When I venture out of the beleaguered land of Brexit I always look on the Europa Cinemas website to check out the most interesting cinemas in the cities I hope to visit. On a recent trip to Bordeaux I discovered the aptly named ‘Utopia’. The Utopia is situated in Bordeaux’s UNESCO World Heritage district – the entire early 18th century city centre with more listed buildings than any other French city outside Paris. ‘Utopia St. Simeon’ is housed in a former church and offers 5 salles distributed around the building. There are 555 seats distributed across the 5 screens. The cinema opened in 1999. There is also a large and friendly bar-restaurant and tables outside in the square. It’s a great place to visit and just enjoy the atmosphere but it’s the programme which provides the real joy.
Scanning through the programme for September 2018 is a real eye-opener for a UK cinephile. There are films that have been big prizewinners but are yet to open in the UK such as Nuri Bilge Ceylan’s The Wild Pear Tree (Turkey 2018) and new films from France and Germany that I doubt will appear in the UK. There are documentaries and programmes of short films and animations and there are re-releases. In France re-releases seem to get much better distribution than in the UK and the programmes seem to be more ambitious. Utopia showed Edward Yang’s A Brighter Summer Day (Taiwan 1991) in the uncut 236 minute version, Joseph von Sternberg’s Japanese film Anatahan (1953), Joseph H. Lewis’ Gun Crazy (US 1950) and a day of polars with three Jean-Pierre Melville films and a Tikano Takeshi. Spike Lee’s BlacKkKlansman and other independent American releases are joined by new films from Kurosawa Kiyoshi and one of several events remembering May 1968. I was most surprised to see details of a 2012 Belgian documentary about the great Lancashire classical singer Kathleen Ferrier (1912-1953) with a Q&A with the film’s producer.
Thinking about it carefully, the programme is not that dissimilar to HOME in Manchester, a much bigger enterprise with the same 5 screens (but also theatre spaces and galleries). But I would argue that there are more foreign language films and a greater diversity of films in general. The one difference is that in the UK, without as much funding support, independent cinemas are forced to show the more commercial US and British pictures, the so-called ‘Hollywood art’ or ‘awards films’ to cross-subsidise foreign language films. In France it would seem that ‘cultural cinema’ still survives and the commercial releases are in the multiplexes, three of which are relatively close to Utopia in the centre of Bordeaux with around 38 screens between them. There is a second Europa Network Cinema, Cinéma Jean Eustache in Pessac outside Central Bordeaux. This also has five screens.
At the time of our visit, I decided to see Leave No Trace for the second time (my partner was seeing it for the first time). The film was in its opening week at the Utopia, one of the few films on the programme that got a UK release before France. The film shows up very well on a second viewing and confirms its position as one of my films of the year. The screening followed the French pattern – a single trailer for a new French film starring Romain Duris (Nos batailles, France 2018, which looked interesting) and then straight into the feature with no ads or exhortations to join a membership scheme. The standard ticket price is €7 and the morning matinée is just €4.
If you visit Bordeaux, do look up the Utopia, it’s only a 100 metres from the main shopping street. If there isn’t a film you want to see it’s still worth soaking up the atmosphere and having a beer or a coffee. If you are travelling to Europe, the Europa Cinemas Network is a great resource, listing 1121 cinema in 677 cities in 44 countries. As the number of countries suggests, the network extends beyond Europe into Asia and there are three Europa cinemas in Quebec. The aim of the network is to promote the exhibition of European films and to encourage understanding by audiences, especially younger audiences. The network model offers member cinemas support and funding via the Creative/MEDIA and Eurimages programmes in exchange for programming with a significant amount of European film screenings.
This is an exhibition at the Bradford’s Media Museum. Note it is on the wall opposite the entrance to the Imax screens, easy to miss. These are a selection of photographs from a collection at the Museum with explanatory captions.
The photographs are the work of Ken Danvers [1911 to 1980], a photographer who specialised in working on film sets. He was particular favourite with David Lean. His collection has been placed in the Museum.
