Sheffield Doc/Fest 2018

With 2018 marking its 25th year, Sheffield Doc/Fest is the UK’s premier documentary festival, screening compelling stories from around the world.

Taking place at a multitude of venues across Sheffield, here’s our look at a selection of films featured at the festival in 2018.

click on the film title to see our review

 

A Northern Soul STILL

A Northern Soul

An instant classic which displays the authenticity of its title, A Northern Soul is a stunning piece of work that captures working class life and a musical passion.

A Northern Soul – interview with director

See our interview with A Northern Soul director Sean McAllister.

 

Bruce Lee & the Outlaw STILL

Bruce Lee & The Outlaw
+ interview with director

Filmed over 6 years, this story follows a young homeless boy and the “King of the Underworld”.

 

Too Beautiful 1

Too Beautiful: Our Right To Fight

Considered “too beautiful to fight”, the Cuban authorities ban women from boxing, but one is fighting back.

Too Beautiful: Our Right To Fight – interview with director

See our interview with director Maceo Frost and Namibia Flores Rodriguez on this stunning documentary.

 

BWLG

Boys Who Like Girls

Making the world safer for women, one boy at a time, Men Against Violence and Abuse (MAVA) is a boys’ club in India.

Boys Who Like Girls – interview with director

See our interview Inka Achte, director of Boys Who Like Girls and Liisa Karpo, the film’s producer.

 

What Is Democracy still

What Is Democracy?

A timely examination of our modern-day idea of democracy.

 

Orson_Still

The Eyes of Orson Welles
+ interview with director

A look into the world of the legendary man to reveal a portrait of the artist as he’s never been seen – through Welles’ own eyes.

 

Doel STILL

Doel
+ interview with director

With only 26 inhabitants, Doel is a ghost town in Belgium – surrounded by a nuclear power plant, a gigantic container dock, and the port of Antwerp.

 

Hale County This Morning, This Evening

Hale County This Morning, This Evening

Filmed over 5 years, an observational film following life through immersive cinematography.

 

For the Birds STILL

For The Birds

A look at the relationship between a woman and her animals – 200 ducks, chickens, geese and turkeys – and the unwanted attention it can bring.

For The Birds – interview with director

See our interview with Richard Miron, director of For the Birds, on this unique story.

 

Room for a Man STILL

Room For A Man

A deeply personal story exploring identity and acceptance.

 

Home Games

Home Games

A season in the life of a girl who has a chance to be saved by football.

 

When the War Comes STILL

When The War Comes

A chilling observational film that follows a group preparing for their own personal war.

 

Watch the trailer for Sheffield Doc/Fest 2018 –

 

 


 

 

The Endless

Directors: Justin Benson and Aaron Moorhead

Starring: Justin Benson, Aaron Moorhead, Callie Hernandez, Tate Ellington, Emily Montague, Lew Temple

Words – Manon Peyralade

Among all the films that have been done about cults, The Endless is a standout feature.
The story follows two brothers, Aaron and Justin (played by the film’s directors Aaron Moorhead and Justin Benson), who ten years after having been rescued from a cult, decide to return for a night after receiving a mysterious videotape. As Aaron is eager to come back to what was a family to him, Justin is more reticent, but accepts when he realises how miserable his brother is in his ‘normal’ life.
Although Justin only agrees to spend a day and night, the retreat insidiously turns into two days, and two days becomes three, until they seem to be stuck in the cult. Again.

What differentiates The Endless from other films about cults is that there seems to be something beyond human comprehension, something much darker controlling the group.
Many signs and red flags can be found throughout the film – clues hidden in creative shots show the precision and attention to detail given by the directors: the symbol of the circle can be seen at various points throughout – referring to the title – it’s omnipresent, and its meaning only gets clearer as we learn more about the mysterious hovering force.

Such details in cinematography are often left behind for on-the-nose dialogue, but not in The Endless. In this script written by Justin Benson, not a moment is wasted and only serves to move the story forward as well as the characterization of the two protagonists. The relationship between the two brothers is clearly established as protector-protectee, and humour remains present without ever disturbing the creepy atmosphere: a perfect balance.

