Fraser McFadzean -the Grosvenor Cinema’s very own poster boy- gives us a second installment of his second looks at movie paraphernalia for upcoming talkies which will be coming to the Grosvenor Cinema.
All artwork courtesy of Fraser McFadzean
Fraser McFadzean -the Grosvenor Cinema’s very own poster boy- gives us a second installment of his second looks at movie paraphernalia for upcoming talkies which will be coming to the Grosvenor Cinema.
All artwork courtesy of Fraser McFadzean
I’m So Excited! is the story of passengers on flight 2459 to Mexico City dealing with the news of technical problems and an inevitable emergency landing. Everyone in economy is drugged leaving those in business class to panic before embracing personal breakthroughs and a lot of alcohol.
The film came from Amoldóvar’s imaginings of sexual escapades of stewards and pilots, and how ‘the fantasies of flight are sex and death.’ The constant movement and lack of concrete time in a plane are a place for creativity and letting go. ‘To be excited in Spanish means to be horny’ there is no question of a double meaning here.
It is a true return to colourful comedy and came by request of fans in Madrid. The parallels between the story and financial problems in Spain are clear. The plane circles while the passengers know the emergency landing is coming. On board though impending disaster is dealt with through talk, sex and drink, ‘I wanted to turn a catastrophe into a party’ says Amoldóvar. Although comedic, the desperation and resolve is sincere. The essence of human truth may not be revealed, but it is a lot of fun.
Bright colours and flipping fringes come straight from the 80’s, when Amoldóvar started making films and when life in Spain was good. A toast to the time is made with Valencian cocktails and mescaline.
Despite the dramatic sounding setting it is the fast movement and dialogue of the characters that push the pace of the film. Wanting to work with actors was the reason that Amoldóvar became a director. He acknowledges the crucial role of lighting, photography and sound in narration, but the story is told through the ‘bodies, hearts and guts’ of the actors. Every limb and organ is used here. Javier Cámara sweeps through as the loose lipped head steward balancing between personal hurt and showmanship. Also excellent is Lola Dueñas as Bruna the virginal psychic looking for some drug lords in Mexico who ‘sounded lovely on the phone’.
It’s filthy verging close to crude at times. The outrageously camp stewards perform a full-length choreographed dance routine (you can probably guess to which song), but when entering into an Amoldóvar film that’s sort of what you sign up for. Speedy backstories and solid comedic timing make for a grown-up but easy watch. In order to enjoy. Relax, just do it.
I’m So Excited will be showing in the Grosvenor Cinema from Friday 3 May. Click here for more information.
In Sideways Paul Giamatti plays Miles, a struggling author, juggling his job teaching English to high school kids and the emotional void left when the love of his life left him with a broken heart two years previous, does what we would all do in his situation: he turns to the bottle. But what could be construed as borderline alcoholism is in fact a thoroughly middle-class penchant for wine-tasting. As Miles takes his friend and failed actor, Jack (Paul Haden Church), on a wine tasting trip to San Ynez wine country in the week leading up to his marriage the pair share laughs, memories, some of their successes, all of their failures and of course a glass of pinot or two.
The witty dialogue produced in the eponymous novel by Rex Pickett is thrown up onscreen producing a poignant and droll panorama on the lives of people wearied by life but who rejoice in it all the same. When it was released to widespread acclaim in 2004 it picked up 107 awards including the Oscar for Best Adapted Screenplay. 10 years later and like a vintage red, it has aged very well.
Sideways at the Grosvenor Cinema will be accompanied by a wine and cheese tasting, along with mouth-watering canapés in the Grosvenor Café on Wednesday 24 April, which altogether comprise ‘A Thoroughly Sideways Evening’.
The cheese for the evening will be provided by IJ Mellis, Glasgow, the West End’s best artisan cheesemongers. In its twentieth year, Mellis have a rich history of specialising in the maturing, retailing & wholesaling of farmhouse cheeses from Britain & the Continent. With five cheese shops and one wholesale department with maturing rooms, they offer a wonderful blend of the traditional and modern delivering an unrivalled cheese experience.
