Category: Film audiences

Where have all the foreign language movies gone?

In the last few years, January has become a desert as far as diversity in UK cinemas is concerned. The US/UK ‘awards films’ fill all the specialised cinema screens that would usually take a major foreign language film release. Distributors are discouraged from competition with Hollywood and mainstream independent distributors. So, currently, 12 Years a Slave (eOne), American Hustle (Columbia/Entertainment) and Gravity (Warner Bros) are still in cinemas alongside The Wolf of Wall Street (Universal). Dallas Buyers’ Club (Universal) and Her (Warner Bros/Entertainment) are to open soon. We did get The Missing Picture the Cambodian entry for Foreign Language film (in French) a couple of weeks ago but only in a very small number of cinemas and the Palestinian entry Omar has not yet been released in the UK.

I’ve complained about this before but it is getting worse and as Charles Gant reported in Sight and Sound (February), 2013 was the worst year for foreign language films at the UK box office since he started monitoring data in 2007. I genuinely fear that we are going to lose the audience for these films. The two most dynamic film industries in the world in terms of production and domestic success in 2013 are China and South Korea. When was the last time you saw a Chinese or Korean film at the cinema? I should point out that both exhibitors and distributors are part of the problem, but both are likely to rely on perceptions of what audiences want. Where do these perceptions come from? If younger audiences have never had the chance to see foreign language films how can they form a view about them?

It’s very important to support any foreign language films you can find on release. We do get regular South Asian films in our multiplexes but they remain ghettoised. Please, please go and see what is on offer. I’m hoping to catch a Pakistani film today and a Chinese film on Tuesday (a special screening at Cornerhouse by the indispensable Chinese Film Forum UK). I’m also looking forward to tonight’s last two episodes of The Bridge on BBC4. The popularity of foreign language drama on UK TV is one of the few pluses at the moment.

February should bring the new Claire Denis film Bastards and Lukas Moodysson’s We Are the Best – while the former is most likely to attract devotees, the latter sounds like a return to more accessible filmmaking. I’m sure both will feature on the blog and I hope they find their audiences in cinemas.

Exhibitors abandon films not in English?

I thought about going to see a film in Leeds later this week. I generally prefer British independents or subtitled films but I like to have a choice. When I looked through the cinema listings for Leeds I discovered that every single film on offer was in English – and virtually every one was a mainstream American or British film. Leeds is a major city. It has suffered from the lack of a specialised cinema such as those that once formed part of the BFI’s Regional Film Theatre network. The council still own the 1914 Hyde Park Cinema which often has excellent programmes (as attested by many of Keith’s posts) but with only a single screen it is sometimes dominated, as in this week, by a film like Rush. The Vue in the city centre usually has something different on offer such as a British independent or a Hindi film, but not this week.

Leeds has been promised an art cinema/specialised cinema for some time and at one point it looked as though a City Screen might open but it didn’t. Then earlier this year Everyman opened a three screen cinema in the new Trinity shopping centre. As expected, it is an expensive cinema (i.e. for the region at £11) but we did expect it to show some decent specialised films. The offer today is Diana, Rush, Insidious 2 and About Time. What a joke! The original Everyman in Hampstead was where I first saw most of the 1960s canon of art cinema. I weep when I think of what the name means now – stuffing your face with pizza watching Hollywood.

So with a population of 800,000 and something like 43 or more cinema seats, Leeds can’t offer a film in any other language than English tonight. The nearest sanity is in Bradford (The Great Beauty, Wadjda at the National Media Museum and several Hindi titles at Cineworld or the Odeon) or Sheffield for the Showroom. I read a comment somewhere in the last few weeks suggesting that subtitles are ‘difficult’ with the implication that cinemas find it hard to programme foreign language films. With this kind of attitude I seriously fear for the diversity of cinema in the UK.  No doubt we will return to this topic.

All in the Family – a film evening class

The classic tableau shot of the Edwards family at the beginning of The Searchers.

One of the classic tableau shots of the Edwards family in The Searchers.

This evening class at the National Media Museum in Bradford offers the chance to study three films currently on release and to explore how ideas about the family can be exploited to develop different kinds of film narrative and different genres. There are seven sessions on Wednesday evenings from 25 September, 18.15 – 20.15.

The three films are Looking for Hortense, Metro Manila and Like Father, Like Son – all screened in full in the museum’s cinemas with a short introduction.

The first of these films is a comedy drama set amongst the ‘creative/academic’ bourgeoisie of Paris in which family relationships constrain and ‘trip up’ the central character with comic effects. The second becomes a genre thriller when it tests what characters will do to keep the family together. The final film is a form of family melodrama/relationship drama. Since the films come from different filmmaking cultures (France, Philippines/UK and Japan) there will also be the opportunity to explore the extent to which genres and representations of the family are ‘universal’ or heavily skewed by ‘local’ cultural considerations. We’ll also consider a range of other films that use the family as an important driver of the narrative. The image at the head of this posting refers to the famous John Ford Western in which Ethan Edwards (John Wayne) searches obsessively for his two nieces who have been taken by a Comanche raiding party.

A course outline can be downloaded here: (pdf) FamilyCourseProg

We’ll try to post some of the handouts here over the next few weeks and also to discuss some of the issues that arise.

1,000 posts and counting

(From http://jigsawabacus.wordpress.com/2010/05/15/mystery-of-abacus/) An abacus is an ancient Chinese form of counting widely used in Asia.

(From http://jigsawabacus.wordpress.com/2010/05/15/mystery-of-abacus/) An abacus is an ancient Chinese form of counting widely used in Asia.

With the flurry of postings last week, The Case for Global Film passed 1,000 individual postings. The 1,000th post was on Vicky Donor. Our stats tell us that we have a regular group of visitors that is steadily growing but that most of you visit us when you are looking for something specific on a film and on average you visit just under 2 separate postings on your visit. Perhaps you aren’t aware of the vast array of material (approaching 1 million words and thousands of images) that we hold?

The best way to get the most out of this blog is to have a quick look at the How to navigate this site page and discover how to search through the material.

We are moving forward onto the next 1,000 now, so watch this space! Suggestions for better ways of organising the material are always welcome.