#rubika shah

[fromthestacks]

White Riot

[lefilmdujour]

White Riot / Rubika Shah / UK / 2019

[greensparty]

Movie Reviews: David Byrne’s American Utopia / White Riot

This week I got to review not 1 but 2 music documentaries opening/premiering this week.

David Byrne’s American Utopia

movie poster

Possibly the greatest concert documentary of all time is 1984′s Stop Making Sense, the Talking Heads concert doc directed by Jonathan Demme. Talking Heads singer David Byrne is such a fascinating frontman and the entire band and backing band swung it out of the park! I caught a special screening in 2015 at Noise Pop and I recently picked it up on blu-ray. So many noteworthy moments from Byrne: the over-sized suit, singing to a lamp, hitting his head as it’s the “same as it ever was”! But it was the overall stage show and band that made that an amazing concert doc. Earlier this month I interviewed Talking Heads drummer Chris Frantz and he noted “The thing about Stop Making Sense was the entire crew, the band, the camera crew - everyone was at the top of their game.” So true! Fast forward from that 1984 concert film to 2019: Bryne does a Broadway show American Utopia, a modified version of his 2018 album of the same name. It received raves across the board. In Feb. 2020, Spike Lee filmed one of the stage shows for a concert doc David’s Byrne’s American Utopia, which recently premiered at the Toronto International Film Festival and it going to premiere on HBO this weekend.

Byrne and company in action

Prior to the Broadway run, Byrne did a few weeks of preview performances at the Emerson Colonial Theater in Boston, which I’m now kicking myself for having missed. Fortunately for all of us, Spike Lee has directed the next best thing with this performance doc. Lee has always had one foot in the narrative world and one foot in the documentary world, but within the documentary world, he has done several docs that were live performances, including the one-man show John Leguizamo: Freak, the stand up comedy The Original Kings of Comedy, the Broadway musical Passing Strange, and many others. It’s actually kinda surprising that Lee and Byrne, two NYC artists of mammoth talent, haven’t worked together until now. 

Byrne and Lee at the New York Film Festival earlier this month

There’s a perception that most of the time when you film a play or Broadway performance, it rarely captures the energy of being in the audience and watching it live. A lot of that is changing in recent years as we’ve seen with the amazing Springsteen on Broadway (my #2 Documentary of 2018) and this year’s Hamilton. In the case of American Utopia, I don’t know if it was the way it was filmed (select shots overhead and even from the back of the stage), but it truly is one of the best concert documentaries in a long time. While it is hard to watch this without comparing it to Stop Making Sense, this is something entirely different. This is an artist 36 years later performing with a variety of musicians and dancers all dressed the same and showcasing not just the title album, but many of Byrne’s greatest hits with Talking Heads. Think of it like a Vegas revue, as performed by an art rocker who still has the energy of a musician half his age. Bringing it to life is one of my favorite cinematographers and Lee’s frequent collaborator Ellen Kuras (she did Ted Demme’s Blow and Jonathan Demme’s Neil Young: Heart of Gold too. I also met her briefly at a Personal Velocity Q&A in 2002). The portion in this movie where they veer from the live performance is during the performance of Janelle Monae’s “Hell You Talmbout”, as the singers chant the names of Black individuals killed by police, there is a very powerful sequence where as the names are being sung, the late individual’s photo is being held up by their loved ones. Normally I’m not a fan of inserting shots into a documentary performance, but in this case it was an extremely emotional enhancement to the song. Byrne and Lee have come together with something to say in 2020. I just hope we don’t need to wait another 36 years for Byrne’s next epic concert doc!

For info on American Utopia: https://www.hbo.com/specials/american-utopia

4.5 out of 5 stars

White Riot

movie poster

Music has always been a means to mobilize and motivate for movements. Whether it was using anti-war songs to protest the Vietnam war in the 60s or in the 80s when a variety of musicians protested Apartheid. In the late 1970s in the U.K. just as punk rock was rising into the mainstream, there was also a rise of the right wing political group The National Front pushing a xenophobic and anti-immigration stance. As Eric Clapton voiced his support for National Front’s Enoch Powell, there was a response to that from a new organization Rock Against Racism (RAR). The organization’s goal was to use rock music to be a force against racism. RAR began a fanzine and started putting on concerts. Numerous punk groups including The Clash, Steel Pulse, and Poly Styrene got involved too. Soon RAR begat a grassroots movement throughout England. White Riot, being released today from Film Movement, is the documentary treatment for this movement.

The Clash at a RAR concert

As a doc, this was fascinating. The main founders of the organization are interviewed. There are definitely parallels to today as we’ve seen with musicians supporting Black Lives Matter and railing against Trump. It was well done and had some fascinating archival footage. However, as a fan of The Clash, I wanted desperately for there to be more of The Clash in this. The doc is called “White Riot” (a 1977 song by The Clash) for God’s sake! The marketing made it seem like they were a much bigger part of this doc than they were. I will say this: one of the modern day interviewees is Topper Headon (The Clash’s drummer from 1977-82), there is some archival footage of the band, and some cool performance footage of them at RAR’s big concert at the end. But it felt like such a tease to see so little of The Clash in this movie. I also kind of wished they had been even-handed as they called out Clapton, David Bowie and Rod Stewart for their support of Powell, they should have allowed those musicians to respond. I didn’t dig too deep into this, but from what I found it seems those musicians have since had some regret about their support. Why was that not addressed?

