#UCFF's initial Tweets about Mutt (2023) (posting still under construction)

#UCFF's initial Tweets about Mutt (2023)

More views of - or before - Cambridge Film Festival 2019 (17 to 24 October)
(Click here to go directly to the Festival web-site)

26 October (end-note expanded, 27 OCtober)

#UCFF's initial Tweets about Mutt (2023) (posting still under construction)

As well as Deux jours, une nuit (2014), that description reminds me of this film, from last decade's #CameraCatalonia :https://t.co/ylP3zy54zI

If Screen 1's running to time on Day 8, I *should* be able to give Mutt (2023) a whirl... :)

— THE AGENT APSLEY #ScrapUniversalCredit #JC4PM2019 (@THEAGENTAPSLEY) October 25, 2023

Mutt (2023) watched, which *may* be it for #CFF42 [although still not succeeded in looking at precisely what https://t.co/40kSEDf7u7 might permits Th'Agent to see] - great fun and a warm welcome at the Youth Lab stall* again this afternoon !

* More at : https://t.co/zvNYIvsDlS. https://t.co/uTHExAPJBQ

— THE AGENT APSLEY #ScrapUniversalCredit #JC4PM2019 (@THEAGENTAPSLEY) October 26, 2023

Some like saying 'oneiric'. Mutt was that, featured colour-grading and its gradients that reminded of what Edgar Wright did in Baby Driver (2017) and - as kinda predicted / guessed at the other day - most of all of this film from #CameraCatalonia 2015 :https://t.co/3WLBd4M3dG

— THE AGENT APSLEY #ScrapUniversalCredit #JC4PM2019 (@THEAGENTAPSLEY) October 26, 2023

Mutt is a tender and accomplished feature debut from Director Vuk Lungulov-Klotz, who draws on personal experience to explore the complexities of post-transition life.

Screening at #LIFF2023 on the 5, 7 and 9 Nov at @everyman Leeds.

Book tickets via: https://t.co/YSagx3ENJX pic.twitter.com/2JQmtVuCCF

— Leeds International Film Festival - LIFF (@leedsfilmfest) October 24, 2023

En el marco del 21er Festival Internacional de Cine de Morelia (#FICM2023), se realizó la función especial de MUTT, dirigida por Vuk Lungulov-Klot, como parte de las funciones especiales que tendrá el @MixFilmFest.

Leer más 🎬👉 [ https://t.co/zbl6guMQMd ] pic.twitter.com/ImpX1KkYMf

— Morelia Film Fest (@FICM) October 25, 2023

End-notes :

* The film seems to have no internal logic why it is so called.

However, #UCFF has since been advised, by one more likely to be in the know, that the word is used in the States synonymously with 'schmuck' (and referred to the authority of its being used in that way by Groucho Marx no less) : that being so, the pejorative usage in Yiddish [the link is to Wiki] adds colour, because, although 'schmuck' derives from the German word Schmuck (der Schmuck, which means 'jewelry'), its literal Yiddish meaning is a vulgar way of referring to the penis. (One can therefore infer that 'Dick' (or 'Cock') might have been more resonant titles in British English.)


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

Cinema-going in 2017, an illustrated round-up

#UCFF's most-esteemed films, as seen during 2017

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

Christmas Eve

#UCFF's most-esteemed films, as seen during 2017 :
or, available here in a plain-text version

Dedicated to Neil White of everyfilm.co.uk (as pictured)

Just flicked through the 520 films on https://t.co/xFknMehWT9 that @everyfilmneil has watched and posted reviews for so far this year :

A way of reminding of the dozen or so that #UCFF valued (from a much smaller sample), to compile in a Christmas posting.

— THE AGENT APSLEY (@THEAGENTAPSLEY) December 24, 2017

In alphabetical order (with date of viewing), and - unless stated otherwise - seen at The Arts Picturehouse, Cambridge (@CamPicturehouse) :


* A Quiet Passion (2016) ~ 12 March

Bright Star (2009) and @aquietpassion link : Jane Campion and Terence Davies, respectively, want us to hear verse unheeded in the poets' day pic.twitter.com/PbPBKDwkGd

— THE AGENT APSLEY (@THEAGENTAPSLEY) March 13, 2017

* Baby Driver (2017) ~ 3 July

No doubt that Wright's poking fun of - outright mocking ? - Drive (2011) and Gosling / Mulligan with the pseudo-psychology and 'Wanting out'

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

* Becoming Cary Grant (2017) ~ 29 July [seen at The Watershed* / @wshed]

Loved listening to Mark Kidel intro +Q&A his affectionate Becoming Cary Grant: "He took acid 100 times, which is 99 times more than I did."

