If you told me that one of my favourite films would be about women ruthlessly backstabbing, screaming at each other, ripping each other to shreds, pushing each other off from horses and even biting… well I would have eaten my hat.
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While it’s good to admire their work, I quite like the idea of moving away from preaching at the Director God’s altar.
Besides my dad who watched the show, and no I did not watch it with him, I was able to chat to two of my good male friends, Marcus Brown and Archie Reynolds, about their opinions regarding relationships and sex in Normal People.
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Having just finished my first full-time job and waiting to start a master’s degree in film in tandem with you-know-what still keeping a lot of us in our homes, I’ve been revisiting a lot of my film library.
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Amongst the hysteria and Netflix’s misrepresentation of the film Cuties, we may have lost sight as to what it is actually about.
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Studying Film at A-Level was one of my best choices because it meant I could expand my love, passion and knowledge of them. One of the key aspects of any film is the score and the soundtrack; I could spend all day talking about the score music for films, how important it is to each scene, the goose bumps you get when a good scene has a good score and the magic of the composers (whether it’s Hans Zimmer, Alexandre Desplat, Carter Burwell, John Williams and many, many more).
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One of my favourite things about cinema is sitting in a darkened room, sharing a collective experience with everyone else, and interpreting it in different ways. This has always fascinated me.
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Yes, you had the period talk in Primary school where you had to label all the bits whilst the boys smirked and ran around the playground saying the word ‘penis’ in different accents, but encountering sex education as a teenager was a different ball-game (excuse the pun).
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Although they are a work of fiction and many are dramatised, there are many scenes and films as a whole that are distressing because they unapologetically shine a light on some troubling themes. Despite this, I must stress that YOU SHOULD NEVER TURN AWAY FROM THE SCREEN.
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Streaming services were already winning the battle in the modern movie market but they have never shone brighter than during the global pandemic. All the most recent talked-about new film releases have been confined to home streaming platforms. We’ve had the disastrous Artemis Fowl, a live recording of Lin-Manuel Miranda’s musical smash-hit Hamilton, Netflix’s Eurovision Song Contest: The Story of Fire Saga.
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Covid-19 continues to pose a threat to countless industries. The events that have taken place this year have brought us all to a halt. Businesses closed for an indefinite period, not knowing when a return would be possible. The film industry was no exception. With cinemas closing across the world and film production being brought to a stop, the world of cinema has felt the ground fall beneath their feet. Now that we are slowly emerging from lockdown, with many cinemas having reopened on the 4th of July, what can we expect from a typical cinema experience?
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Each film on Churchill is cast in a very similar mould. It would be scandalous to cast him as a villain. But, for many people in the UK and around the world, that’s precisely how he’s seen. The firebombing of Dresden has been called an immoral act and a war crime, the preventable Bengal Famine led to three million deaths, and Churchill has been often accused of using excessive violence - and these are just some examples. These offences are often hastily swept under the rug, and never talked about again. It’s contentious to dislike Churchill.
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Debbie Ocean (Sandra Bullock) plans to steal priceless Tiffany jewellery, while wearing gorgeous dresses. It seems implausible that women would hijack casino games, like the boys did in the original. The “anything boys can do we can do too!” messaging is undermined by the implication that diamonds really are a girl’s best friend.
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One of the cinemas that is affected by this is Bristol’s most diverse cinemas for showing a range of inclusive films and media – the Watershed. Having closed their doors back in March, many feel at a loss without its wide range of showings, events and talks. However, with the understanding they may not be ready to reopen until September, the Watershed, like many independent places, have moved online and are doing their best to keep discussions open and engage with people despite the circumstances.
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2020 was the year for the sixth adaptation of Jane Austen’s Emma, this time a film adaptation directed by Autumn de Wilde and starring Anya Taylor-Joy.
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What comes to mind when I say Germany? Getting completely hammered at Oktoberfest, in a lederhosen-wearing, flagon-of-beer-drinking fashion? Or ‘don’t mention the war’ a la Fawlty Towers? One thing that probably won’t be mentioned is German cinema.
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I, on the other hand, hadn’t actually even watched many films that people would argue are “a must-see” like The Matrix, Goodfellas or Jurassic Park. So I set myself a kind of mission: to catch up with, seemingly everybody else, and know all these films.
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As a film enthusiast and ex-film studies student, I’ve always found it interesting the way films are intrinsically linked with a person’s identity. A person’s favourite film is not only a deeply personal choice but also speaks to a person’s identity.
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My dad was a huge influence in how my passion for films has grown; ask him any question about any film from the decades and even if he hasn’t seen it, he’ll most likely know who’s in it, the year it was out and who directed it.
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I'm a filmmaker from Northampton, currently based in Bristol. I've always been around films since I was a child as my Dad always used to buy loads of DVDs - maybe too many. However, I didn't truly appreciate this art until I recognised how powerful stories can be.
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