#BFI London Film Festival 2011

[world-of-celebs]

Keira Knightley attends the premiere of 'A Dangerous Method' at the 55th BFI London Film Festival at Odeon West End on October 24, 2011 in London, England.

[thirdrowcentre]

2 years ago I decided I should watch at least two movies I’d never seen before a week. That year I managed 278 films. This year I have 346 first-watch-films, and so many more still to see. These are ones that stood out, in no particular order other than the order in which I saw them. Movies are magic, history and humanity, and how lucky are we to have them.

2022 FIRST WATCHES – STANDOUTS

January

Career Girls (dir. Mike Leigh, 1997), 4 January

Titane (dir. Julia Ducournau, 2021), 8 January at Prince Charles Cinema

La Chienne (dir. Jean Renoir, 1931), 18 January

Panique (dir. Julien Duvivier, 1946), 20 January

Undine (dir. Christian Petzold, 2020), 21 January

An Angel at my Table (dir. Jane Campion, 1990), 23 January

Drive My Car (dir. Ryusuke Hamaguchi, 2021), 29 January at Prince Charles Cinema

February

Parallel Mothers (dir. Pedro Almodóvar, 2021), 7 February at Rich Mix

Life is Sweet (dir. Mike Leigh, 1990), 18 February

March

Accattone (dir. Pier Paolo Pasolini, 1961), 5 March

In the Cut (dir. Jane Campion, 2003), 6 March

Phoenix (dir. Christian Petzold, 2014), 10 March

Outer Space (dir. Peter Tscherkassky, 1999), 16 March

Cleopatra (dir. Joseph L. Mankiewicz, 1963), 20 March

Inside (dir. Bo Burnham, 2020), 31 March

April

Scenes with Beans (dir. Ottó Foky, 1975), 5 April

High and Low (dir. Akira Kurosawa, 1963), 9 April

Una Mujer Fantastica (dir. Sebastian Leilo, 2017), 13 April

Women on the Verge of a Nervous Breakdown (dir. Pedro Almodóvar, 1988), 19 April

May

Chungking Express (dir. Wong Kar Wai, 1994), 2 May

Zazie dans le metro (dir. Louis Malle, 1960), 5 May

Three Colours: Blue (dir. Krzysztov Kieślowski, 1993), 11 May

La 317e Section (dir. Pierre Schoendoerffer, 1965), 28 May at Christine 21

La Collectionneuse (dir. Eric Rohmer, 1967), 30 May

June

Remorques (dir. Jean Grémillon, 1941), 1 June

Orphée (dir. Jean Cocteau, 1950), 17 June

Les plages d’Agnès (dir. Agnès Varda, 2008), 20 June

La belle et la bête (dir. Jean Cocteau, 1946), 21 June

Moonage Daydream (dir. Brett Morgen, 2022), 25 June at Showroom, Sheffield

July

Endless Summer (dir. Bruce Brown, 1966), 2 July

L’une chante, l’autre pas (dir. Agnès Varda, 1977), 12 July

Junior (dir. Julia Ducournau, 2011), 17 July

The Big City (dir. Satyajit Ray, 1963), 23 July at BFI Southbank

Andrei Rublev (dir. Andrei Tarkovsky, 1966), 24 July at Prince Charles Cinema 35mm

Flee (dir. Jonas Poher Rasmussen, 2021), 24 July

Salò, or the 120 Days of Sodom (dir. Pier Paolo Pasolini, 1975), 30 July at Prince Charles Cinema 35mm

August

Blood and Black Lace (dir. Mario Bava, 1964), 4 August

Happening (dir. Audrey Diwan, 2021), 9 August

Nope (dir. Jordan Peele, 2022), 15 August at Castle Cinema, 29 August at Vue Islington

