Hiatus trapped a frightened little hamster in the hall [TG]
The world turns 'round, in ways profound [Rippy]
That sages do confound [The Agent Apsley]
Hiatus and Hibiscus sent a message to the Queen [TG]
"Our Agent of Desire comes disguised as Mr. Clean" [Rippy]
"Balls!" Said the Queen "If I had two I'd be king" [nomi]
Hiatus ran for office, Hibiscus took the hump [The Agent Apsley]
The hoary throng of pistoleros bravely manned the pump [Rippy]
And, adding to divergence, felt the inklings of a lump. [The Agent Apsley]
Hibiscus was in the kitchen eating toast and jam. [Best Boy]
Hiatus was seen in Scotland in the company of a lamb [Anon.]
Then off to New York City, to buy stock, and pull a scam. [spawn of Rippy]
Last I heard, he was employed by the notorious Uncle Sam. [Dew Drop]
Hiatus or Hibiscus, it really matters nought [Rippy]
Depending on the matter of what they both have sought [Paloma]
And matter's merely patter when a sot ought quaff a draught [dano]
And thus it is, my children, that if you can't agree [Bop]
Just go into the pantry and endure the third degree [The Agent Apsley]
Hiatus and Hibiscus will just sit and sip their tea [TG]
http://www.spoonbill.org/completed.php?name=poem&value=0236
(Click here to go directly to the Festival web-site)
24 September
No, nothing (much) to do with the infamous Gene Wilder sketch in Woody Allen's Everything You Wanted to Know About Sex [...], but just a (somewhat) bizarre opening line from Spoonbill Generator days..., a time when writing poetry this way (and not in that of my youth) was my main creative outlet.
(Somewhere, there's a Generator poem about outlet valves, which, if I can quickly find, I shall append.)
Only Transient Sheep
Hiatus and Hibiscus are the names of my two sheep [The Agent Apsley]
Hiatus likes to hiccough and Hibiscus likes to beep, [Stacy]
The only time I get some peace is when they're both asleep! [P]
Hiatus went to Knaresborough and turned the ladies' heads [TG]
Hibiscus stayed at home and cursed "those wicked slimy reds" [P]
They only cease to argue when they're tucked up in their beds! [TG]
Hiatus lit a candle and intoned a solemn prayer [P]
As a practice that is holy, but a measure that is rare [The Agent Apsley]
Hibiscus, on the other hand, is now a millionaire [P]
Hibiscus dotes on chocolate, Hiatus dines on cheese [The Agent Apsley]
And both are rather prone to do exactly as they please [P]
One wonders if this ovine pair have learned their ABCs [Dano]
And do they have fleas? [nomi]
Hibiscus ate a pencil and promptly down did fall [The Agent Apsley]
Hiatus trapped a frightened little hamster in the hall [TG]
The world turns 'round, in ways profound [Rippy]
That sages do confound [The Agent Apsley]
Hiatus and Hibiscus sent a message to the Queen [TG]
"Our Agent of Desire comes disguised as Mr. Clean" [Rippy]
"Balls!" Said the Queen "If I had two I'd be king" [nomi]
Hiatus ran for office, Hibiscus took the hump [The Agent Apsley]
The hoary throng of pistoleros bravely manned the pump [Rippy]
And, adding to divergence, felt the inklings of a lump. [The Agent Apsley]
Hibiscus was in the kitchen eating toast and jam. [Best Boy]
Hiatus was seen in Scotland in the company of a lamb [Anon.]
Then off to New York City, to buy stock, and pull a scam. [spawn of Rippy]
Last I heard, he was employed by the notorious Uncle Sam. [Dew Drop]
Hiatus or Hibiscus, it really matters nought [Rippy]
Depending on the matter of what they both have sought [Paloma]
And matter's merely patter when a sot ought quaff a draught [dano]
And thus it is, my children, that if you can't agree [Bop]
Just go into the pantry and endure the third degree [The Agent Apsley]
Hiatus and Hibiscus will just sit and sip their tea [TG]
http://www.spoonbill.org/completed.php?name=poem&value=0236
Friday 23 September 2011
Double-take on TAKE ONE
More views of - or at - Cambridge Film Festival 2011
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24 September
Well, I don’t like to be mean to JackMcCurdy (and he should come back at me, if this is), but I think that his review of Drive in the new issue of TAKE ONE is couched in a slightly fanciful way (but I do agree with him that it is a good and powerful film).
(In trying to turn off italic face in a sans-serif font earlier (when I wrote this off line), I (or my keyboard) insistently (and insolently) tried to get me to accept the film’s title with an ‘l’ on the end, which is not what I think of Drive, or of the review, for the reasons stated. Dr Freud and his minions can stay schtumm!)
I’m not going to say too much, because I shall write my own review, but ‘It should be noted’ (at the start of the third paragraph) smacks more of the courtroom, or some more dry form of expression than one that means to pass on enthusiasms, and I don’t know what ‘deceptively gory action’ is – parts of the action are downright gory (and, as it is all make-up and fake blood, those parts are deceptive), but there is much else to Ryan Gosling in this role (I once rented a bedsit from a woman of that name - the surname, that is).
Ciao!
