the 2012 brochure

Transcription

the 2012 brochure

A UNESCO CREATIVE CITY
Don’t miss next year’s Festival: Spring 2013
National Media Museum
Bradford, West Yorkshire, BD1 1NQ
Box Office 0844 856 3797
www.nationalmediamuseum.org.uk
www.bradfordfilmfestival.org.uk
Title Sponsor
Sponsors
Tickets for every festival screening or event can be
purchased from the National Media Museum Box Office
(open 10am – 9pm during the festival).
Special offer:
0844 856 3797
Buy 5 standard price tickets, get 1 free
Tickets
Passes
Tickets for screenings and events at Cineworld, Impressions
Gallery, Hebden Bridge Picture House, Hyde Park Picture House
and Otley Courthouse will be available from the National Media
Museum Box Office up to 24 hours prior to the event, and may
also be purchased from the venue on the day of the event.
Three money-saving passes are available:
Partners
Media Partners
To get involved with the Museum and our
festivals contact Jodie Marsh 01274 203341
[email protected]
Funders
STAndArd PriCe TiCkeTS
Pictureville, Cubby Broccoli, iMAX cinemas
after 4:30pm and weekends £6/£5*
before 4:30pm weekdays £4/£3*
Seniors Citizens’ screenings £3.25
Family Film Fundays £2 / Under 3s free
Student night (applies to all films after 4.30pm at
national Media Museum on Weds 25 April) £2.50
OTHer PriCeS
Special Guest screentalks (includes film screening) £12.50
Films with live music £6/£5*
dodge Brothers & neil Brand accompany Beggars of Life £16
iMAX 3d feature (Beowulf) £8/£6
Bad Film Club £5
BiFF By night Quiz £1 per person
Ticket prices for other venues may differ; please check the
website for details.
*Concessions available to those under 15, over 60, anyone
receiving disability benefits, income support or Job Seekers’
Allowance, students in possession of an NUS card, and Passport
to Leisure card holders. Please note that for some screenings and
events there will be no tickets available at concession price.
Pick up a loyalty card from Box Office
Film Lovers Pass £80/£70
Applies to all standard priced films; excludes Special Guest
Screentalks, Special Events, Widescreen Weekend events,
Filmmakers’ Weekend, BIFF by Night events.
Filmmakers’ Weekend Pass £100/£60
(Day Passes £55/£35)
Widescreen Weekend Tickets and Passes
Widescreen Weekend Pass £90/£70
Weekend Pass (National Media Museum members) £80/£60
Standard films £7.50/£5.50
Premium films £10/£8
Presentations and talks £3.50/£2.50
Senior Citizens’ screenings Tuesday 24 and Thursday 26 April
Meet at 10.30 for complimentary tea/coffee & biscuits. Films start
at 11am. An informal discussion will follow Thursday’s screening.
Watch with Baby Wednesday 25 April
Meet at 10.30 for complimentary tea/coffee & biscuits. Sparrers
Can’t Sing starts at 11am with the volume turned down slightly and
the lights up for the comfort of your baby. Only adults accompanied
by children under 12 months can be admitted. Babies go free!
All programme information is correct at the time of going to
print. Please check www.bradfordfilmfestival.org.uk for updates,
including guest appearances.
www.bradfordfilmfestival.org.uk 1
Foreword
A word from Virgin Media
Michael Terwey
Jeff Dodds
Deputy Director, National Media Museum
When I mention to people that Barbara Windsor is a guest at
this year’s Bradford International Film Festival, the responses
are generational. For anyone over 35 her name prompts a smile
of recognition, followed by an anecdote relating to Sid James or
to one of the Carry On films and their quintessentially British
comedy mixture of farce, slapstick and sexual innuendo. From
the under 35s I tend to receive quizzical looks, followed by a
question about why a television soap star would attend a film
festival.
One of the great strengths of the UK film industry is how
entwined it is with television, theatre, and so many other
branches of the media and performing arts. To try to
disentangle film from other media or the high from the popular
culture would be impossible. Indeed, one of the more unlikely
connections between Barbara Windsor and another of our
star guests, Ray Winstone, is the Theatre Royal Stratford East,
where both appeared in musicals at the start of their respective
careers. It is a great strength too for us at the National Media
Museum, where BIFF forms a part of our ongoing programme
of film, photography, television and, increasingly, new forms
of digital media. At a time where questions are being asked
of the benefit of public subsidy to ‘non-commercial’ sectors
of the arts, we should value and celebrate the richness and
eccentricity of the UK’s cultural ecology.
Executive Director –
Brand and Marketing Communications
Hello and welcome to the 18th Bradford International Film
Festival – if you’ve already had a peek through the programme
you’ll know it’s going to be a corker.
This is the first year Virgin Media has worked with BIFF and,
frankly, we don’t know what took us so long; we’re passionate
about supporting British film-making talent and are devoted
to bringing you the best new entertainment around. As one of
the biggest film festivals in the UK, BIFF dedicates eleven days
of the year to showcasing the finest cinemas has to offer, from
cult gems and celebrated classics to never before seen festival
exclusives, so we’re really proud to be sponsoring the festival.
The next eleven days are packed full of fantastic features,
stunning shorts, top movie making advice and even some
background viewing while you eat your lunch. Oh, and there’ll be
guest appearances from the best in the game. What more could
you ask for?
I’m off to nab a seat, see you inside.
And, despite the gloom, there is cause for optimism. In hard
times, as consumers have less disposable income and in which
independent filmmakers struggle to finance their projects,
audiences are, nonetheless, continuing to go to the cinema. 2011 saw record takings at UK box offices, with British films
taking the top three spots. One of which, The Inbetweeners,
was a spin-off of a television sitcom whose success is based on
farce, slapstick and sexual innuendo. Sound familiar?
2 www.bradfordfilmfestival.org.uk
Introduction
Neil Young and
Tom Vincent, Co-Directors:
This may be the 18th Bradford International Film Festival, but
we’d like to think that we came of age some time ago. We should
be proud of the fact that we have made it to what used to be
called ‘majority’ while so many other film-festivals - some of them
inaugurated amid much well-funded fanfare - never made it out
of infancy. And for that we have to thank, first among equals, our
long-time Artistic Director Tony Earnshaw, who moved on after the
2011 event along with Festival Producer Ben Eagle - we wish them
both the very best in their future endeavours.
Building on Tony’s achievements - and the foundations laid by the
festival’s founding-father Bill Lawrence (who remains on board
delivering the Widescreen Weekend) - we now present eleven days
during which we offer what we hope and believe to be a survey of
current cinema in all its variety and forms. For the last year we’ve
been travelling to film festivals across Europe and beyond - in
search of the latest and best in world movie-making. In this search
we have been supported and encouraged by many, and not least by
Virgin Media, whom we are proud to welcome as BIFF’s first
Title Sponsor.
At the end of April Bradford will live up to its status as one of
the world’s two UNESCO Cities of Film by attracting a range
of eminent cinematic names - including our very special
guests, Ray Winstone, Barbara Windsor and Olivier Assayas.
BIFF’s lineup retains successful elements from previous years
while adding, for the first time, a competitive section devoted
to new European feature-films, plus a special screening
selected by the Sydney Film Festival, in our “sister” city of film.
We develop and grow - all the while trying to ensure that our
essential outlook and atmosphere remain the same.
From popular crowdpleasers to the edgiest of the avantgarde via many points in between, there’s something in the
BIFF programme for everyone - whether you’re a seasoned
traveller around the festival “circuit” or a total newcomer to
this very special way of experiencing cinema. The art-form
is now more than 100 years old - changing all the time,
and the 18th Bradford International Film Festival has been
put together with what we hope is a mixture of discerning
expertise and sheer enthusiasm. Your journey starts here.
Venues
IG
CW
MM
Bradford BD1 1NQ
MM
IG
Impressions Gallery
CW
Cineworld
Impressions Gallery
Centenary Square, Bradford . BD1 1SD
Tel: 01274 737843
E-mail: [email protected]
www.impressions-gallery.com
How to get there: Impressions Gallery is in the heart of Bradford
City Centre, and is a 5 minute walk from the National Media
Museum. If travelling by car, follow directions to city centre and
then brown heritage signs to City Hall.
The National Media Museum contains Pictureville, Cubby
Broccoli and IMAX cinemas, TV Heaven, Intermission Café and
Room at the Top
Accessibility: Wheelchair access to all public areas. Disabled parking
for blue badge holders is available immediately outside Town Hall.
Bradford, BD1 1NQ
Tel: 0844 856 3797
Cineworld Bradford
Vicar Lane, Bradford. BD1 5LD
Tel: 0871 200 2000
www.cineworld.co.uk
How to get there: The museum is a 5 minute walk from Bradford
Interchange and a 15 minute walk from Bradford Forster Square
Station. If travelling by car follow the brown tourist signs on your
approach to Bradford. The nearest car parks are on Sharpe Street
and Radwell Drive behind the Museum.
How to get there: Cineworld is located in the Bradford Leisure
Exchange immediately adjacent to Bradford Interchange train
and bus station, and a 10 minute walk from the National Media
Museum. There is a multi-storey car park on the complex, handy for
those who choose to drive.
Accessibility: All areas are wheelchair accessible with designated
disabled parking outside. Front of house staff are trained in
disability awareness and if you have specific requirements
please call our Access Co-ordinator on 01274 203359
Impressions Gallery
Cineworld Bradford
Accessibility: All areas are wheelchair accessible with designated
disabled parking outside.
Venues
Hebden Bridge HX7 8AD
Otley Courthouse
Leeds LS6 1JD
Hyde Park Picture House
Hebden Bridge Picture House
Otley LS21 3AN
Hyde Park Picture House
Hebden Bridge Picture House
Otley Courthouse
New Road, Hebden Bridge. HX7 8AD
Tel: 01422 842807
E-mail:[email protected]
www.calderdale.gov.uk/leisure/entertainment/picture-house
Courthouse Street, Otley, LS21 3AN
Tel: 01943 467466
www.otleycourthouse.org.uk
How to get there: Located in the suburb of Headingly, Hyde
Park Picture House is 2 miles from Leeds City Centre. From the
city centre, the 56 bus stops right outside the cinema entrance.
Alternatively Burley Park Rail Station is a 3 minute walk from the
cinema. Direct trains to Leeds city centre leave from Bradford
Interchange.
How to get there: Located in the small town of Hebden Bridge,
The Picture House is 30-40 minutes from Bradford city centre.
There are direct trains from Bradford Interchange to Hebden
Bridge, and the Picture House is a 10 minute walk from the
train station.
How to get there: The nearest train station to Otley Courthouse
is Menston. Direct trains to Menston go from Bradford Forster
Square and take approximately 20 minutes. The 967 bus goes
from Menston Train Station to Otley every half an hour.
73 Brudenell Road, Leeds. LS6 1JD
Tel: 0113 275 2045
www.hydeparkpicturehouse.co.uk
Accessibility: Wheelchair access is available via Brudenell Road,
and there are four wheelchair spaces in the cinema. Guide dogs
are welcome with water bowls available upon request.
Accessibility: There is wheelchair access on the right hand side
of the building, press key unit to alert staff for assistance. Up to
5 wheelchair spaces.
Accessibility: The auditorium, café and toilets are all wheelchair
accessible.
Bradford
Bradford, West Yorkshire
where to eat and stay
Where to stay
Jurys Inn
2 Thornton Road, Bradford. BD1 2DH
Tel: 01274 848500 [email protected]
Website: www.bradfordhotels.jurysinns.com
Jurys Inn is our official festival hotel and is a 5 minute walk from
the National Media Museum in Bradford city centre. From Jurys Inn
there is easy access to all transport routes.
BIFF Offer During the festival Jurys Inn are offering a special rate to
visitors starting at just £49 per room (not including breakfast). Book
via the Jurys Inn website using the promotional code FEST or by
calling them on 01274 848500.
How to get here
By Car
Bradford district is served well by motorways and main trunk
roads. Bradford’s own motorway the M606 brings you within
1.5 miles of the city centre and links with the M1, A1 and
M6 via the M62. There are many car parks within walking
distance to the National Media Museum.
By Train
There are two train stations in Bradford City Centre.
Where to eat
Bradford Interchange is a 5 minute walk from the National
Media Museum and accommodates rail, train and taxi
services. It has direct trains to Leeds Rail Station which links
to most major cities and airports.
Zouk
1312 Leeds Road, Bradford. BD3 8LF
Website: www.zoukteabar.co.uk
Zouk Tea Bar & Grill is a new generation, Indian and Pakistani
restaurant. Zouk’s focus is on health, vitality, fun and passion. They
are renowned for the outstanding quality of food, whether you are
looking for an authentic taste of Lahore style street cuisine or you
would like to try something completely different.
BIFF Offer Visitors will exclusively receive a free starter or a free
dessert of choice when they order a main course at Zouk during the
festival, on production of a festival ticket or pass.
Bradford Forster Square is a 15 minute walk from the
National Media Museum and accommodates rail, train and
taxi services. It has direct trains to Leeds Rail Station which
links to most major cities and airports. Bradford Forster
Square is useful for accessing the surrounding villages
of Bradford. For further information on travel services at
Bradford Interchange and Bradford Forster Square, contact
Metroline on: 0113 245 7676
By Plane
Omar Khan’s
30 Little Horton Lane, Bradford. BD5 0AL
Website: www.omarkhans.co.uk
Omar Khan provides quality Asian cuisine with emphasis on
nostalgic tradition, authentic culture, and the creative combination
of culturally enriched ingredients. Thoughtfully created dishes using
home ground spices and fresh ingredients create a vast range of
choices for your pure enjoyment.
BIFF Offer Dine at Omar’s and receive a 10% discount off your total
food bill (excluding drinks) on production of a festival ticket or pass.
There are two major airports which are close to Bradford.
Leeds Bradford International Airport
Tel: 0871 288 2288
Website: www.leedsbradfordairport.co.uk
Leeds Bradford Airport is between Leeds, Bradford and
Harrogate and is easily accessible by all major public
transport routes. There are direct Airport shuttle buses which
travel to and from Bradford Interchange every day and leave
every hour. For information on airport bus services contact
Metroline: 0113 245 7676
Bradford. BD1 1NQ Tel: 0844 8563797
Website: www.nationalmediamuseum.org.uk
Intermission café The menu includes sandwiches, soup, a salad bar,
hot meals and vegetarian options, plus a mouth-watering selection
of homemade cakes, all freshly prepared on-site by our dedicated
team of chefs.
Manchester International Airport
Tel: 08712 710 711
Website:www.manchesterairport.co.uk
Manchester is accessible by all major public transport
routes. Trains go to and from Bradford Interchange to the
airport (change at Leeds Train Station). The Skylink moving
walkway links the airport station to all terminals. For further
information on train services to Manchester International
Airport, contact National Rail on: 08457 48 49 50
The Russian Restaurant
15 Manor Row, Bradford. BD1 4PB
Website: www.rurest.co.uk
La Romantica Italian Restaurant
48-50 Great Horton Road, Bradford. BD7 1AL Tel: 01274 304040
Image courtesy of
www.westyorkshireimages.co.uk
Chino Thai Lotus
20 Aldermanbury, Centenary Square, Bradford. BD1 1SD
Tel: 01274 723888 (option1) [email protected]
Website: www.chinothai.co.uk
Salts Mill, Bradford
Contents
Foreword Introduction
Venues
Where to eat and stay
Lifetime Achievement Award BIFF Fellowship 2012 European Features Competition
2012 Shine Short Film Competition 12 www.bradfordfilmfestival.org.uk
p.2
p.4
p.6
p.10
p.14
p.15
p.16
p.18
Opening and Closing Films New Features New Shorts Special Guest: Barbara Windsor Special Guest: Ray Winstone Special Guest: Olivier Assayas p.22
p.26
p.52
p.62
p.66
p.70
Uncharted States of America VI p.74
Angel of Anarchy: Pierre Clémenti p.82
A Centenary Tribute to Chuck Jones p.84
Widescreen Weekend 2012 p.94
Bradford After Dark II p.104
Special Events p.108
Family Programme BIFF by Night TV Heaven Filmmakers’ Weekend Credits and Thanks Index of films and events Festival Diary p.110
p.112
p.115
p.120
p.122
p.124
p.126
Lifetime
Achievement Award
The Bradford International
Film Festival Lifetime
Achievement Award 2012
Barbara
Windsor
supported by
Barbara Windsor will receive her Lifetime Achievement Award
following her Screentalk interview on Friday 20 April
(see page 62)
Previous recipients
2011 Claire Bloom
2010 John Hurt
2009 Virginia McKenna
2008 Michael Palin
2007 Ken Loach
2006 Malcolm McDowell
2005 Jenny Agutter
2004 Ian Carmichael
2003 Jean Simmons
2002 Jack Cardiff
2001 Richard Attenborough
supported by
The Bradford International
Film Festival
Fellowship 2012
Olivier
Assayas
BIFF Fellowship
Olivier Assayas will receive his Fellowship
following his Screentalk interview on
Wednesday 25 April (see page 71)
Previous recipients
2011 Terry Gilliam
2010 Nicolas Roeg
2009 Peter Whitehead
2008 Kenneth Branagh
2007 Terence Davies
2006 Eric Sykes
2012 European Features
Competition
2012 New European Features Competition
supported by
Joanna Hogg
Europe is the continent that - thanks to pioneers like the
Lumières in Marseilles, the Skladanowskys in Berlin and Louis Le
Prince along the road in Leeds - gave cinema to the world. And
more than 100 years later, it remains at the very heart of this
industry-cum-art, maintaining impressive levels of production,
both in terms of quantity and quality, countless film-festivals, and
booming box-office returns.
This year Bradford International Film Festival institutes a brandnew European Features Competition - with invaluable support
from our friends at University of Bradford - which spans a vast
geographical distance from Iceland in the very far north-west all
the way to Bulgaria and Romania on the shores of the Black Sea.
These are new, feature-length, fictional films - all worldpremiering within the last 16 months - currently without UK
theatrical distribution. We believe, however, that all of the halfdozen deserve their place on the screens of Britain’s cinemas, and
we hope that this competition section will help them obtain the
wide exposure they deserve.
Their directors - and all of them, as it happens, are first-timers
when it comes to fictional features - may be unfamiliar
names to you at the moment, but their undoubted talent and
uncompromised vision suggests that the future of European
cinema is a bright one indeed.
THE COMPETING FILMS 2012:
Adalbert’s Dream - Romania: directed by Gabriel Achim
Avé - Bulgaria: directed by Konstantin Bojanov
Bread and Circuses - Slovenia: directed by Klemen Dvornik
Papa Gold - Germany: directed by Tom Lass
Volcano - Iceland: directed by Rúnar Rúnarsson
Wrinkles - Spain: directed by Ignacio Ferreras
The winning film in the European Features Competition
will be screening again on Sunday 29 April at 5.30pm in
Cubby Broccoli Cinema.
Wendy Ide
Tim Robey
Adalbert’s Dream
Avé
Bread and Circuses
Papa Gold
Volcano
Wrinkles
THE JURY
Joanna Hogg
Joanna Hogg has written and directed two feature-length films
- Unrelated (2007) and Archipelago (2010) - which have earned
prizes and acclaim at film festivals around the world, and which
have earned ecstatic notices from critics when distributed in
British cinemas. A former photographer, her life was changed
after a chance meeting with Derek Jarman in a Soho patisserie
- he loaned her his camera and became her mentor. A graduate
of the National Film and Television School, Joanna Hogg’s
contributions the small screen include episodes of London’s
Burning and Casualty, and an EastEnders special. She is currently
working on her third film, her first to be shot in her native
London.
Wendy Ide
Wendy Ide is a film critic for The Times and contributes regular
reviews and interviews to the newspaper. She has written for a
wide range of publications including The Sunday Herald, Uncut,
Time Out, Screen Daily, Elle and Dazed and Confused magazine,
for which she was film editor from 1997. She has programmed
short films for the London Film Festival, and in 2009 served on
the jury of the short horror-film competition 2 Days Later. A busy
user of Twitter, she has more than 1,000 ‘followers’ on the socialnetworking website where she proclaims herself to be a “big fan
of cheese (the edible kind, not the movie variety).”
Tim Robey
Tim Robey has been reviewing films, interspersed with the
occasional interview, for The Telegraph since 2000. He read
classics at University College, Oxford, and was runner-up for best
arts journalist in both the Guardian and Independent Student
Media Awards in 1999. He has been a UK media correspondent
for Variety, and co-edited The DVD Stack (Canongate), a guide to
the best versions of films available globally.
2012 Shine Short Film Competition
The World Turns
Theory of Color
Ab Morgen
Humiliated and Offended
Kinderspiel
Ora et Labora
2012 Shine Short
Film Competition
Approx 100 mins (adv. 15)
21 April Cubby Broccoli Cinema, 10am
& 25 April IMAX Auditorium, 6.05pm
Inaugurated in 1998, Shine is the platform for short films in
the Bradford International Film Festival. This forum showcases
six films shortlisted by the festival programmers for the Shine
Award, which is awarded by an invited jury to the best film. Films
featured in the competition are selected from hundreds of entries
submitted to the festival from all over the world, and the focus of
the Shine Award is to honour the best short film by an emerging
director. The Jury will select the winning film from the shortlist
during the opening weekend of BIFF 2012, and the award will be
presented on Sunday 29 April.
THE COMPETING FILMS 2012:
The World Turns – UK, directed by Nick Ray Rutter
Theory of Color – Norway, directed by Emilie Blichfeldt
Ab Morgen – Germany, directed by Anno Köhler
Humiliated and Offended – Portugal, directed by Salvador Palma
and Dany Horiuchi Ferreira
Kinderspiel – Germany, directed by Lars Kornhoff
Ora et Labora - Austria, directed by Aaron Arens
See pages 54-59 for details.
The winning film in the Shine Short Film Competition will be
screened again on Sunday 29 April
2012 Shine Short Film Competition
SHINE JURY 2012
Greg Hobson
Greg Hobson is Curator of Photographs at the National Media
Museum. His work includes the development of the Museum’s
Collection and, the curation of a variety of exhibition projects
that have combined various media. He sits on international jury
panels for photography and exhibition awards and manages
the National Media Museum’s First Book Award. He is currently
curating an exhibition of the work of British photographer Tom
Wood and, is actively contributing to the programme for the
Museum’s planned new exhibition space in London.
Greg Hobson
Duncan Petrie
Duncan Petrie
Duncan Petrie is Professor of Film and Television at the University
of York. He has published extensively on British, Scottish and
New Zealand cinema and on cinematography. His books include
Creativity and Constraint in the British Film Industry (Macmillan,
1991) The British Cinematographer (BFI, 1996), Screening Scotland
(BFI, 2000), Contemporary Scottish Fictions (Edinburgh University
Press, 2004) and Shot in New Zealand: The Art and Craft of the
Kiwi Cinematographer (Random House, 2007). He has been a
board member of various industry organisations including South
West Screen and the South West Film Archive and served on the
Scottish Screen Lottery Panel.
Irna Qureshi
Tom Stewart
Irna Qureshi
Irna Qureshi is an anthropologist, writer and oral historian
specialising in British Asian arts, heritage and migration. She
has collaborated on several exhibitions and books on this
theme, including Coming of Age: 21 Years of Mela in the UK and
The Grand Trunk Road: From Delhi to the Khyber Pass. She has
also written about the public perception of Muslim actresses
working in the Pakistani film industry known as Lollywood.
Irna blogs about being British, Pakistani, Muslim and female
in Bradford, against a backdrop of classic Indian films at www.
bollywoodinbritain.wordpress.com
Tom Stewart
Tom Stewart has worked for over 25 years within the Film and
Television industry, including for Thames Television and for
Metrodome Distribution, for whom he worked on the releases
of acclaimed films such as Monster, Donnie Darko, Spellbound
and The Corporation. In 2010 Tom joined Arrow Films and has
since released a wide selection of films and TV series including
Poetry, The BAFTA-winning The Killing and soon to be seen King
of Devil’s Island and Thomas Vinterberg’s The Hunt. Most recently
Tom acquired the autumn release of Samsara, which has its UK
Premiere at this years Bradford International Film Festival.
David Wilson
In June 2009 Bradford was designated as the world’s first
UNESCO City of Film. The title was awarded because of the
city’s rich film heritage, its inspirational movie locations and its
many celebrations of the moving image through the National
Media Museum and the city’s annual film festivals. David was
appointed Director of Bradford City of Film in October 2011 and
has a wealth of experience in cultural programming across a wide
range of art forms. David is also a professional musician and has
performed at festivals and events across UK, Europe and the US.
/biff
Bradford_film festival.indd 1
10/02/2012 17:31
David Wilson
THE SPARROW IS HONOURED TO BE
THE BRADFORD INTERNATIONAL
Previous Shine winners:
2011 Philippe Verkinderen, Belgium, A Gentle Push
2010 Hans Montelious, Sweden, The Man with all the Marbles
2009 Dana Neuberg, Israel, Grown Up
2008 Harry Wootliff, UK, Trip
2007 Jon Garaño, Spain, Miramar Street
2006 Igor Pejic, France, L’Armée du Bonheur
2006 Avie Luthra, UK, Lucky
2005 No award given
2004 Benjamin Diez, Germany, Druckbolzen
2003 Anna Ehnsiö, Sweden, The Rift
2002 Brian Percival, UK, About a Girl
2001 Emmanuael Jespers, Belgium, Le Derniere Rêve
2000 Guillaume Lecoquierre, France, Pixie
1999 Jonathan Hacker, UK, The Short Walk
1998 Jophi Ries, Germany, Marco at Work
FILM FESTIVAL AFTER DARK VENUE
Join us... Play Your Part
AS FEATURED IN THE
GUARDIAN’S TOP TEN
UK CRAFT BEER BARS
Membership @ National Media Museum
•
•
•
•
Special invitations to exhibition previews and
Museum occasions
Exclusive invitations to Members-only events and
screenings
Priority booking opportunities for sell-out Museum
events and festivals
Members’ prices in our cinemas as well as in the
café, bar and shop
ADDRESS
32 NORTH PARADE
BRADFORD BD1 3HZ
TWITTER
@THESPARROWBRADFORD1
WEBSITE
THESPARROWBRADFORD.CO.UK
FACEBOOK
FACEBOOK.COM/
THESPARROWBRADFORD
Opening Film
Opening Film
DAMSELS IN DISTRESS
+ One Froggy Evening, p.92
Dir. Whit Stillman USA 2011 99 mins (adv 15) Digital
Greta Gerwig, Adam Brody, Analeigh Tipton, Megalyn
Echikunwoke
Thursday 19 April, 7.30pm, Pictureville
Smart, fun characters, deliciously sharp dialogue, and tap dance
- Damsels in Distress is a musical comedy that’s at once daffy and
yet sophisticated. Song-and-dance numbers may appear now and
again, but for the most part the emphasis is on talk, as a group of
articulate university students discuss all manner of subjects from
the intellectual to the eyebrow-raisingly sexual.
