Ali & Ava Trailer — Clio Barnard‘s Ali & Ava (2021) movie trailer has been released by Greenwich Entertainment. The Ali & Ava trailer stars Adeel Akhtar, Claire Rushbrook, Ellora Torchia, Shaun Thomas, Natalie Gavin, Krupa Pattani, and Tasha Connor. Crew Clio Barnard wrote the screenplay for Ali & Ava. Harry Escott created the music for [...]
Continue reading: Ali & Ava (2021) Movie Trailer: Sparks Fly Between Ali and Ava in Clio Barnard’s Romance Film...
Continue reading: Ali & Ava (2021) Movie Trailer: Sparks Fly Between Ali and Ava in Clio Barnard’s Romance Film...
- 5/30/2022
- by Rollo Tomasi
- Film-Book
It’s our favourite night of the year! The 2021 BIFA awards took place this evening at Old Billingsgate in London. Hosted by People Just Do Nothing’s Asim Chaudhry, those attending include Emma Corrin, Gugu Mbatha-Raw, Joe Cole, Lucy Boynton, Jude Law, Harris Dickinson, Paapa Essiedu, Caitriona Balfe, Morfydd Clark, Riz Ahmed, Wumni Mosaku, Ruth Wilson, Stephen Graham and James Norton.
The 24th British Independent Film Awards saw Joanna Scanlan’s After Love take home a handful of awards, Clio Barnard’s Ali & Ava also did well – and there’s something wonderful in championing the very best in British Independent film – so, hey – we’re all winners here.*
David Sztypuljak and Scott Davis were our men at the event, asking questions.
You can see our interviews below, as well as a full list of tonight’s winners and nominees.
*Actual winners are below.
The 2021 BIFA Red Carpet Interviews
The...
The 24th British Independent Film Awards saw Joanna Scanlan’s After Love take home a handful of awards, Clio Barnard’s Ali & Ava also did well – and there’s something wonderful in championing the very best in British Independent film – so, hey – we’re all winners here.*
David Sztypuljak and Scott Davis were our men at the event, asking questions.
You can see our interviews below, as well as a full list of tonight’s winners and nominees.
*Actual winners are below.
The 2021 BIFA Red Carpet Interviews
The...
- 12/6/2021
- by Jon Lyus
- HeyUGuys.co.uk
Aleem Khan’s After Love dominated the 2021 British Independent Film Awards, winning six prizes in total including Best British Independent Film.
Khan also took home both Best Director and the Douglas Hickox Award for Best Debut Director, as well as Best Screenplay. Joanna Scanlan won Best Actress and Talid Ariss won Best Supporting Actor for their roles in the movie.
Set in the port town of Dover, the film follows Mary Hussain who suddenly finds herself a widow following the unexpected death of her husband. A day after the burial, she discovers he has a secret just twenty-one miles across the English Channel in Calais.
Khan said at the ceremony: “What the f***?! … Never in my wildest dreams did I think this would be happening tonight. My mum and my dad and family are going to be going nuts. This film, at its core, is about strangers seeing one another.
Khan also took home both Best Director and the Douglas Hickox Award for Best Debut Director, as well as Best Screenplay. Joanna Scanlan won Best Actress and Talid Ariss won Best Supporting Actor for their roles in the movie.
Set in the port town of Dover, the film follows Mary Hussain who suddenly finds herself a widow following the unexpected death of her husband. A day after the burial, she discovers he has a secret just twenty-one miles across the English Channel in Calais.
Khan said at the ceremony: “What the f***?! … Never in my wildest dreams did I think this would be happening tonight. My mum and my dad and family are going to be going nuts. This film, at its core, is about strangers seeing one another.
- 12/5/2021
- by Tom Grater and Damon Wise
- Deadline Film + TV
Aleem Khan’s directorial debut “After Love” dominated the British Independent Film Awards (BIFAs) with six wins.
The film, in which a recently widowed woman comes to terms with a shocking secret about her husband’s life won the award for Best British Independent Film, presented by Kate Beckinsale. Khan won three more BIFAs – Best Director, The Douglas Hickox Award for Best Debut Director and Best Screenplay, with Joanna Scanlan winning Best Actress and Talid Ariss Best Supporting Actor for their performances in the film.
Adeel Akhtar won Best Actor for his role in Clio Barnard’s story of forbidden love, “Ali & Ava,” which also saw Connie Farr and Harry Escott scoring the Best Music award.
The Best Supporting Actress award went to Vinette Robinson for her work in Philip Barantini’s single-take restaurant kitchen drama “Boiling Point,” which also received awards for Carolyn McCleod for Best Casting, Matthew Lewis...
The film, in which a recently widowed woman comes to terms with a shocking secret about her husband’s life won the award for Best British Independent Film, presented by Kate Beckinsale. Khan won three more BIFAs – Best Director, The Douglas Hickox Award for Best Debut Director and Best Screenplay, with Joanna Scanlan winning Best Actress and Talid Ariss Best Supporting Actor for their performances in the film.
Adeel Akhtar won Best Actor for his role in Clio Barnard’s story of forbidden love, “Ali & Ava,” which also saw Connie Farr and Harry Escott scoring the Best Music award.
The Best Supporting Actress award went to Vinette Robinson for her work in Philip Barantini’s single-take restaurant kitchen drama “Boiling Point,” which also received awards for Carolyn McCleod for Best Casting, Matthew Lewis...
- 12/5/2021
- by Naman Ramachandran
- Variety Film + TV
European Film Awards to Take Place as Distanced Live Event as Covid-19 Cases Mount – Global Bulletin
Awards
As Europe faces a fresh wave of Covid-19, the 34th European Film Awards will take place as a distanced live event, with attendance limited to nominees and award recipients.
The in-person ceremony, which will also be broadcast and streamed from Berlin on Dec. 11, will not include the usual audience of academy members, partners and guests from the film industry and the international media.
“The decision acknowledges the deteriorating situation due to the Covid-19 pandemic in an increasing number of European countries, and in Germany,” the European Film Academy said in a statement. “The pandemic will affect all events usually taking place during the awards weekend.”
Matthijs Wouter Knol, CEO and director of the Academy, said: “This is much to our regret and we realise that it must come as a huge disappointment to many in Europe. And we, too, are very disappointed. But confronted with the responsibility for such an event,...
As Europe faces a fresh wave of Covid-19, the 34th European Film Awards will take place as a distanced live event, with attendance limited to nominees and award recipients.
The in-person ceremony, which will also be broadcast and streamed from Berlin on Dec. 11, will not include the usual audience of academy members, partners and guests from the film industry and the international media.
“The decision acknowledges the deteriorating situation due to the Covid-19 pandemic in an increasing number of European countries, and in Germany,” the European Film Academy said in a statement. “The pandemic will affect all events usually taking place during the awards weekend.”
Matthijs Wouter Knol, CEO and director of the Academy, said: “This is much to our regret and we realise that it must come as a huge disappointment to many in Europe. And we, too, are very disappointed. But confronted with the responsibility for such an event,...