(Click here to go directly to the Festival web-site)
24 September
Well, I don’t like to be mean to JackMcCurdy (and he should come back at me, if this is), but I think that his review of Drive in the new issue of TAKE ONE is couched in a slightly fanciful way (but I do agree with him that it is a good and powerful film).
(In trying to turn off italic face in a sans-serif font earlier (when I wrote this off line), I (or my keyboard) insistently (and insolently) tried to get me to accept the film’s title with an ‘l’ on the end, which is not what I think of Drive, or of the review, for the reasons stated. Dr Freud and his minions can stay schtumm!)
I’m not going to say too much, because I shall write my own review, but ‘It should be noted’ (at the start of the third paragraph) smacks more of the courtroom, or some more dry form of expression than one that means to pass on enthusiasms, and I don’t know what ‘deceptively gory action’ is – parts of the action are downright gory (and, as it is all make-up and fake blood, those parts are deceptive), but there is much else to Ryan Gosling in this role (I once rented a bedsit from a woman of that name - the surname, that is).
Ciao!
Another Festival poem
More views of - or at - Cambridge Film Festival 2011
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24 September
This, too, was written in the session at Murray Edwards College, but not read out during it - it's late, and I forget in what the inspiration for it lay, other than a phrase in a song to which people are dancing in one of the clips and which is quoted.
New Year, Damascus
We know the road there
– Think we do –
And (maybe?) the way back
But when did we know of
Your country, know that others
Travel there – to party?
The women dance, as the words
Sing – behind them – ‘Even your hell
is heaven’:
Faint echoes of
Shakespeare –
Or of Blake?
© Copyright Belston Night Works 2011
(Click here to go directly to the Festival web-site)
24 September
This, too, was written in the session at Murray Edwards College, but not read out during it - it's late, and I forget in what the inspiration for it lay, other than a phrase in a song to which people are dancing in one of the clips and which is quoted.
New Year, Damascus
We know the road there
– Think we do –
And (maybe?) the way back
But when did we know of
Your country, know that others
Travel there – to party?
The women dance, as the words
Sing – behind them – ‘Even your hell
is heaven’:
Faint echoes of
Shakespeare –
Or of Blake?
© Copyright Belston Night Works 2011
New poems from the Festival
More views of - or at - Cambridge Film Festival 2011
(Click here to go directly to the Festival web-site)
23 September
I produced these poems (for what they are) during the session with Jane Monson, the Festival's writer in residence, earlier to-day...
Christmas 2009
You were there
For midnight -
Wanted to capture
Images
Of worship, celebration
Made me so uneasy
That you'd be told
'No photography, please!'
And break the mood
The broken, anxious mood
But you always did
What you wanted
Always took chances
To record moments -
For what?!
© Copyright Belston Night Works 2011
Our feelings take the pictures
Are they pictures of our feelings?
And how do we picture our feelings -
To ourselves?
Can we know them?
Or do we,
By trying to capture them,
Change them
As measuring current
In a circuit
Minutely changes the current?
© Copyright Belston Night Works 2011
Why do I hate New Year?
If I do,
It's because balloons
Are just full:
Of air,
Of nothing!
Empty,
I try to drink in
Emotions
(Not in me)
Of delight
Delight?
In playing with
The encompassed
Void -
with Terror?
© Copyright Belston Night Works 2011
By way of explanation, the poems were written in response to Jane's writing exercises, which all arose from screenings of parts of Open Shutters: Our Feelings Take the Pictures, a documentary made by a Russian film-maker about how she and an Iraqi woman in the same field tutor other women (and their children) in Iraq in 1997 (?) in the skills of working out and telling a story in words and / or moving and static images
(Click here to go directly to the Festival web-site)
23 September
I produced these poems (for what they are) during the session with Jane Monson, the Festival's writer in residence, earlier to-day...
Christmas 2009
You were there
For midnight -
Wanted to capture
Images
Of worship, celebration
Made me so uneasy
That you'd be told
'No photography, please!'
And break the mood
The broken, anxious mood
But you always did
What you wanted
Always took chances
To record moments -
For what?!
© Copyright Belston Night Works 2011
Our feelings take the pictures
Are they pictures of our feelings?
And how do we picture our feelings -
To ourselves?
Can we know them?
Or do we,
By trying to capture them,
Change them
As measuring current
In a circuit
Minutely changes the current?
© Copyright Belston Night Works 2011
Why do I hate New Year?
If I do,
It's because balloons
Are just full:
Of air,
Of nothing!
Empty,
I try to drink in
Emotions
(Not in me)
Of delight
Delight?
In playing with
The encompassed
Void -
with Terror?
