by Jonathan Lee
I am probably not the image most people have in their mind when they think of a Gypsy.
My mother is of mostly Irish-American stock – which gives me a few ginger wisps in my beard, and a smattering of freckles across my nose and cheeks. My hair is dark brown, not black. I don’t wear a lolo diklo (red scarf) around my neck, or a staddi kali (black trilby hat) on my head. Most of the time I wear jeans and t-shirt, I rarely ever dance on tables, and I have no piercings or tattoos. I live in an apartment in the centre of a European capital with a woman whom I am not married to, and I travel only about 20 minutes maximum by foot every day to go to work.
If I ask you to close your eyes and picture a Gypsy in your mind’s eye you probably see someone with bangles and gold hoop earrings, floral patterned clothing, long hair, and dark flashing eyes. They may or may not have a tambourine, and may or may not be wearing a turban with a little gem in the centre holding it up. Maybe you see a fortune teller, or a travelling metalsmith? Perhaps a musician? If you are European, more likely you also see a beggar, a thief, a criminal.Continue Reading
By David Breakspear
After its debut screening in February of this year at the National Film Festival in Utah, USA, the main source of information for the documentary The Infiltrators, Claudio Rojas, was arrested by Immigration and Customs Enforcement (ICE) officials – just days before the documentary was due to be screened at the Miami Film Festival. Friends and colleagues of Rojas claim this act is political persecution.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
When I first saw Soltera Codiciada advertised on Netflix, its title was translated into English from Spanish as ‘How to Get Over a Break-Up’. The title drew me in for personal reasons, having had my long-term relationship end last year. The plot revolves around a heartbroken ad copywriter who begins blogging about her life as a single woman, whose writing pastime turns into a huge success. The English title bears little resemblance to the Spanish title, for which it was difficult to find a direct translation. A Peruvian comedy from Bruno Ascenzo and Joanna Lombardi, the original title shares the same name with the protagonist’s blog and when I asked around, the most likely meaning was as a positive description of a single woman. Infused with the spirit of Beyoncé’s Single Ladies, it is a film that allows us to laugh at the tragedy of lost love.
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 Lewis Martin
Video media have always had a way of tapping into the current fears of the watcher. Be it in horror movies or films aimed at children, they show us topical fears in either exaggerated gory fashion or in subtle ways that stay with you well past the end of the credits. This has never been more true of the fear of screens. Over the decades, the screen has often been used on screen as a device that either projects our worst fears or captivates us and holds us against our will. The fear of screens warping our minds is a form of mild technophobia, an attitude dismissed by many as socially conservative. Nonetheless, many filmmakers have used it to their advantage to create horror and thrills, as well as using it as a form of social commentary.
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.