Tagged: 35mm

Cinemalibero: FESPACO 1969 – 2019

Filmmakers at the tomb of Thomas Sankara

The Panafrican Film and Television Festival of Ouagadougou (Festival panafricain du cinéma et de la télévision de Ouagadougou or FESPACO) is a film festival in Burkina Faso, held biennially in Ouagadougou, and dedicated to African and African film-makers. It was founded in 1969 . Then the host state was known as Upper Volta. The state became Burkina Faso under the leadership of Thomas Sankara, a revolutionary anti-colonial figure. In an early speech Sankara drew on the traditions of the US War of Independence, the French Revolution and the Great October Revolution. His socialist style programme was bought to a halt in a military coup in 1987: clearly involving intrigues by foreign states, in an area where French Neo-colonialism is potent. The Festival has continued and remains the most important forum for African Cinema. In the same year an association of African filmmakers was formed, The Pan African Federation of Filmmakers (Fédération Panafricaine des Cinéastes). Several of the film-makers featured this year were important in this development, including Med Hondo and Gaston Kaboré, who later became Secretary-General. And there was Ousmane Sembène who is the best-known of these film-makers and who features have been fairly widely available.

Il Cinema Ritrovato has developed a productive relationship with the World Film Foundation, dedicated to the restoration of important films across world cinema. Their new project aims at restoring fifty African films that are considered important as films, as cultural products and historical artifacts. The programme in Bologna this year presented eleven films, eight in new restorations, as examples from the African Film heritage.

I have already posted on one of the titles: Arabs and Niggers, Your Neighbours (Les Bicots-Negres, vos voisins, 1974). This was one of the films screened in its original 35mm format. And it provided a tribute to the film work of Med Hondo, who died early this year. The film provided a link between the other films shown in a Ritrovato retrospective in 2017.

‘Muna Moto’

Among the titles were a number seen here in the 1980s but not seen since. From 1975 in Cameroon came Muna Moto directed by Jean-Pierre Dikongué-Pipa. This was  a critical study of the dowry system, but which was constrained by the censorship operating at that time. Dikongué-Pipa felt that he was able to present

only one fifth of what he felt in his heart.

In the film a young woman, because she is pregnant, has to marry an older man who already has there wives, all sterile. The drama develops when the young man who fathered the child takes drastic steps.

Problems also attended the restoration as there was mould on some sections of the original negative and Cinémathèque Royale de Belgique had to work in part with a dupe print. The film, in black and white, used indigenous Duala and French with English sub-titles.

‘Baara’

Baara from Mali (1978) was directed Souleymane Cissé. His subsequent feature Yeelen (1987) has become a classic of African films seen in Europe.  Cissé had suffered arrest and jail for his previous film which addressed the question of rape; the charge was for accepting French funding; something the ruling class in this state have done right up until today. Set in Bamako this film is a study of trade unionism in a country struggling to escape Neo-colonialism. There are two key character, of similar ages; one an intellectual the other a manual worker. Both work at a factory where the exploitation leads to confrontation and the need for people to identify their interests, individual and collective.

The various elements operating in the film are unified by the narrative strategy employed – specifically related to the Marxist notion of history as essentially collective.

The film screened from a colour 35mm print and used indigenous Bambara language. This was a version with Italian sub-titles and an English translation.

‘Wend Kuuni’

Wend Kuuni was from Burkina Faso itself and made in 1982 by Gaston Kaboré. A young boy is abandoned in the bush. Found, he adopted into a village family. The simple drama develops as we learn the trauma that made him mute and the further action that leads to a cure.

Kaboré, in 2017, explained that

My preoccupation has been to find a film making form to address my own people enshrined in both cinematic language and the legacy of our own story-telling tradition.

This offers as sense of the form of the ‘griot’, a traditional story-teller whose function can be seen at work in a number of African films. The dialogue was in the local language of Mooré with English subtitles.

This was another restoration by the Cinémathèque Royale de Belgique. The digital version looked really good. We also had an introduction by Nicola Mazzanti from the Cinémathèque which was less happy. His intentions seemed good but the delivery was rather like a harangue on the neglect of African films. Given that the audience were cineastes who had traveled distances for the festival and for this particular screening, then queued up to get a seat, [some had to stand] this seemed to me completely misdirected.