© Copyright Belston Night Works 2011
By way of explanation, the poems were written in response to Jane's writing exercises, which all arose from screenings of parts of Open Shutters: Our Feelings Take the Pictures, a documentary made by a Russian film-maker about how she and an Iraqi woman in the same field tutor other women (and their children) in Iraq in 1997 (?) in the skills of working out and telling a story in words and / or moving and static images
No! for Jonathan
More views of - or at - Cambridge Film Festival 2011
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23 September
Well, I was glad to get to Festival Central from Murray Edwards (that event-satellite, where I shall go again to-morrow afternoon to reacquaint myself with Dimensions, and see how it does with the acid test of 'repeated viewability at a short remove' [or RVSR - a bit like RSVP, but not quite the same letters or in the same order...]) by 3.20, but, by 3.55 (after a start at 3.30), I was walking out of Jo for Jonathan:
Not much to say, and not wishing to be unkind, but the best thing about it was the music (and not even then, really), and learning that the joke about Americans, dollar-bills and snorting coke may have been to do with Franco-Canadian funding (the joke is at the expense of the Canadians). I regret (to have) to say that I was just bored by the (apparent) subject when I came to leave, and I simply no longer wanted to be in that black and darkened chamber with the film to find out where it and its Jo might go. No!
The bar, a beer, and the blog seem a much better combination, as (whatever Plato may have thought) many images projected with light (the sun) on the equivalent of a cave wall are not only a joy, but an instruction, in (and of) life...
(Click here to go directly to the Festival web-site)
23 September
Well, I was glad to get to Festival Central from Murray Edwards (that event-satellite, where I shall go again to-morrow afternoon to reacquaint myself with Dimensions, and see how it does with the acid test of 'repeated viewability at a short remove' [or RVSR - a bit like RSVP, but not quite the same letters or in the same order...]) by 3.20, but, by 3.55 (after a start at 3.30), I was walking out of Jo for Jonathan:
Not much to say, and not wishing to be unkind, but the best thing about it was the music (and not even then, really), and learning that the joke about Americans, dollar-bills and snorting coke may have been to do with Franco-Canadian funding (the joke is at the expense of the Canadians). I regret (to have) to say that I was just bored by the (apparent) subject when I came to leave, and I simply no longer wanted to be in that black and darkened chamber with the film to find out where it and its Jo might go. No!
The bar, a beer, and the blog seem a much better combination, as (whatever Plato may have thought) many images projected with light (the sun) on the equivalent of a cave wall are not only a joy, but an instruction, in (and of) life...
Writer in residence
More views of - or at - Cambridge Film Festival 2011
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23 September
It's crept - well, rushed - around to the time when Murray Edwards College (once New Hall) hosts a three-hour session with Jane Monson, the Festival's writer in residence.
I'm hoping for a good place to park nearby, as Jo for Jonathan is on at 3.30 and that makes it tight for finishing at 3.00 and getting there - actually, that's complete nonsense, because, wherever I park, the college is where it is! Must have confused some of my parameters (or dimensions)...
This time, at least, I won't have to cadge some paper, because I've managed to look some out - in four hours' time, who knows (Jane?) what will have been screened and written...?
(Click here to go directly to the Festival web-site)
23 September
It's crept - well, rushed - around to the time when Murray Edwards College (once New Hall) hosts a three-hour session with Jane Monson, the Festival's writer in residence.
I'm hoping for a good place to park nearby, as Jo for Jonathan is on at 3.30 and that makes it tight for finishing at 3.00 and getting there - actually, that's complete nonsense, because, wherever I park, the college is where it is! Must have confused some of my parameters (or dimensions)...
This time, at least, I won't have to cadge some paper, because I've managed to look some out - in four hours' time, who knows (Jane?) what will have been screened and written...?
Thursday 22 September 2011
Music in Tirza
More views of - or at - Cambridge Film Festival 2011
(Click here to go directly to the Festival web-site)
23 September
A sonata for cello (Tirza's instrument) and piano is played, and I checked first time around that it was Beethoven (Op. 5 No. 1).
However, Amy, to whom I pointed this out (as she, too, wanted to know), spotted that it is Cambridge's own Richard Egarr playing in the version used, now famed for what Academy of Ancient Music is doing under his directorship.
(Click here to go directly to the Festival web-site)
23 September
A sonata for cello (Tirza's instrument) and piano is played, and I checked first time around that it was Beethoven (Op. 5 No. 1).
However, Amy, to whom I pointed this out (as she, too, wanted to know), spotted that it is Cambridge's own Richard Egarr playing in the version used, now famed for what Academy of Ancient Music is doing under his directorship.
Looking back, or stuck in the past
This is a Festival review of Bullhead (2011)
More views of - or at - Cambridge Film Festival 2011
(Click here to go directly to the Festival web-site)
23 September
This is a Festival review of Bullhead (2011)
For my money, Bullhead (2011), which I have just seen, should have made no more than 90 minutes, not two hours. As is not unusual (and has been a preoccupation of a representative number of films that I have seen - or maybe I was drawn to that sort of film and so chose to see them), characters look back to the past.
Here, something shockingly brutal admittedly happened to Jacky (Matthias Schoenaerts) twenty years before we start, but, in and of itself, it did not appear to be what leads to his becoming the title character (which is how - very late on in the film, and when it is already obvious - he is described).
Now, various things (which may have been there in the original script) could be down to editing, but the prompt for his strand of action (and for individual actions of at least two other characters), other than meeting someone from the past, did not seem clear. (Here, as in White White World, we then just have to believe that somehow people's paths, although they live in fairly small communities, have not crossed in a very long period of years - and we then nearly end up with the absurdities of some plays by Ibsen, where an earlier (supposedly secret) event almost could not possibly have been known about either when it happened or in the intervening time.)