- 11/19/2021
- by Naman Ramachandran
- Variety Film + TV
Boiling Point took home awards for cinematography, casting and sound Photo: Vertigo Releasing
The British Independent Film Awards has announced the first of this year’s award winners for its nine film craft categories.
Philip Barantini’s single-take Boiling Point, starring Stephen Graham, and Joanna Hogg's The Souvenir Part II were the big winners with three awards apiece.
Boiling Point took the prizes for Best Cinematography (Matthew Lewis), Best Sound and Best Casting (Carolyn McLeod), while Hogg's film snagged Best Costume Design (Grace Snell), Best Editing (Helle Le Fevre) and Best Production Design (Stéphane Collonge).
Best Effects was awarded to Mike Knights, Steven Bray, Dan Martin and Leigh Cranston for their work on Rob Savage’s fright-fest road-trip horror Dashcam and Best Make-Up and Hair Design went to Vickie Lang, Kristyan Mallett and Donald McInnes for Will Sharpe's biopic The Electrical Life of Louis Wain. Rounding out the awards was Best Music,...
The British Independent Film Awards has announced the first of this year’s award winners for its nine film craft categories.
Philip Barantini’s single-take Boiling Point, starring Stephen Graham, and Joanna Hogg's The Souvenir Part II were the big winners with three awards apiece.
Boiling Point took the prizes for Best Cinematography (Matthew Lewis), Best Sound and Best Casting (Carolyn McLeod), while Hogg's film snagged Best Costume Design (Grace Snell), Best Editing (Helle Le Fevre) and Best Production Design (Stéphane Collonge).
Best Effects was awarded to Mike Knights, Steven Bray, Dan Martin and Leigh Cranston for their work on Rob Savage’s fright-fest road-trip horror Dashcam and Best Make-Up and Hair Design went to Vickie Lang, Kristyan Mallett and Donald McInnes for Will Sharpe's biopic The Electrical Life of Louis Wain. Rounding out the awards was Best Music,...
- 11/19/2021
- by Amber Wilkinson
- eyeforfilm.co.uk
Three wins each for Philip Barantini and Joanna Hogg’s films.
Philip Barantini’s restaurant drama Boiling Point and Joanna Hogg’s sequel The Souvenir Part II head the craft winners for the 2021 British Independent Film Awards (Bifas), with three awards each.
Single-shot feature Boiling Point, which scored the joint-most nominations this year with 11, won in best cinematography for Matthew Lewis; best casting for Carolyn McLeod; and best sound for James Drake, Rob Entwistle and Kiff McManus.
The Souvenir Part II won in best costume for Screen Star of Tomorrow Grace Snell; best editing for Helle Le Fevre; and best production design for Stephane Collonge.
Philip Barantini’s restaurant drama Boiling Point and Joanna Hogg’s sequel The Souvenir Part II head the craft winners for the 2021 British Independent Film Awards (Bifas), with three awards each.
Single-shot feature Boiling Point, which scored the joint-most nominations this year with 11, won in best cinematography for Matthew Lewis; best casting for Carolyn McLeod; and best sound for James Drake, Rob Entwistle and Kiff McManus.
The Souvenir Part II won in best costume for Screen Star of Tomorrow Grace Snell; best editing for Helle Le Fevre; and best production design for Stephane Collonge.
- 11/19/2021
- by Ben Dalton
- ScreenDaily
Steve McQueen and Michaela Coel shows dominate with eight awards.
Steve McQueen’s Small Axe and Michaela Coel’s I May Destroy You were the big winners at the Bafta Craft Awards, taking home eight of the 21 awards between them.
Small Axe, the BBC1 drama anthology about the lives of West Indian immigrants in 1960s, 70s and 80s London, claimed five gongs including: JoJo Williams for make-up & hair design; Jacqueline Durran for costume design; Helen Scott for production design; Shabier Kirchner for photography & lighting: fiction and Gary Davy for scripted casting.
Coel’s BBC1/HBO true-life inspired dramedy about a...
Steve McQueen’s Small Axe and Michaela Coel’s I May Destroy You were the big winners at the Bafta Craft Awards, taking home eight of the 21 awards between them.
Small Axe, the BBC1 drama anthology about the lives of West Indian immigrants in 1960s, 70s and 80s London, claimed five gongs including: JoJo Williams for make-up & hair design; Jacqueline Durran for costume design; Helen Scott for production design; Shabier Kirchner for photography & lighting: fiction and Gary Davy for scripted casting.
Coel’s BBC1/HBO true-life inspired dramedy about a...
- 5/25/2021
- by John Elmes Broadcast
- ScreenDaily
Michaela Coel’s “I May Destroy You” and Steve McQueen’s “Small Axe” were the big winners at the British Academy of Film and Television Arts’ (BAFTA) TV Craft Awards on Monday.
BBC/HBO’s “I May Destroy You” won the key awards of director, fiction, editing, fiction and writer, drama. BBC/Amazon’s “Small Axe” had the most wins with five BAFTAs, including for make up and hair design, costume design, production design, photography and lighting, fiction and for scripted casting.
The BBC’s “Lee Miller – A Life on the Front Line” and “His Dark Materials” won two BAFTAs each.
“Small Axe” had nine nominations, while “I May Destroy You” had five. Netflix’s popular Royal drama “The Crown” was shut out, despite having six nominations going in.
The ceremony was broadcast live on BAFTA’s social channels and hosted by actor and writer Gbemisola Ikumelo (“Famalam”).
The Television...
BBC/HBO’s “I May Destroy You” won the key awards of director, fiction, editing, fiction and writer, drama. BBC/Amazon’s “Small Axe” had the most wins with five BAFTAs, including for make up and hair design, costume design, production design, photography and lighting, fiction and for scripted casting.
The BBC’s “Lee Miller – A Life on the Front Line” and “His Dark Materials” won two BAFTAs each.
“Small Axe” had nine nominations, while “I May Destroy You” had five. Netflix’s popular Royal drama “The Crown” was shut out, despite having six nominations going in.
The ceremony was broadcast live on BAFTA’s social channels and hosted by actor and writer Gbemisola Ikumelo (“Famalam”).
The Television...
- 5/24/2021
- by Naman Ramachandran
- Variety Film + TV
It might not be considered Asian by its production country (UK), the origins of its writer/director Michael Winterbottom, or, frankly, by its style that fits the bill of a British globe-trotting thriller, but “The Wedding Guest”, showing at Art Film Fest in Košice, deserves its Asian Movie Pulse review. At least the filming locations were in India and Pakistan, the cast consists of Indian-British star actors and the theme is very much rooted in the culture Indian sub-continent, fresh, approached from an interesting angle and wrapped up in a smooth genre-esque ride.
“The Wedding Guest” is screening at the 27th Art Film Fest Kosice
In the opening montage, we get to see a still nameless, solitary man (Dev Patel), preparing himself for the trip. The nature of his mission is not clear yet, but is certainly clandestine, as he is carrying multiple passports. Once in Pakistan, he travels across the country,...