There were two films by the Senegalese filmmaker Djibril Diop Mambéty. His two most famous films, Touki Bouki (1973) and Hyènes (1992) were both features. The two titles were intended to be part a trilogy, Histories de petites gens / Tales of ordinary people, but Mambéty died before he could complete the third part.

‘Le Franc’

Le Franc [which refers to a lottery ticket] runs for 45 minutes. The protagonist, Marigo (Dieye ma) is an itinerant musician.

With his easy-going walk and Chaplinesque clothes, Marigo immediately expresses his irreverent nature: . . . (Alessaandre Speciale, quoted in the Festival Catalogue).

Indeed Marigo does share some characteristics with the famous ‘silent’ tramp. And the film  has its  moments of humour. But it also shares Mambety’s taste for sardonic comment, bricolage and a narrative that literally jumps around characters and settings. Marigo shares Chaplin’s famous characters ability to stare down adversity. But such adversities are more dramatic and oppressive in a Neo-colonial setting. This is a landscape in which poverty and decay surround everybody. Yet the characters are vital as is the music which repeatedly disrupts the action.

We had a good transfer to digital with the Wolof dialogue accompanied by English sub-titles. However, the songs were not translated and I am sure they added to the dynamic but bitter story.

‘The Little Girl Who Sold the Sun’

La Petite vendeuse de Soleil (The Little Girl Who Sold the Sun). The ‘sun’ of the title is a daily newspaper which children tout round the streets of [I think] Dakar but it clearly has a double meaning [at least] in the story.. Sili (Lissa Baléra) is a paraplegic. Despite this and her crutches she gamely works round the streets selling what seems to be a popular tabloid. She also gamely ignores the taunts and tricks of the other sellers, all teenage boys. This is a film about facing adversity but with a more upbeat and less sardonic tone than Le Franc.

Mambéty, who died in 1998, was unable to finish the film which was at that point ready for editing. It was completed by colleagues after his death. It is an affecting drama with an emotional punch. It is also more in a linear fashion that Mambety’s other films and there is little sense of the irony that he usually offers. I did wonder if the final film is exactly as he himself would have made it. Like the other title it was in a good quality DCP, running 45 minutes and again in Wolof with English sub-titles.

There were several other features and  material on FESPACO. Notably, nearly all the films came from North and West Africa. The exceptions were the Hondo and a title from Morocco. A number were in French though we also had titles in indigenous languages like that by Cissé and by Mambéty. This is an area once termed ‘Francophone’ because  France was the dominant colonial power. This offers an interesting cultural factor, since narrative films are more common from this area than other parts which were dominated by Britain and the English language. France has continued to exercise a neo-colonial dominance in the region including military adventures. The flip side being the cultural plank and many films had to rely on French technical resources in their production. One of the key aims of FESPACO was to develop the indigenous film industries. This lead to a flowering in the late 1970s and 1980s, witnessed by some of the films at the festival. This fell away in the 1990s but there have been some important cinematic ventures in recent years; [see posts under ‘African Cinema’].

We can look forward to more of the restorations by the World Film Foundation at future festivals.

Film from 1919 at Il Cinema Ritrovato

Neil Brand at the piano in the Modernissimo

Every year this Archive Festival in Bologna has a programme of titles from the parallel year in the 20th century, A Hundred Years Ago: 1919′. The curators of the programme, Mariann Lewinsky and Karl Wratschko, made the point in the Festival Catalogue:

1919 is the first year of the A Hundred Years Ago strand for which a certain canon exists . . . the easiest option seemed not to be the most interesting one, and we decided, as in every year since 2004, to go on a pilgrimage to the archives and view as many films from 1919 as possible . . . We also decided at an  early stage to include as many short films as possible …

They also argued that the focus is on films from Germany and Scandinavia.

This was not planned but simply happened  as a result of the fact that in 1919 the most interesting films were made there.

So we enjoyed some known classics, unknown films and surprises, and a programme of varied short films from small dramas to travelogues and newsreels. One of the attractions of the selection was that the bulk of the screenings were on 35mm. Even so, given the complexity of the overall festival programme, with up to seven screens at any one time, it was not possible to see every single film.

The programme was divided into eight chapters, the first being ‘Old and New’.

