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Wednesday, 22 November 2017

Jazz in Cambridge - November 2017

These are responses to some gigs at Cambridge International Jazz Festival 2017

More views of - or before - Cambridge Film Festival 2017 (19 to 26 October)
(Click here to go directly to the Festival web-site)


21 November


These are responses to some gigs at Cambridge International Jazz Festival 2017

Camilla George Quartet (supported by Cj-Pbs) at Fitzwilliam College Auditorium - Tuesday 21 November at 7.30 p.m. :






Get The Blessing at The Mumford Theatre, Anglia Ruskin University - Wednesday 22 November at 7.30 p.m. :







Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Music is a thing of togetherness ~ Nik Bärtsch

This is a review of At Lunch One, with Britten Sinfonia at West Road Concert Hall

More views of - or before - Cambridge Film Festival 2017 (19 to 26 October)
(Click here to go directly to the Festival web-site)


21 November

This is a review of At Lunch One, with Britten Sinfonia at West Road Concert Hall, Cambridge, on Tuesday 21 November 2017 at 1.00 p.m.


Programme :

1. Sarah Kirkland Snider ~ Pale as Centuries

2. Mark Bowler ~ Deep Green

3. Nik Bärtsch ~ Module no. 5

4. Judd Greenstein ~ City Boy

5. Bärtsch ~ 9_3_7



1. Sarah Kirkland Snider (1973-) ~ Pale as Centuries (2011)

(1) Pale as Centuries begins with what sounds like a riff, on electric guitar (James Woodrow), which, after the other instruments have made their introductions, re-enters. Flute, clarinet, piano and double-bass are all heard with varying degrees of attack in the piece, and, in time, that difference in attack passed to Woodrow, too, and – via some use of effects-pedals – some very vigorous sounds. A circular work, but one that feels obliged to end explosively (although Mark Bowler, composer of the next work on the programme, made a different choice with his OPUS2017 composition).



2. Mark Bowler (1980-) ~ Deep Green (2017)

Written for clarinet, flute and double-bass, (2) Bowler’s Deep Green, when the woodwind players are at the height of their pitch in the opening section, draws out the similarities in their timbre (with Joy Farrall on clarinet, and Thomas Hancox on flute). When Roger Linley (double-bass) starts the next one, he is playing – unusually for this instrument - sul ponticello, and leading into a passage with open chords that seemed reminiscent of Debussy (or of early Stravinsky ?). After an episode of faster writing, a deliberately drawn-out rallentando to close (after a very low note on the bass) on solo flute.



Tim Watts (pictured upper), from the Faculty of Music at University of Cambridge, hosted the post-concert event with Mark Bowler (lower) (and Nik Bärtsch – pictured below)


Asked, in the post-concert event, about whether it is fair to hear those other composers' sound in Deep Green, when his programme-note had referenced a Ligeti Etude, Bowler did not seem to engage with the question, but to state where he had quoted the source-material to which he was alluding : co-curator Nick Bärtsch commented that he liked the exchange for showing the contrast between what the composer wants to point to as in and influencing the piece, and what the listener may otherwise hear in it...



3. Nik Bärtsch ~ Modul 5



Nik Bärtsch seemed to be referring to (3) Modul 5 in the post-concert talk (with Mark Bowler and Tim Watts - pictured above), appearing to say that he had been playing the piece for ten to fifteen years before learning how to realize it in, and play it in, public : did this fit with his comments about the use of prepared piano, and with one's having wanted to ask – if there were such a thing ? – whether this had been ‘a typical performance’ ? It felt as if (as with the famous Cologne concert of Jarrett, and another case of the piano that one arrived to find at the venue and ended up having to play) it might have begun in improvisation…

Whatever quite this work is, it begins in fascinating analogue sound-manipulation, and – exploiting the semi-tone – with over-tones and bell-like fringe-effects. As, though, its sound-palette broadened, one’s attention luxuriated in the assurance of, as Bärtsch described afterwards, the piece being presented to us at its best*, and stopped concentrating on exactly what sound one was hearing (or the mechanics of its production - as one did when Maggie Cole performed Ligeti's Continuum (1923-2006)), and very glad that this work – which was not included in the printed one – had been part of the programme.



