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Special Edition # 42

Cor blimey governor, Special Edition # 42 is a massive one. Laurence Boyce has been watching a multitude of DVDs and the column includes numerous feature debuts, some great British features and THAT sci-fi show that is always mentioned in this column. Given it’s so big, better stop waffling on and get straight to it!

Whilst the phrase “A comedy about suicide bombers” would seem to be an exercise in Daily Mail baiting, it’s worth noting that Four Lions (Optimum Releasing) is satirical, poignant and timely. It’s also bloody funny. Chris Morris, in his feature film debut, knows that comedy can arise when you have a great group dynamic. It just so happens that this group dynamic comes from a bunch of people who want to be terrorists. In following the motley bunch of wannabe Northern jihadists, there are a group of excellently staged set-pieces (including a section at a Pakistani training camp in which our leads manage to do everything spectacularly wrong), a number of stand- out performances from the likes of Riz Ahmed and Nigel Lindsay who manage to make us sympathise with the group despite the terrible nature of their plans and line after line of tremendously funny material. Morris and crew have done meticulous research into the subject and the film never comes across as glib; indeed, the climax of the film is both disturbing and powerful and it provides much food for thought about the nature of fanaticism and the lengths that people will go to in order to belong. An example of brave and daring British filmmaking. The extras on the disc are notable as well: the deleted scenes throw up many treats whilst some of the behind-the-scenes stuff is fascinating when you get to see Morris at work. It’s just a shame that he ultimately decided that he didn’t want to put commentaries on there...

 

Five Minutes of Madness Call for Submissions

Calling all creative and expressive film producers, flamboyant cultivators of the moving image!

Five Minutes of Madness challenges you to create and submit short films around the theme of Lunacy. Part of "The Festival of Lunacy" Presented by Compass this year. Five Minutes of Madness will bring together film-makers from far and wide to exhibit their work in Bristol.

We are exploring the realms of Lunacy in the broadest possible sense. Use as your muse anything inspired by this theme: notions of reality, the world of dreams, deviations from the quotidian, whether physical, psychological, or social; from filmic interpretations including experimental film, to mythical or historical interpretations.

Judged by a panel of industry professionals, awards will be given for Best Film, Audience Award, Local Film-maker and Youth Award.

Entries must be no longer than five minutes in length. Submissions will be accepted in the following formats: DVD, Mini DV or as full quality DV QuickTime files.

Never Let Me Go to open The 54th BFI London Film Festival

never let me go

The 54th BFI London Film Festival, in partnership with American Express, is proud to announce that this year's Festival will open on Wednesday 13 October with the European premiere of Never Let Me Go, directed by Mark Romanek (One Hour Photo), based on the highly acclaimed, bestselling novel by Kazuo Ishiguro and adapted for the screen by Alex Garland (Sunshine, 28 Days Later).

The stars of the film are expected to attend the opening night screening, including Oscar nominee Keira Knightley (Pride & Prejudice, Atonement), BAFTA winner and Oscar nominee Carey Mulligan (An Education) and BAFTA TV award winner Andrew Garfield (Boy A, Red Riding).

New international short film festival - call for entries

FilmLab is a new festival for short films made by students and recent graduates. We are currently seeking submissions for the festival which will take place in London in November.

A bit about us:

We believe that experimental and world cinema should be available for all, and that some of the most innovative, fresh and exciting films around are being made by students. With so much pressure on students to compete against professional and established film makers, we wanted to create a festival which would showcase the high standard of student work currently being produced around the world.

FilmLab was born out of dissatisfaction with the diversity in UK cinema and the opportunities for new film-makers. With recent news about the UK film council’s closure, the debate over its long time suppression or support of British cinema has began. FilmLab festival is proud to be independent and non-profit. Run entirely by volunteers, we aim to give film-makers new exposure and most importantly to help people see good films.

Please visit our website at www.filmlabfestival.co.uk for more information and to download an application form.

