We Are the Best! – LFF Film Review

We Are The Best

“Fun” is not a word I use a lot when talking about the film festival experience. Often films are better described by words such as “worthy”, “important”, “dull”, “oscar-worthy”, “impenetrable”, or “borderline pornographic” but with We Are the Best! there really is no better word to apply to it than “fun”.

It is Stockholm in the early 1980s, everyone is wearing amazing jumpers, and punk is dead. Or is it? Two young girls, Bobo (Mira Barkhammar) and Klara (Mira Grosin), team up to form their own punk band purely to spite a group of boys who want to use the same rehearsal space. With no musical skills to speak of they recruit friendless guitar-playing Christian Hedvig (Liv LeMoyne) and a new punk band (NOT a girl band) is formed.

The film focusses on the trio as they rehearse their only song (an angry tirade against sport and other less important issues like poverty), punk up their hair, and grow together, and occasionally apart, as friends. Incidents and plot points that might otherwise be taken too seriously are handled with a lighthearted touch as the girls experiment with alcohol, flirt with punk boys, and get ready to perform at a Christmas rock concert.

This is a film with no deep message, that doesn’t ask you to feel anything but joy at the antics of three excitable young punks as they try to rebel against a world that isn’t very oppressive. The film is gorgeously shot by director Lukas Moodysson; the colours are vibrant and one rooftop view of a wintry Sweden is breathtaking. My only criticism is that without a strict plot to adhere to the film runs roughly 10 minutes too long and feels a little baggy in the middle.

Like putting on a warm, slightly baggy, jumper We Are the Best! is good clean fun and a real treat when sampled in amongst some of the London Film Festival’s grittier offerings.

We Are the Best! is in UK cinemas from 18th April 2014.

BFI London Film Festival 2013

The Strange Colour of Your Body’s Tears – LFF Review

The Strange Colour of Your Body's Tears

I don’t think I was properly equipped to watch this film let alone review it. The Strange Colour of Your Body’s Tears is a French giallo-inspired body horror sexual thriller ordeal that spent the better part of two hours putting me through a lot of brutal images and intense tension that failed to relent from the brutal opening titles to the film’s bloody close.

The plot, as best I managed to grasp it, revolves around Dan (Klaus Tange) a man whose wife has gone missing somewhere within his apartment building. As Dan hunts for his wife he meets a variety of neighbours who each seem to have a violent and sexual tale to tell as the very walls of the building seem to emenate a visceral and violent sexual energy.

Writer/directors Bruno Forzani and Hélène Cattet have concocted a film that is both beautifully crafted and almost unbearable to watch. The images are beautifully composed with creative use of colours, kaleidoscopic imagery, split screens, and frantic editing which is all married with meticulous sound design to culminate in a horror film that is as well crafted as fine art but as terrifying as any film I have ever seen.

The Strange Colour of Your Body’s Tears easily beats any horror I have seen before in terms of how ruined it left me feeling. While I could never quite look away I felt as though the film was putting me through an ordeal as Dan got closer to discovering the truth about his wife and scenes became endlessly more violent in a deeply intimate way. I felt every onscreen cut and quite often silently begged the film to end. Some audience members didn’t wait for the film to finish but provided their own finale by simply walking out of the cinema.

I can’t honestly say that The Strange Colour of Your Body’s Tears was an enjoyable experience but it most certainly was an experience. It was an unrelenting beast wrought with the kind of tension that has a physical as well as an emotional impact. I feel beaten up and abused by the film and am not sure if I can forgive it.

How many stars? I have absolutely no idea.


The Strange Colour of Your Body’s Tears is in UK cinemas from 11th April 2014.

BFI London Film Festival 2013

The Double – LFF Film Review

The Double

Only a few minutes into Richard Ayoade’s second film as director I wrote in my note book in capital letters “I LOVE THIS” and ninety minutes later I did not disagree with myself. Ayoade’s first feature Submarine was a hilarious story of young love that was very much grounded in reality but shot with a distinctive style that stood it out from the crowd. With The Double Ayoade has truly evolved as a film-maker as he has taken his unique eye for film and run with it to create a surreal masterpiece that David Lynch would be proud of.