4. Judd Greenstein (1979) ~ City Boy (2010)

Scored for the quintet of Instruments, and - after Quiet City (1939), and despite an ostentatious ostinato on electric guitar - not implausibly referencing a near-mid-twentieth-century American tradition, (4) City Boy sounds quite Coplanesque : when one looks to form, and beyond the actual individual Instruments, bass and guitar stand, in a way, for the typical harmonic lines of a symphony orchestra.

Initially, in the second section, there is a ‘jazzed-up’ treatment, and, when those elements recur, they just subside : hence the composer’s programme-note to the effect that, with the work’s rapid movement from idea to idea, relatively – fans of Zappa, Brittelle, Babbitt, or Brian Wilson will be disappointed. When we hear the original material on Woodrow’s guitar, it is via the effects-pedal-mediated world of reverberation and distortion. At a signal, and after Copland-like rain-drop effects on flute (whilst the piano has the ostinato), the players all come off together.



5. Bärtsch ~ 9_3_7 (2017)

Maybe (5) 9_3_7 seemed like a punked-up (?) iteration of what preceded it, to which Bärtsch was explicitly responding. He employed some interesting writing for the bass versions of the standard orchestral clarinet and flute, which were also less aurally ‘defined’ than the bass or the guitar. To his own part, Bärtsch brought both jazzy intonations and intelligence in deploying the sound of the held piano notes. Ending, after a slow introduction, with a slow, fumry?? coda, he used the space to work over the four-note motif (with its longer, final note).


Introducing works from the stage, as well as talking afterwards, Nik Bärtsch had been at pains to say how the works had been programmed, including leading to the choice of Mark Bowler's piece as the OPUS2017 award-winner : Britten Sinfonia (@BrittenSinfonia) is, of course, renowned for its novel and thoughtful approach to programming, and here, in works that (in two cases) one could only have heard before by being at Wigmore Hall (@wigmore_hall) on the preceding Friday, was a set of pieces where they 'talked to each other' and had their place, and quite apart from the customary exemplary playing (the hard work that goes into which we should never take for granted) !


End-notes

* Bärtsch told us that he has heard the notated work played twice by two other pianists and not – he did not use this word – related to it, and thereby throws up the larger question – before there was an established performance-practice (unless that was through Ralph Kirkpatrick's monograph, or in the encores of Vladimir Horowitz ?) – how, say, we know what Domenico Scarlatti’s sonatas do, or should, sound like, i.e. from where do we now derive what we think is how Scarlatti played (or heard his royal pupil play) these pieces ?

Relatedly, if Leon McCawley plays, for example, the whole of a set of Rachmaninov Preludes (Opus 32) in the chapel at King's College (@ConcertsatKings) – or Joanna MacGregor a set of four Chopin Nocturnes at The Fitzwilliam Museum (@FitzMuseum_UK) - we know [what] ‘the famous one(s)’ ['are meant to' sound like] (with which no pianist can thus take many liberties), but how do we relate to the surrounding compositions, which may - despite such family-groups - very much feel like strangers to us ?




Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Saturday, 4 November 2017

Ilya and Emilia Kabakov at Tate Modern : Some Tweets


More views of - or before - Cambridge Film Festival 2017 (19 to 26 October)
(Click here to go directly to the Festival web-site)


4 November

Ilya and Emilia Kabakov at Tate Modern : Some Tweets about Not Everyone Will Be Taken Into the Future



As in the #CamFF-screened documentary The Desert of Forbidden Art (2010) [at Cambridge Film Festival in 2010 (?)], those who made and / or concealed non-Soviet-Realist art in the USSR de facto 'got away with' it, and so tend to underplay telling how it was done : it largely seems to take the form of avoiding activity in the metropolitan centres. (At the time of viewing the exhibition, many of one's fellow visitors clearly had Eastern European accents, and could be heard, seeming to be questioning what they were being told about the USSR.)


We are told by the exhibition that Ilya Kabakov drove for an hour to get to his studio, and is that all that it took (and sharing only with friends – in an era of denunciations) ? As in Barbara (2012) (set in East Germany – or, likewise, The Lives of Others (2006)), authorities such as the Stasi then either seem too trusting to have been as harsh and cruel as we know that they were, or the subterfuges adopted to deceive them too naive.