Here we saw Carl Théodor Dreyer’s very fine The President (Præsedenten, 1919). Adapted from an Austrian novel the President of the title is a judge. His fallibility repeats the transgression of both his father and grandfather. The print  from the Danish Film Institute was both tinted and toned  and the visual quality was enhanced by a fine accompaniment by Gabriel Thibaudeau. This was a great film to revisit.

‘The President’

Three other titles were by Jakov Protozanov, Mauritz Stiller {Sir Arne’s Treasure / Herr Arnes Pengar} and Augusto Genina. The last was a social comedy, The Mask and the Face / La maschera e il volto, in which a husband’s macho boasts on what he will do if his wife takes a lover come back to haunt him.

Next was ‘Censorship Abolished. German ‘Vice and Enlightenment Films”.

A vice film (in German: Sittenfilm) is a film that, under the mantle  of ‘enlightenment’, deals with taboo subjects mostly from  the field of sexuality. (Karl Wratschko in the Catalogue).

There was a film directed by Richard Oswald on a gay them, Different from the Others (Anders als die andern). The Pimp (Der Mädchenhirt) directed by Karl Grune  with prostitution and venereal decease in the plot. When censorship was re-imposed it disappeared from view. Whilst Misericordia (Tötet nicht mehr!) was a committed film addressing capital punishment directed by Lupu Pick.

‘Indian Cinema’ was a screening of D. G. Phalke’s Kaliya Mardan (The Childhood of Krishna). This is one of the few surviving silent films made in India and the only film by the key pioneer Phalke to survive almost complete.

‘Three actresses from the US with Love’ featured an extract from Creaking Stairs with Mary McLaren who also starred in Lois Weber’s Shoes (1916). A woman director, Ruth Stonehouse’s Rosalind at Redgate. And the French director Albert Capellani working with the star Nazimova at the Metro Picture Corporation. This drama, The Red Lantern,  was set  during the ‘Boxer rebellion in China; with fairly awful stereotypes of Chinese people.

Nazimova

‘Independent Cinema’ offered Back to God’s Country, a Canadian wilderness adventure. Historien om en gut / The Story of a Boy, a Norwegian drama of a boy who runs away. And fragments from La Fête Espagnole / Spanish Fiesta directed by Germaine Dulac. All three showed the way that many independent productions utilized actual locations, offering natural detail often lacking from studio productions.

The sixth chapter was titled ‘Revolution’, Karl Wratschko commented;

1919 was one of the most revolutionary years in the C20th. In this year there was revolutionary activity in many different countries of Europe as well as in Egypt.

From Hungary we had a film by Mihály Kertész [later Michael Curtiz] My Brother is Coming (Jön az öcsém), adapted from a revolutionary poem,

released barely two weeks after the proclamation of the world’s second communist republic . . .

‘My Brother is Coming’

From the opposite standpoint came Die Bolschewistischen … (Germany) which depicted the killing by the Bolsheviks in Ukraine of the opposition in the Civil War. A German newsreel showed the street battles during the Spartacist uprising in Berlin. A  second included the funeral of one of the Spartacist leaders Rosa Luxemburg.

‘Nature, Humour, Science’ provided a sense of a cinema visit in the early C19th.

. . . for nearly two decades, . . . [this] meant not seeing a long story . . . , but some 10 to 15 short films from  a wide range of genres and with maximum diversity in aesthetic impact and emotional register; . . . (Mariann Lewinsky in the Festival Catalogue).

So we had non-fiction, newsreel, adverts and comedy. There was the famous and staged signing of the United Artists incorporation with the stars gathered round Chaplin. From the Soviet Union ‘The Funeral of Vera Kholodnaya, a major star of the Russian silent cinema, including films with Evgeni Bauer. The adverts were animated films from a French pioneer, Robert Lortac. And among the comedies was Seff Kostet 24,50 dollar groteske von seff (Austria). This followed the adventures of a tailor’s dummy and its human look-a-like.

Dummy or human?

