Bait, Britain 2019

Fri 6th December at 8.50 pm, Sun 8th December at 8.30 pm and  Wed 11th December at 1.30pm and 6.30 pm

This new independent British film returns to the Picture House in a 35mm print. It was shot on a 16mm Bolex and the director, Mark Jenkin, processed the film himself. It seems that he wanted to make the film look like older titles that originated on ‘reel’ film and in the processing added some of the signs of age and usage with scratches and the like. It first circulated on a digital transfer and, to be  honest, the effects that Jenkin aimed at did not translate to that format; they looked artificial. On 35mm the 16mm original should look as intended; so this is a film worth revisiting if you have already seen it.

It is a powerful drama set in a Cornish village. The film, through the use of camera techniques such as large close-ups and a non-linear narrative develops a intense feel  and effect. The village in this film is an old fishing port which has now become a summer venue for holiday-makers. The conflicts generated by these two separate worlds are personalised in two leading characters, brothers born and raised in the village.

The form and the style of the film is at times challenging but always absorbing. It is definitely a stand out film drama from this year’s selection of British film. And, like the earlier and equally fine  Gods Own Country  (2017), finds drama and compelling characters away from the urban settings that are more common in film stories.

It Must Be Heaven, (France/ Qatar/ Germany / Canada/ Turkey / Palestine, 2019)

Monday November 18th at 8.3. p.m. and Wednesday November 20th at 6.30 p.m.

This year’s Festival of Palestinian films launches, as usual, with this title screening during the Leeds International Film Festival, Already screened at the London Film Festival which provided this description:

“The beard is now inflected with grey and the eyelids hang a little lower, but for Elia Suleiman, the deft comic touch and wistful regret for a home just out of reach remain strong in It Must Be Heaven. The Palestinian film-maker fourth feature film – and his first in a decade – revisits similar themes to his earlier work, once again employing himself as the near-mute central character. This time, however, Suleiman transposes much of the action to Paris and New York. The upheaval across the Arab world since 2011 has seen the Palestinian struggle for statehood lose some of the existential urgency it once had to outsiders. Suleiman’s film is a delicious reminder of both the vitality of the cause, and the vibrancy of his artistry.”

His earlier features have been screened at the Hyde Park over the years. His last, the very fine The Time That Remains (2009), was part of an ealier Festival of Palestinian films. This most recent title runs 97 minutes, in colour and in English / French / Arabic / Spanish / Hebrew [English sub-titles, it has an unusually wide ration, 2.66:1.

LIFF 2019 Preview: Retrospective

Verna Fields

The Festival Retrospective this year offers a distinctive programme:                              ‘Mother Cutter Women Who Shaped Film’.

The women shaping film in this case are the editors, an important aspect of film-making which women have often dominated and which for much of the industry history has been one of the few areas where women had similar opportunities to men; another interestingly is scriptwriting.

The retrospective title is that of the nickname of Verna Fields, a long-standing editor in Hollywood. Her work included such disparate titles as Medium Cool {1969) and Jaws (1975). The former, a classic of the counter-culture, is the title screening in the Retrospective.The programme screenings are split between The Victoria at the Town Hall and the Hyde Park Picture House. Note, some titles are screening twice, some only once; so check the Brochure and calendar.

With the exception of the most recent ‘Mad Max’ release all of the titles were produced using photo-chemical film with the appropriate techniques. This means that the editing not only involves viewing, selecting, and arranging the complex tapestry of film shots and sequences in relation to sound tracks; it was physical manipulation,  cutting and splicing reel film, nearly always 35mm. So it is a little disappointing that only four of the titles in the programme are being presented in this format. All screen at the Hyde Park Picture House.

‘Beau travail’

Beau travail (1999.) [Wednesday 13th and Friday 15th November].