Detail of one part of The Coral Reef (2000)





An accreting list of useful reading (by order of title) :

* Asya ~ Michael Ignatieff

* Bricks to Babel ~ Arthur Koestler

* Darkness at Noon ~ Arthur Koestler

* Der Verschollene (Amerika) ~ Franz Kafka

* Martin Kippenberger ~ ed. Doris Krystof and Jessica Morgan (with Susanne Kippenberger and Gregory Williams) (Tate Modern, London : Exhibition Catalogues)

* Mira Schendel ~ Tanya Barson (Tate Modern, London : Exhibition Catalogues)










Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

The only thing that I can think of that's close to Justice

This is an accreting series of responses to The Killing of a Sacred Deer (2017)

More views of - or before - Cambridge Film Festival 2017 (19 to 26 October)
(Click here to go directly to the Festival web-site)


3 November


This is an accreting series of responses to The Killing of a Sacred Deer (2017)




Yorgos Lanthimos and his co-writer Efthymis Filippou love presenting universes where x obtains (or x and y do = given..., find a value for...), and that just is so : in The Killing of a Sacred Deer (2017), they have surpassed the self-imposed and serial strictures of The Lobster (2015), but, in these English-language films, they have barely caught up with the power of Alpeis (Alps) (2011)...









Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Wednesday, 1 November 2017

Why 'psychiatric challenges' (or 'nervous breakdowns') are just like chucking your mobile down the hall...

A series of Tweets and links to other #UCFF postings on Blogger on Madness

More views of - or before - Cambridge Film Festival 2017 (19 to 26 October)
(Click here to go directly to the Festival web-site)


1 November

A series of Tweets and links to other #UCFF postings on Blogger on Madness


Prologue :









Which, maybe neatly, brings us to 'Psychosis' :

Does 'psychosis' really mean much more than I, as your 'nearest relative' (or other family member, etc.) or employer or doctor, etc., don't think that you should think what you think ?








[...]




Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

#UCFF's quick Tweet-style guide to MPs, being employees, and conduct when drunk, etc., etc.

#UCFF's quick Tweet-style guide to MPs asemployees, conduct when drunk, etc., etc.

More views of - or before - Cambridge Film Festival 2017 (19 to 26 October)
(Click here to go directly to the Festival web-site)


1 November


#UCFF's quick Tweet-style guide to MPs, being employees, and conduct when drunk, etc., etc.









Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Tuesday, 31 October 2017

We’ll soon warm it up and get it feeling like a home - Pandora’s box, with a twist or two… (work in progress)

This is a response to Hellraiser (1987), shown on 35mm at The Arts Picturehouse,

More views of - or before - Cambridge Film Festival 2017 (19 to 26 October)
(Click here to go directly to the Festival web-site)


31 October

This is a response (work in progress) to Hellraiser (1987), shown on 35mm at The Arts Picturehouse, Cambridge (CamPicturehouse), on Tuesday 31 October 2017 at 10.30 p.m.


Hellraiser (1987) was released thirty years ago, so this was a pretty impressive 35mm print from which it was projected at The Arts Picturehouse (CamPicturehouse) – photography, even when it is with moving images (cinematography), not still ones, remains about how light falls on the subject :




Some sundry observations (an accreting list) :

* Ten years before Event Horizon (1997), the same pre-occupations with pleasure mixed with pain, and with oblivion : Julia (Clare Higgins), whose nature we know rather better by the time that she brings the first man (Anthony Allen) back to no. 55, probably does not belie the truth when she explains the room to which she has led him with I’ve always preferred the floor

* As to knowing natures better, it has been suggested, of Shakespeare’s The Rape of Lucrece , that Tarquinus Sextus (the rapist) and Collatine (the husband) are aspects of the same person : never was a truer word spoken of Larry (Andrew Robinson) and Frank (Sean Chapman)

* This is sure some stylish various on Rubik's Cube (first seen in 1974)...


Needless to say, we dare not show a real Lemarchand's box


* Jane Wildgoose, credited as ‘Cenobite Costumer Designer’, is clearly channelling less fetishwear than queer fashion and gender fluidity (before it was so called)



* Are there not also more than little hints, here, of Doctor Who, or Sir Gawayn and The Green Knight... ?

[...]




Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Spank me ! (work in progress)

More views of - or before - Cambridge Film Festival 2017 (19 to 26 October)
(Click here to go directly to the Festival web-site)


31 October

This a spoilery, post-Freudian, would-be LGBTQ+-informed consideration (work in progress) of what is sub-textual in Etage X (2016) - here is a link to the non-spoilery account ['What happens on the inside of transgressions...']