“The Wedding Guest” is screening at the 27th Art Film Fest Kosice
In the opening montage, we get to see a still nameless, solitary man (Dev Patel), preparing himself for the trip. The nature of his mission is not clear yet, but is certainly clandestine, as he is carrying multiple passports. Once in Pakistan, he travels across the country,...
- 6/19/2019
- by Marko Stojiljković
- AsianMoviePulse
I think it’s safe to say that Dev Patel is an underrated leading man in Hollywood, that is, when he’s actually given a leading role. Those are few and far between for him. Still, when he’s allowed the chance, he shows his chops, even if the material is not up to snuff. Such is the case here with The Wedding Guest, a low-key thriller that begins with potential but slowly squanders it away. The key word here is slowly too, as everything about this film is slow. For a short movie, it feels twice as long. Throw in a terrible ending and this all adds up to a disappointment, Patel excluded. The film is a thriller that begins as a mystery. We begin by following a mysterious British Muslim man named Jay (Patel) on his journey from Britain to Pakistan. Soon, we realize that he’s been...
- 3/2/2019
- by Joey Magidson
- Hollywoodnews.com
Like the protagonist of his latest film, The Wedding Guest, Michael Winterbottom is a wanderer–cinematically, that is. There are few filmmakers in modern cinema who hop between genres quite like the British helmer. Consider just a few entries from his gobsmackingly lengthy filmography: a Thomas Hardy adaptation (Jude); a war film set in 1990s Sarajevo (Welcome to Sarajevo); a second Hardy adaptation shot in snowy Canada (The Claim); a future-set love story (Code 46); a sexually-explicit anthology centered around songs from the likes of Primal Scream and Franz Ferdinand (9 Songs); a documentary based on the work of Naomi Klein and another featuring Russell Brand (The Shock Doctrine and The Emperor’s New Clothes); and a tremendously violent and unsettling Jim Thompson adaptation (The Killer Inside Me).
That list does not even include his greatest works–24 Hour Party People, A Mighty Heart, The Trip, and its follow-ups. The Wedding Guest is,...
That list does not even include his greatest works–24 Hour Party People, A Mighty Heart, The Trip, and its follow-ups. The Wedding Guest is,...
- 2/26/2019
- by Christopher Schobert
- The Film Stage
Feature Ivan Radford 23 Jan 2014 - 06:21
Ivan's latest column explores what music can tell us about a character through two new UK soundtrack releases
Music is a powerful thing. It can be used to express authority or portray identity. The very act of playing music defines us, as both performers or listeners. That relationship we have with it makes for two extremely powerful soundtracks currently accompanying movies in UK cinemas: Inside Llewyn Davis and 12 Years a Slave.
Inside Llewyn Davis
"Play me something from Inside Llewyn Davis," manager Bud Grossman (F. Murray Abraham) challenges Oscar Isaac's lead in the middle of the Coen brothers' film. Llewyn responds with The Death of Queen Jane, an old ballad from the 1500s that recounts the tale of King Henry losing his wife, Jane Seymour, to gain a son. It's not a happy song.
It's also a clear statement from Llewyn: he's not afraid of sadness.
Ivan's latest column explores what music can tell us about a character through two new UK soundtrack releases
Music is a powerful thing. It can be used to express authority or portray identity. The very act of playing music defines us, as both performers or listeners. That relationship we have with it makes for two extremely powerful soundtracks currently accompanying movies in UK cinemas: Inside Llewyn Davis and 12 Years a Slave.
Inside Llewyn Davis
"Play me something from Inside Llewyn Davis," manager Bud Grossman (F. Murray Abraham) challenges Oscar Isaac's lead in the middle of the Coen brothers' film. Llewyn responds with The Death of Queen Jane, an old ballad from the 1500s that recounts the tale of King Henry losing his wife, Jane Seymour, to gain a son. It's not a happy song.
It's also a clear statement from Llewyn: he's not afraid of sadness.
- 1/22/2014
- by sarahd
- Den of Geek
Following on the success of the BAFTA nominated Shifty, Eran Creevy returns with his much awaited second feature Welcome to the Punch, and ahead of the films theatrical release, we caught up with the rising star.
Creevy talks about his influences, how he managed to attract such a stellar cast of British performers – such as James McAvoy (interview going live tomorrow), Mark Strong (our interview with Mark up here) and Peter Mullan – as well as discussing the invaluable assistance provided to him from his executive producer Ridley Scott. The young filmmaker, who is bound to have a bright future ahead of him, also tells us about his third project Autobahn – though his casting remains a secret for now.
Apparently there was a lot of buzz around the screenplay, which is exceptional as it’s only your second film. How do you create buzz like that?
What it was, after we made my first film Shifty,...
Creevy talks about his influences, how he managed to attract such a stellar cast of British performers – such as James McAvoy (interview going live tomorrow), Mark Strong (our interview with Mark up here) and Peter Mullan – as well as discussing the invaluable assistance provided to him from his executive producer Ridley Scott. The young filmmaker, who is bound to have a bright future ahead of him, also tells us about his third project Autobahn – though his casting remains a secret for now.
Apparently there was a lot of buzz around the screenplay, which is exceptional as it’s only your second film. How do you create buzz like that?
What it was, after we made my first film Shifty,...
- 3/13/2013
- by Stefan Pape
- HeyUGuys.co.uk
Odd List Ivan Radford Jan 3, 2013
As 2012 recedes into history, Ivan counts down his pick of the year's finest movie soundtracks...
While Den of Geek writers were busy voting for the top film of the year, I’ve been rifling through my collection of albums from the last 12 months to work out which film soundtrack was the best. The conclusion? It’s been one heck of a year. (Please excuse the long list of Honourable Mentions at the end…)
These are the best movie soundtracks of 2012. Probably.
1. The Master (Jonny Greenwood)
A quick rewatch of the trailer to Paul Thomas Anderson’s film reminds you of the power of Jonny Greenwood’s music. The Master is surpassed by its haunting score, which nails the psychological state of Joaquin Phoenix’s Able-Bodied Seamen, increasingly dominated by His Master’s Voice. It may not be as lyrical as Greenwood’s Norwegian Wood soundtrack,...
As 2012 recedes into history, Ivan counts down his pick of the year's finest movie soundtracks...
While Den of Geek writers were busy voting for the top film of the year, I’ve been rifling through my collection of albums from the last 12 months to work out which film soundtrack was the best. The conclusion? It’s been one heck of a year. (Please excuse the long list of Honourable Mentions at the end…)
These are the best movie soundtracks of 2012. Probably.
1. The Master (Jonny Greenwood)
A quick rewatch of the trailer to Paul Thomas Anderson’s film reminds you of the power of Jonny Greenwood’s music. The Master is surpassed by its haunting score, which nails the psychological state of Joaquin Phoenix’s Able-Bodied Seamen, increasingly dominated by His Master’s Voice. It may not be as lyrical as Greenwood’s Norwegian Wood soundtrack,...