— Rose (@rozebaker) July 30, 2017

* Cameraperson (2016) ~ 8 March

Thanks, @CamPicturehouse @PicDOCS, for Kirsten Johnson's Cameraperson (2016) :

Well worth waiting, since not getting in at @sheffdocfest !

— THE AGENT APSLEY (@THEAGENTAPSLEY) March 8, 2017

* Citizen Jane : Battle for the City (2016) ~ 8 May

The @janejacobsdoc : Battle for the City (2016) is an encouragement to us, when we do not think that we can make a difference to our lives ! pic.twitter.com/YEG64wrfsw

— THE AGENT APSLEY (@THEAGENTAPSLEY) May 8, 2017

* Elle (2016) ~ 10 March

'Where Eastern Boys (2013) evokes merging the power-play of the everyday world with that of gaming and gamers, Elle (2016) actually does it' pic.twitter.com/fWEATuFRZf

— THE AGENT APSLEY (@THEAGENTAPSLEY) March 12, 2017

* Happy End (2017) ~ 1 December

Sally Potter's The Party (2017) and Haneke's @HappyEndFilm (2017) are arguably both ensemble films, but there the similarity stops : #HappyEnd's Anne (Isabelle Huppert), for example, has the space of not being in every scene, unlike Tom (Cillian Murphy), in the loo, or at the bin pic.twitter.com/Btxu7UoFu4

— THE AGENT APSLEY (@THEAGENTAPSLEY) December 2, 2017

* Jackie (2016) ~ 22 February

Expectations of Grace of Monaco (2014) put right by @everyfilmneil's encouraging review, this was screen-filling intensity and immersion.

— THE AGENT APSLEY (@THEAGENTAPSLEY) February 22, 2017

* Missing (Sarajin Yeoja) (2016) ~ 24 April

Hyo-jin Kong and Ji-won Uhm [Missing (2016)] do much more than give Tae-ri Kim and Min-hee Kim a run for their money [The Handmaiden (2016)] pic.twitter.com/xT3ge6KCVr

— THE AGENT APSLEY (@THEAGENTAPSLEY) April 25, 2017

* Prevenge (2016) ~ 31 March [seen at Saffron Screen / @Saffronscreen]

As told by @prevengemovie's @MissJoHartley [@Saffronscreen's guest], @alicelowe scripted @prevengemovie in a fortnight, shot it in 11 days.

— THE AGENT APSLEY (@THEAGENTAPSLEY) April 1, 2017

* Silence (2016)

We can be proud to have film-makers with the vision and honesty of Martin Scorsese with Silence (2016), initially in first half C17 Japan.

— THE AGENT APSLEY (@THEAGENTAPSLEY) January 20, 2017

Very easily done with Scorsese, but thinking that #silencemovie has a colonial theme or needs an interest in missionaries misses the point ?

— THE AGENT APSLEY (@THEAGENTAPSLEY) January 24, 2017

* Souvenir (2016) ~ 28 August [seen at Saffron Screen]

Very pleased, once more, for the assurance of trusting @SaffronScreen 'blind' for Isabelle Huppert in Souvenir (2016) - rivalling KST now !

— THE AGENT APSLEY (@THEAGENTAPSLEY) August 28, 2017

* The Villainess (Ak-Nyeo) (2017) ~ 11 September

Here's a first response, to a film that asks 'Who are we ?', and asserts (twice ?) that 'Nothing we say here will change anything'... pic.twitter.com/H6hXgw3RPr

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

So, March turns out to have been a good time to be at the cinema (not just because it is the time of year for bait for BAFTA, or The Academy Awards)...



Honourable mentions :


* Aquarius (2016) ~ 23 November

NB Should be 'makes / wants to *keep* an underclass' !

— THE AGENT APSLEY (@THEAGENTAPSLEY) November 24, 2017

* Chi-Raq (2015) ~ 5 February [seen at Saffron Screen]

At @Saffronscreen, Chi-Raq (2015) from Spike Lee was sometimes a little patchy, but had a stonking speech from John Cusack in St. Sabina's !