Some assertions / assumptions (which are probably in inferential order) :

1. As with – in conventional terms – ‘going through’ a man’s pockets (and so his not being pleased, and saying so by questioningly using these words), a hand-bag denotes a private, inner sort of space that one ought not look into (and, although security personnel do, they will ask if one minds their opening it / one’s taking the contents out, etc.)

2. Of a kind, the hand-bag and the [trouser or jacket] pockets are both receptacles (maybe the hand-bag more obviously so* ?) on the level of the personal – do the receptacle and its contents feel inviolate or sacrosanct to the one to whom they belong (more so than one's unlocked desk-drawer ?) by virtue of the nature of the latter... ?

3. Dentists (and doctors) put things in our mouth – with our permission, and then may reassure us that they can and should continue (i.e. do they, formally, act to seek a renewal of the permission ?), even if we react badly to it and / or what they are doing is painful

4. Of all sorts of objects (a tunnel, for example), we talk of their having ‘a mouth’ – so, Pour it carefully into the mouth of the bottle - and this includes a bag : Please open the mouth of the bag more widely




[...]


End-notes

* However, in German, eine Tasche is a pocket, and eine Handtasche a hand-bag (or a purse)… [And it goes on, with ein Taschentuch being Tuch (‘cloth’) + Taschen (‘pockets’, a seeming plural for an item that can only occupy one pocket) - a little as in English, except that we keep with hand, and not pocket).]



inner

An agreed or negotiated transgression of the norms, acceptable because invisible, but still – even if pleasurably – to be punished.




Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Monday, 30 October 2017

At Cambridge Drawing Society : Some that caught the eye - and looked likely to linger on longer looking

Cambridge Drawing Society : What caught the eye* - and would linger much longer

More views of - or before - Cambridge Film Festival 2017 (19 to 26 October)
(Click here to go directly to the Festival web-site)


28 October


At Cambridge Drawing Society : Some that caught the eye* - and looked likely to linger on longer looking




In (except in one case) order of finding (the names of artists new to #UCFF's active consciousness are underlined - those are not links, whereas CDS, after a name, should take you - where one exists - to that member's entry in the list of members) :


* Valerie Pettifer CDS ~ Heavenly Vision (£350) [archive images at Present show at The Tavern Gallery, Meldreth : Royston Arts Society]

* Andy Dakin CDS ~ Lisa, Unportrait (540) + [hung elsewhere] Emily III (£320)

* Louise Riley-Smith CDS ~ Teacup (£295)

* Yuxin Yang CDS ~ Hills Road, Impression (£90)

* Dan Walmsley CDS ~ Daymer Bay, Cornwall (£450)

* Lyudmila Sikhosana ~ Dusk at the Meadow (£280)

* Francesca Gagni CDS ~ Stardust II (£325)

* Sue Eaton CDS ~ Inky Waters (£290)

* Yvonne Jerrold CDS ~ Zoe (£285)

* Cathy Parker CDS ~ Vineyard II (£290)

* Melanie Collins ~ Earth (£300)

* Surinder Beerh ~ Boat Yard (£150)

* Lee Browne ~ Summer, Waresley Wood (£95)

* Svetlana Baibekova ~ Composition I (£125) [archive images at Svetlana steals the show]



End-notes :

* For once, not a list with thirteen items... However, three or four titles that have a comma ?




Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Saturday, 28 October 2017

Pygmalion : The real creature

‘Pygmalion : The real creature’

More views of - or before - Cambridge Film Festival 2017 (19 to 26 October)
(Click here to go directly to the Festival web-site)


27 October



‘Pygmalion : The real creature’

(Genesis 1 : 27)


Pygmalion
Took a lovely
Woman (unnamed
By Ovid)
And made,
Of her,
An ivory
Statue :


No, not a woman
Without a name –
As sculptor’s
Naked muse –
But real,
Warm flesh
To ivory
Statue.



© Belston Night Works 2017




Hercules Wrestling with Death for the Body of Alcestes
by Rt Hon. Sir Frederic Leighton, PA








Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Friday, 27 October 2017

What happens on the inside of transgressions...