Their current manager, James Stuart arrived at Mellis, Glasgow via sojourns in Naples and Sicily. This sturdy, modest man does not claim to be an authority on cheese, nor does he carry the air of a superior when he discusses his products with you. He offered to taste with me a selection of cheeses in the run up to ‘A Thoroughly Sideways Evening’ so that I, at least, will have a better understanding of the true place of cheese in a cheese and wine evening. Given my experience in film, and with wine, I yearned for the rounded completion a crash-course in cheese would bring. And I fancied a few free samples.
As I thought about the cheese tasting I toyed with the question: just how important is the cheese portion (pardon the unintentionally delivered but intentionally retained pun) of a cheese and wine tasting evening is. From my own perspective I often find the cheese-tasting the most interesting part, because the sheer variety of cheese out there means that there are not just taste differences but aesthetic differences, differences in texture, and of course differences in smell, which gives cheese-tasting a highly varied quality which wine doesn’t obviously yield, even it cashes out into an equal- or indeed greater – pleasure principle for those tasting it. But I found myself convinced that while wine tasting spoke for itself, the pleasures of cheese-tasting required a strong voice. So, to James, I turned.
Before we began, James offered a few helpful insights into my conundrum. ‘Having hosted a few cheese tastings myself in the past I can say that there isn’t as much baggage when it comes to cheese-tasting when compared to wine tasting which I think helps’, he said. ‘and this means people are willing to talk to each other rather than listen to me, and I don’t claim to be an authority on what they’re tasting’. He did however offer some inside tips for cheese-tasting, including crushing the cheese between your finger and thumb. Although it may appear strange there is certainly method in the madness. Crushing the cheese allows the taster to involve as many of the senses as possible and can help to release the aromas of the cheese, to heighten the smelling sensation so crucial to cheese tasting. ‘You can really involve as many of the senses as you like when tasting cheese’, he suggested, ‘although I haven’t quite worked out how to listen to the cheese myself’. He also recommended tasting at room temperature to release the aromas and flavours, provided that the room is not stuffy and sweaty with the heating on full blast. With that I felt thoroughly versed in the dark arts of cheese-tasting and was ready to begin.
So what cheeses should we expect at the Grosvenor’s ‘Thoroughly Sideways Evening’?
James’s provisional cheese board – which in showing me he seemed hesitant to call it the finished article – was comprised of a heterogeneous bunch of cheeses from places as far away and as different in character as Cashel in Co. Tipperary, the Isle of Mull and Sussex.
James started off with a goat’s cheese from Golden Cross, a small operation specialising in goats’ and sheep’s cheeses based in Sussex. It is interesting that James chose to start with a goat’s cheese. Often used in starters, whipped or in tarts, with balsamic vinegar or with walnuts, goat’s cheese seemed like a poetic, even natural place to start the Grosvenor’s ‘Thoroughly Sideways Evening’.
The Golden Cross has several distinctive characteristics alongside its choice cheese companions. Like a cross –section of a cylinder the rounded goat’s cheese has a bloomy, white rind which contains a dark layer underneath, which, explains James, can give you clues into how the cheese is made. The dark layer is the remnants of ash, traditionally used to help the cheese age in a particular way, but it is also multifunctional, helping to develop a certain type of rind which helps draw out extra moisture to create a slightly drier centre, and lastly it acts as a pesticide.
The texture of the Golden Cross is firmer than more common varieties of goat’s cheese, with a mellow taste holding citrusy, even zesty notes. In the mouth the Golden Cross had a texture akin to praline which James summed up to a tee, describing it as the inside of a Fererro Rocher.
Moving on to the second of the five cheeses, James produced a segment of cheese he revealed was a ‘Berkswell’ from the Ram Hall Farm in the Midlands. James used this cheese as exemplar of modern cheese-making as a craft and, increasingly as a science. The Berskwell is an original cheese which draws upon a range of influences including Caerphilly cheeses and Italian and Spanish pecorino cheeses. A cheese of an orange, dusty hue which made it distinct from a cow’s milk cheese, this sheep’s milk cheese had a dry, grainy and weather-beaten look to it, protected from the elements by its own natural rind, which is scrubbed off when the cheese has matured.