Be that as it may, and perhaps here as well I wasn't concentrating well when it was after eleven at night, but there is just too much else that did not seem to work. At a simple level, very little leeway appeared allowed for being able to follow and recognize again who the various parties in the competing factions were (unless I was just too tired to do so). Something is to be taken as a souvenir from a covert visit (somehow not seen by CCTV) to a hospital room, but, unless it relates to Lucia, I do not know what it was, or why she would ever be impressed by what Jacky chooses to become (although she does seek him out and then not act on having done so in the most obvious way until much later).
By contrast with me, both characters seemed blessed with abilities to recognize people whom they had seen in childhood, and for playing the detective. The real detectives. though, did not think that, if a mobile-phone could be used to track someone, it might as well also be used to eavesdrop directly, and seem able just to choose to abandon what appeared to be the main strand of action (of which, as we go with them, no more) and follow Jacky's.
It is fine that it turns out to be a red herring, and that the task that I found difficult of keeping track of who was who and what they were doing was therefore not hugely necessary, but I am brought back to whether the whole enterprise would not benefit from being more compact: the Festival's opening film arguably needed the allotted time to run its course, but I simply do not believe that this one did.
That said, the fact that Belgium is divided by a 'language barrier' (and so French is not a natural mode of expression for Jacky) was very evident, and even alluded to in connection with where he lives: for example, it makes him seem alien that he calls someone a negro, when the French speakers (as he is told) would not use that word, and there was a lot of abuse and even hatred in the way that the speakers of each languages referred to speakers of the other in derogatory racial terms.
Some time for Tirza
More views of - or at - Cambridge Film Festival 2011
(Click here to go directly to the Festival web-site)
22 September
I'd have to check, but I think that I briefly reported on seeing Tirza again - in fact, remembering the tag-line, I know that I did.
Tirza is the missing daughter of the main male character, Jörgen, and his distinctly unpleasant wife, who appears during the disappearance in a way that he does not seem able to do much about - she is much like the irresistible force, although not in the obvious sense. She does not have very much to say about Tirza's sister Ibi, but states her dislike for Tirza quite clearly, whereas, for Tirza's father, the opposite view is that she is the Sun Queen (and Tirza even has a disguised form of this name in the front of her diary).
That set me thinking a bit, rather belatedly, and led to an Internet search for want of any better way to find data in Festival central: a book on Akhenaton's wife Nefertiti calls her 'Egypt's Sun Queen', and shows the well-known statue of her head, which I was lucky enough to be in Berlin to see two years ago. (To be honest, it sounded more like something (wrong country!) out of Hans Christian Andersen, and maybe it is...)
Plenty of sun in Namibia, where Jörgen (pestered by telephone by his wife) goes in search of Tirza and her boyfriend Choukri, not least where he decides to head, out from Windhoek (the capital) into the desert known as Big Mama. Queen = Mother? (Sun Queen, not Sun Princess, anyway.)
Yet the real ray of sunlight that he finds is in another young life (Kaisa), who resists his attempts to search alone for the pair. And does she understand when he lapses into his native Dutch? According to Wikipedia, she might, since, although English became the official when the country gained independence in 1990, it seems that Afrikaans is widely understood. That said, Jörgen never tries his Dutch (even when he is failing to communicate in English, as happens several times), and he only talks aloud in it with Kaisa, when there is nothing to suggest whether she understands.
I may already have said that this film coalesces and coheres on a second viewing - some films just don't pass the test, because what you know at the end is inconsistent with the earlier part of the story, and you don't always know that until revisiting the territory. With a great film, a great story, it doesn't matter that you know where you are heading, because the journey there is beautifully done: oh, some mystery remains even then, but it strengthens one's conviction that it says something real about being human.
(Click here to go directly to the Festival web-site)
22 September
I'd have to check, but I think that I briefly reported on seeing Tirza again - in fact, remembering the tag-line, I know that I did.
Tirza is the missing daughter of the main male character, Jörgen, and his distinctly unpleasant wife, who appears during the disappearance in a way that he does not seem able to do much about - she is much like the irresistible force, although not in the obvious sense. She does not have very much to say about Tirza's sister Ibi, but states her dislike for Tirza quite clearly, whereas, for Tirza's father, the opposite view is that she is the Sun Queen (and Tirza even has a disguised form of this name in the front of her diary).
That set me thinking a bit, rather belatedly, and led to an Internet search for want of any better way to find data in Festival central: a book on Akhenaton's wife Nefertiti calls her 'Egypt's Sun Queen', and shows the well-known statue of her head, which I was lucky enough to be in Berlin to see two years ago. (To be honest, it sounded more like something (wrong country!) out of Hans Christian Andersen, and maybe it is...)
Plenty of sun in Namibia, where Jörgen (pestered by telephone by his wife) goes in search of Tirza and her boyfriend Choukri, not least where he decides to head, out from Windhoek (the capital) into the desert known as Big Mama. Queen = Mother? (Sun Queen, not Sun Princess, anyway.)