The selection in this exhibition is of films shot in Super Panavision 70 and Ultra Panavision 70. These were both large-scale formats with a very high quality definition and contrast. The latter has only been seen in recent years in Tarantino’s The Hateful Eight (2015).
The stills on show include Lawrence of Arabia (1962), The Fall of the Roman Empire (1964), Ryan’s Daughter (1970), and Lord Jim (1965). Danvers was a skilled photographer. There are interesting shots of the director, stars and craftspeople at work and shots of the stellar moments in the films.
The exhibition runs until the end of October. It is worth a few minutes extra when you go along to a movie. Though you may be reminded of the great Billy Wilder’s line,
“it’s the picture that got small’.
Netflix and Amazon don’t interest me as subscription services – except that not being a subscriber means that it isn’t possible for me to fully understand what they mean for other cinephiles because I don’t know the full extent of what they show. I have used both iTunes and Curzon World to watch films, paying a fee each time, but MUBI represents something different. After 30 days of free viewing with a promotional voucher I’m now a subscriber at £1 per month for three months. They are certainly prepared to give me a long taster before charging me the standard £7.99 a month. At this point I do feel I’ve got a reasonable idea of how the service works and whether I would recommend it.
The MUBI model is to offer a new film (i.e. added to the current slate) each day. Once added that film is then available for the next 30 days. These titles are free to watch and re-watch over the 30 days for all subscribers. In addition, MUBI offers a rental section which is much more select than the big providers – just 128 films are currently available. These titles are available for rent for as little as £2.49 with a handful of current films costing £4.49. The rental period is standard – once you’ve paid you have 30 days to organise a viewing which must be completed in 48 hours once you start viewing. What kinds of films are on offer as rentals and as selected ‘film of the day’? On the whole these are definitely cinephile offerings. Many are ‘festival films’ – films which you are unlikely to find easily on a cinema release or even on DVD or Blu-ray in the UK. MUBI operates in several territories and has deals which enable it to put films in front of UK subscribers that could not otherwise be seen. I’ve already blogged on films by Thomas Arslan and Angela Schanelec that certainly fall into that category. All of the titles are ‘curated’ in some way, selected in accordance with various criteria according to auteur status, avant-garde, documentary etc. There are American independents and Hollywood auteurs such as the melodramas of Douglas Sirk at Universal or Jacques Tourneur’s Technicolor Western Canyon Passage. There are films from Europe, Latin America and Asia with a couple from Africa, but nothing so far that I’ve noticed from India. There is a small selection of films that MUBI has distributed itself – to cinemas and online. What else does MUBI offer? Curation means that you can dig quite deep into MUBI’s archives to find pieces written for its ‘Notebook’ on a wide range of films and topics. These pieces by writers, some of whom are familiar to me, are of varying lengths and complexity/access. MUBI’s sense of community is also fostered by its Twitter feed (and subscribers receive email alerts). One feature that is both useful and annoying is the provision of pages on lots of films that have been available in the past, may be available on other MUBI sites in different territories – and may return to the UK site. To give an example, there are eight films for rental from Walerian Borowczyk, but all 40 of his films have a page on the MUBI site. On these pages are cast lists and user reviews as well as links to appropriate Notebook articles.
I’ve actually been registered with MUBI since 2010 (it was previously known as The Auteurs), but have not subscribed up until now. I always understood that the idea behind MUBI was to generate a ‘conversation’ about films that was properly global, something this blog is obviously going to support. For a long time though I thought that I could be satisfied by the films on offer in my local cinemas. Alas I’m increasingly beginning to despair at what’s on offer and to worry that as I become more decrepit I won’t want to travel so far to watch films in cinemas. I haven’t actually reached that point yet, but it is comforting to know that there is a service out there. In the last thirty days I have watched around eight films on MUBI and dipped into a few more without as yet finishing them. The service is clearly worth £7.99 per month. My home broadband signal (very fast by UK standards produces a very efficient streaming service and I’ve no complaints about the quality of the image. I want to watch around a third of the films on offer, perhaps another third I’ve already seen and the rest don’t interest me that much, though I’m game to try some of them. The problem remains that watching on my TV doesn’t equate to seeing the films in the cinema – but the possibility of re-watching them is very appealing. Overall, I’d say that it is a worthwhile service that I look forward to exploring further.
