'Politicians used to have the confidence to tell us stories that made sense of the chaos of world events. But now there are no big stories and politicians react randomly to every new crisis - leaving us bewildered and disorientated.
Bitter Lake is an adventurous and epic film by Adam Curtis that explains why the big stories that politicians tell us have become so simplified that we can’t really see the world any longer.
The narrative goes all over the world, America, Britain, Russia and Saudi Arabia - but the country at the heart of it is Afghanistan. Because Afghanistan is the place that has confronted our politicians with the terrible truth - that they cannot understand what is going on any longer.
The film reveals the forces that over the past thirty years rose up and undermined the confidence of politics to understand the world. And it shows the strange, dark role that Saudi Arabia has played in this.
But Bitter Lake is also experimental. Curtis has taken the unedited rushes of everything that the BBC has ever shot in Afghanistan - and used them in new and radical ways.
He has tried to build a different and more emotional way of depicting what really happened in Afghanistan. A counterpoint to the thin, narrow and increasingly destructive stories told by those in power today.'
'We live in a time of great uncertainty and confusion. Events keep happening that seem inexplicable and out of control. Donald Trump, Brexit, the War in Syria, the endless migrant crisis, random bomb attacks. And those who are supposed to be in power are paralysed - they have no idea what to do.
This film is the epic story of how we got to this strange place. It explains not only why these chaotic events are happening - but also why we, and our politicians, cannot understand them.
It shows that what has happened is that all of us in the West - not just the politicians and the journalists and the experts, but we ourselves - have retreated into a simplified, and often completely fake version of the world. But because it is all around us we accept it as normal.
But there is another world outside. Forces that politicians tried to forget and bury forty years ago - that then festered and mutated - but which are now turning on us with a vengeful fury. Piercing though the wall of our fake world.'
As the analogue age draws to a close, eight men sit in an Irish bar and battle to remain relevant in the digital world; the TV in the corner a harbinger of this technological future.
It is the day of the analogue to digital switchover of television transmission. Conversations about life, death and quantum physics mix with pints to create a surreal document of the switchover day and of people caught between two worlds.
Taking inspiration from that little piece of information that is lost in the transfer from analogue to digital, the film examines who and what is lost in the relentless rush forward.
This film was made as part of the Irish Film Board/Bord Scannán na hÉireann Reality Bites short documentary scheme 2013.
CREDIT LIST Director: Keith Walsh Producer: Jill Beardsworth Camera: Keith Walsh Sound: Jill Beardsworth Editor: Keith Walsh Dubbing Mixer: Killian Fitzgerald, Avatar Post Production Online: Cillian Duffy Colourist: Eugene McCrystal Post production supervisor: Ciara Walsh Editing Advisor: John Murphy Graphic Artist: Marco von Knobloch Transport: Neil Felton Promo Stills: Ceiteach Breathnach Stills Assistant: John E. Maher Stills Transport: Shane O’Malley Irish Film Board Production Executive - Emma Scott Shorts Co-ordinator - Jill McGregor Solicitor: Brian Gormley at Philip Lees solicitors Insurance: Media Insurance Equipment Hire: Camera Kit
The Front Written & Performed by Conor Walsh Courtesy of Conor Walsh
Intermittent Haiku Written and performed by Tim Story & Hans Joachim Roedilius From the Album ‘Inlandish’ Courtesy of Groenland Records
Red Haired Mary Written by Sean McCarthy Performed by Foster and Allen Courtesy of Asdee music Ltd. & CMR Records Ltd.
News footage courtesy of RTÉ Libraries and Archives
Extract from the poem ADONAÏS by Percy Bysshe Shelley
"A film about transgender sex workers shot entirely on iPhone 5s may sound like an exploitative niche experiment. But Sean Baker’s new film is anything but, exploring the occasionally gritty, often titillating lives of trans women hustling on the streets of a grimy Los Angeles" Watershed
Jafar Pahani's new film "Taxi Tehran" is showing at The Cube Microplex, Bristol. Next Week. Tuesday's screening (Ticket Tout Tuesday) 24th November 2015, at 8pm is only £3! too.
- When Thu 19 Nov 2015
- Time 10:30
- Where Curzon Community Cinema, 46-48 Old Church Road, Clevedon, N. Somerset, BS216NN
This saddening and eye-opening documentary is a portrait of Aaron Swartz – a brilliantly gifted thinker and internet information freedom activist who challenged the power of corporate interests and the state before ending his life at the age of 26 after being charged with fraud for downloading millions of journal articles from a subscription-only online service. Unapologetically partial, the film combines home movie footage of Swartz in his youth with interviews with his friends and family, and experts such as World Wide Web inventor Tim Berners-Lee who question the motives of the prosecutors and a pursuit of Swartz that many feel was unwarranted or at best grossly disproportionate.
