Posted by Roy Stafford on 8 April 2014
The two brothers in ‘Whale Valley’
Bradford prides itself on its programming of shorts. I’m not really a shorts fan and I do tend to neglect them, though I appreciate the importance of short filmmaking in the ecology of film production generally. BIFF 2014 featured short films in a variety of programming slots. The ‘Shine Short Film Competition’ comprised six films shown as a programme twice and individual entries shown before the main feature elsewhere in the programme. I saw only two of the six, one of which, Cadet (Belgium 2013) won the prize (report to follow). I didn’t see any of the Sydney Underground Shorts which screened before the late night horror films in the ‘Bradford After Dark’ programme. (I couldn’t watch the late-night films as there is no all-night public transport to get me the nine miles home.) I only saw one of the Charles Urban early scientific films – these too had a separate programme.
I did see most of the ‘Cinetrain: Russian Winter’ films that were dotted across the main programme. This funded production programme invited international filmmakers to make films about communities in Northern Russia during the ferocious Russian winter. It’s an interesting project with information available on its website. Bradford showed all seven films which attempted to explore “the most common stereotypes about Russia”. These include excessive drinking, open-air bathing in the depths of winter, traditional Russian crafts etc. I was most intrigued by the village dwellers in one community who complained about the disintegration of local community/collectivist spirit. They viewed the new capitalist Russia with mistrust and felt that today people steal from each other to get by when they used to help each other. That’s a side of the new Russia that doesn’t get as much media attention as it should.
Other than these separate programmes, each of the ‘official features’ was also accompanied by an appropriate short film. I confess that under pressure with several screenings on the same day I sometimes missed the short on purpose to give myself a few extra minutes of breathing space. I’ll just pick out one other short (some are mentioned alongside the feature screenings). The one that impressed me most (i.e. appealed to my interests) was Whale Valley (Iceland-Denmark 2013) directed by Arnar Gudmundsson. This tells a complete and satisfying story about two brothers – a genuine ‘Nordic noir’ – on their farm (see the still above) in 15 minutes of skilled narrative filmmaking. I wasn’t surprised to learn about its success at festivals worldwide.
Posted in Belgian Cinema, Danish Cinema, Festivals and Conferences, Icelandic Cinema, Nordic Cinema, Russian cinema, Short films | Tagged: BIFF 2014 | Leave a Comment »
Posted by Roy Stafford on 7 April 2014
Raimonds runs the nighttime streets of Riga
This charming tale of a 12-13 year-old boy tripped up by the conflicted emotions of early adolescence was my final screening at BIFF 2014. In the end it didn’t win the European Features prize but it has won other international prizes and it seemed to me a genuinely commercial film – although at 82 minutes it is a little short. I’m not best qualified to select films for children but I would want to show it to secondary school children (11+) and possibly younger. (I’m happy to be corrected if I’ve got this wrong.)
The central character is Raimonds (Kristofers Konovalovs) who is small for his age and is at that awkward stage when some of the girls in his class are tall and willowy, towering over him. He attends a specialist ‘orchestra school’ and his instrument is a saxophone. One day he plays a joke on one of the girls that misfires and he is required to take home a behavioural report to be signed by his mother. Mother (Vita Varpina, one of the professional actors) is a hardworking single parent (a doctor/midwife?). Raimonds thinks that she will react badly to his misbehaviour and he removes the page from his report book and prevents her receiving a message from the school. Of course, one lie leads to another and he finds himself in an escalating crisis which his friendship with Peteris, the drummer in the orchestra, unintentionally makes worse. Raimonds’ relationship with his mother will deteriorate further before it gets better but the film ends on an upbeat note.
The film is the second feature by Jānis Nords who trained formally after working in film and television and directing his first film in 2008. Mother, I Love You was shot on location in Riga in just 20 days with most of the cast being non-professionals. It looks and sounds very good and is directed with vitality. It can’t be easy creating a CinemaScope feature on the streets with a non-professional cast but he succeeds and I found it very enjoyable. I’ve seen several mentions of François Truffaut’s work in critical responses to the film and especially to Les quatre cents coups. There are certainly similarities but the tone of this film is quite different. Raimonds is not the ‘wild child’ presented by Jean-Pierre Léaud as Antoine Doinel and there is not that sense of romantic despair. Raimonds’ mother is not an uncaring parent – this trope has been passed onto Peteris who suffers beatings from his mother.