- 1/2/2013
- by ryanlambie
- Den of Geek
Continuing on from the start of our new weekly feature last week, rounding up the new releases coming to DVD and Blu-ray each Monday, we have a brilliant line-up of films making their way to the shelves of your local stores today, and of course the virtual shelves online.
We’re treated to a fantastic set of new films this week – some of the finest of last year – a few excellent TV shows, and a handful of classics that are being given the HD treatment, released on Blu-ray for the first time.
We’re big fans of the Blu-ray format here at HeyUGuys, and can’t recommend it enough to you. If your television has the means to play Blu-rays and you don’t yet have a player, I thoroughly encourage you to treat yourself to one at the nearest possible opportunity. I made the upgrade about two years ago,...
We’re treated to a fantastic set of new films this week – some of the finest of last year – a few excellent TV shows, and a handful of classics that are being given the HD treatment, released on Blu-ray for the first time.
We’re big fans of the Blu-ray format here at HeyUGuys, and can’t recommend it enough to you. If your television has the means to play Blu-rays and you don’t yet have a player, I thoroughly encourage you to treat yourself to one at the nearest possible opportunity. I made the upgrade about two years ago,...
- 5/14/2012
- by Kenji Lloyd
- HeyUGuys.co.uk
There’s the distinct feeling as 2011 has now come and gone that it will not be remembered among the stronger years of recent cinema; countless prestige pics (The Iron Lady, J. Edgar, The Lady) proved disappointing, more so than is regularly anticipated, while blockbuster fare, though solid, didn’t deliver any Inception or Toy Story 3-caliber outings. There were, however, some wonderful genre films populating the later months of the year, including peculiarly tantalising sci-fi and sports films, as well as the British horror scene’s most diverting entry in years. Add to that some profound meditations on parenting, the film industry, memory, addiction, animal cruelty and domestic abuse, and you have what is nevertheless as diverse a year as any, even if it possibly lacked that one affirmative zeitgeist film that is going to be talked about not only in art house circles but in pub discussions for years to come.
- 1/25/2012
- by Shaun Munro
- Obsessed with Film
It seems like it was only yesterday when I posted the best trailers of 2010 with the trailer for Terrence Malick’s Tree Of Life taking top honours. As we continue our look back at 2011, we’re once again reminded of a few things: Movie trailers have become a medium unto themselves, but you should never pre-judge a movie by its trailer, nor should you ever raise your expectations for a film too high based on the neatly packaged two minutes of footage we get. Remember folks, great expectations only lead to big disappointments. Sometimes we’re so excited to watch the first footage from a movie that we forget they are presenting only a glimpse at what is usually an unfinished project. Case in point: Many fanboys were up and arms over the dodgy effects in the Green Lantern trailers earlier this year, not realizing the effects were not yet fully completed.
- 12/27/2011
- by Ricky
- SoundOnSight
Thomas Newman and Michael Giacchino Each Have Four Of The 97 Scores Eligible For Best Original Score
Of the 265 films eligible [1] for Oscars at the 84th Annual Academy Awards in February, 97 of them have been deemed worthy to be nominated for Best Original Score. Thomas Newman (The Adjustment Bureau, The Debt, The Help, The Iron Lady) and Michael Giacchino (Cars 2, Mission: Impossible - Ghost Protocol, Monte Carlo, Super 8) lead all eligible composers with four films this year while Alexandre Desplat (Extremely Loud & Incredibly Close, Harry Potter and the Deathly Hallows Part 2, The Ides of March), Tyler Bates (Conan the Barbarian, The Darkest Hour, The Way), Mark Isham (The Conspirator, Dolphin Tale, Warrior) and Henry Jackman (Puss in Boots, Winnie the Pooh, X-Men First Class) all have three. Other familiar names are on the list too such as John Williams (The Adventures of Tintin, War Horse), James Newton Howard (Green Lantern, Water for Elephants) and Danny Elfman (Real Steel, Restless) who along with Alberto Iglesias (The Skin I Live In,...
- 12/23/2011
- by Germain Lussier
- Slash Film
The Academy of Motion Picture Arts and Sciences has announced that ninety-seven scores from eligible feature-length motion pictures are in contention for nominations in the Original Score category for the 84th Academy Awards®.
The eligible scores along with the composer are listed below in alphabetical order by film title:
“The Adjustment Bureau,” Thomas Newman, composer
“The Adventures of Tintin,” John Williams, composer
“African Cats,” Nicholas Hooper, composer
“Albert Nobbs,” Brian Byrne, composer
“Alvin and the Chipmunks: Chipwrecked,” Mark Mothersbaugh, composer
“Anonymous,” Thomas Wander and Harald Kloser, composers
“Another Earth,” Phil Mossman and Will Bates, composers
“Answers to Nothing,” Craig Richey, composer
“Arthur Christmas,” Harry Gregson-Williams, composer
“The Artist,” Ludovic Bource, composer
“@urFRENZ,” Lisbeth Scott, composer
“Atlas Shrugged Part 1,” Elia Cmiral, composer
“Battle: Los Angeles,” Brian Tyler, composer
“Beastly,” Marcelo Zarvos, composer
“The Big Year,” Theodore Shapiro, composer
“Captain America: The First Avenger,” Alan Silvestri, composer
“Cars 2,” Michael Giacchino, composer
“Cedar Rapids,...
The eligible scores along with the composer are listed below in alphabetical order by film title:
“The Adjustment Bureau,” Thomas Newman, composer
“The Adventures of Tintin,” John Williams, composer
“African Cats,” Nicholas Hooper, composer
“Albert Nobbs,” Brian Byrne, composer
“Alvin and the Chipmunks: Chipwrecked,” Mark Mothersbaugh, composer
“Anonymous,” Thomas Wander and Harald Kloser, composers
“Another Earth,” Phil Mossman and Will Bates, composers
“Answers to Nothing,” Craig Richey, composer
“Arthur Christmas,” Harry Gregson-Williams, composer
“The Artist,” Ludovic Bource, composer
“@urFRENZ,” Lisbeth Scott, composer
“Atlas Shrugged Part 1,” Elia Cmiral, composer
“Battle: Los Angeles,” Brian Tyler, composer
“Beastly,” Marcelo Zarvos, composer
“The Big Year,” Theodore Shapiro, composer
“Captain America: The First Avenger,” Alan Silvestri, composer
“Cars 2,” Michael Giacchino, composer
“Cedar Rapids,...
- 12/23/2011
- by Michelle McCue
- WeAreMovieGeeks.com
I was actually beginning to believe Cliff Martinez's score for Drive may actually have a shot with all the love it has received in the precursor awards, but last night the Academy announced the list of 97 scores eligible for Best Original Score at the 2012 Oscars and, oops, what do you know, both Drive and Attack the Block didn't make the cut. The only other score I had on my current list of predictions for the category to not make the cut was Howard Shore's music for David Cronenberg's A Dangerous Method. Why? Well, I would assume somewhere inside there the rules for requirement weren't met. As per the Academy, "To be eligible, the original score must be a substantial body of music that serves as original dramatic underscoring, and must be written specifically for the motion picture by the submitting composer. Scores diluted by the use of...
