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White text on black screen: This is a shot.
White text on black screen: This is a counter shot.
Female sexuality will be punished. It's not that it must, just that it will. If this is a common narrative thread for all art, it is one that is explored and repeated with seemingly infinite curiosity by cinema.
"Like all forms of art and culture, film has an intrinsic value that goes further than what the market is prepared to pay for it." - International Film Festival Rotterdam (IFFR) catalogue
Last night saw the opening of two new independent cinema screens in London, as the Barbican opened the doors to its swanky new Cinemas 2 & 3, complete with a ribbon cutting from Vivienne Westwood. With a cafe at street level, this development significantly ups the visibility of the art centres film offer, which has previously been notoriously hard to find.
While others are discovering the joys of the midnight train to Edinburgh, and looking forward to the pleasures of a pint at the Filmhouse bar, its sadly an armchair experience of the Edinburgh International Film Festival for us this year, as we follow the hashtag #edfilmfest from afar.
I start the day with Future Lasts Forever, a Turkish feature following Sumru, a woman who travels to Anatolian city Diyarbakir to make sound recordings of traditional elegies.
There is something wonderful about walking through a city at 8.45am on a Saturday on your way to a 9.15am screening, with all the hope that you'll discover a gem
Friday starts in a rustic mode, with two very different set films in the countryside.
Back in the 'dam and ready for some mind-bending cinema, fueled by Vietnamese street food and coffee caught between venues. This year we are promised a leaner selection of films, following last year's occasionally scattershot programme quality.
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