What separates The Endless from other films about this subject is that the creepiest aspect of the film isn’t the cult itself. It’s nothing palpable, nothing that you can see or prevent.
Watching the film you constantly jump between Aaron’s opinion and Justin’s, and you find yourself caught in the mysterious atmosphere.
The intimacy and chemistry between the two leads (who are friends and collaborators in real life) serves the relationship between the two brothers well, and the script paints a realistic, relatable and insightful representation of brotherhood and family.

A truly unique, genre-crossing film.

 

 


 

 

Must See Movies: June

At Reel Steel we want to make sure you’re getting the most of your cinematic enthusiasm, so each month we put together our short list of some of the best new releases, from popcorn munching explosion fests to the often weird and wonderful.
Take a look at the trailers below and see what you think to this month’s recommendations!

 

Hereditary
released Friday June 15th

When her mother dies, Annie Graham (Toni Collette) beleives she has finally laid to rest a difficult, secretive woman.
But the people who attend the funeral hint at the trouble that lies in store, as the more her family discovers, the more they find themselves trying to outrun the sinister fate they seem to have inherited.

One of the most talked about horror films in recent years, Hereditary is a genuine shocker.

 

Sicario 2: Day of the Soldado
released Friday June 29th

In the drug war, there are no rules – and as the Mexican drug cartels begin trafficking terrorists across the US border, CIA agent Matt Graver (Josh Brolin) calls upon secret operative Alejandro (Benicio Del Toro) to escalate the war and increase the tension.

A follow-up story to the 2015 award winning film Sicario, created here once again by original writer Taylor Sheridan, Sicario 2: Day of the Soldado continues the story of a tense thriller.

 

Leave No Trace
released Friday June 29th

A teenage girl and her father have lived undetected for years in the vast forest of Portland, Oregon.
A chance encounter leads to their discovery, forcing them to adapt and confront their conflicting desires to be part of society and live independently.

Leave No Trace is a mesmerizing character study and exploration of existence on the edge.

 

– SPECIAL EVENT –

SDF logo date 2018

The 25th edition of Sheffield Doc/Fest, the UK’s premier documentary festival, takes place in Sheffield June 7th – 12th 2018.

Screening compelling stories from around the world, see our selection of 12 films to see from the over 200 features you can catch at the festival –

https://reelsteelcinema.com/2018/05/04/sheffield-doc-fest-2018-selection/

 


 

 

Solo: A Star Wars Story

2018

Director: Ron Howard

Starring: Alden Ehrenreich, Donald Glover, Joonas Suotamo, Woody Harrelson, Emilia Clarke, Thandie Newton, Phoebe Waller-Bridge, Paul Bettany, Erin Kellyman

Words – Christian Abbott

Since the franchise began back in 1977, Star Wars has always had the most volatile reactions of any fan-base. You either love it or hate it. The Original Trilogy is one of the most beloved series in cinema history; The Prequel Trilogy is still reviled among fans to this day.
In recent years, under the guidance of Disney, Star Wars has become a yearly franchise with last years The Last Jedi receiving one of the largest backlashes in modern Hollywood (though liked by this writer).

This brings us to today, the next addition to the saga – Solo: A Star Wars Story, the second of the spin-off films following 2016’s Rogue One.
This time we follow a young Han Solo, years before the events of the first film, A New Hope. Han is living in the streets, dreaming of buying his own ship to escape and become “the best pilot in the galaxy” as he reminds us throughout the film. Along the way he’ll meet a motley crew of thieves and smugglers that’ll shape him into the Han we know and love.

The production history is as messy and chaotic as the events in the film, losing original directors Phil Lord and Christopher Miller (Jump Street and Lego Movie) and being replaced with Ron Howard (Beautiful Mind and Rush). This shift in leadership led to Howard reshooting 70% of the film, though the final product is surprisingly a seamless one. There is little sign of the turbulent history behind the film to Howard’s credit, a feat other recent films in a similar situation couldn’t boast (Fantastic Four).

Despite all this grief to get the film into theatres, there was a real sense of indifference towards it – little buzz from fans and obvious questions such as why this story even needed to be told in the first place? Do we need to know how Han got his name or blaster, how he met Chewbacca or flew the Kessel Run? There is a certain mystique in not knowing that is now lost.

Taking on this burden though is Elden Ehrenreich playing Han himself. He has gone into this role not-so-much playing a young Harrison Ford (the original Han) but echoing the beats of the character. A wise choice as it would be impossible to best Ford’s performance, yet, it makes you forget that you’re even watching the same character at times – this could be any smuggler.

