South East London has given me a new found love for cinema. After enjoying the Catford Mews’ short film festival recently, I made a point of attending the Crystal Palace International Film Festival (CPIFF) in September. Since 2010, CPIFF has been bringing independent films to the big screen from across the globe, including short films, mid-length films and feature films of all genres.
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?
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.
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 Robyn Banks
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.
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.
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.
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.