Tag Archives: Feature

10 great Scottish youth films

From A Taste of Honey (1961) to Rocks (2019), British cinema has plenty to offer when it comes to films about the young and restless. But of all the nations of the UK, it’s arguably Scotland that has offered the most formal invention and thematic bite – regarding issues of class, wealth gaps and isolation – when it comes to cinematic tales of youth.

Some of Scotland’s greatest filmmakers – Lynne Ramsay and Bill Forsyth among them – got their start with films told from the point of view of troubled kids and gawky teenagers. Directors from further south in the UK, meanwhile, have made some of their best work when journeying north and drawing from young talent.

While the relatively small pool of Scottish teen films leans towards narratives set in or around Edinburgh and Glasgow, you rarely find one that’s indistinguishable from another thanks to the distinctive imprints of their directors. Delinquency is a common thread, but you’re not going to confuse Ken Loach’s Sweet Sixteen (2002) with Peter Mullan’s Neds (2010).

The feature debut of writer-director Ninian Doff, horror-comedy Get Duked! (2019), supported by the BFI Film Fund, sees 4 teenage boys on a highlands trek stalked by wealthy aristocrats hunting them for sport. Not just a foul-mouthed riff on The Most Dangerous Game (1932), the film also has much on its mind about class warfare and the bad hand dealt to Generation Z.

To mark its release on 28 August, exclusive to Amazon Prime Video, here are 10 of the best films about Scottish youth…

Full feature for the BFI

A Julia Fox erotic drama explores domination and digital life

In one of the more attention-grabbing openings in recent memory, PVT Chat begins with a climax, opening on a young man, Jack (Peter Vack), in a dingy apartment, masturbating during a one-to-one session with leather-clad camgirl Scarlet (Julia Fox). They’re participating in roleplay, Scarlet commanding Jack to lick her boot and swallow the cigarette end she pushes towards her webcam.

Scarlet says she lives in San Francisco, while Jack lives in New York City. During their deepening nightly conversations where they get to know each other, Jack tells her he works in tech and waxes lyrical about his revolutionary app idea. In fact, his ‘profession’ is as an online blackjack player, using his wildly inconsistent earnings to pay for his Scarlet time at night, while bullshitting his way into constant rent deferrals for his tattered room and living off cheap noodles…

Full feature for Little White Lies

Where to begin with Atom Egoyan

Why this might not seem so easy

Excluding contributions to anthology films, Canada-based auteur Atom Egoyan has nearly 20 feature credits to his name as a director. But Egoyan’s work also extends to theatre, opera, art installations and music. While footage of some of his installations can be found on YouTube, and a number of his shorts have a home among the extras on disc releases of his features, a full portrait of him as an artist working across multiple fields is nigh on impossible to achieve without access to any archives the man himself might have.

In terms of content, something that may potentially put off newcomers to Egoyan’s work are the hermetic worlds in which many of them, particularly his early string of features, operate. Intense emotions are repressed and human interaction is often communicated through transmitted images. Before Exotica (1994) and the twice Oscar-nominated The Sweet Hereafter (1997) brought him wider recognition and commercial success, Egoyan, alongside fellow Canadian David Cronenberg, was one of North American cinema’s key chroniclers of life in the developing video age, where the nature of human relationships radically altered in the wake of technology’s expanding role in our lives. Bureaucracy and other power structures also tend to isolate characters in his films. They are about alienation and so can be alienating…

Full feature for the BFI

Edinburgh International Film Festival: ‘The Traitor’

Towards the end of Martin Scorsese’s Goodfellas (1990), mobster-turned-informant Henry Hill is confronted with the following statement from a contemptuous defence attorney in court: “People call them rats because a rat will do anything to survive. Isn’t that right, Mr Hill?” In Scorsese’s film, the viewer follows Hill across several decades of involvement with an Italian-American crime syndicate, up to the point that various complications of his Mafia career collide in a disastrous fashion. Convinced that he and his family are marked for certain death, Hill eventually decides to become an informant for the FBI, testifying against his former friends and then entering the federal Witness Protection Program.