This is an adaptation of Herman Melville’s story ‘Billy Budd,Sailor’ by the director Claire Denis with Jean-Pol Fargeau. There have been other film versions of the Melville story but this is the most ambitious, with the narrative moved from a ship-o’-war to a Foreign Legion outpost in North Africa. Two important collaborators on the film were cinematographer Agnès Godard and film editor Nelly Quettier. Both have worked on other important films. Agnès Godard was cinematographer on a fine Italian film Golden Door / Nuovomondo (2006). Nelly Quettier worked on the equally fine and more recent Italian film Happy as Lazzaro / Lazzaro felice (2018).

‘Dancer in the dark’

Dancer in the Dark (Denmark and thirteen other territories, 2000)                                    [Monday 18th and Tuesday 19th November].

This is a post-Dogmé film from Lars von Trier. As you might expect it moves to a harrowing climax. Before that a young immigrant single mother [played by singer Björk) is living in rural USA in 1964. Her world of escape presents musical sequences set in her factory workplace. The film was edited by Molly Malene Stensgaard who had to manipulate DVcam video before its transfer to 35mm film. She has worked on a number of Lars von Trier titles, including the outstanding Melancholia (2011). This film won the prestigious Cannes Palme d’Or.

‘Movern Callar’

Movern Callar (Britain, Canada 2002).                                                                                                        [Tuesday 19th and Wednesday 20th November].

This was the second feature directed by Lynne Ramsay. This, and the earlier Ratcatcher (199),.seem to me better than her later films with US participation. Samantha Morton in the title role plays a grieving young woman who goes on a journey and an odyssey to Spain. The film was edited by Lucia Zucchetti. She also edited Ratcatcher, and, a little later, the highly successful The Queen (2006).

‘The Tempest’

The Tempest (Britain 1979). [Monday 11th and Wednesday 13th November].

The talented and subversive Derek Jarman adapts William Shakespeare: later he added Christopher Marlowe Edward II (1992). ‘Such stuff as dreams are made of …’ in a completely distinctive treatment. The editor Lesley walker, in only her second feature, provided an editing style that matched the unconventional style of Jarman. Her later work includes popular hits like Mama Mia (2013) but also other unconventional titles like Fear and Loathing in Las Vegas (1998). The film originated on 16mm.

Esfir Shubb

The Fall of the Romanov Dynasty / Padenie dinastii Romanovykh (USSR 1927),        [Monday 11th November].

This title, originally on 35mm, is screening from a 16mm print; the format used in film societies and by Kino in 1930s, when Soviet films were almost impossible to see in Britain. Directed and edited by Esfir Shubb, this is a pioneer compilation documentary. Shubb worked through thousands of metres of stock footage, short films and newsreels to produce 1500 metres that traced the the developments in Russia from 1913 to the revolutionary year of 1917 and the final dissolution of the Russian ruling class. Shubb could be called the ‘mother cutter’ of Soviet cinema. Many of the famous talents learned from her tutelage, including the young Sergei Eisenstein. The film has no sound track but uses title cards and will have live musical accompaniment by Jonathan Best at the piano.

These five films are the only photo-chemical prints in the Festival. The number seems to go down year by year; so apart from the quality of the films these screenings are also an opportunity to enjoy a’ vanishing prairie’ of reel film.

************************************************************************

Note: a bonus.

Green for Danger  (Black and White, 1946) by Lauder and Gilliat is also a 35mm print, the second screening is on Thursday a,m. This is a murder mystery with a fine performance from Alastair Sim. Edited by Thelma Myers [later Connell]. She learned her craft on films like The Life and Death of Colonel Blimp (1943) and worked on many more titles including the fine black and white drama The Hill (1965).

I can also happily report that the 35mm prints of The Tempest and Green for Danger  were both good and that for Beau Travail was excellent.

 

#LIFF2019 Preview: Cinema Versa


Bill Walton selects some films from the Cinema Versa strand of the festival programme:

Last Festival I only managed to see two documentaries (in the Cinema Versa section): Something Left Behind (2018) about the legendary Leeds band The Wedding Present; and What is Democracy? (2018) which highlighted how the very understanding of democracy varies from place to place around the world and over time.

They inspired me to make sure that I see more Cinema Versa films this time. So far on my list are:

So don’t forget to have a good look through the blue section of the programme. You will discover some cinematic gems.