I’m not sure I’ve seen a Latvian feature before but the Press Pack for the film suggests that Raimonds “has to venture into Riga’s thrilling night-life”. This is a little hyperbolic. Raimonds visits a skate park (the actor is, the Press Pack tells us, a very good ‘extreme cyclist’) and he follows a young woman through the dark streets (she has something he needs). That’s as thrilling as it gets. Nords does not make the mistake of shifting the tone of the film. He neatly sums up his approach:
A seemingly minor misdeed can seem like grand offence bound to bring harsh consequences. Though Raimonds is faced with a moral dilemma – to act dishonestly and escape punishment or tell the truth and face backlash – I tried to avoid teaching my protagonist a moral lesson. Instead, I was looking to portray a child, who thrown into the wildest of circumstances and confronted with tough choices, manages to maintain humanity and gain conscience. In other words, a child who “grows up”.
I hope the film has more festival showings in the UK. It should be on general release but I fear it won’t get picked up. If it does get a screening near you, please go.
Posted in Festivals and Conferences, Films for children | Tagged: BIFF 2014, Latvian cinema, youth picture | Leave a Comment »
Posted by nicklacey on 6 April 2014
Trying to get to know
I seem to have embarked on a season of Kim Ki-duk films (see Bad Guy), whose ‘extreme cinema’ raises hackles as well as bile. Audiences are probably expecting the worst when the film opens with the message that no animals were harmed in the making this film and a short introductory shot shows a young girl being shot in the eye. However, although physical violence, as in Bad Guy, is a manifestation of the psychological pain inflicted upon the (subaltern) underclass, much of the violence in Address Unknown, mercifully, happens offscreen.
Set in 1971 in a US army base camp town, the narrative offers fairly loosely connected ‘slices of life’ from three main characters: a schoolgirl who, after being raped, is thrown out of the school and two young men, one with mixed raced (African-Amercan/Korean) parentage and the other the butt of bullying who fancies the girl. The ‘letter’ of the title is sent by the mother to the father, now returned to America, of Chang-guk; however, they are returned with the titular message. Unsurprisingly, given the setting, the focus is on the colonial nature of the American encampment, the girl – Eunok – walks to school beside the base’s fence. She is befriended by an American soldier and Kim is sympathetic to the psychological effect of the American’s displacement, but his presence is ultimately destructive.
There is humour, too, in the mire of the characters’ existence: all three are framed, in one scene, with injured eyes. Hardly funny in itself but it’s part of Kim’s project to unsettle the audience and this he does. Kim has directed 20 features in 18 years, a remarkable tally given his lack of box office success. Despite the speed at which he works he produces work of quality, both in terms of direction and script, that demands to be seen. He is also one of the few who give a voice to the underclass which makes him one of the most important political filmmakers of our time.
Posted in East Asian Cinema, Korean Cinema | Tagged: Kim Ki-duk | Leave a Comment »
Posted by keith1942 on 6 April 2014
The online notice below appeared on the bfi and DCMS WebPages on March 28th. However, I only found out when Mark Newell kindly emailed me with the information. This does seem rather typical of the bfi and government consultations. There has not exactly been a flurry of information or publicity around this. I have not found anything regarding this in Sight & Sound, which one would suppose was an obvious place to catch the attention of people interested in the work of the bfi. Now there remain only just on three weeks to send in comments. However, it does provide an opportunity to feed in comments, suggestions and complaints about this important film institution.
The Department for Culture, Media and Sport has launched a triennial review of the BFI.
It is a standard requirement by the Cabinet Office for all Government departments to review their agencies and non-departmental public bodies (NDPBs) at least once every three years to ensure that they are still needed and are complying with principles of good corporate governance.
The aim of this review of the BFI is two-fold:
- Stage one: to examine whether there is a continuing public need for all functions performed by the BFI and if so, to determine if the BFI should deliver them or if there is an alternative delivery model.
- Stage two: to look at the control and governance of the BFI to make sure we are complying with recognised governance principles and delivering our functions effectively and efficiently.
If you would like to take part in this review you can do so by responding to an online questionnaire. The questionnaire will remain online for four weeks, starting on Friday 28 March and finishing on Monday 28 April. The review team expects to report in the summer.
