Zero Patience: A Queer Film Classic
Desert Hearts , directed by Donna Deitch, frames sex as class dialogue, a sort of proto- Carol. In the musical Zero Patience , John Greyson makes a puppet show out of sex and a drag performance out of sero-transfusion. The list goes on, much longer than anyone ever wants to admit, and it feels almost beside the point. Is access the problem? Or visibility? Or education? What would Vito Russo, historian, activist and author of the seminal The Celluloid Closet , think of everything? Joy is a good thing. I am, however, always arguing for a more thorough understanding of the very representation that people seek, because it not only exists but is just as deserving of attention and evaluation and consideration as the shiny new thing.
It can be found from joy—but also of other emotions, points of view, motivations, states of being.
The number one on that listicle is BPM , but none of the scenes are described. Campillo crosscuts between these two scenes, Nathan intermittently shook by emotion, his skin seeming rawer and more sensitive. I came in quite confident but quickly realised I had a lot to learn under the tutelage of Sandra Hebron ex-director of the London Film Festival. The world of curating is extremely competitive and your experience really needs to jump off the page of your C.
The people you meet and the doors that open with the NFTS behind you are genuinely important for anyone wanting to break into the industry. What advice would you give to an aspiring NFTS student? For curation? Your final grad project is going to be stressful but totally worthwhile once you realise how much experience you can point to in an interview situation. If you were stranded on a desert island, which film, TV boxset or video game would you take? Honest Hat on — Am I allowed to take a game?
Red Dead Redemption 2 would keep me occupied, the narrative is sublime and so immersive. I then began doing part-time retail work while playing concerts around London.
Zero Patience : A Queer Film Classic - inperwangnettstel.cf
It is incredibly exciting to work on an array of diverse distribution projects, from classic Hollywood titles to hidden gems of 80s indie horror! My job entails being the main point of contact between the producers, marketers and manufacturers. Studying at the NFTS was an invaluable experience for me, as like many film aficionados, I had only a limited understanding of the different parts of the industry and how they all fit together. The seminars, lectures and masterclasses with industry professionals helped me get a clearer picture of the industry, both reinforcing my desire to work in film and providing me with the tools to achieve such a goal.
The advice I would give to aspiring NFTS students is this: Be as proactive as you can be during your studies, take advantage of being in an environment full of likeminded film lovers, not to mention great facilities, to create, debate and curate film. The four-part programme showcases films that use the technique of found footage to retell the history of the 20th century. From the burning of the Hindenburg to the Zapruder film, the stories we tell ourselves about our history are intrinsically linked to the medium of the moving image.
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The collage films selected for the season reappropriate and remix existing footage to propose different narratives from the established ones. Put together the films seem to provide an alternative history, a history where images have hidden meanings and many, often contradicting, narratives can co-exist. Elia Suleiman, Jayce Salloum. The role of the photographs was to look for military targets like munition factories or chemical plants and somehow the proof of concentration camps like clear long lines of people heading into concentration camps was ignored or unseen.
Introduction to the End of an Argument , directed by Palestinian Filmmaker Elia Suleiman and Lebanese Video Artist Jayce Salloum, assembles a combination of Hollywood, European and Israeli film, documentary and news coverage together with excerpts of 'live' footage shot in the West Bank and Gaza strip, to critique Western representations of the Middle East, Arab culture, and the Palestinian people.
Craig Baldwin. The film is an almost indescribable sci-fi epic mostly made out of found-footage taken from s educational tv shows. The narrative of the film follows a young telepath, BooBoo, as she travels back in time from the desolate future of to save the world from a threatening electromagnetic "pulse". The film's barrage of grainy, mysterious images hits the viewer with relentless force but the end result is an irresistibly entertaining and unique film.
The programme includes John Greyson's Zero Patience , a gay musical comedy that deals with the origin of the AIDS epidemic in North America; Don McKellar's Last Night , a dark comedy about the last day on earth playing out in Toronto featuring Sandra Oh ; Guy Maddin's Archangel , a silent film-styled story about an Canadian soldier in Russia who enters a love triangle with a woman who resembles his dead wife; and Atom Egoyan's Calendar, about a photographer who drifts away from his wife while in Armenia taking pictures for a calendar.