In The Double Jesse Eisenberg plays Simon James, a man who is so dull and unremarkable that no one notices when his exact double, James Simon, starts working at his office and slowly begins to steal his work, win over his coworkers, and steal the love of his life. The Double is set in a universe similar to ours but slightly askew as the world resembles a vision of the future from forty years ago. The technology is timeless in that it has not nor ever will exist; computers are resplendent with knobs and dials and the underground train stops inside the office building. Ayoade has created an entire world in which to set his doppelgänger thriller.

While the entire cast, and many more of Ayoade’s friends, pop up in minor roles this is far removed from Submarine. Everything within The Double from the lighting and set design to dialogue and camera movements is heavily stylised and the film moves with an occasionally dreamlike, occasionally frenetic pace. At first the film was a little jarring, and I never quite found myself connecting with some of the characters, but this is a film that isn’t here to patronise its audience so you have to hold on tight with both hands and let the film take you where it wants you to go.

In this bizarre, almost dystopian reality, we watch as Eisenberg struggles to battle his much more successful double. While Simon finds himself gradually removed from people’s memories and his employer’s computer system his double James is being heaped with praise and is romancing every woman in Simon’s life. Simon’s life was bleak enough as it was without someone coming along and showing him how he could have been living it. As Simon finds himself pushed to the brink of his mind and his existence the conflict comes to a head and the film ended with me just the wrong side of baffled. The only trouble with truly surreal cinema is that it will never quite connect on the same level as a film about a young boy falling in love.

I really can’t do justice to the unique visuals of The Double here in writing. Or for that matter the sound design which was INCREDIBLE, trust me. Instead you are going to have to seek out this gem for yourself when it get’s a UK release.

Some may find it impenetrable but I absolutely love this timeless masterpiece. Slightly too baffling for five stars but a bold and brave film by a director who seems set to continually impress and surprise. Actually… go on then, have your five stars.

The Double is in UK cinemas from 4th April 2014.

BFI London Film Festival 2013

The Zero Theorem – LFF Film Review

The Zero Theorem

Yes, a London Film Festival review. That should give you sense of just how behind schedule this review is. I saw the film back in October but it is finally out in UK cinemas this week so I had best get to reviewing it…

Typical for a Terry Gilliam film The Zero Theorem is anything but typical. The plot revolves around Qohen Leth (Christoph Waltz) a man living in what Gilliam has described as a Utopian future (but one that comes across as quite dystopian) working on complex computer nonsense while waiting for a phone call that he hopes will explain the meaning of life. When Waltz isn’t sitting anxiously at his computer terminal working on a bizarre computer hacking programme, sometimes naked, he is being distracted by Bob (a teenage prodigy sent by Management and played by Lucas Hedges), Bainsley (a sort of internet porn star cum prostitute played by Mélanie Thierry), and Joby (his manager played by David Thewlis).

As for what actually takes place in what little plot the film actually has… I’ll be damned if I know. As usual with Gilliam (my new catchphrase for this review) the whole film is vibrant, energetic, and filled with ideas. Whether the resulting film works for you or not will, I feel, entirely depend upon how much patience or sympathy you have for Gilliam’s aesthetic.

If I had to pick one of his previous films to compare The Zero Theorem to then I would have to plumb for Brazil as it shares a similar theme of a man fighting against the system as he chases his dreams, literally. Both exist within a future that feels quite practical and manmade as opposed to slick and sleek and neither feels the need to pander to its audience. When rewatching Brazil in preparation for writing this review I found it a lot easier to accept on its own terms when I could watch it as a piece of cinema history rather than as a piece of contemporary cinema. The two films are far from identical but Brazil as a film of the 80s is a lot easier to swallow than The Zero Theorem as a film of thirty years later. The eccentric randomness seems much less enjoyable now in the same way you will excuse a baby for dribbling but not the same person for doing the same when in their thirties.

This sounds like I am putting down Brazil which I really am not… I am putting down The Zero Theorem. The film is enjoyable to a degree (hence the three stars) but beneath the surface of wacky characters and big, empty ideas there is nothing more going on that some nice set dressing and a group of actors trying their hardest to be wacky.

A great big shrug from me.

The Zero Theorem is in UK cinemas on 14th March 2014.

BFI London Film Festival 2013

Kill Your Darlings – LFF Film Review

Kill Your Darlings

I think I had the wrong idea about Kill Your Darlings when I decided to trundle along and see it. What I knew was that Daniel Radcliffe would be starring as a young Allen Ginsberg who starts his university career and meets the likes of Jack Kerouac and William S. Burroughs. With this brief synopsis cluttering up my brain I was expecting to see the formation of the Beat generation unfold onscreen and what I got was something a little less defined.

