It’s that time of year once again when I look back on everything I’ve watched and read (and wonder whether I should really get out more). While my interests have become a kind of prison, I couldn’t hope for a more entertaining one. So, here’s my review of 2023. Thank you for reading my work throughout the year, wherever you may have seen it. Cinema … Continue reading 2023 Review
“But to learn to dye is better than to study the ways of dying.” – Sir Thomas Browne Writing He stalks with a lens, Short hair and floral dresses: Red, Deep red. The lens is a recollection, Occurring at a wooden desk, With a typewriter, Tapped by fingers, clothed in black leather; Dead skin masks for desperate hands. No prints. Writing violence. The lens is … Continue reading Deep Red; or Renditions of Murder
Chantal Akerman’s early features have one aspect in common: all are suffused with loneliness. In her first fiction feature, Je Tu Il Elle (1974), a character wanders between lovers old and new but is always confused as to what she really wants, only really content in isolation. In Jeanne Dielman, 23 Commerce Quay, 1080 Brussels (1975), we follow a woman trapped in the monotony of a mysteriously empty everyday … Continue reading All The Lonely People
On a rock, there sits a man lost in thought. Or perhaps he is not thinking at all and is instead letting the landscape around him fill his thoughts unconsciously. Werner Herzog’s 1976 film, Heart of Glass (Herz aus Glas), has one of the director’s strongest opening set of images as the main character of the film sits in a foggy Bavarian landscape with life … Continue reading Heart Of Glass (1976) – Optimism in Destruction
Mike Hodges’ debut feature film, Get Carter (1971), was one of the key shifts in British cinema of the period. With its total lack of hope, an earnest presence of violence and a hugely detailed topography, the film is one of the definitive shifts to the more gritty, unremitting cinema produced in the early Heath years alongside the likes of Stanley Kubrick’s A Clockwork Orange … Continue reading Interview: Mike Hodges on Get Carter (1971).
On watching all of Patrick Keiller’s “Robinson” trilogy of films recently, it struck home how effectively stillness within a visual frame can traverse the geographical plain and recreate a journey that is both political and sociological. This, of course, goes to the heart filmmaking itself, the relationships with cuts especially and its portrayal of time, space and movement within a diegetic reality all being key … Continue reading Stasis In London (1994) – Patrick Keiller.
The Discreet Charm Of The Bourgeoisie (1972) is a perfect example of a narrative film fragmenting into surreal dreamscapes. From its title alone, Luis Buñuel’s obvious target is middle-class idolatry but, for a film full of incredibly stark images, there is one visual motif which stands out from the other surrealist political attacks. Discreet is punctuated, whether in dreams or reality (or perhaps both), by … Continue reading The Nowhere Road in The Discreet Charm Of The Bourgeoisie (1972)
Jean-Luc Godard always had an interest in the relationship between politics and the spaces it influences. The topographies of modernity happened to coincide with his sharp turn towards cinematic political questioning, in films such as Tout Va Bien (1972), La Chinoise (1967), and Week-end (1967), looking in particular at a factory, an inner-city flat/Maoist commune, and a busy roadway. These spaces provided more than a backdrop for Godard’s political arguments: they seemed to actually … Continue reading Libidinal Circuits
British cinema is obsessed with the effect of location upon the individual. In fact, it wouldn’t be so sweeping to suggest that large swaths of culture born on these isles stems from the idea that the individual can be deeply molded by their surroundings and any fictional drama from Albion will be bare the aesthetics of its areas as far more than a setting. While … Continue reading Fear And Loathing In The Countryside – Withnail And I (1987).
In last month’s issue of Sight & Sound (November, 2015) Nick James details his relationship with the cinema of Andrei Tarkovsky in line with the season of films he’s curated for the BFI. Though the article is chiefly surrounding Tarkovsky’s (vast) legacy, one aspect in particular caught my attention whilst reading. He refers to a scene from Tarkovsky’s 1975 film, Mirror, which partly accounted for … Continue reading The Breeze In The Grass – Elemental Realisation in Tarkovsky’s Mirror (1975).
Celluloid Wicker Man 