For context; I’ve had a few ideas knocking about for a while, regarding a potential miniseries about a confused young man navigating the fetish community. Here is the pilot for that miniseries. I just wanted documented proof of a thing that I’d written. Publishing it here (I think) immediately disqualifies it from being entered in any competitions and the like, which is probably the only way it would ever get made, but I’ve decided that a few middling comments from a screenplay judge isn’t worth the potential feedback this might get from a wider range of people (he said optimistically).
Unless, of course, someone reading this wants to make it. In which case, please get in touch.
Continue reading “What Kel K. Chose (Pilot)”
“You have to walk hand in hand with death through life.”
This is the truest line of dialogue spoken in Nobuhiro Suwa’s flawed yet captivating 2017 film The Lion Sleeps Tonight, and it is a barefaced lie. It is spoken by Jean Pierre Léaud, playing a thinly veiled version of himself, called Jean. The words are to his ex-lover, Juliette (Pauline Etienne) who may or may not have committed suicide, but did die mysteriously, at the age of 23. Jean, now 72, has started to see her, her ghost, her essence, as she has been preserved in his memory through Jean’s long years without her.
Continue reading “Exploring The Ineffable Physicality of Jean-Pierre Léaud in Nobuhiro Suwa’s The Lion Sleeps Tonight, and other works”
Girl Band’s new single, Shoulderblades, is one of the best songs of the year so far, a pummelling and ascendant noise-rock dirge with an uncertain structure that draws repeated listens like water from a tap. This piece is not about the song. It is, however, about the music video. Music videos have long been an underrated artform, and whilst some are simply vehicles for the song, some, such as Pulp’s This Is Hardcore (dir. Doug Nichol), and Grace Jone’s Corporate Cannibal (dir. Nick Hooker), operate distinctly as works of significance in her own right.
Continue reading “Physicality and Framework in Girl Band’s ‘Shoulderblades’”
A conflict has been percolating for some time, between the responsibility of art in a violent world, and the idea that art has no responsibilities. Slightly different from the idea of censorship, manifestations of this conflict have lead left-wing protestors (typically anti-censorship) to do things like boycott an X-Men film (ostensibly a children’s film) because of a poster showing a woman being choked, and right-wing protestors (usually pro-censorhip) to hide their arguments behind the flimsy muslin gauze of ‘free speech’. A very charitable reading of this debate is that people are demanding higher standards from their art. A less charitable one might be that people, as Jarett Kobek has observed, are so saturated in capitalist media that the very act of seeing a superhero film can be considered ‘activism’, and thus people are requesting that the landscape fit their beliefs.
Continue reading “Skinflicker”
Three Colours Blue was the film that made me a cinephile. It was among the first films I wrote about, after I first watched it at the age of fifteen. It is the film that both shaped, and thus limited, my view of what cinema was capable of, and that first viewing eight years ago was akin to a religious experience. It tells a simple story, of a widower coping with the loss of her husband and daughter in a car accident, through her attempts to ‘free’ herself from her grief (the film is modelled on the French ideal of liberty), and yet seeing it for the first time I felt my soul being lifted up, to places other films were simply incapable of reaching. It was the first film that felt like it was being born inside my eyes, relentlessly alive and almost conscious.
Continue reading “When A Film Is No Longer A Film: Re-Examining My Relationship with Three Colours Blue.”
I attended this screening at the Friends Meeting House in Brighton last night, as part of a series of screenings hosted by OpenColour. They obviously care deeply about film, and deserve any serious filmgoers support and attention. It was an honour to attend and I feel lucky to have been there. Information can be found here: http://www.opencolour.co.uk.
Continue reading “Finding Hope in G.W Pabst’s Kameradschaft (1931)”
Jordan Peele’s latest horror film, Us, is a delirious and visually captivating experience that, before anything else, is about images and movement. Over the course of its perfectly paced two hours, Peele strips away extraneous details of his film until it culminates in a near-symphony of exquisite framing and unfettered physicality. It proceeds organically from the bare bones of the horror genre, and along with cinematographer Mike Gioulakis (who also worked on It Follows), Peele has created a film that works as a postmodern-ish riff on horror techniques, as well as a fine example of the genre on its own.
Continue reading “The Ecstasy of ‘Us’”