This is a Festival response to Etage X (#CamFF Tiger Shorts programme)

More views of - or before - Cambridge Film Festival 2017 (19 to 26 October)
(Click here to go directly to the Festival web-site)


This is a Festival response (work in progress) to Francy Fabritz's Etage X in the Tiger Shorts programme of Cambridge Film Festival 2017, as screened from 10.30 a.m. on Thursday 26 October 2017 (Day 8 of 8)


As was suggested in writing a preview for La propera pell (The Next Skin) (2016), the best of cinema appears to us through our senses, but – with contemplation and time – extends and opens outwards in our head : the preview has yet to be completed (and, throughout #CameraCatalonia, has remained ‘a work in progress’), but this is certainly true also of Incerta glòria (2017), which is not just or only ‘about’ its apparent subject…

The apparent subject here, without (until below – in an overtly ‘spoilery’ section) saying too much about it, is about an apparent encounter between two women, who apparently did not know each other before, in a space that ends up both confining and liberating them. The film, however, is not really about this at all, but about that notion of the liberation of being confined (or, put another way, finding confinement liberating) – what that means and what stems from it in the generality, and in no way rooted to or in this encounter.

One can state this view with assurance, almost dogmatically, because - from the film-making perspective, and, within short-form horizons, given a careful and detailed treatment here - no one invests that energy in what some could see, enjoy and think of just as a shocking quip : if a viewer reduces Etage X to such a quip, which is, at best, to be narrated to someone as a piece of boundary-pushing humour that he or she saw at Cambridge Film Festival, then that understanding almost wholly misses the ambition(s) of the creative crew and cast.


So, the fictive space of a lift – we watch too little film, and not because the space is not well created, if we do not credit it for what it is – has ever been inviting as well to covert lovers as to those who wish, as Emily Kuhnke does in the ambiguous setting and time of Der Aufzug (2012), to juxtapose the tics and personal façades by which, whether that is what we will, we mark ourselves out in the world. Kuhnke’s film, though, has far more of what Beckettt, in Malone Dies, calls the ‘come and go’ of life (he was later to call what he styled ‘a dramaticule’ by this name), whereas Fabritz locates changing positions of power within a cast of barely three : the whole is greater than the sum of the parts, by virtue both of the vertices of what may, without thought, seem a slender conceit, and how Morgana Muses and Eva Medusa Gühne (superb names) have been guided and led to play out the internal logic of its interior.


[...]

Click here [when the link is activated] only if you seek a spoilery, post-Freudian, LGBTQ+ consideration of the sub-textual in Etage X




Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Thursday, 19 October 2017

Subtle resonances with Guillermo del Toro's Pan's Labyrinth (2006) (work in progress)

This is a Festival preview of Incerta glòria (Uncertain Glory) (2017) (for CamFF 2017)

More views of - or before - Cambridge Film Festival 2017 (19 to 26 October)
(Click here to go directly to the Festival web-site)


16 October

This is a Festival preview (work in progress) of Incerta glòria (Uncertain Glory) (2017) (for Cambridge Film Festival 2017)



It is truly sad that, with a budget estimated (by IMDb (@IMDb)) at €12,000,000, Tale of Tales (Il racconto dei racconti) (2015) gave us – in Toby Jones – a man in love with a flea... (And content, so it goes, to marry his daughter to whomsoever might identify, for what it is, the flea's skin.)



Though IMDb does not estimate the budget for Incerta glòria (Uncertain Glory) (2017), it gives the revenues for the opening weekend (in Spain – 81 screens) as €153,159 : it does not exactly spell out what total return there was on that €12,000,000, but one film had a seven-week shoot, whereas one shot for rather longer, from 15 May to 2 August 2014.



It would be very poor scripting, if it were not obvious that this preview values Incerta glòria much more highly than any figures from box office (or budget) – let alone any notion that Tale of Tales ‘must be’ better, because it has the said Toby Jones, and even Salma Hayek, on its cast. What it did have is a relevant portrayal of monstrosity and / or evil, and what Incerta glòria has is a much more nuanced one – one that even blurs the lines between parable, prophecy and the past (as was conceivably even implied by the very title Tale of Tales).

By contrast (whatever turns Tale of Tales may take to seek to surprise), the attitude that Incerta glòria (2017) adopts is not a binary one, of knowing / choosing good from evil, and with that being that – even though that dichotomy, if not simply on its own, is at the root of Guillermo del Toro's excellent Pan's Labyrinth (2006) : if Ofelia (in Pan's Labyrinth, set in the Spain of 1944) knew for sure how to do it (which is the point of the story), the film locates itself - through her - in opposition to her step-father Captain Vidal and his hunts for the anti-Francoist Maquis. (As with C.S. Lewis and his seven Narnia novels, it is on its supernatural - allegorical – level(s) that is made powerful.)


