by Ananya Wilson-Bhattacharya
Racial diversity in Western cinema has been particularly contentious since the Oscars scandal of 2016, when not one actor of colour was nominated for an award. But this was especially shocking falling in the midst of a marked increase in diversity, illustrated recently by two major hit films of this summer: Gurinder Chadha’s Blinded by the Light and Danny Boyle’s Yesterday. By now, critics have noted the similarities between the two films: British South Asian male protagonists, small-town lives, fanaticism around sensational twentieth-century Western musicians. However, these comparisons have obscured fundamental differences, not only in genre, but also in their approaches to South Asian identity.
by Danae Papadaki
Directors: Nathalie Berger, Leo David Hyde
Writers: Leo David Hyde, Nathalie Berger
Running time: 1 hour 50 mins
“If you can get people to work for free, why wouldn’t you?”
It’s the con that the majority of Millennials and members of Generation Z are firmly and infuriatingly acquainted with. Work that could and should be paid for is performed for no pay, on the basis the “experience” it provides them with will strengthen their CV and lead to gainful employment in the future. And of course, to add insult to injury, this is a mantra extolled almost exclusively by comfortable middle-aged, middle-class, white men, who were privileged enough to get their feet under the table having never been asked to lift a finger for free.
Even so, there seems to be little that those being exploited by this practice can do about it. Without permanent roles, they do not even have the severely weakened employment rights afforded to most workers – meaning, “if you rock the boat, you’re done.” So should we just grin and bear it?Continue Reading
by Zoe Harding
SPOILERS FOR CAPTAIN MARVEL
Captain Marvel is pretty good.
I mean, we all knew it was going to be, because whiny crypto-fascist internet man-babies complaining about it, which hasn’t been a bad sign about anything as far as I remember. As Cultural Marxist SJW Propaganda goes it’s not quite as good as Fury Road (because not much is) but better than Wonder Woman and Ghostbusters, and while it’s not quite the same level of cultural Event as Black Panther it’s still pretty good. I had a good time.Continue Reading
by Carmina Masoliver
Recently I began to attend Spanish and salsa lessons at Battersea Spanish, where I got the opportunity to engage in their social programme, open to everyone. I particularly enjoy the film nights, which allow you to experience cuisine and movies from the country of origin. On this occasion, we ate Chilean food as the film was Una Mujer Fantástica, set in the capital, Santiago. Released in 2017, written and directed by Sebastián Lelio, the plot centres around Marina, a transgender woman who works as both a singer and a waitress. It is a tale of love and grief, underpinned by her experiences as a transgender woman and the transphobia she faces.
by Lewis Martin
CW: contains strong imagery of graphic and horrorific nature
Children have always had a pivotal role in the Horror genre. Often presented as the reason for the eventual defeat of the monster or villain, they demonstrate something we can physically see in our day to day lives and, for the most part, wholeheartedly love. However, children are not always the point of redemption in Horror. There have been a number of movies which juxtapose the role of the child against the norm, and present the child as the very reason that the horror exists. this paradoxical use of the child, I’d argue, is in fact even more frightening than usual because of the breaking of the naturally presumed innocence of child that is usually presented to us.Continue Reading
by Carmina Masoliver
cw: mentions violence
Genesis Cinema, in London’s Whitechapel, is an independent cinema on the site of a pub-turned-music hall that first opened in 1848, and which housed a number of theatres before turning to the silver screen. As part of its Fringe! Queer Film & Arts Fest, it screened German film The Misandrists by Bruce LaBruce. Complemented by a moderated discussion about the film, it raised a range of questions on the importance of author intent, the role of sex and violence in film, and the issue of when satire becomes mockery.
by Sara Harrington
A bolshy child running through a busy village, a nanny calls after her. Racing, they pass people conducting business, chatting, carrying linen, selling wares. The responsible guardian calls after the child carrying chaos in their wake; futile exclamations for them to stop and return to their studies. Refusing they rush rambunctiously, weaving in between villagers; who take notice. We take notice.
This scene is composed of women. Upon arrival at their apparent destination the child lashes fists and feet in the air, an indignant display of fighting. Determined to take part, the camera pans to show us the source of the excitement. Women warriors wrangle tacitly dropped shields from atop horses, all spin kicks and slaying swords that clash furiously, deadly blows dealt with gravity defying deft and ridiculous displays of battle prowess in all its slow motion glory. Child Wonder Woman is awash with awe and envy as we, the audience process our thoughts.
This is so fucking cool.Continue Reading
by Paige Selby-Green
Batnipples. There are many other terrible things about the 1997 film Batman & Robin, but the nipple armour tends to, well, stick out the most. The failure of that film led to an eight-year gap between its début and that of Batman Begins in 2005. You could argue that it also led to what was initially an exciting new trend for cinema in general and Batman in particular. Continue Reading
by Andrejs Germanis
In the few years that I have been watching films it is a rare occasion that a film would receive an ovation at the end of the performance. This was the case during a recent preview showing of Snowden.
