Tag Archives: Feature

Fokus: Films from Germany Preview

Now in its fifth year, Fokus: Films from Germany (running from November to January across the country) presents an exciting, eclectic snapshot of the contemporary film scene in Germany. The festival is a partnership between the Goethe-Institut in Glasgow and Edinburgh’s Filmhouse, but the two-month tour of Scotland also incorporates screenings at Byres Theatre in St Andrews, the Hippodrome in Bo’ness, Dundee’s DCA, Ayr Film Society and Aberdeen’s Belmont Filmhouse, plus the GFT as an extra venue in Glasgow.

The opening film – which screens at Filmhouse on 21 Nov before making its way to the other participating venues – is the UK premiere of Bauhaus Spirit: 100 Years of Bauhaus. The documentary, funnily enough, explores the history and lasting influence of the Bauhaus period of art, design and architecture at the time of the school’s 100th anniversary…

Full feature for The Skinny

French Film Festival 2019: Five highlights

From some of the cream of the Cannes crop to restored classics and mainstream hits, the French Film Festival is a much-appreciated annual event for the UK’s Franco-cinephiles. The 27th edition is packed with new works from heavy hitter directors like Bruno Dumont, Céline Sciamma, Quentin Dupieux, Arnaud Desplechin and Christophe Honoré, which feature such onscreen favourites as Catherine Deneuve, Chiara Mastroianni, Léa Seydoux, Jean Dujardin, Adèle Haenel and Fabrice Luchini.

The entire programme’s worth checking out, but here are five we’re particularly keen to see…

Full feature for The Skinny

Talk of the Toons: Scotland Loves Anime 2019 preview

An annual celebration of Japanese animation that takes place at Glasgow Film Theatre and Edinburgh’s Filmhouse, the Scotland Loves Anime festival reaches a milestone 10th edition in October 2019. “It always feels like we’re younger still,” festival director Andrew Partridge tells us. “My, how time flies when you’re stressing about running a festival!”

Regularly showcasing the best new animation from Japan, alongside restorations of established classics and the occasional live-action adaptation of an anime or video game, the festival has gone from strength to strength in terms of audience, reach, influence and programming coups. What was once just a relatively modest attempt to get more Scottish cinema showings for anime – that aren’t just from Studio Ghibli – has become one of the key European animation events on the calendar…

Full feature for The Skinny

‘Ad Astra’ director James Gray’s American masterpiece… and why UK audiences never saw it

Until going up the jungle in The Lost City of Z (2016) and now into deep space with Ad Astra, the films of American director James Gray – from Little Odessa (1994) to Two Lovers (2008) – all told stories of New York, with many focusing on immigrant families. His 2013 ode to classical melodrama, The Immigrant, was the culmination of that interest.

Set in 1921, it sees Polish immigrant Ewa (Marion Cotillard) tricked into a life of Manhattan burlesque and prostitution as she tries to fund the release of her ill sister, who has been confined to Ellis Island. She also finds herself caught in a toxic love triangle between Bruno (Joaquin Phoenix), the charmer pimp who got her there, and his chivalrous magician cousin, Emil (Jeremy Renner).

Featuring contenders for Cotillard and Renner’s career-best performances, reliably magnetic work from Phoenix, and cinematography from Darius Khondji that simultaneously evokes 19th-century painting, silent cinema and the 70s highpoints of Godfather cinematographer Gordon Willis, The Immigrant is a beautiful and devastating slow-burn drama. Its closing act, particularly the lingering final shot, must count among the finest American filmmaking of this decade.

So, why was the film never released in the UK?

Full feature for the BFI

Nicolas Cage understood the maximalist potential of 3D movies

 3D boom that launched the decade is in its dying days. While many blockbusters still open with 3D versions, and James Cameron’s upcoming Avatar sequels should give the format a major boost, the numbers back up the decline. Eye-popping images aren’t the sell they were in 2009.

What’s lost as 3D fades into cultural irrelevance? Numerous directors, from Martin Scorsese to Wim Wenders, extolled the virtues of the visual gimmick, but the format also reshaped actors — or could have if given the room to evolve. In the first decade of 3D blockbusters, big names like Will Smith or Sandra Bullock were strapped into what were essentially theme park rides, the technique more of a marquee attraction rather than a lens through which to navigate around performances. We never got to the moment where 3D became a tool for actors.

There is a notable exception, however, and it concerns two films that exist in a specific subgenre: Nicolas Cage driving dangerous vehicles after escaping from hell…

Full feature for Polygon

Locarno Film Festival 2019: The Skinny’s Highlights

Founded in 1946, Switzerland’s Locarno Festival is one of the world’s longest-running film festivals, known for its arthouse-favouring programming, extensive retrospectives and nightly open-air screenings in the Piazza Grande, which can seat 8000 spectators. The latter is by no means the only venue, but it’s the one most associated with the festival. Having attended for the first time last year, we often recall the memory of seeing Ethan Hawke’s directorial effort Blaze amid a rare torrential downpour in the otherwise scorching town.

Taking place by Lake Maggiore at the southern foot of the Swiss Alps, Locarno can be quite pricey to attend because almost none of the food on offer is cheap, but the very welcoming atmosphere makes up for a lot. The intermingling of public, industry and press attendees every night, particularly at select pubs open until 3am, is unlike any other festival we’ve experienced. Where else might you see Béla Tarr exit an otherwise amicable-seeming conversation with Pedro Costa with a “fuck off” before getting in a car? Hopefully that’s how he says goodbye to everyone…

Full feature for The Skinny

The bitter and the sweet: British features at Edinburgh 2019

2019 marked my seventh trip to the Edinburgh International Film Festival. Something I’ve always appreciated about its commitment to new British cinema – and not just through its Michael Powell Award competition – is that it provides a platform for more idiosyncratic examples of independent British cinema that may struggle to get a launch at the grander London Film Festival. And while it’s faced competition from the rising Glasgow Film Festival for specifically Scotland-focused fiction and nonfiction, Edinburgh has always launched interesting fare from across the increasingly divided United Kingdom – from Peter Strickland’s Berberian Sound Studio (2012) to Matt Palmer’s Calibre (2018), to name but two recent personal favourites.

That said, not every year can be a vintage one when you take a chance on lots of relatively unproven talent, and my experience of this year’s British line-up was that while the pick-ups from overseas A-list festivals were mostly solid to very good (the Toronto-premiering British folk horror Gwen, now opening in UK cinemas, stood tall), the festival’s own finds were underwhelming so far as the fiction films went…

Full feature for Sight & Sound