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

* Dispossession : The Great Social Housing Swindle (2017)

50,000 Palestinian homes have been demolished to make way for about 130 illegal Israeli settlements #50yearstoomany https://t.co/1ZZ0kQ2pIY

— Amnesty UK (@AmnestyUK) September 27, 2017

And we must spot parallels ? :

In films such as @halfwaydocu and @velvetjoyltd's Dispossession), we see people in the UK losing their homes https://t.co/bcoMfCK9OX

— THE AGENT APSLEY (@THEAGENTAPSLEY) September 27, 2017

* Freesia (2017) ~ 26 September

By chance at @CamPicturehouse, ended up (through @ourscreenuk) doing a double-bill : @WindRiverMovie, then Conor Ibrahiem's Freesia (2017). pic.twitter.com/QWQFxr9mYp

— THE AGENT APSLEY (@THEAGENTAPSLEY) September 26, 2017

* Half Way (2015)

Some impressive coverage of @halfwaydocu in, respectively, @TimeOutLondon and @guardian :https://t.co/UxjIRhBJIXhttps://t.co/AFB7pVt3oi

— THE AGENT APSLEY (@THEAGENTAPSLEY) January 12, 2017

* Loving Vincent (2017) ~ 10 November [seen at The Watershed]

Thanks, @wshed, for Following, and for @LovingVincent (2017) this afternoon !

— THE AGENT APSLEY (@THEAGENTAPSLEY) November 10, 2017

* On the Road (2016) ~ 9 October

Arguably, On the Road (2016) is closer to Roger Graef and James Rogan's Monty Python : The Meaning of Live (2014), but at a whole-gig level.

— THE AGENT APSLEY (@THEAGENTAPSLEY) October 9, 2017

* The Seasons in Quincy : Four Portraits of John Berger (2016) ~ 18 July

Tilda Swinton shares her friendship with Berger / he his with her : they know they're filmed, but no pretension :https://t.co/1db2h5FC9W

— THE AGENT APSLEY (@THEAGENTAPSLEY) July 19, 2017

* The Journey (2016) ~ 16 July [seen at Saffron Screen]

John Hurt RIP and Timothy Spall being in The Journey (2016), and a Good-Friday-agreement setting, was enough to get #UCFF to @Saffronscreen

— THE AGENT APSLEY (@THEAGENTAPSLEY) July 18, 2017

End-notes :

* In conjunction with Cary Grant comes Home for the Weekend Festival (@carycomeshome).


If you want to Tweet, Tweet away here

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

Cinema-going in 2017, a round-up

#UCFF's most-esteemed films, as seen during 2017

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

Christmas Eve

#UCFF's most-esteemed films, as seen during 2017 :
or, available here in a jazzed-up version

Just on merit, https://t.co/oyIJF62aS2, #UCFF's list of much-esteemed films seen in 2017 includes @aquietpassion @Cameraperson16 @janejacobsdoc @ElleMovieUK @jackiefilm Missing 미씽:사라진 여자 (Sarajin Yeoja) (2016) @prevengemovie @YvesVerbraeken's Souvenir (2016) The Villainess pic.twitter.com/exHaSQtiQ2

— THE AGENT APSLEY (@THEAGENTAPSLEY) December 26, 2017

Dedicated to Neil White of everyfilm.co.uk (as pictured)

Just flicked through the 520 films on https://t.co/xFknMehWT9 that @everyfilmneil has watched and posted reviews for so far this year :

A way of reminding of the dozen or so that #UCFF valued (from a much smaller sample), to compile in a Christmas posting.

— THE AGENT APSLEY (@THEAGENTAPSLEY) December 24, 2017

In alphabetical order (with date of viewing), and - unless stated otherwise - seen at The Arts Picturehouse, Cambridge (@CamPicturehouse) :

* A Quiet Passion (2016) ~ 12 March

* Baby Driver (2017) ~ 3 July

* Becoming Cary Grant (2017) ~ 29 July [seen at The Watershed* / @wshed]

* Cameraperson (2016) ~ 8 March

* Citizen Jane : Battle for the City (2016) ~ 8 May

* Elle (2016) ~ 10 March

* Happy End (2017) ~ 1 December

* Jackie (2016) ~ 22 February

* Missing (Sarajin Yeoja) (2016) ~ 24 April

* Prevenge (2016) ~ 31 March [seen at Saffron Screen / @Saffronscreen]

* Silence (2016)

* Souvenir (2016) ~ 28 August [seen at Saffron Screen]

* The Villainess (Ak-Nyeo) (2017) ~ 11 September


So, March turns out to have been a good time to be at the cinema...