- 12/23/2011
- by Brad Brevet
- Rope of Silicon
Yesterday the Academy of Motion Pictures Arts and Sciences released the 97 original film scores that will running for the final five nominations for the Best Original Score category at the upcoming 84h Academy Awards. Billy Crystal will be hosting the annual awards show, which be presented on February 26, 2012. Some how I am not surprised that Attack the Block got nixed, seeing that Tron: Legacy pretty much got the same treatment last year. Glad to see that Henry Jackman’s X-Men: First Class is getting a nod, and of course Trent Reznor and Atticus Ross had to be in it. Check out the full list below.
December 22, 2011
For Immediate Release
97 Original Scores in 2011 Oscar® Race
Beverly Hills, CA – Ninety-seven scores from eligible feature-length motion pictures are in contention for nominations in the Original Score category for the 84th Academy Awards®, the Academy of Motion Picture Arts and Sciences announced today.
The...
December 22, 2011
For Immediate Release
97 Original Scores in 2011 Oscar® Race
Beverly Hills, CA – Ninety-seven scores from eligible feature-length motion pictures are in contention for nominations in the Original Score category for the 84th Academy Awards®, the Academy of Motion Picture Arts and Sciences announced today.
The...
- 12/23/2011
- by Mike Lee
- FusedFilm
Way back in the day, The Playlist started as a site focused principally on the places where movies and music met, and in particular, on scores and soundtracks. We've widened our net in the intervening years simply because that sole focus felt too small and we're movie lovers just as much as music lovers, but that interest has never gone away. And how could it? In many ways, we've reached the most interesting time in film scoring in years, with 2011 in particular seeing a number of electronic artists bringing the synth back into fashion in a big way. Between these and last year's Daft Punk-abled "Tron: Legacy" score, has there ever been a time when movie music has been so, well, danceable? But it's not all about the beats: veterans like Alberto Iglesias and Howard Shore pulled in sterling, more old-fashioned work this year, while rising stars like Chris Bacon,...
- 12/14/2011
- The Playlist
The Cinema Eye Honors revealed the nominees for the 5th Annual Awards honoring Non-Fiction Filmmaking. Winners will be announced on January 11. Here's the list of the 2012 Cinema Eye Honors:
Outstanding Achievement in Nonfiction Feature Filmmaking:
"The Arbor," Directed by Clio Barnard, Produced by Tracy O.Riordan
"Senna," Directed by Asif Kapadia; Produced by James Gay-Rees, Tim Bevan and Eric Fellner
"Project Nim," Directed by James Marsh, Produced by Simon Chinn
"Position Among the Stars," Directed by Leonard Retel Helmrich, Produced by Hetty Naaijkens-Retel Helmrich
"Nostalgia for the Light," Directed by Patricio Guzmán, Produced by Renate Sachse
"The Interrupters," Directed by Steve James, Produced by Alex Kotlowitz and Steve James
Outstanding Achievement in Direction:
Clio Barnard for "The Arbor"
Leonard Retel Helmrich for "Position Among the Stars"
Patricio Guzmán for "Nostalgia for the Light"
Steve James for "The Interrupters"
Danfung Dennis for "Hell and Back Again"
Outstanding Achievement in Production:
Erik Nelson...
Outstanding Achievement in Nonfiction Feature Filmmaking:
"The Arbor," Directed by Clio Barnard, Produced by Tracy O.Riordan
"Senna," Directed by Asif Kapadia; Produced by James Gay-Rees, Tim Bevan and Eric Fellner
"Project Nim," Directed by James Marsh, Produced by Simon Chinn
"Position Among the Stars," Directed by Leonard Retel Helmrich, Produced by Hetty Naaijkens-Retel Helmrich
"Nostalgia for the Light," Directed by Patricio Guzmán, Produced by Renate Sachse
"The Interrupters," Directed by Steve James, Produced by Alex Kotlowitz and Steve James
Outstanding Achievement in Direction:
Clio Barnard for "The Arbor"
Leonard Retel Helmrich for "Position Among the Stars"
Patricio Guzmán for "Nostalgia for the Light"
Steve James for "The Interrupters"
Danfung Dennis for "Hell and Back Again"
Outstanding Achievement in Production:
Erik Nelson...
- 12/11/2011
- by Manny
- Manny the Movie Guy
When it comes to director/screenwriter Steve McQueen and screenwriter Abi Morgan’s film about living a life of secrets (and what it does to those who carry them), much more is said with their characters’ actions than any of the words that pass through their lips. Even more so when it seems most of the words that are said are unreliable and laced with the feeling that they are not simply lies, but lies each are telling themselves. Shame shows us a complicated and layered world that is both enticing and chilling, begging the question – what kind of music would underscore and accompany these distinctive moments? A mix of score (by composer Harry Escott), piano concertos (as performed by Glenn Gould), jazz (John Coltrane and Chet Baker) and popular music (from Tom Tom Club, Blondie and Chic) come together to create a musical landscape that is both sexy and unsettling while also deeply sad, troubling...
- 12/1/2011
- by Allison Loring
- FilmSchoolRejects.com
Michael Fassbender tears up the screen in Steve McQueen‘s Shame. The actor offered a quietly evocative and committed performance in McQueen‘s profound debut Hunger, but that was a film that worked with multiple narrative fibers. In Shame, though, Fassbender‘s Brandon, a thirty-something New Yorker whose life as a trite office worker is spiced up by his consuming sexual addiction, is front and center from start to finish, and he sets the film ablaze with an internalized ferocity that provides Shame with its primitive, threatening nucleus.
The screenplay, co-written by McQueen and Abi Morgan (The Iron Lady), bookends the film with subtle magnificence. In the flat-out sensational opening sequence, McQueen and Fassbender evoke the visceral clockwork of Brandon’s daily existence, which is dominated by an animalistic sexual hunger — sex on the Internet, sex with call girls, solo sex in the bathroom at work, even eye-centered sex with...
The screenplay, co-written by McQueen and Abi Morgan (The Iron Lady), bookends the film with subtle magnificence. In the flat-out sensational opening sequence, McQueen and Fassbender evoke the visceral clockwork of Brandon’s daily existence, which is dominated by an animalistic sexual hunger — sex on the Internet, sex with call girls, solo sex in the bathroom at work, even eye-centered sex with...
- 12/1/2011
- by jpraup@gmail.com (thefilmstage.com)
- The Film Stage
I had the pleasure of seeing Steve McQueen‘s Shame for a second time this week, reconfirming it as one of my favorite films of the year. The story of sex addiction, played out by Michael Fassbender, is a masterwork in amping up and then releasing tension, resulting in a stunning experience that isn’t easy to shake.
We have a few new pieces from the film today, the first being the official UK poster, which debuted exclusively on Twitter, also including co-star Carey Mulligan. We also have details for the soundtrack from FilmMusicReporter, which I can’t wait to pick up. It features the score from composer Harry Escott, as well as songs by Blondie, Chic, Tom Tom Club and more. Check out the details below.