Indie Movies Online Offers 100's of New and Classic Free Movies

The UK based movie-on-demand website Indie Movies Online is now online offering a new way to watch new and classic and new free movies. It offers  hundreds of great films to watch at high quality online legally. Co-founder and Chief Operating Officer, James Rowley-Ashwood says “We are creating a site that focused on newer independent films from around the world, as well as classics, short films and documentaries. The idea is to help filmmakers reach a new audience and provide film fans with a genuine and free alternative.”

All types of movie are represented including thrillers, sci-fi, comedies and slick US horrors and more. New and classic films are added all the time. Expect to find titles like; Allegro, Baise Moi, The Boss of it All, Brothers, Chopper, Choking Man, Dark Star, Evil Aliens, Funny Ha Ha, George Washington, HurlyBurly, King of New York, Kontakt, Love is the Devil, Millennium, Mirror Maze, Mutual Appreciation, My Left Foot, Old Joy, The Pleasure of Being Robbed and Reprise.

There are also quality documentaries including:  A Personal Journey with Martin Scorsese, Crass:  there’s no Authority but Yourself, Sympathy for the Devil, Word Wars, The Cutting Edge, Room 2017 and many more. You will also find some of the best Animation and classic shorts like; Adam, Creature Comforts, The Quay Brothers Collection, I Am Bob, Where’s the Money Ronnie? and The Traffic Warden.

Since launching in June 2009, indiemoviesonline.com has attracted over 2.5m unique users with its unique blend of free movies. Indie Movies Online also has quality and regularly updated bespoke movie editorial on the site and a forum for film discussions. Content providers that license films include The British Film Institute, Aardman, East West, Soda Pictures, Hanway Films, ITV, Spolight, Screen Media, Cinetic, Content Films/Fireworks and Content Republic.

Garrick Hamm's New Short Enters Two Prestigious US Film Festivals

British director Garrick Hamm’s new short film The Man Who Married Himself has been selected for two prestigious US film festivals this summer.

The first of these is the LA Shorts Fest which has just started this July. This particular Festival has an uncanny knack of selecting short films that go on to win the Oscar for Best Short Film. The second Festival is the 2010 Rhode Island International Film Festival which is also a qualifying event for the Academy of Motion Pictures Arts and Sciences.

The Man Who Married Himself has a wealth of talent both in front of and behind the camera. It stars Richard E Grant as the title character, alongside  British acting talents Warren Clark, Emilia Fox and Celia Imrie. Behind the camera are director Garrick Hamm and award winning cinematographer Michael Seresin (Harry Potter, Angela’s Ashes, Angel Heart).

Special Edition #41

As always, the summer becomes a time when the focus is on the spectacle of cinema-going with movies such as Inception and Toy Story 3 packing them in. So, Special Edition # 41 will show you that it’s excellent time to chill out and enjoy some low key delights as they hit the shelves. Laurence Boyce finds some excellent films that have proved wildly popular on the festival circuit and a choice selection of re-releases.

It always seems that cinematographers never get the wider respect they deserve. Whilst your average person may be able to reel off the names of numerous actors and directors, the humble cinematographer is often forgotten about by the general cinema going public. Thankfully Cameraman – The Life and Work of Jack Cardiff (Optimum Releasing) redresses the balance with its thoughtful and illuminating examination of one of the best cinematographers in movie history. Jack Cardiff has worked with everyone from Alfred Hitchcock to Laurence Olivier and the film about his life and career has him reminisce about the greats that he’s worked with throughout his career. Director Craig McCall eschews a more formal approach to Cardiff’s career allowing Cardiff – and numerous colleagues including Martin Scorsese, Lauren Bacall and Kirk Douglas – to tell some fascinating and often humorous anecdotes of a career that begin as a child actor in 1918. Cardiff is obviously loved by his peers, not only for his winning personality, but for his artistry and talent and what results is a gentle yet endlessly rewarding portrait of a cinematic great and a paean to the skill of cinematographers from across the world. Jack Cardiff sadly passed away in April 2009, and this film is a joyous testament to his legacy.

UK Film Council to be scrapped as part of quango mass cull

uk_film_council_logo

Details of the surprise announcement about the axing of the UK Film Council amidst dozens of other arts quangos.