But the big message of this doc is that music can be a force to change the world for the better. Amen!

For info on White Riot: https://www.filmmovement.com/white-riot

3 our of 5 stars

[awardseason]

British Independent Film Awards 2020 — Nominees

Best British Independent Film

“Calm With Horses” – Nick Rowland, Joe Murtagh, Daniel Emmerson

“The Father” – Florian Zeller, Christopher Hampton, David Parfitt, Jean-louis Livi, Philippe Carcassonne

“His House” – Remi Weekes, Martin Gentles, Edward King, Roy Lee, Aidan Elliott, Arnon Milchan

“Rocks” – Sarah Gavron, Theresa Ikoko, Claire Wilson, Faye Ward, Ameenah Ayub Allen

“Saint Maud” – Rose Glass, Oliver Kassman, Andrea Cornwell

Best Director

Sarah Gavron – “Rocks” [associate Director Anu Henriques]

Rose Glass – “Saint Maud”

Nick Rowland – “Calm With Horses”

Remi Weekes – “His House”

Florian Zeller – “The Father”

Best Actress

Bukky Bakray – “Rocks”

Morfydd Clark – “Saint Maud”

Clare Dunne – “Herself”

Wunmi Mosaku – “His House”

Andrea Riseborough – “Luxor”

Best Actor

Riz Ahmed – “Mogul Mowgli”

Ṣọpẹ́ Dìrísù – “His House”

Amir El-masry – “Limbo”

Anthony Hopkins – “The Father”

Cosmo Jarvis – “Calm With Horses”

Best Supporting Actress

Niamh Algar – “Calm With Horses”

Kosar Ali – “Rocks”

Jennifer Ehle – “Saint Maud”

Ashley Madekwe – “County Lines”

Fiona Shaw – “Kindred”

Best Supporting Actor

Harris Dickinson – “County Lines”

Barry Keoghan – “Calm With Horses”

Alyy Khan – “Mogul Mowgli”

Merab Ninidze – “The Courier”

D’angelou Osei Kissiedu – “Rocks”

Best Screenplay (Sponsored by BBC Film)

Rose Glass – “Saint Maud”

Theresa Ikoko, Claire Wilson – “Rocks”

Bassam Tariq, Riz Ahmed – “Mogul Mowgli”

Remi Weekes – “His House”

Florian Zeller, Christopher Hampton – “The Father”

Best Documentary

“The Australian Dream” – Daniel Gordon, Stan Grant, Sarah Thomson, Nick Batzias, Virginia Whitwell, John Battsek

“Being A Human Person” – Fred Scott, Mike Brett, Steve Jamison, Jo-jo Ellison

“The Reason I Jump” – Jerry Rothwell, Jeremy Dear, Stevie Lee, Al Morrow

“Rising Phoenix” – Ian Bonhôte, Peter Ettedgui, Greg Nugent, John Battsek, Tatyana Mcfadden

“White Riot” – Rubika Shah, Ed Gibbs

Best British Short Film

“Filipiñana” – Rafael Manuel, Naomi Pacifique

“The Forgotten C” – Molly Manning Walker, Jessi Gutch

“The Long Goodbye” – Aneil Karia, Riz Ahmed, Tom Gardner

“Mandem” – John Ogunmuyiwa, Emily Everdee

“Sudden Light” – Sophie Littman, Tom Wood

Best International Independent Film

“Babyteeth” – Shannon Murphy, Rita Kalnejais, Alex White

“Les Misérables” – Ladj Ly, Giordano Gederlini, Alexis Manenti, Toufik Ayadi, Christophe Barral

“Never Rarely Sometimes Always” – Eliza Hittman, Adele Romanski, Sara Murphy

“Nomadland” – Chloé Zhao, Frances Mcdormand, Peter Spears, Mollye Asher, Dan Janvey

“Notturno” – Gianfranco Rosi, Donatella Palermo, Paolo Del Brocco, Serge Lalou, Camille Laemlé, Orwa Nyrabia, Eva-maria Weerts

The Douglas Hickox Award (Debut Director)

Henry Blake – “County Lines”

Rose Glass – “Saint Maud”

Eva Riley – “Perfect 10”

Nick Rowland – “Calm With Horses”

Remi Weekes – “His House”

Breakthrough Producer

Douglas Cox – “Host” [also Produced By Emily Gotto, Samuel Zimmerman]

Daniel Emmerson – “Calm With Horses”

Irune Gurtubai – “Limbo” [also Produced By Angus Lamont]

Oliver Kassman – “Saint Maud” [also Produced By Andrea Cornwell]

Edward King, Martin Gentles – “His House” [also Produced By Aidan Elliott, Roy Lee, Arnon Milchan]

Debut Screenwriter

Riz Ahmed – “Mogul Mowgli” [also Written By Bassam Tariq]

Rose Glass – “Saint Maud”

Theresa Ikoko, Claire Wilson – “Rocks”

Joe Murtagh – “Calm With Horses”