Violet Wister (Greta Gerwig), is a socially active student at a New
England university, seldom seen without her admiring gal-pals.
Among Violet’s many crusading concerns is the prevention
of student suicides, and her unorthodox solution involves
counselling, doughnut dispensing and tap lessons. Such people,
situations and conversations only exist in the mind and the world
of U.S. indie director Whit Stillman, but over the course of his
handful of films until now (the most recent was The Last Days
of Disco in 1998) he’s created and explored an off-kilter universe
that’s a joy for those who know it..
BIFF is particularly proud to present Damsels in Distress as our
2012 opening film. Its star Greta Gerwig made her first BIFF
appearance in Yeast, an inventive, painfully funny no-budget
comedy that we featured in our Uncharted States of America
strand in 2009. The next year she was back, this time opposite
Ben Stiller in Greenberg, her star clearly rising. Now, just three
years after her none-more-indie BIFF debut, she kick-starts our
festival. Damsels in Distress is in many ways Gerwig’s show:
She’s pitch-perfect here, infuriating and irresistible as a woman
genuinely determined to influence world history by inventing a
new dance-craze.
Film source: Sony Pictures
Closing Film
Closing Film
SAMSARA
UK Premiere
+ Modern No. 2, page 57
Dir. Ron Fricke USA 2011 102 mins (adv 12A) Digital
Documentary
Sunday 29 April, 7.45pm, Pictureville
By the time you get to see the final film in this year’s BIFF
programme, we’ll have shown a selection of films in eleven days
that takes in many things under the sun - from the most artisan,
personal films to the grandest of mass entertainment. Our UK
Premiere of Samsara manages both of these things at once – it’s
heartfelt and personally sincere, yet spectacular, and reminds us
that for over 100 years the best films have attempted, above all,
to show us things.
Director Ron Fricke’s stunningly beautiful follow-up to Baraka
(1992) takes us another world tour, showcasing both the natural
beauty of our planet and the lengths we go to in destroying it.
In the tradition of dazzling ‘non-verbal’ films like Koyaansqatsi
(1982) the music (by Michael Stearns, Lisa Gerrard and Marcello
de Francisci), and the astonishing images speak for themselves.
Samsara visits subjects in 26 countries, including natural wonders
(volcanoes, Yosemite, Angola’s Epupa Falls, the Himalayas),
portraits of people and customs across a range of cultures
(1,000 Hand Goddess dancers in China, Olivier De Sagazan’s
wild performance art, African tribal members), and key religious
centers (Mecca, Tibet, Jerusalem’s Wailing Wall).
The film is beautifully paced and features time lapse sequences,
fast paced editing, sweeping vistas and glorious wide-angle
sequences. Filmed on high-resolution 70mm film (see
Widescreen Weekend for more of this!), then projected onto
Pictureville’s screen using immaculate state-of-the art technology,
Samsara closes our festival with the greatest show on earth.
Film source: Arrow Films
Papa Gold
New Features
New Features
New Features
EUROPEAN FEATURES COMPETITION
ADALBERT’S DREAM (Visul lui Adalbert)
UK Premiere
+ The Half Light (p.55)
Dir. Gabriel Achim Rom 2011 101 mins (adv 15) subtitles 35mm
Gabriel Spahiu, Doru Ana, Alina Berzunteanu
Tuesday 24 April IMAX & Wednesday 25 April Pictureville
The latest fruit of the seemingly-inexhaustible ‘Romanian
New Wave’ is this delightful comedy set in the closing years of
Ceausescu’s dictatorship. On 8 May 1986, to be precise - the day
after Steaua Bucharest won football’s European Cup, and also the
Romanian Communist Party’s 65th anniversary. This coincidence
makes for a hectic few hours in the life of Iulica, a fortysomething
factory worker. He owns an emblem of decadent capitalism, a
video-recorder - and his tape of the Cup Final plays a key role in
the misadventures which envelop him in blackly amusing fashion.
A perceptive and very smart debut from director/co-writer Achim.
Film source: Green Film
AVÉ
+ Brotherhood (p.54)
Dir. Konstantin Bojanov Bulgaria 2011 86 mins (adv 15) subtitles
Digibeta. Ovanes Torosian, Angela Nedialkova, Bruno S.
Monday 23 April Pictureville & Tuesday 24 April IMAX
Winner of the Special Jury Prize at Sarajevo, the Critics’ Prize
at Warsaw and the Young Talent Award at Hamburg, this first
fictional feature by director/co-writer Bojanov is a teen roadmovie with a difference. Several differences, in fact, not least
the fact that it includes the final screen-appearance of Bruno
S. - unearthly ‘star’ of Werner Herzog’s 1970s classics The Enigma
of Kaspar Hauser and Stroszek. When art-student Kamen hitchhikes across the country for a friend’s funeral, he semi-reluctantly
hooks up with Avé, a resourceful free spirit played in a starmaking performance by the bewitching Angela Nedialkova.
Film source: Network Releasing
ALBERT NOBBS
+ What’s Opera Doc? (p.92)
Saturday 21 & Sunday 22 April, Pictureville
Dir. Rodrigo García UK/Ireland 2011 113 mins (adv 15) Digital
Glenn Close, Mia Wasikowska, Janet McTeer, Brendan Gleeson, Aaron
Johnson, Pauline Collins
In 19th century Dublin, Albert Nobbs works as a hotel waiter. Albert
attends to his customers with the utmost care, and is quiet, hardworking, and seems more than a little strange. Albert is desperate to
do two things: to save enough money to afford an independent life,
and to keep safe a secret – Albert is in fact a woman. Oscar-nominated for this role, Glenn Close first played Nobbs in a 1982 play, and
has worked on making this film ever since, here bringing a genuine
sense of sadness to the role. But it’s Newcastle’s own Oscar nominee
Janet McTeer who really lifts the film, bringing great happiness to
Albert as her straight-talking, chain-smoking confidant.
Film source: Entertainment One
BATTLE OF THE QUEENS
UK Premiere
+ Bully for Bugs (p.91)
Dir. Nicolas Steiner Germany/Switzerland 2011 70 mins (adv PG)
subtitles Digital
Sunday 22 April IMAX & Tuesday 24 April Pictureville
A very strong contender for the title of 2011’s most beautiful
European documentary, director Steiner’s economic debut
chronicles an annual folk-festival that takes place every summer
in the Swiss Alps. Its focus is a very special tournament pitting
pairs of cows - strictly females only, hence the picture’s title against each other in an explosive, carefully-controlled form of
‘combat.’ The aim is to satisfy the watching judges - who mark
each ‘contestant’ in terms of martial-artistic impression. With
many sequences that make breathtaking use of slow motion (all
similarities to Raging Bull are, it’s safe to say, wholly intentional),
cinematographer Markus Nestroy provides a real feast for the eye.
Film source: Filmakademie Baden-Württemberg
New Features
New Features
BREAD AND CIRCUSES (Kruha in iger)
UK Premiere
+ the white mosquito (p.59)
Dir. Klemen Dvornik Slovenia 2011 94 mins (adv 15) subtitles 35mm Jurij Drevenšek, Peter
Musevski, Saša Pavcek, Jonas Žnidaršic, Zvezdana Mlakar
Friday 20 & Thursday 26 April Pictureville
The Slovenian film scene isn’t quite as buzzing as it was back in 2006, when BIFF devoted an
entire section to new movies from the Balkan/Alpine republic - but sharply ironic comedy Bread
and Circuses provides further evidence that the smallest of the ex-Yugoslav republics continues to
punch above its weight in cinematic terms. Set in the late 1980s, it revolves around the bickering
Novak family - dad played by Slovenia’s leading actor, the wonderfully schlubby Peter Musevski
- who visit the Slovene capital Ljubljana for the recording of a TV game-show. Inside knowledge
of late-Yugoslav culture and politics isn’t necessary in order to enjoy this dryly amusing - and
occasionally laugh-out-loud hilarious - skewering of showbiz hypocrisies and middle-class
pretensions, which landed four prizes at the Slovenian national film-festival last autumn.
Film source: Studio Arkadena
BEYOND THESE MOUNTAINS
(Hinter diesen Bergen)
UK Premiere
+ Handschlag (p.55)
Dir. Michael Krummenacher Switzerland/Germany 2010
76 mins (adv 15) subtitles HDCam Vera Bommer, Lucy Wirth,
Andreas Matti, Stefan Camenzind, Mario Fuchs
Thursday 26 & Friday 27 April Cubby Broccoli
On holiday from film-school, Swiss writer-director Michael
Krummenacher went home to the small lakeside town of
Schwyz with some friends and fellow-students to make
this unsettlingly tense psychological character-study. Roger
Corman would surely approve of the 27-year-old’s speed and
economy - the shooting took just over a fortnight and cost a
reported €20,000. Transcending the limitations of digital video,
Krummenacher and his cinematographer Jakob Wiessner - both
big-screen debutants - deploy a strong visual sense to take us
into the claustrophobic private world of twentysomething best
friends Heidi (Vera Bommer) and Milena (Lucy Wirth), fed up
with the suffocating blandness of their very middle-class town.
Whole combining aspects of Barbet Schroeder’s Single White
Female, Eric Zoncka’s Dream Life of Angels and the femalefocussed two-handers of Jacques Rivette, Krummenacher and
co-writer Silvia Wolkan nevertheless succeed in crafting their
own distinctive, at times darkly humorous vision of a close
friendship curdling into toxicity.
Film source: Passanten Filmproduktion
New Features
New Features
FAUST
Dir. Aleksandr Sokurov Russia 2011 134 mins (adv 15) subtitles
Digital Johannes Zeiler, Anton Adasinsky, Isolda Dychauk
Wednesday 25 April Pictureville & Saturday 28 April IMAX
Russia’s undisputed king of artistic cinema (Russian Ark, Mother
and Son, Alexandra, The Sun) now brings his idiosyncratic vision
to material previously (and famously) explored by Marlowe,
Murnau, Thomas Mann, Goethe, and Berlioz, among many
others. The result was acclaimed as an instant masterpiece by
Sight and Sound at last year’s Venice Film Festival - and the jury
agreed, awarding Faust the Golden Lion. Sokurov’s surprisingly
bawdy version of the classic tale - in which an ambitious
medieval scientist strikes a sinister bargain with a Satanic
tempter - pulls no punches in terms of erudition, grotesqueries
and opulent excess. But while this cinematic feast may seem
too richly pungent to absorb in a single sitting, a sensual feast it
most certainly is. Sell your soul for a ticket!
Film source: Artificial Eye
FLYING PIGS (Skrzydlate świnie)
UK Premiere
+ Callum (p.55)
Dir. Anna Kazejak-Dawid Poland 2010 99 mins (adv 15) subtitles
35mm Paweł Małaszynski, Piotr Rogucki, Olga Boładz
Monday 23 April Pictureville & Tuesday 24 April Cubby Broccoli
Later this year Poland - with Ukraine - plays host to the UEFA
European Championship, and let’s hope that certain scenes
depicted in the darkly comic football-hooligan drama Flying Pigs
aren’t replicated on the streets of Warsaw and Kiev. Nevertheless
this is a timely juncture to present what’s been described as
the Polish Green Street, in which a group of friends are thrown
into turmoil when their beloved club goes into liquidation. This
catastrophe forces them to confront the realities that come
with growing older, with powerful and sometimes moving
consequences.
Film source: TVP (Telewizja Polska)
FREE MEN (Les hommes libres)
+ le passage (p.57)
Dir. Ismaël Ferroukhi France 2011 99 mins (adv. 12A) subtitles
Digital Tahar Rahim, Michael Lonsdale, Mahmud Shalaby
Tuesday 24 April Pictureville & Wednesday 25 April IMAX
French-Moroccan director Ismaël Ferroukhi is known for his
moving 2004 road movie Le grand voyage, in which a father and
son take part in their Hajj pilgrimage to Mecca. Free Men, which
is based on true events, is more proof of Ferroukhi’s skill in telling
sensitive, eye-opening stories about Arab experiences in France. In
occupied Paris of 1942, young Algerian immigrant Younes (Tahar
Rahim, so memorable in Jacques Audiard’s A Prophet) agrees to
inform for the Nazis on the activities of a local Mosque, where
the Imam (Michael Lonsdale) is sheltering local Jewish people by
claiming them as Muslim. Younes is hounded and harried with
guilt, and finally confronts his dilemma after befriending Salim, a
talented singer whom he discovers to have Jewish heritage.
FIGHTVILLE
UK Premiere
+ irma (p.56)
Dirs. Petra Epperlein, Michael Tucker USA 2011
85 mins (adv 15) HDCam documentary
Friday 20 April IMAX & Sunday 28 April Cineworld
The explosive sport of Mixed Martial Arts has been one of
the fastest-growing cultural phenomena of the 21st century
- and now, after Hollywood tackled this rough-and-tumble
spectacle via Warrior, comes a documentary that gets right
under the (bruised) skin of what’s sometimes disparaged as
“cage-fighting.” But even those who know zilch about MMA
may find themselves drawn in by the irresistible personalities
who feature in this highly accessible fly-on-the-wall chronicle
from directors Epperlein and Tucker - previously responsible
for Iraq-exposé Gunner Palace and controversy-magnet The
Prisoner, or How I Planned To Kill Tony Blair. They’ve expertly
assembled a rousingly raucous look at the competitiors, trainers
and promoters in Louisiana’s burgeoning MMA scene, sheds
illuminating sidelights on “that other brutal contest, called the
American Dream.”
Film source: ro*co films international
New Features
New Features
HOW I FILMED THE WAR
UK Premiere
+ conference (p.55)
Dir. Yuval Sagiv Canada 2010 74 mins (adv 15) Digital Documentary
Friday 20 & Sunday 22 April Cubby Broccoli
Almost a century on, World War I continues to exert a terrible
fascination for audiences, historians and filmmakers alike but there’s never been a WW1 documentary like Yuval Sagiv’s
audacious debut. Sagiv ‘adapts’ the same-titled book by Geoffrey
Malins (1886-1940), who in 1916 was assigned as the British
Army’s ‘Official Kinematographer’ to record the Western Front.
Malins’ resulting film, The Battle of the Somme, became an instant
sensation, with 20 million tickets sold in Britain alone. Excerpts
from the enigmatic Malins’ 1920 memoir are directly reproduced
on-screen - original sentences, typeface and page-numbers
retained - along with analyses, punctuated with extracts from the
remarkable footage. A searching investigation into propaganda as
a ‘weapon of war’.
Film source: Yuval Sagiv
IN LOVE WITH ALMA COGAN
+ for scent-imental reasons (p.90)
Dir. Tony Britten UK 2011 tbc mins (adv 12A) HDCam/DVD (Otley)
Roger Lloyd Pack, Niamh Cusack, Gwyneth Strong, John Hurt
Monday 23 April Otley Courthouse, Tuesday 24 April Pictureville,
Friday 27 April Cineworld
A gentle, easygoing drama set at the end of a wintry Norfolk pier
that takes a view of a kind of English entertainment that’s known
to many but celebrated by few. Norman is the “past it” manager
of the council-run theatre on Cromer Pier. Around retirement age,
he’s been bored for too long, yet is stubbornly keen to broaden
his patrons’ horizons with the odd attempt at Chekhov - follies
that tend to end ruinously. The council installs a hated assistant
to help out with the programming, and Norman resolves to stage
one last show. His revival of Alma Cogan offers the chance to
return to an encounter with an unrequited love.
Film source: Capriol Films
THE LORD’S RIDE (La BM du Seigneur)
GOODBYE FIRST LOVE
(Un amour de jeunesse)
+ sudd* (p.58)
Dir. Mia Hansen-Løve France/Germany 2011
110 mins (adv. 15) subtitles Digital Lola Créton, Sebastian
Urzendowsky, Magne-Håvard Brekke, Valérie Bonneton
Saturday 21 April Cubby Broccoli (*with short)
Saturday 28 April Hyde Park Picture House
Two years ago, actress-turned-writer/director Mia Hansen-Løve
scored an international arthouse hit with the critically-acclaimed
Father of my Children - and now she returns with another
piercingly well-observed tale of a passionate relationship cut
abruptly short. At its heart it’s a love-story between Camille
(Créton) and Sullivan (Urzendowsky), who meet as inexperienced
teenagers and are quickly engulfed by amour fou: but is this
puppy-love, or the real deal? Still only 31, Hansen-Løve is widely
regarded as one of the most talented younger film-makers in
France - a reputation which Goodbye First Love looks certain to
strengthen. The delicately beautiful Créton, meanwhile - only
17 at the time of shooting - displays a maturity and range that
performers twice her age would envy.
UK Premiere
+ me or the dog* (p.57)
Dir. Jean-Charles Hue France 2010 84 mins (adv 18) subtitles
35mm Fred Dorkel, Joseph Dorkel, Michaël Dauber, Jo Dorkel
Sunday 22 April Pictureville (*with short)
Thursday 26 April Hebden Bridge Picture House
The Lord’s Ride is a total one-off, but imagine a cross between
Down Terrace, Animal Kingdom, and My Big Fat Gypsy Wedding and you’re somewhere near the territory explored by debutant
writer-director Jean-Charles Hue. The unlikely protagonist is Fred,
a caravan-dwelling, unhealthily overweight thirtysomething
enmeshed in various types of shady business - until a late-night
encounter with a mysterious being diverts him onto the path of
righteousness... A bracingly refreshing change from the glossily
slick French dramas and romances that usually dominate British
arthouses, this is a likeably weird, rough-edged diamond.
Film source: Capricci Films
New Features
New Features
I AM A GOOD PERSON / I AM A BAD
PERSON
UK Premiere
+ departure (p.55)
Dir. Ingrid Veninger Canada 2011 80 mins (adv 12A)
HDCam
Hallie Switzer, Ingrid Veninger, Jacob Switzer,
Mathieu Chesneau
Friday 27 & Sunday 29 April Cubby Broccoli
Schlepping around some of the world’s film festivals
early last year, Slovakia-born, Toronto-raised independent
film dynamo Ingrid Veninger brought her film Modra to
Bradford and BIFF 2011. In a brilliant example of creative
ingenuity, she then began filming I am a good person…
as soon as she’d touched down in Manchester. Beginning
with a disastrous fictional Q&A following an ill-judged
project to catalogue penises, Ruby (Veninger) and her everpatient daughter Sara (Modra-star Switzer) then part ways
for lonesome introspection in Berlin and seeing old friends
in Paris respectively. Of all the films in BIFF this year, none
can claim the tag “festival favourite” quite like this flintyeyed look at the hard end of the film festival experience
Film source: pUNK Films
Ingrid Veninger will attend both screenings.
New Features
DOUBLE-BILL:
HE WHOSE FACE GIVES NO LIGHT
(Aquel cuyo rostro no irradie luz)
UK Premiere
Dir. Andrea Bussmann Canada/Mexico 2011 40 mins (adv PG)
subtitles HDCam Documentary
Monday 23 April Cubby Broccoli
Monday 23 April IMAX
Ricky Gervais’ Extras brought the work of TV and film ‘background
artists’ into the foreground with hilarious results - and now
Canadian writer-director Andrea Bussmann takes a more oblique,
ambitious approach to this profession in her strikingly confident
debut He Whose Face Gives No Light. A masterclass in the art of
digital cinematography thanks to the efforts of Mexican maverick
Nicolás Pereda (director of Perpetuum Mobile, BIFF 2010), it’s
a highly unusual ‘behind the scenes’ record of a film-shoot in
Mexico City - namely, Michel Lipkes’ Malaventura (see below).
Bussmann concentrates on the elderly gents who appear in
one atmospheric bar-scene, observing them between takes and
interviewing them about their lives. The gently-paced results cast
a steadily hypnotic, and intoxicating spell.
Film source: Andrea Bussmann
+ MALAVENTURA
UK Premiere
Dir. Michel Lipkes Mexico 2011 67 mins (adv 15) subtitles HDCam
tbc Isaac Lopez, José Alfredo Martínez, Alejandra Resendis, Manuel
Valderama, Graciela Castillo
“Beckettian” is how Variety magazine’s Robert Koehler summed
up Malaventura - and he means it in a good way. Tracking an old
man (with a truly Bela Tarr-like persistence) through the streets
and bars, and porn cinemas, and taco-joints, of Mexico City on
what might be the pensioner’s last day on Earth, Critic/curatorturned-film-director Lipkes has crafted an undeniably challenging
but beautifully realised vision of modern loneliness. Selecting
Malaventura among “The 3 Rotterdam Film Festival Movies You
Must See” for IndieWire, Howard Feinstein noted that “the old
man may be nameless, but Lipkes graces him with singularity.
Alejandro de Icaza and Jose Miguel Enriquez’s chilling sound
design, Galo Duran’s funereal music and Gerardo Barroso Alcala’s
stylized cinematography contribute strongly toward enabling
Lipkes to realize his vision.”
Film source: RAMONDAParis
New Features
DOUBLE-BILL:
MARCEL OPHÜLS AND JEAN-LUC GODARD:
THE ST-GERVAIS MEETING
(Marcel Ophüls et Jean-Luc Godard,
La rencontre de St-Gervais)
UK Premiere
Dirs. Frédéric Choffat, Vincent Lowy Switzerland 2011
44 mins (adv U) subtitles HDCam
Documentary
Thursday 26 & Friday 27 April Cubby Broccoli
“Two great filmmakers reveal their faces and their smiles ... for our
happiness” - that’s how FIDMarseille chief Jean-Pierre Rehm sums
up this very special treat for all cinephiles. The form is simplicity
itself - forty-plus minutes in the company of Marcel Ophüls (The
Sorrow and the Pity, Hotel Terminus, etc) and legendary cineprovocateur Jean-Luc Godard (Breathless, Pierrot le Fou, etc) as the
pair discuss their movies, their lives, their politics and their times,
on a theatre-stage in Switzerland. Both men are on superb form,
their long-standing friendship and mutual respect allowing each
to poke plenty of fun at the other - and sometimes take each
other to task - with countless intellectual sparks being struck
along the way. Illumination and edification abound.
Film source: Les Films du Tigre
+ LA MALADIE BLANCHE
(The White Illness)
UK Premiere
Dir. Christelle Lheureux France 2011
43 mins (adv PG) subtitles HDCam tbc
Myrtille Finken, Manuel Vallade
A magical, monochrome, moonlit reverie, La maladie blanche
(“the white disease”) transports us to a Pyrenean village on a
mild midsummer night - and into the vivid imaginative world
of one little girl (Finken). As Rehm describes in the FIDMarseille
catalogue, “Myrtille is going to bed before everyone else, but not
for long - she’s awakened by a wild boar that nicely invites her to
follow him.” Rehm calls this “a film [made] of a single material:
grace. Fragile material, but here distributed unstintingly, grace
becomes the costume of childhood...” Best known for her videoinstallations, Lheureux’s has worked with 2011 Palme d’Or winner
Apichatpong Weerasethakul - whose cinematic dream-poems,
along with Jean Cocteau’s 1946 Beauty and the Beast, evidently
enrich her delicately distinctive vision.
Film source: Les Films des Lucioles
New Features
New Features
DOUBLE-BILL:
MOSCOW DIARY
UK Premiere
Dir. Adam Kossoff UK 2011 46 mins (adv PG) Digibeta tbc
Documentary
Sunday 22 & Thursday 26 April Cubby Broccoli
“Inventive and compelling” (Philip Cartelli, Film International),
Moscow Diary sees British writer-director Kossoff retracing
Walter Benjamin’s steps around Moscow - a city which he visited
in 1926-7. Benjamin’s main motivation was romantic: he was
besotted by the Latvian-Bolshevik actress and theatre-director
Asja Lacis, who exerted a major influence upon the development
of his political views. Inspired by Benjamin’s theories of art and
technology, Kossoff deploys a simple mobile-phone camera
to record his peregrinations. This allows him (and us) to
unobtrusively spy on places and people, drawing parallels with
what was, eighty-odd years ago, the capital of a confident young
Soviet Union. The voice-over is mainly taken from Benjamin’s
autobiographical texts, which combine astute observational
scrutiny of the city with awkward glimpses of his problematic
emotional life.
Film source: Adam Kossoff
+ THE ANGELS OF PORTBOU
(Les Anges de Port-Bou)
UK Premiere
Dir. Vladimir Léon France 2011 43 mins (adv PG) subtitles
HDCam
Laurent Lacotte, Elise Ladoué
Fleeing Fascist persecution in the recently-invaded France, and
fearing that he was to be handed over to the Nazis, Benjamin
committed suicide in the Catalonian coastal town of Portbou in
September 1940. Seventy years later, Parisian Benjamin-devotee
Séraphin (Lacotte) arrives in the area to complete a pilgrimage in
honour of his hero, which he has arranged with his locally-based
friend Paul. But when he arrives at the station, he’s greeted not
by Paul but by Paul’s sister Gabrielle (Ladoué) - the first of several
surprises Séraphin is to encounter along the way... A delicate
two-handed travelogue miniature, The Angels of Portbou is an
unusually beguiling kind of metaphysical love story - one in
which ideas, as well as people, reveal themselves as objects of
affection.