Brute Force (dir. Jules Dassin, 1947), 16 August

Naked City (dir. Jules Dassin, 1948), 30 August

September

Gaslight (dir. George Cukor, 1944), 1 September

The Red Balloon (dir. Albert Lamorisse, 1956), 5 September

A Valparaíso (dir. Joris Ivens, 1963), 8 September

Raw Deal (dir. Anthony Mann, 1948), 10 September

Little Dieter Needs to Fly (dir. Werner Herzog, 1997), 25 September

October

The Killers (dir. Robert Siodmak, 1946), 8 October

Foolish Wives (dir. Erich von Stroheim, 1922), 9 October at BFI Southbank (London Film Festival)

One Fine Morning (dir. Mia Hansen Løve, 2022) at Odeon Luxe West End (London Film Festival), 14 October

Orlando (dir. Sally Potter, 1992), 19 October

7 Days in May (dir. John Schlesinger, 1964), 22 October

Seconds (dir. John Schlesinger, 1966), 28 October

November

The Rider (dir. Chloe Zhao, 2017), 1 November

Los Huesos (dir. Cristóbal León, Joaquin Cociña, 2021), 10 November

Fire of Love (dir. Sara Dosa, 2022), 13 November

Aftersun (dir. Charlotte Wells, 2022) 19 November at Castle Cinema

The Draughtsman’s Contract (dir. Peter Greenaway, 1982) 26 November at BFI Southbank

December

Sullivan’s Travels (dir. Preston Sturges, 1941), 3 December

Victim (dir. Basil Dearden, 1961), 8 December

Le Pupille (dir. Alice Rohrwacher, 2022), 16 December

The Queen of Spades (dir. Thorold Dickinson, 1949) at BFI Southbank, 30 December

Honourable mentions

Barry Lyndon (dir. Stanley Kubrick, 1975) at la Filmotheque du Quartier Latin, 8 May. I don’t like Kubrick but I think I liked this. Titane at the Cinematheque Francaise in Paris with Ducournau Q&A, 16 May. Top Gun Maverick at the Vue Leicester Square, 6 June, with my best friends. Jane (2017) at Sheffield DocFest, introduced by Brett Morgen. I had literally had 10 minutes sleep the night before. 26 June at Showroom, Sheffield

Moonage Daydream at BFI IMAX, while the Queue was ongoing. 17 September. Mrs Harris Goes to Paris (Anthony Fabian, 2022) at 11am on a Sunday at the Vue Islington. 29 October. Glass Onion (Rian Johnson, 2022) at the Rio Cinema in Dalston on a very uncomfortable date. 25 November

And rewatching The Third Man (Carol Reed, 1949) for the first time since I wrote my dissertation on it, six years ago.

[denimbex1986]

'Six years of waiting, after the premiere at the Venice Film Festival of the underrated Charley Thompson. Andrew Haigh, Member of the Order of the British Empire for his services to art for just over a year, is finally back with the free adaptation of the novel Strangers by Yamada Taichi (1987), already brought to the big screen by Nobuhiko Obayashi with The Discarnates, at the end of the 80s.

Presented as a world premiere at the Telluride Film Festival, and subsequently seen at the New York Film Festival, at the BFI London Film Festival and now at the Rome Film Festival in the Alice nella Città section, All of Us Strangers will be released in Italian cinemas at the beginning of 2024 , with a more than probable and possibly deserved haul of Oscar nominations.

12 years after Weekend , which in 2011 introduced Haigh to cinephiles around the world, the director of Looking has created a skilfully layered and deeply moving film about the pain of loss, the process of mourning, isolation and fear. of loneliness which too often become a painful practice within the LGBTQIA+ community. Haigh, accompanied for the occasion by the magnificent photography of Jamie D. Ramsay, has created a drama that disturbs and moves, giving shape to an unusual love story, which is intertwined with a past never forgotten because it has never really been experienced.

