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 Richard Worth
Hollywood seems once again to be trying to prove that it is incapable of coming up with an original idea, while the ideas that they do have are disturbingly off base and fly in the face of prevailing winds. The latest is a forthcoming remake of William Golding’s Lord of the Flies featuring female characters playing the traditionally male roles. Predictably, it got the internet, usually known for its tempered and considered reactions, good and riled up.
Lord of the Flies is a complex and challenging piece of literature. As such, adapting it with such a major fundamental change, threatens the integrity of the original story. Having the story revolve around a group of girls, rather than boys, presents some hurdles but I think it doesn’t necessarily destroy the story’s function.
by Eli Lambe
Released shortly before the disaster at Grenfell, Dispossession: The Great Social Housing Swindle is a timely and balanced exploration of the factors that led to the tragedy, and to the wider social cleansing of working class and low income communities throughout the UK. Introducing the film to a packed room in Norwich’s Cinema City, director Paul Sng emphasised the need to counter the “media culture of denigrating people who live in social housing”. The goal of the film, for Sng, was to show that people living in these estates and situations are valuable in themselves, and that the communities that exist there are important and should be preserved, as well as highlighting how this is overshadowed constantly by the prioritisation of profit and private sector gains.
by Eli Lambe
Dave Eggers’ The Circle, both the book and the recent feature-length adaptation, is a dystopia formed around a Facebook/Apple/Google/Amazon-esque corporation, one which hosts and shares almost every aspect of its users lives. The novel does a remarkable job of capturing the subtle ways in which this model is marketed to us, how this format of data-as-product is often shrouded in apparently progressive buzzwords – community, accountability, transparency, participation – whilst the company which operates under this model does so under the same values as every other corporate entity.
There is a veneer of progressivity and respectability that companies adopt in order to retain and gain customers – like Facebook making it easier to harass trans people, or implementing guidelines that protect white men but not black children, and at the same time, for one month of the year, patchily providing a rainbow “pride” react to the users who liked lgbt@facebook. Perhaps not as extreme as Eggers writes in The Circle, but eerily close enough: “Anytime you wanted to see anything, use anything, comment on anything or buy anything, it was one button, one account, everything tied together and trackable and simple, all of it operable via mobile or laptop, tablet or retinal.”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 Alice Thomson
(Content warning: discussion of ableism & ableist slurs)
The summer of 2016 saw outrage in response to the film Me Before You and its portrayal of disability. The film, directed by Thea Sharrock and based on the book by Jojo Moyes, is a romance following the lives of a young man (played by Sam Claflin) and woman (Emilia Clarke). Where’s the controversy in that, you ask? Well…