23.58 With the Facebook group inching towards 5,000 members, and the petition well over half that, the web is awash with comment and analysis. Andrew Pulver, Ronan Bennet and John Woodward all have pieces in the Guardian,  the BBC have rounded up some industry reactions and also put a few dozen UKFC short films to watch on Film Network.

18.05 The regional screen agencies are safe (for now), according to the DCMS in a quote published on Northern Media's website.

17.03 These Twitter streams are good places to keep up with latest developments and opinions: 'Film Council' and 'UKFC'. There's also a 'Save the UK Film Council' Facebook group and a petition.

15.31 Questions over - with hints that the axe may not have fully fallen and a clear sign that there will be further be consultations.

15.15 The DUP's Ian Paisley is asking about the UKFC. Jeremy Hunt replies: 'We have not announced a decision,  we have announced that we are considering doing this, as we want to hear everyone's views. The UKFC spent £3m on back office administration last year and we want to ask how that money could be better used to support filmmakers."

15.10 So that was a very brief statement. Nothing new learned. Except asking about England's 2018 World Cup campaign is 'a very good question'.

15.08 Now on to the World Cup 2018. What!?!

15.08 'Every penny to be spent frontline services and not on back office bureaucracy'. 

15.06 'A brief statement'. Says Jeremy Hunt. Finally. He does use the phrase 'considering the closure of the UK Film Council' as if to say there is still room for discussion.

14.58 Ben Bradshaw, shadow culture secretary is asking if the DCMS is lobbying for larger shares of the budget than other departments. Bradshaw notes there is no-one from the LibDem front bench in the Commons. Bradshaw, openly gay, is calling them the Brokeback Mountain Coalition.

14.55 Creative Partnerships (a brilliant scheme) being discussed in the Commons. May the axe not fall upon them. Vaizey at least acknowledges there lots of 'good initiatives on the ground'.

14.52: House of Commons questions continue. Lots of interesting questions on media ownership, the BBC and the Digital Economy Bill but not about today's announcements, presumably will come at the end after pre-submitted questions are asked. My connection keeps dropping as well, there must be a lot of people viewing it.

14.34: House of Commons Questions  for Jeremy Hunt, Secretary of State for Culture have started. The BBC is taking top bill: http://news.bbc.co.uk/democracylive/ and dedicated page here.

14.04: John Woodward, CEO of the UK Film Council has sent an email to industry colleagues which includes a timetable for closure:

"The Minister for Culture, Ed Vaizey, has said that the target is to have the organisation totally closed down with its assets and its remaining operations transferred out by April 2012. That does, at least, give us time to honour our current commitments and, as far as possible, to continue our funded support for film while the DCMS  ensures an orderly transfer of remaining film functions to other Government departments and/or agencies. My one priority over the next few weeks will be to press the Government to confirm that the funding levels and core functions that are needed to underpin British film are locked-in.

"It’s important to stress that the Government has said it remains committed to both the current Film Tax Relief and to the principle of Lottery funding for film. To that end, our existing funded activities will continue to operate as normal while we work with the DCMS over the Summer to identify how they can guarantee both continuity and safe harbour for British film going forward.

"I completely understand that you will have lots of questions – but many of the answers will have to wait until the dust settles and the DCMS comes up with a new plan for film clearer in the months ahead. We will of course keep you abreast of further developments."

13.02 - UK Film Council statement. Responding to today’s announcement by the Department for Culture, Media and Sport of plans to abolish the UK Film Council as one of 16 quangos cut by the DCMS, Tim Bevan CBE, co-head of Working Title and Chairman of the UK Film Council, said:

“Abolishing the most successful film support organisation the UK has ever had is a bad decision, imposed without any consultation or evaluation. People will rightly look back on today’s announcement and say it was a big mistake, driven by short-term thinking and political expediency. British film, which is one of the UK’s more successful growth industries, deserves better.

“Our immediate priority now is to press the Government to confirm that the funding levels and core functions that are needed to underpin British film are locked-in, especially at a time when filmmakers and film companies need more support than ever as they make the challenging transition into the digital age. To that end, we will work with the DCMS over the summer to identify how they can guarantee both continuity and safe harbour for British film.”

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