Bill Walton

LIFF2019 Preview #2

Next in our series of posts on Leeds International Film Festival, Hannah tells us about her festival plans…

Last week, on a bit of a nostalgia trip, I watched the French film A Town Called Panic (2009) This showed on bonfire night at the Picture House during LIFF24 in 2010 and was my first taste of the film festival. Since then, my festival has steadily grown from the occasional odd film when I happened to be in Leeds to being an essential fortnight of my autumn calendar, around which all other things must be carefully arranged.

This year I’m going full tilt into LIFF (can we call it LIFF33?). After 2018, I said I’d take it easy and have time to reflect between screenings, maybe pop home occasionally, check in with my family or go for some leisurely lunches. You know, the things it’s nice to do when you’ve taken a week off work. Unfortunately somewhere in the planning, that idea has been bulldozered. The changes in ticketing for the festival, a jam-packed programme to choose from and a kind of film festival FOMO have conspired to keep me as square-eyed as ever.

At the time of writing, I’m lining up 45 screenings across the 16 days of festival; from Hollywood yet-to-be-blockbusters like Jojo Rabbit and Little Monsters, French animation (I Lost My Body), and East Asian action (The Gangster The Cop The Devil, The Wild Goose Lake) to documentaries like The Hidden City, shorts (ALL the animation) and a smattering of classics (All About Eve, Bonnie and Clyde). It’s going to be an effort, but when the line-up is this varied and exciting, I want to make the most I can of the opportunity.

The Picture House has been the scene of some of my favourite LIFF memories and this year has some exciting offerings:

  • The Fall of the Romanov Dynasty – A 1926 silent found-footage film marking the 10th anniversary of the 1917 revolution with live piano accompaniment.
  • The Hidden City – a documentary by Víctor Moreno on subterranean worlds; the pipes, tunnels and transport beneath our cities.
  • Night of the Dead and the inaugural Sci-fi Day – the marathon events at HP are staples of the film festival programme and this year the line-up includes a sci-fi run back to back with NOTD. If you’re really going for it you could attempt both, and I’m sure some will!

Outside the Picture House, I’m really looking forward to:

  • The Gangster The Cop The Devil – Thanks to LIFF, I’ve discovered a love of Korean action. A gangster and a police officer hunt a serial killer – the trailer is promising and I have high hopes.
  • Come to Daddy – Elijah Wood in a grizzly family drama. It might tip into type-casting, but Wood does wide-eyed terror well and I expect it to be put to good use here.
  • Days of the Bagnold Summer – the directorial debut from Simon Bird (Will from The Inbetweeners) is an adaptation from the graphic novel of the same name by Joff Winterhart. A story of a teenage boy and his mum navigating a long summer holiday together. The cast includes British favourites Alice Lowe, Monica Dolan and Tamsin Greig, with Earl Cave (Nick’s son) in the central role.
  • Family Romance LLC – A Werner Herzog documentary exploring a business in Japan that rents out actors to substitute in others’ lives, like a nonfiction rendering of Yorgos Lanthimos’ 2011 film Alps. That film was strange enough and I’m interested to see how the real version might work. From the trailer and bits I’ve read online, it’s going to be an odd one.

With a programme that offers such a variety and by giving myself the freedom to take some risks, the LIFF experience to date has dramatically expanded my cinematic horizons. Before discovering them in the cinema, I probably would have skirted all sorts of excellent foreign-language films because they felt like too much of a challenge and I definitely wouldn’t have gone out to see many documentaries on the big screen. These days the reluctance has vanished and recent years have been a feast of the weird and wonderful.

Taking an afternoon off work to go to the cinema feels like a decadent treat, something you can file under ‘self care’ and spoil yourself rotten at a matinee. Take a whole day off to go to the pictures and it might start to feel strange – more than one film at this time of year and you’ll barely see daylight. Take a few more and step out of your day-to-day life, disconnect from rolling news and immerse yourself in the moving image. There in the dark, you might learn something new, experience something you wouldn’t have otherwise, and lose yourself in other people’s imaginations. It really is the most wonderful time of the year.

