Censor is Prano Bailey-Bond’s spine chilling debut feature. Set in the mid 80s against the backdrop of social unrest, Thatcherism and the rise of the video nasties. We follow Enid Baines (Niamh Algar) who is a film censor. She lives a nocturnal existence watching a plethora of gore and sin in the films she is charged with watching. One day she views a film that reminds her of a tragedy from her childhood. Triggered by this, she sets out on a journey in which her fiction and reality gets blurred.
The dark and depressive world that Bailey-Bond creates is heightened by Cinematographer Annika Summerson whose hellish visuals adds an expressionistic touch. It is notable that she uses 35mm which echoes the ambience of this bygone era.
The script which Bailey-Bond co-wrote with Anthony Fletcher, is razor sharp, with one scene in particular of suitably over the top gore mirroring the video nasties themselves. However amongst the blood shed there’s occasional moments of truly dark humour. The acting is chilling with Michael Smiley delivering a cool and calculated performance as sleazy film producer Doug Smart. However, the stand out is Niamh Algar who is magnetic on screen. Enid’s character’s arch is one of the film’s takeaways and Niamh plays her unravelling superbly.
The main criticism I have of the film is it’s running time. Although admittedly most horror films tend to be under two hours, you can’t help but feel a little cheated with a running time of one hour and twenty four minutes. You are left with a sense of events being rushed over and plot points not fully explained to get to the deliciously cynical Lynchian style ending.
Censor is available as a premium rental (£10) from most online platforms including BFIPlayer and Curzon Home Cinema
Showing daily at City Varieties from Friday 18th June
Film has power, film can put you in the shoes of someone else and will make you see the world through their eyes. Florian Zeller’s The Father is an excellent example of this. The film centres on Anthony, played by Anthony Hopkins, who is dealing with his ever deteriorating mind and his descent into dementia. We see the strain it puts on his relationships, particularly the relationship with his daughter Anne, played by Olivia Colman.
Florian Zeller who adapted it from his own play Le Père, beautifully walks the line between both the tragedy and heartbreak that comes with dementia, and the rare comedy that also can be found in those sad situations. If you can’t laugh at yourself, who can?
The story is told almost entirely from Anthony’s perspective, meaning that the audience is confused nearly as much as him for the majority of the film. Although it is intentional and gives a glimpse into his world, at points the non-linear approach can feel overly abstract and detracts from the overall message.
The acting is superb with Anthony Hopkins deservingly walking away with the Oscar, making him the oldest winner for best leading actor. However, it is worth mentioning Olivia Colman who delivers a measured and understated performance as the loyal and grief-stricken Anne who we see trying to balance her own needs and her father’s. The supporting cast members such as Mark Gatiss, Imogen Poots and Rufus Sewell also give equally rich performances.
The artificial style does betray its conception in the theatre which sometimes makes it feel quite unapproachable, and unreal. However, it does at other points add an operatic nature and poignancy which you won’t necessarily get if it was more true to life.
Quite rarely do you see a film that deals with subject matter such as this, that takes such an experimental approach. However, what’s noteworthy is the incredible insight into what dementia patients must be going through. It is something quite unique and will make you think twice.