Winner of the Sutherland Award for best first feature at the 2022 BFI London Film Festival, writer-director Manuela Martelli’s 1976 offers a refreshingly woman-centric narrative about Chile under the Pinochet dictatorship. It operates in a vaguely similar thriller mode to that of Pablo Larraín’s early breakthrough films Tony Manero (2008) and No (2012), while still presenting a distinctive and confident new cinematic voice.
Before her first screenwriting credit (working with fellow Chilean director Dominga Sotomayor on 2014 feature Mar), Martelli was primarily an on-screen presence, making her film debut as the lead teenage character of 2003 drama B-Happy. “I studied and went into acting because I was very curious about that world,” she says, “but in the back of my mind, I always knew I wanted to direct a film. I’d wanted to since I was a teenager, when I would go to the cinema a lot…”
Full interview for the BFI
In October 2022, the British film world was rocked by news that the Centre for the Moving Image – a registered charity comprising Edinburgh International Film Festival, the Edinburgh Filmhouse cinema and the Belmont Filmhouse in Aberdeen – was suddenly going into administration, with immediate closure of its various operations. At the time of writing, a shorter reincarnation of the film festival for 2023 has just been announced for August, through the support of the month-long Edinburgh International Festival, but the fate of the two major Scottish exhibition hubs is still in question.
That cloud looming in the east must surely have affected the organisation of Scotland’s other big film festival over in the west to some extent. That said, it’s hard to gauge just how much of this year’s Glasgow Film Festival programming may have been directly influenced by increased desire to showcase up-and-coming independent talent – whose films don’t necessarily have wider distribution lined up as of yet – in light of the abrupt closure of another crucial launching pad. Until an acquisition announcement mere days before the festival started, this was the status for director Adura Onashile’s opening-night film Girl, fresh out of Sundance for its UK premiere, which also happens to be a Glasgow-shot production…
Full feature for Curzon Journal
Returning to 22 venues across Herefordshire, Shropshire, Malvern and the Welsh Marches, this year’s Borderlines Film Festivalpresents over 250 screenings of 65 feature films and events between 3 and 19 March: a mix of recently released gems, previews of upcoming titles and retrospective gems, including several silent films.
Here are 10 to look out for during the remainder of this year’s festival…
Full feature for the BFI
Published in 2017, Lizzy Goodman’s Meet Me in the Bathroom earned acclaim as an oral history of the NYC rock and indie scene of 2001 to 2011, exploring how Brooklyn became a capital of ‘scuzzy cool’ in the wake of 9/11 and the meteoric rise (and occasional fall) of acts like The Strokes, Yeah Yeah Yeahs, LCD Soundsystem, Interpol, TV on the Radio, and more.
Several years on, a condensed documentary adaptation now arrives from British directors Will Lovelace and Dylan Southern. They use Goodman’s interview recordings for audio narration, while the visuals are pulled from both official media like music videos and thousands of clips filmed by friends and fans.
Aside from directing music videos, Southern and Lovelace are perhaps best known for making the LCD Soundsystem ‘farewell’ concert doc Shut Up and Play the Hits, as well as Blur reunion portrait No Distance Left to Run…
Full interview for The Skinny