For more information about Triennial Reviews and the process, visit the Government Services website:
Ways to respond:
Respond online or email to:
BFI Triennial Review @culture.gsi.gov.uk
Department for Culture, Media & Sport
100 Parliament Street
Mark, with great promptness, has already sent in comments. He kindly agreed to let this blog reproduce his letter. He has clearly raised some important and central issues about the bfi. Hopefully our readers will be stimulated to follow his example. I have looked over the questionnaire on the DCMS site – letters would be better! Anyway, I suspect readers will have other key issues to add. Given the paucity of information it would be a good idea to pass this information on to other interested parties. I should also note that the next meeting of the Board of Governors is fixed for April 29th: presumably to discuss the review among other matters. As Roy posted they have added more metropolitan members of the establishment to their number. However, according to the November and January minutes (posted on the bfi WebPages) they have not given any more thought to the reduction in Member Governors.
The Rt. Hon. Maria Miller, M.P.
Secretary of State
Department for Culture, Media and Sport
100 Parliament Street
London SW1A 2BQ
Dear Maria Miller,
The British Film Institute
The BFI should now review as promised its new rules for the conduct of Member Governor Elections. These were introduced about three years ago and have resulted in three failed polls and finally, in 2013, in the temporary (or permanent?) removal of one of the two Member Governor posts. At the present time the Board has given no indication as to what will happen when the one remaining “regional” Member Governor’s term expires this September. Members are justifiably concerned that their views are neither heard nor properly represented.
Film enthusiasts subscribe to the BFI Southbank’s monthly guide in the main to see films that cannot be viewed elsewhere. One of the more popular themes is Archive film. In 2013 this programme strand was drastically cut to enable work to be carried out on digitisation. It should be restored as soon as possible. Useful as the BFI Player and the Mediatheque are, they’re no substitute for seeing films on the big screen with an audience.
PS a friend emailed me and it seems that one can encounter problems both with the ‘online response’ and with the ‘questionnaire’.
Posted in BFI | Leave a Comment »
Posted by Roy Stafford on 6 April 2014
Local shellfish harvesters on the Costa da Morte
The third Spanish film in my BIFF viewings offers something very different and very welcome – beautiful images of a unique landscape and its people in an artistic and poetic documentary. These images are nearly always framed in long shot and held long enough for us to contemplate the stories being told and to allow our gaze to wander across the composition, following tiny moving figures or noting the import of the situation. Before the feature screening there was an earlier short by the same filmmaker, Mountain in Shadow (Spain 2012). In the short Lois Patiño trains his camera on the ski slopes of a mountain range in Iceland. The contrasting white, grey and black of landscape and people (tiny figures) make both abstract patterns and moving tapestries. On a big screen the image seems to tremble or pulsate with life. As well as marvelling at the compositions and framings, I found myself also wondering how did you get those shots. Is the camera on another hillside hundreds of metres away with a long lens? Or is the camera in a balloon or on a helicopter? I think the latter is unlikely since the shots are held steady and the expense would be too great.
The same questions about camera positions come up with Costa da Morte. Here the long shots show us the treacherous waters of the Galician coast around Finisterre which the locals are able to navigate to harvest shellfish and goose barnacles. This is in itself dangerous but at least the locals know where the rocks are. The coast’s name is said to arise from the high number of shipwrecks caused by hidden rocks in difficult waters. As on other ‘wrecking coasts’ there are also stories about ships being lured in so their cargoes can be ransacked. Patiño shows us the coast in detail and we hear the tiny figures in the distance discussing the dangers. He also takes his camera inland to the forests and mountains of Galicia, exploring forestry and that other elemental danger of fire on the hills. I was a little surprised by the extent of these fires – Galicia is generally wet and green, but presumably dries in Summer. (The first images in the film gradually reveal loggers at work as the trees emerge from the mists on the mountains.) Again we hear stories about firefighters who sometimes re-started fires to keep themselves in work. We also see farmers and quarrymen – all in relation to their environment. This is a region where people have struggled in poverty for centuries battling against the elements. At the end of the film in the credits I noticed the name ‘Castro’ and remembered sitting in a bar in Havana which displayed Galician mementoes and support for the region’s teams. I assume that like Ireland and the Canary Islands, many Galicians from the coast looked West for the chance to make a new life.
Lois Patiño is a young filmmaker from Vigo (the biggest city in Galicia to the South-West of Costa da Morte). This is his first feature and he is an obvious talent who with this film is an obvious contender for Bradford’s European feature prize. (The film has already won prizes in other festivals.) The beautiful Press Pack on the film’s website includes the director’s statement which eloquently sums up the filmmaker’s intention:
I sought to relate the vastness of the natural space to the intimate experience of people through a double perceptual distance to the human figure (far in the image close in the sound). Eventually through the deep contemplation of the image we will dissolve in the whole and disappear into the landscape of Costa da Morte.