Remi Weekes – “His House”

Most Promising Newcomer

Niamh Algar – “Calm With Horses”

Kosar Ali – “Rocks”

Bukky Bakray – “Rocks”

Frankie Box – “Perfect 10”

Conrad Khan “County Lines”

The Raindance Discovery Award

“Justine” – Jamie Patterson, Jeff Murphy, Jason Rush, Sarah Drew, Julius Beltrame

“Looted” – Rene Van Pannevis, Kefi Chadwick, Jennifer Eriksson, Jessie Mangum

“One Man And His Shoes” – Yemi Bamiro, Will Thorne

“Perfect 10” – Eva Riley, Jacob Thomas, Bertrand Faivre, Valentina Brazzini

“Rose: A Love Story” – Jennifer Sheridan, April Kelley, Sara Huxley, Matt Stokoe, Rob Taylor, Sophie Rundle

Best Casting

Shaheen Baig – “Calm With Horses”

Kharmel Cochrane – “Saint Maud”

Carmen Cuba – “His House”

Dan Jackson – “Limbo”

Lucy Pardee – “Rocks”

Best Cinematography

Nick Cooke – “Limbo”

Ben Fordesman – “Saint Maud”

Hélène Louvart – “Rocks”

Annika Summerson – “Mogul Mowgli”

Jo Willems – “His House”

Best Costume Design

Michele Clapton – “The Secret Garden”

Ruka Johnson – “Rocks”

Tina Kalivas – “Saint Maud”

Michael O’connor – “Ammonite”

Charlotte Walter – “Misbehaviour”

Best Editing

Julia Bloch – “His House”

Yorgos Lamprinos – “The Father”

Maya Maffioli – “Rocks”

Brenna Rangott – “Host”

Mark Towns – “Saint Maud”

Best Effects

Agnes Asplund, Martin Malmqvist – “Undergods”

Scott Macintyre, Bariş Kareli, Kristyan Mallett – “Saint Maud”

Pedro Sabrosa, Stefano Pepin – “His House”

Best Make Up & Hair Design

Jacquetta Levon – “Saint Maud “

Sharon A Martin – “His House”

Ivana Primorac – “Ammonite”

Nora Robertson – “Rocks”

Jill Sweeney – “Misbehaviour”

Best Music

Roque Baños – “His House”

Paul Corley – “Mogul Mowgli”

Nainita Desai – “The Reason I Jump”

Connie Farr, Emilie Levienaise-farrouch – “Rocks”

Adam Janota Bzowski – “Saint Maud”

Best Production Design

Jacqueline Abrahams – “His House”

Cristina Casali – “Misbehaviour”

Peter Francis – “The Father”

Marketa Korinkova, Elo Soode – “Undergods”

Paulina Rzeszowska – “Saint Maud”

Best Sound

Adrian Bell, Glenn Freemantle, Frank Kruse, Brendan Nicholson, Richard Pryke – “His House”

Paul Davies – “Saint Maud”

Paul Davies, Robert Farr, Nigel Albermaniche, Ian Morgan – “Mogul Mowgli”

Nick Ryan, Ben Baird, Sara De Oliveira Lima – “The Reason I Jump”

Calum Sample – “Host”

[thirdrowcentre]

My New Year’s Resolution for 2020 (I never make resolutions) was to watch at least two films a week that I’d never seen before. This year ended up giving ample opportunity to watch films I’d never seen before - not because I had bags of free time, in fact I was busier than ever, but because I needed something I could discover, needed variety, needed movies.

So this year I’ve watched 277 films that were new to me - some new releases, while I could get to the cinema, some huge blindspots and some just because they were there. And nobody asked for it, but these are the ones that stood out to me, in no particular order other than the order in which I watched them:

JANUARY

All About My Mother (dir. Pedro Almodovar, 1999. Watched 02.01.2020)

Married to the Mob (dir. Jonathan Demme, 1988. Watched 13.01.2020)

Mikey and Nicky (dir. Elaine May, 1976. Watched 21.01.2020)

FEBRUARY

Parasite (dir. Bong Joon Ho, 2019. Watched at the Barbican cinema, 08.02.2020 and 11.02.2020)

Fellini’s Roma (dir. Federico Fellini, 1972. Watched at the BFI, 16.02.2020)

Mean Streets (dir. Martin Scorsese, 1973. Watched 19.02.2020)

Portrait of a Lady on Fire (dir. Céline Sciamma, 2019. Watched at the Prince Charles Cinema, 24.02.2020)

The Farewell (dir. Lulu Wang, 2019. Watched at the Prince Charles Cinema, 25.02.2020)

MARCH

Something Wild (dir. Jonathan Demme, 1986. Watched 07.03.2020)

Shock Corridor (dir. Samuel Fuller, 1963. Watched 23.03.2020)

Mustang (dir. Deniz Gamze Ergüven, 2015. Watched 28.03.2020)

Léon Morin, Priest (dir. Jean-Pierre Melville, 1961. Watched 29.03.2020)

APRIL

Pain and Glory (dir. Pedro Almodovar, 2019. Watched 04.04.2020)

Le sang d’un poète (dir. Jean Cocteau, 1930. Watched 16.04.2020)