Yet the real ray of sunlight that he finds is in another young life (Kaisa), who resists his attempts to search alone for the pair. And does she understand when he lapses into his native Dutch? According to Wikipedia, she might, since, although English became the official when the country gained independence in 1990, it seems that Afrikaans is widely understood. That said, Jörgen never tries his Dutch (even when he is failing to communicate in English, as happens several times), and he only talks aloud in it with Kaisa, when there is nothing to suggest whether she understands.
I may already have said that this film coalesces and coheres on a second viewing - some films just don't pass the test, because what you know at the end is inconsistent with the earlier part of the story, and you don't always know that until revisiting the territory. With a great film, a great story, it doesn't matter that you know where you are heading, because the journey there is beautifully done: oh, some mystery remains even then, but it strengthens one's conviction that it says something real about being human.
Traffic in four dimensions
More views of - or at - Cambridge Film Festival 2011
(Click here to go directly to the Festival web-site)
22 September
There are, pleasingly, very large numbers of people looking at this blog since I made a posting about Dimensions - 49 overall pageviews for to-day at the last count.
Thank you to everyone who is seeing what's here!
The Agent
(Click here to go directly to the Festival web-site)
22 September
There are, pleasingly, very large numbers of people looking at this blog since I made a posting about Dimensions - 49 overall pageviews for to-day at the last count.
Thank you to everyone who is seeing what's here!
The Agent
A dimensional hyperlink
Follow us… into other dimensions, that is!
More views of - or at - Cambridge Film Festival 2011
(Click here to go directly to the Festival web-site)
22 September
A bold (untutored!) attempt to create some sort of interface, portal or wormhole (or any combination of the three, i.e. portal / wormhole, interface / portal, etc.) between this blog and the official web-site for Dimensions - or am I really making a (probably virtual) cup of sweet tea, suitable to give to someone in shock?
(If so, a couple of rounds of thickly buttered toast would be a good accompanying dish, but 'With or without Marmite®?' is the important question...)
If you want to Tweet, Tweet away here
More views of - or at - Cambridge Film Festival 2011
(Click here to go directly to the Festival web-site)
22 September
A bold (untutored!) attempt to create some sort of interface, portal or wormhole (or any combination of the three, i.e. portal / wormhole, interface / portal, etc.) between this blog and the official web-site for Dimensions - or am I really making a (probably virtual) cup of sweet tea, suitable to give to someone in shock?
(If so, a couple of rounds of thickly buttered toast would be a good accompanying dish, but 'With or without Marmite®?' is the important question...)
If you want to Tweet, Tweet away here
Wednesday 21 September 2011
Unlimited dimensions
More views of - or at - Cambridge Film Festival 2011
(Click here to go directly to the Festival web-site)
22 September
What a brilliantly entertaining evening!
I had deliberately not decided between getting a ticket for Wild Side at 11.00 (in the 'Tartan' strand) or The Disposable Film Festival at 10.45 (in the 'Shorts' (short films) strand), because I might not be able to go to either - and I couldn't, because of compelling matters elsewhere (and ineptly lacking the capacity to bi-locate).
In Screen 2, B8 (more to the front and the centre than I would normally have chosen, because of the sheer popularity evident when I came to buy a ticket for Cambridge film Dimensions) was my seat, where, when waiting for the show to start (which turned out to be director Sloane U'Ren and writer / composer Ant Neely plus almost all of the cast briefly at the front) I got into an interesting conversation with my neighbour about the film and what science might be the basis of what happened.
The film itself was well worth waiting for, and unlike anything else so far in the Festival - picking things out as they occur to me, it had humour (my neighbour and I turned out to have the same sense of humour), stunning visual effects with the titles, a brilliant riverside setting, a script that really kept you guessing about a number of important matters, a type of Faustian pact, a multi-dimensional love interest, boffins and their marvellously whimsical contraptions, and a water-feature that drew all the main characters into its domain.
Oh, I could go on, and mention a splendid tree (not sure what kind) that was another focus, the recreation of the gentility of the twentieth century after the Great War, and a glimpse of Cambridge academic life. However, not only don't I want to give anything away, but those things really say nothing that addresses what the film is about.
Forget the science (wonderfully presented though it is), forget what may already have been public about this film or its budget or how it was made (though those things are facts): this is a film about longing, many people's longing, and for different things, and how that longing affects this brief span that (however long we do live) we are allotted - whether we are longing what we can't have, or doesn't belong to us, or won't do us any good.
It is very well done indeed, and it will have you choked and affected by seeing unfold what holds us back or spurs us on, what makes us who we are or gives us the scope to be something else. If you can guess where the title's 'tangle of threads' will take you, then well sleuthed, and perhaps you were hunting clues!
Later, events took me to the bar with important cast and crew, and I had a chance beforehand to speak to Olivia Llewellyn in a little detail concerning what made this shoot different and the type of thing that she would want to repeat: it was not, as I thought, that what is conventional in the big studios seemed impersonal as such, but that this was different and that there had been a luxury, say, of being with the other protagonists and to build up more of a bond with them off the set. Before that was questions and answers, led by someone not known to me.
Talking to Ant afterwards, neither of us was sure why this person had wanted to talk about the science so much, as if anyone would expect, say, Matt Smith, as Doctor Who, to be questioned about the physics of the TARDIS (but the Doctor always offers people a jelly baby instead or reveses the polarity with the sonic screwdriver), but he did. When things were opened up to the floor, I had my hand straight up, and jumped in with a question about the children whom we see become adults and whether we can see the former in the latter, and it was nice afterwards to have some appreciation for it from those with Ant, Sloane and me in the bar.