LIFF 2019 starts on Wednesday. I’ll see you in the cinema!

#LIFF2019 Preview #1

In the run up to the Leeds International Film Festival we’ll be taking a look at some of the films making up this years programme. First up is Stephen…

I wasn’t sure what to expect in this years selection of films but after last year’s late addition of Roma I was hopeful we’d get a chance to see The Irishman on a big screen. Disappointingly it wasn’t in the launch programme but that big gap on Thursday 7th was soon to be filled with Scorsese’s latest. This feels like the real opening film of the festival for me and I just hope the Town Hall seats aren’t too uncomfortable for the three and half hour running time. Netflix seem to making more effort to get this in cinemas and it should also be playing at the Picture House after the festival.

I love the variety of films shown at the festival and often find myself drawn towards the weirder sounding films. There don’t seem to be that many oddities in this year’s programme but perhaps that because the strangeness has gone into the mainstream with Jojo Rabbit. I’ve loved all of Taika Waititi’s films so far (Boy, What We Do In The Shadows, The Hunt For The Wilderpeople, Thor: Ragnarok – I still haven’t seen Eagle vs Shark) and I’m sure this won’t disappoint although the trailer left me a little cold.

In between those opening and closing films I’m currently planning on seeing around 50 films (and therefore really grateful that the Gold Explorer pass was introduced). Over the years I’ve come to trust the programming team and think there’s usually a good reason to see any of the films in the programme. I’ve tried to take a more practical approach to my schedule this year, trying to avoid dashes across town or upturning my entire plan to fit in films I assume I’ll be able to see elsewhere e.g The Cave, The Two Popes, Ordinary Love and Matthias & Maxime (by the way isn’t it strange that there are two films called The Cave as well as Marriage Story and A Marriage Story in the programme). If you are still making your plans and want to see a better view of when films are showing you may find this Clashfinder useful.

Most of the films I’m looking forward to are from directors I already know and have been praised at other film festivals. All of the following have headline slots and are likely to be popular:

  • Marriage Story – Noah Baumbach’s latest.
  • The Nightingale – Jennifer Kent’s follow up the The Babadook (2014).
  • The Lighthouse – I wasn’t a fan of The VVitch (2015) but keen to see what Robert Eggers has done with this.
  • Portrait of A Lady On Fire Girlhood (2014) and Tomboy (2011) are fantastic and Céline Sciamma’s latest film very different from those, she was also screenplay consultant on one of my favourite ‘forgotten’ LIFF films Bird People (2014).

Some of the lesser known films I’m looking forward to include:

  • Patrick – Really not sure what to expect from this but it was one film in the trailer reel that really stood out as a typical WTF LIFF film.
  • The Incredible Shrinking WKND – another strange sounding one dealing with time-loops. It’s part of the Sci-Fi day at Hyde Park and I’ve taken the easy option of settling in the the entire day.
  • La Belle Époque – the idea of being able to recreate any moment from the past sounds like an intriguing one.
  • Little Monsters – more well known but looks like a lot of fun.

I’m disappointed I haven’t been able to fit in more of the classic films, the Mother Cutter strand is a great idea and a wonderful selection of films. I do have some free time so I may be able to fit some of these films in as well. I’m also glad that the short films are getting more screenings, I’ve not been able to get to many of these in the last few years but this year it seemed easier to fit them around other films.

As always we’d love to hear from you, please leave comments below or head over to our Twitter and Facebook pages to tell us what you’re looking forward to at the Festival.

The Last Tree, Britain 2019

Screening on the coming Saturday, Sunday, Wednesday and Thursday

This is the second feature both written and directed by Shola Amoo. It is fine production, beautifully put together. The cast are good with a fine leading performance by Sam Adewunmi as Femi. The film follows his development as a young boy with a foster-parent, through life with his actual mother up until his late teens. The setting move from rural Lincolnshire to urban inner-city London. Visually and aurally the film is a pleasure. There is fine cinematography by Stil Williams, fine editing by Mdhamiri Á Nkemi and excellent sound design by a team of engineers.