The Berkswell is a real taste explosion, something altogether surprising given its outward appearance. ‘I chose this cheese – a part from it being a personal favourite of mine – because it goes well with a few different types of wine, particularly sweet wines’, revealed James, ‘it has the right amount of fruitiness and tanginess to retain its taste without overpowering the wine it is accompanying – so it will go well on the evening’. His words however came with a warning: do not eat the rind.
The third cheese in James’ provisional selection was a French Camembert. A popular cheese with a white, bloomy mould Camembert has found great success in cheese-making, people can come to this cheese with a relative pedigree of knowledge and experience James’ sample was pale, yellowish, and sporadically golden colour characteristic of cows’ milk with a dry, somewhat chalky centre. So what does the Camembert cheese taste and smell like? James suggested that it smelt of raw mushroom, with a sweet taste that develops with age. He did point out that often it could have hints of cabbage. Personally speaking the Camembert was delicate and delicious and worthy of its popularity.
Next up was an Isle of Mull cheddar. Distinct in character and manufacture than a West Country or a Somerset cheddar and hailing from Mull, this cheddar comes from cows who graze on the lush grass of the Scottish Island and draff, which is the left over grain after fermentation in the whisky making process. This unique grazing process is evident in the distinctive taste of the Mull cheddar. It is deliciously smoky, peaty and musky. But it is known to change in taste, texture and colour over the year. The sample James sampled with me was made from summer milk, giving it a brighter colour given a more savoury experience. For a variety of reasons including hailing from Scotland and its versatility, explained James, the Mull cheddar proves the most popular in I.J. Mellis’s Glasgow store and continues to give Scotland an excellent and worthy reputation among cheeses from the most prestigious cheese-making regions of Europe.
The last cheese was well worth the wait, and was expertly left to finish. Cashel Blue cheese from Co. Tipperary. Cashel looks soft, creamy but with a paste-like consistency peppered by blue specks with veins of blue running down its centre. To taste Cashel is creamy and salty, ans much milder than other blue cheeses that IJ Mellis stock. Its aroma is sweet, suggesting aniseed and cardomom. This milder flavour gives it a delicacy which makes it the ideal accompaniment for wine, even whisky, because it doesn’t overpower the taster. But in finishing with the Cashel James was keen to stress that all things in the world of cheese are provisional and the line-up for tasting could change as he looked to find interesting and provocative combinations with the wines that will also be used.
My ‘partially Sideways’ experience left me eager and keen to experience James’ cheese being tasted by a wide variety of people, all explaining their own personal thoughts on the cheeses they were tasting. One thing that can be said to the credit of cheese-tasting is that is an anarchic endeavour, set apart from wine-tasting by its lack of social baggage, by its multifarious nature and by broad range of flavours, smells and textures it can produce. It is an experience to be replicated and relived, with wine surely, but with friends: certainly.
IJ Mellis will be providing cheese–tasting at the Grosvenor Café as part of ‘A Thoroughly Sideways Evening’. To book your tickets for the event click here.
Pedro Almodóvar: A visionary. One of the few Spanish-language filmmakers to have experienced such international acclaim and success, and quite rightly in my opinion. For a man with a wealth of successful film credits to his name, his own production company, and countless awards on his shelves (including an academy award) what is the next step? Having built his name on his distinctive style, inspired by melodrama, pop culture, strong colours and vibrant women, Almodóvar returns to his roots, as he brings us the quick witted, light hearted comedy I’m So Excited (Los Amantes Pasajeros). In the lead up to it’s UK release on May 3rd, we look back over Almodóvar‘s cinematic journey and discover what has made him such a prolific name in contemporary international cinema.
Right from the beginning, with his 1988 breakthrough feature length, Women on the Edge of a Nervous Breakdown (Mujeres al Borde deun Ataque de Nervios), it is clear that Almodóvar has a strong sense of style. The bold colours, sweeping camera movements, and sharp cuts, which have become such staples of his work, are all incorporated in abundance. Yet despite this strong identity of mise en scene, Almodóvar ensures that the themes of the film are accessible to everyone. Ok, so maybe the majority of us have not been a voice over artist who has fallen for a married man, whose wife has spent time in a mental institution, whilst our best friend has been held hostage by terrorists, but we can all relate to the general scenarios. A time when our love life is not going the way we thought. When a friend has been in need of help. Or when we simply have our priorities in the wrong place. Almodóvar’s creative choices, stylistically, and story wise, enable him to take such everyday scenarios and makes them incredible, therefore creating an audience for the unexceptional, wherein lies the extraordinary.