Film source: Les Films de la Liberté
Moscow Diary
PAPA GOLD
UK Premiere
+ jasmine (p.56)
Dir. Tom Lass Germany 2011 77 mins (adv 18) subtitles Digibeta
Tom Lass, Peter Trabner, Lore Richter, Emily Kuhnke, Jakob Lass
Sunday 22 & Tuesday 24 April Cubby Broccoli
Germany may be Europe’s richest country, but that doesn’t mean
its filmmakers all have access to mega-Euro budgets - and as
Papa Gold shows, those operating on sub-shoestring finances can
often trump their better-heeled counterparts. A debut feature, it
examines the tricky relationship between randy, commitmentphobic student Denny and his oddbod stepfather Frank who
turns up at Denny’s pigsty of a Berlin flat for an unannounced
visit. What results is an utterly candid and frank snapshot of a
self-centred, sexually uninhibited generation of young Germans.
Film source: Joroni Film
The Angels of Portbou
New Features
New Features
SING YOUR SONG
+ so much for so little (p.90)
Dir. Susanne Rostock Germany 2011
77 mins (adv 12A) Digital
Documentary
with Harry Belafonte
Friday 27 April Cubby Broccoli
Sunday 29 April IMAX
“A celebration of singer, actor and social activist Harry Belafonte,
Sing Your Song does three things only a superior bio-doc can
do,” according to John Anderson’s review in movie-biz bible
Variety. “Tell a stirring life story, place that life in the context of
its times, and portray it with the kind of depth and breadth that
makes you wonder why it hasn’t been told before.” Harlemborn, Jamaica-raised Belafonte, now a sprightly 85, has been
famous on both sides of the Atlantic since the 1950s as a singer
and movie-star (including in groundbreakers like Carmen Jones
and Island in the Sun). But in the U.S., Belafonte has long been
acknowledged for his crucial role in the Civil Rights movement as informatively and entertainingly chronicled in this Oscarshortlisted tribute.
Film source: Verve Pictures
THE RAID (Serbuan maut)
+ fast and furry-ous (p.90)
Dir. Gareth Evans Indonesia/USA 2011 101 mins (adv 18) subtitles
Digital Iko Uwais, Doni Alamsyah, Ananda George, Pierre Gruno
Sunday 22 April Cineworld
Saturday 28 April Cubby Broccoli
This rollicking, insanely action-packed combination of Die Hard,
Assault on Precinct 13 and Modern Warfare mixes the best of eastern
martial arts and western action cinema to utterly thunderous effect.
In Jakarta, Rama is a young member of a SWAT team sent into a tower
block compound where evil drugs baron Tama is sheltering a small
army of junkie enforcers. The lawmen believe that they have the
upper hand, yet they’re unprepared for the ambush that follows and
must fight their way in – and then out – of Tama’s crazed nest of vice.
Directed by Welshman Gareth Evans, this could, as the Guardian put
it. “teach Quentin Tarantino a few things about creating a cult hit”.
Film source: Momentum Pictures
New Features
New Features
A UNESCO CREATIVE CITY
City of Film special screening
In a collaborative exchange between the first two UNESCO
Cities of Film, Bradford and Sydney will this year host one
short and one feature film from each other’s Film Festival
programmes. The following were shown at Sydney Film
Festival in 2011:
TOOMELAH
Dir. Ivan Sen Australia 2011 106 mins (adv 15) subtitles Digital
Michael Connors, Daniel Connors, Dean Daley-Jones, Danieka Connors
Thursday 26 April Pictureville
Sydney Film Festival’s feature selection for this screening organised to
celebrate the Australian metropolis joining Bradford as a UNESCO City
of Film is Toomelah, which aptly enough won the UNESCO Award at the
Asia Pacific Screen Awards last year. Selected for the Cannes, prestigious
Un Certain Regard section, it’s a tale of childhood set in the eponymous
Aboriginal community and featuring a cast of non-professional juniors.
As the SFF catalogue notes, “this is the country where director Ivan Sen’s
mother grew up and his deep personal connection to the place is palpable
throughout this confronting, brutally honest dramatic feature... Raw,
intimate, and laced with humour, Toomelah seamlessly intertwines issues
like the Stolen Generation, substance abuse and cultural erasure with an
everyday story about one boy caught in the downward spiral.”
Film source: Visit Films
+ AT THE FORMAL
UK Premiere
Dir. Andrew Kavanagh Australia 2011 8 mins (adv. 15) HDCam
Anthony Littlechild, David Macrae, Pauline Streatfeild
Graduating year 12 students in formal attire, their parents and teachers,
mill around the grounds and car park of a hall in the twilight. At first glance,
it looks like the normal proceedings of a school formal. Parents get photos
with their children, clusters of 18 year olds chat excitedly and one boy is
hoisted on the shoulders of his friends. But as time goes on, the observation
of uncanny moments hint that things may not be exactly as they seem.
Film source: Ramona Telecican
New Features
New Features
VOLCANO (Eldfjall)
+ 663114 (p.54)
Dir. Rúnar Rúnarsson Iceland 2011 95 mins (adv 15) subtitles
35mm Theodór Júlíusson, Margrét Helga Jóhannsdóttir,
Þorsteinn Bachmann, Ágúst Örn B. Wigum
Sunday 22 April Hyde Park Picture House
Tuesday 24 April Pictureville
Built four-square around veteran Theodór Júlíusson’s superbly
nuanced performance as a crotchety widower, Volcano - winner
of prizes at film festivals from Sao Paulo to Transylvania - is the
latest cinematic success story from a country steadily emerging
from geological and financial upheavals. And while the title
carries inevitable resonances of ash-spewing Eyjafjallajökull,
it’s used here in a more metaphorical sense - hinting at the
dormant passions lurking beneath the flinty exterior of long-
serving schoolteacher Hannes (Júlíusson). Hannes’ surly
Nordic toughness is tested first by his tricky transition to
retirement, and then by a sudden bereavement that forces
him to belatedly confront his misanthropic ways. Beautifully
shot by Sophia Olsson, this is a strikingly mature featuredebut by writer-director Rúnarsson - an elemental canvas of
windswept, stark power.
Film source: Danish Film Institute
VIKINGLAND
(Terra de Vikingos)
UK Premiere
+ modern no. 2 (p.57)
Dir. Xurxo Chirro Spain 2011 99 mins (adv 12A)
subtitles Digibeta Documentary
Tuesday 24 April Impressions Gallery
Among the weirdest - and most wonderful - BIFF selections in
recent years must be Vikingland, a found-footage compilation
taken from VHS tapes shot on (and around) a ferry that
sailed the North and Norwegian Seas in the early 90s. The
‘cameraman’, Galician deckhand Luis Lomba, is no expert, and
it takes him a little while to get the hang of his camcorder. But
after initial japery with his camera-shy colleagues, something
stranger and more remarkable starts to take shape. As the
‘Vikingland’ heads north into icy seas, Luis’s happy-go-lucky
exterior gradually reveals a more complex, unusual individual
- especially when he’s alone in his cabin with only his camera
for company... An archivist for his local TV station, Luis’s fellow
Galician Xurxo Chirro stumbled across tapes containing 16 hours
of material, which he then edited into ‘chapters’ inspired by
Herman Melville’s Moby-Dick (and perhaps also the seafaring
tales of Joseph Conrad). The result is an elemental journey into
the nature of bygone images, and also a chartless navigation
into the meaning of creative authorship.
Film source: Xurxo Chirro
New Features
New Features
WE ARE POETS
+ dying every day (p.55)
Dirs. Alex Ramseyer-Bache, Daniel Lucchesi UK 2011 80 mins
(adv 12A) Digital Documentary
Wednesday 25 April Pictureville
Six teenage members of the performance poetry collective
Leeds Young Authors travel to Washington D.C. to compete in
poetry contest Brave New Voices, where they must somehow
stay true to their own complex, uniquely British poetry
whilst grappling the ‘he who shouts loudest’ mode of the
competition. Brimming with ideas and yes, with excellent
poetry, each member of Leeds Young Authors has much to
tell us all about being young, and living here and now. An
inspirational film, and ample proof if it were ever needed
that words can indeed uplift and change lives.
Alex Ramseyer-Bache and Daniel Lucchesi will attend the
first screening.
Film source: V.O.N Films
The screening on Friday 20 April will be followed by a
performance by Leeds Young Poets – see page 113
New Features
IN THE BLINK OF AN EYE:
MEDIA AND MOVEMENT
A NEW EXHIBITION AT THE NATIONAL MEDIA MUSEUM
9 March - 2 September 2012 . Free Entry
Gus Solomons, 1960, Harold Edgerton © Harold & Esther Edgerton Foundation, 2012,
courtesy of Palm Press, Inc.
WRINKLES (Arrugas)
+ the bear that wasn’t (p.93)
Dir. Ignacio Ferreras Spain 2011 89 mins (adv 12A) subtitles
35mm voices: Álvaro Guevara, Tacho González, Mabel Rivera
Sunday 22 & Thursday 26 April Pictureville
“Funny and heartbreaking” - that’s how The Guardian’s chief film
critic Peter Bradshaw encapsulated this outstanding Spanish
animation when including it among his 2011 top five for Sight &
Sound magazine. Primarily aimed at adult audiences, it’s the tale
of retired former bank-manager Emilio (Guevara), experiencing
the onset of Alzheimer’s Disease. He moves into a care-home
for senior citizens, where he’s shown the ropes by crafty
Argentinian resident Miguel (Gonzalez). Based on Paco Roca’s
much-acclaimed graphic novel, it’s been beautifully brought
to the screen using classic ‘cel’ (rather than CGI) techniques
by debutant director Ignacio Ferreras. Justifiably shortlisted in
the animated feature section of the Oscars, Wrinkles deploys
sensitivity, tact and wry humour to accessibly address some
complex, universal and increasingly urgent issues.
Film source: 6SALES
In the Blink of an Eye is part of New Worlds which is
a strand of imove, a Cultural Olympiad programme
in Yorkshire. www.imoveand.com
New Shorts
Brotherhood
New Shorts
New Shorts
CALLUM
Dir. Michael van der Put UK 2011 14 mins Digibeta
James Tarpey, Alice Harding, Robert Glaser
When his girlfriend Joanna is killed at a local train station, Callum
struggles to cope with feelings of guilt, grief and fear. Finding
himself increasingly isolated and with the police starting to ask
questions, Callum must look for the courage to do the right thing.
CONFERENCE
UK Premiere
Dir. Norbert Pfaffenbichler Austria 2011 8 mins (adv 12A) 35mm
663114
Adolf Hitler: “the 20th century figure portrayed most often
in film and on television is for many great actors a dream
role”, as German critic Olaf Möller notes. Acclaimed Austrian
experimentalist Pfaffenbichler’s latest interrogation of the power
of the image cleverly cuts together dozens of screen Hitlers saving the very best (a certain knighted Brit thesp) till last.
Dir. Isamu Hirabayashi Japan 2011 7 mins (adv 12A) subtitles
HDCam
A 66-year-old cicada tells his/her story - one which is affected by
certain recent events in his/her country which made international
headlines. A beautiful, cumulatively heartbreaking example of
Japanese animation at its brilliant best (see also Mirai Mizue’s
Modern No.2 page 57).
A TO A
DEPARTURE
A to A
UK Premiere
Dir. Johann Lurf Austria 2011 5 mins (adv U) 35mm
Dying Every Day
(Morir cada dia)
Dir. Aitor Echeveria Spain 2010 13 mins Subtitles HDCam
Andrea Trepat, Paula Vives, Txema Blasco
SHINE SHORT FILM COMPETITION
Ab Morgen
Dir. Rafael Wallner & Stefan Elsenbruch Germany 2011 Subtitles
24 mins Blu-ray
Anno Köhler, Adem Smailhodzic, Helmfried von Lüttichau
Blanca is not willing to let her family enjoy a quiet dinner. The
conversation is boring and she is irritated by the same old jokes.
She knows that things could be different, and she is desperate to
reveal something about her mother.
Conference
THE HALF LIGHT
Dir. Prasanna Puwanaraja UK 2011 12 mins HDCam
David Haig, Henry Goodman, Harry Lloyd
Christoph travels to an eastern European country for an illegal
transplant operation, but finds himself sharing a hospital room
with his living donor.
A man searches for a simple beacon of tungsten light in a
darkened world that is under-lit by energy-saving bulbs.
BROTHERHOOD
HANDSCHLAG
Dir. Matt Taabu UK 2010 14 mins Digibeta
Abdulla Gurlek, Phillip Arditti
UK Premiere
Dir. Gregor Frei Switzerland 2011 19 mins Subtitles HDCam
Manfred Liechti, Markus Schrag, Velid Kurtanovic
Two Kurdish brothers with very different outlooks struggle to
adapt to their new life in the UK. Rafiq does what he can to
survive, while Ibrahim takes the moral high-ground. When their
individual actions collide, it’s up to them to find a way to accept
each other for what they are.
Departure
Rudy spends most of his time alone, except for the ball games
he plays in the evening with his friend and co-worker Martin.
When Asim, a bright young apprentice appears at their building
yard, this friendship gets tested and Rudy must take a difficult
decision.
Brotherhood
Dir. Duncan Christie UK 2011 17 mins Digibeta
James Lance, Camilla Rutherford
Following a long period of deep space exploration, two
astronauts onboard a space shuttle face an agonising decision
when much of their water supply is lost during their return
journey to Earth.
The latest experimental mind-bender from Austrian enfant
terrible Lurf, who dazzled us at last year’s BIFF with the Space
Shuttle mini-epic Endeavour. Transport remains Lurf’s focus but now he’s staying rather closer to home with this survey of
the many, many, many roundabouts to be found in the town of
Wiener Neustadt.
AB MORGEN
(Here, Now and Tomorrow)
Callum
The Half Light
New Shorts
New Shorts
HUGIN AND MUNIN
KINDERSPIEL
(Child’s Play)
International Premiere
Dir. Elisa Pirir Ruiz Norway 2010 3 mins (adv U) subtitles HDCam
Thomas Grov Eilertsen, Karoline Næs Sletteng
Dir. Lars Kornhoff Germany 2010 17 mins Subtitles HDCam
Neil Belakhdar, Chiara Von Galli, Phillip Moog
High-school romance takes on a timeless air of Nordic mythology
- the original Hugin and Munin were ravens, sent forth by Odin to
fly around the world - in this fleeting but unexpectedly moving
debut from a young Guatemalan writer-director (just 20 when
she made the film) now based in Norway.
16 year old Leon takes desperate measures to spend a day with
his young son, Max, but discovers along the way that he is really
still a child himself.
LE PASSAGE
(The Passage)
HUMILIATED AND OFFENDED
(Humihados e ofendidos)
Dir. Fabien Montagner France 2011 18 mins Subtitles Digital
Cindy Colpaert, Pierre Hatat, Vernon Dobtcheff
Dirs. Salvador Palma & Dany Horiuchi Ferreira
Portugal 2010 18 mins (adv 12A) subtitles HDV
Fernando Taborda, Alexandra Freudenthal, Eloy Monteiro
A pensioner with Alzheimer’s disease escapes his carers,
wandering through town and country in search of home - with
his concerned relatives in (fairly) hot pursuit. Winner of the top
prize at last summer’s Nordic Youth Film Festival in Tromsø (Arctic
Norway) this is a boldly original vision of social dysfunction.
A lonely teenager lives with her grandfather and his dog. One day
whilst out walking, she has a strange adventure that reveals a
dark moment of her family’s history.
Modern No.2
ME OR THE DOG
Le Passage
Dir. Abner Pastoll UK 2011 14 mins Digital
Edward Hogg, Kemi-bo Millar, Martin Clunes (voice)
IRMA
Dudley says Kelly is cheating on Tom. Dudley says he’ll prove it.
The problem is, Dudley is Tom’s dog.
Dir. Charles Fairbanks USA 2011 12 mins (adv 12A) subtitles
HDCam Documentary
MODERN NO.2
An intimate musical portrait of Irma Gonzalez, the former world
champion of Women’s Professional Wrestling. Now a somewhat
stiff-jointed pensioner, she can still strike an impressive pose or
five at her local gym in Mexico City - and she can also still belt
out a tune or two...
UK Premiere
Dir. Mirai Mizue Japan 2011 8 mins (adv U) HDV
Old-school animation and syncopated jazzy rhythms combine
in the most joyous eight minutes of cinema you’ll see all year.
It’s a feat of hyperkinetic multi-coloured bedazzlement from
one of Japan’s most widely-admired animators (see also Isamu
Hirabayashi’s 663114), whose previous work was showcased at
BIFF’s sister-festival Bradford Animation Festival.
JASMINE
UK Premiere
Dir. Sonia Castang UK 2011 12 mins HDCam
Natalie Gavin, Frieda Thiel, Tosin Cole
Hayley looks after her sister Jasmine who has Down’s syndrome.
However, Hayley is the one with all the problems, and Jasmine is
the one looking out for her.
Kinderspiel
Irma
Jasmine
Me or the Dog
NEGATIVE
UK Premiere
Dir. Yoav Hornung Israel 2011 16 mins Subtitles Digibeta
Tchia Danon, Oren Hod, Almog Klein
After taking his photograph in the park, an older woman is given
attention by a much younger man, despite the presence of her
beautiful young granddaughter.
Negative
ORA ET LABORA
UK Premiere
Dir. Aaron Arens Austria 2011 8 mins (adv 12A) subtitles HDCam
Florentin Groll, Tobias Voigt, Petra Staduan
What can a whisky-guzzling, cigarette-wolfing old geezer in a
dusty flat possibly have to do with the seven deadly sins? Find
out in this wickedly funny, provocatively nightmarish satire from
a young Austrian director/co-writer who’s our tip for the very top.
Ora et Labora
New Shorts
New Shorts
The White Mosquito
(Die Weiße Mücke)
REVELATIONS
Dir. Matthew Docherty UK 2011 6 mins HDCam
Daniel Caren, Brooks Livermore
WORLD Premiere
Dir. Marco Gadge Germany 2011 16 mins Digibeta
Carsten Strauch, Fritz Roth, Thomas Koch
Chris has been dreaming of the desert. Louis is obsessed with
Chris. When they meet in the street, all hell breaks loose.
SHRAPNEL
Dir. Robert March UK 2010 12 mins (12) Digibeta
Steve Evets, Becky McIntyre
Revelations
An ex soldier has a chance meeting with a young woman on a
train and discovers that he is talking to his long lost daughter.
Memories and hopes combine to take him on a painful journey
into his past, and force him to face the biggest decision of his life.
THE WORLD TURNS
Dir. Nick Ray Rutter UK 2011 18 mins HDCam
Ricci Harnett, Frances Albery
SUDD
(Out of Erasers)
Van driver Kevin commits a fatal hit and run against a cyclist.
Without any witnesses, he tries to bury the incident and seeks
refuge in a new relationship with Leanne, a waitress from a
nearby café.
Dir. Erik Rosen Lund Sweden 2011 15 mins 35mm
Frida Jansdotter, Björn Söderbäck
A girl tries to escape from a strange phenomenon in the town, a
plague that turns everything in its path to paper. Her only hope
is to hold on to her eraser.
In a quiet provincial town two lazy policemen, Schraube and
Wattner, lead a contemplative life on their beautiful lakeside
patch. When Mayor Billing has an ominous development idea,
the two policemen have to use some unusual tactics to prevent
them from losing their private idyll.
Sudd
The World Turns
THEORY OF COLOR
Dir. Emilie Blichfeldt Norway 2011 11 mins (adv 15) Digital
Torstein Ivarsson Bjørklund, Maja Bohne Johnsen, Ketil Høegh,
Maria Louise Hanssen
One chaotic day in Manhattan, as seen through the tired eyes
of a middle-aged beat-type writer struggling for inspiration. A
smart, sharp look at the creative process from the multi-talented
Craig Butta - see his hilarious cameo ‘Norton the Bully’ in Alex
Ross Perry’s The ColorWheel, p.78
Theory of Color
Spellman Walker are
delighted and extremely
proud to be associated with
The National Media Museum.
In particular, as printers and
sponsors of this catalogue,we
wish the 18th Bradford Film
Festival every success.
THOSE WHO CAN
Dir. Steven Hillman UK 2011 10mins Digibeta
Lee Halden, Eve Steele
Told in fractured flashbacks, we see worn-down school teacher
Des Prater suffer repeated homophobic taunts from his
disruptive pupils. And eventually, he cracks…
PROUD TO
SUPPORT
The 18th Bradford Film Festival
This brochure is printed on paper which is
proudly donated by Antalis McNaughton.
Suppliers of printing papers, office
papers, packaging, sign & display
materials, creative papers and lots more
Those Who Can
TRADING LICKS
For more information:
Dir. Adrian Tanner UK 2011 13 mins Digibeta
Roger Allam
Graphica House, Chase Way,
Bradford BD5 8SW
Legendary aging guitarist Quentin Ball has developed acute
stage fright, but a domestic incident and an encounter with an
obsessive fan force him to play for an audience once again.
Tel: 01274 722555
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Trading Licks
The Rag Trade
Special Guests
It really has been a Lifetime of Achievement for this year’s BIFF
Lifetime Achievement honouree Barbara Windsor, MBE - or
should that be lifetimes plural? - so much has she packed
into what has been one of the most varied and prolific of
showbusiness careers. On stage since 1950, in our cinemas since
1954 and on television since 1957, Barbara - as hardly anyone
calls the lady best known simply as Babs (with all respect to
that trans-Atlantic latecomer Ms Streisand) - provides a living,
breathing definition of that much-abused term “national
treasure.”
After bursting to prominence (saucy!) in the Carry On films - no
fewer than nine in total, starting with Carry on Spying in 1964 Barbara cemented her position as a much-loved figure in British
popular culture thanks to her 16 years playing Peggy Mitchell in
EastEnders, walking away from Albert Square in 2010 with her
head held high and an unchallenged reputation as what the Daily
Mail called “the show’s biggest legend.”
Special Guest:
Barbara Windsor
supported by
But there’s much more to Barbara Windsor - a real-life East
Ender - than ‘Busty Babs’ and pint-pulling Peggy: in 1964 she was
nominated for Best British Actress at the BAFTAs among no less a
quartet Sarah Miles, Dame Edith Evans, Julie Christie and Rachel
Roberts. The film was Sparrers Can’t Sing, the only picture directed
by legendary theatreworld maverick Joan Littlewood, with whom
Barbara worked in the seminal Theatre Workshop on plays such
as Oh! What a Lovely War.
That play’s success saw Barbara dazzle New York, where she also
appeared on the Tonight show and was excitedly hailed by one
Stateside publication as “a stunning sexpot (measurements 3822-35) with a remarkable platinum poodle-pompadour (not a wig
either)... Britain’s talented answer to Judy Holliday”
From Gloria in The Rag Trade to a raunchy landlady in the bizarre
Pet Shop Boys movie It Couldn’t Happen Here, a Peggy Mitchell
cameo in Dr Who and the voice of the Dormouse in Tim Burton’s
Alice In Wonderland, Barbara’s irrepressible personality and
trademark volcanic laughter have ensured this little lady has
long been one of the most recognisable faces - and voices - in the
country.
Sparrers Can’t Sing and Carry on Spying are included - along with
Crooks In Cloisters - in our three-film homage to Barbara Windsor,
who will be coming to Bradford to talk about her work and her
colourful life. We hope you can join us in welcoming a living
legend of the screen(s) who, while she may not actually be related
to HM Queen - she was actually born Barbara-Ann Deeks! - is
truly the genuine article when it comes to showbiz royalty.
SCREENTALK: BARBARA WINDSOR
Friday 20 April, 7.30pm, Pictureville
approx. 60 minutes
Barbara Windsor will be in conversation with
BIFF Co-Director Neil Young.
All tickets £12.50 (Includes screening of Sparrers Can’t Sing,
which will follow immediately after the screentalk)
Barbara Windsor See also TV Heaven, p.116
CARRY ON SPYING + Bad Day at cat rock (p.92)
Dir. Gerald Thomas UK 1964 87 mins (U) 35mm
Kenneth Williams, Barbara Windsor, Bernard Cribbins
Sunday 22 April Cubby Broccoli & Tuesday 24 April Pictureville
Of Barbara Windsor’s nine Carry On escapades, her revealing
outdoor calisthenics in Carry on Camping may provide her most
famous big-screen moment of all. But it’s Carry On Spying, her
debut in the series and the last to be shot in black-and-white, that
gives her most to do altogether (and in the altogether!). While
primarily a cheeky low-budget spoof of the James Bond movies
- which had only kicked off two years before with Dr No - there
are also mickey-takes of Casablanca, The Third Man and various
espionage pictures as four bumbling Secret Service agents,
including Windsor’s ‘Daphne Honeybutt’, are dispatched to Vienna
and Algiers to tackle the nefarious menace of STENCH. Three
decades before Austin Powers, Carry On Spying is widely regarded
as one of the slickest and most satisfying of the Carry On lot.
Film source: StudioCanal
APPLAUDING
THE EXCEPTIONAL.
CROOKS IN CLOISTERS + Gee Whiz-z-z-z-z-z-z (p.92)
Dir. Jeremy Summers UK 1964 98 mins (U) 35mm
Ronald Fraser, Barbara Windsor, Bernard Cribbins, Wilfrid Brambell
Friday 20 April Cubby Broccoli & Thursday 26 April Pictureville
Coutts, experts in entrepreneurial advice, are proud
to sponsor the Bradford International Film Festival.
With a once-in-a-lifetime cast - see if you can spot big-screen
debutant Corin Redgrave, a teenage Francesca Annis and Arnold
Ridley (of The Ghost Train and Dad’s Army fame) - this lively romp
stars Barbara Windsor as ‘Bikini’, a role originally earmarked for a
previous blonde Brit bombshell, Diana Dors. She’s the busty cohort
of a gang of forgers who, after pulling off a decidedly small-scale
train-robbery, scarper to an island off the Cornish coast where they
pose as monks in a disused monastery. Father Ted meets Cul-de-sac
and Black Narcissus (sort of) as the hapless gangsters discover the
tranquil joys of monastic life - but old ‘habits’ do die hard... Shot in
glorious Technicolor by ace cinematographer Harry Waxman of The
Wicker Man and Brighton Rock fame.