One night, in a practically deserted skyscraper in today's London, Adam meets his only neighbor, Harry, who knocks on his door, asking him to come in, to introduce those two very lonely lives. An encounter that breaks the rhythm of his daily life, but Adam is haunted by memories of the past, finding himself punctually in the suburban town where he grew up and in the childhood home where his parents seem to relive, just like the day of their death, which occurred 30 years earlier…

It is a story of ghosts, of words never said, of hugs never given, of confessions never expressed, of farewells never elaborated, of requests for help never made explicit or understood, of coming outs never made, the one driven by four actors in a state of grace. Andrew Scott has never been so good, after decades of waiting for the role of a lifetime, worn extraordinarily. His Adam, so problematic and mysterious, so kind and melancholy, silent and scared, has a thousand facets that Scott manages perfectly to make credible. Haigh built the entire film around him, never letting go for a moment, focusing on the features, the small details, the nuances of a complex character and the fascinating text itself.

An Oscar nomination for best leading actor would be a good thing, not to mention a duty, after 30 years of a career equally divided between cinema, TV and theatre. Paul Mescal , such an enigmatic and seductive neighbor, perfectly fills spaces that had been deserted for a long time until his arrival, accompanying the protagonist towards emotions and feelings never experienced before. The equally excellent Jamie Bell and Claire Foy play Adam's two parents, deceased for decades and yet visible, to the point of reconstructing 30 years of forced distance.

In dialogue with oneself, after having repressed, remained silent and pushed others away for a long time. Andrew Haigh's Strangers are neighbors, lovers, parents, it's all of us, driven to self-isolation by a world and a society in which the human, physical, real relationship is increasingly an exception, in the face of social and virtual interactions. Closed doors slammed in the faces of Strangers in need of help, closeness, simple company, unaware of the irreparable damage that those closed doors could cause. All Of Us Strangers is a powerful reflection on pain and love, which asks the viewer to immerse themselves in a story that at times becomes lysergic, a visual and emotional experience long marked by mysteries, anxieties and past memories. Haigh has taken back his Weekend, transforming it into something else, into something much more painful, scary and devastating, with a melancholy homage to the 80s embellished with a soundtrack that ranges from Frankie Goes To Hollywood to Pet Show Boys, passing through Blur and Fine Young Cannibals.

The love story between Adam and Harry dazzles with its beauty and sweetness, while continually leaving room for something undefined, never fully expressed, with these two bodies that meet, fusing into each other, experiencing a relationship made of flesh and revelations, fragilities and insecurities. Andrew Haigh asks full trust to anyone who wants to enter his All of Us Strangers, an emotional matryoshka in which nothing is as it seems, with worlds, lives and realities that intertwine, beyond time and space, until that final twist that makes everything even more bitterly moving. An ending consciously on the limit, poised between exaggeration and emotional disturbance, closing a film that is unlikely to leave anyone indifferent.'

[popmovie888]