In creating such scenarios from the unremarkable, Almodóvar empowers his characters to be decisive, act upon their situations, and drive the story forward. This type of character is another of his signature characteristics. The strong, decisive, leading lady. It is evident, even from his early works, that the females are the focus, and driving force behind the narratives, such as Pepa from the afore mentioned Women on the Edge of a Nervous Breakdown, and Talk to Her’s Lydia.
It is 2006’s Volver, however, which truly exhibits this, as not only is the film led by the headstrong Raimunda, but she is surrounded by an almost entire cast of unfaltering women. Initially, Raimunda, played by Penelope Cruz, seems uncharacteristically subdued due to the wealth of strong females around her. However, upon the murder of her husband Paco, the only male to impact upon the story (even if he is nothing more than a narrative device), she takes decisive action to do something with her life, changing the course of not only her own life, but everyone’s around her. A sort of ripple effect if you will. Being the leading lady of her family, the absence of Raimunda’s leadership directly impacts the family unit, as her sister, daughter, and eventually mother are forced to take action in their own lives. Which brings us to the final staple of Almodóvar’s work. The importance of the family unit.
Most of Almodóvar’s works are centred around one family, with the storyline being directly affected by the state of that family. This is why we rarely see a complete family unit (or the nuclear family) within his works, as we would only have one simple narrative to follow, lacking in depth, intrigue and suspense. Almodóvar’s 2011 offering The Skin I Live In (La Piel Que Habito) is anything but simple however.
Here, we uncharacteristically follow the story of the man of the family, Antonio Bandaras’ Robert, as he attempts to cope with the loss of his wife and daughter. With the family unit in desolation, the storyline becomes disjointed and non-linear, relying on multiple flashbacks in order divulge the full story. Not a typical narrative technique of Almodóvar, he adapts his stylistic choices in order to suit. The film is stripped of colour, reflecting the tone of the piece, and the usual quick fire dialogue is replaced with long, often uncomfortable silences in the absence of people to converse with. And of course the usual strong, empowered women are missing, causing the world of the man to collapse around him, resulting in his ultimate demise.
With The Skin I Live In taking such a different tact from Almodóvar’s previous works, it will be interesting to see what I’m So Excited will present us with. Whether Almodóvar continues to explore and pursue a new style, or return to ‘tradition’ and his much traversed stylistic identifiers , one thing can be said with prophetic confidence: we can expect a visual spectacle with laughs, some tears, and a great deal of entertainment.
I’M SO EXCITED! UK Gala Launch Screening followed by a Satellite Q&A with Pedro Almodóvar Live from Hackney Picturehouse will be hosted by the Grosvenor Cinema on Tuesday 23 April. Tickets for the evening can be purchased here.
In twentieth-century literature, Roald Dahl is the most influential, exciting and beloved of children’s authors, whose back catalogue has enthralled generations of children and spawned a long selection of film adaptations – some certainly better than others. Our faces still stained with chocolate from the eggs we’ve indulged in, the best post-Easter solution for aching tummies is more sweetie goodness. With kids off school for a fortnight and parents looking for the perfect way to keep everybody happy, maybe the Grosvenor Cinema and Grosvenor Café have the solution with a delicious, special showing of the delightful 1971 classic Willy Wonka and the Chocolate Factory on Friday 12th April.
The special screening at the Grosvenor Cinema is part of the ‘Grosvenor and the Chocolate Factory’. This spectacular way to round off the Grosvenor’s ‘Family Easter’ includes the Grosvenor Cinema’s screening of Willy Wonka and the Chocolate Factory before trekking up the soda-stream steps so that little kids and big ones too can enjoy hand-crafted peanut butter fudge lollies, blueberry gobstoppers, real fizzy lifting juice, chocolate teacups and passion fruit tea all -not to mention the crowning glory: a 10-foot chocolate river complete with marshmallow boats! – all ingeniously prepared by the kitchen-boffins and chocolatiers of the Grosvenor Cafe.