SPARRERS CAN’T SING + Feed the Kitty* (p.91)
Dir. Joan Littlewood UK 1963 94 mins (PG) 35mm
James Booth, Barbara Windsor, Roy Kinnear, George Sewell
Friday 20 & Wednesday 25 April Pictureville
*Feed the Kitty showing Wednesday 25 April only
Barbara Windsor nabbed a BAFTA nomination for this hard-knock
comedy set and filmed around the mean(ish) streets of Stepney
- the only film directed by the brilliant theatre-land provocateur
Joan Littlewood. She’s the epitome of Cockney resilience as
Maggie, a young mum who moves in with bus-driver Bert
while her no-good husband is away at sea. When hubby Charlie
returns home, he looks for his errant missus in a London which is
changing beyond all recognition - tower-blocks replacing terraces
- before his eyes. Featuring a final-reel cameo by none other than
the Kray Twins, this was written by Stephen Lewis - ‘Blakey’ from
On the Buses, who also pops up in a minor role - based on his own
stage-play, and kicks off with a hauntingly bitter-sweet themetune warbled in inimitable style by Babs herself.
Special Guest:
Ray Winstone
“I’m the daddy now!” - Ray Winstone was 20 when he first
uttered that now much-quoted line, in the 1977 television
version of director Alan Clarke’s borstal classic Scum. And, three
and a half decades later, the Emmy-winning and dual BAFTA
nominee remains for many British actors and audiences the
unchallenged “daddy” thanks to his performances in films like
Sexy Beast, Nil By Mouth, The War Zone and in his ceaselessly
prolific TV work.
Born in Hackney in 1957, Raymond Andrew Winstone was raised
in London’s East End before moving to the northern suburb of
Enfield at the age of seven. After a torrid spell at stage-school this
movie-mad schoolboy boxing champ (Ray represented England in
the ring), had pretty much given up on acting - until Alan Clarke
spotted him swaggering down a BBC corridor while casting Scum.
And he’s never looked back. Ray has worked with some of the
biggest and best directors in the business - Ken Loach, Robert
Zemeckis, Steven Spielberg - and twice each for both Anthony
Minghella and Martin Scorsese who, after employing him as one
of Jack Nicholson’s henchmen in The Departed gave him a pivotal
role in last Christmas’s 3-D extravaganza Hugo. The festive season
also saw Ray fulfill a lifelong dream by playing Magwitch in the
BBC’s acclaimed Dickens adaptation Great Expectations. This
performance earned the actor some of the most admiring notices
of his career: “a brilliant Magwitch,” purred The Guardian, “rough
and gruff and terrifying, but with just a twinkle of kindness and
humanity under the mud and the blood.”
Ray Winstone is so seldom off our screens, either big or small –
Ray’s giant disembodied head currently spouts the latest betting
odds on a bookie’s TV adverts - that it’s easy to take him for
granted. But that would be a serious mistake. Take a look at the
films we’ve specially assembled to mark his visit to Bradford – it’s
a list that full of the kind of consistent, unfussy excellence that
many a starrier actor would give their eye teeth for. You’ll see
than why we’ve been describing him as the British equivalent
of US heavyweights Nick Nolte, Jeff Bridges and Brian Denney
These men have presence, gravitas, force and the air of lived-in,
hard-won reality that just can’t be taught, plus a certain kind of
rare, old-school machismo that’s much more complex than their
dominating physiques might suggest.
Whenever Ray Winstone is on screen, it’s impossible to take your
eyes off him. You just wouldn’t dare.
supported by
SCREENTALK: RAY WINSTONE
Saturday 21 April, 7.30pm Pictureville
approx. 60 minutes
Ray Winstone will be in conversation with Culture Show and BBC
Radio 5 Live film reviewer Mark Kermode.
All tickets £12.50 (includes screening of That Summer, which will
follow immediately after the screentalk)
See also TV Heaven, p.117
Ray Winstone
BEOWULF + Rabbit Fire (p.90)
Dir. Robert Zemeckis USA 2007 116 mins (12A) IMAX 3D
Voices: Ray Winstone, Anthony Hopkins, John Malkovich
Friday 20, Saturday 21 & Thursday 26 April, IMAX
“I am Beowulf - and I’m here to kill your monster!” So roars a
motion-captured Ray Winstone - his computerised ‘avatar’ here
a towering, six-packed Adonis - in Hollywood’s eyepopping 3D
IMAX adaptation of the Scandinavian saga. Only a man with hits
like Forrest Gump, Who Framed Roger Rabbit, and the Back to the
Future trilogy could have convinced the moneymen to bankroll
such a wildly unlikely blockbuster. But Robert Zemeckis’ all-star
version, written by Neil Gaiman and Roger Avary, is remarkably
close to the tone and content of the original, making Beowulf
that rare combination of brain and brawn. In his glowing review,
revered US critic Roger Ebert hailed Winstone - whom he called
“the great British character actor” - as “the very model of a
medieval monster slaughterer.” Epic!
Film source: Warner Brothers
FANNY & ELVIS + For scent-imental reasons (p.90)
Dir. Kay Mellor UK 1999 111 mins (15) 35mm
Kerry Fox, Ray Winstone, Ben Daniels, David Morrissey, Jennifer
Saunders
Sunday 22 April Hebden Bridge Picture House
Proof that there’s much much more to Ray Winstone’s
filmography than tough London-centric crime-dramas, this is a
sprightly rom-com set and filmed in leafy Hebden Bridge! To date
the only movie directed by Band of Gold creator Kay Mellor - who
also wrote the screenplay - it cleverly plays upon Ray’s established
screen image as a loudmouthed, brutish Cockney. Here he’s Dave,
a garage-owner whose wife runs off with a local teacher - leaving
the latter’s spurned wife Kate (Shallow Grave’s Fox) in need of a
lodger. Kate’s also in need of a man to get her in the ‘family way’
before her impending 40th birthday. Perhaps Dave can oblige on
both fronts..? A classy cast and picturesque settings combine to
memorable effect in this rough diamond of a romance.
Film source: National Media Museum
LADIES AND GENTLEMEN, THE FABULOUS
STAINS + one froggy evening (p.92)
Dir. Lou Adler USA 1981 87 mins (15) 35mm
Diane Lane, Ray Winstone, Marin Kanter, Laura Dern, Fee Waybill
Sunday 22 April Pictureville
A bona-fide five-star punk-rock cult-classic, Ladies and Gentlemen,
the Fabulous Stains is an early career-highlight that many of
Ray Winstone’s fans have probably never even heard of. And
that’s unsurprising: this hilariously cutting satire of the music
business was barely shown in cinemas. A lean, youthful,
bequiffed and leather-jacketed Ray is Billy, snarling lead-singer of
The Looters – which comprises Paul Simonon of The Clash, and
Steve Jones and Paul Cook from the Sex Pistols, no less. Touring
some unglamorous US backwaters, they’re quickly upstaged by
their scrappy No-Wave girl-power support-act The Stains. Cue
romance, heartbreak, and Mr Ray Winstone as you’ve almost
certainly never seen him before...
Film source: Moving Image Archives - UNCSA
Ray Winstone See also TV Heaven, p.117
See also TV Heaven, p.117
NIL BY MOUTH + Hugin and Munin (p.56)
SEXY BEAST + rabbit seasoning (p.91)
Dir. Gary Oldman UK 1997 128 mins (18) 35mm
Gary Oldman, Kathy Burke, Charlie Creed-Miles, Laila Morse
Wednesday 26 April Pictureville
Dir. Jonathan Glazer UK 2000 88 mins (18) 35mm
Ray Winstone, Ben Kingsley, Amanda Redman, Ian McShane,
James Fox
Saturday 21 April Cubby Broccoli & Wednesday 25 April Cineworld
Tinker Tailor Soldier Spy may have finally landed Gary Oldman with
his first Oscar nomination earlier this year, but the outstanding
British actor already has two BAFTAs on his mantelpiece - Best
British Film and Best Original Screenplay - for this searing
depiction of violent, abusive family life in south east London,
partly inspired by his own experiences of growing up the hard
way. Winstone, who plays the drug-abusing, wife-battering ‘Ray’
has described Oldman’s script as “the best thing I’ve ever read”
and Oldman himself as “a genius, which is not something I say
lightly.” With its graphic depictions of degradation and violence,
Nil By Mouth is by any standards a harrowing movie - but it is also
superb, and has become recognised as one of the key British films
of the last 20 years.
Film source: 20th Century Fox
Back in 2000, two aspects of Sexy Beast caught most attention:
expletive-spitting, Oscar-nominated Ben Kingsley as as psychotic
crime-boss Don Logan - who arrives in Spain to force safecracker
Gal (Winstone) out of poolside retirement; and the flashily bold
style of director Jonathan Glazer. A dozen years later, both aspects
hold up startlingly well - but Winstone’s nuanced turn as the
world-weary, anything-for-a-quiet-life Gal also emerges as being
no less praiseworthy. Gary ‘Gal’ Dove is surely one of the most
memorable of all Winstone’s characters, in a career studded with
dozens of candidates. And the film itself, a precisely modulated,
darkly humorous study of macho psychology, ranks among the
finest he’s been involved with.
Film source: Park Circus
THE PROPOSITION + Drip-along daffy (p.91)
THAT SUMMER + Rabbit of Seville* (p.90)
Dir. John Hillcoat Australia/UK 2005 104 mins (18) 35mm
Guy Pearce, Ray Winstone, Emily Watson, Danny Huston, John Hurt
Tuesday 24 April Cubby Broccoli & Friday 27 April Cineworld
Dir. Harley Cokeliss UK 1979 94 mins (15) 35mm
Ray Winstone, Emily Moore, Julie Shipley, Tony London, Jon Morrison
Saturday 21 April Pictureville & Thursday 26 April Cubby Broccoli
* Rabbit of Seville showing on Thursday 26 April only
Winstone’s magnificently controlled, award-winning performance
in this stunning, grisly Outback revenge-western prompted the
USA’s leading film-critic Roger Ebert, a vociferous Ray-fan, to dub
him “one of the best actors now at work in movies.” And it’s also
one of the films Ray himself is the most proud of. He plays Captain
Stanley, an English lawman who becomes obsessed with “civilising”
the rugged Australia of the 1880s in general, and with catching
three criminal brothers in particular - the notorious, murderous
Burns brothers. Grim consequences are the result for all, thanks
to an uncompromising screenplay written by murder-ballad
devotee, singer Nick Cave - who also lends his distinctively doomy
contributions to the film’s pungently atmospheric score.
Film source: Palisades Tartan
SCUM + shrapnel (p.58)
Dir. Alan Clarke UK 1979 97 mins (18) 35mm
Ray Winstone, Mick Ford, Phil Daniels, John Blundell, Julian Firth
Friday 20 April Pictureville
Saturday 21 April Hyde Park Picture House
More than three decades on, borstal exposé Scum is a modern
classic that still hits us with the power of a sock filled with
snooker balls - the improvised weapon wielded by new-boy Carlin
(Winstone) in one of this enduringly famous film’s numerous
indelible scenes. Brilliantly iconoclastic director Alan Clarke
(Elephant, Made In Britain, The Firm) and scriptwriter Roy Minton
lay bare the counter-productive cruelties of what would now be
termed a ‘Young Offenders’ Institute’. Their original 1977 version
was produced for the BBC but never screened - hence this big-screen
‘remake’, which is longer, tougher and bloodier. But common to both
is the central, phenomenal performance of swaggering intensity –
and unexpected vulnerability - from the young Winstone.
Film source: bfi
Ray Winstone
Often described as an unofficial sequel to Scum – Winstone’s main
character Steve is fresh from Borstal - the rather gentler-toned That
Summer holds special memories for Ray as he met his future wife
Elaine during filming. It also notched him his first major award
nomination, in the BAFTAs’ now-defunct category ‘Most Promising
Newcomer to a Leading Film Role.’ (He was one of two “losers,” the
other being a certain Sigourney Weaver for Alien!) The Torquay-set
Last Summer follows a pair of northern lasses who travel south to
work as hotel chambermaids - where they meet rough-diamond
Steve and enjoy various scrapes and adventures. A nostalgic
snapshot of late-1970s Britain, as seen through the ‘outsider’ eyes
of San Diego-born, Chicago-raised Cokeliss.
Film source: Harley Cokeliss
THE WAR ZONE + Negative (p.57)
Thursday 26 April Pictureville
Dir. Tim Roth Italy/UK 1999 99 mins (18) 35mm
Ray Winstone, Lara Belmont, Freddie Cunliffe, Tilda Swinton,
Colin Farrell
Actor Tim Roth’s first film (Like Gary Oldman, Roth has yet to
follow his brilliant debut) stunned audiences in 1999 with its
unstinting depiction of an awful sexual betrayal in an otherwise
’normal’ family. Dad and Mum (the characters are never named)
move their teenage children Jessie and Tom from London to a
new home in weathered and isolated Devon. Young Tom witnesses Dad and Jessie in the worst situation imaginable, and has
the courage to confront Dad. A film with a keen sense of dreaded
place, this is one of the saddest you could ever see. Nevertheless its sincerity, not least in Ray Winstone’s totally compelling
portrayal of a father in utter denial, will stop you in your tracks.
Film source: Park Circus
Special Guest:
Olivier Assayas
Olivier Assayas
Olivier Assayas
Supported by
Olivier Assayas’ films have a way of keeping you on your toes.
At first glance, they might seem at part of a tradition of French
cinema that British audiences know well (large social scenes,
characters falling in and out of love). Yet they always include
much more. There’s a spirit of adventure to Olivier Assayas:
his films create invigorating cultural clashes that force his
characters to meet the world head on. So Irma Vep is a semiimprovised satire about a Hong Kong action star working in the
decidedly strange world of a pretentious French art film. And the
monumental crime drama Carlos, made as a five-and-a-half-hour
TV serial for French television, moves constantly between dozens
of international locales, always adjusting, always moving. Irma
Vep and Carlos are very different films (in fact no two Assayas
films are really alike), and yet they share something of an outlook.
His films are full of people meeting new situations, learning,
thinking and growing. One gets the sense that this is how
Assayas himself prefers things to be.
Born in Paris in 1955 (screenwriter Jacques Rémy was his father),
Assayas began his career in film in the same way as Jean-Luc
Godard, Claude Chabrol and François Truffaut before him –
writing and editing for the highly influential film magazine
Cahiers du cinema (which he later edited). Showing broad tastes,
and celebrating low as well as high culture, Assayas’ writing paid
fresh attention to Hong Kong action cinema and to Japanese
and Taiwanese films. He progressed rapidly from a series of short
films, and saw his youth-oriented feature Cold Water invited to
screen at the 1994 Cannes film festival. After Irma Vep (which
sadly suffered patchy distribution in the UK) Assayas made a
series of movies in which he repeatedly shifted gears: a deft
relationship drama (Late Autumn, Early September) here, an
experiment with B-Movie style (Boarding Gate) there. 2010 was
the year of Assayas’ biggest hit in the UK, with the universally
lauded and thunderously entertaining Carlos, which the Los
Angeles Times called “[a] Hypnotic and sprawling five-hour-plus
piece of cinematic genius.”
Recent years have seen Assayas established in the upper echelon
of heavyweight international filmmakers (He served on last year’s
Cannes competition jury with Robert De Niro, Uma Thurman,
Jude Law and Johnnie To), and at 57 he maintains voracious
interests in many spheres of art and culture, interests that he
brings to the screen with the enthusiasm of a fan and the care
of a connoisseur. The writer of his own projects, Assayas’ films
have a personal touch that’s surprising, adventurous, gutsy. We
are proud to present a selection of them for you, and to welcome
Olivier Assayas to BIFF.
SCREENTALK: OLIVIER ASSAYAS
Wednesday 25 April 8pm Cubby Broccoli
approx. 60 minutes
Olivier Assayas will be in conversation with
BIFF Co-Director Neil Young.
All tickets £12.50 (Includes screening of Irma Vep,
which will follow immediately after the screentalk)
IRMA VEP
Dir. Olivier Assayas France 1996 99 mins (15) subtitles 35mm
Maggie Cheung, Jean-Pierre Léaud, Nathalie Richard
Wednesday 25 April Cubby Broccoli
With a career in arthouse films behind him, French film director
René Vidal is recently out of fashion and has decided to remake
“classic” silent serial Les Vampires just when the critical knives are
out. He has cast Hong Kong action star Maggie Cheung, and so
Cheung arrives in Paris and is trust into the disorientating world
of French film production, a world full of professional jealousies
and self-important egos. Made in just a few weeks, Irma Vep is
a spontaneous delight with some very funny jibes at puffed-up,
“important” French filmmaking. Most fun of all is unguarded,
honest Maggie Cheung in her first of two collaborations with
future husband Assayas (the second was Clean in 2004).
Print source: Pyramide
Olivier Assayas
CARLOS
Dir. Olivier Assayas France/Germany 2010 165 mins (15) subtitles
Digital Édgar Ramírez, Alexander Scheer, Alejandro Arroyo, Fadi
Abi Samra
Monday 23 April Pictureville & Tuesday 24 April Cineworld
Headline-grabbing international terrorist and Marxist
revolutionary Carlos ‘The Jackal’ was finally jailed in 1997,
after three decades on the run. This epic (pared down from an
original five and a half hours) and hugely ambitious film is a
retelling of the lie and the legend of Carlos. This begins with
his charismatic rise through activities for Palestinian liberation,
including the bombing of the French Embassy in The Hague, and
an extraordinary kidnapping saga at the OPEC oil conference
in Vienna, and ends with life as a fretful nomad as Carlos is
abandoned by one ally after another. Olivier Assayas’ most recent
film sweeps along, always riveting, always faithful to the facts.
LATE AUGUST, EARLY SEPTEMBER
(Fin août, début septembre)
+ The dot and the line (p.93)
Dir. Olivier Assayas 1998 111 mins (15) subtitles 35mm
Mathieu Amalric, Virginie Ledoyen, François Cluzet, Mia Hansen-Løve
Friday 20 April Pictureville & Saturday 28 April Cubby Broccoli
A film about the transition from late youth to early maturity, Late
August, Early September features a youthful Mathieu Amalric, and
follows several friends and lovers over a year as they come to make
decisions on how to live their lives - getting a job more in harmony
with ones ideals, committing to a lover, giving up a lover that no
longer loves you. This is a sparky, lively film, described at the time of
release as “a bit like a Woody Allen film without the kvetching or the
wisecracks, but younger and more vital.”. This also features director
(of Goodbye First Love, page 34) Mia Hansen-Løve, whom Assayas
would direct again (in 2000’s Les destinées sentimentales), and marry
in 2010.
SUMMER HOURS + the dover boys (p.90)
(L’heure d’été)
Dir. Olivier Assayas France 2008 103 mins (12A) subtitles 35mm
Juliette Binoche, Charles Berling, Jérémie Renier, Edith Scob
At a family gathering to celebrate the 75th birthday of
grandmother Hélène (Edith Scob), her children gather together
from their separate lives in New York, China and France. A few
months later they convene again, this time after Hélène’s death,
to discuss what to do with her collection of art – whether to
donate it to a museum, divide it up amongst the family, or sell it.
Summer Hours is in a fine tradition of nuanced French films about
families, though Olivier Assayas adds to this a fluid structure he
learned by studying the best of Taiwanese cinema. A deceptively
light film that’s actually full of unexpectedly telling asides, and
drama that catches you unawares, it’s a film that bears repeated
views.
Print source: Artificial Eye
Uncharted States
of America VI
Without
Uncharted States of America VI
FESTIVITY AND DOOM
An exclusive interview with David Nordstrom - writer, director,
editor and co-star of Sawdust City.
Neil Young: What was the general background of your making
Sawdust City?
David Nordstrom: The scripts I had been writing called for
more money than I could raise, and I was determined to make
a feature. So, I decided to shoot something in my home town.
There’s something about the culture there, particularly in winter,
that I’d always wanted to express on film. Plus, as a ‘native son,’
there was a wealth of available resources, locations, people, etc.,
that we could harness for a movie. With these things on my mind,
I went on a New Year’s Day bar-crawl with my younger brother
and a friend of ours, whose own brother had just been sent to
prison. It was freezing, about 10 below, and as we walked from
bar to bar through the snow, there was this combined sense of
festivity and doom. We had a rolling conversation about life, the
universe, and everything, punctuated by strange encounters and
epiphanies. It stuck with me when I went back to LA, and I started
to structure my impressions into a kind of miniature adventurestory or pedestrian road-movie.
It’s quite unusual for a filmmaker to write, direct star in and
edit his own film. How come you ended up doing so many key
roles? Do you intend to edit again or would you rather bring in
“external” hands?
Uncharted States
of America VI
When our Uncharted States strand began in 2007, George W
Bush was still in the White House - five years on Barack Obama
is in the midst of his re-election campaign, and this sidebar,
dedicated to the best of genuinely independent, low- (or no-)
budget, risk-embracing American cinema, has proudly presented
41 remarkable films to Bradford audiences, with no fewer than
31 of those showing in this country for the very first time. Those
tallies now increase to 53 and 41 thanks to Uncharted States of
America VI, which strikes a happy balance between returning
directors and ‘newbies’. From that initial 2007 vintage, Mr
Uncharted States himself, James Benning returns with small
roads; Betzy Bromberg with Voluptuous Sleep and Travis Wilkerson
with Distinguished Flying Cross. Uncharted States regular Mike
Ott (2007 pick Analog Days, the 2009 short A.Effect, and most
recently LiTTLEROCK) now turns producer for David Nordstrom’s
superb “road movie on foot” Sawdust City, set in a snowy corner
of Benning’s very own Wisconsin.
It was largely a result of impatience. I knew what I wanted to do,
figured I could do it, and didn’t want to waste time or money,
as I had in the past. Also, we wanted to keep the crew small and
the atmosphere intimate, so we could move quickly without
trampling on the sense of place. Editing is like the washing-up.
Everybody seems to hate it, but I’m happy to oblige. Or rather
I’m compelled to do it. I learned too much in the editing process
(about narrative, coverage, performance) to give it up entirely.
Sawdust City
We paired A.Effect with Lee Anne Schmitt’s California Company
Town back in 2009, and now Schmitt is back with her new
documentary The Last Buffalo Hunt and her short compilation
Three Stories - the former co-directed by Lee Lynch, who steals
the show with his supporting role in Sawdust City. Then there’s
Brandon Cahoon, whose non-fictional Intro developed directly
from his fictional feature Parade, another highlight of Uncharted
2009.
The odds are, then, that future BIFFs will see the welcome return
of 2012’s ‘freshman’ names Zach Weintraub (Bummer Summer),
Alex Ross Perry (The Color Wheel), Craig Butta (One Smart Indian),
Kyle Smith (Turkey Bowl), Mark Jackson (Without) - and of course
the aforementioned Nordstrom, whose terrific achievement in
writing, directing, starring in and editing Sawdust City makes him
an especially worthy subject of the Uncharted spotlight....
Neil Young
You made the film in Eau Claire, and now reside in Los Angeles.
Is there a viable filmmaking “scene” in Wisconsin, and were
you conscious, when making Sawdust City, of any particular
“regional” filmmaking traditions?
Like most places these days, there are people making films, but
I don’t know of any particular movement or school. There are
a number of great film-makers from Wisconsin: Orson Welles,
Gene Wilder, Gena Rowlands, Willem Dafoe, James Benning. I
take some regional pride in that. Werner Herzog, who filmed
Stroszek there, says it’s his favourite state. I’ve always found that
encouraging. And of course, Mark Borchardt is a Wisconsin film
legend...
You can’t really tell from my film, but Eau Claire really honors and
supports the arts. Not that there’s a lot of film-making workshops
or anything, but the public library has a better film-catalogue
than anything I’ve seen in Los Angeles libraries. You could get 10
videos out at a time and they had everything. I worked my way
through film-history before going off to college.
Sawdust City evokes a particular kind of Eau Claire milieu,
especially in terms of the bars you used as settings. How did you
decide on those particular establishments? Were there others
that you filmed in and ended up leaving out?
There’s a whole side of Eau Claire that the film leaves out. It’s a
college town, so there’s a wealth of student bars. Given the story
parameters, we focused on the neighbourhood bars which are
really only semi-public. More often it’s like walking into a socialclub or even someone’s living room. We had to cheat a couple
interiors that we shot in Los Angeles, but 90% of the bar action
was filmed on location. We didn’t cut out any bars where we shot
dialogue scenes. However, there were a few bars where we shot
material - for the opening montage - that we later ditched.
How is the landscape changing for independent filmmakers in
the light of the financial crisis over the last year or three?
That’s hard for me to speak about - independent-film finance is
so mysterious. Nobody seems to want to disclose how much they
have, or how they came to have it. My sense is in the 1990s it was
hard to get something made, but easy to find an audience once
you did. Now the opposite seems true.
Which filmmakers - independent or otherwise, American
or otherwise - would you cite as your principal influences/
favourites?
I have more favourite movies than favourite directors. I only half
believe in auteur theory. Manny Farber is my favourite writer
on cinema, and his bemused, catholic approach to films really
inspires me. Any auteur list would leave out all the films whose
editors, composers, actors, screenwriters, and cinematographers
I think are worth watching for their work alone. If pressed, I’d say
in no particular order: Elaine May, John Cassavetes, John Huston,
John Ford, Ingmar Bergman, Lars Von Trier, Bill Forsyth, Mike Leigh,
Whit Stillman, John Hughes, Eric Rohmer, Sam Peckinpah, Robert
Altman, Carl Dreyer, Albert Brooks, Robert Bresson, Paul Thomas
Anderson, Ernst Lubitsch, Jacques Demy, Stanley Kubrick, Anthony
Mann, the Dardenne brothers, Hal Ashby, the Coen brothers... plus
a bunch of others I’m forgetting. Some of my favourite films are
by directors whose work I don’t prize as a whole.