At university Ginsberg becomes enamoured with fellow student Lucien Carr (Dane DeHaan) who goes on to introduce him to Kerouac (Jack Huston) and Burroughs (Ben Foster) and it is Carr who suggests starting a literary revolution. For part of the film the idea of the revolution seems to be the focus but it always sits on the periphery in contrast to Ginsberg’s determined pursuit of Carr despite dismissive treatment in favour of Carr’s much older lover/stalker David (Michael C. Hall). The film seems to want to imply that everyone will go on to change the face of American literature but doesn’t want to get bogged down in showing that happen when there’s drug taking, sex, and murder to be amusing ourselves with. Yes, one of the characters another and the whole film suddenly doesn’t find the drug taking and casual harassment nearly as fun as it did before.

For me the films lacks focus and a proper plot. The performances are all fine and Radcliffe does good work as Ginsberg, despite him being writing a little too pathetic to be able to carry the film, but the writing forces every performance to fall short of believability. The major trouble lies in the fact that on the one hand we are supposed to be revelling in a period piece where poetry can be seen as a form of rebellion and drug taking and child abuse as decadent indulgences, and on the other hand we have the grim dramatics of the murder and Ginsberg’s mother’s psychological issues which pop up from time to time. Nothing like murder and potential paedophilia to ruin a party.

This was no doubt quite a dramatic period in the lives of the men who would define the Beat generation but perhaps the story could have been moulded a little more to form a clearer narrative. At the end of the screening I wasn’t too sure what to think. I had enjoyed the performances and various scenes in the film but didn’t know what it wanted me to take away from it. At no point in the film did I get a sense of the legacy that these men left on the world of writing and I didn’t get any incentive to devour their collective works.

What I saw was a group of self-indulgent individuals who were finally forced to deal with the real world when one is arrested for the murder of another. I’m certain this doesn’t do justice to the combined efforts of Ginsberg, Kerouac, and Burroughs and is unlikely to have been the intention of the filmmakers.

Not awful, and a worthy debut from Austin Bunn and John Krokidas, but Kill Your Darlings meanders a little too much to impress.

Kill Your Darlings is in UK cinemas on 6th December 2013.

BFI London Film Festival 2013

Saving Mr. Banks – LFF Film Review


Mary Poppins is a special film for me; it is one of those childhood films that I have watched countless times and so holds a special place in my film-loving heart. Because of this a film about the creation of the classic musical is not going to have to try very hard to win me over. That said I wasn’t expecting Saving Mr. Banks to get to me so much that I’d have to start keeping a tally of just how many times I had cried. From the opening moments when a piano played the film’s overture to the closing credits I was a mess.

Saving Mr. Banks covers the period in Disney’s development of Mary Poppins when the original novel’s author P.L. Travers (Emma Thompson) reluctantly travelled to Disney studios to work on the script and decide whether or not she would finally be willing to relinquish the rights. Travers did not want any singing or animation in the film and generally disapproved of any attempt to Disney-fy her book so screenwriter Don DaGradi (Bradley Whitford) and songwriters the Sherman brothers (B.J. Novak and Jason Schwartzman) were given a hard time by a woman who was not afraid to speak her mind. Walt Disney himself (Tom Hanks) was heavily involved in the project as if he couldn’t get Travers to sell him the film right he would be breaking a promise he made to his daughter decades earlier.

Alongside the story of the making of the film we see flashbacks to Travers’ childhood and meet the inspiration for Mr Banks, her father Robert Goff Travers (Colin Farrell) and for Mary Poppins herself (Rachel Griffiths). While the scenes at Disney are mostly fun and played for laughs, as Travers’ British bulldog nature comes to clashes with the cheery American sensibility of Disney and friends, the childhood scenes gradually turn from lighthearted antics to an all more serious nature. By the end of the films things have all gone a little bit tragic as we see the real reason Travers wrote the book and why she is so defensive about any changes Disney wants to make.

