Interview: Mike Hodges on Get Carter (1971).

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).

Stasis In London (1994) – Patrick Keiller.

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 Nowhere Road in The Discreet Charm Of The Bourgeoisie (1972) – Luis Buñuel.

Because of their tapestry-like nature, the films of Luis Buñuel lend themselves well to a more in-depth form analysis.  Within their aesthetic ploys and their narrative spines lies a wealth of readings concerning Buñuel’s attacks and treatises on politics and class especially.  His 1972, Oscar-winning film, The Discreet Charm Of The Bourgeoisie is a perfect example of how a fragmenting narrative falls into dreamscapes that … Continue reading The Nowhere Road in The Discreet Charm Of The Bourgeoisie (1972) – Luis Buñuel.

Ghosts In The Ice: The Emigrants (W.G. Sebald) and 45 Years (Andrew Haigh).

On finishing W.G. Sebald’s four quartered documentary piece, The Emigrants (1992), I felt as if a loose connection to some recent film or book was hanging midair, waiting to be tied up.  The narrative is split into the stories of four émigrés, all seemingly interconnected by a multitude of strange images but chiefly connected by their fleeing from the rise of Nazi Germany to both … Continue reading Ghosts In The Ice: The Emigrants (W.G. Sebald) and 45 Years (Andrew Haigh).

Libidinal Circuits in 2 or 3 Things I Know About Her (1967) – Jean-Luc Godard.

Jean-Luc Godard has always had a quiet interest in the relationship between his politics and the space they inhabit.  The topographies of modernity coinciding with his political questioning of capitalism occurs in films such as Tout Va Bien (1972), La Chinoise (1967), and Weekend (1967) – looking in particular at a factory, an inner-city flat/Maoist commune, and a busy roadway .  These spaces have provided more … Continue reading Libidinal Circuits in 2 or 3 Things I Know About Her (1967) – Jean-Luc Godard.

Fear And Loathing In The Countryside – Withnail And I (1987).

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).

Showreel 2015.

Above is a showreel built from footage I’ve shot over the last twelve months.  Compared to last year’s showreel, this one feels far more defined and less haphazard with the visual ideas I want to play with.  Gone are the mixtures of stop-motion, digital and film, instead replaced entirely by different stocks of super-8 footage.  This year has felt like a much more defined trajectory … Continue reading Showreel 2015.

The Breeze In The Grass – Elemental Realisation in Tarkovsky’s Mirror (1975).

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).

Emerson’s Nature and Sleep Furiously (2008) – Gideon Koppel.

Nature is always present or at the very least contrasted against something in Gideon Koppel’s nostalgia portrait, Sleep Furiously (2008).  In spite of the film being a very clear ethnographic postcard from the director’s past, having lived previously in the Welsh town of Trefeurig, it manages to underline its gentle portraiture with a sense of pervading nature and landscape; where even the most concrete of … Continue reading Emerson’s Nature and Sleep Furiously (2008) – Gideon Koppel.

Mirrors, Donald Cammell and Jorge Luis Borges.

More so than his relationship with painting, film, drugs or threesomes, Donald Cammell’s life and work seems to have been directly linked with mirrors.  While all of the former aspects played huge roles and allowed access to knowledge of his obsessions in the first place through his work, it is the mirror and its hidden powers that seem to haunt Cammell as an artist and … Continue reading Mirrors, Donald Cammell and Jorge Luis Borges.