Director: Brian Knappenberger
Country of productionUSA
GenreCrime, Documentary - General
Film duration105 mins
This film looks an amazing portrait of Nobel Peace Prize Laureate Malala Yousafzai and her fight for education for all girls worldwide
HE NAMED ME MALALA is an intimate portrait of Nobel Peace Prize Laureate Malala Yousafzai, who was targeted by the Taliban and severely wounded by a gunshot when returning home on her school bus in Pakistan’s Swat Valley. The then 15-year-old was singled out, along with her father, for advocating for girls’ education, and the attack on her sparked an outcry from supporters around the world. She miraculously survived and is now a leading campaigner for girls’ education globally as co-founder of the Malala Fund.
Acclaimed documentary filmmaker Davis Guggenheim (An Inconvenient Truth, Waiting for Superman) shows us how Malala, her father Zia and her family are committed to fighting for education for all girls worldwide. The film gives us an inside glimpse into this extraordinary young girl’s life – from her close relationship with her father who inspired her love for education, to her impassioned speeches at the UN, to her everyday life with her parents and brothers.
"One child, one teacher, one book and one pen can change the world."
The film is currently showing at Cineworld in Hengrove, Bristol.
go?: Thursday 19/11/2015 14:30
Power of ‘Cinema’ to transform ‘the everyday’
In film, a great director (& crew) can turn a usually normal scene and transform it into something completely different, something ‘cinematic’.
PROJECT: Style Brief
Think of an everyday activity i.e. Walking the dog, Meeting the parents of your partner, Eating chocolate, catching the bus...
Think how you could use the language and dynamics of ‘cinema’ to transform this scene. This could be to evoke drama/ adventure, enhance tension, be sensual, question ‘norms’, make a social/ political statement....
The project is a vehicle to experiment with and develop your Film Production Skills. The film will form part of your portfolio for Film Production Skills Module. FMAP4501 Assessment One. Showcasing your Pre Production, Camera, Lighting, Sound Design and Editing Skills.
Consider: Mise en scene, Cinematography, Sound Design, Acting style. Mood, Genre, Style.
Big Shave (1967, USA, Dir. Martin Scorsese)
‘The Big Shave (1967) is well known for being the short that launched Martin Scorsese's career. Four decades later, it still stands as a powerful allegory of the Vietnam War and a study of aural and visual interaction, the gruesome bloody close-ups contrasting with the ironic use of upbeat rock music.’ BFI
‘Many film critics have interpreted the young man's process of self-mutilation as a metaphor for the self-destructive involvement of the United States in the Vietnam War, prompted by the film's alternative title, Viet 67.’ Wiki
Delicatessen - Directors: Marc Caro, Jean-Pierre Jeunet
Great editing and sound design in this fun surreal Trailer for 'Delicatessen', introducing the characters living in an apartment block above a butchers.
The idea was later developed into the amazing feature Boy in 2010.
Old Joy contains all the themes that Kelly Reichardt would subsequently make her signature: isolation, disconnection, and what it is to exist on the margins of contemporary American society.
Reichardt's films adopt a meditative pace, rejecting an emphasis on plot in favour of a focus on character and the passing of time. Old Joy is a beautiful, contemplative film.
The story of two old friends, who reunite for a weekend camping trip in Oregon's Cascade Mountains. OLD JOY is the critically-acclaimed film The New York Times calls, "A MUST SEE!" Starring Will Oldham and Daniel London, the film features a soundtrack by Yo La Tengo.
La Jetée (French pronunciation: [la ʒəte, ʒte], "The Jetty") is a 1962 French science fiction featurette by Chris Marker. Constructed almost entirely from still photos, it tells the story of a post-nuclear war experiment in time travel. It is 28 mins long, black and white. It won the Prix Jean Vigo for short film.
The 1995 science fiction film 12 Monkeys was inspired by, and borrows several concepts directly from, La Jetée.
104 films are a film production company set up by Director Justin Edgar and Producer Alex Usborne in 2004 to make original feature films for a global audience and create a paradigm shift in the representation of disabled and disadvantaged talent in front of and behind the camera.
Justin Edgar made a series of award winning shorts using the architecture and character of Birmingham which led to his first feature Large for Film Four in 2001 aged just 28. The film sold internationally to over 20 territories and sold 30,000 DVDs.
His second feature film Special People premiered at the Edinburgh film festival in 2007 competing for the Michael Powell award and coming second in the audience award. The film went on to win audience awards at the Moscow, Calgary and Berlin Britspotting Film Festivals. It was critically acclaimed and the Guardian hailed it as a “Milestone in mainstream cinema” for its use of disabled cast. Writing in the Evening Standard, Derek Malcolm described the film as “An excellent piece of filmmaking”.