Sheffield Doc/Fest | Dunoon film festival | A Nos Amours | Seret – The London Israeli film and television festival
Sheffield Doc/Fest
Sheffield doesn't quite have the same ring as Cannes or Venice, but in documentary terms it's a fair comparison. This is a market and a meeting place for professionals, and guests this year include Walter Murch, Jonathan Franzen, Trevor McDonald and Captain Sensible, as well as just about every British documentarian you can think of. But this is also the place to see the latest in non-fiction film: 120 films, many of them premieres, on topics ranging from Pussy Riot to Uri Geller's CIA missions, Indonesian genocide, and Bradley Wiggins.
Various venues, Wed to 16 Jun
Dunoon film festival
Edinburgh and Glasgow festivals bring world cinema to Scotland, but this inaugural festival brings Scottish cinema to Scotland, and helps put a seaside town on the cultural map. There are some recent international releases,...
Sheffield Doc/Fest
Sheffield doesn't quite have the same ring as Cannes or Venice, but in documentary terms it's a fair comparison. This is a market and a meeting place for professionals, and guests this year include Walter Murch, Jonathan Franzen, Trevor McDonald and Captain Sensible, as well as just about every British documentarian you can think of. But this is also the place to see the latest in non-fiction film: 120 films, many of them premieres, on topics ranging from Pussy Riot to Uri Geller's CIA missions, Indonesian genocide, and Bradley Wiggins.
Various venues, Wed to 16 Jun
Dunoon film festival
Edinburgh and Glasgow festivals bring world cinema to Scotland, but this inaugural festival brings Scottish cinema to Scotland, and helps put a seaside town on the cultural map. There are some recent international releases,...
- 6/8/2013
- by Steve Rose
- The Guardian - Film News
Film-maker whose documentaries allowed the subjects to speak for themselves
The documentary film-maker Michael Grigsby, who has died aged 76, strove to convey the experiences of ordinary people, and those on the margins of society. His subjects ranged from Inuit hunters in northern Canada and North Sea fishermen to Northern Irish farmers, Vietnamese villagers and, most recently, ageing American veterans of the Vietnam war.
He made more than 30 films – many of them for Granada TV's World in Action and Disappearing World – which were marked by the way in which they allowed their subjects to speak for themselves. Taking his films back to the communities he had filmed for their approval became a vital part of Grigsby's process of securing trust. Some – like the Inuit – would subsequently use his films to explain their lives to outsiders.
Grigsby's questions were never heard and he abhorred commentary, preferring brief captions or the overlaid voices...
The documentary film-maker Michael Grigsby, who has died aged 76, strove to convey the experiences of ordinary people, and those on the margins of society. His subjects ranged from Inuit hunters in northern Canada and North Sea fishermen to Northern Irish farmers, Vietnamese villagers and, most recently, ageing American veterans of the Vietnam war.
He made more than 30 films – many of them for Granada TV's World in Action and Disappearing World – which were marked by the way in which they allowed their subjects to speak for themselves. Taking his films back to the communities he had filmed for their approval became a vital part of Grigsby's process of securing trust. Some – like the Inuit – would subsequently use his films to explain their lives to outsiders.
Grigsby's questions were never heard and he abhorred commentary, preferring brief captions or the overlaid voices...
- 3/21/2013
- by Ian Christie
- The Guardian - Film News
★★★★★ The visionary potential of today's cinema is infinite. Yet the antediluvian truism of having a greater understanding of the future by looking to the past remains paramount in film history. The techniques of yesterday, such as those demonstrated in Sergei Eisenstein's Battleship Potemkin (1925), have been digitised and refashioned to adhere to the demands of a modern audience. Visual crafts, including the theory of montage, have dominated movie culture for decades. It's timely then that the BFI's latest offering compares two of history's most groundbreaking socio-political films, Battleship Potemkin and John Grierson's Drifters (1929).
Read more »...
Read more »...
- 11/6/2012
- by CineVue UK
- CineVue
On 5 November, the BFI will once again bring together the infamous double-bill of Sergei Eisenstein's Battleship Potemkin (1925) and John Grierson's Drifters (1929), released in a special Dual Format bundle as part of The Soviet Influence strand, featuring a new restoration of Potemkin and the high definition debut of Drifters. To celebrate this classic reunion, we've kindly been given Three copies of the Dual Format release to give away to our lucky readers, courtesy of our friends at the BFI. This is an exclusive competition for our Facebook and Twitter fans, so if you haven't already, 'Like' us at facebook.com/CineVueUK or follow us @CineVue before answering the question below.
Read more »...
Read more »...
- 11/2/2012
- by CineVue UK
- CineVue
In the 1920s and 30s it was a struggle against the censors to get the likes of Battleship Potemkin shown in the UK. Now the BFI is celebrating these pioneering Russian films
Some Russian films of the early 20th century that sent shockwaves through Europe, making an impact outside the realm of cinema, are celebrated in a two-month BFI Southbank season. John Lehmann, poet, Hogarth Press editor, and brother of novelist Rosamond, wrote in 1940 that their appearance in London "was an event that had a decisive formative influence on the minds of the most alert of the new generation". Yet the films' arrival was staggered to say the least.
Bedecked with endorsements from Douglas Fairbanks and Mary Pickford, the world's most famous couple, Sergei Eisenstein's Battleship Potemkin had done sensational business in Germany in 1926, but distributors' hopes of repeat success in Britain ran aground. "Officialdom," complained an out-of-character Daily Express,...
Some Russian films of the early 20th century that sent shockwaves through Europe, making an impact outside the realm of cinema, are celebrated in a two-month BFI Southbank season. John Lehmann, poet, Hogarth Press editor, and brother of novelist Rosamond, wrote in 1940 that their appearance in London "was an event that had a decisive formative influence on the minds of the most alert of the new generation". Yet the films' arrival was staggered to say the least.
Bedecked with endorsements from Douglas Fairbanks and Mary Pickford, the world's most famous couple, Sergei Eisenstein's Battleship Potemkin had done sensational business in Germany in 1926, but distributors' hopes of repeat success in Britain ran aground. "Officialdom," complained an out-of-character Daily Express,...
- 5/26/2011
- The Guardian - Film News
Two highly-anticipated second feature films from U.S. underground filmmakers will be making their World Premieres all the way over at the 64th annual Edinburgh International Film Festival, which will run for twelve days on June 16-27. The films are Rona Mark’s The Crab and Zach Clark’s Vacation!.
The Crab, which screens on June 21, is the touching story of a verbally abusive man born with two enormous, mutant-like hands; while Vacation!, which screens on June 20, tracks four urban gals let loose in a sunny seaside resort down South.
Both Mark and Clark previously screened their debut features at Eiff. Mark’s Strange Girls screened there in 2008 and Clark’s Modern Love Is Automatic screened in 2009. Both films also ended up as runners-up in Bad Lit’s annual Movie of the Year award, again Strange Girls in 2008 and Modern Love in 2009. Sadly, these two masterpieces are still unavailable on...
The Crab, which screens on June 21, is the touching story of a verbally abusive man born with two enormous, mutant-like hands; while Vacation!, which screens on June 20, tracks four urban gals let loose in a sunny seaside resort down South.
Both Mark and Clark previously screened their debut features at Eiff. Mark’s Strange Girls screened there in 2008 and Clark’s Modern Love Is Automatic screened in 2009. Both films also ended up as runners-up in Bad Lit’s annual Movie of the Year award, again Strange Girls in 2008 and Modern Love in 2009. Sadly, these two masterpieces are still unavailable on...
- 6/4/2010
- by Mike Everleth
- Underground Film Journal
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.