MAY

A Star is Born (dir. William Wellman 1937. Watched 03.05.2020)

Carve Her Name With Pride (dir. Lewis Gilbert, 1958. Watched 09.05.2020)

Battle of the River Plate (dirs. Michael Powell and Emeric Pressburger, 1956. Watched 10.05.2020)

Starstruck (dir. Gillian Armstrong, 1982. Watched 22.05.2020)

Ran (dir. Akira Kurosawa, 1985. Watched 25.05.2020)

JUNE

I Walked with a Zombie (dir. Jacques Tourneur, 1943. Watched 05.06.2020)

The Queen (dir. Frank Simon, 1968. Watched 08.06.2020)

New York, New York (dir. Martin Scorsese, 1977. Watched 20.06.2020)

JULY

Woman of the Year (dir. George Stevens, 1942. Watched 09.07.2020)

Pather Panchali (dir. Satyajit Ray, 1955. Watched 12.07.2020)

Babette’s Feast (dir. Gabriel Axel, 1987. Watched 19.07.2020)

Big Trouble in Little China (dir. John Carpenter, 1986. Watched 28.07.2020)

AUGUST

Visages, Villages (dir. Agnes Varda, 2017. Watched 27.08.2020)

Kundun (dir. Martin Scorsese, 1997. Watched 28.08.2020)

SEPTEMBER

Mickey Blue Eyes (dir. Kelly Makin, 1999. Watched 06.09.2020)

Brassed Off (dir. Mark Herman, 1996. Watched 17.09.2020)

White Riot (dir. Rubika Shah, 2019. Watched at the BFI 23.09.2020)

OCTOBER

My Own Private Idaho (dir. Gus van Sant, 1991. Watched at the BFI, 02.10.2020)

Philadelphia (dir. Jonathan Demme, 1993. Watched 08.10.2020)

Mission Impossible: Fallout (dir. Christopher McQuarrie, 2018. Watched 18.10.2020)

Laputa Castle in the Sky (dir. Hayao Miyazaki, 1986. Watched 25.10.2020)

Dick Johnson is Dead (dir. Kirsten Johnson, 2020. Watched 26.10.2020)

NOVEMBER

The Kingdom of Dreams and Madness (dir. Mami Sunada, 2013. Watched 01.11.2020)

Shoplifters (dir. Hirokazu Kore-eda, 2018. Watched 18.11.2020)

Prisoners (dir. Denis Villeneuve, 2013. Watched 25.11.2020)

Throne of Blood (dir. Akira Kurosawa, 1957. Watched 30.11.2020)

DECEMBER

A Holiday Affair (dir. Don Hartman, 1949. Watched 09.12.2020)

Mildred Pierce (dir. Michael Curtiz, 1945. Watched 16.12.2020)

Annihilation (dir. Alex Garland, 2018. Watched 26.12.2020)

Design For Living (dir. Ernst Lubitsch, 1933. Watched 29.12.2020)

The Commitments (dir. Alan Parker, 1991. Watched 29.12.2020)

And so many more to watch. Roll on 2021.

[helloyoucreatives]

The UN, YouTube, Grain Media and AMV BBDO have partnered to launch a new interactive online campaign “Fight Back”, to drive action on air pollution -- leveraging YouTube’s sequential storytelling format

Created by AMV BBDO and Grain Media, the campaign stars acclaimed parkour artist Georgia Munroe running from air pollution in a high-octane chase sequence that the viewer can control through a set of sequential videos.

The online film, set in a big city under a hazy fog of air pollution, follows Munroe trying desperately to escape the dangerous pollution. But will our heroine break free or become trapped? It all comes down to the viewer’s choices.

The campaign structure aims to target and deliver content to viewers on YouTube in a pre-defined sequence that unfolds the story based on if the viewer ‘skips’ or ‘watches’.

In the UN campaign, if the viewer skips the feature the heroine will meet danger and uncertainty, but if they watch the film she finds air to breathe – and a voice to demand action. The central message of the campaign is: “You can run from air pollution, but you can’t hide.”

The film was shot by acclaimed director Rubika Shah, who created the multi-award-winning documentary White Riot.

[adecenthat]

White Riot doco virtual events from 18 September 2020 https://www.modernfilms.com/whiteriot "Rubika Shah’s energising film charts a vital national protest movement. Rock Against Racism (RAR) was formed in 1976, prompted by ‘music’s biggest colonialist’ Eric Clapton and his support of racist MP Enoch Powell. " from a time when the world looked like it could change.

more bg on Rock Against Racism and Eric Clapton’s rant that triggered the whole show. So some good came of his horrid speech. Who Shot the Sheriff? https://www.youtube.com/watch?v=OyGmrsplEr8 (3 part doco) part 2: https://www.youtube.com/watch?v=wJXwvLY_-p8 part 3: https://www.youtube.com/watch?v=OvnjeogKkBQ

the rant, if you must, is transcribed ‘pon this page https://thequietus.com/articles/20701-eric-clapton-racism-morrissey It’s pretty horrible.