The film follows young, innocent, poor little Charlie Bucket, who lives with his mother and four bed-bound grandparents in an awful one-room home. Meanwhile, the world is coming together in excitement as the famous Wonka Chocolate Factory promises to open its doors for the first time in years to five lucky competition winners. Charlie’s family can only afford one chocolate bar a year, so he thinks he’s out of luck, but when he finds the final ticket he, along with four far nastier spoiled children, enter a wonderland and come face to face with the owner Willy Wonka himself. The film follows the five children in their adventure round the factory and the exciting inventions that await them.
Gene Wilder as the enigmatic Willy Wonka is the centre piece of the film. He doesn’t appear in person during the first half, but still maintains a presence through the awestruck stories of the townspeople, such as in the opening song, “The Candy Man”, in which Aubrey Woods‘ candy shop owner describes Wonka with powers to make dreams come true through his confectionary. When he finally does appear, about to begin the children’s tour of the factory, Wonka limps slowly forward towards the gate, leaning on a cane. The massive crowd outside who have been cheering all fall silent at the sight of the mystery. There are no fireworks, no musical cue, and not even eye contact, and the disappointment ripples through the onlookers right down to the audience in their seats. Then suddenly, with no wink or nod to warn us, Wonka starts to fall forward before effortlessly moving into a roll and landing straight back on his feet. With a smile to confirm the ruse, the crowd erupt into cheers and the viewer is left excited and unsure of what awaits them with this tricky tour guide. The execution of this moment makes the scene iconic and sets up the tour and character brilliantly.
Wonka’s dream-weaver image is shattered by Wilder’s portrayal of a sometimes apathetic, sometimes mischievous, often sarcastic businessman, who cares only for flamboyant stunts and his precious factory. He relishes in stirring disputes between the children and their parents and is disarmingly disrespectful to the adults on the tour. When the children decide to disobey, he doesn’t try and stop them sincerely, preferring to wait for their always-poetic punishments. There is an assuredness that things are going to sort themselves out, that he does not need to intervene, and that he holds no responsibility for the winner’s actions. He remains calm throughout the film and only raises his temper when his factory is negatively affected. It shows where his priorities lie and makes for a performance that only gets better with age as you re-watch and notice all his eye rolls, cane swinging and comebacks that will have gone over your head as a youngster.
Gene Wilder plays the part perfectly. He throws in tiny details throughout that keep your eyes on him which, given some of the sets, is an incredible feat. There aren’t many people who could be both a clearly flawed human yet someone you are drawn to and actually want to side with in anticipating what will happen to the next awful visitor.
The songs throughout the film play second-fiddle to Willy Wonka but are by no means far behind. The film opens with “The Candy Man” which charms all listeners and stands incredibly well as a tune outside the context of the film. Wonka’s dreamlike “Pure Imagination” in the candy garden scene twinkles beautifully, especially in contrast to the anarchic, greedy behaviour of the children during it. The “(I’ve Got A) Golden Ticket” theme is as iconic a victory motif as any other tune. Finally, there are the hum-worthy, morale-teaching, dry-witted, brilliant, cheeky, badly choreographed Oompa Loompa songs, sung when the children leave the tour one-by-one in appropriately ironic ways.
The dark side to the film keeps it completely in line with Dahl’s own style which was never patronising to children and often relished in pushing expectations. It is comparable to The Wizard of Oz in its child-friendly scares. The frenzy over finding tickets, when Charlie is crowded by greedy adults when he finds his ticket and when tickets are faked by grown men hints at the worrying grasp of consumerism in the real world. The factory itself is grey and rotting. The gates are locked and only the letters on the side of a smog tower suggests any life inside at all. It is unappealing and barely hints at the magical world that might lie inside, much like Wonka himself. The surprising and twisted endings that each of the ticket holders find themselves victim to are amazingly cruel for being a family film and are all dealt with an incredible amount of flippancy by Willy and the Oompa Loompas. The children, once they exit the film and their parents are escorted from the scene, are never seen again. When asked whether they are alright, Wonka refuses to give a definite answer and it is the ambiguity which is truly terrifying. The most explicitly scary scene in the entire movie is the boat-trip scene. Floating down a tunnel, the scene, which follows directly from the beautiful candy garden, is strange and mind-bending. It’s a claustrophobic scene, in which Wonka chants a sinister song through a poorly-lit tunnel with frightening images of bugs on the walls. The guests’ panic is palpable as the boat speeds up and Wonka, in a trance-like state does nothing to relax them. It’s simultaneously challenging to watch while being too fabulous to look away, but when the lights turn back on Wonka has switched his persona again and is back to being his jolly self.