Posted in Documentary, Festivals and Conferences, Spanish Cinema | Tagged: BIFF 2014, Galicia | Leave a Comment »
Posted by Roy Stafford on 5 April 2014
It was almost a relief to be presented with a feature that didn’t work for me. I confess that I missed the introduction to the film and I hadn’t looked very carefully at the brochure blurb for El futuro but that shouldn’t have mattered. And actually my struggle to work out what was going on at least got me engaged with a film that I seriously thought of abandoning (I’ve only once done that before and that was over thirty years ago).
Eventually I twigged that El futuro presents a group of young people in Madrid partying after the announcement of the election success of the Socialists under Felipe González in 1982. They aren’t celebrating a Socialist victory as such, but rather what they perceive as freedom now guaranteed, seven years after the death of Franco. I was trying desperately to remember the term given to these young people and the culture they created in the late 1970s, celebrated in the early films of Pedro Almodóvar – La Movida Madrileña. So the party features the usual drinking, smoking, drug-taking and at least one ‘outrageous’ display accompanied by a soundtrack of Spanish ‘New Wave’ and punk music. There’s nothing wrong with any of this of course. Most of us have attended parties like this. Thirty or forty years later they don’t seem much fun but they seemed important at the time. More problematic is the presentation of the material – deliberate crash editing, fluctuating sound levels, break up of the image, end of reels etc., almost as if the filmmakers (Luis López Carrasco from the Collective Los Hijos) wanted to replicate the look of those early Almodóvar Super 8s. (Cineuropa suggests he was using 16mm) It didn’t work for me. I can see that the approach does intentionally frustrate the audience’s desire for a conventional narrative flow. A good example of this is the subtitling which sometimes seems to shift from giving the song lyrics to what is actually being said in a conversation almost randomly. Are they really talking about lemon blue vomit?
What did work was the insertion of a collection of still photographs. Someone at the party refers to those ‘summer holidays in the 1960s’ when “you knew who your boyfriend was”. The photos show rather complacent looking men and women in formal poses – and they did bring back the Spain of the Franco years. At the end of the film we see a series of shots of an empty apartment at dawn with the debris of the party and then several street scenes. I think that we are meant to ask ourselves what ‘now’ might look like viewed from the past? All this may be some kind of (justified) howl of rage at the waste of youth unemployment. Who knows?
Posted in Festivals and Conferences, Politics on film, Spanish Cinema | Tagged: avant garde, BIFF 2014, youth | Leave a Comment »
Posted by Roy Stafford on 5 April 2014
The new teacher Robert Zupan finds himself isolated in the school
Class Enemy is one of two standout films so far in my BIFF screening selections (Diego Star review coming up later). It was the Slovenian entry for the Foreign Languag Academy Award. I’m surprised that a film like this hasn’t got UK distribution. I can only assume that some kind of institutional inertia exists in UK distribution which prevents films from smaller territories like Slovenia from gaining a high profile. Perhaps the box office records of the two films which Class Enemy most resembles is helpful in thinking this through – Die Welle (The Wave, Germany 2008) and Entre les murs (The Class, France 2008). Die Welle was dismissed by leading UK broadsheet critics, seemingly unable to see beyond it as a popular youth picture whereas The Class was warmly embraced as an auterist film by Laurent Cantet and went on to do excellent business as a specialised film. I thought both films succeeded in their explorations of the classroom environment and the interactions of teachers and students. Class Enemy is aesthetically more like Die Welle – presented in CinemaScope with instantly identifiable teenage types. But its tight focus on teaching styles and classroom interactions and its complex narrative also align it towards The Class.
I don’t think that Class Enemy actually moves the action beyond the walls of the school until the closing scene. This insularity actually points towards its universality. Slovenia is in some ways the most affluent, liberal and generally ‘calm’ of the countries formed after the break-up of the Yugoslavian federation – at least that’s how it seems from the outside. In reality I understand that the trauma of the after effects of World War II and in particular the the conflict between quislings and partisans has had a lasting impact. Slovenia is also a country strategically placed at a crossroads between Western, Central and South-Eastern Europe with potential migratory flows and domination by different hegemonic powers throughout history. The class of students placed at the centre of the narrative reflects this diversity with students whose backgrounds suggest different European histories – and with the single East Asian student symbolising the globalised world now open to Slovenes. Given the region’s history it isn’t surprising that the central drama involves German culture and accusations of ‘Nazi behaviour’.