“Rats” and informant characters are not uncommon in crime movies, though in cases where they may be the protagonist you will often find them serving the part of a double agent or mole. They may be an undercover FBI employee infiltrating the mob, such as in Mike Newell’s Donnie Brasco (1997). In Andrew Lau and Alan Mak’s Hong Kong thriller Infernal Affairs (2002), and Scorsese’s subsequent American remake The Departed (2006), you even have informants on both sides of the law: an undercover cop, deep in the criminal underworld, trying to smoke out a mob mole lurking in the police department.

In mob movies where the lead eventually turns informant after some pressure, this will traditionally happen in the third act after a few hours of transgressive highs of the lifestyle leading to destructive lows. A rarer commodity is a film mostly set after the mobster’s choice has been made to spill the beans. After all, the derogatory term “rat” is used to denote that such a person is the lowest of the low in an environment that may posit the notion of honour among thieves. The perceived wisdom may be that audiences won’t want to follow such a character for a whole film; one that would, by its very nature, skimp on some of the glamour and success Mafia tales usually show before things go terribly wrong. But that is exactly what revered Italian filmmaker Marco Bellocchio has made with his subversive spin on the mob movie, The Traitor, in which the title character heads down the informant path within the opening half-hour…

Full feature for the Curzon Blog

The story of Bong Joon-Ho’s forgotten masterpiece

The concept of time has changed entirely during the coronavirus pandemic, but yes, it really has been just three (3) months since Parasite’s game-changing haul at the Oscars. The South Korean film, directed by Bong Joon-Ho picked up four awards, including its historic win for Best Picture. It remains the only good thing to have happened in 2020.

But while Parasite’s Oscars breakthrough came as a welcome surprise, Bong’s back catalogue has long performed well with audiences in the US and the rest of the Western world; he’s been directing films for two decades. Two of his earlier Korean language films, monster movie The Host and thriller Mother, both did numbers commercially and racked up great reviews. He also directed and co-wrote two English language movies that saw him work alongside a number of major Western actors: the Netflix-backed pig-hippo caper Okja, starring Jake Gyllenhaal, and Snowpiercer.

Snowpiercer a dystopian thriller, lavished with critical acclaim and bolstered by an all-star cast that includes Chris Evans, Parasite’s Song Kang Ho, Tilda Swinton, Jamie Bell and Octavia Spencer. But the film was, at one point, destined to become a footnote in Bong’s back catalogue. Shortly after it wrapped filming, The Weinstein Company acquired the rights to distribute the film in a number of countries including North America and the UK, which is where the production’s troubles began…

Full feature for i-D

30 essential ‘Simpsons’ episodes to watch on Disney+

Thanks to Disney’s acquisition of the 20th Century Fox back catalogue, one of the big selling points of Disney+ is access to the entire library of The Simpsons. Well, almost. The Michael Jackson-featuring Season 3 opener, “Stark Raving Dad”, was pulled from circulation in 2019 – you can currently only get that episode legally on the existing DVD box set of that season.

Additionally, most of The Simpsons’ 30-plus seasons are currently presented on Disney+ in an incorrect, cropped aspect ratio, something that is reportedly going to be amended in the next few months. But any easy access to The Simpsons is good access, even if conventional wisdom is that only an increasingly small fraction of the output is worth accessing…

Full feature for VODzilla.co

GFF20 vs. COVID-19: four takeaways from Glasgow Film Festival 2020

This year’s Glasgow Film Festival constantly faced the prospect of major disruption amidst the global outbreak of COVID-19, as major overseas events, most notably SXSW, fell to advance cancellations while this year’s GFF was still taking place. The organisers managed to pull off a complete edition before the axe fell, with the Scottish government now scaling back public gatherings in the days since its closing night. The virus has now been assigned pandemic status, and even more spring festivals in the UK and globally have since indefinitely postponed before any government intervention, including TribecaBelfast and the now independent Glasgow Short Film Festival

Full feature for Sight & Sound

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