As well as serving on the committee for the Friends I’m also involved with Keswick Film Club and in a few weeks their 19th Film Festival will be taking place. I grew up near Keswick and the film club played an important part in developing my love for art house cinema. I’ll be heading back to the Lake District town for the festival and would easily recommend a visit to see some great films in an idyllic location.
There are many films from LIFF in the programme so a great chance to catch up with some you may have missed or just want to see again. The Rider (a wonderful surprise for me and I may see it again), Sami Blood, Blade Of The Immortal, Dark River, The Square and, like Leeds, the festival will be closing with Three Billboards Outside Ebbing Missouri.
There are films you (probably) won’t have seen yet. Director Simon Hunter will open the festival with Edie, starring Sheila Hancock as an 84 year old who is determine to climb a mountain. A Fantastic Woman has been wowing festival audiences and critics around the world and François Ozon’s L’Amant Double has yet to get a UK release date. We also have one of the first screenings of John Hurt’s final film, That Good Night. John was the patron of the festival and visited a number of times, his wife will be introducing the film.
We’re also delighted to be showing Ken Russell’s Clouds Of Glory, thought for many years to have been lost. Commissioned by Melvyn Bragg for Granada TV, this is Ken Russell’s interpretation of the lives and loves of Coleridge and Wordsworth and was filmed locally. The screening accompanies a talk, Cumbria On Film, exploring how the region has been used for films over the years including Withnail & I and The Force Awakens.
There are also talks on director George Stevens (with screenings of Shane and Woman Of The Year) and “Scared Stiff in the 1960” before a late night screening of the original Night Of The Living Dead.
There are many more films and more guests and I haven’t even mentioned the short film competition which I’m most heavily involved with.
The festival runs from Thursday 22nd to Sunday 25th February, tickets are £6.50 and passes for the whole weekend are £55 (concessions are available). It mostly takes place in two venues so you can see about half of the entire programme if you get a pass.
And it’s not just about the films, Keswick is great place to visit (especially at this time of year?) and it’s only a few hours away from Leeds.
It is the 30th edition of the Leeds International Film Festival this November. From its instigation in 1987 by members of the Friends of Hyde Park Picture House the festival has consistently presented a wide-ranging programme of films and film based events annually, across a shifting landscape of city venues.
Laura Ager, a volunteer at the Hyde Park Picture House who has worked with the film festival in various roles over the last 10 years, recalls how she first became interested in the history of the festival and, in the course of her research, has tracked down some of its former directors and supporters to ask them what the festival meant to them.
Two typed documents, discovered by chance in the office of the Leeds International Film Festival at Leeds Town Hall, announced the coming of The Leeds International Film Festival.
In November 1987, the Leisure Services department at Leeds City Council proclaimed that in 1988:
Leeds, the birthplace of the film industry, will celebrate the centenary of the moving image by holding a major international film festival.
This film festival would celebrate 100 years since Louis le Prince filmed the people and traffic in ‘Leeds Bridge Scene’ at a spot now marked with a Leeds Civic Trust blue plaque.
The Leeds International Film Festival took place from 13th – 29th October 1988. On the first day, the famous traffic scene was reconstructed on Leeds Bridge at 2pm, later on that day a ‘black & white ball’ was held in the Town Hall. The film programme addressed eight themes that year: comedy, horror, war, music in films, images of England, animation, women and film and documentary. Continue reading
Part of this year’s film festival focuses on soundtracks so it seemed like a good idea to talk about music. Over the last few years I’ve found myself paying much more attention to what I’m hearing in the cinema as well as seeing. One of my favourite recent soundtracks is Disasterpeace’s work for It Follows (2015) and it’s great to get the opportunity to hear it performed live at the Picture House at the end of the month (limited tickets available here). There’s a similar electronic ambient sound to Cliff Martinez’s score for The Neon Demon (2016). Both soundtracks are influenced by John Carpenter’s music and I was hoping we might get a gig from the horror master at this year’s festival, alas it doesn’t look like we will.
A completely different sound can be heard in Carter Burwell’s score for Carol (2015), it’s such a beautiful piece of work and for me it may even be better than the already great film.
If you are interested in film music it’s worth listening to Saturday Night At The Movies on Classic FM (5pm Saturdays), presented by Radio Times film critic Andrew Collins each week they play two hours of music around a certain theme. It was a TV special this week but recently they’ve focussed on Hitchcock, animation and westerns. It’s available to listen to for 7 days online and is also on Freeview 731.
BBC Radio 3 also have a weekly film music programme Sound Of The Cinema (3pm Saturdays, also on iPlayer and available as a podcast) which centres each week around a current new release but play music from a wide range of films. Soundtracking is another podcast but slightly different because each week Edith Bowman talks to a film director about how they use music in film.
Back to the festival, focussing on soundtracks is an interesting idea and it has thrown up some great opportunities to revisit some films with wonderful soundtracks: Jurassic Park, Jaws, Drive, Pulp Fiction, Under The Skin, Blue Velvet, Breakfast At Tiffany’s, Lost In Translation, The Virgin Suicides are all favourites of mine and there are many more featured in the retrospective.