This being a Disney film about Disney they obviously don’t come out too badly but they are brave enough to poke a little fun at themselves and their overly cheery nature. In one scene Travers says to a stuffed Winnie the Pooh bear “Poor A. A. Milne” which shows they aren’t censoring the real writer’s disdain for Disney adaptations. As for the cast, everyone is firing on all cylinders as Emma Thompson once more manages to break the whole audience’s heart simultaneously with a single subtle look, and even Colin Farrell pulls of both comedy and pathos convincingly. Worth noting that Paul Giamatti rounds out the cast as Travers’ chauffeur who slowly wins her over with his sunny charm.

The combination of the dramatic childhood scenes, the heartwarming period at Disney, and my own personal connection to the original film of Mary Poppins proved to be a little too much for me to handle. At five separate occasions I found myself welling up in spite of myself and tears were frequently falling down my cheeks. In the scene when Let’s Go Fly A Kite is first performed all three elements combined together and left me an emotional wreck. I consider myself as someone who very rarely cries at films but that one scene had me weeping like never before in a cinema. I just hope none of the other critics saw.

Would this film be of any interest to someone who hasn’t seen Mary Poppins? Probably not but as someone who considers the film and integral part of their childhood it is a completely subjective masterpiece that hit me in just the right spot to have me making a spectacle of myself in public.

One star for every moment I got all weepy.

Saving Mr. Banks is in UK cinemas on 29th November 2013.

BFI London Film Festival 2013

12 Years a Slave – LFF Film Review

12 Years a Slave

Slavery is not quite a taboo subject but is certainly not one that is dealt with seriously in cinematic terms very often. At the start of 2013 we were given Tarantino’s Django Unchained which tackled slavery in a stylised fashion with bloodshed being the main method of emancipation and without me ever really getting a sense of the brutality of life as a slave. With Tarantino at the helm the film felt all too fictional to have an effect. Within just the first few minutes of Steve McQueen’s 12 Years a Slave I felt like I could finally comprehend just how slaves were seen in pre-Civil War America in the eyes of their masters. These were not human beings, they are a commodity and closer to cattle than anything deserving basic rights.

Chiwetel Ejiofor stars as the free black man Solomon Northup who is kidnapped and sold back into slavery while his wife and children are left behind to assume him dead. More used to a life as a relatively respected gentleman and musician Solomon finds himself stripped of everything he owns down to his name and struggles to retain his dignity and sense of self. After being sold on to a relatively kindhearted plantation owner, played by Benedict Cumberbatch, Solomon struggles to keep his head down and after rubbing up an overseer (Paul Dano) the wrong way is sold on to a brutal new master called Epps (Michael Fassbender) and his equally cruel wife (Sarah Paulson).

It is on this second plantation that Solomon suffers the most as he gradually loses all hope of ever returning to his civilised life and more importantly his family. His learned past does not do Solomon any favours as his intelligence frequently threatens to leave him out of favour with his master and therefore suffer at the thin end of a whip. The only slave sticking out more than Solomon is a young woman Patsey (Lupita Nyong’o) who has caught the amorous eye of Epps and with it the scorn of Epps’ wife. Patsey brings about some of the most graphic violence in the film which hits home, hard.

The plot of 12 Years a Slave is not a complicated one as we stick with Solomon throughout his years spent enslaved. The day in, day out barbarism that surrounds him is displayed without glamorisation by McQueen in a film that is beautiful to behold but positively painful to watch. Here the violence is not cartoonish and the audience is made to feel every lashing delivered by the whip and you are never sure when the next beating will come. The whole 2+ hours were a hard-hitting experience and while I would never suggest that I enjoyed the film as such it truly is a masterpiece that manages to be powerful and intimately epic.

Ejiofor may be surrounded by more recognisable names (other than those already mentioned Brad Pitt and Paul Giamatti also pop up) but he more than holds his own as he takes the substantial weight of the film on his shoulders. It is Ejiofor who leads us on this journey with every grimace and wince his detailed performance brings with it. He is nothing short of magnificent which will be no surprise to anyone who has seen any of his work to date.

12 Years a Slave is a searing film that takes its weighty subject seriously whilst not scrimping on cinematic artistry. I cried for the second time this week and the audience of press applauded the film which is not a common occurrence. Expect to be hearing a lot about this film when the Oscars come around.