The final part of the programme was a serial screened in parts, morning and evenings, at the Modernissimo. This is an underground cinema waiting restoration but extremely atmospheric and [seemingly] the coolest spot in Bologna. I Topi Grigi is an Italian production starring and directed by Emilio Ghione. A major star Ghione played Za la Mort, a master of disguise, who has eight episodes to outwit and bring to justice the ‘Grey Rats’ of the title. As always in serials there were cliff-hanging ends of episodes, a variety of criminal enterprises, a changing cast of villains and victims and a final denouement between hero and arch-villain. Following the whole serial was a commitment but a bonus was that one would hear nearly all of the ensemble of talented musicians who accompany the silent screenings.

Rear Window (US 1954)

‘The Importance of Set Design …….’

One’s favourite film from a major artist such as Alfred Hitchcock tends to fluctuate over time; but for the last few years I have felt that this title is the most enjoyable and the finest of the productions directed by Hitchcock in Hollywood. It is a completely studio film, shot on the Paramount lot, though Hitchcock retained the copyright, so that now the film  is part of the Universal collection.

The protagonist L. B.”Jeff” Jefferies is played by James Stewart, an actor who starred in several Hitchcock films and who, in the 1950s, brought a darker tone to his characterisations. The romantic interest in the film is Lisa Carol Fremont, played by Grace Kelly who seems to have been Hitchcock’s favourite blonde. The triple names of the two characters points to their social differences: “Jeff” is a professional photographer who believes his life should have the least amount of encumbrances and who revels in being politely uncouth whilst Lisa is a socialite and model, seen in a series of extravagant and stylish gowns and costumes.

The film opens with Jeff tied to a wheelchair after suffering a broken leg whilst on a photographic assignment for the magazine for which he works. He spends much of his time surveying the apartments that surround the courtyard in which his own is set: this is in the New York Greenwich Village. Jeff watches the people in the other apartments, even using binoculars and a powerful telephoto lens on his camera. He pays particular attention to the man in the apartment nearly opposite: Lars Thorwald (Raymond Burr). He comes to suspect that a crime has been committed and this investigation drives the plot forward.

The film is adapted from a short story by Cornell Woolrich for ‘Dime Detective’ (1942), a noted contributor to the genre of ‘pulp fiction’. Whilst the title is not a film noir it does contain some of the aspects of that genre. There are the triangular relationships, the seeker hero, the siren call (not a femme fatale) and the world of chaos that envelops the hero. And there is chiaroscuro in certain key scenes.

Hitchcock’s typical direction is well served by a team of talented craft people; a virtue that was enabled by Hitchcock’s preceding success. The setting of the courtyard was produced by set designers Hal Pereira and Joseph MacMillan Johnson. This careful construction is excellent in its dramatic scope and detail. The cinematography of Robert Burks exploits this setting and the interior of Jeff’s apartment with consummate skill; (think of North by Northwest). The colour palette is excellent, shot on Eastmancolor but printed on Technicolor stock in the original release. George Tomasini edits this material with real skill, following the conventional continuity of Hollywood but with excellent use of dramatic cuts and changes; (as later in Psycho). The music, by Franz Waxman, is sparse though the opening sets the tone really well. Most of the film’s soundtrack is sound from within the story world produced by the team of John Cope, sound recordist: Harry Lindgren sound recordist: Howard Beals sound editor and Loren L. Ryder sound recorder mixer. Finally the Hollywood veteran Edith Head designed the costumes.

James Stewart plays Jeff with aplomb, and his 1950s persona makes the obsession with the mystery convincing. Jeff is a voyeur, as are often the protagonist in Hitchcock films. But the voyeurism in Hitchcock films is overlaid with a sardonic humour and a reflexive stand point. Meanwhile Grace Kelly’s Lisa is a self-determining young woman with an assured response that is not true of all the heroines in Hitchcock’s Hollywood output. The other residents, with the exception of Thorwald, are mainly seen as objects of Jeff’s gaze., though circumstances revise his judgements on them. Burr’s Thorwald is an almost sad figure but dangerous. We also have to fine character performances with Thelma Ritter as Jeff’s nurse/Masseur and Jeff Corey as a friend in the NYPD. And there is a Hitchcock dog; less happy than in other films.

The tendency to critical presentation is, in  part, due to the adaptation of the Woolrich story by John Mitchell Hayes. Watch carefully what we learn of Jeff’s observations; what he sees and what he does not see.