Sony Music will be releasing a soundtrack album for the drama Shame. The album features selections from the original score from the film by composer Harry Escott,...
We have a few new pieces from the film today, the first being the official UK poster, which debuted exclusively on Twitter, also including co-star Carey Mulligan. We also have details for the soundtrack from FilmMusicReporter, which I can’t wait to pick up. It features the score from composer Harry Escott, as well as songs by Blondie, Chic, Tom Tom Club and more. Check out the details below.
Sony Music will be releasing a soundtrack album for the drama Shame. The album features selections from the original score from the film by composer Harry Escott,...
- 11/16/2011
- by jpraup@gmail.com (thefilmstage.com)
- The Film Stage
By Sean O’Connell
hollywoodnews.com: An Oscar campaign I’m anxious to track this season is the one Fox Searchlight plans to mount on behalf of Steve McQueen’s “Shame.” Because the film is Oscar-worthy on virtually every level – from direction and composition to performance. Yet the frank treatment of a delicate subject matter (sex) could make some squeamish. Let’s just hope that doesn’t count against it in the ongoing race.
The studio reveals an interactive site this morning that introduces audiences to McQueen’s style. Harry Escott’s haunting score underlies the site, which allows you to explore information on Michael Fassbender and Carey Mulligan, both mesmerizing playing a sex addict and his sister, who’s either in town to help him or to seek assistance for her own issues.
Searchlight shouldn’t have to work so hard to campaign for “Shame.” Screen it, and let...
hollywoodnews.com: An Oscar campaign I’m anxious to track this season is the one Fox Searchlight plans to mount on behalf of Steve McQueen’s “Shame.” Because the film is Oscar-worthy on virtually every level – from direction and composition to performance. Yet the frank treatment of a delicate subject matter (sex) could make some squeamish. Let’s just hope that doesn’t count against it in the ongoing race.
The studio reveals an interactive site this morning that introduces audiences to McQueen’s style. Harry Escott’s haunting score underlies the site, which allows you to explore information on Michael Fassbender and Carey Mulligan, both mesmerizing playing a sex addict and his sister, who’s either in town to help him or to seek assistance for her own issues.
Searchlight shouldn’t have to work so hard to campaign for “Shame.” Screen it, and let...
- 11/9/2011
- by Sean O'Connell
- Hollywoodnews.com
Rating: 4 out of 5 stars
Film theorist Laura Mulvey famously once wrote of the “male gaze”, the idea that films, being predominantly written and directed by men, inherently unfold visually from a male point of view, lingering on the female form and typically denying agency to a fully-realised female perspective. Even Mulvey, however, might approve of how that gaze is appropriated in Steve McQueen’s harrowing drama about sexual addiction, Shame. This disturbing follow up to McQueen’s incredible debut, Hunger, places us at arm’s length from a man daring to indulge his id to the fullest extent, and primarily as a result of rising star Michael Fassbender’s searing performance, it might just be cinema’s authoritative take on the subject.
The film’s opening scene – a hypnotic and exhilarating carousel of images – provides us with an insight into marketing executive Brandon’s (Fassbender) life; blinds open, signaling both...
Film theorist Laura Mulvey famously once wrote of the “male gaze”, the idea that films, being predominantly written and directed by men, inherently unfold visually from a male point of view, lingering on the female form and typically denying agency to a fully-realised female perspective. Even Mulvey, however, might approve of how that gaze is appropriated in Steve McQueen’s harrowing drama about sexual addiction, Shame. This disturbing follow up to McQueen’s incredible debut, Hunger, places us at arm’s length from a man daring to indulge his id to the fullest extent, and primarily as a result of rising star Michael Fassbender’s searing performance, it might just be cinema’s authoritative take on the subject.
The film’s opening scene – a hypnotic and exhilarating carousel of images – provides us with an insight into marketing executive Brandon’s (Fassbender) life; blinds open, signaling both...
- 10/14/2011
- by Shaun Munro
- Obsessed with Film
By Sean O’Connell
Hollywoodnews.com: It’s a legitimate challenge. How does a studio sell Steve McQueen’s “Shame,” the compelling story of a sex addict (Michael Fassbender), to the popcorn crowd?
Arthouse ticket buyers are in. You know that. They’ve read the reviews from Venice and Toronto. They’ve seen “Hunger.” They are chomping at the bit to see “Shame,” and they’ll get their chance on Dec. 2.
But Fox Searchlight wants this riveting film to reach larger audiences … and they’d like to see it in the Oscar race. So they have to market the film’s strengths. And this new trailer, I think, establishes the film’s mood and tone right out of the gate. So much is conveyed with a look, a pregnant pause. “Shame” speaks volumes about compulsion, addiction and regret. And all of that is captured in the scenes chosen for this clip,...
Hollywoodnews.com: It’s a legitimate challenge. How does a studio sell Steve McQueen’s “Shame,” the compelling story of a sex addict (Michael Fassbender), to the popcorn crowd?
Arthouse ticket buyers are in. You know that. They’ve read the reviews from Venice and Toronto. They’ve seen “Hunger.” They are chomping at the bit to see “Shame,” and they’ll get their chance on Dec. 2.
But Fox Searchlight wants this riveting film to reach larger audiences … and they’d like to see it in the Oscar race. So they have to market the film’s strengths. And this new trailer, I think, establishes the film’s mood and tone right out of the gate. So much is conveyed with a look, a pregnant pause. “Shame” speaks volumes about compulsion, addiction and regret. And all of that is captured in the scenes chosen for this clip,...
- 10/14/2011
- by Sean O'Connell
- Hollywoodnews.com
Shame
Written by Abi Morgan and Steve McQueen
Directed by Steve McQueen
2011, UK
Shame, Steve McQueen’s sophomore film and second collaboration with Michael Fassbender, is a compelling and timely examination of sexual compulsion in the modern world. Fassbender is Brandon, a successful thirty-something Irish immigrant living in Manhattan, whose sexual addiction borders on self-destruction. Brandon lives comfortably from a materialistic point of view, but ultimately leads a repetitive, empty life, void of any real emotional connections. His daily rituals revolve around his search for a sexual outlet. He surfs the web for porn day and night, at home or at work. He seduces women in bars, on the subway and on the street, and if he can’t find someone, he goes home to interact with the next best thing; live webcam girls who perform to his every desire. Whatever the release is, it’s Brandon’s way of coping,...
Written by Abi Morgan and Steve McQueen
Directed by Steve McQueen
2011, UK
Shame, Steve McQueen’s sophomore film and second collaboration with Michael Fassbender, is a compelling and timely examination of sexual compulsion in the modern world. Fassbender is Brandon, a successful thirty-something Irish immigrant living in Manhattan, whose sexual addiction borders on self-destruction. Brandon lives comfortably from a materialistic point of view, but ultimately leads a repetitive, empty life, void of any real emotional connections. His daily rituals revolve around his search for a sexual outlet. He surfs the web for porn day and night, at home or at work. He seduces women in bars, on the subway and on the street, and if he can’t find someone, he goes home to interact with the next best thing; live webcam girls who perform to his every desire. Whatever the release is, it’s Brandon’s way of coping,...