Not for the first time, Lewis’ all-embracing world of Narnia [in childhood, his brother Warren (‘Warnie’) and he co-created such a world (Boxen)] shows us a character, in Jadis (The White Witch - the name is French for 'formerly' ?), with sociopathic behaviour : Edmund is seduced, by the warmth of her sleigh / furs (all highly sexually suggestive, just as Meret Oppenheim’s famous fur-covered saucer, cup and spoon), but seduced into what ? Into betraying his brother Peter and sisters Susan and Lucy to Jadis… (A connection here to Camera Catalonia from three (?) years ago, with Fill de caín (Son of Cain) (2013) – on (and on the way to) the river afterwards, #UCFF chatted to its director, Jesús Monllaó, about traits of ‘being successful’.)


[...]


It is not just because we have a longer treatment, in Incerta glòria, than in the other films of this year’s Camera Catalonia that it is likely to be the most affecting film in the strand, but because it very poignantly treats of the subject of The Spanish Civil War*, which is often near to Catalan hearts.


Left to right : Oriol Pla (as Juli), and Marcel Borràs (Lluís)


Initially, we may be reminded of Pa negre (Black Bread) (2010) for historical re-creation and verisimilitude : a film from the very first time that #CamFF programmer Ramon Lamarca brought Catalan cinema to Cambridge Film Festival, in 2012, and – as one recollects – so popular that a third screening was put on.


[...]


A very careful (i.e. non-obvious) use of colour-grading, and the textural quality of the set-design and / or chosen, built location, are just some other reasons to love the look of and enter into the world of this film (and watch it multiple times, to see it unfold differently, with a knowledge of the beginning from the end) ; as with Pa negre, one retains the underlying sense of a filmic presentation, but a very subdued one, which allows one to couple with that of falling more and more deeply into its Weltanschauung : except for films that desire to alienate, this just is a feature that tends to unite the best of cinema.


End-notes:

* So called, at any rate, as we heard from Professor Paul Preston, when he accompanied co-director Jordi Torrent (@nycjordi) for the Q&A after Héroes Invisibles (Invisible Heroes) (2015) (subtitled Afroamericanos en la Guerra de España, which #UCFF interpretatively rendered as ‘The part played by Afro-Americans in The Spanish Civil War’, and so not decribed as a ‘civil’ war).




Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Tuesday, 17 October 2017

Camera Catalonia - the Catalan strand - at Cambridge Film Festival 2017

This year's previews of Camera Catalonia at Cambridge Film Festival

More views of - or before - Cambridge Film Festival 2017 (19 to 26 October)
(Click here to go directly to the Festival web-site)


16 October


This year's previews of Camera Catalonia at Cambridge Film Festival, comprising four films (one preview - of Incerta glòria (Uncertain Glory) (2017) - is still in progress...)


NB The title of each film is a link to the #UCFF preview for that film



El reí borni (The One-Eyed King) (2016) - Love, friendship and politics in contemporary Barcelona


It's dangerous to think too much ~ Lydia


The synopsis, duration and other details for the film can be found here






* * * * *


Incerta glòria (Uncertain Glory) (2017) - Brotherhood and allegiance in the Aragon of the Civil War


Subtle resonances with Guillermo del Toro's Pan's Labyrinth (2006) (work in progress)


The synopsis, duration and other details for the film can be found here




* * * * *


In the Same Boat (2016) - documentary about problems of our global economy


Breaking the ice at a film festival...


The synopsis, duration and other details for the film can be found here





* * * * *


La propera pell (The Next Skin) (2015)


Captured in amber - or Skin, touching skin - The mysteries of the past in the silent Pyrenees

The synopsis, duration and other details for the film can be found here









Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Monday, 16 October 2017

It's dangerous to think too much ~ Lydia

This is a Festival preview of The One-Eyed King (2016) (for CamFF 2017)

More views of - or before - Cambridge Film Festival 2017 (19 to 26 October)
(Click here to go directly to the Festival web-site)


13 October

This is a Festival preview of El reí borni (The One-Eyed King) (2016)
(for Cambridge Film Festival 2017)



The synopsis, duration and other details for the film can be found here




The opening-titles to El reí borni (The One-Eyed King) (2016) are vivid, inventively deploying shapes and colour to present the credits - in, perhaps, a way that is reminiscent of the title sequence of Bond films (and other films of that era) such as Dr. No. (1962)... (As to the title-music used¹, it is subtly energized, using cushioned percussive beats and fuzzy electronics, which underpin a quickly enlarging full sound - the titles are through in only a minute.)

