BFI
graham.rickson
The BBC’s A Ghost Story for Christmas series first consisted of eight short films broadcast between 1971 and 1978, five of which were adaptations of short stories by MR James.Shot on 16mm film instead of videotape, most were directed by documentary maker Lawrence Gordon Clark. Itching to move into drama, Clark had persuaded the controller of BBC to let him make an adaptation of James’s The Stalls of Barchester Cathedral. And, despite a tiny budget, the 45-minute film is a triumph. The chills are suggested rather than explicitly shown and offset with black humour, Robert Hardy’s Archdeacon, Read more ...
Graham Fuller
The New York-based Scottish writer-director Charlotte Wells's feature debut Aftersun is a sublime example of how an opaque style can be wedded to an ambiguous storytelling technique without cost to psychological truth. Though the movie is minimalistic on every level except its retrospective late Nineties Turkish seacoast setting, which Wells resists exploiting too pictorially, her mastery of film language is so uncanny as to make exposition almost redundant. Nothing much happens in Aftersun beyond a pre-teen’s first kiss and what might or might not be her young father’s first or second Read more ...
Graham Fuller
The British folk horror wave of the late Sixties and early Seventies wasn’t impervious to American influence. Though Roddy McDowall (1928-98), the director of The Ballad of Tam-Lin (1970), was born in Herne Hill, he was as Hollywood-steeped as its London-based star Ava Gardner.McDowall is best-known as a prolific actor (How Green Was My Valley, The Planet of the Apes films) and photographer than for his only foray into filmmaking. He can't be faulted for dynamism and sensitivity, even if some of the inexperienced actors needed more guidance.The medieval Scottish Border romance Tam Lin (Child Read more ...
Saskia Baron
The London Film Festival ended with the announcement of assorted prizes, all well-deserved. My colleague Demetrios Matheou has already written here about the Chilean political thriller, 1976, which won Best First Feature, and we’ll be writing in depth about the Best Film winner, the Austrian historical drama Corsage, when it opens at the end of the year. I was most pleased that All that Breathes was awarded the Grierson Award for Documentary. This moving, subtle, and beautifully made portrait of two brothers in Delhi who dedicate their lives to saving Read more ...
Mark Kidel
The release of each box-set in the BFI’s Blu-ray four-volume collection of Ingmar Bergman films is a delight. Volume 3 provides some of the Swedish master’s essential works.Most of them are as dark as they come. The Scandi Noir that has flooded our screens in the last few years is black in its own way, and despair is seldom absent from it, but "Bergman noir" is something else. Relentlessly – and the eight films in this set, from The Virgin Spring (1960) to The Silence (1963), from Through a Glass Darkly (1961) to Persona (1966), are equally relentless Read more ...
graham.rickson
Kuhle Wampe is a fascinating curio, a blend of documentary, social realist drama and political debate which so bothered the German authorities upon its release in 1932 that they promptly banned it. The censorship board’s justification condemned the film as one “which shakes the foundations of the state”, most pointedly in its depiction of official indifference to poverty and the search for work.Written by Bertholt Brecht and mostly directed by Slatan Dudow, the film opens with a montage of newspaper headlines charting rising unemployment statistics. There’s little dialogue; the well- Read more ...
mark.kidel
Director Mike Hodges's Get Carter (1971) has been praised as the best British gangster film. I would go even further, and put it up against the best gangster films of all time, on the same level as Lang’s The Big Heat (1953), Melville’s Le deuxième souffle (1966), Boorman’s Point Blank (1967), Polanski’s Chinatown (1974) and Scorsese’s Goodfellas (1990).Watching it again after many years, I was struck by how it continues to feel fresh and original Indeed, still ahead of its time, not least because of Wolfgang Suschitzky’s documentary-style location shooting and intimacy with the action Read more ...
mark.kidel
The 400 Blows (1959) and Jules et Jim (1962) established François Truffaut as an outstanding and original director. His next film, The Soft Skin (La peau douce) from 1964, was not in the same league.Although it displays many of his story-telling skills, not least a gift for suspense, the film feels dated, the characters are not quite as interesting as in his earlier hits, and the plot – a middle-aged married man has an affair with an air hostess, and his worn-out marriage falls apart – is a little formulaic. It is by no means a bad film, but it is certainly not among Truffaut’s best.The two Read more ...
mark.kidel
The Last Metro (Le dernier métro), from 1980, is without doubt one of François Truffaut’s best films: a story beautifully told, strong on character, sometimes funny and always profoundly moving. Most of the credit has gone to Truffaut and co-stars Catherine Deneuve and Gérard Depardieu, but there is a key member of the team whose name is barely known outside the world of French cinema history.There are echoes here of the director's 1973 La nuit américaine (aka Day for Night), a film also set behind the scenes of show business, whose strength derives to a large extent from the many Read more ...
Graham Fuller
Like her first two features, Lucile Hadžihalilović’s Earwig is an oneiric coming-of-age drama that uses body horror imagery as a metaphor for the daunting unknowns – sexual and emotional – to be encountered in adulthood.Eschewing narrative logic, which some viewers will find frustrating, it depicts the ordeal of a little girl who has failed to develop secondary teeth. The unexplained involvement of her protector with a waitress, which is limned with erotic violence, intersects with the girl’s story. It dilutes the maturation theme, but amps up the movie’s power by adding layers of Read more ...
Graham Fuller
Commenting on Australia’s horrendous colonial history at the start of an audio commentary packaged with this BFI Blu-ray release of John Hillcoat’s impeccably directed, newly restored The Proposition (2005), Alexandra Heller-Nicholas declares, “It’s fucking awful.”Critics are usually more circumspect on the record, but Heller-Nicholas’s reflection on the genocide of the First Nations people and the attendant squalor visited on the Lucky Country by the lawless settlers of the 19th century strikes the right note. She and her colleague Josh Nelson sustain her anger and disgust throughout their Read more ...
Sarah Kent
The Camera Is Ours features films made from 1935-1967 by women like Marion and Ruby Grierson, Evelyn Spice and Margaret Thomson, whose names should be engraved in the history of British film-making.Ever heard of them? Probably not as, surprise, surprise, they’ve been overlooked – until now, that is. This BFI two-disc DVD release includes 10 newly restored shorts along with interviews with Sarah Erulkar and Kay Manders and a feature on Jill Craigie, better known as the wife of labour leader, Michael Foot.“We were a movement,” Manders tells Barney Snow. “We had ideas in common. We thought we Read more ...