This issue doesn’t stop there; the entire cast of characters are one-dimensional and utterly forgettable. Emilia Clarke playing Han’s pre-Leia love disappears for 30 minutes of the running time and I completely forgot she was even in the film until she resurfaced. There was a lot of excitement to see Donald Glover as Lando Calrissian, the sometimes friend, sometimes foe of Han. Yet, even he is as dry as the rest of the cast.

This isn’t the fault of the clearly talented cast though; it comes from a script which is bland, safe, generic and completely predictable. The way you think this story will go, it does, with little deviation. This isn’t necessarily a bad thing, but after The Last Jedi, which did so much to subvert the franchise and take us in a new and exciting direction, it just feels like a step back.

Howard should be commended for salvaging a coherent and adequately entertaining film from the disastrous production, it’s just a shame he couldn’t have done something more with it.
For a franchise so known for its adoring fan-base, for its infamous prequels and landmark originals, it’s a shame the series has its first average entry. It isn’t bad, it just isn’t good either.

 

 


 

 

Deadpool 2

2018

Director: David Leitch

Starring: Ryan Reynolds, Josh Brolin, Julian Dennison, Morena Baccarin, Brianna Hildebrand, Zazie Beetz, Stefan Kapicic, Leslie Uggams, Karan Soni, Bill Skarsgard, Shioli Kutsuna

Words – Rhiannon Topham

Don’t bother watching Deadpool 2 if you dislike Ryan Reynolds.
That may sound obvious, but this time his credit as a writer is such a thoroughly vapid attempt to ingratiate himself with the superhero coterie that the osmosis of he and his character seems complete. In his return to the anti-hero many have lauded as his “perfect” role, Reynolds somehow manages to balance his trademark zingy ripostes with forgettable puerility and tedious action.

The film opens with a figurine of Wolverine impaled on a tree branch, an image befitting of the calamitous narrative about to unfold. Deadpool, or Wade Wilson as people know him in real life, is about to blow himself to smithereens in his apartment and get a one-up on Wolvy by “dying in this one too”.
Rewind a bit to Deadpool’s catalogue of international slayings, and, via a veritable hodgepodge of cultural stereotypes, it transpires that its the tragic demise of his beloved Vanessa at the hands of some vengeful criminals which sends Wade into a drunken downward spiral of despair.

When he’s rescued from self-destruction by X-Men alum Colossus, Deadpool crosses paths with Russell (Julian Dennison), a young mutant with pyrotechnic powers. Josh Brolin’s time traveling Cable interjects all prospects of a flourishing friendship, however, when he arrives intending to kill Russell and put an end to his future villainy before it can even begin.
Several twists and turns lead us to a climactic final scene worthy of all the tear-jerking, heart-wrenching cliches you’d expect to find in a film sequel trying to win over everyone who might’ve been offended by the last one.

This second outing parades many of the standout features of the first film, but exasperatingly so.
Self-aware opening credits: check.
Reynolds/Wade Wilson/Deadpool delivers puerile narration and quick witted jabs at modern culture, especially the superhero movie genre: check.
Gratuitous violence eroticised by slow motion: check.
Disregard for the fourth wall: check.
All of these things help the first Deadpool triumph as a genre-bending dissection of popular culture, but this time they’re almost… soporific.

To its credit, the story actually gets better as it unfolds – a rarity for Hollywood blockbusters, particularly superhero movies.
It’s not an unamusing effort in comparison to the first Deadpool, but much of the humour falls flat or is so overstuffed with comic relief that the scenes intended as serious come across as caustic. Even Josh Brolin couldn’t save this vanity project from its own overblown absurdity.

 

 


 

 

Sheffield Doc/Fest 2018 selection

Now in its 25th year, Sheffield Doc/Fest is the UK’s premier documentary festival, screening compelling stories from across the world.
Taking place in Sheffield June 7th – 12th 2018, the festival prides itself in diversity, with the tagline – What’s Your Story?

Here’s our selection of 12 films from the over 200 features you can catch at the festival – which spans Virtual Reality, Q&A’s and special events.

