Monday 16 November – 7.30PM: Hunger + conversation with Dryden Goodwin

26 10 2009

Hunger-stripmedium

British artist Steve McQueen, who won the Turner Prize in 1999, directs his first feature film, a portrayal of life in the Maze Prison in Northern Ireland in the midst of the Troubles. Shocking at times yet visually dazzling and thought-provoking, Hunger is arguably one of best directorial debut in recent years.

“This is a powerful, provocative piece of work, which leaves a zero-degree burn on the retina.” The Guardian

DrydenGoodwin-miniThe feature will be preceded by the screening of a short film and a talk with Lewisham-based artist Dryden Goodwin, who uses film, drawings, photography and large-scale installations in his art. Goodwin’s work has been shown nationally and internationally, including at Tate Modern, Tate Britain and MOMA.

“Dryden Goodwin’s installation Flight has a dreamlike quality.” Time Out

Steve McQueen / UK 2008 / 91 min / cert: 15

Steve McQueen / UK 2008 / 91 min / cert: 15

Hunger-strip.jpgBritish artist Steve McQueen, who won the Turner Prize in 1999, directs his first feature film, a portrayal of life in the Maze Prison in Northern Ireland in the midst of the Troubles. Shocking at times yet visually dazzling and thought-provoking, Hunger is arguably one of best directorial debut in recent years.

The feature will be preceded by the screening of a short film and a talk with Lewisham-based artist Dryden Goodwin, who uses film, drawings, photography and large-scale installations in his art. Goodwin’s work has been shown nationally and internationally, including at Tate Modern, Tate Britain and MOMA.

“This is a powerful, provocative piece of work, which leaves a zero-degree burn on the retina.” The Guardian

“Dryden Goodwin’s installation Flight has a dreamlike quality.” Time Out





Silent films and live accompaniment

14 10 2009

As you probably now, we are planning the screening of a silent film with live accompaniment.Things aren’t quite as straightforward as we first annamaywongenvisaged but we are getting there. After a private viewing and following the advice of our comrade Vanessa, we have selected Piccadilly, a wonderful, little-known British film made in 1929 featuring Anna May Wong, the first Chinese-American movie star. It has all the right ingredients: set in London, it has a good storyline and its cinematography is inventive and stunning. Originally planned for December, the screening will probably take place early 2010. Although we have done some research and have a few leads, we are still looking for a musician (or small band), preferably used to improvisation and film accompaniment. Do get in touch if you have any suggestions. In the meantime, on Sunday 18 October at 3pm, the Broadway Theatre is showing a double-bill of Buster Keaton with accompaniment on the theatre organ by Donald MacKenzie.





Monday 19 October – 7.30PM: Milk

5 10 2009

Milk-strip-large

Film-maker Gus Van Sant (My Own Private Idaho, Good Will Hunting) brings us this powerful, inspiring and tragic story about Harvey Milk (Sean Penn), the first openly gay man to be voted into major public office in America. Penn won the Oscar for his performance.

“A magnificent performance by Sean Penn.” The Sunday Times

Gus Van Sant / USA 2008 / 122 min / cert: 15





The Class: how was it made?

4 10 2009

TournageWe started our second year in earnest with The Class, the French film that won the Palme d’Or at the Cannes festival last year. Perhaps defined as the antithesis of Etre et avoir, it sparked an interesting discussion post-screening among viewers.

We wondered how the film was made and if director Laurent Cantet used ‘non-actors’. The film is based on a book by François Bégaudeau, who taught at a Parisian collège in the 19th arrondissement until only a few years ago. Some crucial scenes in the film are based on real events that happened in his classroom, like the ‘Are you gay?’ scene or when he treated some pupils as pétasses. After the book’s publication, Bégaudeau was approached by French film director Laurent Cantet when they both took part in the same radio show.

Cantet was keen to use only non-professional actors. Focusing on one Parisian secondary school, the Collège F. Dolto (conveniently chosen because one of the producers lived nearby), Cantet and Bégaudeau ran acting and improvisation classes for a full year, starting with fifty students and narrowing them down to twenty five. “We were far from what your hear about casting teenagers: ‘We saw 3000 kids and, all of a sudden, we found the pearl.’ No, we found some pearls more or less everywhere,”admits the director. Teachers in the film are teachers at Dolto in real life, the students’ parents are their real parents (with one exception, Souleymane’s mum), the school head is played by Dolto’s deputy head, etc. Why didn’t Cantet simply make a documentary film? “When you stand in front of a documentary filmmaker, you protect yourself,” he tells a blogger. “But here, the kids could be inside the characters, and that was a form of protection that allowed them to be more sincere (…) than they could be if they didn’t have the characters to play.”

If you are interested to read more, there is an interesting interview writer/actor Bégaudeau gave to the Guardian and, for the Francophones amongst you, the official website with some more interviews and a making of. But you have been warned: don’t use pétasse next time you cross the Channel.