Roald Dahls Matilda The Musical มาทิลด้า เดอะ มิวสิคัล (2022) ซับไทย

ตัวอย่างหนัง Roald Dahls Matilda The Musical มาทิลด้า เดอะ มิวสิคัล (2022) https://www.youtube.com/watch?v=sL2GtyLE9XY เกริ่นนำ Roald Dahls Matilda The Musical มาทิลด้า เดอะ มิวสิคัล (2022) Roald Dahls Matilda The Musical มาทิลดาเดอะมิวสิคัล 4เป็นภาพยนตร์มิวสิคัลแฟนตาซีแนวดราม่าที่ออกฉายในปี พุทธศักราช 2565ดูแล โดย แมทธิว วาร์คัสจากบทภาพยนตร์ที่เขียนโดยเดนนิส เคลลี่ ดัดแปลงแก้ไขจากละครเวทีชื่อเดียวกันในปี 2011โดย Warchus, Kelly รวมทั้ง Tim Minchinซึ่งอิงจากนิยายเรื่อง Matilda ในปี 1988 โดย Roald Dahlภาพยนตร์ประเด็นนี้ร่วมอำนวยการสร้างโดย TriStar Pictures , Working Title Filmsและก็ Netflixยังเป็นภาพยนตร์ดัดแปลงแก้ไขเรื่องลำดับที่สองจากนิยายหัวข้อนี้ ต่อจากภาพยนตร์ปี 1996 (ผลิตโดย TriStar ด้วย) ภาพยนตร์หัวข้อนี้แสดงนำโดย Alisha Weir เป็นตัวละครหลักเกาะติดLashana Lynch , Stephen Graham , Andrea Riseborough , Sindhu Veeและก็Emma Thompson ในรูปภาพยนตร์หัวข้อนี้ มาทิลดา วอร์มวูด (เวียร์) ผู้ซึ่งถูกบิดามารดาละทิ้งและก็ปฏิบัติไม่ดี ได้ปรับปรุงความรู้ความเข้าใจทาง จิตเวชศาสตร์ เพื่อจัดแจงกับมิสทรันช์บุล (ทอมป์สัน) อาจารย์ใหญ่ของโรงเรียนประถมศึกษาครันเคมฮอลล์ที่เหี้ยมโหดอำมหิตและก็ไร้มนุษยธรรม Roald Dahls Matilda The Musical ภาพยนตร์ดัดแปลงแก้ไขจากMatilda the Musicalมีการประกาศหนแรกในพฤศจิกายน 2013 โ���ยมีแถลงการณ์ว่า Warchus และก็ Kelly จะกลับมาเป็นผู้กำกับและก็นักเขียนบทเป็นลำดับ ในมกราคม 2020 โปรเจกต์ได้รับการประกาศอย่างเป็นทางการ รวมทั้งการกลับมาของ Warchus แล้วก็ Kelly ได้รับการรับรอง เหมือนกับ Minchin ที่เผยออกมาว่าเขากำลังกลับมาเขียนเพลงใหม่สำหรับภาพยนตร์ประเด็นนี้ คริสโตเฟอร์ ไนแย้งเกล ผู้เขียนเพลงประกอบละครเพลง ยังได้รับการว่าว่าจ้างให้กลับมาเป็นผู้ประพันธ์เพลงประกอบของภาพยนตร์ประเด็นนี้อีกด้วย ดาราเต็มตั้งแต่ม.ค.ถึงม.ย. 2021 รวมทั้ง Weir, Lynch, Thompson, Graham แล้วก็ Riseborough การถ่ายทำเกิดขึ้นในไอร์แลนด์ตั้งแต่พ.ค. พุทธศักราช 2564 Matilda the Musicalเปิดฉายรอบรอบแรกโลกที่BFI London Film Festivalช่วงวันที่ 5 ต.ค. พุทธศักราช 2565 แล้วก็เข้าฉายในโรงหนังในสหราชอาณาจักรตอนวันที่ 25 เดือนพฤศจิกายน พุทธศักราช 2565 โดยSony Pictures Releasing Internationalผ่านTriStar Picturesในช่วงเวลาที่ในอเมริกา ภาพยนตร์หัวข้อนี้ออกฉาย ในวันที่ 9 เดือนธันวาคม พุทธศักราช 2565 นอกเหนือจากการสตรีมบนNetflixในวันที่ 25 ธ.ค. ภาพยนตร์ประเด็นนี้ได้รับการวิพากษ์ในด้านบวกจากนักวิพากษ์วิจารณ์ โดยเฉพาะการดูการแสดงของทอมป์สัน Read the full article

[tomhiddleslove]

Tom Hiddleston and Susannah Fielding at the '360' premiere during the 55th BFI London Film Festival at Odeon Leicester Square on October 12, 2011 in London, England.

[maryxglz]

Tom Hiddleston attends the ‘360’ premiere during the 55th BFI London Film Festival at Odeon Leicester Square on October 12, 2011 in London, England.

[antoschauniverse]

I hope this beauty will return soon.

[clairefoysource]

Claire Foy on working with Benedict Cumberbatch on Wreckers. 