#documentary #RAR #activisim #music #punk #reggae #ska #rock 

[newsandmediarepublic]

7 South West creative firms make Creative England’s CE50 for 2018

7 South West creative firms make Creative England’s CE50 for 2018

Devon and Cornwall get one creative company each in Creative England’s CE50 for 2018, and join five others in the South West on the list of the ‘best up-and-coming disruptors and innovators’.

(more…)

[chrisshepherdfilms]

Hey check this out. Ive been selected to take part in Guiding Lights Feature Focus. Creative England put me top to be a part of the Lighthouse’s mentor scheme designed to give support for first time feature makers. My fellow Guiding Lighters are the brilliant Rubika Shah, Corinna Faith, Nick Rowland, Rose Glass, Isobel Piestsch, and Marie Linén. You can read all about it here. 

[peoplemagrpg]

The 63th BFI London Film Festival

The 63rd BFI London Film Festival in partnership with American Express, closed with a star studded finale on Sunday with the International Premiere of The Irishman, which saw  legendary director Martin Scorsese reunite with  his equally legendary cast members; Robert De Niro, Al Pacino and Harvey Keitel at a spectacular gala presentation at Odeon Luxe, Leicester Square.

Audiences throughout the UK and Ireland enjoyed The Irishman’s red carpet action via satellite streaming of the closing night premiere to over 85 cinemas, followed by simultaneous preview screenings.

The 63rd edition welcomed over 868 International and British filmmakers to present their work at venues across the capital. The festival featured a diverse selection of 233 feature films from both established and emerging talent and hosted 28 World Premieres, 12 International Premieres and 32 European Premieres and welcomed a stellar line up of cast and crew for many of the films.

The Festival was widely applauded for its diversity and inclusion with 78 countries represented across short films and features and 40% of films directed or co-directed by women. Across all competitive categories, 60% were directed or co-directed by women.

At the annual BFI London Film Festival Awards on Saturday 12th October the LFF competition winners announced were:

MONOS – Alejandro Landes won the Official Competition (Best Film Award)

ATLANTICS – Mati Diop won the First Feature Competition (Sutherland Award)

WHITE RIOT – Rubika Shah, won the Documentary Competition (Grierson Award)

FAULT LINE – Soheil Amirsharifi, won the Short Film Competition (Short Film Award)

Building on the success of last year’s new approach, placing audiences at the heart of the awards ceremony, the winning film from each competitive section was presented to the public as a surprise screening. At each sold-out screening, Festival Director Tricia Tuttle and respective Jury Presidents presented the winning film  their award on stage at the Vue, Leicester Square.

The juries were led by: acclaimed Colette and Still Alice director Wash Westmoreland, whose latest film Earthquake Bird world premiered in this year’s Festival; Austrian director Jessica Hausner, whose latest film Little Joe featured in this year’s Festival; the Oscar-nominated director of Strong Island, Yance Ford, and award-winning British film producer Jacqui Davies.

The 64th BFI London Film Festival will run from 7-18 Oct 2020.

[antikorg]

White Riot. Le combat rock contre le racisme et les violences (...)

White Riot. Le combat rock contre le racisme et les violences (…)

2021-11-22 15:58:45 Source  Il est des contextes politiques et sociaux dont il serait bon de se souvenir et de s’inspirer d’éléments de réponses expérimentés… “White Riot”, le documentaire de Rubika Shah, sorti en 2020, rappelle le combat de Rock Against Racism . _ _ _ _ C’est une période étrange, il flotte des choses malsaines dans l’air. David Bowie délire sur une Angleterre “prête à…

[awardseason]

2020 British Independent Film Awards — Winners

Best British Independent Film

“Calm With Horses” – Nick Rowland, Joe Murtagh, Daniel Emmerson

“The Father” – Florian Zeller, Christopher Hampton, David Parfitt, Jean-louis Livi, Philippe Carcassonne

“His House” – Remi Weekes, Martin Gentles, Edward King, Roy Lee, Aidan Elliott, Arnon Milchan

“Rocks” – Sarah Gavron, Theresa Ikoko, Claire Wilson, Faye Ward, Ameenah Ayub Allen — WINNER

“Saint Maud” – Rose Glass, Oliver Kassman, Andrea Cornwell

Best Director

Sarah Gavron – “Rocks” [associate Director Anu Henriques]

Rose Glass – “Saint Maud”

Nick Rowland – “Calm With Horses”

Remi Weekes – “His House” — WINNER

Florian Zeller – “The Father”

Best Actress

Bukky Bakray – “Rocks”

Morfydd Clark – “Saint Maud”

Clare Dunne – “Herself”

Wunmi Mosaku – “His House” — WINNER

Andrea Riseborough – “Luxor”

Best Actor

Riz Ahmed – “Mogul Mowgli”

Ṣọpẹ́ Dìrísù – “His House”

Amir El-masry – “Limbo”

Anthony Hopkins – “The Father” — WINNER

Cosmo Jarvis – “Calm With Horses”

Best Supporting Actress

Niamh Algar – “Calm With Horses”

Kosar Ali – “Rocks” — WINNER

Jennifer Ehle – “Saint Maud”

Ashley Madekwe – “County Lines”

Fiona Shaw – “Kindred”

Best Supporting Actor

Harris Dickinson – “County Lines”

Barry Keoghan – “Calm With Horses”