Like all outstanding films this has a richly constructed narrative, dramatic but also believable performances, beautifully crafted vision and sound and enough questions to retain interest until the final moments. Here, Hitchcock, with a touch of irony not frequently found in the Hollywood oeuvre, leaves the audience with one last ambiguous shot.

A screening as part of the Leeds Festival of Architecture paid tribute to the importance of design in the film. It was screened from a pretty good 35mm print, the original format, at the Hyde Park Picture House. It was accompanied by a short from the Canadian artist Guy Maddin, Accidence (2018). This is a nine minute film, apparently all in one long take. But it was shot in digital so likely there are some edits. The camera is trained on the frontage of a large block of flats; it opens in a mid-shot and slowly zooms out to a long shot. Then later it zooms slowly in to more or less the original mid-shot. Different actions take place in different apartments and characters move between them. One event, resulting in at least one likely death, seems the main action but I think it would take a second viewing to be sure of all that takes place. The main characters appear to be variations on those found in Hitchcock’s Rear Window, down to the small dog; [who happily survives in this version]. This film is clearly a riff and play on the famous 1954 feature. I think Hitchcock would have enjoyed it; I certainly did.

Pavilion: Artists on Film

 

This series of events organised by the Pavilion visual arts project based in Leeds was screening at the Hyde Park Picture House and a small venue in the Grand Theatre complex in New Briggate. At the invitation of the Pavilion Herb Shellenberger [from Philadelphia but now resident in London] curated an ambitious programme of films by artists; some film-makers but some artists first. Will Rose introducing the opening event admitted that the programme was larger than originally envisaged. There were seven separate screenings with 33 separate films ranging in length from 4 minutes to well over an hour. In his introduction Herb explained that artists based in Yorkshire were contributing but that their art works would be placed ‘in dialogue with work from international artists.

The opening event on a Friday evening saw the Picture House screening two 35mm prints: ‘Bliss it was in that [even] to be alive’. And better still the main feature was one of the outstanding masterworks from the French film-maker, photographer, writer, traveler and eccentric, Chris Marker. Marker died in 2012 after a life full of quirky artistic work. He was a collaborator with Alain Resnais and a friend and colleague of the recently deceased Agnes Varda. These two shared a love of cats. All three were part of the ‘left bank group’ ; a key but overlooked movement within the nouvelle vague. Their films were more experimental, more political and more distinctive than the  famous ‘new wave’ films. Marker himself is known for works described as ‘essay films’ and this title is a good example of that approach. Not exactly documentary but addressing the actual world  Wikipedia defines [informal] written essays as characterised by:

“the personal element (self-revelation, individual tastes and experiences, confidential manner), humour, graceful style, rambling structure, unconventionality or novelty of theme,”

Much of this will be found in the Marker film. As well as his personal involvement in so much of the production of the film Marker also appears in slightly fictionalised versions of himself.

The film’s written component is a series of letters read [in parts] with comments by an unidentified female character. The letters are from a cameraman visiting a variety of places: Japan, Guinea-Bissau, Cape Verde, Iceland, Paris, and San Francisco. The last includes locations used in Alfred Hitchcock’s highly regarded Vertigo (1958), a film that has pre-occupied Marker for years. He remarks that he has seen the film nineteen times; I am not sure if I have ever seen a film that many times, but it could be Battleship Potemkin / Bronenosets Potyomkin (1925 USSR). I actually did the same homage to the Vertigo with a French guide and Marker fan.

The largest part of Sans Soleil are the sequences from Japan and from Guinea-Bissau / Cape Verde; societies that Marker suggests are

“two extreme poles of survival.”

This is illustrated in the film. Marker also notes the political context with archive footage of the African Liberation struggle and one charismatic leader, Amilcar Cabral.

The original French version of Sans Soleil opens with the following quotation by Jean Racine

“L’éloignement des pays répare en quelque sorte la trop grande proximité des temps.”

(The distance between the countries compensates somewhat for the excessive closeness of the time).

Marker shot the film on a 16mm camera in colour and standard European widescreen. There is found footage and stills/freeze frame in colour and black and white academy. And some of the film is synthesised by a colleague. He recorded the soundtrack in asynchronous manner,  thus the sound does not always match the imagery. So this is ‘montage’ in the full sense of the word. The screening presented the original French language version in a 35mm print in good condition.