The narrative and representations are less sure. Both the supporting characters and the settings tend towards stereotypes. This is partly because they are undeveloped; for example, we never really get a proper back-story either for the foster-parent or for Femi’s actual mother. Underneath some distinctive settings and plotting there is a fairly conventional narrative.  The music is judicious but I think that it [deliberately] emphasises the conventional aspects of the story.

The script uses a number of extended ellipsis and I think this introduces an element of fragmentation into Femi’s story. This seems to me an example where the director would have benefited from a fellow scriptwriter.

Even so it is an absorbing title and is great to both watch and listen to. And the subject is both interesting with a contemporary relevance. Definitely worth going to see at the cinema as it is in both colour and full widescreen.

Pain and Glory (Spain, 2019)

Antonio Banderas as Salvador Mallo and Asier Etxeandia as Alberto

Pedro Almodóvar is a man of many stories. I find his vivid blend of heroism, tragedy and flashes of utter absurdity a heady combination. His films have spanned grand themes and domestic oddities, drugged gazpacho and heroin dealing, tiger owning nuns, but this time the spotlight shines back at the director himself. Or rather, it shines at the idea of ‘the Director’; Antonio Banderas stars as Salvador Mallo, an aging filmmaker whose ill health, the significant anniversary of one of his early movies and an encounter with a former friend cause him to review his life and works. Mallo’s life unfolds for the audience, encompassing a childhood with his mother (played by Penelope Cruz), his early career and first loves, through a series of flashbacks and reflections.

It seems almost unavoidable to consider this film as something of a self portrait; Banderas’ appearance is grizzled with a dandelion clock of hair similar to Almodóvar’s own, he reportedly wore the director’s clothes during filming – parts of which even took place in his own Madrid apartment. We have more than a few hints then that Mallo might be a version of the director himself. Almodóvar has shrugged off comparisons at interview, saying he wouldn’t write or direct an autobiographical work, but it feels unlikely that the similarities are entirely coincidental.

There’s a lot to look forward to here. At Cannes this year, Banderas won the Best Actor award for his portrayal of Mallo and Alberto Iglesias (another frequent Almodóvar collaborator, having worked on Volver (2006) and Julieta (2016) amongst others) won the award for Best Soundtrack. Cruz and Banderas are giants of Spanish cinema who’ve made the leap into Hollywood and both keep one foot squarely in Europe. While the pair feature in different timelines in this film, it’ll be a treat to see them on screen together – something that hasn’t happened since their brief cameos in 2013’s Los Amantes Pasajeros (I’m So Excited!). I hope that the actors’ transatlantic popularity can help to bring a wider audience than existing fans to the intense visual feast of an Almodóvar picture. If you’ve not seen any of his work to date, hunt out Volver (2006) featuring Penelope Cruz returning from the dead, try Women on the Edge of a Nervous Breakdown (1989), a dark domestic comedy with Carmen Maura and The Skin I Live In (2011) where Banderas is a sinister Dr Frankenstein-esque character haunted by his past.

On top of the Cannes gongs, there are rumours of other nominations for Pain and Glory, with reviewers describing Banderas’ performance as ‘career defining’ and the role he was ‘born to play’. I’m convinced and can’t wait to see it.

Pain and Glory will be showing at the Picture House from Friday.


Hannah Bingle

Too Late To Die Young/Tarde Para Morir Joven (Chile*, 2018)

Tuesday Wonder 30th July 6:30pm.Children on bikes

The second feature film from Chilean director Dominga Sotomayor Castillo, it was released with great acclaim at Switzerland’s Locarno Film Festival in August 2018 where Sotomayor Castillo was recognised as the  first female winner of the festival’s Best Direction Award.