I'm not even sure whether it was bizarre, although I have mentioned the notion of longing and what it entails, but, after other audience-led questions, not only was the question put to Ant and Sloane asked whether there was anything that they would have done diferently, but everyone at the front was asked what question they had expected to be asked and what their answer would have been. Perhaps an answer might have combined those two approaches: we would have had a different person leading the session, and can we have a time-machine to go back and put that right?
What I want to do, though, is to take a trip into the future, and see this film get the coverage and exposure that all those who have worked so hard on it deserve. Maybe, in the meantime, I'll see whether I can look at my schedule to establish the possibilities for revisiting this enchanting world, given that (the screening on Thursday 22nd has also sold out), there is now a third on Saturday 24th at 5.00...
(And, of course, getting back late, after staying around carousing until Festival central's ability to let us stay longer finally disappeared, and then making these jottings, was all made possible, consistent with an early bed-time, just by learning the lessons of this film!)
If you want to Tweet, Tweet away here
(Click here to go directly to the Festival web-site)
22 September
What a brilliantly entertaining evening!
I had deliberately not decided between getting a ticket for Wild Side at 11.00 (in the 'Tartan' strand) or The Disposable Film Festival at 10.45 (in the 'Shorts' (short films) strand), because I might not be able to go to either - and I couldn't, because of compelling matters elsewhere (and ineptly lacking the capacity to bi-locate).
In Screen 2, B8 (more to the front and the centre than I would normally have chosen, because of the sheer popularity evident when I came to buy a ticket for Cambridge film Dimensions) was my seat, where, when waiting for the show to start (which turned out to be director Sloane U'Ren and writer / composer Ant Neely plus almost all of the cast briefly at the front) I got into an interesting conversation with my neighbour about the film and what science might be the basis of what happened.
The film itself was well worth waiting for, and unlike anything else so far in the Festival - picking things out as they occur to me, it had humour (my neighbour and I turned out to have the same sense of humour), stunning visual effects with the titles, a brilliant riverside setting, a script that really kept you guessing about a number of important matters, a type of Faustian pact, a multi-dimensional love interest, boffins and their marvellously whimsical contraptions, and a water-feature that drew all the main characters into its domain.
Oh, I could go on, and mention a splendid tree (not sure what kind) that was another focus, the recreation of the gentility of the twentieth century after the Great War, and a glimpse of Cambridge academic life. However, not only don't I want to give anything away, but those things really say nothing that addresses what the film is about.
Forget the science (wonderfully presented though it is), forget what may already have been public about this film or its budget or how it was made (though those things are facts): this is a film about longing, many people's longing, and for different things, and how that longing affects this brief span that (however long we do live) we are allotted - whether we are longing what we can't have, or doesn't belong to us, or won't do us any good.
It is very well done indeed, and it will have you choked and affected by seeing unfold what holds us back or spurs us on, what makes us who we are or gives us the scope to be something else. If you can guess where the title's 'tangle of threads' will take you, then well sleuthed, and perhaps you were hunting clues!
Later, events took me to the bar with important cast and crew, and I had a chance beforehand to speak to Olivia Llewellyn in a little detail concerning what made this shoot different and the type of thing that she would want to repeat: it was not, as I thought, that what is conventional in the big studios seemed impersonal as such, but that this was different and that there had been a luxury, say, of being with the other protagonists and to build up more of a bond with them off the set. Before that was questions and answers, led by someone not known to me.
Talking to Ant afterwards, neither of us was sure why this person had wanted to talk about the science so much, as if anyone would expect, say, Matt Smith, as Doctor Who, to be questioned about the physics of the TARDIS (but the Doctor always offers people a jelly baby instead or reveses the polarity with the sonic screwdriver), but he did. When things were opened up to the floor, I had my hand straight up, and jumped in with a question about the children whom we see become adults and whether we can see the former in the latter, and it was nice afterwards to have some appreciation for it from those with Ant, Sloane and me in the bar.
I'm not even sure whether it was bizarre, although I have mentioned the notion of longing and what it entails, but, after other audience-led questions, not only was the question put to Ant and Sloane asked whether there was anything that they would have done diferently, but everyone at the front was asked what question they had expected to be asked and what their answer would have been. Perhaps an answer might have combined those two approaches: we would have had a different person leading the session, and can we have a time-machine to go back and put that right?
What I want to do, though, is to take a trip into the future, and see this film get the coverage and exposure that all those who have worked so hard on it deserve. Maybe, in the meantime, I'll see whether I can look at my schedule to establish the possibilities for revisiting this enchanting world, given that (the screening on Thursday 22nd has also sold out), there is now a third on Saturday 24th at 5.00...
(And, of course, getting back late, after staying around carousing until Festival central's ability to let us stay longer finally disappeared, and then making these jottings, was all made possible, consistent with an early bed-time, just by learning the lessons of this film!)