Sans Soleil was preceded by a short five minute film, also on 35mm. This was Black by Anouk De Clercq (Belgium, 2015). This was the only print of this art work which by now was showing signs of wear and tear. The sub-titles noted this suggesting the film picked up on a point early in the Marker film where the film-maker addresses the use of black leader. I did wonder if either film-maker had the Soviet artist Kazemir Valedich in mind.

The second screening I attended was titled ‘The Gentle Touch’ and presented five titles featuring:

“Stone, flesh, blood or electric circuit, feet on the ground versus data in the cloud. From automaton to avatar, artists reflect on the tension between our own individual, physical bodies and the animated, virtual body.” (Curator’s Notes)

Three of the regional film-makers attended and spoke about their work after the screening.

The first title was The Love of Statues (2019) by Peter Samson, based in Doncaster. This was a combination of film, found footage and archive stills. Shot partly in Paris at the museum of the Salpetriere Asylum containing a bevy of C19th objects. It was shot in black and white and partly in widescreen and partly in academy ratio.  Peter explained that he had worked on the material several time over the years and this was the most recent version. He had to edit together materials in different ratios. The theme at the asylum was hypnosis and hysteria but the  visual theme of this title was bodies in relation to both statues and automaton. It had an eerie feeling and much of the film was in chiaroscuro.

Self-digitalisation (2015) by James Thompson ran for nine minutes in colour and widescreen. This was in a single long shot of a picture gallery at Hospitalfield House where Thomson was on an artist residency. The film  aimed to ‘re-interpret’ the room and objects as a young man took a series of digital self-portraits, ‘selfies’. These were done at speed in an arch manner. If we were meant to look at the art through these it failed for me; and as a satirical take on the ‘selfie’ it needed more angles or positions.

Dog’s Dialogue / Colloque de chiens (France 1977) was a 22 minute ‘photo-roman’ by Raúl Ruiz, screened from a colour 35mm print. The English sub-titles were projected digitally. A ‘photo-roman’ uses a series of still shots to offer some sort of narrative. This one was unconventional as it included moving images, both of the titular dogs and, later, of a location. The various dogs, mainly tied up and barking, were some sort of metaphor. The humans in the story proper went through a cycle of events that

“consists of news items collected in magazines. A melodramatic pseudo-detective thread woven round imagery from women’s magazines.” (Institut Français).

In what seemed to be a homage to the photo-roman’s founder, Chris Marker, at one point a ‘still image’ turned into a brief moment of movement.

This film was typical of Ruiz’s work in France, where he was an exile after the coup in his native Chile. His work was literary, ironic, sardonic and experimental. It was also, as with this title, always engaging.

Another film on 35mm with digital subtitles was Au Père Lachaise (France 1986) a thirteen minute title by Jean-Daniel & Pierre-Marie Goulet. This is a Municipal cemetery in Paris, apparently the most visited in the world It is the earlier example of as ‘garden cemetery’. Many famous people lie there, notably Oscar Wilde. And the Institut Français offered a quotation from another famous inmate, Honoré de Balzac.

“It’s all of Paris but seen through the looking glass, a microscopic Paris reduced to the dimensions of shadows, larvae, death, a human race that has nothing more than vanity’”

The vanity is obvious in some of the monumental graves, similar to those found in London’s Highgate cemetery. However, the film was more interested in the space, arrangement and foliage; something that disappointed at least one viewer.

The film used a series of tracking shots, interspersed with long shots to close-ups; reminiscent of the style of Alain Resnais. To its credit the film did end with an note about 147 people associated with the cemetery; the heroes and heroine so f the Paris Commune, executed nearby and commentated by a simple plaque.

The memorial to the Communards

The Turning of the Helmet (2018) by Rhian Cooke, an artist currently involved in the Yorkshire Sculpture International. The film ran 3 minutes in colour and 16:9, [television funding]. The opening of the film used animation techniques playing with ceramics and textiles to offer a sense of the helmet. The later stage expanded into actual cinematography to present a pill box which was an inspiration for work with a helmet. This was well done but [for me as is often the way with very personal experimental film] I did not really engage with the thematics.