12 Years a Slave screens at the festival on the 18th, 19th and 20th October and is in UK cinemas on 24th January 2014.

BFI London Film Festival 2013

The Armstrong Lie – LFF Film Review

The Armstrong Lie

Lance Armstrong was once an American hero; despite a brutal battle with cancer he managed to win the Tour de France a total of seven times and in 2009 was going for his eighth victory. Documentarian Alex Gibney was filming Armstrong’s return to cycling in 2009 but abandoned his documentary amidst a further drugs scandal involving the champion cyclist. Armstrong, like many cyclists, has had his career marred by accusations of doping but had always denied taking any steroids and had the test results to prove it. When in 2013 Armstrong appeared on Oprah to confess to having used performance enhancing drugs for the length of his career Gibney picked up his camera again to complete the documentary, this time not to tell the story of a returning hero but of a fallen star.

I am no fan of cycling either as a pastime or a spectator sport and previously had only a passing knowledge of the Armstrong scandal. As I started to watch this documentary I remained baffled as to why this was such a big deal. Does it really matter who rides the fastest and wins the race? It is just cycling at the end of the day. What The Armstrong Lie taught me more than anything is just how much money rides on the success of a cyclist and in particular how many people in America relied on Armstrong’s story to give them strength when battling cancer. What’s more it is not as if Armstrong was the only cyclist to have been found guilty of doping, in fact doping seems to be the norm in the sport but Lance could only hide in such a prominent position for so long.

Lance Armstrong does not come across well in this documentary. As Gibney had access to the disgraced cyclist both before and after he was forced to admit to his rule breaking and had his Tour de France victories taken from him we get to see two different sides to Armstrong. Across numerous years we have footage of the man vehemently denying the claims made against him and throwing anyone who dares speak out, with what turned out to be the truth, under the bus. Clearly an accomplished liar Lance seems almost sinister as he never hesitates to blame anybody but himself and can never quite face the truth unless he has no other choice.

What made The Armstrong Lie was getting to see Gibney lose all objectivity on two separate occasions. This is very much a documentary with an opinion. Back in the 2009 footage Gibney himself confesses to have been completely swept up in the Armstrong fever as he bought the story of his struggles and willed him to win the tour without ever suspecting he was using drugs. When it came to finishing the documentary in 2013 Gibney is clearly a hurt and angry man who is setting out to expose someone who so blatantly lied to his face on camera.

I’m still not hugely interested in cycling and it seems even more ridiculous to place such importance on who wins the Tour de France when it seems like everyone competing is doped up. Hopefully films like this will help to drive drugs out of the sport. The Armstrong Lie proves to be a far more engrossing way to enjoy cycling than actually watching a race and is a fascinating portrait of a devilishly good liar and a world-class manipulator that let down an entire nation.

The Armstrong Lie has no UK release date yet.

BFI London Film Festival 2013

Don Jon – LFF Film Review

Don Jon

Joseph Gordon-Levitt is the perfect example of how well a child star can turn out. Since his childhood spent making us laugh in 3rd Rock from the Sun Gordon-Levitt has steadily been building up an acting CV filled with impressive roles in both indie fare and mainstream blockbusters. Now to impress us further he has written and directed his own feature in which he also stars. Oh Joseph, is there anything you can’t do?

Joseph Gordon-Levitt stars as Jon, a man obsessed with his car and his body and who is nicknamed Don Jon by his friends because of his unbroken streak of taking home a different woman every night they go out. Much as Jon loves these illicit encounters there is one thing he loves more than sex; Jon is addicted to porn. While a real woman comes with limitations and complication with porn Jon can find exactly what he wants and lose himself in a way he has never been able to achieve with sex itself. The wide variety of porn available at his fingertips has warped what Jon expects from a real life sexual encounter and his streaming smut is something he refuses to give up.

One night at the club Jon comes across the first woman who doesn’t fall for his charms and somehow manages to NOT go home with him. This woman is Barbara (Scarlett Johansson) and she isn’t going to let Jon get her in bed without him first playing along with her idea of what a relationship should be. Barbara does not approve of porn but has a weakness for romantic comedies (cue an amusing parody with Anne Hathaway and Channing Tatum) which has warped her own expectations of what men should do for their woman. Jon and Barbara go through the motions of a relationship as they meet one another’s friends and family but Barbara can’t live up to Jon’s pornographic ideals and he isn’t the romantic lead she’s looking for. With the help of a classmate, at the night school he attends to impress Barbara, an older woman called Ester (Julianne Moore) Jon learns that there’s more to life than porn.

