Last night, I left the Curzon in Bloomsbury in awe of Claude Barras and his team of animators. I had just watched Ma Vie de Courgette (My Life as Courgette), a film which tells the sober story of a group of abused and abandoned children, brought to life through the magic of stop-motion animation. Continue reading “Ma Vie de Courgette (Claude Barras, 2016)”
Hulu has finally dropped the first teaser trailer for its upcoming series, The Handmaid’s Tale, and it is intense.
If you haven’t encountered it yet, the story is based on Margaret Atwood’s piece of speculative fiction of the same name, set in a future in which pollution and society’s developments has left the bulk of the population unable to produce children. The story unfolds within a fanatical dictatorship, in which the remaining fertile women are segregated and used as breeders for the upper class.
Last night, I attended a screening of Leonardo DiCaprio’s acclaimed documentary with National Geographic.
After spending a lot of this winter’s nights in watching Netflix’s latest dystopian releases portraying new worlds of toxic political environments (3%, Pedro Aguilera) and the potential (dangers and benefits) of technology (Black Mirror, Charlie Brooker), as well as scenes of rolling, infertile estates, home to the “undead” (Glitch, Emma Freeman), I was shaken by the realisation that this factual documentary didn’t seem all that different. Immediately, it was obvious to me that our changing planet is already, quickly reaching a setting apt for a dystopia.
So here it is.
The moment I have been waiting for since Ewan Mcgregor’s youthful face walked away from the action of Danny Boyle’s 1996 Trainspotting, looking directly at the camera and promising (or warning) that he was going to “choose life”.
It’s the trailer to the sequel, with its suitably fitting textspeak, HS2 invoking, upgraded name, T2: Trainspotting (2017).
Although not a film as such, Jill Soloway’s Transparent (Amazon Prime) is an example of the kind of TV that would not look out of place on the big screen.
The show, lauded for tackling issues of identity and the institutions and constructions within which the notion is created, launched its third series this week as Soloway continues to push and contort boundaries as we know them, exploring gender fluidity, religion and existentialism through beautifully shot, human moments.
Imogen and I recently attended the London Feminist Film Festival’s session on Women’s Bodies as Sites at Rio Cinema; a screening of four documentary shorts regarding the role and perception of women’s bodies in film and other forms of media, followed by a panel discussion and Q&A. The experience was really insightful and moving: in particular What Happened to Her (Kristy Guevara-Flanagan, 2016), which provided an important platform amongst the audience for interrogating the repercussions of violence against women on screen.
I had heard a lot about Yorgos Lanthimos’s English-language debut The Lobster before I was finally able to sit down and watch it last week.
Surreal and absurdist, The Lobster falls into one of my favourite genres; dystopia. Rivalling Charlie Brooker’s cynical Channel 4 series, Black Mirror, the film offers its viewers a critical reflection of the society in which we live, questioning our contrived rules for social relationships.
Exploring the films of Lola Rennt (Twyker, 1998) and Victoria (Schipper, 2015) as a visual-historical material for study of the city of Berlin.
“Berlin is the newest city I have come across. Even Chicago would appear old and gray in comparison.” (Mark Twain, Chicago Daily Tribune, 1892)
I recently discovered (much too late) the beautiful Destino, a six minute animated short film created from an abandoned project of Walt Disney and Salvador Dalí from 1946. Continue reading “Dalí x Disney: Destino (1946 – 2003)”