Do you see your Sawdust City as a “stepping stone” to more
mainstream production or do you see a viable creative and
financial future in low-budget/independent work?
To be honest, I think I watch more Hollywood films, past and
present, than independent films, especially low-budget indies. I
didn’t conceive Sawdust City as a stepping-stone, but I wouldn’t
mind looking back at it in the future and seeing that it was... as
long as the stepping-stone is artistic as well as commercial.
17 January 2012
BUMMER SUMMER + sudd (p.58)
INTRO + Trading licks (p.58)
UK Premiere
Dir. Zach Weintraub USA 2010 81 mins (adv 15) HDCam
Mackinley Robinson, Julia McAlee, Zach Weintraub, Maya Wood
Saturday 21 April IMAX & Saturday 28 April Cubby Broccoli
UK Premiere
Dir. Brandon Cahoon USA 2011 79 mins (adv 12A) HDCam
Documentary with David Williams
Monday 23 April IMAX & Tuesday 24 April Cubby Broccoli
“Clean, unpretentious, fresh filmmaking that turns its limited
resources into a virtue” - that’s Variety on Zach Weintraub’s
beautiful and tender paean to teenage kicks. It’s a refreshing
combination of the tightly-controlled and the freewheelingly
loose: each scene is carefully framed by cinematographer Nandan
Rao for maximum effect, while the semi-improvised script is an
amiably aimless series of episodic vignettes structured around a
not-very-adventurous road-trip. The travellers are two brothers,
and their itinerary includes some tantalisingly unexplored corners
of America’s unspoiled Pacific northwest. Drily comic and quietly
perceptive Weintraub’s DIY debut marks the arrival of another
highly promising new voice in American independent cinema.
Film source: Newhard Entertainment
In 2009, Uncharted States presented coming-of-ager Parade atmospheric debut feature from California-born, Utah-based
writer-director Brandon Cahoon, featuring music from singersongwriter David Williams. Cahoon now moves Williams very
much front-and-centre for this likeably unorthodox, deceptively
loose quasi-documentary following the bearded, folk-inflected
troubadour around the country playing what are mostly small,
intimate gigs. A pretty stripped-down enterprise, Intro stakes
out fresh territory roughly equidistant between Crazy Heart
and On the Road. It’s both paean to the inspirational vastness
of the US landscape and heartfelt tribute to a rare exponent of
tuneful Americana.
Film source: Brandon Cahoon
THE COLOR WHEEL
UK Premiere
Dirs. Lee Lynch, Lee Anne Schmitt USA 2011 76 mins (adv 15)
HDCam Documentary
Saturday 21 & Monday 23 April Cubby Broccoli
Director/actor/editor/co-writer Alex Ross Perry sums up his
second movie, Twitter-style, in 140 characters: “The Color Wheel
is about a sister and brother who hate one another. They go on
a road trip and horrible, humorous and hateful things happen.”
The twentysomething sister and brother are beautiful-butneurotic aspiring-newscaster JR (Carlen Altman) and schlubbily
dysfunctional Colin (Perry) - and seldom has recent cinema
presented siblings of such bickering, nerve-jangling believability.
While this pair are the sort of self-obsessed, over-articulate wiseasses that any sensible person would cross the street (or even
the state) to avoid, The Color Wheel somehow exerts a weirdly
engaging appeal - partly thanks to the distinctive, scratchilyretro 16mm-to-digital video visuals, partly thanks to the nearincessant hilarity of Altman and Perry’s cactus-spiky script, aimed
at audiences “familiar and comfortable with a certain type of
bygone film, be it screwball comedy or grimy ‘70s independent
American cinema... People nostalgic for the golden days of
cinema, no matter when they think that is.”
Film source: Dorset Films
From the director of California Company Town (Uncharted States
2009) comes a harrowing but utterly absorbing essay about the
iconography and reality of the American West, co-directed with
the multi-talented Lee Lynch (from David Nordstrom’s Sawdust
City - see p.80). In the latest of their several collaborations,
Schmitt and Lynch now focus on one of the nation’s few
remaining herds of free-ranging bison, roaming magnificently
scenic southern Utah. Once a year, tourists and hunters pay
for the privilege of being able to stalk and shoot some of these
buffalo in a controlled, officially-sanctioned hunt - its bloody
consequences recorded in scenes that will be tough viewing
for all animal-lovers. But the film is by no means a gratuitously
unpleasant record of a controversial activity. Instead, it’s an
intelligent, penetrating examination of how the US commodifies
and exploits its own mythologies - and ecologies - and a poetic
statement about nature in peril.
Film source: Lee Anne Schmitt
+ ONE SMART INDIAN
Dir. Craig Butta USA 2011 9 mins (adv 15) HDCam
Steve Payne, Martine Langatta, Lynn Spencer
One chaotic day in Manhattan, as seen through the tired eyes of a
middle-aged beat-type writer struggling for inspiration. A smart,
sharp look at the creative process from the multi-talented Craig
Butta - see his hilarious cameo ‘Norton the Bully’ in Alex Ross
Perry’s The Color Wheel.
THE LAST BUFFALO HUNT
Dir. Alex Ross Perry USA 2011 83 mins (adv 15) Digital
Carlen Altman, Alex Ross Perry, Bob Byington, Kate Lyn Sheil, Anna
Bak-Kvapil
Friday 27 April IMAX & Sunday 29 April Cubby Broccoli
+ THREE STORIES
UK Premiere
Dir. Lee Anne Schmitt USA 2011 14 mins (adv U) HDCam
The latest by Lee Anne Schmitt is a trio of short films united by
a musical score (from Jeff Parker), used in place of commentary
or dialogue. These three miniatures cast oblique glances into
America’s past and present, its public and private places - Indian
graves, Hollywood street-scenes, flowers, a bench - in a way that’s
evocative, mysterious and stimulating.
Film source: Lee Anne Schmitt
SAWDUST CITY + Revelations (p.58)
DOUBLE-BILL:
TURKEY BOWL
UK Premiere
Dir. David Nordstrom USA 2011 97 mins (adv 15) HDCam
David Nordstrom, Carl McLaughlin, Lee Lynch, Becca Barr
Saturday 21 April Cubby Broccoli & Sunday 22 April IMAX
UK Premiere
Dir. Kyle Smith USA 2011 64 mins (adv 12A) HDCam
Jon Schmidt, Kerry Bishé, Bob Turton, Sergio Villarreal, Zoe Perry
Monday 23 & Wednesday 25 April Cubby Broccoli
One of the most impressive and accomplished new American
independent movies of recent years. Set in Nordstrom’s home
town of Eau Claire, Wisconsin one frosty Thanksgiving day - and
night - it follows semi-estranged brothers Bob and Pete as they
trawl various watering-holes in search of their elusive boozehound
dad. They’re joined by motormouth slacker Gene (Lynch, co-director
of The Last Buffalo Hunt -- see p.79) who becomes their new best
friend... Shot in an array of unmistakeably real bars, Sawdust City
borrows pages from the well-thumbed John Cassavetes malestogether playbook but boasts a fresh, oft-hilarious character all of
its own - emerging as an intoxicating distillation of all that’s best
and boldest about contemporary US non-mainstream cinema.
Film source: Small Form Films
Among the more unlikely breakout successes of last year’s
hipper-than-hip SXSW Film Festival in Austin was this hour-long
sports-themed comedy-drama from debutant writer-director
Kyle Smith. Playing out almost in real time during a sultry
summer afternoon, it follows eight friends in their mid-20s - and
two lively newcomers - who meet for their annual, semi-informal
game of American Football, with the Most Valuable Player taking
home a butterball turkey. Good-natured joshing escalates as
competitiveness sharpens everyone’s elbows - and tongues - in
a deftly-sketched miniature that creates indelibly believable
characters with minimal materials.
Film source: Kyle Smith
SMALL ROADS + A to A (p.54)
UK Premiere
Dir. James Benning USA 2011 103 mins (adv U) HDCam
documentary
Monday 23 & Thursday 26 April Cubby Broccoli
A unique, challenging film-maker of genuine vision and
uncompromising artistic integrity, James Benning (13 Lakes;
Ten Skies; casting a glance; RR) has been a stalwart of Bradford’s
Uncharted States since 2007. So we’re delighted to host the first
UK showing of Small Roads, in which he continues his exploration
of high-definition video (HD) after several decades honing his
craft via 16mm. Two years in the making, it comprises 47 statictripod, commentary-free shots of American highways and byways
- tantalisingly obscure backwaters from California to Wisconsin,
Nebraska, Missouri and Wyoming. Toronto Film Festival’s Andrea
Picard simply exclaimed “masterpiece alert!”
Film source: James Benning
VOLUPTUOUS SLEEP
+ Duck Dodgers in the 24½th Century* (p.91)
UK Premiere
Dir. Betzy Bromberg USA 2011 95 mins (adv U) no dialogue 16mm
Saturday 21 April Impressions Gallery
Saturday 28 April Cubby Broccoli (*with short)
A unique, challenging film-maker of genuine vision Betzy
Bromberg is a beloved doyenne of poetically-abstract avant-garde
cinema, one whose credits - in her capacity as a visual-effects
magician - include Terminator 2, True Lies, Coppola’s Dracula
and The Last Action Hero. In 2007 we hosted Bromberg’s debut
feature-length film - A Darkness Swallowed, and now unveil
her eagerly-anticipated follow-up. A two-part, 16mm, wordless
phantasmagoria of alluringly enigmatic imagery, it features a
multi-layered soundtrack - including music from Robert Allaire,
performed by the Formalist Quartet. “There are images that, once
seen, will stay with you forever,” wrote Holly Willis in LA Weekly.
Film source: Betzy Bromberg
+ DISTINGUISHED FLYING CROSS
UK Premiere
Dir. Travis Wilkerson USA 2011 61 mins (adv 15) Digital
Documentary
Travis Wilkerson was recently - and rightly - named by Film
Comment magazine among the top 50 active avant-garde
filmmakers. His latest draws from his own family’s recent history,
specifically his father’s experiences as helicopter-pilot in the
Vietnam war - Mr Wilkerson’s decoration providing the film’s title.
But this is no conventional account of gung-ho heroism. Instead,
it’s a vibrantly jocular monologue, delivered to an audience
comprising Wilkerson Sr’s two grown-up sons, with considerable
degrees of self-questioning and doubt. The result is both a tribute
to a beloved parent, and an attempt to understand a nation’s
contradictory, painful past at a time when its overseas exploits
are once again under intense global scrutiny.
Film source: Extreme Low Frequency
WITHOUT + The World Turns (p.59)
Dir. Mark Jackson USA 2011 87 mins (adv 15) Digital
Joslyn Jensen, Ron Carrier, Darren Lenz, Brooke Bundy, Jodi Long
Wednesday 25 & Friday 27 April Cubby Broccoli
After reaping prizes and acclaim at film-festivals from Utah (the
edgy Sundance-rival ‘Slamdance’) to Georgia and Florida, writerdirector Mark Jackson’s stunningly accomplished debut is now
dazzling audiences in Europe and beyond. Starring the astonishing
newcomer Joslyn Jensen - on this evidence a good bet to follow
the Greta Gerwig route from the no-budget independents to
Hollywood’s attention - as a 19-year-old carer looking after a nearcatatonic elderly man (Carrier) on an island in the thickly-forested,
rain-swept, underpopulated Pacific northwest, it’s a deftly precise
psychological drama with thriller undertones that harks back to
Roman Polanski’s seminal Repulsion (1965). Quiet, elliptical and
audaciously enigmatic, Without provides an immersive cinematic
experience guaranteed to linger provocatively in the memory.
Film source: Right On Red Films
Pierre Clémenti
VINCENT EPPLAY AND SAMON TAKAHASHI
ACCOMPANY FILMS BY PIERRE CLEMENTI
Approx 70 minutes (adv 15)
Thursday 26 April Impressions Gallery
SOLEIL
Dir. Pierre Clémenti France 1988 16 mins silent live music 16mm
Pierre Clémenti, Rose Clémenti, Marie-Laure de Noailles
Film source: Cinédoc Paris Film Coop
The late 1960s countercultural happening meets electronic
sample culture. Vincent Epplay and Samon Takahashi are French
DJs who specialise in accompanying film projections with dense
layers of sampled music. In this live event they will accompany
two of Pierre Clémenti’s own psychedelic films – his first and his
last - with an improvised musical performance that will draw
from and remix the films’ original soundtracks. Clémenti’s films
are largely improvised and were shot in various trance states.
Epplay and Takahashi amplify this with their sonic inventions the result is an arresting experience.
FILM OU VISA DE CENSURE NUMÉRO X
Dir. Pierre Clémenti France 1967 56 mins silent live music 16mm
Pierre Clémenti
Angel of Anarchy:
Pierre Clementi
THE DESIGNATED VICTIM (La vittima designata)
+ Duck Amuck (p.91)
Dir. Maurizio Lucidi Italy 1971 95 mins (15) subtitles DVD
Pierre Clémenti, Tomas Milian, Katia Christine, Luigi Casellato
Friday 20 April Cineworld
This eerie yet hauntingly beautiful slow-burn Italian thriller stars
Clémenti as a decadent and murderous Count who ensnares
Tomas Milian in a deadly game of revenge. The baroque splendour
of Venice, wreathed in mists, is a backdrop to this lurid reimagining of Hitchcock’s Strangers on a Train. Clémenti’s ability to
drift in ghostly fashion through the drama, hypnotising his victims,
is enhanced as always by his striking appearance. The film is a fine
example of the Italian thriller where delirium, atmosphere and
powerful visuals take precedent over a convincing narrative. Luis
Enriquez Bacalov’s score typically, for a giallo film, is outstanding.
Film source: Argent Films
supported by
Pierre Clémenti was one of most charismatic and enigmatic
actors in European art cinema, but – until now - is known to
only a few as an uninhibited experimental filmmaker. Clémenti
was born in Paris in 1942, and was brought up by his Corsican
mother after his father was killed during the Second World
War. Clémenti’s youth was spent in the St. Germain area of the
city, where he would develop a taste for avant-garde theatre,
eventually working with cult director Marc’O. Clémenti then
moved into films where his distinctive, somewhat unsettling
good looks - once described as resembling a “Christ-devil
child”- captivated the great auteur directors of the era such as
Luchino Visconti, Luis Buñuel and Pier Paolo Pasolini. Clémenti
thus appeared in a diverse range of classic art films such as Belle
de Jour, Pigsty, The Leopard, and The Conformist. But as well as
working in this world of revered, reputable cinema, Clémenti
also ran a fascinating parallel, appearing in an array of European
B-movie exploitation films such as Listen, Let’s Make Love? (1969)
and The Designated Victim.
Clémenti’s own films as director, shot on a 16mm camera
and featuring his friends and lovers, demonstrate that in the
late 1960s and early 1970s Paris was easily as ‘swinging’ as
London. The films are fine examples of the ‘head’ film, external
projections of the inner mind, but here shorn of the pseudo
political sloganeering of many late 1960s countercultural
works. Clémenti’s films attempt to represent mind-expanding
drug states (Clémenti was arrested in 1972 and imprisoned for
possession, an account of which can be found in his book Carcere
Italiano). Film ou Visa de censure numéro X (1967-75) is his most
infamous example of psychedelic cinema where images pile up in
layers and iridescent colours flood the visual senses. New Old was
a feature-length autobiographical film finally released in 1978.
Soleil mixes Clémenti’s own writings with a strange narrative of
arrest and hallucinogenic images. The last film that he made,
it was also his favourite. Clémenti died in 1999, of liver cancer.
However, the luminous quality of his presence as an actor, and his
vision as a filmmaker remain captivating, as the screenings will
demonstrate.
BELLE DE JOUR + those who can (p.58)
Dir. Luis Buñuel France/Italy 1967 100 mins (18) subtitles 35mm
Catherine Deneuve, Jean Sorel, Pierre Serizy, Michel Piccoli, Pierre
Clémenti
Monday 23 April Pictureville
Luis Buñuel’s vivid psychodrama drama, about a married woman
who follows masochistic daydreams by working in a brothel, is
rightly known for its brilliant intuition of sexuality. But how much
less of a film it would be without Pierre Clémenti, whose potent
appearance as Belle de Jour’s gangster lover Marcel transforms
the final act. An actor who was always arresting to look at, yet
definitely, dangerously strange, Clémenti himself seems to both
relish working with, and be in awe of, Buñuel: “He had a legend,
the aura of genius, a friend to the mysterious and the strange…
With no other director did I have such a feeling of confidence.”
This is the role for which Clémenti is perhaps best known, and a
great introduction.
A Centenary Tribute
to Chuck Jones
A Centenary Tribute to Chuck Jones
Left Turns at Albuquerque:
Chuck Jones and Cartoon
Culture
I was fortunate enough to meet Chuck Jones, the most literate
and influential of Warner Bros. famous roster of animation
directors, on two occasions. Each time he was convivial and
engaging, and articulate proof if it was needed that making
cartoons is not merely the stuff of entertainment but a
significant art and an underrated craft. Jones was extremely well
read and promoted a deeper understanding of the American
cartoon, often resenting the idea that only European independent
short form animation was acknowledged as ‘art’ (suggesting in
response that Tex Avery was one of the world’s greatest abstract
film-makers). Jones was always highly opinionated, fiercely
defending Walt Disney and his achievements, most notably
Disney’s creation of an industry with international reach, and
judging Saturday Morning cartoons as at best, the worst kind of
“illustrated radio”.
A Centenary Tribute to
Chuck Jones
1912-2002
Part One
Jones had been working with Rolf Harris as part of Harris’
preparation for Rolf’s Cartoon Club, offering advice and support
for Harris’ ‘live’ drawing of Warner Bros.’ characters on the
show, and in the selection of cartoons that illustrated specific
approaches to animation. At the heart of this mentoring was
the idea that caricature and editorial choice were fundamental
to all art, and most explicitly so in short-form animation. As
Jones often remarked, there was no great point in doing
something so time consuming or expensive as animation if it
could not offer something which could not be done in live action.
Jones’ impressive wit and intelligence about how animation
could create alternative worlds and outlooks characterized his
whole approach, and informs his two quasi-autobiographies,
Chuck Amuck and Chuck Reducks. In these books, he stresses
the importance of characters, creating the ‘inner logic’ of the
cartoon world by imposing disciplines or limits, and the ways
design, staging and space enable great possibilities. His career
spans the maturation and mainstream embrace of cartoons as
an intrinsically American form of creative expression, and it is
Jones who has contributed most to this acceptance – What’s
Opera, Doc?, Duck Amuck, Duck Dodgers in the 24½th Century and
One Froggy Evening take up four of the top five places in Jerry
Beck’s The 50 Greatest Cartoons, as voted by 1000 animation
professionals.
Jones was born in Spokane, Washington 1912, but soon after
moved to Hollywood where he was a daily witness to the work
of Charlie Chaplin and Buster Keaton, as well as becoming an
extra in the Mack Sennett silent comedies, where learning about
physical comedy first hand would prove extremely influential
on his later career. Jones left High School to take courses at Los
Angeles’ Chouinard Art Institute, and first worked in animation as
a cel washer and inker at Ub Iwerks’ studio – Iwerks was Disney’s
animator on his first shorts in the 1920s – and later, with Charles
Mintz’ Screen Gems and Walter Lantz at Universal. In 1933, he
finally joined Leon Schlesinger at ‘Termite Terrace’, the downat-heel studio bungalow that produced cartoons for Warner
Bros, where he stayed for 29 years. He joined key figures Friz
Freleng, Bob Clampett, Frank Tashlin and Tex Avery, whom he was
both influenced by and sometimes competed with. The lisping
Schlesinger had little interest in cartoons, and was often gently
mocked and undermined as the animators sought to extend the
house style and impose more authorship. This was chiefly in the
spirit of creating work which moved beyond the pastoral idylls,
barnyard humour, sentimentality, and the emergent classical
aesthetic of the Disney studio, to re-invent the cartoon. Jones and
this incredible pool of talent sought to make cartoons that were
knowing, urbane, surreal, and adult; works that would resulting
in such mutual amusement that Schlesinger was forced to
enquire “what’s all this laughter to do with animated cartoons?”.
At each day’s rushes he would command, “run the garbage”, and
never realized his lisp was the inspiration for Daffy Duck’s voice.
Such detail is but one example, though, of Jones’ commitment to
the development and refinement of character as the core agency
in the cartoon.
Jones’ directorial debut was The Night Watchman (1938), but
his first major character, a mouse called ‘Sniffles’, followed a
year later in Naughty But Mice (1939). This was still in essence
Disneyesque, and not yet part of Warners’ shift to more
progressive work from 1941 onwards. As Jones was to always
insist, experimentation was always part of his working practice,
but not something he overtly named as such. So The Dover Boys
employed a more minimalist styling and ‘smear’ animation in
which characters leap to pose to pose. It also ran at an unusual
nine and half minutes, and developed an extended narrative. As
well as extending the aesthetic of his work, Jones increasingly
thought about the relationship between animation, politics, and
education, and these became underpinning aspects of his outlook
even when making mainstream cartoons. He participated in
Hell Bent for Election (1944) in support of Franklin D. Roosevelt. In
1946 he reinforced his credentials as someone actively thinking
about the art of animation by publishing a Hollywood Quarterly
article about animation and music, stressing its narrative,
symbolic, and counterpointing qualities.
The 1950s were halcyon years in Jones’ output. He won Oscars for
For Scenti-mental Reasons, featuring amorous skunk Pepé le Pew,
and So Much for So Little for Best Documentary Short Subject,
evidence of animation’s capacity to work as a documentary. In
1953 Jones made Duck Amuck, the self-reflexive deconstruction
of both the animated cartoon and film form in general; like his
previous work, Duck Amuck constantly engages with the capacity
for animation to re-invent cinematic and graphic imagination.
Jones’ gift was to employ Warner Bros. characters to use this
great imaginative vocabulary for comic effects. In 1955 Jones
directed One Froggy Evening, featuring Michigan J. Frog as an
all-singing, all-dancing frog who refuses to perform when his
new owner tries to exploit his talents on the showbiz circuit. The
oscillation between the frog as a lumpen, indifferent creature,
and his sudden elasticity as a practiced Vaudevillian, funny
in itself, also comments on Jones’ approach to engaging with
animals. Like Disney animators, Jones was well versed in drawing
keenly observed anatomically persuasive creatures, but his main
desire was to create comic caricature with empathetic motives
and intentions. Much of Jones’ comedy is actually about audience
recognition of the wit in Jones’ visual and verbal literacy.
This is perhaps best demonstrated in What’s Opera, Doc ?, a
seven minute distillation of Wagner’s Ring Cycle which doesn’t
include overt ‘gags’ but relies on the absurd juxtaposition of Bugs
Bunny in drag, Elmer Fudd as ‘mighty warrior’, Maurice Noble’s
colour palette and epic design, and sung exchanges like “You’re
so wuvvwy”, “Yes, I know it, I can’t help it”, to work against the
dramatic and artistic conventions of opera. Though the music
remains authentic, and the choreography signifies high culture,
the characters are full of irony and playfulness, gently critiquing
Romanticism and Extremism along the way. Jones’ desire to revise
and re-work particular works in this way was tested when making
a series of Tom and Jerry cartoons for MGM between 1963
and 1971. Uneasy with the characters and the broad slapstick
violence of the classic era cartoons, Jones essentially renders the
characters in a more gentle and lyrical style. In Jones’ Tom and
Jerry cartoons, the characters become merely playful adversaries
rather than the full-blown forces of nature they were during
the 1940s and early 1950s. Such lyricism was underpinned with
nostalgia for an earlier time, and a melancholic strain that had
also surfaced in Jones’ Boyhood Daze (1957), Martian Through
Georgia (1962) and The Bear That Wasn’t (1967).
Arguably, even though Jones made exemplary work in the latter
part of his career, he always resented the closure of the theatrical
cartoon division at Warner Bros. and what seemed to be the
end of the ‘Golden Era’ of animation. The compilation film, The
Bugs Bunny / Road Runner Movie (1979), featuring some of the
best sequences from what some regard as Jones’ finest work,
the Wile-E-Coyote / Roadrunner shorts, with their ACME devices
and wildly inventive chases, is in some senses a painful reminder
of better times even in an era of his well made adaptations of
Norton Juster’s The Phantom Tollbooth (1971), Dr Seuss’ Horton
Hears a Who (1971) and Rudyard Kipling’s Rikki-Tikki-Tavi (1975)
and Mowgli’s Brothers (1976). Running his own companies, Jones
remained prolific until his death in 2002. He made cartoons
with his favourite Warner Bros. characters in the mid-1990s, by
then a much revered and awarded figure fully recognized for his
achievements. At the end of Jones’ second Oscar winning short,
The Dot and the Line: A Romance in Lower Mathematics (1963)
the lovelorn line in pursuit of a dot already romantically involved
with a squiggle, finally shows himself to be “dazzling, clever,
mysterious, versatile, erudite, eloquent, profound, enigmatic,
complex and compelling” in a series of stunning animated
images. It is a description that befits master animator and artist,
Chuck Jones himself.
Professor Paul Wells, January 2012
“dazzling, clever, mysterious, versatile,
erudite, eloquent, profound, enigmatic,
complex and compelling”
The Dot and the Line
Bully for Bugs
THE DOVER BOYS AT PIMENTO UNIVERSITY
OR THE RIVALS OF ROQUEFORT HALL
DRIP-ALONG DAFFY
Dir. Chuck Jones USA 1942 9 mins (U) Blu-Ray
Voices: Mel Blanc, John McLeish, Tedd Pierce
Into lawless Snake-Bite Center ride Daffy Duck, a ‘Western Type
Hero’ and Porky Pig, his ‘Comedy Relief’, in one of Jones’ deft
parodies. This is stuffed with fun, knowing, Western types, plus
the remarkable psychedelic side effects of a potent bartender’s
brew.