I had a similar problem with Soft Body Goal (Finland, 2010) a four minute title by Jaako Pallsasvuo. This combined digital animation and dubbed sound with a bevy of bodies;

“Body without bone. Sloppy and improper. Body seepage. Naked sewer rats. Hairless aristocratic cats. Slime …. the body of the future ….”

However, the techniques used were impressive.

We almost did not see the final title, Ice Cream. This was a 1970 16mm film copied onto a digital format; I suspect there were compatibility problems because we had three false starts. However, the film repaid the wait. The director, Antoni Padrós, was an underground Catalan film-maker. Born during the Spanish Civil War most of his career was spent under the Francoist dictatorship. His film work was subversive, iconic and iconoclastic. This title featured two young people, explicit sex and the titular ice cream. It clearly subverted and made fun of the repressive values and censorship of the times. One could almost imagine a Franco stooge banning ice creams for a period.

I felt that the older European titles had political as well as aesthetic stances. Whereas the more recent British titles were far more personal and did not have overt political themes: They were also apparently more preoccupied with aesthetics. The former are closer to the key film of the programme, Sans Soleil, which combined politics and aesthetic in a complexly cinematic manner.

A third programme was ‘Sail the Summer Winds’. I was unclear regarding the overall programme title: sea-scapes seen a common feature.

The opening film was A Mysterious Devotion (1973), written and directed by Alf Bowers & Andy Birtles. They were fellow students at what was then Sheffield Polytechnic. This institution funded the filming. The completion and editing was done by Bowers whilst a student at the new National Film School.

Herb Shellenberger in his written introduction commented;

“Alf Bowers A Mysterious Devotion evidences several decades of wildly creative and experimental film-making in Yorkshire. The ambitious 16mm cinemascope film [in black and white] is an oblique narrative following several members of a family as they experience and process a traumatic death. There is no dialogue but the camera stalks its actors around the house and at the seaside, at times claustrophobically close and others in wide shots at the sea.”

Alf Bowers and answered questions after the screening. He noted that the film was based on ideas that were in

“the heads of the protagonists … things that could have happened.”

He suggested the only event that was certainly actual was the death of the father at the opening of the film. And the plotting followed the proposal by Jean-Luc Godard,

“A story should have a beginning, a middle and an end, but not necessarily in that order.”

Alf Bowers with Herb Shellenberger and Will Rose

The film was shot in a house in Sheffield and at Flamborough Head. The anamorphic lens used was a projection model, which made the camerawork extremely difficult, The film used filters for one shot and high speed cinematography for two sequence. The film stock used was Kodak Plus-X, [also used on Schindler’s List ( 1993). This produced a high-contrast image. However, whilst there is a 16mm print available the film was screened from a digital copy. There was apparently a technical reason for this. However, the digital copy did not really do justice to the high-contrast imagery: most of the film was reasonable but there were two sequences, including the end credits, where the images was not distinct enough. This was the first screening  of the film for about 20 years so it is a shame we did not see a pristine version . It remains a powerful and impressive short film, running 47 minutes.

The Eraser / Keshigomu (Japan, 1977) by Shūji Terayama. This was a 20 minute film on 16mm in colour and academy. The setting is a seashore and we see several characters posing here and in an interior. But the image is overlaid by video filter patterns. And a hand appears frequently using the technique to erase part of the image. As Herb Shellenberger commented,

“a unique conceptual work that is difficult to define.”

Alaska (Germany 1969) by film-maker Dore O who co-founded the Hamburger Filmmacher Cooperative. In black and white and colour the film shared a technique with The Eraser: in this example polka dots cover and obscure a range of subjects, animals, people, settings. The film also has a distinctive sound track using musical instruments, machine noise and recorded sound. Herb Shellenberger’s comment is similar though:

“a film that resists all interpretations.”

All three films demonstrated film-makers working with unconventional and experimental techniques.

I was able to catch three of the seven programmes so my sense of the overall was limited. However, this was an impressive collection of artistic films, many of them rare, especially in theatrical presentations. It is good that The Pavilion and the Hyde Park Picture House were prepared to be so adventurous. The largest audience was for Sans Soleil, the best known work in the weekend. Other audiences were smaller but we are dealing with avant-garde work. It is nice to know that an audience exists for this less commercial but influential area of cinema.