- 9/18/2011
- by Ricky
- SoundOnSight
Three years after their first collaboration—and the director’s debut film—Steve McQueen and star Michael Fassbender return with the viscerally intense Shame. To call a movie assured to receive an Nc-17 rating more mainstream than their previous Hunger is insane, but it’s true. Whereas that film took a more formal approach to the medium, leaving us in a visually stunning world without introducing the lead character until about a third of the way in, Shame definitely has more of a narrative voice. With that said, however, McQueen’s improved aesthetic style has remained. Utilizing the same masterful strokes of mise en scène, he transports us into Brandon’s (Fassbender) unstable existence. The juxtaposition of confident smirk on the prowl with vulnerable lost soul unable to overcome addiction resonates through the long takes, over-powering score, and in-your-face imagery. Combining to form a gut-punch of emotion, this film sends...
- 9/13/2011
- by jpraup@gmail.com (thefilmstage.com)
- The Film Stage
"Michael Fassbender and Carey Mulligan give dynamite performances in Shame, a terrific second feature from the British artist Steve McQueen," begins the Guardian's Xan Brooks. "Fassbender is Brandon, a sex-addicted corporate drone, directing a radioactive stare at random women across the aisle on the New York subway. Mulligan plays Sissy, his sister, who sings for her supper, self-harms for kicks and is surely pointed towards disaster. 'We're not bad people,' Sissy assures her sibling. 'We just come from a bad place.'"
"If Hunger, artist-turned-filmmaker Steve McQueen's remarkable debut feature, was a study of a body strenuously denied its fundamental needs, his satisfyingly rigorous, explicit follow-up, Shame, traces the very different damage done by a body over-gifted with wants." Guy Lodge at In Contention: "Hunger was a film that dismantled known history and re-presented it in highly sensual, imagistic terms. The new film might be a foray into...
"If Hunger, artist-turned-filmmaker Steve McQueen's remarkable debut feature, was a study of a body strenuously denied its fundamental needs, his satisfyingly rigorous, explicit follow-up, Shame, traces the very different damage done by a body over-gifted with wants." Guy Lodge at In Contention: "Hunger was a film that dismantled known history and re-presented it in highly sensual, imagistic terms. The new film might be a foray into...
- 9/6/2011
- MUBI
Harry Escott has recently recorded his score for the upcoming drama Shame. The movie is directed by Steve McQueen who previously directed the 2008 BAFTA-nominated drama Hunger. Shame stars Michael Fassbender, Carey Mulligan, James Badge Dale, Nicole Beharie and Hannah Ware. The drama centers on a thirtysomething man living in New York who is battling his sex addiction and has to deal with the arrival of his troubled sister. McQueen co-wrote the screenplay with Abi Morgan (Brick Lane, the upcoming The Iron Lady). Iain Canning and Emile Sherman (The King’s Speech) are producing. Shame is set for a world premiere at the Toronto Film Festival next month. Momentum Pictures has recently announced a release date on January 13, 2012 in the UK. The movie has also distribution set in place in many international territories. A domestic distribution deal has yet to be announced.
Escott is best known for scoring the critically acclaimed...
Escott is best known for scoring the critically acclaimed...
- 8/6/2011
- by filmmusicreporter
- Film Music Reporter
- First time feature filmmakers Steve McQueen’s Hunger and Martin McDonagh’s In Bruges are the toast of the 11th British Independent Film nominations this year -- each share a total of seven nominations a piece, while Danny Boyle’s Slumdog Millionaire has a total of six noms in five categories and should be a serious contender in at least the screenwriting category. I’d be surprised if the votes get split equally between McQueen and McDonagh’s respective pictures, Cannes-winning Hunger carries some serious critical weight behind it. Best acting nods should go to Sally Hawkins and Michael Fassbender should come ready with a speech in hand. Here is the complete list of noms:… British Independent Film"Hunger""In Bruges""Man on Wire""Slumdog Millionaire""Somers Town" Actress Vera Farmiga, "The Boy in the Striped Pajamas"Sally Hawkins, "Happy-Go-Lucky"Keira Knightley, "The Duchess"Samantha Morton, "The Daisy Chain"Kelly Reilly,
- 11/24/2008
- IONCINEMA.com
The nominees for the eleventh annual British Independent Film Awards (BIFAs) have been announced. On Tuesday, October 28, at Soho House in London, it is unveiled that IRA prison drama "Hunger" and crime comedy "In Bruges" have dominated the list by collecting seven nominations each.
Both of them will battle it out for the title of Best British Independent Film, contending also with "Slumdog Millionaire", "Man on Wire" and "Somers Town". They will also go head-to-head for Best Screenplay and Best Debut Director. The latter is also known as The Douglas Hickox Award.
On the performers' category, past Variety Award recipient Keira Knightley has been nominated for Best Actress for her performance in "The Duchess". She will be facing Vera Farmiga, Samantha Morton, Kelly Reilly and Sally Hawkins. Moreover, "In Bruges" star Colin Farrell will be up against Michael Fassbender, Brendan Gleeson, Riz Ahmed and Thomas Turgoose for the Best Actor.
Both of them will battle it out for the title of Best British Independent Film, contending also with "Slumdog Millionaire", "Man on Wire" and "Somers Town". They will also go head-to-head for Best Screenplay and Best Debut Director. The latter is also known as The Douglas Hickox Award.
On the performers' category, past Variety Award recipient Keira Knightley has been nominated for Best Actress for her performance in "The Duchess". She will be facing Vera Farmiga, Samantha Morton, Kelly Reilly and Sally Hawkins. Moreover, "In Bruges" star Colin Farrell will be up against Michael Fassbender, Brendan Gleeson, Riz Ahmed and Thomas Turgoose for the Best Actor.
- 10/29/2008
- by AceShowbiz.com
- Aceshowbiz
London -- "Hunger," Steve McQueen's portrait of 1981 Ira hunger striker Bobby Sands, and Martin McDonagh's "In Bruges" led the way as nominations for this year's British Independent Film Awards were unveiled Tuesday, taking seven apiece.
Danny Boyle's "Slumdog Millionaire" followed closely with six noms, while the micro-budgeted "Shifty," directed by Eran Creevy, took five.
"Hunger," "Bruges" and "Millionaire" are each in the running for best British Independent Film, joining "Man on Wire" and "Somers Town."
But McDonagh missed out on a nomination in the best director category. The contenders for that award include McQueen, Boyle, Mark Herman ("The Boy in the Striped Pyjamas"), Shane Meadows ("Somers Town") and Garth Jennings ("Son of Rambow").
Michael Fassbender's turn in "Hunger" sees him nominated in the best actor category, where he'll face off with "In Bruges" stars Colin Farrell and Brendan Gleeson as well as Riz Ahmed ("Shifty") and...