 

Opening Night Film:

NorthernSoul

A Northern Soul (UK)

Sean McAllister returns to his Yorkshire hometown of Hull as creative director of the opening ceremony of the City of Culture celebrations: living back with his 90 year-old parents, McAllister reflects on the changes to a city hit by cuts in public spending and divided by Brexit and where more than 1 in 3 children are living in poverty.
Drawn to the fringes of town, McAllister met and started filming with Steve Arnott, a struggling warehouse worker by day and hip-hop performer by night, who harbours his own creative dream.

More info and tickets available here:
https://sheffdocfest.com/films/6549

 

Too Beautiful: Our Right to Fight (Cuba, USA)

Cuba is one of the most successful countries in Olympic boxing history, but women are banned from competing.
Maceo Frost’s atmospheric and immersive film follows the fortunes of 39-year-old potential champion Namibia as she trains alongside male athletes at Havana’s legendary El Trejo gym, while hoping for the government to change its stance before she ages out of eligibility.

More info and tickets available here:
https://sheffdocfest.com/films/6523

 

The Insufferable Groo (USA)

Having made nearly 200 low-budget movies in just two decades, Utah writer-director Stephen Groo is now seeking production funds and the involvement of celebrity fan Jack Black for a remake of his 2004 fantasy drama ‘The Unexpected Race’.
This hilarious yet sincere portrait depicts this uphill battle, while examining the unusual methods of a determined DIY auteur.

More info and tickets available here:
https://sheffdocfest.com/films/6435

 

Turtle Rock (China)

Named after a turtle-shaped rock formation, the eponymous mountain village is where Chinese director Xiao Xiao was raised.
He films multi-generational families across four seasons – shot in black and white with a naturalistic soundtrack, this beautifully composed piece of slow cinema captures the rhythms of the villagers’ chores and prayers, while also conveying the remoteness of their existence.

More info and tickets available here:
https://sheffdocfest.com/films/6455

 

Milford Graves Full Mantis (USA)

Celebrating the creativity of legendary American percussionist Milford Graves, this film is itself a kaleidoscope ode to the creative process.
Graves’ protege Jake Meginsky and co-director Neil Young interweave rich performance archive with Graves’ own reflections upon a 50 plus year career, painting a unique homage to the free jazz pioneer and hero to drummers everywhere.

More info and tickets available here:
https://sheffdocfest.com/films/6515

 

Bruce Lee & The Outlaw (Netherlands)

Filmed over 6 years, Bruce Lee & The Outlaw follows Nicu, a young homeless boy, who is adopted by “Bruce Lee” the notorious local “King of the Underworld” and goes to live with him in the tunnels underneath Bucharest.
As Nicu grows up, he starts to realise that perhaps this King of the Underworld is not the perfect father, and has to make a choice between staying in Bruce’s gang, or living a ‘normal’ life above ground.

More info and tickets available here:
https://sheffdocfest.com/films/6421

 

They Call Her Cleopatra Wong (Phillipines)

They Call Her Cleopatra Wong follows Singapore’s top policewoman as she teams up with her Filipino counterpart to bust a counterfeit currency operation that threatens several Asian countries with bankruptcy.
Their fast, furious, martial arts-packed quest takes them from Singapore to Hong Kong and finally Manila where they locate the counterfeit ring’s Asian headquarters, run by local nuns.

More info and tickets available here:
https://sheffdocfest.com/films/6447

 

 

Threads: Redux (UK)

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In 1984, the BBC’s dystopic docudrama Threads depicted the nuclear Apocalypse in Sheffield, terrifying millions of viewers.

Join Richard DeDomenici for the world premiere of his shot-for-shot guerilla recreation of the Sheffield-set dystopian drama, filmed just two days before Doc/Fest with entirely local cast.

More info and tickets available here:
https://sheffdocfest.com/films/6605

 

Black Mother (USA, Jamaica)

BlackMother

In this utterly original film, celebrated New York street photographer Khalik Allah (known for working with the Wu-Tang Clan and Beyonce) weaves the voices of Jamaica – the prostitutes, faith healers and old timers – into a mesmerising tapestry.
Shooting through a singular lens, the director creates a wondrous mosaic reflecting the natural, spiritual and cultural fabric of contemporary Jamaica in all its glory.

A feature screening will present the World Premiere of a live soundtrack performed by Gaika – of Sheffield born Warp Records – for an evening of hypnotic live cinema.