If you want to Tweet, Tweet away here
Dimensions to-night
More views of - or at - Cambridge Film Festival 2011
(Click here to go directly to the Festival web-site)
21 September
If I can remember my question (please see below), which I have been formulating (a) unusually in advance of the screening, and (b) so necessarily without knowing what I might really want to ask, once I have seen Dimensions, it might be (because I might ask someone other than Ant Neely and something else):
For all that we know - or think that we know - about life and the world, they can prove (or seem to prove) counter-intuitive, so I ask, given that Ant wrote the film, whether that made writing the music harder, easier - or just different.
As some say, Watch this space!
(Click here to go directly to the Festival web-site)
21 September
If I can remember my question (please see below), which I have been formulating (a) unusually in advance of the screening, and (b) so necessarily without knowing what I might really want to ask, once I have seen Dimensions, it might be (because I might ask someone other than Ant Neely and something else):
For all that we know - or think that we know - about life and the world, they can prove (or seem to prove) counter-intuitive, so I ask, given that Ant wrote the film, whether that made writing the music harder, easier - or just different.
As some say, Watch this space!
Second-time-around Tirza
More views of - or at - Cambridge Film Festival 2011
(Click here to go directly to the Festival web-site)
21 September
I am really glad that being awake earlier than expected meant that I made it to the re-run (well, re-run for me, but not for my friend Amy, whom I happened to bump into at the bar):
The film was even more beautiful (the landscape, but not only the landscape) than the first time, and it cohered and coalesced wonderfully on a second viewing, as did the involuntary lapsing into Dutch out of English.
No time to say more (consistent with going into something ele in little more than ten minutes), but I shall look out Arnon Grunberg's novel, and also now need to find out whether Namibia was a former Dutch colony and that language would have been as familiar as English...
(Click here to go directly to the Festival web-site)
21 September
I am really glad that being awake earlier than expected meant that I made it to the re-run (well, re-run for me, but not for my friend Amy, whom I happened to bump into at the bar):
The film was even more beautiful (the landscape, but not only the landscape) than the first time, and it cohered and coalesced wonderfully on a second viewing, as did the involuntary lapsing into Dutch out of English.
No time to say more (consistent with going into something ele in little more than ten minutes), but I shall look out Arnon Grunberg's novel, and also now need to find out whether Namibia was a former Dutch colony and that language would have been as familiar as English...
Looks like Tirza, then...
More views of - or at - Cambridge Film Festival 2011
(Click here to go directly to the Festival web-site)
21 September
Unless something else catches my eye when I go to get a ticket, or circumstances intervene to prevent being there for 1.00...
In the meantime, I have just submitted, as if a review for Calvet, a question as to where the review already written, plus those for five other films, have gone, as not posted on the Festival page for each film.
Given that the word-limit is 500 words, and I might write longer, I begin to wonder what is the point of editing anything down (e.g. the longer piece about Dylan's tour) to fit that limit, if it goes nowhere...
(Click here to go directly to the Festival web-site)
21 September
Unless something else catches my eye when I go to get a ticket, or circumstances intervene to prevent being there for 1.00...
In the meantime, I have just submitted, as if a review for Calvet, a question as to where the review already written, plus those for five other films, have gone, as not posted on the Festival page for each film.
Given that the word-limit is 500 words, and I might write longer, I begin to wonder what is the point of editing anything down (e.g. the longer piece about Dylan's tour) to fit that limit, if it goes nowhere...
Festival Stop Press
More views of - or at - Cambridge Film Festival 2011
(Click here to go directly to the Festival web-site)
21 September
In my opinion, this page (at http://www.cambridgefilmfestival.org.uk/stoppress/) has become immensely overcrowded.
See what you think below, with references to screenings that have come and gone, changes of timings, and announcements of additional screenings all thrown together - not so much can't see the wood for the trees as the web-page being unintelligible for the content:
Stop Press: Programme Updates
Last minute changes and updates will be posted here throughout the Festival. VENUE is Arts Picturehouse unless stated otherwise.
Second Chance Screening additions
Late September is now scheduled for additional screening on Fri 23 Sep at 1pm @ Murray Edwards
In addition to Sat 24 Sep at 10.30am, New Croatian Animation 2010-2011 is also screening on Fri 23 Sep at 3pm @ Murray Edwards
You can now see My Long Distance Friend on Sat 24 Sep at 1pm @ Murray Edwards as well
Sweet Smell of Success is scheduled for a repeat screening on Sat 24 Sep at 3pm @ Murray Edwards
Dimensions: A Line, a Loop, a Tangle of Thread is screening on Sat 24 at 5pm @ Murray Edwards
Jess + Moss Tue 20 @ 9.00pm
The Woman screening on Tue 20 Sep @ 11.00pm – Extreme violence in this one!
TRIDENTFEST 2011 Fri 23 Sep @ 6.00pm – Filmmakers will attend
Short Fusion: Love, Lost and Found on Fri 23 Sep @ 5pm at Murray Edwards
FAMILY FILM FEST: Octonauts: Explore! Rescue! Protect! has second chance screening Sat 24 Sep @ 10.15am (Arts Picturehouse)
Programme Changes
New Documentary announced! AGE OF CHAMPIONS (Sat 24 @ 12.45pm and Sun 25 @ 3pm)
Modigliani’s Genuine Fake Heads is no longer screening! Waterlilies in Bloom is now being shown with Age of Champions on Sat 24 Sep @ 12.45pm and Sun 25 Sep @ 3pm.