Alyy Khan – “Mogul Mowgli”

Merab Ninidze – “The Courier”

D’angelou Osei Kissiedu – “Rocks” — WINNER

Best Screenplay (Sponsored by BBC Film)

Rose Glass – “Saint Maud”

Theresa Ikoko, Claire Wilson – “Rocks”

Bassam Tariq, Riz Ahmed – “Mogul Mowgli”

Remi Weekes – “His House”

Florian Zeller, Christopher Hampton – “The Father” — WINNER

Best Documentary

“The Australian Dream” – Daniel Gordon, Stan Grant, Sarah Thomson, Nick Batzias, Virginia Whitwell, John Battsek

“Being A Human Person” – Fred Scott, Mike Brett, Steve Jamison, Jo-jo Ellison

“The Reason I Jump” – Jerry Rothwell, Jeremy Dear, Stevie Lee, Al Morrow — WINNER

“Rising Phoenix” – Ian Bonhôte, Peter Ettedgui, Greg Nugent, John Battsek, Tatyana Mcfadden

“White Riot” – Rubika Shah, Ed Gibbs

Best British Short Film

“Filipiñana” – Rafael Manuel, Naomi Pacifique

“The Forgotten C” – Molly Manning Walker, Jessi Gutch

“The Long Goodbye” – Aneil Karia, Riz Ahmed, Tom Gardner — WINNER

“Mandem” – John Ogunmuyiwa, Emily Everdee

“Sudden Light” – Sophie Littman, Tom Wood

Best International Independent Film

“Babyteeth” – Shannon Murphy, Rita Kalnejais, Alex White

“Les Misérables” – Ladj Ly, Giordano Gederlini, Alexis Manenti, Toufik Ayadi, Christophe Barral

“Never Rarely Sometimes Always” – Eliza Hittman, Adele Romanski, Sara Murphy

“Nomadland” – Chloé Zhao, Frances Mcdormand, Peter Spears, Mollye Asher, Dan Janvey — WINNER

“Notturno” – Gianfranco Rosi, Donatella Palermo, Paolo Del Brocco, Serge Lalou, Camille Laemlé, Orwa Nyrabia, Eva-maria Weerts

The Douglas Hickox Award (Debut Director)

Henry Blake – “County Lines”

Rose Glass – “Saint Maud” — WINNER

Eva Riley – “Perfect 10”

Nick Rowland – “Calm With Horses”

Remi Weekes – “His House”

Breakthrough Producer

Douglas Cox – “Host” [also Produced By Emily Gotto, Samuel Zimmerman]

Daniel Emmerson – “Calm With Horses”

Irune Gurtubai – “Limbo” [also Produced By Angus Lamont] — WINNER

Oliver Kassman – “Saint Maud” [also Produced By Andrea Cornwell]

Edward King, Martin Gentles – “His House” [also Produced By Aidan Elliott, Roy Lee, Arnon Milchan]

Debut Screenwriter

Riz Ahmed – “Mogul Mowgli” [also Written By Bassam Tariq] — WINNER

Rose Glass – “Saint Maud”

Theresa Ikoko, Claire Wilson – “Rocks”

Joe Murtagh – “Calm With Horses”

Remi Weekes – “His House”

Most Promising Newcomer

Niamh Algar – “Calm With Horses”

Kosar Ali – “Rocks” — WINNER

Bukky Bakray – “Rocks”

Frankie Box – “Perfect 10”

Conrad Khan “County Lines”

The Raindance Discovery Award

“Justine” – Jamie Patterson, Jeff Murphy, Jason Rush, Sarah Drew, Julius Beltrame

“Looted” – Rene Van Pannevis, Kefi Chadwick, Jennifer Eriksson, Jessie Mangum

“One Man And His Shoes” – Yemi Bamiro, Will Thorne

“Perfect 10” – Eva Riley, Jacob Thomas, Bertrand Faivre, Valentina Brazzini — WINNER

“Rose: A Love Story” – Jennifer Sheridan, April Kelley, Sara Huxley, Matt Stokoe, Rob Taylor, Sophie Rundle

Best Casting

Shaheen Baig – “Calm With Horses”

Kharmel Cochrane – “Saint Maud”

Carmen Cuba – “His House”

Dan Jackson – “Limbo”

Lucy Pardee – “Rocks” — WINNER

Best Cinematography

Nick Cooke – “Limbo”

Ben Fordesman – “Saint Maud” — WINNER

Hélène Louvart – “Rocks”

Annika Summerson – “Mogul Mowgli”

Jo Willems – “His House”

Best Costume Design

Michele Clapton – “The Secret Garden”

Ruka Johnson – “Rocks”

Tina Kalivas – “Saint Maud”

Michael O’connor – “Ammonite”

Charlotte Walter – “Misbehaviour” — WINNER

Best Editing

Julia Bloch – “His House”

Yorgos Lamprinos – “The Father” — WINNER

Maya Maffioli – “Rocks”

Brenna Rangott – “Host”

Mark Towns – “Saint Maud”

Best Effects

Agnes Asplund, Martin Malmqvist – “Undergods”

Scott Macintyre, Bariş Kareli, Kristyan Mallett – “Saint Maud”