More info and tickets available here:
https://sheffdocfest.com/films/6408

 

Minding The Gap (USA)

Minding_the_Gap_STILL

First-time filmmaker Bing Liu’s documentary Minding the Gap is a coming-of-age saga of three skateboarding friends in their Rust Belt hometown hit hard by decades of recession.
In his quest to understand why he and his friends all ran away from home when they were younger, the director follows 23-year-old Zack as he becomes a father, and 17-year-old Keire as he gets his first job.

More info and tickets available here:
https://sheffdocfest.com/films/6516

 

Grenfell (UK)

grenfell

Filmed across the year following the Grenfell Tower tragedy, this documentary features accounts from the people whose lives were irrevocably changed by the most devastating tower block fire in British history.
Grenfell encompasses multiple voices from the community, as well as interviews with those who were in positions of responsibility.

More info and tickets available here:
https://sheffdocfest.com/films/6563

 

The Man Who Stole Banksy (Italy)

In 2007 Banksy slips into Palestine to paint on the West Bank Barrier.
Someone takes offence at a piece depicting an Israeli soldier checking a donkey’s ID. A local taxi driver decides to cut it off and sell it on eBay.
What follows is a story of clashing cultures, art, identity, theft and black market.

More info and tickets available here:
https://sheffdocfest.com/films/6438

 

See the full public schedule here –

https://sheffdocfest.com/schedules

 

Watch the trailer for Sheffield Doc/Fest 2018 –

 


 

 

Must See Movies: May

At Reel Steel we want to make sure you’re getting the most of your cinematic enthusiasm, so each month we put together our short list of some of the best new releases, from popcorn munching explosion fests to the often weird and wonderful.
Take a look at the trailers below and see what you think to this month’s recommendations!

 

Mary and the Witch’s Flower
released Friday May 4th, 2018

The debut film from Studio Ponoc – the successor to the dearly loved Studio Ghibli – follows Mary, a young girl spending the summer with relatives, who upon the discovery of a magical flower and a lost broomstick is taken high above the clouds to a school of magic.

As she is thought to be a once-in-a-lifetime magical talent, she finds that all is not what it appears to be, and soon must use her courage with some new found friendships to return home.

See our preview screening review >here<

 

Tully
released Friday May 4th, 2018

Marlo (Charlize Theron) is a mother of three who finds herself snowed under by motherhood.

Seeing she is close to breaking point, her brother gifts her with a night nanny to ease the load. While hesitant at first, Marlo comes to form a unique bond with the thoughtful, surprising, and sometimes challenging young nanny named Tully (Mackenzie Davis).

From the makers of Juno, Tully is a smart comedy about parenthood and modern family life.

 

Deadpool 2
released Friday May 18th, 2018

The rule breaker is back…
Wisecracking mercenary Deadpool (Ryan Reynolds) squares up against the powerful Cable (Josh Brolin) to save a boy’s life, but this time he’s not alone.

Expect more of what we came to know in this sequel to the 2016 surprise hit.

 

– SPECIAL EVENT –

 

YSFF1

 

The 3rd annual Yorkshire Silent Film Festival returns May 8th to 27th with screenings in Sheffield and beyond, including a silent film all-dayer at the Abbeydale Picture House.

You can find details and ticket info for all events here –

www.yorkshiresilentfilm.com

 


 

 

Avengers: Infinity War

2018

Directors: Joe Russo, Anthony Russo

Starring: Chris Evans, Robert Downey Jr., Benedict Cumberbatch, Tom Holland, Chris Hemsworth, Scarlett Johansson, Mark Ruffalo, Chadwick Boseman, Chris Pratt, Zoe Saldana, Dave Bautista, Bradley Cooper, Paul Bettany, Elizabeth Olsen, Peter Dinklage, Josh Brolin

Words – Nathan Scatcherd

So here we are.
Ten years since Nick Fury appeared in Tony Stark’s penthouse and mentioned ‘The Avengers Initiative’; six years since The Avengers changed the way audiences consume not only superhero movies, but Hollywood blockbuster movies in general.
Marvel has somehow perfected a sleek, surefire formula for its films by now. Even the relative lower-tier disappointments are successful enough that their cinematic universe appears more or less bulletproof, both critically and commercially (Iron Man 2 and Thor: The Dark World are commonly held up as being ‘the less good’ Marvel movies, but it’s still difficult to argue with any real passion that they’re actually ‘bad’, such is the astronomically high bar Marvel have set themselves over the past decade).