Zero Patience is a landmark queer film from gay filmmaking icon John Greyson that asks important and thoughtful questions about how we talk about and who we blame for the AIDS epidemic, and does so with style and humor to spare.
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Largely unseen in London for the past twenty years, Zero Patience has a sort of cheekiness and earnest charm that is harder to find in many films today, even queer films, and serves as an important landmark in Canadian and queer cinema that deserves appreciation. Last Night: 18 Nov at the same. Last Night is an edgy, clever comedy that takes a more understated than usual look at the end of the world. An important Canadian independent film, this cult classic was an important early role for Grey's Anatomy star Sandra Oh, and shows off her talent with a delightfully deadpan, pedestrian style, as well as an aptly powerful finale.
Also featuring a vexing cameo role by director David Cronenberg, Last Night is a delightful and surprising take on a common topic. Archangel was an important early feature for Guy Maddin, one of the most exciting and distinctive filmmakers to come out of Canada in recent decades.
Archangel, with its early cinema-inflected style, set the stage for his more well known later films, such as Brand Upon the Brain and My Winnipeg, but maintains a distinctive and memorable character within his body of work. Thanks to a recent restoration by the Winnipeg Film Group, this film is able to find a wider audience worldwide, and can be appreciated by a new generation of retrocinephiles.
Atom Egoyan's Calendar came wedged between the more popular The Adjuster and Exotica, two films that helped put Egoyan on the map of international cinema. But Calendar is one of his most curious, creative films, adopting a distinctive formal, repetitive structure that seems to unravel and fold into itself as the film goes on.
A small, inventive experiment between larger efforts, Calendar nonetheless deserves a high position in the Egoyan filmography, as one of his most unique films. The season comprises eight exhibition projects, which will take place between September and January They range from themed programmes and national cinema seasons to expanded cinema and online initiatives.
Taking place between November and December in various venues across East London, The Pursuit of Wholeness is a season of film screenings dedicated to exploring traces of ancient Greek culture and archetypical myth in queer and experimental films. The first section of screenings is curated in partnership with Fringe! This female-centred part of the programme is dedicated to bringing to the big screen two films realised by three talented women who not only share Greek origins, but also an eclectic and experimental approach to the visual arts in general, and film in particular. In capturing and blending together images of the Carnival, the trans community and the political protests, Obscuro Barroco depicts an ancient, yet burningly topical, desire for transformation that is as much individual as it is collective.
Tickets for this screening are available here. Booking a free seat is strongly recommended. Markopoulos, an often overlooked but seminal figure of American avant-garde cinema. Getting its preview within this film season, Devotion is an insightful documentary that serves as precious visual testimony of the screenings of Eniaios — c. Markopoulos, USA , 16mm screening. Tickets for the Close-Up screenings are available here.
Choosing which films to view at a high profile film festival like the BFI London Film Festival can be daunting; a grand total of feature films including 21 world premieres, nine international premieres, and 29 European premieres, a range which will give even the most experienced film enthusiast a challenge when deciding what to see. Selecting, programming and reviewing films lies at the heart of their studies, with many of the students aspiring to work as curators and programmers at festivals when they graduate.
While these films vary in intent, provenance, and quality, they encapsulate a similar catholic spirit: rather than assert difference, they point out similarities. They apply salve instead of salt. Depending on your viewpoint, the legalization of gay marriage is either the greatest recent civil-rights victory or a myopic apportionment of rights.
It was a beloved cause for progressives, but a philosophically conservative one. The rhetoric — love is love is love is love — was generic and effective, suggesting that the only thing that separates gay people from straight ones was semantics. People fear that which is different.
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Part of this is a rhetorical strategy to sell movies to a heterosexual public. Beyond discourse, the question of what makes a film queer has become subsumed by aesthetics and narratives that display a straight gaze. The most egregious example is one of the most recent: Love, Simon , a gay bildungsroman whose political and moral center is that its protagonist Simon is Not That Kind of Gay.
He lives in a big two-story house; his parents are played by L. Bean catalogue models Jennifer Garner and Josh Duhamel; he gets a car with a big red ribbon on it for his birthday like a holiday car commercial. So what kind of gay is he not?