Some of the students. Luka (second left) is the instigator of the rebellion. (Triglav Films)
The film’s dramatic conflict is created conventionally by the arrival of an ‘outsider’ who disrupts the equilibrium of the school and this class of 17-18 year-olds in particular. Their ‘liberal’ friendly teacher is about to go on maternity leave and she introduces the new German teacher, Robert Zupan. The new teacher seems to have a very different teaching style – strict and possibly authoritarian. When a tragedy occurs affecting all the students in the class, Zupan is held responsible because of his methods and their impact on students. The class comes together (with at first just one dissenter) in a form of rebellion which gradually escalates. The school authorities are forced to try to find a solution which means facing the parents as well as the students and Robert Zupan.
Class Enemy is the first feature film by 29 year-old Rok Biček. The excellent Press Pack includes an interview in which he discusses his methods. His two main inspirations seem to be Michael Haneke and the Romanian director Cristian Mungiu, the former prompted the coldness and surgical precision with which the events are analysed and the latter the basic long take style. Given the single central location and the focus on one class and three or for teachers, casting was very important. Biček says he took his lead from the Palestinian-Israeli pairing of Scandar Copti and Zaron Shani and their approach to Ajami (2009). He decided to mainly use professional actors for the teachers and found non-professionals for the students. The latter then built their own performances around their reactions to the constructed performances of the teachers. The students were kept away from the ‘actor’ teachers until their scenes so that they responded as naturally as possible.
The whole story was based on a set of incidents during Biček’s own school career. His skill has been in developing these into a narrative structure that allows a complex drama to emerge. This is a film which at the same time gives ‘concrete’ explanations /resolutions to certain narrative strands but still leaves open the possibility of a different reading. There are no ‘right’ answers as such. For instance, the headteacher does eventually ‘solve’ the problem but the film can still be seen as an indictment of modern school administration which often seems better at handling PR than in finding the best ways to offer real education. Similarly the German teacher (brilliantly played by the leading Slovenian theatre actor Igor Samobor) does indeed act in a rigid and authoritarian manner – but his actions can be read as rational and supportive and ultimately of benefit to students. The students themselves behave as any group of individuals placed under stress and towards the end of the narrative Biček also brings in the parents who also present ambiguous responses to the situation.
The brilliance of Biček’s direction lies in first the ‘surgical precision’ with which he presents the drama and then in the careful balancing of the possible readings of the actions. I can see an argument for showing this film to all teachers training for work in secondary school classrooms (assuming that we have any training left in the bizarre English education system). The work that trainee teachers might do in attempting to read the film would be highly beneficial. Perhaps I’m biased as both an ex-teacher and ex-teacher trainer, but I’d give the Bradford European feature prize to this film. There is still one screening to go in the competition so I’ll hold my fire for the moment.
Posted in East European Cinema, Festivals and Conferences | Tagged: BIFF 2014, classroom drama, Slovenian Cinema | 1 Comment »
Posted by nicklacey on 5 April 2014
Two dimensional characters rendered in full
90-plus minutes of talking heads anyone? I think the thought of that is why Sally Potter’s Rage is rated a mere 4.7 by imdb users. In reality, of course, it’s – at the least – an engaging film that relies on its excellent script and performances to allay any ‘poverty’ in the image. Riz Ahmed, Steve Buscemi, Judi Dench, Eddie Izzard, Jude Law and David Oyelowo are the stand outs in what can actually be called a ‘star studded’ cast. The monologues are ostensibly, we never see him, shot by a student for his school project; though he’s actually posting them on a blog. His subject is a fashion show, which is going ‘pear-shaped’, and Potter’s intention is to skewer the pretensions of the industry.
Not a difficult target, I would suggest, but Potter also goes beyond that focus by implicating western consumerism, and wars, into her film. We are invited to read between the lines of what the self-justifying characters are saying. Inevitably, most of them are as two-dimensional as the green screen; which is almost any colour but green, background. The actors perform the shallowness of the characters to perfection; Bob Balaban talking about his new ‘opportunities’, having being sacked, is particularly good.
But why this form? Potter’s targets are valid but are monologues to camera the best way to offer a subversive look at our capitalist world? I suspect it’s a case of form winning over content. Potter’s purpose was to make a film for mobile phones and chose the best – only? – visible format that would be effective on such small screens. This is not to say it doesn’t look great on the big screen, it makes the performances literally ‘towering’. Rage is worth seeing as Potter, and her performers, have risen to the challenge created by the form’s limitations, but it is more an exercise than a entirely convincing piece of cinema.
Posted in British Cinema, Directors, Festivals and Conferences, People | Tagged: BIFF 2014, Sally Potter | Leave a Comment »