Avengers: Infinity War is in many ways a culmination of everything that has come before, although of course we still have another movie to go before ‘phase four’ kicks in properly. It is supremely confident filmmaking, relentlessly paced and trusting that, by now, everyone in the audience is familiar with these characters and their starting positions going in. No time is wasted on bringing the uninitiated up to speed, because at this point, why would it be? Marvel/Disney’s utter control over comic book moviedom at this moment in time means that you’re either fully invested in the various multi-film ins and outs of the MCU, or you dropped out early on and wouldn’t be watching this anyway.

The result is a breathless, frequently thrilling – although, it has to be said, at times exhausting – love letter to these characters and the fans who have connected so completely with them and their exploits. The real joy of these films has always been the interplay between their various characters, and Infinity War is no different.
Since nearly every major player from all the Marvel movies until now shows up here, there’s a wealth of tensions and friendships to dig into, and some of the resulting team-ups and personality clashes make for both good drama and some typically strong humour (the pairing of the Guardians of the Galaxy with Thor makes for the film’s funniest scenes, and Tony Stark and Doctor Strange’s bitchy animosity towards each other makes perfect sense).

It all plays into the classic comic book mentality of “what would happen if x met/fought y” to great success, although the sheer number of characters in play here does mean that some of them get relatively short shrift when it comes to screentime.
Captain America feels relegated almost to a cameo, weirdly, although I imagine he’s being set up for some much bigger moments in the next film. There’s an extended subplot regarding the romance between Wanda and Vision which honestly feels stretched to the limit of necessity, and probably could have been sheared down by a couple of scenes. But of course, the satisfaction of who’s getting the most screentime will inevitably come down to individual favourite characters (full disclaimer, I’ve been reading comics – particularly superhero comics – for the past twenty years, so I’m coming to this with no small amount of ‘fan baggage’ in this regard).

Perhaps the film’s biggest and most successful surprise is its villain. Marvel seem to have learned a lesson or two from their earlier films, which were often victim to some fairly flat, cardboard baddies. Loki has always been fun and interesting, but for a long time he was pretty much the only villain in the Marvel movie stable who was as layered and watchable as the heroes. However, the one-two punch of Kilmonger in Black Panther and now Thanos in Infinity War may be a sign that the bad guys are finally getting their due.

Brolin is fantastic in the role as the mad titan, who wishes to use the Infinity Stones to wipe out half of all life in the universe in a sociopathic act of ‘balance’. The role could have easily been one of simplistic corniness – the mad despot who wishes to DESTROY because he’s EEEEEEEVIL – but Brolin plays him with the subdued melancholy of someone who genuinely believes he has to do something atrocious in order to contribute to the greater good. He is the villain who sees himself as a hero, and in a way, the film gives him a classic hero’s journey. He has all the agency; he pushes the plot forward, and all Earth’s Mightiest Heroes can do is react. We spend a lot more time with Thanos than expected, and by the time of the film’s audacious Empire Strikes Back ending (no spoilers, but suffice to say it’s the kind of ending no major studio would ever pull off unless they were utterly certain everyone would be coming back for the next one regardless), he emerges as its most fascinating element.

Ultimately, Infinity War stands as one of the high points of Marvel’s cinematic universe, although some of the CGI pummelling does become a little wearying (a large-scale battle in Wakanda near the film’s end actually detracts from some much more interesting emotional stuff going on elsewhere, to the point where it feels like it’s almost getting in the film’s way), and overall it’s maybe a touch too long. There are also a couple of scenes slightly undercut by the unfortunate Marvel trend of immediately following a potentially affecting moment with a pithy line and wink at the audience.

However, these are minor nagging points in an otherwise genuinely impressive achievement. That Infinity War is simply coherent is enough of a triumph, but it is also a consistently engaging epic, full of spectacle and wonderful characters played with absolute assured brilliance by all involved. The Marvel movies almost have to be graded on their own metric at this point, so unprecedented is the company’s success streak so far. It will be fascinating to see what will happen when (if?) they inevitably make an outright bad film, because if Infinity War proves anything, it’s that Marvel aren’t done being the outright masters of the comic book movie in our time.