With its origins in the director Marc Crehuet’s own stage-play, the film both feels like ‘a slice of life’, but at the same time is representative of differing opinions about what lawful government is, and what lawful opposition and demonstration : all highly relevant to present-day Catalunya (Catalonia). The film feels very like chamber music, and Crehuet employs writing for chamber forces in the music that we hear² :


The (apparent) solidity of the interior that has been created (Lydia and David’s flat) contrasts with the intangibility of ideas and of the characters’ beliefs – and what they might wish to change, and why. So it is that incongruous conversations during dinner together (always overlooked by an eye-shaped mirror³), and incongruous expectations of willingness to initiate sex in the face of affront, are just part of Lydia and David's compromised married life - Lydia (Betsy Tùrnez) wants to mask the fact, by considering the soup recipe⁴, that David is talking about his job (Controlling the masses).

Though the time-scale remains - to some extent - indeterminate and only relative, at the dinner-party, which is near the opening of the film, Lydia is insistent that Sandra 'disappeared' (which Sandra keeps denying), and David (Alain Hernández) equally so that he knows Ignacio (as turns out to be the case), and he seems happy to describe himself, to him and to Sandra, in ways that prudence and dramatic irony both suggest that he ought not to pursue...



During and after which, much comedy (albeit of a somewhat uncomfortable kind - as when Fawlty Towers did not make one cringe so much that one could no longer watch ? !), where we – fortunate to be on the outside of the four principals' lives – have the privilege of laughing at their utterances and beliefs. Which is partly mediated by the incredulity with which Ignacio (Miki Esparbé) meets them, and then also we experience his heart-break as drawn into his personal life as the title-character.

Having heard how he has withdrawn from social contact (and being able to infer lowered mood and self-esteem), can we, with him, credit some of the pragmatism that is uttered about what has happened - or some of the ways in which his partner Sandra (Ruth Llopis) behaves, whether telling him that her dreams tell her what he, she, or they should do, or initially 'going along with' what Lydia says about ethnic minorities ?






At the centre of the film is a shock that reminds of the various tellings of the fate of the 'turbulent priest' Thomas à Becket (or of the turn that the film adaptation (partly by Ariel Dorfman himself) of his stage-play takes in Death and The Maiden (1994), as Sigourney Weaver begins to confront Stuart Wilson's and her guest, Ben Kingsley) : the same effect of misinterpreting the political and emotional situation in an act that otherwise seen can only seem desperate and deeply mistaken. Even so, the similarities here are not even as strong as to Taxi Driver (1976), and the questions that Martin Scorsese poses there in someone whose actions, despite his real motivations, appear exonerated for incidental reasons⁵.


Alain Hernández as David


At the end of it all – when David breaks the so-called fourth wall (or, at any rate, in continuation of his earlier near-hallucinations⁶) – he directs to us, as hitherto complacent viewers, If they can see everything, they must have the answers. For, in watching a film, maybe we do feel that we have the answers - but less so when put on the spot, and asked to identify directly with what we have been watching ?

By the time of the end-credits, our concentration will (more so than at the start) be on 'Some things we do', the closing song - which may sum up the mood at the end of the film, where David's losing his other certainties, even if they were mistaken, feels to have been regretted.





End-notes :

¹ The track is taken from Ben Frost's 'Venter' (not, despite the order of the music-credits, from 'Guardian at the Door' by Valgeir Sigurðsson**).

² Apparently, we hear five in all of Valgeir Sigurðsson's pieces played for the soundtrack. And also, for example, Nico Muhly's Drones & Viola.

³ We may not be aware how it is part of the cast, by showing us things on the table that would not otherwise be visible, and that it is one of the things that David makes sure to smash...



⁴ She also prefers to remember being proud at how good he looks in his uniform, and how to her (when he was speaking after his training) It was just as if you'd been to university.

⁵ As, later, with The Wolf of Wall Street (2013), where it may seem that we are intended to enjoy the misdemeanours and escapades with which Scorsese's version of the real Jordan Belfort is involved...

⁶ Not unlike, as earlier in the film, the internal world of Travis Bickle (Robert De Niro) in Scorsese’s Taxi Driver ?






Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)