We begin with home movie footage showing a pair messing with an electronic keyboard, preparing to show their parents a new song they had written. The pair are The Moldy Peaches, a band perhaps synonymous with the iconic Juno soundtrack, and the way in which it helped a whole new generation discover the twee indie pop of…
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“We should not question his motives, he is a superhero, they save the day— end of discussion.” In the first instalment of his column, Joel Whitaker explores the connection between an iconic character and a global media conglomerate.
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‘The Souvenir Part II’ takes off from exactly where Part I left us, and gives us a beautifully cyclical inverse to the story.
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“‘Memoria’ takes its audience on a journey to somewhere wholly unexpected, yet upon arrival, it’s clear that the film couldn’t end anywhere else.”
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“‘Ali and Ava’ is a film that brings Barnard’s usual visual and sonic flair, but it falls slightly short of the mark by not tackling the signifiers inherent in the story’s themes.”
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‘Factory to the Workers’ explores the only example of a working factory co-operative in post-socialist Europe, examining its triumphs, its shortcomings, and what is holding it back.
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Daniel Draper and Allan Melia explore Liverpool 8 in their latest film, using Don McCullin’s photographs as a rough guide.
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What is fascinating about ‘The Village Detective,’ as well as perhaps Morrison’s recent practice, is the ability to take a piece of unwanted footage that was tossed away many years ago, and use the documentary form to archive it in such a way that its context and value are maximised.
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The Gleaners and I is a film not just revolutionary for its ground-breaking use of handheld digital cameras, but also for the way in which Varda set about making the film.
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Despite not holding the soothing influence of Bob Ross throughout its runtime, El sol del membrillo is perhaps the defining documentary about painting.
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