Danny Boyle's "Slumdog Millionaire" followed closely with six noms, while the micro-budgeted "Shifty," directed by Eran Creevy, took five.
"Hunger," "Bruges" and "Millionaire" are each in the running for best British Independent Film, joining "Man on Wire" and "Somers Town."
But McDonagh missed out on a nomination in the best director category. The contenders for that award include McQueen, Boyle, Mark Herman ("The Boy in the Striped Pyjamas"), Shane Meadows ("Somers Town") and Garth Jennings ("Son of Rambow").
Michael Fassbender's turn in "Hunger" sees him nominated in the best actor category, where he'll face off with "In Bruges" stars Colin Farrell and Brendan Gleeson as well as Riz Ahmed ("Shifty") and...
- 10/28/2008
- by By Stuart Kemp
- The Hollywood Reporter - Movie News
PARK CITY -- Veteran documentary filmmaker Nick Broomfield makes an impressive leap to features with "Ghosts", a story of illegal Chinese immigrants in the U.K. Based on actual events and using nonprofessional actors, the film has the immediacy of a well-made documentary and the character arc of a good narrative film.
While immigrant issues are very much in the news, specifics unique to Britain and the gritty reality of the story might limit its theatrical potential in the U.S. But it should play very nicely on cable outlets.
About 3 million illegal immigrants make up the bedrock of the English labor force. Not surprisingly, it's a horrible life. Broomfield, who co-wrote the screenplay with Jez Lewis, displays a keen sense of story and has chosen a charismatic novice, Ai Quin Lin, to play a variation of herself and serve as a way into this hidden world.
The film opens with a gripping sequence in which a group of immigrants are digging for cockles at low tide and become stranded on top of their van as water and a storm rush in. From here, Broomfield cuts back a year to see where this all started.
Ai Quin is a single mother living with her family in the Fujian Province, but she can't make enough money working in the rice fields to support her infant son. So she borrows $25,000 to pay the "Snakehead" gangs to smuggle her into England. Forced into near slavery as part of a crew of immigrants run by Mr. Lin (Zhan Yu), Ai Quin is brought to live in a two-bedroom flat with 11 others, sleeping on a dirty mattress on the floor. Using forged work papers, she gets a series of menial jobs for meager pay. Watching her gutting ducks in a meat-packing plant is enough to make anyone swear off poultry.
Gradually she falls into a routine, and we get to know her and her fellow immigrants. All of them are in the same boat, even Mr. Lin and his haughty Chinese girlfriend. Mr. Lin proves to be a more complex character than the money-grubbing bully he first appears. He has done a little better than the others and now exploits them, but he is there for the same reasons. When he can no longer bribe the ghosts (all white people are referred to as ghosts) at the employment office, the group sets out for what they hope is a more profitable job -- digging for cockles in Morecambe Bay. But the local workers resent the Chinese, and in a beautifully staged and shot scene, a bunch of ghosts attack them in the sand and steal their haul.
And this is where we came in. Suffice it to say, it doesn't end well for many of them. In fact, this incident is based on a real-life tragedy in which 23 Chinese immigrants drowned in the bay while digging for cockles.
Combining his instinct for documentary with a sharp eye for framing, aided by cinematographer Mark Wolf, Broomfield has made a very handsome-looking first feature. He has kept things appropriately sparse, filming with a documentary-size crew of only five. The score by Molly Nyman and Harry Escott, together with a large selection of Chinese songs, adds to the feeling of authenticity.
GHOSTS
A Channel 4 presentation of a Lafayette Films production
Credits:
Director: Nick Broomfield
Screenwriter: Nick Broomfield, Jez Lewis
Producer: Nick Broomfield, Jez Lewis
Executive producer: Charles Finch
Director of photography: Mark Wolf
Production designer: David Bryan
Music: Molly Nyman, Harry Escott
Editor: Peter Christelis
Cast:
Ai Quin: Ai Quin Lin
Mr. Lin: Zhan Yu
Xiao Li: Zhe Wei
Robert: Shaun Gallagher
Running time -- 96 minutes
No MPAA rating...
While immigrant issues are very much in the news, specifics unique to Britain and the gritty reality of the story might limit its theatrical potential in the U.S. But it should play very nicely on cable outlets.
About 3 million illegal immigrants make up the bedrock of the English labor force. Not surprisingly, it's a horrible life. Broomfield, who co-wrote the screenplay with Jez Lewis, displays a keen sense of story and has chosen a charismatic novice, Ai Quin Lin, to play a variation of herself and serve as a way into this hidden world.
The film opens with a gripping sequence in which a group of immigrants are digging for cockles at low tide and become stranded on top of their van as water and a storm rush in. From here, Broomfield cuts back a year to see where this all started.
Ai Quin is a single mother living with her family in the Fujian Province, but she can't make enough money working in the rice fields to support her infant son. So she borrows $25,000 to pay the "Snakehead" gangs to smuggle her into England. Forced into near slavery as part of a crew of immigrants run by Mr. Lin (Zhan Yu), Ai Quin is brought to live in a two-bedroom flat with 11 others, sleeping on a dirty mattress on the floor. Using forged work papers, she gets a series of menial jobs for meager pay. Watching her gutting ducks in a meat-packing plant is enough to make anyone swear off poultry.
Gradually she falls into a routine, and we get to know her and her fellow immigrants. All of them are in the same boat, even Mr. Lin and his haughty Chinese girlfriend. Mr. Lin proves to be a more complex character than the money-grubbing bully he first appears. He has done a little better than the others and now exploits them, but he is there for the same reasons. When he can no longer bribe the ghosts (all white people are referred to as ghosts) at the employment office, the group sets out for what they hope is a more profitable job -- digging for cockles in Morecambe Bay. But the local workers resent the Chinese, and in a beautifully staged and shot scene, a bunch of ghosts attack them in the sand and steal their haul.
And this is where we came in. Suffice it to say, it doesn't end well for many of them. In fact, this incident is based on a real-life tragedy in which 23 Chinese immigrants drowned in the bay while digging for cockles.
Combining his instinct for documentary with a sharp eye for framing, aided by cinematographer Mark Wolf, Broomfield has made a very handsome-looking first feature. He has kept things appropriately sparse, filming with a documentary-size crew of only five. The score by Molly Nyman and Harry Escott, together with a large selection of Chinese songs, adds to the feeling of authenticity.
GHOSTS
A Channel 4 presentation of a Lafayette Films production
Credits:
Director: Nick Broomfield
Screenwriter: Nick Broomfield, Jez Lewis
Producer: Nick Broomfield, Jez Lewis
Executive producer: Charles Finch
Director of photography: Mark Wolf
Production designer: David Bryan
Music: Molly Nyman, Harry Escott
Editor: Peter Christelis
Cast:
Ai Quin: Ai Quin Lin
Mr. Lin: Zhan Yu
Xiao Li: Zhe Wei
Robert: Shaun Gallagher
Running time -- 96 minutes
No MPAA rating...
- 1/29/2007
- The Hollywood Reporter - Movie News
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