The sets hold up remarkably well for being a forty year old film. The physical garden still looks absolutely wonderful, particularly the famously real chocolate river (which apparently spoiled quickly and had to all be thrown out). The design of the Oompa Loompas is flawless. Their matching appearance – green hair, orange faces and white dungarees – is a weird visual, as they are all played by different actors. Even the camera and perception tricks hold up well, such as when Mike Teevee shrinks in the Wonkavision room. The two striking colour palates of the interior of the factory and the world outside provide a contrast which emphasises the fantasy of Wonka’s world.
Whether this is your first time seeing the film, or you haven’t seen it in years, or if this is your chance to introduce a younger relative to one of the most remarkable children’s tales ever created, Willy Wonka and the Chocolate Factory at the Grosvenor is this spring’s Golden Ticket. Indulge in Gene Wilder’s incredible performance, celebrate as the spoilt brats receive their comeuppance, and bite your fingernails in excitement as the factory gates open for the lucky few. This one-off screening will also give you access to a post-film chocotastic collection of treats upstairs in The Grosvenor Cafe all provided by the local, wonderful, Chocolate Factory. If you thought your chocolate fill for the holiday was over with the end of your eggs, then think again.
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At what point do an awful series of events begin, and how can they brought to an end? Derek Cianfrance toyed with such questions in his previous feature Blue Valentine – the difficult story of two lovers bound to one another for reasons beyond immediate understanding, despite the intense misery their life together entails. His latest film goes beyond the claustrophobic intensity of a dysfunctional relationship to examine the inevitability of fate and of failed attempts at redemption across a tapestry of tragically connected stories. The Place Beyond the Pines is the story of a carnival daredevil (Ryan Gosling) whose failed bank robbery leads him to a tragic episode with an idealistic cop (Bradley Cooper), changing the fate of both men, and their families forever.
It is Cianfrance’s genius in Beyond the Pines is to explore, through these intricately and intimately woven stories, the unfolding tragedies that, through human weakness, cannot be confined to a discrete moment in time. As the narrative unfolds the audience is constantly drawn to look closer at the chain of events in perspective, towards the minutiae of the circumstantial and seemingly trivial happenings from the beginning of the movie, that suggest that if things had been different the terrible fate of that befalls the two men – and their sons – could have been avoided.
Ryan Gosling plays Luke Glanton, a nomadic motorcycle daredevil whose work on the carnival circuit brings him into fleeting contact with Romina Gutierrez (Eva Mendes), with whom he has a son, Jason. The new found knowledge of his paternity drives Luke to attempt to provide for all three; first through employment as a mechanic and then through a series of bank robberies inspired by his employer Robin, played ably by Ben Mendelsohn. The bank robberies themselves provide short, spasmodic scenes of intense, dizzying and nauseating action, the speed of helps to portray the fundamental recklessness and impulsiveness of Gosling’s character.
When taken at face value, Gosling’s part in the narrative of Beyond the Pines chimes familiarly with his role in Drive – a mechanic-cum-bank-robber drawn to care for a mother and her child – an it is tempting to make the equation. Yet the character of Glanton is very different to the Meursault-esque character played by Gosling in Drive. Glanton is sociopathic, talkative and highly emotional young man, whose reasons for caring for the welfare of the mother and child are obvious – somewhat the reverse of Gosling’s part as ‘Driver’, despite their obvious similarities.
Bradley Cooper plays Avery Cross, who enters the film during a stand-off with Glanton. Heralded first as a hero, the idealistic young police officer becomes entangled in the corruption of his fellow officers, only to emerge as someone unrecognisable from his former self, transformed by guilt.