MUBI was founded in 2007 by Turkish engineer and entrepreneur Efe Çakarel. It has had partnerships with several film-related organisations over the last eight years and is now available in several parts of the world via Mac and PCs, iOS and Samsung Smart TVs. In 2015 it was reported to have a global subscriber base of over 7 million.
Keith has already posted his review of the films of 2017. I agree with many of his picks, but disagree on a couple and want to list a few different titles.
It was a strange year for me in the sense that I was overseas for nearly a month in February/March and most of what was on offer were ‘awards movies’. I also missed the Glasgow Film Festival which in the last few years has provided me with access to ‘festival films’ I might have missed. On the other hand it has been a good year for festivals at HOME in Manchester. Somehow, I still managed to watch over 100 films in the cinema and many more on DVD/download. Here are my highlights:
Most overrated films of the year
La La Land and Dunkirk (2017)
These were two of the most lauded and most discussed films of the year. Neither of them are ‘bad’ films and both have many good points to recommend them. Yet, overall, they didn’t move me or suggest that they deserved prizes. I saw La La Land in Canada with a large and appreciative audience a few weeks after it opened and all I can think is that they might never have seen or might have forgotten what a classic MGM musical might be like. As for Dunkirk, I might have felt differently if I hadn’t first seen the 1958 version of the story and explored documentary material. I suspect that the spectacular nature of the film, especially on IMAX/70mm screens was far more important for some audiences than the meanings the film generated.
Mainstream films of the year
It is significant that the four mainstream films I’ve chosen include three African-American films and three films with women as the central characters – the two key issues in 2017’s film releases.
Two outstanding films about North American life
These two, very different, films were both directed by women. Both explore women’s lives in specific regions of respectively, Maritime Canada and America’s Mid-West. Neither found a large audience but I suspect that those who did see them enjoyed them very much.
European film of the year
Frantz (France-Germany 2016)
I thought this was an astonishing film. There were plenty of other European films I enjoyed but also several I was unable to find in cinemas or that haven’t yet been released in the UK.
British films of the year
Lady Macbeth seems to have divided audiences, including my colleagues. I don’t understand why. Alongside the magnificent God’s Own Country it has figured prominently in both British and European awards competitions. These two début films give me hope for British cinema.
Asian releases of the year
It is getting harder to see important films coming out of South and East Asia at the cinema and I’ve chosen two films here from the handful of titles I was able to see. There was also another Koreeda film this year, After the Storm (Japan 2016) which was up to the same high standard this master has established. I also enjoyed many of the films in HOME’s ‘Not Just Bollywood‘ programme.
Archive films of the year
Cloud-Capped Star (India, Bengal 1960)
Overall, I would have to concede that this year I have been more interested in the archive programming provided via HOME’s ‘States of Danger and Deceit‘ and also the archive elements of other HOME seasons and festivals. I wish there were more current films that matched the artistry and intensity of these archive gems.
Festival film of the year
The Rider (US 2017)
I hope this gets a UK release soon. It matches Maudie and Certain Women in its vibrant presentation of the local in North America.
Your Name (Japan 2016)
The success of this film (and The Red Turtle) gives me some hope that anime will finally get established in the UK. I just hope we can still get to see the Japanese versions in cinemas.
The films I missed that I wish I had seen
The Levelling (UK 2017), I Am Not Your Negro (US 2016)
I’ll try to find these two on DVD at some point in 2018.
December has been terrible in UK cinemas with nothing but family films and mainstream blockbusters on offer and now we await the usual flood of American ‘awards films’. We’ll be struggling to find the foreign language releases and then looking forward to festivals such as Glasgow in February.