[madonnaciccone]

[mermaidinthecity]

Martha Marcy May Marlene Premiere at 55th BFI London Film Festival in London - October 21, 2011

[ramonaprintmakingtwo]

Project 3: Landscape composition

Due to the current travel restrictions and lock down it didn’t feel appropriate or safe to sketch on location the way I would like to. Reading through the exercise I really wanted to study London’s Southbank. This is my favourite part of London and reminds me of spending days with my family, walking along the river and visiting the Hayward, National Theatre, BFI or The Royal Festival Hall. Although often viewed as ugly I love the brutalist architecture and enjoyed climbing up the various staircases and levels, hiding behind pillars and looking out over the Thames. 

In my last Unit, Illustration Two, I completed a six digital illustrations of some of the iconic buildings on the Southbank. In preparation for that assignment (and about two weeks prior to the last lockdown) I took lots of photos so had some reference material already to work from. 

My Photos

My previous Illustrations

Visual Reference

I also supplemented my visual reference using photographs and videos I sourced online. This allowed me to explore more angles and perspectives that I hadn’t captured previously and the videos in particular helped me to remind myself of the feeling of walking down river. 

London National Theatre (Escuris, n.d.)

Hayward Gallery (Guy, n.d.)

Geometry + Geology: Hayward Gallery (Hewitt, 2011)

London Virtual Walk With Ambient Sounds Roof Bar To Festival (Living Walks, 2018)

360° London - South Bank (Fly Through Films, 2015)

Difficulties in comprehension

I read through the project instructions multiple times but struggled to understand what exactly I was been asked to do. I looked at other printmaking students learning logs to try to gain a better understanding however this didn’t clear it up entirely for me.  I am going to include the instructions and my interpretation of them within this write-up in hopes that my tutor or future assessor will understand my rationale for my work, even if the process I have used isn’t what was asked of me. I have used bold to indicate my thoughts.

Instructions

‘Using a pencil on A3 paper and working to the edge of the page, make a line drawing of a section of built environment. Pay attention to perspective and the main forms and structures avoiding excessive detail. Think where to place the lights and darks. Line drawing to me means just the key shapes, I’m not sure how to indicate tone, light and dark within a line drawing. As a left handed person, excessive pencil mark-making quickly becomes messy. You may well need to do a number of drawings until you find the perfect balance of shapes.

Now draw four boxes on tracing paper 15cm x 10cm. Use these boxes as viewfinders and move them over your drawing trying different angles and compositions looking for what you consider to be balanced composition of lines and shapes. As you make your tracings you can edit any unwanted detail and even make the design more abstract – enjoy the freedom of exploring form to produce an aesthetically pleasing composition.

You will use these tracings (plural) to mark up your piece of lino. (singular) Is the final piece meant to be 15cmx10cm? Are the four tracings meant to be combined to create one piece around A4 measurements (30cm x 20cm)?

The print is going to be black, grey and the colour of the paper. You can start by adding black to one shape and then to another to balance the weight and so on.’

My understanding and steps

Make a pencil line drawing on A3 with little detail of a built environment.

Using  viewfinders, explore the image to find a good composition.

Refine and edit composition (for me this usually means using pen to block out dark areas).

Combine the four sections to make one abstract composition. 

Use a reduction print method using grey and black. 

First Sketches

I completed two very basic sketches of The National Theatre (reference Escuris, n.d.) and the back of The Royal Festival Hall (reference Living Walks 2018).

(Pencil on paper)

I used paper viewfinders on my LED light board to trace selected areas. I put the pieces together in different potential compositions and scanned them. This allowed me to put the compositions next to each other to allow for direct comparison. 

Three different compositions scanned

(Pencil and pen on paper)

Draft composition, taped viewfinders

I then went over this composition again, cleaning up lines and bending others so the image felt less disjointed. To help me remember which bits I needed to cut, the blue in this image represents areas of white. 

Final Composition 

(Pen on paper)

I selected this composition as the contrasting angles meeting in the centre of the design reminded me of a ship, moving forwards through the river. This felt in keeping with the riverside location of the National Theatre. The overall image feels dynamic and dramatic. 

The abstract interpretation of buildings reminded me of the hand coloured etchings of Bronwen Sleigh.

Earlspark Avenue, Pacific Quay, Rue Beaudoin,Hinna  (Sleigh, n.d.)