Gordon-Levitt directs with a confident and deliberate style with an almost aggressive use of carefully cropped pornographic clips which are frequently utilised throughout the film to show how Jon’s world is warped by the contents of his internet browser history. As a writer he has crafted a film that strays from the usual path and tells a unique story of one man’s personal growth that is as far from cheesy or saccharin as it is possible to be. Gordon-Levitt has a lot he wants to say about the way the media as a whole gives us dangerous levels of expectations from our significant others and at times the message gets a little heavy-handed but when the film is working at its best the lesson is deftly handled.

The highlights of the film for me were Jon’s weekly trips to church during which he would confess the previous seven days worth of sins, his sexual exploits are counted up for the Father’s benifit, followed by a family dinner. It is at these meals that we see what has made Jon into Don Jon with his aggressive vest wearing father (Tony Danza) and fawning mother (Glenne Headly) who are two fantastically realised caricatures. Brie Larson makes a mostly mute, and a slightly too brief, appearance as Jon’s sister who seems mostly disinterested in her family but offers him the best advice of the film.

Joseph Gordon-Levitt’s first foray behind the camera is not perfect but is a bold and commanding debut with a lot to say. Somehow he manages to tackle a tricky subject without making the film seem cheap or smutty. I think his success can be marked by the fact that a sex scene towards the end of the film had the woman sitting next to me in floods of tears after having spent the rest of the film laughing out loud.

Don Jon screens at the festival on the 20th October and is in UK cinemas on 15th November 2013.

BFI London Film Festival 2013

Cinema Re-acted – LFF Film Review

Cinema Re-Acted

Feeling a little bold this year I thought I might try out some of the more unusual fare that the London Film Festival has to offer and so dabbled in the Experimenta strand of films. The most appealing to me was a collection of short films grouped under the collective title of Cinema Re-acted with each short taking elements from existing films to tell their story. The result was a mixed bag that gave me an excuse to use my new star rating .gif and mostly went way over my head. Below is the run down. (My apologies to the film makers for being a philistine.)

Belle comme le jour

Director: Dominique Gonzalez-Foerester, Tristan Bera

We started with a short that completely left me cold. This was not only because of the bizarre style of dialogue but because it turned out to be a prequel to Belle de jour which I have never seen. So far I am completely out of my depth.


Director: Kerry Tribe

A much more accessible short here as we were presented with the death of two men in a large house, each shot in the head. Over the course of 29 minutes we see the pair’s deaths five times as we explore various iterations of what might have happened. In my head I interpreted this to be a comment on murder mystery films and the fact that who committed the murder is relatively arbitrary in fictional work. In fact what we were watching was five scenarios composed of dialogue from the dozens of films to have been shot in Greystone Mansion in Beverly Hills. Dialogue from films including Death Becomes Her, X-Men, and Social Network were all intertwined so that they were unrecognisable. Quite enjoyable this one.


Director: Antoni Pinent

The reason I had bought a ticket in the first place was this visual collage of Grease. The director has seemingly taken a film copy of the classic musical and drawn on it and recut it to make a psychedelic strobing 20 minute nightmare/masterpiece. The image at the top shows just a small proportion of the visuals we were treated to and the short is something you’d expect to see at the Tate rather than your local Cineworld. At times this was a little too intense an experience but the film got some laughs and has some great moments.

The New World

Director: Ruth Novaczek

After two films I actually enjoyed things started to rapidly decline. This short was made up of dialogue and video from a variety of films with a new narration by the film’s director. Lasting 23 minutes I really struggled here as I tried to discern a narrative and decide if one even existed. If I was out of my depth before by this point I was drowning.

Elsa merdelamerdelamer

Director: Abigail Child

Perhaps the least penetrable of the six shorts is this thankfully brief film in which a close-up shot of a woman trimming her pubic hair is overlaid with various other images. Had the film gone on any longer I would most likely have had to break my golden rule and leave the cinema before a film has finished.


Director: David Leister, Lucy Harris

Sigh. The final short film comprised of shots panning across the surface of some shelves which bore the shadows of items that had been sitting upon them when a fire broke out and covered everything with soot. While the shelves themselves may be interesting to look at with their echoes of film equipment and celluloid but a 7 minute film seems a bit unnecessary.


Overall I would say that my first foray into experimental film making was a minor disaster.

BFI London Film Festival 2013