The latest Oliver Stone written and directed dramatization of actual events was shown as part of the 60th BFI London Film Festival. The film, starring Joseph Gordon-Levitt as Edward Snowden and Shailene Woodley as Lindsay Mills, Snowden’s girlfriend, depicts the events that before and shortly after the shocking reveal of 2013 that the US government is spying on their citizens. The events are presented in an interview format between Snowden and the group of The Guardian journalists Glenn Greenwald (Zachary Quinto), Laura Poitras (Melissa Leo) and Ewan MacAskill (Tom Wilkinson).Continue Reading
by Hannah Rose
He is driving, she is hanging on his arm. Behind them a vista depicting a wide road disappears into desert upon a large screen. The cherry red of her lipstick matches her low-slung red dress, punctuated by a pair of cowgirl boots. Her dreamy expression says she’s completely at ease, hanging off her man; pleased as punch, because he is in control. But he has never seen the script before; he will be reading off an autocue. She is the one driving the show.
Performer-playwright, Louise Orwin, is touring the UK with her new theatre piece, A Girl and A Gun which was performed at Edinburgh Fringe this summer. Jean-Luc Godard’s adage “All you need to make a movie is a gun and a girl,” is the springboard from which Orwin’s performance dives headfirst into a chilling reality which is anything but surface deep.
by Jess Howard
When it comes to film remakes, many viewers are very protective of their original cinematic loves. In the same way that people react to novels being turned into films, many feel that film scripts should be left well alone, with the common opinion being that it was the original script, cast, and production that made their old favourites work so well. However, as with any form of art, films are constantly ageing, and so new perspectives are constantly being developed and incorporated.Continue Reading
by Sam Naylor
Disclaimer: Filled to the brim with spoilers and undergraduate level gender studies analysis *gasp*
Just for a moment whilst sitting with phone wrapped in hand, imagine that I am a renowned film critic — tall order I know. Now picture the scene of zero-star ratings being awarded to films. I am that film critic that awards a zero rating to the backwards 50s tripe that is Batman vs Superman. As you can tell I am totally not bitter about wasting my money and time, with 153 minutes of my life being dragged out before my eyes, as I endured a steroid-induced-figurine-smacking-debacle.
Initial rant over: what I’d first like to address is the films portrayal of its female characters. Now with a film title like Batman vs Superman I was aware that the main arc of the story would revolve around these two colossuses, but I’d hoped that in 2016 we’d moved far enough away from female roles as fillers and crutches for their male onscreen co-stars.Continue Reading
by Paige Selby-Green
Disney’s 55th animated feature has been five years in the making, with a social commentary as relevant today as it was when the writers first put pen to paper. The film is an anthropomorphic crime caper following rabbit police officer Judy Hopps and con-man fox Nick Wilde. It’s full of laughs, but the lingering importance is in its more serious side.
by Alex Valente
You’re finally at university. In the first couple of weeks, you meet up with new flatmates and friends to play a game. Someone suggests yet another drinking game. Someone else mentions wink murder. Then you go for one in which everyone plays to win over the other team without knowing who belongs to which: will you be the uninformed majority, a simple civilian, or are you the informed minority – a mafioso?
Or, perhaps, your group decides to start an activity together. Maybe it’s an unofficial running team. Maybe it’s a reading group. Maybe it’s something else entirely. But it doesn’t matter. You’re the team. You’re the squad. You’re the mafia. Because the Mafia is cool. I mean, we know it’s a bad thing, of course. But they looked cool doing it. There’s organisation, and loyalty. There’s no harm in just using the word. Right…?Continue Reading
by Mike Vinti.
If 2014 was the year of anything it was the year popular music started to be taken seriously. Services such as Spotify, and the dawn of Smartphones, means that music is more a part of our lives than ever before; a trend that’s influencing the way we engage with it both in terms of platform and as an art-form. It’s easy to view music as a compliment to life, a melodic enhancer to otherwise mundane activities and there’s nothing particularly wrong with treating it as such — I can’t force you to like Death Grips. Music can and should bring pleasure, but as we listen to more and more of it, its messages and intentions are being ignored.
For years now, debate has raged about the messages and politics in TV, Cinema and in Literature, hell, even music videos have had their fifteen minutes of ‘long read’ blog coverage, yet music itself has gone largely ignored. The reason for this, as a friend of mine noted recently, is because of music’s ubiquity — it’s everywhere, all the time. It soundtracks our walks home and our work, our free time and our periods of most intense concentration — as I write this, I am, totally unsurprisingly, listening to music.