Dir. Chuck Jones USA 1951 7 mins (U) Blu-Ray Voices: Mel Blanc
Three college freshmen of upper-class type step in (to little
effect) to protect their fiancée from a dastardly cad. In this
breakthrough film Jones “learned to be funny” and pioneered
both a fresh blocky style and a ‘smear’ technique to convey rapid
motion. However, Warner Bros. were not keen on the results and
attempted unsuccessfully to fire Jones.
FEED THE KITTY
When he finds a stray kitten in the street, fearsome bulldog
Marc Antony falls in love, and attempts to look after his new pal
secretly at home. Remarkably emotional for a cat and dog story,
the film still manages to sidestep Disney-style sentimentality. It
has remained much-loved for sixty years, and inspired the Sully/
Boo relationship in Pixar’s Monsters, Inc.
SO MUCH FOR SO LITTLE
Dir. Chuck Jones USA 1949 10 mins (U) Blu-Ray
Voices: Frank Graham
An Oscar-winner for Best Documentary Short Subject,
this wholesome piece of Americana was made for the U.S.
Government to promote healthcare.
So Much for so Little
Feed the Kitty
FAST AND FURRY-OUS
RABBIT SEASONING
The first Road Runner cartoon, and thus the first in a classic
series populated with Jones’ own characters (he inherited Bugs
and other from his peers). All the unalterable elements are
here, although the iconic Monument Valley backgrounds are
unusually detailed; they’d become increasingly abstract as Jones
developed the films’ unique style.
The second of the Bugs vs. Daffy ‘hunting trilogy’ finds hunter
Elmer Fudd again befuddled over whether it is indeed Duck
or Rabbit Season. Notable for the very long, nimble dialogue
exchange in which Bugs repeatedly flummoxes Daffy over tricky
pronoun use, and for poor Daffy’s ever-shifting, ever re-set beak.
DUCK AMUCK
FOR SCENT-IMENTAL REASONS
Dir. Chuck Jones USA 1953 7 mins (U) 35mm Voices: Mel Blanc
Dir. Chuck Jones USA 1949 7 mins (U) 35mm Voices: Mel Blanc
For Scent-imental Reasons
In romantically imagined Paris, an unfortunate, black female cat
is pursued by amorous skunk Pepé Le Pew. Famously censored
(though later restored) for a scene in which Pepé attempts
suicide, this was Jones’ first Oscar winner for Best Animated
Short Film.
Duck Amuck
RABBIT OF SEVILLE
DUCK DODGERS IN THE 24 ½th CENTURY
Elmer Fudd chases Bugs Bunny to backstage at the Hollywood
Bowl. Here they enact a wonderfully funny gag-laden chase
to Rossini’s overture to The Barber of Seville. One of several
appearances by Bugs in drag, and highly embarrassing for Elmer.
Made sixteen years before the Apollo 11 moon landings, the
first Daffy-starring sci-fi Duck Dodgers cartoon creates a vividly
imagined, high-tech spaceport. Like What’s Opera, Doc? four
years later, this is one of the very high watermarks for Jones’ flair
for backgrounds, as well as being a loving parody of well-loved
genre tropes.
RABBIT FIRE
BULLY FOR BUGS
“Bugs is who we want to be, Daffy is who we are” – this
illustrates perfectly why Jones’ comment was so acute. The first
cartoon to star both Bugs Bunny and Daffy Duck, and the first
too in the celebrated ‘hunting trilogy’, an eternal argument over
whether it is Duck or Rabbit Season. A film that defined Bugs
(in control), Daffy (never quite gaining control) and Elmer Fudd
(clueless), Jones himself felt that with this film his career turned
a corner.
Lost on his way to a carrot festival (“shoulda make a left turn at
Albuquerque”), Bugs Bunny finds himself replacing a matador in
a bullfight, therein to outsmart... This one was reportedly made
after producer Eddie Selzer declared, apropos of nothing, that
bullfights were not funny. Jones, reasoning that Selzer was wrong
about absolutely everything, therefore made the cartoon.
Rabbit of Seville
A barnstorming masterpiece in the ‘Bugs vs. Daffy’ cycle, in
which Jones deconstructs Daffy, and the cartoon itself, before our
very eyes. Beginning as one of Daffy’s familiar genre parodies (a
swashbuckler this time), the hand of an unseen animator reaches
into the frame to exasperate Daffy like never before. In its sheer
concise invention this is one of the greatest of all American films.
Duck Dodgers in the 24½th Century
ONE FROGGY EVENING
THE DOT AND THE LINE:
A ROMANCE IN LOWER MATHEMATICS
Dir. Chuck Jones USA 1955 7 mins (U) 35mm
Voices: Mel Blanc, Bill Roberts
Dirs. Chuck Jones, Maurice Noble USA 1965 10 mins (U) Blu-Ray
Voices: Robert Morley
A construction worker on a demolition job discovers a sealed
box containing an extraordinary singing and tap-dancing frog.
Foreseeing a box-office sensation, the man turns huckster and
puts on a show, yet finds that his froggy charge goes limp in
public. A brilliantly neurotic idea worked through with great élan
without dialogue, just ragtime songs and a dash of opera.
“What is character?”; a fundamental question, and one that
Jones spent his entire career probing. The story of a purposeful
line winning the affections of a dot, it’s easy to what attracted
Jones to adapting Norton Juster’s children’s book. The last of
three Chuck Jones films to win him an Oscar.
GEE WHIZ-Z-Z-Z-Z-Z-Z
Dir. Chuck Jones USA 1956 7 mins (U) Blu-Ray Voices: Mel Blanc By the mid 1950s the Road Runner cartoons betrayed many
principles of great mid-century American Modernism: Iconic
Western backgrounds were reduced to minimal shapes, and the
simplest rules (“the coyote shall never catch the bird”, “the coyote
shall never give up”) allow for inventive cycles of gags to repeat
without end.
One Froggy Evening
THE BEAR THAT WASN’T
WHAT’S OPERA, DOC?
Dir. Chuck Jones USA 1957 7 mins (U) 35mm
Voices: Mel Blanc
Dirs. Chuck Jones, Maurice Noble USA 1967 10 mins (U) Blu-Ray
Voices: Paul Frees
Elmer Fudd and Bugs Bunny star in Richard Wagner’s Ring Cycle,
complete with Maurice Noble’s expressionist backgrounds
and story distilled from fifteen hours to seven minutes. A
pinnacle then of Jones’ visual and narrative imagination, all
within the Bugs and Elmer universe, that also lampoons Disney,
contemporary ballet, Wagner and Bugs and Elmer themselves,
this is often cited as the greatest cartoon short ever made, and
was committed to the National Archive in the US as a superlative
example of animation.
An adaptation of Jones’ Warner Bros. peer Frank Tashlin’s
book, and the last ever cartoon short produced by MGM. A
bear awakens from hibernation to find he’s surrounded by
an industrial complex. Upon seeing successive foremen he’s
informed that he isn’t a bear at all, but “a silly man who needs a
shave”, an assertion he eventually believes. A wittily illustrated
satire on conformity and corporate culture, and a rare display of
sadness for a Chuck Jones film.
Whats Opera Doc?
The Bear That Wasn’t
Bad Day at Cat Rock
BAD DAY AT CAT ROCK
Dirs. Chuck Jones, Maurice Noble USA 1965 6 mins (U) DVD
Voices: Mel Blanc, June Foray
Chuck Jones was never entirely happy making his Tom and Jerry
Cartoons for M.G.M., yet his thirty four contributions to that series
are many fans’ favourites. Jones’ Tom and Jerry stories are pared
back, and they’re also lyrical, gentle, and slightly psychedelic. This
is one long building site chase sequence that occasionally breaks
free into wild gags that bend physical laws, Road Runner-style.
Film sources:
bfi (35mm), Filmbank (DVD), Hollywood
Classics (Blu-Ray)
See also:
TV Heaven p.117
Family Programme p.110
Part Two of our Centenary Tribute to
Chuck Jones will be in Bradford Animation
Festival, 13-17 November 2012
Fast and the Furry-ous
How the West was Won
Widescreen Weekend 2012
Supported by
The Widescreen Weekend is a celebration of all that is
extraordinary in large format film. Today, cinemas everywhere
are awash with 3D movies, the latest phase of over 100 years
of experimentation in trying to recreate the way we see the
real world via images on a screen. But from the first years of
filmmaking, different gauges of film were used to try to make
the best possible quality of images, including film stocks up
to 65mm wide (see Kevin Brownlow’s talk). Large film formats
recorded more information in finer detail so that when
projected, they would look closer to “the real thing”. Cinerama,
the ultra-wide format created sixty years ago this year, took
this principle ever further, and used three 35mm film strips to
gather a huge quantity of information and create a sharp, finely
detailed image. This was then projected onto a 146° curved
screen that filled people’s field of vision and immersed the
audience in their film experience.
We wish to express our sincere gratitude to the individuals
listed below, each of whom has contributed generously to
our ‘Cinerama is 60’ campaign. This year’s special edition of
Widescreen Weekend would not have been possible without
them.
Brian Allsopp, UK
Francis Barbier, France
Hugh Biggins, UK
Malcolm Clarke, UK
Peter Den Haan, Netherlands
Dennis Furbush, USA
Richard Greenhalgh. USA
Brian Guckian, Eire
Michael Hall, UK
Colin Hobson, UK
Andrew King, UK
Ramon Lamarca, Spain
Ian Larsen, UK
In the 1950s, with televisions in most homes, the cinema
industries searched for new ways of making cinema an
exciting place to be and to bring people out from their homes.
Widescreen processes developed rapidly and each film studio
had its own technology; 20th Century Fox had CinemaScope
and insisted that all its films were shot in that format. But the
greatest of all remained Cinerama.
Since it opened in 1983 the National Media Museum has
celebrated the excellence and excitement of large format cinema
through the super-high quality images of IMAX. The Museum’s
Pictureville Cinema is equipped with 70mm projection
equipment, and is one of three cinemas in the world (the only
one outside North America) that is capable of replicating the full
Cinerama experience. There is therefore no better place, and no
better time, to experience the splendour of large format cinema
than Bradford International Film Festival’s Widescreen Weekend.
Tom March, USA
Bob Moorley, UK
Anders Olsson, Sweden
Emily Petherick, UK
Paul Rayton, USA
Rose Reeve, UK
Gareth Rickards, UK
Roger Rook, UK
James Slater, UK
Keith Swadkins, UK
Mike Taylor, UK
Eric White, Australia
Special Thanks
We are particularly grateful to Anna Greenhalgh for her support
of this year’s Widescreen Weekend. Her generous donation in
memory of her husband Richard, one of the great widescreen
aficionados and long-standing supporter and attendee of the
Widescreen Weekend, means that we are able to celebrate his
beloved Cinerama in the style it deserves. We will all remember
Richard during this year’s Widescreen Weekend, and the great
contribution he made towards its success.
Please allow 10 minutes for introductions before all films in
Widescreen Weekend. Intermissions are 15 minutes.
The 70mm version (right) of Ben Hur, with far more image
information than the 35mm version.
SAMSARA
Richard Greenhalgh
CINERAMA’S RUSSIAN ADVENTURE
THE WINDJAMMER VOYAGE:
A CINEMIRACLE ADVENTURE
Dirs. Boris Dolin, Vasily Kafanian, Roman Karmen, Solomon Kogan
USA/USSR 1966 122mins plus intermission (U) Digital
Voice: Bing Crosby
Dir. David Strohmaier USA 2012 56 mins
Lasse Kolstad, Barbra Karine “Kari” Christensen, Kaare Terland,
Alf Bjerke
Originally shot on Kinopanorama cameras and released in 1966
in the States as a 3-strip Cinerama print, most venues played it
in 70mm. The only prints we have found are badly faded to pink,
and so here we screen a digitally recreated print, projected onto
our curved screen. Filmed entirely in the Soviet Union, the scenes
of Russia cover the sights of the Bolshoi Ballet, the Moscow State
Circus, a cross-country troika race, the hunt for a ferocious wild
boar and riding the logs down the Tisza River. With Bing Crosby’s
narration, this became part of an attempt to exchange films and
culture between the United States and the USSR in the depths of
the Cold War. A unique film.
This new documentary features never before seen, rare home
movies taken during the production of the Cinemiracle film
Windjammer, and behind the scenes photos of the voyage.
Made in Norway and Australia last year, the film features crew
and cadets, who share their incredible stories, the filming,
and what happened to them in the years that followed.
Windjammer was hugely successful in 1958-60 almost all over
the world. Largely unseen since the original release, the “lost”
film about a Norwegian school ship has undergone a digital
remastering process.
CINERAMA UPDATE
THIS IS CINERAMA
Saturday 28 April Pictureville
Dirs. Merian C. Cooper, Michael Todd, Fred Rickey USA 1952
120mins plus intermission (U) Cinerama
A chance to see some of the first Cinerama film shot for 50
years. Dave Strohmaier and Randy Gitsch, great supporters of
the Widescreen Weekend and champions of Cinerama, will bring
us up to date with what has been happening in the world of
Cinerama over the last twelve months. And what a year it has
been, in the lead up to this year’s 60th anniversary. The Cinerama
camera had been out on the road again, and shooting at 26
frames per second...
This is Cinerama attracts devotees and the curious alike, not least
writer Bill Bryson who described the experience in Notes from a
Small Island as “amongst the most enjoyable three hours of my
life”. Showing on three projectors, the film still offers a giddy,
white-knuckle ride, and is about as fun a piece of Americana as
you are ever likely to see. This is the original Cinerama feature
which launched the widescreen era, here presented in a recently
struck print in the original three-strip format, with seven-track
stereo sound. There is no story, merely a variety of ‘attractions’:
the famous rollercoaster ride is followed by a series of musical
and travelogue episodes culminating in an aerial tour of America.
More than a technological curio, it’s also a document of its era.
HOW THE WEST WAS WON
CINERAMA’S SOUTH SEAS ADVENTURE
Dirs. Henry Hathaway, John Ford, George Marshall USA 1962
162 mins plus intermission (PG) Cinerama
Carroll Baker, Lee J. Cobb, Henry Fonda, Carolyn Jones, et al.
Dirs. Charles Dudley, Richard Goldstone, Francis D Lyon, Walter
Thompson, Basil Wrangell USA 1958 120 mins plus intermission
(U) Cinerama Diane Beardmore, Marlene Lizzio, Tommy Zhan
Though there may be recent DVD and Blu-ray releases, we bring
from the vaults a vintage print in Technicolor from 1962, and with
new elements added. This makes it the longest version we have
ever screened. Bringing together three of the best Hollywood
western directors, How the West Was Won tells the story of a
pioneering family from the 1830s to the Civil War. A remarkable
cast of the Hollywood greats brings the mythic West to life and
celebrates the wonders of the United States. The panoramic
scenes across the three panels and the full curved screen are
spectacular. The only way to see the film.
A first screening at the Widescreen Weekend for a film depicting
one of Cinerama’s furthest journeys. Taking audiences of the
1950s to the other side of the world, the fifth of the classic
Cinerama travelogues uses fictional elements to carry the
narrative forward. As the Cinerama publicity of 1958 put it:
“Cinerama takes you on a South Seas Adventure to tropical
islands set like sparkling jewels in dreamy cerulean waters. Thrill
to the lure of sun-browned, luscious maidens and a paradise of
coconut palms, coral strand and blue lagoons... Stepping stones
in the vast expanse of far-away seas, they promise romance,
adventure, excitement—an irresistible blend of fascinating
people and exotic places.”
Film source: John Mitchell
+ THE CAST REMEMBERS: video recollections of making the film
RYAN’S DAUGHTER
KEVIN BROWNLOW: FROM BIOGRAPH TO
FOX GRANDEUR, THE BIRTH OF WIDESCREEN
Dir. David Lean UK 1970 206 mins (15) 70mm
Robert Mitchum, Sarah Miles, John Mills, Christopher Jones
We are delighted to welcome film director and historian
Kevin Brownlow. While Mr. Brownlow is a director of some
renown with It Happened Here and Winstanley to his credit, it
is probably his lifelong fascination with Abel Gance’s thwarted
1927 extravaganza Napoleon for which he is best known.
Having collected every element of this film he could find in
every available format, in the 1980s Kevin gave the world a
reconstructed version of this remarkable lost film. Among many
innovative techniques, Gance’s original Napoleon foreshadowed
Cinerama with an extraordinary multi-projector triptych
sequence at its climax. In this special presentation Kevin will
explain the wide-ranging techniques of widescreen cinema, from
the first silent films to the early talkies.
Director David Lean, one of the greatest portrayers of landscape
in the movies, follows the grand tradition of Cinerama, and with
Ryan’s Daughter the love of location was to the fore. Lean’s Oscarladen ‘intimate epic’ received a mixed reception on its original
release, but is currently undergoing re-appraisal. On the west
coast of Ireland, World War I seems far away: Recently married to
the village schoolmaster, Rosy Ryan Shaughnessy is attracted to a
young English officer. One stormy night some Irish revolutionaries
are expecting a shipment of guns but are betrayed. The stunning
scenery, filmed with 65mm film stock, created a magnificent
backdrop to this sublimely told love story.
Film source: Swedish Film Institute
THE WONDERFUL WORLD
OF THE BROTHERS GRIMM
AROUND THE WORLD IN EIGHTY DAYS
Dir. Michael Anderson USA 1956
178 mins plus intermission (U) 35mm
David Niven, Cantinflas, Robert Newton, Shirley Maclaine
Dirs. George Pal, Henry Levin USA 1962
135 mins plus intermission (U) Cinerama
Laurence Harvey, Karlheinz Böhm, Claire Bloom, Russ Tamblyn
Producer Michael Todd was a key part of the Cinerama team but
became increasingly frustrated with the travelogue form and the
restriction of only using specialist venues. Looking for a more cost
effective process, Michael teamed up with the American Optical
Company, and a new widescreen system was born. Oklahoma!,
the first film made in Todd-AO, was an instant hit. This second
film was derived from Todd and Orson Welles’ stage production of
Around the World in 80 Days and, like Cinerama, it travels all the
locations the of world in presenting a comedy spectacular. We
will screen this IB Technicolor 35mm print with magnetic sound
on our huge curved screen.
Film source: Patrick Stanbury
A Widescreen Weekend premiere of the classic 3-strip Cinerama
spectacular. Based on the lives of the Brothers Grimm, and
with three sequences from their tales The Dancing Princess, The
Cobbler and the Elves and The Singing Bone, this is an all-singing,
all-dancing film for all the family with invisible cloaks, dragons,
elves and evil knights. Following his work on The Time Machine
and Tom Thumb, director George Pal brings magic to the fairy tale
sequences. Shot with the Cinerama camera, the composition can
only be appreciated on our deeply curved Cinerama screen.
We hope to welcome camera operator Dieter Gäbler.
Film source: John Mitchell
CINERAMA! CINERAMA!
CINERAMA ADVENTURE
Dir. David Strohmaier USA 2001 100 mins (adv U) 35mm
Documentary with Debbie Reynolds, Carroll Baker, Eli Wallach,
Russ Tamblyn
For one year only, our much-loved ‘Cineramacana’ event is
renamed for the 60th anniversary of Cinerama! We will present
treats and surprises from the world of widescreen cinema with
clips, short documentaries and those special touches that make
Sunday morning at the Widescreen Weekend so special. Don’t
sleep in!
A labour of love and dedication, Dave Strohmaier’s documentary
tells the extraordinary story of Cinerama through the eyes of
those involved in developing the process. From inventor Fred
Waller’s development of a multi-screen flight simulator system,
to Cinerama’s finest achievement How the West Was Won, this is
a fine tribute to one of cinema’s greatest technical achievements.
Complete with newly re-printed elements and fascinating
interviews with those who starred in and made these classic
films, Cinerama Adventure is a must for all those who have ever
seen and wondered at the magnificence of Cinerama.
Introduction by Dave Strohmaier
Film source: Dave Strohmaier
GO AHEAD
UK Premiere
SAMSARA
MAKE YOUR DAY...
Dir. Ron Fricke USA 2011
102 mins (adv 12A) Digital
Documentary
£12
Travel between Bradford and London from
See page 24 for details
THE STAR CHAMBER
Dir. Peter Hyams USA 1983 109 mins (15) 70mm
Michael Douglas, Hal Holbrook, Yaphet Kotto, Sharon Gless
The opening film in this Michael Douglas double-bill of 70mm
prints is a classic conspiracy thriller from widescreen maestro
director Peter Hyams. Douglas is a young idealistic judge who
is becoming frustrated at the impotence of the law, which lets
criminals go free on technicalities. When the experienced Judge
Caulfield shows him an alternative, he reluctantly joins the secret
Star Chamber, where judges pass sentence outside of the law.
Tense and entertaining, this early morning screening is a great
way to start the day.
Film source: 20th Century Fox
+ The Dot and the Line (p.93)
Dir. Ridley Scott USA 1989 125 mins (18) 70mm
Michael Douglas, Andy Garcia, Ken Takakura, Kate Capshaw
Black Rain is a classic Ridley Scott thriller, all the better in this
70mm print. When New York cop Nick Conklin and his partner
Charlie Vincent arrest Yakuza gang member Sato, they are tasked
with escorting him back to Japan. On arriving Sato escapes, and
it’s a matter of honour that Nick re-capture him rather than
leave it to the Japanese police. As they attempt to track Sato
down they sink deeper into the Yakuza scene, and learn that
though breaking the rules New York-style is one way of getting
the job done, Japan has different rules.
Film source: Paramount
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Bradford After Dark II
JUAN OF THE DEAD
Dir. Alejandro Brugués Spain/Cuba 2011 100 mins (adv 15)
Subtitles Digibeta
Alexis Díaz de Villegas, Jorge Molina, Andrea Duro, Andros
Perugorría
Friday 20 & Sunday 22 April, Cineworld
Part horror comedy, part political allegory… welcome to the
zombie apocalypse, Cuban style… When old friends Juan and
Lázaro encounter a zombie whilst spending their afternoon
drifting on a raft not far from Havana’s Malecón, Lázaro panics
and accidentally shoots it dead with his crossbow. Thinking
nothing of it, they return to shore to go about their daily business,
but as more zombies appear Juan and Lázaro hit upon the
perfect solution: they gather a few friends together (along with a
selection of weapons) and become zombie exterminators for hire.
This refreshing take on the zombie genre combines gore, gags
and social commentary to portray a pragmatic nation where the
undead are merely another aspect of life.
Film Source: Metrodome
Juan of the Dead
+ BOBBY YEAH
Dir. Robert Morgan UK 2011 23 mins (adv 15) HDCam
Bobby Yeah is a petty thug who likes brawling and stealing stuff.
One day he steals a creature from its dangerous owners, and
finds himself in a lot of trouble. He really should learn, but he just
can’t help himself…
Supported by THE
The Plague of the Zombies
The Reptile
THE PLAGUE OF THE ZOMBIES
Dir. John Gilling UK 1966 86 mins (15) Digital
André Morell, Diane Clare, Brook Williams, Jacqueline Pearce
Saturday 21 & Thursday 26 April, Cineworld
BORIS KARLOFF CHARITABLE FOUNDATION
Our horror strand Bradford After Dark rises again with a terrifying
selection of features and shorts that combines classic chills and
some of the finest new horror cinema from across the globe.
Alongside beautiful restorations of Hammer classics The Plague
of the Zombies and The Reptile, Cuba’s first ever zombie film Juan
of the Dead unfolds with a glorious abandon as severed limbs
and acute political commentary are thrown into the blender.
Elsewhere, we learn the true meaning of the criminal underworld
in the astonishing British horror film The Devil’s Business, while
The Innkeepers is an expertly-crafted modern ghost story which
could be described as “Clerks meets The Shining”. Rounding
out the new features is Gallic terror tale Livid, a nightmare of
phantasmagorical horror that proves that Maury and Bustillo’s
debut Inside was no fluke.
Bobby Yeah
Remote
In this Hammer horror classic (the first of two films from the
iconic studio in this year’s After Dark programme), Sir James
Forbes (Morell) is called to a remote Cornish village at the request
of the local doctor to identify a mysterious plague afflicting the
population. He soon discovers that in this place, the dead cannot
rest in peace. Forbes traces the source of the mystery to local
squire Charles Harris, a disciple of Haitian witchcraft who uses
voodoo magic and human sacrifice to resurrect the dead to do
his bidding. When his evil plot is threatened, Harris unleashes
his army of the undead on the unsuspecting village with horrific
consequences. Screening from a newly restored digital version.
Film Source: StudioCanal
+ REMOTE
Dir. Marc Roussel Canada 2010 20 mins (adv 15) HDCam
Ron Basch, Sarah Silverthorne, Peter Racanelli
Don’t miss the 11th annual
Fantastic Films Weekend,
15-17 June 2012 at the
National Media Museum.
Feel the fear…
Temporarily connected in time, a man tries to prevent the murder
of a young woman, living in his house 30 years in the past.
THE REPTILE
THE DEVIL’S BUSINESS
Dir. John Gilling UK 1966 86 mins (15) Digital
Noel Willman, Ray Barrett, Jacqueline Pearce, Jennifer Daniel
Saturday 21 & Saturday 28 April, Cineworld
Dir. Sean Hogan UK 2011 75 mins (adv 18) Digital
Billy Clarke, Jack Gordon, Jonathan Hansler, Harry Miller
Saturday 21 & Friday 27 April, Cineworld
Following the sudden death of his brother, Harry Spalding and
his wife Valerie move to their newly-inherited country home
in an isolated Cornish village. Though initially treated with
suspicion and hostility by the locals, the couple befriend Anna,
whose tyrannical father controls her life. Learning that Harry’s
brother’s was the latest in a trail of unexplained deaths, their
investigations lead them back to Anna, whom they discover is
a victim of the most terrifying legacy... one of mutilation and
murder. Filmed back-to-back with The Plague of the Zombies, The
Reptile is one of Hammer Film Productions’ finest gothic chillers.
Screening from a newly restored digital version.