Pedro Sabrosa, Stefano Pepin – “His House” — WINNER

Best Make Up & Hair Design

Jacquetta Levon – “Saint Maud “

Sharon A Martin – “His House”

Ivana Primorac – “Ammonite”

Nora Robertson – “Rocks”

Jill Sweeney – “Misbehaviour” — WINNER

Best Music

Roque Baños – “His House”

Paul Corley – “Mogul Mowgli” — WINNER

Nainita Desai – “The Reason I Jump”

Connie Farr, Emilie Levienaise-farrouch – “Rocks”

Adam Janota Bzowski – “Saint Maud”

Best Production Design

Jacqueline Abrahams – “His House” — WINNER

Cristina Casali – “Misbehaviour”

Peter Francis – “The Father”

Marketa Korinkova, Elo Soode – “Undergods”

Paulina Rzeszowska – “Saint Maud”

Best Sound

Adrian Bell, Glenn Freemantle, Frank Kruse, Brendan Nicholson, Richard Pryke – “His House”

Paul Davies – “Saint Maud”

Paul Davies, Robert Farr, Nigel Albermaniche, Ian Morgan – “Mogul Mowgli”

Nick Ryan, Ben Baird, Sara De Oliveira Lima – “The Reason I Jump” — WINNER

Calum Sample – “Host”

[cvtreasures]

‘White Riot’ Review: When Punk’s Stars Banded Against Racism by BY GLENN KENNY

By BY GLENN KENNY

Rubika Shah’s documentary about the British organization Rock Against Racism is a compelling depiction of political organizing in the 1970s.

Published: October 15, 2020 at 07:00AM

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[emiledekeyser]

White Riot: how white punks fought racism

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Rubika Shah’s film White Riot zooms in on Rock Against Racism, the iconic political and cultural movement that rallied against the rise of the fascist party National Front and the increase of racist attacks in 1970s Britain. Supported by the likes of X-Ray Spex, The Buzzcocks and The Tom Robinson Band, RAR has strong links with the punk scene which was booming in the UK at the time.

The title is borrowed from the first single by The Clash, another punk band heavily associated with RAR. The song was well-intended: The Clash were trying to argue that black and white kids are in the same boat, and the white punks should join forces with the black kids who were standing up for themselves against the far right, against institutional racism, against police brutality. However, because of its awkward wording, ‘White Riot’ has often been completely misinterpreted as a white power anthem. 

Despite its good intentions, ‘White Riot’ remains an ambiguous song and, therefore, an odd title choice for an anti-racism film. At first glance, it could be argued that focusing on ‘white’ riots doesn’t sound all that inclusive. But during the film, it suddenly dawned on me: much like the song, the film is a call to arms for white people to be robustly anti-racist. Moreover, it teaches us four valuable lessons on how the white people in the UK punk scene used their platform to stand up against racism.

#1 confrontational lyrics

Perhaps punk’s most obvious outlet: by its very nature, punk lyrics are confrontational and in-your-face, and so are the anti-racism messages expressed in songs.

One of the most powerful examples can be found on Power in the Darkness, the debut album by The Tom Robinson Band released in 1978. It can hardly get more straightforward than songs such as ‘Better Decide Which Side You’re On’, ‘Ain’t Gonna Take It’ and ‘The Winter of ’79’, in which Robinson expressed his dystopian predictions (all the gay geezers got put inside / and coloured kids were getting crucified) for the year ahead.

Straightforward in-your-face lyrics also characterise The Ruts’ The Crack (1979). The punchy anthem ‘Babylon’s Burning’ perfectly captures the social disorder and discontent, while ‘SUS’ criticises the law that authorised the police to arrest any ‘suspected person’, which resulted in the explicit targeting of black people who were bound to lose when it was their word against the police.

However, things don’t always go entirely to plan. Similarly to The Clash’s ‘White Riot’, Stiff Little Fingers’ ‘White Noise’ was equally misunderstood. In the song, racial stereotypes are listed (Rastus was a n**** / thug, mugger, junkie / black golly gob / big horny monkey) and condemned through the use of irony (black wogs / your face don’t fit / black wogs / You ain’t no Brit), but the ironic stance adopted by singer Jake Burns leaves a lot of room for (mis)interpretation.  

#2 blending of black and white genres  

Punk and reggae, it’s an odd combo. The former is fast and guitar-oriented, the latter slow and bass-heavy. Yet, because of their shared marginalised position in society, it was almost natural for punks and black kids to be drawn to each other. The genre-blending served as a bridge between the two groups. The Clash covering Junior Murvin’s ‘Police and Thieves’ and Toots & The Maytals’ ‘Pressure Drop’ was a stepping stone for punks to get into reggae and vice versa. The same thing can be said for Basement 5, a quartet of London Rastafarians mixing dub-reggae with ferocious punk riffs.

It raises a question though. There is a case to be made that there are elements of cultural appropriation in all-white bands such as The Clash, The Ruts (‘Jah War’), The Slits (‘Cut;), and The Members (‘Stand Up and Spit’) incorporating reggae into their sound. However, it’s worth pointing out that these bands gave it their own twist, it’s punk reggae rather than the shameless white reggae made famous by The Police. Besides, even Bob Marley gave his nod of approval in ‘Punky Reggae Party’, his homage to the punk genre. Who would argue with the indisputable King of Reggae? ‘Punky Reggae Party’ shows that there was mutual respect and closes the debate. 