The story then migrates from one generation to the next, focusing on Jason (Dane De Haan), Glanton’s son and the unhappy circumstances which have become his life given what to him are the unexplained circumstances of his father’s death. This final transition completes the circle as Avery’s wayward son, AJ (Emory Cohen), befriends Jason after arriving
Cianfrance must be credited for managing to hand the plot, like a terrible burden, from character to character through a series of memorable breaks which serve to enrich rather than punctuate the films storyline. In taking pages from the American cinematic playbook – bank jobs, broken homes, car chases, crooked cops and violence – Cianfrance imbues them with an intense realism that accentuates the film’s gritty, somewhat vulgar feel, putting the human suffering that these things cause at the centre of the story, rather than as a peripheral concern.
The emerging director’s penchant for bringing to the surface the regrettable side of human nature can, at times, make The Place Beyond the Pines uncomfortable to watch, but this is surely a part of its engrossing effect. Trading on themes of catharsis, responsibility and guilt, fate and inevitablity, as well as masculinity and the role of a father, Cianfrance manages to make a film that is both entertaining and thought-provoking. With Ryan Gosling recently announcing an indefinite hiatus from acting it places an imperative on his fans to catch the last glimpse of an actor whose direction is far from certain.
The Place Beyond The Pines will be released at the Grosvenor Cinema April 12. For ticket information visit www.grosvenorcinema.co.uk
The 6th-17th of March was an exciting time for world cinema fans as the Pan-Asia Film Festival ran for it’s fifth year in London. Organised by festival director Sumatro Ghose, the festival features challenging films which reflect the changing nature of Asia from Iran to Japan. Along with bringing films by both established and young directors to the UK for the first time the festival also features events and Q&A’s with directors and the films’ stars.
Twelve films ran spanning a wide spectrum of genres including comedy, drama and even animation with the best chosen from a short-list of six on March 18th as the winner of the festival’s Best Film Award. While most of the action took place in venues across London there were also special satellite screenings which took place in Glasgow, Brighton and Leeds.
The festival opened with the UK première of Gf*Bf by Taiwanese director Ya-Che Yang followed by premières of Headshot (Dir. Pen-ek Ratanaruang, Thailand), Poor Folk (dir. Midi Z, Burma), Patang (dir. Prashant Bhargava, India), The Revolutionary (dirs. Irv Drasnin, Don Sellers, Lucy Ostrander, USA) and the Hong Kong Young Filmmakers Shorts Programme in conjunction with the Fresh Wave Film Festival which also included and international discussion via Google Hangouts. The première which eventually went on to win the PAFF Best Film Award though was 111 Girls by Iranian director Nahid Ghobadi.
Aside from premières the festival also featured a screening of Outrage Beyond, the latest work by Japanese director Takeshi Kitano as well as The Reluctant Fundamentalist (dir. Mira Nair, India), Material (dir. Craig Freimond, South Africa), animated feature The King of Pigs (Yeon Sang-ho) and the festival’s first ever late night screening with Tormented 3D by Japanese director Takashi Shimizu (The Grudge).
There were two films shown at the GFT in Glasgow. The first was Gf*Bf which tells the story of a love triangle between rebellious high school friends Aaron, Mabel and Liam. Aaron likes Mabel, Mabel likes Liam but Liam only has eyes for Aaron. The film spans just over a decade which begins in 1985 Taiwan, during a time of martial law, then through to 1990 and ending in 1997 showing how the relationships between the three friends has held up during a time of political unrest.
The second film was Patang which is set in the Indian city of Ahmedabad and gives viewers an insight into India’s largest kite festival. While the festival sets the backdrop of the film, the storyline revolves around a successful Delhi businessman bringing his daughter back to his home town and being forced to face up to the family troubles he left behind. Performances are provided by both professionals and non-actors but both are eclipsed by the bright and colourful cinematography as millions of kites take flight during the day and fireworks light up the sky at night.
The Pan-Asia Film Festival seems to have enjoyed a very successful run in 2013 and it will be interesting to see what they have in store next year.