Organised crime and black magic rituals collide in this
mesmerizing British horror film from director Sean Hogan. When
two hitmen – world-weary cynic Pinner and his wet-behindthe-ears partner Cully – are dispatched to kill a former associate
of their underworld boss, they find that their intended hit is
nowhere to be found. As they await his arrival, they kill time
swapping stories before discovering a makeshift altar in the
garage (complete with its shocking, bloody sacrifice) and soon
find that this job may not be as easy as they may have hoped.
This disturbing meditation on the nature of violence and pure
evil is captivating from start to finish, with razor-sharp dialogue,
outstanding performances and a palpable sense of creeping
dread throughout.
Shaun Hogan will attend the first screening.
The Reptile
+ ELLA
Dir. Dan Gitsham UK 2010 9 mins (adv.15) HDCam
The Devil’s Business
+ INCUBATOR
A mother dead in the kitchen. A father with blood on his hands.
Not all is what it seems.
Director: Jimmy Weber USA 2011 7 mins Blu-ray
A young man wakes up in a bathtub full of ice in a dingy motel
room only to discover his problems have only just begun. You’ve
heard the urban legend...this is worse.
Incubator
Ella
LIVID
THE INNKEEPERS
Dir. Ti West USA 2011 102 mins (adv 15) Digibeta
Sara Paxton, Pat Healy, Kelly McGillis, George Riddle, Alison
Bartlett
Saturday 21 & Monday 23 April, Cineworld
Dirs. Alexandre Bustillo, Julien Maury France 2011
88 mins (adv 18) Subtitles Digital
Chloé Coulloud, Félix Moati, Jérémy Kapone
Saturday 21 & sunday 29 April, Cineworld
After over a century of service, the Yankee Pedlar Inn is closing
its doors for the final time. But employees Claire and Luke are
not about to let that happen without looking for proof of the
hotel’s reputation as one of America’s most haunted buildings.
As the Yankee Pedlar’s demise draws near, these two amateur
ghosthunters encounter a variety of strange guests and alarming
phenomena that may cause them to become footnotes in the
hotel’s long unexplained history. With a masterful grasp of
suspense and a script that expertly combines chills with genuine
wit, The Innkeepers highlights West’s continuing ascent as one of
the most talented horror directors working today.
The directors of Inside (2007) return with an evocative and bloodsoaked twist on the ‘old dark house’ subgenre. Lucie is a young
nurse employed to take care of elderly patients with varying
degrees of dementia. One of her patients stands out from the
rest – renowned former-dancer Madame Jessel, who now lies in a
comatose state in her decaying mansion. After hearing the rumour
that the wizened old woman has a small fortune hidden away
amongst the dust and darkness, Lucie and two friends break in
to investigate. As they search the house, their curiosity and greed
lead them down a path of unspeakable terror as they enter a
nightmarish world within the walls of Jessel’s labyrinthine home.
Alexandre Bustillo and Julien Maury will attend the first screening
Livid
+ INTERMISSION
+ DECAPODA SHOCK
Dirs. Robert Popper, Peter Serafinowicz UK 2012 3 mins adv. 15
DVD
Dir. Javier Chillon Spain 2011 10 mins Subtitles HDCam
An astronaut returns to Earth after a fatal accident on a distant
planet. When he discovers he’s been the victim of a sinister plot, he
takes vengeance on those responsible.
The classic cinema intermission, reimagined…
The Inkeepers
Decapoda Shock
Special Events
THE DODGE BROTHERS AND NEIL BRAND
ACCOMPANY BEGGARS OF LIFE
SUPER 8 FILMMAKING WORKSHOP
Dir. William A. Wellman USA 1928 100 mins (adv. PG) silent
with live music Digibeta
Wallace Beery, Louise Brooks, Richard Arlen, Blue Washington
Saturday 21 April, 5pm, Pictureville Cinema
With its unique range of aesthetics, Super 8 film is a fantastically
creative medium and an absolute joy to use. Cherry Kino will
offer this two day beginner’s introduction to Super 8 filmmaking,
where each participant will shoot their very own colour Super 8
film on top-end cameras out and about in Bradford, before handprocessing and beautifying them using a variety of techniques
and culminating in a public screening at BIFF. The workshop price
includes all materials and is a great opportunity to learn how
to use this fascinating and accessible medium in a condensed
amount of time. Each participant will take home their original
cine film plus a digital telecine version.
£80 (no concessions) To book, please email: cherrykinocinema@
yahoo.com (places are limited so early booking is recommended!)
Searching for food, a vagabond named Jim encounters young
wastrel Nancy (Louise Brooks), who’s just that morning
murdered her lecherous foster father at the breakfast table.
Jim takes pity on her, and with Nancy disguised as a boy she
and Jim team up for a train-hoping run from the law across
the depression-era western United States towards Alberta.
Brooks’ performance, which forever hints at hidden depths,
still has an incredible seductive power, and this is a luminous
film from the last throes of the silent era.
Performing a specially-composed live soundtrack to this lateperiod silent film, country blues, rockabilly and skiffle fourpiece The Dodge Brothers featuring film critic Mark Kermode
will be joined on stage by one of the world’s leading silent
film accompanists, Neil Brand, on piano.
All tickets £16
Film source: George Eastman House
THE FIRST BORN WITH LIVE PIANO
Dir. Miles Mander UK 1928 88 mins (adv. PG)
silent with live music 35mm
Miles Mander, Madeleine Carroll, John Loder, Ella Atherton
Wednesday 25 April, 5.40pm, Cubby Broccoli Cinema
With a script co-written by Alma Reville (wife of Alfred
Hitchcock), this late British silent is a wonderfully fluid and
emotive melodrama that’s rife with marital skulduggery
and downright caddish behaviour. Director Miles Mander
and Madeleine Carroll (who were at the time romantically
involved) play Sir Hugo and Lady Madeleine Boycott. He is an
eager politician amount to stand for election, she his devoted
other half. Unhappy that she hasn’t sired him a child, Sir
Hugo leaves for a time, which prompts desperate Madeleine
to secretly adopt a son. All is then for a time in Sir Hugo’s
chauvinistic world, but the truth as Madeleine knows it is only
part of the whole terrible story. A daring film that introduces
tones of voyeurism at key points, this is a fine new discovery.
Mark Kermode with The Dodge Brothers
Special Events
Accompanied on piano by Darius Battiwalla.
Film source: bfi
Thursday 26 & Friday 27 April, 10am – 4.30pm, Room at the Top
TIMECODE: OWEN HATHERLEY ARCHITECTURE, MEDIA AND POLITICS
Wednesday 25 April, 6pm, Room at the Top
Renowned author and critic Owen Hatherley will speak about
architecture, politics and media with particular emphasis on
Bradford. Owen Hatherley is a regular contributor to Building
Design, New Statesman and New Humanist and has also
written for The Guardian, Icon, Socialist Worker and Socialist
Review. He sits on the editorial boards of Archinect and
Historical Materialism, and maintains three blogs, Sit down
man, you’re a bloody tragedy, The Measures Taken and Kino
Fist. His book A Guide to the New Ruins of Great Britain was
published by Verso in 2010.
TIMECODE a seminar series in media. Run by the
Communication Culture and Media research group in the
Bradford Media School, School of Computing Informatics
and Media (SCIM), this regular seminar series explores the
increasingly important relationship between media, technology,
culture and society. (Free event)
Supported by
University of Bradford
VINCENT EPPLAY AND SAMON TAKAHASHI
ACCOMPANY FILMS BY PIERRE CLEMENTI
Approx 70 minutes (adv 15)
Thursday 26 April, Impressions Gallery
Vincent Epplay and Samon Takahashi are French DJs who
specialise in accompanying film projections with dense layers
of sampled music. In this live event they will accompany two of
Pierre Clémenti’s psychedelic films – his first and his last - with
an improvised musical performance that will draw from and
remix the films’ original soundtracks.
See page 83
The First Born
Family
Programme
Family Programme
CHARACTERS A-GO-GO!
Dirs. Chuck Jones, Maurice Noble USA 1940–1965
approx. 60 minutes (U) DVD
Voices: Mel Blanc, Arthur Q. Bryan, Robert Morley, Bea Benaderet
Saturday 28 April, Cubby Broccoli
Gags galore with your favourite characters in this action
packed compilation. From the beginnings of Bugs and the first
appearance of Elmer Fudd in Elmer’s Candid Camera through to
fantastic futuristic fun in Duck Dodgers in the 24½th Century.
FAMILY FILM FUNDAYS
Saturdays 21 & 28; Sundays 22 & 29 April, Cubby Broccoli
BIFF’s Family Film Fundays will run over the two weekends of he
festival. Join us in celebration of the work of Chuck Jones and of
animation itself with a cast of much-loved characters.
You can also have a go at creating your own sound effects and
crazy characters with our cartoon workshops.
Special price - £2 per ticket, with free activities after the
screenings
Long-Haired Hare
Dir. Chuck Jones, USA 1948–1956 approx. 60 minutes (U) DVD
Voices: Mel Blanc, Bill Roberts
Sunday 29 April, Cubby Broccoli
Voices: Mel Blanc
Saturday 21 April, Cubby Broccoli
The Looney Tunes gang travels from America to beyond in this
compilation; Michigan J Frog is discovered in a construction site
in One Froggy Evening; there’s rapid-fire dialogue with Daffy and
Bugs in Rabbit Seasoning and a wrong turn takes Bugs to the
South Pole in Frigid Hare.
From the beginning the Looney Tunes and Merrie Melodies
cartoons were founded on the music that Warner Brothers had
in their library. This compilation is packed with tunes and sounds,
from the slide whistle and “beep beep” of Road Runner to the
grand arrangements of the Bugs Bunny masterpiece What’s
Opera, Doc?
The Ducksters (1950)
Fast and the Furry-ous (1949)
Rabbit Fire (1951)
Mouse Wreckers (1948)
Frigid Hare (1949)
There They Go-Go-Go! (1956)
Rabbit Seasoning (1952)
One Froggy Evening (1955)
What’s Opera, Doc?
Fast and Furry-ous
LOONEY TUNES SOUND EFFECTS
Voices: Mel Blanc
Sunday 22 April, Cubby Broccoli
10am – 12pm
The Looney Tunes cartoon are well-known for their sound effects,
from Bugs Bunny chewing his carrot, Sylvester creeping up on
Tweety Bird to Wile E. Coyote chasing Road Runner. Now it’s your
turn: get your thinking cap on as you create and record your own
weird and wacky sound effects.
Playing with popular stories and the mechanics of animation
itself, this compilation sees Daffy Duck deciding he wants to
broaden his range in the The Scarlet Pumpernickel, and losing the
battle to retain order in the fantastic Duck Amuck. Plus, a whole
host of other characters cause general mayhem.
THAT’S NOT ALL FOLKS!
Free family activities accompany each screening:
DETHPICABLE DISGUISES
Duck Amuck (1953)
Zoom and Bored (1957)
Hair-Raising Hare (1946)
Scaredy Cat (1948)
Deduce, You Say (1956)
Bugs Bunny and the Three Bears (1944)
For Scent-imental Reasons (1949)
The Scarlet Pumpernickel (1950)
The Hypo-Chondri-Cat
THE FAST AND THE FURRY-OUS
MUSICAL MAYHEM
Baton Bunny (1959)
Beep Beep (1952)
Bad Day at Cat Rock (1965)
Rabbit of Seville (1950)
Feed The Kitty (1952)
Long-Haired Hare (1949)
Scrambled Aches (1957)
What’s Opera, Doc? (1957)
The Hypo-Chondri - Cat (1950)
Elmer’s Candid Camera (1940)
The Dot and the Line – A Romance In Lower Mathematics (1965)
Hare Conditioned (1945)
Cheese Chasers (1951)
Guided Muscle (1955)
A Bear For Punishment (1951)
Duck Dodgers in the 24½th Century (1953)
CARTOON CREATIONS
1 – 4pm
Learn how to draw Looney Tunes-style cartoons and bring them
to life using animation software. Add the sound effects you
created in our sound effects workshop and impress your friends
and family.
Duck Amuck
One Froggy Evening
Biff by Night
WE ARE POETS POETRY SLAM
BIFF BY NIGHT FILM QUIZ
Friday 20 April, 8pm
Friday 27 April, 7.30pm
Winner of The Sheffield Youth Jury Award at Sheffield Doc/Fest
2011, We Are Poets is a documentary that follows Slam Poetry
collective Leeds Young Authors as they compete in the most
prestigious performance poetry contest in the USA (see page
48). Following our screening on Friday 20 April we will host
live poetry performances by the young stars of the film. Come
along, sit back and enjoy, or if you think you could join in come
and show us what you’ve got! Free
Put your film knowledge to the test against other festival goers
at our BIFF by Night Film Quiz. With film clips, soundtracks,
pictures and general film knowledge galore; this quiz is sure to be
a challenge! Teams (up to four people) may register through the
Box Office. £1 per person
EAST END ICONS: WHY WE LIKE…
BARBARA WINDSOR
Short introduction followed by informal discussion
Sunday 22 April, 7.30pm
Approx. 60 mins
Though she’s most famous for her roles in the Carry On films,
and as part of the EastEnders institution as Peggy Mitchell,
Barbara Windsor’s career has been far richer and more varied
than these iconic roles. Barbara has never lost her compass
home, and has retained her unaffected, vibrant personality as well as her accent – in all her roles. This celebration of her
work revels in the British star who put the “Phwoaarr!” most
properly up on the big screen. Free
Led by National Media Museum Film Extra tutor Rona Murray
BAD FILM CLUB
Saturday 28 April, 8pm
Have you ever seen a bad film at the cinema and had to suppress
a guffaw? Felt trapped in the sanctity of the cinema whilst
wanting to shout at the screen? Well now you can! Bad Film
Club is a place where festival goers can gather and unify in
the guilty joy that is a good bad movie. Join Nicko and Jo for
DVD-style commentary on a specially selected stinker of a movie
(title tbc), and throw off the shackles of polite cinema etiquette.
Come along and enjoy a journey through stupid plots, dreadful
dialogue, bizarre acting and some of the worst special effects
known to man. £5
EAST END ICONS: WHY WE LIKE…
RAY WINSTONE
Short introduction followed by informal discussion
Tuesday 24 April, 7.30pm
Approx. 60 mins
BIFF by Night
BIFF by Night is our fringe programme of evening
events. All BIFF by Night events will take place in
the National Media Museum’s Intermission Cafe.
All Members @ National Media Museum receive
10% off at the museum café. To find out more
about Membership please visit the website or
call 01274 20 33 44.
Once described at the “British Robert DeNiro”, Ray Winstone’s
screen presence has always radiated much more than simple
intimidation and violence, despite his brilliance at doing
just that ever since Scum. In a career spanning British and
American productions Ray’s ‘harder’ and ‘softer’ roles have
shown how he embodies a character rather than acting as
one. This introduction will celebrate some of those highlights
and look at why he’s less the “British Robert DeNiro” than the
“British Ray Winstone”: no comparisons required. Free
Led by National Media Museum Film Extra tutor Rona Murray
BEST OF VIRGIN MEDIA SHORTS
Thursday 26 April, 5pm
The Virgin Media Shorts competition gives twelve talented
young filmmakers the chance to show their work on 35mm in
cinemas nationwide for a whole year in independent cinemas.
Plus, the lucky winner of the Grand Prize lands £30,000 to
make their next film, along with some expert mentoring from
the UK’s leading film body, the British Film Institute. We will
show previously shortlisted shorts. Free
at space to meet
The museum café is a gre
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JCT600
The Ultimate
Driving Machine
A ReAl CRowd PleAseR.
JCT600, the name for BMW in Bradford, are pleased to support
the 18th Bradford International Film Festival.
JCT600
99 Sticker Lane, Bradford BD4 8RU
Tel: 01274 263600
www.jct600bmw.co.uk
myriad pro typeface
Big Personalities
on the Small Screen
Visit the National Media Museum’s TV Heaven facility and watch
Bradford International Film Festival guests in some of their finest
performances on the small screen. The following programmes
are available free of charge to watch in the TV Heaven viewing
booths during Museum opening hours.
TV Heaven
TV Heaven
FOX (Episode: King Billy)
EASTENDERS (various episodes)
Dir. Jim Goddard UK 1980 50 mins (adv 12A)
Peter Vaughan, Elizabeth Spriggs, Bernard Hill, Ray Winstone
UK 1994 – 2010, 30 mins (adv PG)
Britain’s love affair with Barbara Windsor was reignited when she
took on the role of Peggy Mitchell in EastEnders. From 1994 to
2010 she played mother to the notorious Mitchell brothers, wife to
Frank Butcher, Pat’s sparring partner and landlady of the Queen Vic.
Programme source: BBC
Produced by Verity Lambert, Fox was the story of the tensions in
a London godfather’s sprawling family, and how they struggle
to cope after his death. The 13-part drama featured a fine cast
including Ray Winstone, Peter Vaughan, Bernard Hill and Larry
Lamb. Programme source: Thames Television
THE RAG TRADE (Episode: The Baby)
PLAY FOR TODAY: SCUM
UK 1961 30 mins (adv PG)
Peter Jones, Miriam Karlin, Reg Varney, Barbara Windsor
Dir. Alan Clarke UK 1977 78 mins (adv 15)
Ray Winstone, Martin Phillips, John Blundell, Phil Daniels
Barbara Windsor plays vivacious Judy in this 1960s sitcom written
by Ronald Wolfe and Ronald Chesney. In this episode pennypinching boss Harold Fenner is far from happy when the factory
girls start bringing their kids to work.
Ray Winstone makes his breakthrough performance in Roy
Minton’s play about the brutality of borstal life. First banned by
the BBC, it was finally transmitted on television in 1991 in tribute
to director Alan Clarke. Programme source: BBC
SWEENEY TODD
BLUEBIRDS
(Episode: A Couple of Snakes
and a Natterjack Toad)
Dir. David Moore UK 2006 90 mins (adv 18)
Ray Winstone, Essie Davis, David Warner, Tom Hardy
A shaven headed Ray Winstone plays the demon barber in this BBC
adaptation of Sweeney Todd. This feature length drama written by
Joshua St Johnston also stars Essie Davis, David Warner and Tom
Hardy.
UK 1989 25 mins (adv U)
Pauline Delaney, Isabelle Lucas, Sheila Steafel, Barbara Windsor
A rare opportunity to see Barbara Windsor in this children’s
comedy about an aging dance troop, as it only ran for six
episodes in 1989. Bluebirds also featured Isabelle Lucas
and Martine McCutcheon, who would later play Windsor’s
daughter-in-law Tiffany in EastEnders.
OMNIBUS: MR BUGS BUNNY
UK 2001 50 mins (adv U)
The long running documentary series explores the career of Chuck
Jones. This edition was produced the year before Jones passed away
and examines the impact of his entire career. With contributions
from Steven Spielberg, John Lasseter and Matt Groening.
TV Heaven
Level 3, National Media Museum
The first of its kind in Britain, TV Heaven is a viewing
facility where you can access an archive of more than 1000
programmes from the last sixty years of British television
history. Our TV Heaven collection highlights television’s
enduring capacity to inform, educate and entertain.
You’ll find classic comedies, hard-hitting documentaries, family
favourites and memorable dramas – there really is something
for everyone. Simply select a programme from our catalogue and
watch it in your own viewing booth at no charge.
Private booths can accommodate 2-5 people, while our 39-seat
Viewing Room is ideal for group bookings and educational visits.
Visitors are welcome to call in to TV Heaven at any time during
Museum opening hours, and viewing spaces can be booked in
advance by contacting the box office on 0844 856 3797.
LEEDS METROPOLITAN UNIVERSITY
FILM, MUSIC &
PERFORMING ARTS
COURSES
Filmmakers’ Weekend
Next generation of Filmmakers wanted
Enjoyed the film? Inspired to work in the Film Industry?
Exciting courses with excellent facilities
based in the city of Leeds
in Association with Northern Film School
Leeds Metropolitan University offers a range of courses including:
- MA Filmmaking – The Filmmakers’ MA
- MA Music for the Moving Image
- MSc Digital Video & Special Effects
- BA (Hons) Film & Moving Image Production
- BA (Hons) Animation
- BSc (Hons) Broadcast Media Technologies
- BSc (Hons) Computer Animation & Special Effects
For more information:
Tel: 0113 812 3113
Email: [email protected]
www.leedsmet.ac.uk/study
Production still from
Entity, produced by Rob Speranza 119
in Association with Northern Film School
at Leeds Metropolitan University
Saturday 28 April
Sunday 29 April
The Northern Film School, Filmmakers’ Weekend sponsors, and
David Wilson, Director of Bradford City of Film, will officially open
the Filmmakers’ Weekend. David Wilson will give an overview
of the opportunities available to individuals and production
companies interested in shooting their films in Bradford.
FILMMAKING MASTER-CLASS
LOOKING AHEAD –
WHAT IS THE FUTURE FOR BRITISH FILM?
SHOOTING DIGITAL –
THE LATEST FORMATS UNCOVERED
Representatives from the UK’s leading film organisations will
join us for a panel discussion on new and forthcoming initiatives,
funding opportunities and other schemes for filmmakers. A
great opportunity to discover what the people holding the purse
strings are looking for, and how you can access their support.
MOVIE MONEY …AND HOW TO GET IT
The Northern Film School, part of the new School of Film, Music
and Performing Arts at Leeds Metropolitan University, is one
of the UK’s longest established and leading schools in practical
moving image production, from undergraduate through to PhD
study. Our courses develop critical understanding, collaborative
working and high level practical skills taught by practicing,
passionate and experienced filmmakers – 12 full time staff
and a stream of international visiting artists and professional
technicians.
The Northern Film School is a thriving creative community with
workshops, screenings, seminars and master-classes running
alongside a full time slate of student productions being made
locally, nationally and internationally. Our Alumni Production
Scheme has recently supported the multi-award winning
documentary, We Are Poets (see page 48), and Ahlaam by Oscar
nominated Mohamed Al Daradji. Our students go on to work in
all areas of the industry from TV and feature films, to animation
and interactive creative technology.
Saturday 28 and Sunday 29 April
Room at the Top
Weekend Pass: Full £100; Student £60
Day Pass: Full £55; Student £35
A weekend of panels, workshops, and master-classes designed to
equip you for success in the world of independent filmmaking.
Whether you’re just starting out with your first short film, or
want to make the leap into feature film production, our expert
panels and special industry guests are here to offer you practical
tips and insider knowledge.
Filmmakers’ Weekend delegates can claim 20% off tickets for any
Bradford International Film Festival screenings, including Shine
Short Film Award and European Features Competition screenings
(offer excludes Special Events and screen talks and Widescreen
Weekend events).
To book visit www.bradfordfilmfestival.org.uk,
call 0844 856 3797 or visit our box office.
Early registration is advisable as there are only a limited number
of places available.
Taking a closer look at the different financial models available to
independent film producers in the UK, this session will explore
options such as engaging private investors, using tax breaks and
financial incentives, and finding other clever ways to raise your
budget including creating successful online campaigns.
BREAKING THROUGH – FORGING A
SUCCESSFUL CAREER IN DIRECTING
Looking for inspiration? Wondering how to break into the
industry as a director? In this master-class special guest
director, Ingrid Veninger, an actress, producer and director who
is screening her third feature film at BIFF this year, will share
her experiences in the film and TV industry, giving an insider
perspective on how to build a successful career in directing.
GETTING IT OUT THERE – EXHIBITION AND
DISTRIBUTION FOR INDEPENDENT FILM
Easy access to new technologies has resulted in the production
of an extraordinary number of short and feature length films.
But what happens to these films after their completion?
How do films make it into the programmes of cinemas, film
festivals and onto other platforms? Run by leading consultancy
the Independent Cinema Office, this session will include
contributions from a UK distributor and an international film
sales agent.
Still to be announced. A visiting guest filmmaker at BIFF will
present a special master-class for the Filmmakers’ Weekend.
Keep checking the Bradford International Film Festival website
for news and updates.
Independent filmmakers have never had so many options for
shooting high quality films. This informative session combines a
talk from cinematography magazine, Hungry Eye, and a practical
workshop from Yorkshire based camera and lighting specialists,
Provision. Taking a closer look at the different HD and DSLR
cameras on the market, this session will help you decide which
format best suits the look, style, and most importantly the
budget of your film.
TAKING THE PLUNGE –
MAKING YOUR FIRST FEATURE FILM
However many short films you have made, attempting to create
a high quality feature film with very little money is a daunting
prospect, especially in the current economic climate. This
session with producer Rob Speranza and director Steve Stone
will look at the case study of how the low budget feature film
Entity was made in Yorkshire last year.
PITCH IT –
SELL YOUR FILM IDEA TO THE EXPERTS
This session, run by The Northern Film School, will provide an
opportunity to get some invaluable pitching advice. Then, why
not try your luck selling your big idea to a panel of film industry
experts and key players – you never know what might happen!
THE NORTHERN FILM SCHOOL PRESENTS…
Find out more about the wide range of courses available at The
Northern Film School, and see a selection of short films made by
recent graduates.
INTRODUCE YOURSELF –
WYIFN NETWORKING SESSION
Drinks, nibbles, and plenty of networking opportunities for all
Filmmakers’ Weekend delegates. This session will be run by
We’re Your Independent Film Network who will tell you more
about what they do, and give you the opportunity to sign up to
their network of independent filmmakers. www.wyifn.co.uk
Drinks reception supported by
West Yorkshire Independent Film Network
Take advantage of your 20% discount
and see some fantastic films in the
Shine Short Film awards and the
European Feature Film Award screenings.