#3 concerts uniting black and white

Rock Against Racism made a point of always having black and white artists on the bill. In the film, RAR-founder Red Saunders explained this policy: 'We always had black and white bands together to break down the fear, because the National Front is trading on nothing but fear.'

Their very first gig had the London reggae ensemble Matumbi and 999, who had a huge following of white working-class punks. The most famous RAR concert was the Carnival Against The Nazis, held in 1978 at London’s Victoria Park. After a huge protest march through London, the demonstrators were treated to a diverse line-up featuring Steel Pulse (roots reggae from Birmingham), X-Ray Spex (fronted by black feminist icon Poly Styrene), The Tom Robinson Band and The Clash.

The Clash would continue to do this during their career. Through their support acts, they introduced their predominantly white audience to traditionally black genres such as reggae (Lee Scratch Perry, Mikey Dread), old school rhythm and blues (Bo Diddley, Lee Dorsey), and even hip hop (The Sugar Hill Gang and Grandmaster Flash). They did not only incorporate these ‘black genres’ in their music but also gave a platform to the originators.

#4 grassroots activism

In the build-up to the 1978 Carnival Against The Nazis, Steel Pulse and The Clash were photographed while protesting outside the National Front headquarters with signs reading ‘Black & white unite and sounds for integration’. In the film, RAR-collaborator Ruth Gregory jokingly remarks that the musicians look much too cool to actually hold the placards. It’s a brilliant scene but also quite telling, as it implies that she regards this as a more symbolic form of protesting.

Someone who cannot be accused of symbolic protesting is Tom Robinson. He was involved with Rock Against Racism from the very beginning, walking along in protest marches, attending various meetings of the RAR Central Collective, and playing RAR concerts. Robinson very much belonged to the grassroots movement. Because of this, The Tom Robinson Band had the honour to headline The Carnival Against The Nazis, despite being a lot less well-known than The Clash. The RAR-team felt that after a long day of protesting and advocating for a better world, Tom Robinson was the ideal person to bring everyone together and to unite black and white.

The hard work carried out by the RAR-collective, along with the support of various bands, paid off: the National Front was defeated at the 1979 general election. But, as the closing credits state, the fight is far from over. Institutional racism hasn’t disappeared and there are still fascists marching down the streets. White Riot proves how important it is for bands to use their platforms in order to encourage their fans to organise, unionise, and fight the good fight.  

[alterna2mag]

In-Edit 2020 será 100% online

El festival de documental musical, In-Edit, se celebrará del 29 de octubre al 8 de noviembre de forma 100% online. Reafirman así su propósito de “llegar a todos”. Por su parte, la plataforma In-Edit TV ha presentado recientemente su nueva y ampliada versión.

Como cada año, podremos disfrutar de cerca de 50 documentales internacionales y nacionales de gran calidad. “White Riot” (Rubika Shah), sobre el movimiento Rock Against Racism en la Inglaterra de finales de los 70,  será la cinta proyectada en la sesión inaugural. “Sisters With Transistors” (Lisa Rovner), homenaje a las mujeres de la música electrónica, clausurará el festival. 

El programa incluye documentales sobre figuras concretas, como “Rolling Stone: The Life and Death of Brian Jones” (Danny García), o “Keyboard Fantasies: The Beverly Glenn-Copeland Story” (Posy Dixon). Nos encontraremos también con historias menos conocidas, como la que se cuenta en “Dead Souls' Vacation” (Keko Chelidze), sobre la autodestructiva evolución del músico georgiano Levan Svanidze. Revisitaremos el movimiento punk, en concreto el punk y hardcore de Washington DC, con “Punk The Capital: Building a Sound Movement” (Paul Bishow, James Schneider). Conoceremos la escena electrónica de las comarcas de Girona en el tránsito de los 80 a los 90 con “Nou Set Dos” (Albert Domenech, Òscar Sánchez). Y mucho más.

El festival rinde homenaje este año a Marie Losier. La cineasta francesa está detrás de la maravillosa: “The Ballad of Genesis and Lady Jaye”, sobre la relación sentimental y el proyecto de modificación corporal de Genesis P-Orridge (Throbbing Gristle, Psychic TV) junto a su compañera, la enfermera, cantante y performer Lady Jaye. In-Edit recuperará este documental para la ocasión y proyectará otros trabajos de Losier.

Visita la web del festival para ver la programación completa.

Vuelve In-Edit Talent, el taller de creación documental musical en formato corto. Para su tercera edición se adaptará a la realidad del momento y contará, por primera vez, con la colaboración del Festival Cruïlla y su proyecto Cruïlla XXS.

Aunque esta edición de In-Edit será online, habrá documentales con visionarios limitados. Ya se pueden adquirir varias modalidades de entradas. Por un lado, están los abonos: abono completo, de panorama nacional, de homenaje (documentales de Marie Losier), y de cortometrajes. Además, se pueden comprar packs de créditos y entradas sencillas.