Whether The Salesman, Asghar Farhadi’s latest movie was deserving of its Academy Award this year – there has been much discourse amongst film critics that this is well off his best work – there is no doubt that he is one of the most important and brilliant film makers of today.
Recently I wrote about what I am looking for when I go to the movies – the suspension of disbelief being paramount. However, there are times when one needs to see a film, a difficult, challenging film from which you know you will emerge shattered, angry, sad.
Last week I bumped into myself near Oxford Circus. Well, not me exactly but a slightly older and much cooler version of my teenage self: strap-hanging in the rush hour with one finger tucked into the first few pages of Proust and with his thumb in the Appendix.
It was the night of the BAFTAs and I found myself throwing screeners at the TV in rage and disappointment. What did my fellow members think they were doing?
Join OCA tutor Derek Trillo on the 8 April in Manchester.
“Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul…”
Simple and honest entertainment, escape, terror, stimulation, a need to cry, a wish to laugh, to hang out with friends and have a good argument afterwards or to follow the ones we love, is that what we want from a visit to the cinema?
Are you using every tool in your digital toolkit? Are you ready to think about expanding your creative efforts by experimenting with different digital platforms? There is an exciting realm of digital content out there to help you think about and address important artistic questions. Navigating these tools can be daunting and confusing, so here is my quick beginner’s guide.
Is there something changing in film culture? Why not make it something to check out in 2017. Just how many wonderful scripts for women were produced and how many little-known or unknown true stories were re-told. I really hope that we are now going to see, as a matter of course, powerful scripts for great actresses and so long as a true story is stranger than fiction I’ll keep watching.
Finding time to be creative everyday is challenging. So we’ve created a pocket guide to make it a little more manageable.
In the world of cinema a similar experience frequently comes with much referencing to the viewer’s sense of personal credentials to be a proper film-lover. The work I am talking about is the Frenchman Abel Gance’s epic Napoleon, released in 1927. Not only epic in length, Napoleon has also undergone a truly epic journey back to our screens thanks to one man, the film historian Kevin Brownlow who, in my view wins first prize for having the longest-running obsession about just one film in the history of cinema!
The vampire genre features in the Film Culture course with a special reference – and I make no apology for this – to Jarmusch’s wonderful 2013 classic, Only Lovers Left Alive. My affection for Jarmusch’s work is partly due to my sense of a kindred spirit; he worked as a sound recordist in the eighties as I did. There, sadly for me, the similarity ends. Musician, composer, editor, actor, camera operator, screenwriter and director, Jarmusch’s talents are many and with his latest film, Paterson, I am, yet again, in a swoon.