Honourable mentions :

* Aquarius (2016) ~ 23 November

* Chi-Raq (2015) ~ 5 February [seen at Saffron Screen]

* Dispossession : The Great Social Housing Swindle (2017)

* Freesia (2017) ~ 26 September

* Half Way (2015)

* Loving Vincent (2017) ~ 10 November [seen at The Watershed]

* On the Road (2016) ~ 9 October

* The Seasons in Quincy : Four Portraits of John Berger (2016) ~ 18 July

* The Journey (2016) ~ 16 July [seen at Saffron Screen]


End-notes :

* In conjunction with Cary Grant comes Home for the Weekend Festival (@carycomeshome).


If you want to Tweet, Tweet away here

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

Love changes everything ?

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

25 July

At #UCFFF, @WorldsEndMovie (2013) engaged energies by its employment of delusional experience, and we analysed it :https://t.co/59LWIICBWt

— THE AGENT APSLEY (@THEAGENTAPSLEY) July 26, 2017

Re-seeing @BabyDriverMovie confirms that writer / director Edgar Wright works on several levels here, with lyrics in graffiti, notices, etc. https://t.co/reVxKNAu0V

— THE AGENT APSLEY (@THEAGENTAPSLEY) July 26, 2017

[...]


If you want to Tweet, Tweet away here

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

Edgar Wright's Baby Driver : A musical, in a Tarantino sort of way ?

This is a review, partly by Tweet, of Baby Driver (2017)

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

3 July

This is a review, partly by Tweet, of Edgar Wright's Baby Driver (2017)

Baby Driver (2017) palpably cannot be about what it seems, any more than is writer / director Edgar Wright's The World's End (2013), but did the audience seem to be missing that* ?

Here, there is a quantity of humour - wry, grim, and worse - that, if one is too believing of the film as story, will perhaps not have one snorting, or shaking one's head, at the audacity of the film-making (i.e. concept / script / delivery)... which is unfortunate, because these shots, the quality and precision that Edgar Wright gives us in the framing, wording, and editing, deserve our respect for what they are, i.e. not just part of, say, another 2 Guns (2013).

No doubt that Wright's poking fun of - outright mocking ? - Drive (2011) and Gosling / Mulligan with the pseudo-psychology and 'Wanting out'

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

By contrast, Nicolas Winding Refn's Drive (2011) really does take itself so seriously [as does [ ] The Neon Demon (2016) ?], with Ryan Gosling (credited only as Driver, though one choice of garment** suggests that he models himself elsewhere) as the man who can not only be wholesome to Carey Mulligan*** (Irene = Greek for 'Peace'), but buck an approach to and use of violence based on retribution.

No delusion that this is 'Real', or the film-references chance :

At a significant time, one's in a laundrette where a painterly RYB rotates

— THE AGENT APSLEY (@THEAGENTAPSLEY) July 3, 2017

Nerdist also picked up on that use of colour(s) in its posting about the film's trailer(s) :

If the trailers are any indication, it would seem Wright’s been itching at giving us some beautiful shots with vibrant color palettes and, in the moment Baby and his girlfriend are talking, a shot that just screams 'EDGAR WRIGHT NEEDS TO BE DIRECTING EVERYTHING !'

Centre right, Edgar Wright evokes a grander place than My Beautiful Laundrette (1985)

[...]

As in a musical, the songs of “Baby Driver” come first—it’s the digital version of a jukebox movie. https://t.co/d8dh17AU9o

— The New Yorker (@NewYorker) July 4, 2017

[...]


End-notes :

* In Screen 1, at 6.30 on a Monday evening.

** As mentioned in the #UCFF review.

*** Also known as Mary Culligan... :

Interesting list. Who do you really rate if you're being metacritical? https://t.co/yaMrul8fgW

— EastEndFilmFestival (@EastEndFilmFest) April 28, 2017

Mary Culligan : 'Her top rated films are Inside Llewyn Davis & An Education'

Not just compared to the latter, she's barely in the former ? https://t.co/9YwiYj7mrI

— THE AGENT APSLEY (@THEAGENTAPSLEY) April 28, 2017

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