Feature - Against Flatness

"Almost from the very beginning of cinema's history, filmmakers have been trying to push the boundaries of the medium. While recent thinking often resists the presumption that images should be a certain height and width, housed with the square or rectangular containers they’ve become contained to, much early…

Fiorucci Made Me Hardcore (1999, Mark Leckey)

"Mark Leckey’s Fiorucci Made Me Hardcore (1999) starts with a grain-laden spectral blue skyline. Surreal but serene, the scene sets the tone for the film it fades into, a chronological collage covering three decades of UK dance culture that connects northern soul to acid house and hardcore. A…

Frames of Representation 2018 - Extinction

Salomé Lamas’ Extinction opens with a face looking directly at the screen. Shot in grainy black and white, the close-up composition immediately recalls her 2012 film No Man’s Land, in which a man faces the camera and describes the atrocities of his life. Though it also features interviews (alongside…

Frames of Representation 2018 - The Human Epoch

"Frames of Representation’s founding mission was to bring “new forms of documentary cinema” to London’s Institute of Contemporary Arts, but this mandate felt a little looser for the festival’s third edition. The lineup included several fiction films and was generally marked by a readjustment of its…

CPH:DOX 2018 - New Visions

"Having peppered their program with fiction films since their first edition in 2003 – a time when doing such a thing was far less commonplace than it is now – Copenhagen’s non-fiction film festival CPH:DOX has long held a reputation for eschewing categorisation. This is most apparent in the…

CPH:DOX 2018 - Colossal Youth

“It takes a very long time to become young,” said Pablo Picasso, quoted in Jean Cocteau’s book ‘The Hand of a Stranger’, but the reverse can be true too, as displayed in 3 first time features about young people playing at nonfiction festival CPH:DOX. For these folks the…

Glasgow Film Festival 2018 - Margaret Salmon, Circle

"How can you effectively survey more than 20 years of filmmaking? How to tie together films that vary in form and approach, films made by a person at different periods of their life, across different countries, with different friends and family members? How to curate a retrospective that doesn’…

We Have Rather Been Invaded (2016, Ed Webb-Ingall)

Ed Webb-Ingall’s We Have Rather Been Invaded, a film that takes it title from a statement made by a news announcer during a studio invasion in protest of Section 28, begins from that discriminatory law—passed in 1978 and revoked only as recently as 2003—but expands beyond it,…

April (2018, Sarah Forrest)

Some films use repeating motifs, either to establish patterns, generate mood, or enforce a point. Sarah Forrest’s April literally repeats. Midway through the film, the scene restarts, cycling again through the same set of images, sounds and lines of voiceover with which it had begun. Such an instance might…