Romantics Anonymous is now screening on Tue 20 Sep @ 4pm and is thus replacing Modigliani’s Genuine Fake Heads / Water Lilies in Bloom.
CALVET is now on Wed 21 at 12.45 (Arts Picturehouse) – hugely gripping life story
The Oak (Balanta, part of our ROMANIAN SEASON) has been moved from Fri 23rd @ 11am to Sunday 25th @ 10:15am.
Sound It Out plus Analogue Kingdom, no longer screening Sat 24, 11pm. You can see it on Sun 25th @ 12.30pm instead.
CRASSH: Diva Dolorosa and Cenere, no longer screening as a CRASSH event on Thu 22 @ 10:30 am. It is still running and has been moved to Fri 23rd @ 10.30am
Gibraltar – screening on Tuesday 20th has shifted slightly from 12:45pm to 1:10pm
Street Kids United – Sat 23rd has moved from 12.30pm to 1.00 pm
BLACK BUTTERFLIES (CFF 15) is now part of our main FEATURES line-up
The end time of the Last Projectionist Tue 20 Sep @ 1pm has been moved back by 20 mins to accommodate the time for the Q&A to 3.42 pm.
TOMBOY * Plus Director! * Now Thu 15 7.45pm (not 7.30)
“One of the great films made by adults for adults… about children” – Little White Lies Film Magazine. TOMBOY treats the issue of sexual identity at an early age with vivacity, grace and intelligence. French director Celine Sciamma (WATER LILIES) will be joining us!
(Click here to go directly to the Festival web-site)
21 September
In my opinion, this page (at http://www.cambridgefilmfestival.org.uk/stoppress/) has become immensely overcrowded.
See what you think below, with references to screenings that have come and gone, changes of timings, and announcements of additional screenings all thrown together - not so much can't see the wood for the trees as the web-page being unintelligible for the content:
Stop Press: Programme Updates
Last minute changes and updates will be posted here throughout the Festival. VENUE is Arts Picturehouse unless stated otherwise.
Second Chance Screening additions
Late September is now scheduled for additional screening on Fri 23 Sep at 1pm @ Murray Edwards
In addition to Sat 24 Sep at 10.30am, New Croatian Animation 2010-2011 is also screening on Fri 23 Sep at 3pm @ Murray Edwards
You can now see My Long Distance Friend on Sat 24 Sep at 1pm @ Murray Edwards as well
Sweet Smell of Success is scheduled for a repeat screening on Sat 24 Sep at 3pm @ Murray Edwards
Dimensions: A Line, a Loop, a Tangle of Thread is screening on Sat 24 at 5pm @ Murray Edwards
Jess + Moss Tue 20 @ 9.00pm
The Woman screening on Tue 20 Sep @ 11.00pm – Extreme violence in this one!
TRIDENTFEST 2011 Fri 23 Sep @ 6.00pm – Filmmakers will attend
Short Fusion: Love, Lost and Found on Fri 23 Sep @ 5pm at Murray Edwards
FAMILY FILM FEST: Octonauts: Explore! Rescue! Protect! has second chance screening Sat 24 Sep @ 10.15am (Arts Picturehouse)
Programme Changes
New Documentary announced! AGE OF CHAMPIONS (Sat 24 @ 12.45pm and Sun 25 @ 3pm)
Modigliani’s Genuine Fake Heads is no longer screening! Waterlilies in Bloom is now being shown with Age of Champions on Sat 24 Sep @ 12.45pm and Sun 25 Sep @ 3pm.
Romantics Anonymous is now screening on Tue 20 Sep @ 4pm and is thus replacing Modigliani’s Genuine Fake Heads / Water Lilies in Bloom.
CALVET is now on Wed 21 at 12.45 (Arts Picturehouse) – hugely gripping life story
The Oak (Balanta, part of our ROMANIAN SEASON) has been moved from Fri 23rd @ 11am to Sunday 25th @ 10:15am.
Sound It Out plus Analogue Kingdom, no longer screening Sat 24, 11pm. You can see it on Sun 25th @ 12.30pm instead.
CRASSH: Diva Dolorosa and Cenere, no longer screening as a CRASSH event on Thu 22 @ 10:30 am. It is still running and has been moved to Fri 23rd @ 10.30am
Gibraltar – screening on Tuesday 20th has shifted slightly from 12:45pm to 1:10pm
Street Kids United – Sat 23rd has moved from 12.30pm to 1.00 pm
BLACK BUTTERFLIES (CFF 15) is now part of our main FEATURES line-up
The end time of the Last Projectionist Tue 20 Sep @ 1pm has been moved back by 20 mins to accommodate the time for the Q&A to 3.42 pm.
TOMBOY * Plus Director! * Now Thu 15 7.45pm (not 7.30)
“One of the great films made by adults for adults… about children” – Little White Lies Film Magazine. TOMBOY treats the issue of sexual identity at an early age with vivacity, grace and intelligence. French director Celine Sciamma (WATER LILIES) will be joining us!
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