 

 

 

To read more words from Nathan, you can find this and other articles over on –

https://nscat13.wixsite.com/always-watching/

 


 

 

120 BPM

Director: Robin Campillo

Starring: Nahuel Pérez Biscayart, Adèle Haenel, Antoine Reinartz, Arnaud Valois

Words – Jessica Piette

Robin Campillo’s 120 BPM is an intimate, highly charged portrait of the Act Up movement in early 90’s Paris. Following a group of young queer activists, the film depicts their battle with pharmaceutical giants and the state for the urgent implementation of research towards a cure for AIDS.
Written from the director’s own personal experiences, the film brilliantly balances scenes of protest and collective action with a moving love story between protagonists HIV positive Sean (Nahuel Pérez Biscayart) and Act Up newcomer Nathan (Arnaud Valois).

Set during the height of the crisis, the film shows the extent to which deeply homophobic and prejudiced attitudes informed the lack of support for AIDS sufferers. At the time, funding for AIDS research was withheld and under prioritised, and the disease was derogatively named ‘the gay plague’, epitomising the deeply violent ideas surrounding the LBGTQIA+ community. Rather than shying away from the subject of sex, 120 BPM confronts the stigmatisation that still surrounds it. Campillo’s inclusion of three steamy, tender sex scenes between protagonists Sean and Nathan offers a refreshingly alternative and highly important perspective on gay sex, one that is still yet to be explored within mainstream contemporary cinema.

120 BPM also raises questions about the validities of conflicting forms of protest: a demonstration staged during a medical convention gets out of hand when several of the campaigners improvise, throwing fake blood over a speaker and handcuffing him. This leads to conflict within the group which is divided between members who believe that a more radical, angry approach is necessary, and others who fear that the bad press resulting from extreme acts of protest will inhibit their aims for negotiation. Yet it is these acts of guerrilla protest that force the pharmaceutical companies to listen to the group, and which eventually led to the development of effective HIV medication.

Campillo’s direction creates a vibrant, fluid portrait of the movement, cutting from scenes of protest and group meetings to the members dancing euphorically together in clubs, overwhelmed by shared moments of joyful defiance. The film’s length and pace feels perfectly considered, never letting up with its energy and sense of urgency. Underlying the youthful energy and humour is the oppressive presence of death and mourning; one young member’s health rapidly worsens until he dies, a tragic fate that awaits many of the protagonists. During a protest where the group come face to face with the employees of a pharmaceutical company who argue that they need more time to perfect their research, Sean shouts ‘We don’t have time! We are dying here!’.
120 BPM is a frank, hypnotic portrayal of an underrepresented moment in history, tied together by honest writing, seamless direction and incredible performances from the cast.

 

 


 

 

Ghost Stories

2018

Directors: Jeremy Dyson, Andy Nyman

Starring: Andy Nyman, Martin Freeman, Paul Whitehouse, Alex Lawther

Words – Carly Stevenson

Adapted by Jeremy Dyson and Andy Nyman from their popular stage play, Ghost Stories is a sharp horror anthology in three chapters presided over by Dr Goodman – a professor of Parapsychology whose scepticism of the supernatural is gradually unravelled by three unexplained cases.
Unlike the stage play, which is framed by Goodman giving a lecture on ghost stories, the film opens with him debunking a sham clairvoyant on live television. Shortly after, Goodman receives a message from his childhood hero – a missing TV personality and professional cynic – who challenges him to reopen the three cases that extinguished his hubris. Those familiar with Nyman’s work alongside Derren Brown may have an inkling of where this story is heading, but fear not; Ghost Stories is far from predictable.
The film packs in plenty of jump scares but it also produces fear of a different order: the pervasive air of psychological unease hangs over you like mist and lingers long after the final, delightful twist.

Reprising his role as Professor Goodman, Nyman leads a small but strong cast of Very British Actors. Paul Whitehouse plays a night watchman who has a disturbing encounter during a graveyard shift at a former women’s mental institution, Alex Lawther shines as a dysfunctional teen who has a terrifying experience while driving his parents’ car without a license, and Martin Freeman plays a retired city trader whose affluent lifestyle is overturned by a familiar poltergeist.
The stories glimmer with uncanny potential and the entire film retains a distinctly theatrical feel. There are moments that teeter on the absurd, but isn’t that a hallmark of horror? Ghost Stories is, undoubtedly, all about the big reveal, yet it’s the seemingly unimportant, subtler images that leave an unsettling trace once the magic trick has been explained.