Credits and thanks
Honorary President
Lord Puttnam of Queensgate CBE
Patrons
Steve Abbott
Simon Beaufoy
Alex Cox
David Nicholas Wilkinson
Michael G. Wilson
NMeM EXECUTIVE
Director of Museum Colin Philpott
Deputy Director Michael Terwey
ADVISORY BOARD
Maggie Ellis, Film London
Dr. Mark Goodall, University of Bradford
Kevin Matossian, SilverCrest Entertainment
Julian Richards, Prolific Films
Liz Rymer, Wildlight Pictures Ltd
David Nicholas Wilkinson, Guerilla Films
Andrew Youdell, BFI
GUEST CONSULTANTS
Widescreen Cinema Consultant Bill Lawrence
Bradford After Dark Programmer Robert Nevitt
Short Films and Filmmakers’ Weekend Consultant Abbe
Robinson
Technical Consultant Andy Atkinson
Digital Cinema Consultant Darren Briggs
Press Office
Press Officer Phil Oates
Press Officer Rachel McWatt
Press Officer Claire Wilford
NMeM PROJECTION TEAM
Projection Team Manager Duncan McGregor
Senior Projectionist Tony Cutts
Projectionist Roger Brown
Projectionist John Cahill
Projectionist Dave Chambers
Projectionist Symon Culpan
Projectionist Allan Foster
Projectionist Raymond Hattrell
Projectionist Tom Perkins
Projectionist Andrew Walker
Projectionist Jennifer Weston-Beyer
FESTIVAL STAFF
Directors Tom Vincent and Neil Young
Festival Producer Fozia Bano
Film Manager Kathryn Penny
Film Sales Executive Jennifer Hall
Widescreen Weekend Programmer Duncan McGregor
Film Festivals Assistant Rebecca Hill
Director, BAF Deb Singleton
Film Transport Coordinator Laura Ager
Rural Cinema Project Manager Emily Penn
Visitor Experience Coordinator Sarah Jarvis
Film Bookings Assistant Gillian Reid
Marketing & PR Manager Sibh Megson
Digital Marketing Executive Jennifer Hocking
Senior Marketing Executive Harriet Hudson
Press and Marketing Assistant Nick Cook
Marketing Executive Sophie Choudry
Head of Development Rob Shaw
Senior Development Executive Jodie Marsh
Senior Development Executive Gigi Davies
Membership Executive Dale Ellis
Web Producer Pete Edwards
Web Content Manager Emma James
Web Developer Jaspal Sahota
Community Learning Programmes Coordinator Elaine Richmond
Audience Development & Volunteer Coordinator Mandy Tennant
Visitor Experience Operations Manager North Jim Lowe
Film Education Officer Jen Skinner
Curator of Broadcast Culture Claire Hampton
Senior Graphic Designer Janet Qureshi
Design Manager Sally Walker
Graphic Designer Rob Derbyshire
Media Developer Emma Shaw
Media Edit Assistant Simon Lawson
Bradford International Film Festival wishes to acknowledge the
support of the following individuals and organisations:
Special Thanks to:
Olivier Assayas, Bradford City of Film (David Wilson), Bob Brook (Otley
Courthouse), Cherry Kino (Martha Jurksaitis) Harley Cokeliss, Wendy
Cook (Hyde Park Picture House), Jonny Courtney (Hebden Bridge
Picture House), Symon Culpan, Rich and Anna Greenhalgh, Owen
Hatherley, Thomas Hauerslev, John Hurt & Anwen Rees Myers, Tom
March, Minicine (Mike McKenny), Steve Petersen (Cineworld), Jim
Moran, Sarah Read (Impressions Gallery), Gillian Reynolds, David Sin
(Independent Cinema Office), The Sparrow (Les Hall, Mark Husak),
David Strohmaier, University of Bradford (Mark Goodall, Ian Palmer),
Ingrid Veninger, Professor Paul Wells (Loughborough University),
David Nicholas Wilkinson, Barbara Windsor, Ray Winstone.
Thanks to:
Gabrial Achim, Aaron Arens, Argent Films, Artificial Eye (Ben
Luxford), Arts Alliance Media (Darren Briggs), Darius Battiwalla,
James Benning, Aleksandra Biernacka (TVP), Emile Blichfeldt,
British Film Institute (Andrew Youdell, Fleur Buckley, Christine
Whitehouse), Betzy Bromberg, Andrea Bussmann, Craig Butta,
Brandon Cahoon, Celluloid Screams, Cinema Retro magazine
(Lee Pfeiffer and Dave Worrall), Cinerama Inc. (John Sittig), Xurxo
Chirro, Linda Clough, David Coles, Kieron Corless, José Filipe Costa,
Creative England (Jay Arnold), Manuel Cristobal, Mita de Groot,
Datasat Digital, Jan Doense, Anna Draniewicz (consultant: Polish
cinema), Ben Eagle, Tony Earnshaw, Entertainment One (Jeremy
Baum), Charles Fairbanks, Dany Ferreira Horiuchi, Filmbank, Marina
Fuentes (6Sales), Katja Getov (Studio Arkadena), Lizette Gram
Mygind (DFI), Isamu Hirabayashi, Greuel, Kay ‘Hedgemint’, Greg
Hobson, Joanna Hogg, Hollywood Classics (Geraldine Higgins,
Wendy Ide, Impressions Gallery (Sarah Read, Anne McNeill), Aly
Hirji (The Dodge Brothers), Independent Cinema Office (Tilly
Walnes, Simon Ward), IndieLisboa, Mark Jackson (Right On
Red Films), Matt Jones (University of North Carolina School of
the Arts), Alissa Juvan, Mark Kermode, Adam Kossoff, Michael
Krummenacher, Laser Hotline (Wolfram Hannemann), Martha
Jurksaitis, Tom Lass, Christelle Lheureux, Leeds Film (Chris Fell),
Vladimir Léon, Aida LiPera (Visit Films), Michel Lipkes, MediaWorld
Logistics, Johann Lurf, Lee Lynch, Joachim Lyng (Sweet Films), Neil
McGlone, Harold Manning (Les Films de la Liberté), Metrodome
(John Ramchandani), John Mitchell, Momentum Pictures (Tara
Barnett), Thure Munkholm (CPH PIX film festival), Jan Naszewski
(New Horizons Film Festival and American Film Festival), Jenny
Neighbour (Sydney Film Festival), Network Releasing (Luciano
Chelotti), David Nordstrom, Otley Courthouse Arts Centre (Bob
Brook, Gill Leggat, Alex Leggat), Mike Ott, Martha Otte (Tromsø
International Film Festival), Paramount Pictures (Nigel Taylor), Park
Circus (Nick Varley, Elizabeth Gault, Mark Truesdale), Peccadillo
Pictures (Tom Abell), Norbert Pfaffenbichler, Alex Ross Perry,
Duncan Petrie, Irna Qureshi, Elisa Pirir Ruiz, Benjamin Poumey
(Les films du Tigre), Pascale Ramonda, Alex Ramseyer-Bache,
Jean-Pierre Rehm (FIDMarseille), Julien Rejl (Les films du Capricci),
Replicate, Rezolution Films (Christina Fon), Tim Robey, Jack Roe,
Henning Claudia Romdhane, Rosenlund (Tromsø International Film
Festival), Yuval Sagiv, Sheila Seacroft, Jim Slater (Cinema Technology
magazine), Sony Pictures Releasing (UK) (Gareth Bettridge, Paul
Hoy), Patrick Stanbury, Nicolas Steiner, Tom Stewart (Arrow
Films), Dave Strohmaier and Randy Gitsch, Samon Takahashi &
Vincent Epplay, StudioCanal (Tommy Delcher, Adam Hotchkiss,
John Scrafton), 20th Century Fox (Joe Nunes), Antoine Thirion (Les
films des Lucioles), Mark Trompeteler, Gorazd Trušnovec, Michael
Tucker, University of Bradford, Phil Van Tongeren, (Imagine film
festival. Amsterdam), Verve Pictures Ltd (Colin Burch, Elliott Binns),
Viennale, Virgin Media (Luke Southern, Simon Dornan, Leanne
Parton, Sophie Lavender, Siobhan O’Brien), Zach Weintraub, Travis
Wilkerson, Keith Withall, Withoutabox (Mary Davies)
Particular thanks also to the directors and producers of
the selected films, and to all of the other filmmakers who
submitted films for consideration.
Film selection by:
Fozia Bano, Rebecca Hill, Rob Nevitt, Kathryn Penny, Abbe
Robinson, Tom Vincent and Neil Young.
Catalogue text by:
Mark Goodall, Duncan McGregor, Kathryn Penny, Bill
Lawrence, Robert Nevitt, Elaine Richmond, Abbe Robinson,
Jen Skinner, Tom Vincent and Neil Young
Festival identity:
Design by James Wignall (MutantHands)
Animated trailer by Andy Sykes (Hexjibber)
Animation storyboards by Tom Woolley
Catalogue and publicity materials design
Rob Derbyshire, Janet Qureshi and Sally Walker
All National Media Museum Members.
Index of films and events
663114
A to A
Ab Morgen
Adalbert’s Dream Albert Nobbs
The Angels of Portbou Around the World in 80 Days
At the Formal
Avé
Bad Day at Cat Rock
Bad Film Club
Barbara Windsor screentalk
Battle of the Queens
The Bear that Wasn’t
Belle de Jour
Beowulf The IMAX 3D Experience
Best of Virgin Media Shorts
Beyond These Mountains
BIFF by Night Film Quiz
Black Rain
Bluebirds: A Couple of Snakes & a Natterjack Toad Bobby Yeah
Bread and Circuses
Brotherhood
Bully for Bugs
Bummer Summer
Callum
Carlos
Carry on Spying
Cinerama Adventure
Cinerama Update
Cinerama! Cinerama!
Cinerama’s Russian Adventure
Cinerama’s South Seas Adventure
The Color Wheel
Conference
Crooks in Cloisters
Damsels in Distress
Decapoda Shock
Departure
The Designated Victim
The Devil’s Business
p.54
p.54
p.54
p.29
p.28
p.40
p.101
p.45
p.29
p.92
p.113
p.62
p.29
p.93
p.83
p.67
p.113
p.30
p.113
p.102
p.116
p.105
p.31
p.54
p.91
p.78
p.55
p.72
p.64
p.101
p.99
p.100
p.98
p.99
p.78
p.55
p.64
p.22
p.107
p.55
p.83
p.107
Distinguished Flying Cross
p.81
The Dodge Brothers & Neil Brand
Accompany Beggars of Life
p.109
p.93
The Dover Boys...
p.90
Drip-Along Daffy
p.91
Duck Amuck
p.91
Duck Dodgers in the 24 1/2th Century
p.91
Dying Every Day
p.55
East End Icons: Why We Like… Barbara Windsor
p.113
East End Icons: Why We Like… Ray Winstone
p.113
Eastenders
p.116
Ella
p.106
European Features Competition
p.16
Family Film Funday: Characters A-Go-Go!
p.111
Family Film Funday: Dethpicable Disguises
p.110
Family Film Funday: Musical Mayhem
p.110
Family Film Funday: The Fast and the Furry-ous
p.111
Fanny & Elvis
p.67
Fast and Furry-ous
p.90
Faust
p.32
Feed the Kitty
p.91
Fightville
p.33
Film ou Visa de Censure Numero X
p.83
p.120
The First Born with live piano
p.109
Flying Pigs
p.32
For Scent-imental Reasons
p.90
Fox: King Billy
p.117
Free Men
p.32
Gee Whiz-z-z-z-z-z-z
p.92
Goodbye First Love
p.34
The Half Light
p.55
Handschlag
p.55
He Whose Face Gives no Light
p.38
How I Filmed The War
p.35
How the West Was Won
p.98
Hugin and Munin
p.56
Humiliated and Offended
p.56
I am a good person / I am a bad person
p.37
In Love with Alma Cogan
p.35
Incubator
p.107
The Innkeepers
p.106
Intermission
Intro
Irma
Irma Vep
Jasmine
Juan of the Dead
Kevin Brownlow
Kinderspiel
La Maladie Blanche
Ladies and Gentlemen, The Fabulous Stains
The Last Buffalo Hunt Late August, Early September Le Passage
Livid
The Lord’s Ride
Malaventura
Marcel Ophüls & Jean-Luc Godard...
Me or the Dog
Modern No. 2
Moscow Diary
Negative
Nil by Mouth
Omnibus: Mr Bugs Bunny
Olivier Assayas screentalk
One Froggy Evening
One Smart Indian
Ora et Labora
Papa Gold
Plague of the Zombies
Play for Today: Scum
The Proposition
Rabbit Fire
Rabbit of Seville
Rabbit Seasoning
The Rag Trade: The Baby
The Raid
Ray Winstone screentalk
Remote
The Reptile Revelations
Ryan’s Daughter
Samsara
Sawdust City
p.106
p.79
p.56
p.71
p.56
p.105
p.101
p.57
p.39
p.67
p.79
p.72
p.57
p.107
p.35
p.38
p.39
p.57
p.57
p.40
p.57
p.68
p.117
p.71
p.92
p.78
p.57
p.41
p.105
p.117
p.68
p.90
p.90
p.91
p.116
p.42
p.66
p.105
p.106
p.58
p.100
p.24
p.80
Scum
Sexy Beast
Shine Shorts
Shrapnel
Sing Your Song
Small Roads
Soleil
So Much for So Little
Sparrers Can’t Sing
The Star Chamber
Sudd
Summer Hours
Super 8 Filmmaking Workshop
Sweeney Todd
That Summer
Theory of Color
This is Cinerama
Those Who Can
Three Stories
Timecode: Owen Hatherley
Toomelah
Trading Licks
Turkey Bowl
Vikingland
Vincent Epplay and Samon Takahashi
accompany films by Pierre Clémenti
Volcano
Voluptuous Sleep
The War Zone
We Are Poets
We Are Poets Poetry Slam
What’s Opera, Doc?
The White Mosquito
The Windjammer Voyage: a Cinemiracle Adventure
Without
Wrinkles
The Wonderful World of The Brothers Grimm
The World Turns
p.68
p.69
p.18
p.58
p.43
p.80
p.83
p.90
p.64
p.102
p.58
p.72
p.109
p.117
p.69
p.58
p.98
p.58
p.79
p.109
p.45
p.58
p.81
p.46
p.83
p.47
p.80
p.69
p.48
p.113
p.92
p.59
p.99
p.81
p.50
p.100
p.59
Thursday 19 April
time event
7.30
Opening Night Film: Damsels in Distress + One Froggy Evening Pictureville
Friday 20 April
venue
page no.
p.22
time
event
venue
12.10
2.05
2.30
4.00
4.45
6.15
6.15
6.15
7.30
8.00
8.20
8.30
8.50
Late August, Early September + The Dot and the Line
How I Filmed The War + Conference Scum + Shrapnel
Crooks in Cloisters + Gee Whiz-z-z-z-z-z-z
Bread and Circuses + The White Mosquito
We Are Poets + Dying Every Day
Beowulf The IMAX 3D Experience + Rabbit Fire
The Designated Victim + Duck Amuck
Barbara Windsor screentalk + Sparrers Can’t Sing
We Are Poets Poetry Slam
Summer Hours + The Dover Boys
Juan of the Dead + Bobby Yeah
Fightville + Irma
Pictureville
Cubby Broccoli
Pictureville
Cubby Broccoli
Pictureville
Cubby Broccoli
IMAX
Cineworld
Pictureville
Museum Cafe
Cubby Broccoli
Cineworld
IMAX
page no.
p.72
p.35
p.68
p.64
p.31
p.48
p.67
p. 83
p.62
p.113
p.72
p.105
p.33
Saturday 21 April
time event 10.00
11.30
12.00
12.10
1.40
2.00
2.15
3.00
3.40
4.30
5.00
5.45
6.05
7.15
7.30
8.10
8.10
9.30
Shine Award shorts
Albert Nobbs + What’s Opera, Doc?
Plague of the Zombies + Remote
Family Film Funday: Musical Mayhem
The Last Buffalo Hunt + Three Stories
Voluptuous Sleep
The Reptile + Ella
Scum + Shrapnel Sexy Beast + Rabbit Seasoning
The Innkeepers + Intermission
The Dodge Brothers and Neil Brand accompany Beggars of Life
Sawdust City + Revelations
Bummer Summer + Sudd The Devil’s Business + Incubator
Ray Winstone screentalk + That Summer
Goodbye First Love + Sudd
Beowulf The IMAX 3D Experience + Rabbit Fire
Livid + Decapoda Shock
venue
page no.
Cubby Broccoli
p.18
Pictureville
p.28
Cineworld
p.105
Cubby Broccoli
p.110
Cubby Broccoli
p.79
Impressions Gallery p.80
Cineworld
p.106
Hyde Park Picture House p. 68
Cubby Broccoli
p.69
Cineworld
p.106
Pictureville
p.109
Cubby Broccoli
p.80
IMAX
p.78
Cineworld
p.107
Pictureville
p.66
Cubby Broccoli
p.34
IMAX
p.67
Cineworld
p. 107
Sunday 22 April
time event venue
11.50
12.25
1.55
1.55
3.00
4.10
4.10
6.20
6.20
6.20
6.25
7.30
7.45
8.30
9.00
9.00
9.00
Pictureville
p.67
Cubby Broccoli
p.110
Pictureville
p.64
Cubby Broccoli
p.40
Hyde Park Picture House p.47
Pictureville
p.35
Cubby Broccoli
p.64
Pictureville
p.50
Cubby Broccoli
p.35
IMAX
p.80
Cineworld
p.105
Museum Cafe
p.113
Hebden Bridge
p.67
Pictureville
p.28
Cubby Broccoli
p.41
IMAX
p.29
Cineworld
p.42
Ladies and Gentlemen... + One Froggy Evening
Family Film Funday: Dethpicable Diguises
Crooks in Cloisters + Gee Whiz-z-z-z-z-z-z
Moscow Diary + The Angels of Portbou
Volcano + 663114
The Lord’s Ride + Me or the Dog
Carry on Spying + Bad Day at Cat Rock
Wrinkles + The Bear that Wasn’t
How I Filmed The War + Conference
Sawdust City + Revelations Juan of the Dead + Bobby Yeah
East End Icons: Why we Like… Barbara Windsor
Fanny & Elvis + For Scent-imental Reasons Albert Nobbs + What’s Opera, Doc?
Papa Gold + Jasmine Battle of the Queens + Bully for Bugs
The Raid + Fast and Furry-ous
page no.
Monday 23 April
time
event
venue
12.30
12.40
2.55
4.05
5.35
6.05
6.55
7.45
8.40
8.45
8.50
9.00
Flying Pigs + Callum
He Whose Face Gives no Light + Malaventura Belle de Jour + Those Who Can
The Last Buffalo Hunt + Three Stories
Carlos
Turkey Bowl + Distinguished Flying Cross Intro + Trading Licks In Love with Alma Cogan + For Scent-imental Reasons
Small Roads + A to A
He Whose Face Gives no Light + Malaventura
Avé + Brotherhood
The Innkeepers + Intermission
Pictureville
Cubby Broccoli
Pictureville
Cubby Broccoli
Pictureville
Cubby Broccoli
IMAX Otley Court House
Cubby Broccoli
IMAX Pictureville
Cineworld
page no.
p.32
p.38
p.83
p.79
p.72
p.81
p.79
p.35
p.80
p.38
p.29
p.106
Tuesday 24 April
time
event
venue
10.30
1.05
1.15
2.00
3.05
3.50
6.00
6.05
6.20
7.30
8.00
8.30
8.30
8.30
In Love with Alma Cogan + For Scent-imental Reasons
Papa Gold + Jasmine Battle of the Queens + Bully for Bugs
Vikingland + Modern No. 2
Intro + Trading Licks Carry on Spying + Bad Day at Cat Rock Free Men + Le Passage Flying Pigs + Callum
Avé + Brotherhood
East End Icons: Why we Like… Ray Winstone
Carlos
Volcano + 663114 The Proposition + Drip-Along Daffy
Adalbert’s Dream + The Half Light
Pictureville
Cubby Broccoli
Pictureville
Impressions Gallery
Cubby Broccoli
Pictureville
Pictureville
Cubby Broccoli
IMAX Museum Cafe
Cineworld
Pictureville
Cubby Broccoli IMAX page no.
p.35
p.41
p.29
p.46
p.79
p.64
p.32
p.32
p.29
p.113
p.72
p.47
p.68
p.29
Wednesday 25 April
time
event
venue
10.30
12.25
1.00
3.00
3.05
5.40
5.45
6.00
6.05
8.00
8.15
8.20
9.00
Watch with Baby: Sparrers Can’t Sing + Feed the Kitty
Turkey Bowl + Distinguished Flying Cross We Are Poets + Dying Every Day
Without + The World Turns
Nil by Mouth + Hugin and Munin
The First Born with live piano + Duck Amuck
Adalbert’s Dream + The Half Light
Timecode: Owen Hatherley
Shine Shorts
Olivier Assayas screentalk + Irma Vep
Free Men + Le Passage
Faust Sexy Beast + Rabbit Seasoning Pictureville
Cubby Broccoli
Pictureville
Cubby Broccoli
Pictureville
Cubby Broccoli
Pictureville
Room at the Top
IMAX
Cubby Broccoli
IMAX
Pictureville
Cineworld
Thursday 26 April
p.64
p.81
p. 48
p.81
p. 68
p. 109
p.29
p.109
p. 18
p.71
p.32
p.32
p.69
time
event
venue
10.00
10.30
10.50
1.10
1.30
3.25
3.40
5.00
5.45
5.50
6.20
7.30
7.45
8.20
8.20
9.20
Wrinkles + The Bear that Wasn’t Small Roads + A to A Crooks in Cloisters + Gee Whiz-z-z-z-z-z-z
Moscow Diary + The Angels of Portbou The War Zone + Negative
That Summer + Rabbit of Seville Best of Virgin Media Shorts
Beowulf The IMAX 3D Experience + Rabbit Fire Bread and Circuses + The White Mosquito Marcel Ophüls and Jean-Luc Godard + La Maladie Blanche V. Epplay & S. Takahashi accompany films by Pierre Clémenti
The Lord’s Ride
Beyond These Mountains + Handschlag
Toomelah + At the Formal
Plague of the Zombies + Remote
Room at the Top
Pictureville
Cubby Broccoli
Pictureville
Cubby Broccoli Pictureville
Cubby Broccoli Museum Cafe
IMAX
Pictureville
Cubby Broccoli Impressions Gallery
Hebden Bridge
Cineworld
page no.
page no.
p.109
p.50
p.80
p.64
p.40
p.69
p.69
p.113
p.67
p.31
p.39
p.83
p.35
p.30
p.45
p.105
Friday 27 April
time
event
venue
10.00
10.00
12.10
12.45
2.15
2.15
4.15
4.35
6.10
6.30
7.00
7.00
8.00
8.40
9.00
Cinerama’s Russian Adventure
Beyond These Mountains + Handschlag The Windjammer Voyage: a Cinemiracle Adventure Marcel Ophüls & Jean-Luc Godard + La Maladie Blanche This is Cinerama Without + The World Turns The Proposition + Drip-Along Daffy The Color Wheel + One Smart Indian I am a good person / I am a bad person + Departure In Love with Alma Cogan + For Scent-imental Reasons The Cast Remembers + How the West Was Won
BIFF by Night Film Quiz
Sing Your Song + So Much for So Little
The Devil’s Business + Incubator Room at the Top
Pictureville
Cubby Broccoli Cineworld
IMAX Cubby Broccoli Cineworld
Pictureville
Museum Cafe
Cubby Broccoli Cineworld
Saturday 28 April
page no.
p.109
p.98
p.30
p.99
p.39
p.98
p.81
p.68
p.78
p.37
p.35
p.98
p.113
p.43
p.107
time
event
venue
page no.
10.00
11.30
12.30
1.00
3.15
3.25
5.55
5.55
6.00
6.55
8.00
8.40
8.00
9.00
Cinerama Update
Family Film Funday: Characters A-Go-Go! Cinerama’s South Seas Adventure
Voluptuous Sleep + Duck Dodgers in the 24 1/2th Century
Ryan’s Daughter
Late August, Early September + The Dot and the Line
Bummer Summer + Sudd Faust
Goodbye First Love
The Reptile + Ella The Wonderful World of The Brothers Grimm
The Raid + Fast and Furry-ous
Bad Film Club
Fightville + Irma Pictureville
p.99
Cubby Broccoli
p.111
Pictureville
p.99
Cubby Broccoli
p.80
Pictureville
p.100
Cubby Broccoli
p.72
Cubby Broccoli
p.78
IMAX
p.32
Hyde Park Picture House p.34
Cineworld
p.106
Pictureville
p.100
Cubby Broccoli
p.42
Museum Cafe
p.113
Cineworld
p.33
Sunday 29 April
time
event
venue
10.00
11.30
1.00
1.00
2.00
3.00
3.30
5.20
5.25
5.30
5.30
7.45
Cinerama! Cinerama!
Family Film Funday: The Fast and the Furry-ous I am a good person / I am a bad person + Departure Kevin Brownlow Around the World in 80 Days
Shine Shorts
The Color Wheel + One Smart Indian
Livid + Decapoda Shock Sing Your Song + So Much for So Little
Shine and European Features awards presentation Cinerama Adventure
Closing Night Gala: Samsara + Modern No. 2
Pictureville
Cubby Broccoli
Cubby Broccoli
Pictureville
Pictureville
Otley Courthouse
Cubby Broccoli
Cineworld
IMAX Cubby Broccoli
Pictureville
Pictureville
page no.
p.100
p.111
p.37
p.101
p.101
p.18
p.78
p.107
p.43
p.16
p.101
p.24
Monday 30 April
time
event
10.30 The Star Chamber
12.30 Black Rain + The Dot and the Line
venue
Pictureville
Pictureville
page no.
p.102
p.102
ARE YOU THE
UK’S NEXT BIG
FILM MAKER?
IF YOU FANCY SEEING YOUR SHORT FILM ON THE BIG
SCREEN, NOW’S THE CHANCE TO SHOW US YOUR STUFF.
Virgin Media Shorts, the UK’s biggest short film competition is open for entries!
Upload your mini masterpiece online and you could soon be walking away with £30,000
film funding to make your next short, with mentoring from the BFI. Not only that,
we’ll screen your work in over 200 cinemas across the country for a whole year.
SO, WHAT ARE YOU WAITING FOR?
HEAD TO VIRGINMEDIASHORTS.CO.UK NOW
Check us out at
/virginmediashorts
Follow us at
@vmshorts

the 2012 brochure

Transcription

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