First Layer test print with ink pad

Printing process

First time using my press

I had difficulty using the press for the first time as my Lino was jumping causing the registration to be off. I ended up completing the run by hand as I being a reduction print I only had a limited number of prints and didn’t want to ruin the entire run and have to start again. Through talking to other printmakers on Facebook I have since learnt that I had the pressure too tight. 

Final Prints

Best Print

I would have never considered creating an image using in the method outlined in the course materials (or my interpretation of them!). The end result is bold and striking and captures my joy for the National Theatre and it’s architecture. 

PLEASE NOTE: These prints have been scanned using the incorrect setting causing the colours and contrast to be inaccurate. I will be re-scanning and updating this post at a later date.

References

Escuris, L., n.d. London National Theatre. [image] Available at: <https://linoescuris.com/london-national-theatre/> [Accessed 21 December 2020].

Fly Through Films, 2015. 360° London - South Bank. [video] Available at: <https://youtu.be/WGjCaNTQhVk> [Accessed 21 December 2020].

Guy, C., n.d. Hayward Gallery. [image] Available at: <https://gidsey.com/portfolio/hayward-gallery/#> [Accessed 21 December 2020].

Hewitt, D., 2011. Geometry + Geology: Hayward Gallery. [Gelatin Photography].

Living Walks, 2018. London Virtual Walk With Ambient Sounds Roof Bar To Festival. [video] Available at: <https://youtu.be/NsD7FbiMMlU> [Accessed 21 December 2020].

Sleigh, B., n.d. Earlspark Avenue. [Hand coloured etching].

Sleigh, B., n.d. Hinna. [Lithograph].

Sleigh, B., n.d. Pacific Quay. [Hand coloured etching].

Sleigh, B., n.d. Rue Beaudoin. [Hand coloured etching].

[dmlaskk]

African Film History and Their Success

African films have a great place in the world film history from past to present. Many films were shot under the influence of both Arabian culture and Sub-Saharan region. Wanting to get rid of colonial history and Western pressure, they established their own film schools and participated in various film festivals.

Although most of us think of a colonial-influenced Africa and films made with this effect, there are films in many categories, both historical, comedy and drama. They have participated in major festivals such as Cannes Film Festival, International Berlin Film Festival, Sundance, and BFI London. There are very good films, especially those that won awards at the Cannes Film Festival. In 2011, Oliver Hermanus received the Queer Palm award at the Cannes Film Festival with the movie 'Skoonheid'. Abderrahmane Sissako received the FIPRESCI award at the Cannes Film Festival with his film 'Waiting for Happiness'. Mati Diop with the movie 'Atlantique' received the Grand Prix award at the 72nd Cannes Festival in 2019. In addition, although these films returned to their countries with good awards, the top 20 African films published by The Guardian in January 2020 were again made by Mahamat-Saleh Haroun with the film ‘Abouna’, which made its world premiere in Cannes.

Although Africa achieved success in the field of film by isolating it from external influences, unfortunately, many of these films did not see the value expected by the audience. According to some studies, this was due to the prejudices of the audience. As in every field, popularity has come to the fore in the field of film. Nowadays, with the popularization of online platforms, it has become easier for viewers to reach new movies and African movies appear as a category. 

I hope the increase in views increases over time, and we see movies that see the value they deserve. We continue to see more views, especially in the African category, where amateur movies are on the rise. We live in an age where social media and digital platforms prevail. It becomes more possible to use this variety in these years. By watching these beautiful African movies, I think that films made of that culture will give us the pleasure of watching.

[niralamba]

BFI London Film Festival, Oct 2011

[jameshathaways]

2011 BFI London Film Festival

[tomhiddleslove]

Susannah Fielding and Tom Hiddleston at the Closing Gala Premiere of 'The Deep Blue Sea' during the 55th BFI London Film Festival at Odeon Leicester Square on October 27, 2011 in London, England.

[ritaca28]

BFI - London Film Festival

Oct 26, 2011