It’s December 1989, the Pinochet government has recently fallen and Chile is holding its breath through a tinder-box summer. Sofía (Demian Hernández) is a teenager working out her place in her close-knit and newly-established agricultural community that is finding its feet on the cusp of the new year. The heat of the summer and the boil of teenage frustration is tangible as Sofía, her siblings and the adults who surround them attempt to settle into their new lives and prepare for the village’s new year celebrations. We see the families building their homes, raising their animals and testing the political dynamics of their new settlement while their children explore the forest (which holds a spectacular tree house), and their relationships with each other. Village life is largely unhurried and inward-looking and it becomes clear that the adults have as little clue as the teenagers when it comes to making new lives in the countryside. The events following the party force the community to confront their place in nature and face the reality of summer in the wilderness.

In casting, Sotomayor Castillo included a handful of professional actors but sourced the larger part of the cast – including Sofía and all of the children’s roles – from the community where the film was shot. Portions of the dialogue are improvised, giving an authentic tone to the domestic scenes.

Like the Italian summer in Call Me By Your Name (2017), Too Late to Die Young has a definite date but there’s a hazy, languid quality to the piece that means it could be placed in any year of a decade. The director herself has pointed out in interviews that the soundtrack features music audible to the characters that wasn’t released until years after the film is set. The themes of finding one’s place in the world, the unsettling changes of teenager-hood and the contrast of local politics with national turmoil have played out over and again in film, but Too Late To Die Young explores these organically and sensitively, keeping a distance between the viewer and the characters that means we don’t learn their every thought.

This film has to be seen at the cinema for the enormity of the landscape alone. You might think you’ve had enough of the hot weather after the last week, but there’s a certain magic to flooding your senses with a summer viewed from the cool, dark safety of the picture house that you won’t want to miss.

Too Late to Die Young screens at the Picture House at 6:30 on Tuesday, 30th of July.
*Chile/Brazil/Argentina/Netherlands, 2018, 110mins, Cert.15


Hannah Bingle

Performance (UK 1970)

Saturday July 27th 5.30 p.m.

This is both a cult movie and a seminal British film. Chas, (James Fox) is an East End gang member who collects protection money. When his methods result in a killing he goes on the run and hides out in Notting Hill Gate basement, where, upstairs there is a ménage à trois. Chas becomes involved in the hedonistic activities at the house and, in particular with an ex-rock musician Turner (Mick Jagger).

The film became infamous for its melee of explicit violence, sex and drug-taking. The 1970s also became infamous for the clash between adventurous film-making and conservative values, embodied in another British film The Devils (1971) and the campaign against it by an organisation called ‘The Festival of Light’.

This film was produced by Warner Brothers, who also were involved in the equally controversial A Clockwork Orange (1971). The studio executives did not know how to manage the film and enforced cuts in the finished property. The British Board of Film Censorship [as it then was] made more cuts. On release it received an ‘X certificate’ whilst in the USA it received an ‘R’ rating. It received similar certificates in other territories and often additional cuts. The USA release suffered the further indignity of having some cockney dialogue being dubbed [re-voiced]; a fate also experienced by the radically different Kes (1969).

Two people received director credits. Donald Cammell, a bona fide maverick, who wrote the screenplay and was also associate producer. He was born in Edinburgh in the ‘Outlook Tower’ later home for a ‘Camera Obscura’; how apt. Cammell started out as a painter, took up script-writing and then Performance. This is his most famous and successful film; later works have a similar combination of the exotic and the erotic, but not the acclaim.

His fellow director was Nicolas Roeg. He was born in London; and also appropriately nearly opposite the old Marylebone Film Studio, used at one point by Hammer Films. He started out as a cinematographer and indeed shot this film. He went onto direct several successful and highly praised films, including Don’t Look Now (1973), screened in a digital version here last week. He had an unconventional style of film photography. One critic, Steve Rose, remarked that his films

“shatter reality into a thousand pieces” .

His film work, as in this title, is always memorable.

The film runs 105 minutes in colour and black and white, and in the European widescreen ratio. This screening presents the restoration by the BFI from 2004 in 35mm.

The background to the film and its handling by the industry and censors will be illuminated in the Q&A that follows with Sanford Lieberson, the producer on the film. His other work includes a number of documentaries including the very fine ‘Brother Can You Spare a Dime (1975). He will be accompanied by Jay Glennie who has produced a book; ‘Performance: 50th Anniversary Book’.