It was an historic night for female filmmakers at the British Independent Film Awards, with 10 of the night’s biggest awards going to women or films directed by them. The biggest winner of the night was “Aftersun,” which won Best British Independent Film, as well as Best Director, Best Screenplay, and Best Debut Director for Charlotte Wells. The film also took home prizes for cinematography, editing, and music supervision.
Georgia Oakley’s “Blue Jean” also had a strong showing, with Rosy McEwen winning Best Lead Performance and Kerrie Hayes winning Best Supporting Performance and Oakley winning Best Debut Screenwriter. Shaheen Baig also won Best Casting for the film.
Despite facing stiff competition from the likes of “Decision to Leave” and “Everything Everywhere All at Once,” Joachim Trier’s “The Worst Person in the World” won Best International Independent Film.
Keep reading for the complete list of nominees from the 2022 British Independent Film Awards,...
Georgia Oakley’s “Blue Jean” also had a strong showing, with Rosy McEwen winning Best Lead Performance and Kerrie Hayes winning Best Supporting Performance and Oakley winning Best Debut Screenwriter. Shaheen Baig also won Best Casting for the film.
Despite facing stiff competition from the likes of “Decision to Leave” and “Everything Everywhere All at Once,” Joachim Trier’s “The Worst Person in the World” won Best International Independent Film.
Keep reading for the complete list of nominees from the 2022 British Independent Film Awards,...
- 12/4/2022
- by Christian Zilko
- Indiewire
The premise of Prano Bailey-Bond’s Sundance Midnight selection opener is so strong that it’s little wonder the film can’t quite live up — or perhaps down — to it: In a Thatcher’s Britain riven by tabloid-fueled “video nasty” hysteria, a young woman working for the national censorship board is assessing a horror flick, when it triggers sudden flashbacks to a traumatic, amnesiac episode in her own life. Given the ongoing debates around censorship — and its trendier 2020s companion, “cancellation” — and the relationship between screen violence and its real-life counterpart, not to mention the grungy exploitation aesthetic of the no-budget films it references, “Censor” dangles the prospect of topical, ticklish provocation that will prove offensive to some sensibilities. And offense, in a time of pandemic numbness, is tantalizing in itself: at least you’re feeling something.
Initially, at least, “Censor” teases in that direction. The witty opening segues from snowy,...
Initially, at least, “Censor” teases in that direction. The witty opening segues from snowy,...
- 1/29/2021
- by Jessica Kiang
- Variety Film + TV
Prano Bailey-Bond’s psychological horror “Censor,” which opens Sundance’s Midnight section Thursday, is a twisted, bloody love letter to the low-budget horror films of the 1980s. Variety spoke to the young British helmer, who was recently named as one of Variety’s “10 Directors to Watch.”
In “Censor,” a young woman, Enid, is seen at work as a film censor in Britain in the 1980s, a time when the growing popularity of VHS players had led to a boom in cheaply made horror films, which soon acquired the nickname “video nasties” in the tabloid press. After a gruesome killing, which the press claims was inspired by a horror film, Enid finds herself in the eye of a media storm, as she had passed the film for distribution.
Bailey-Bond places the media’s “hysterical reaction” to these “video nasties” against the backdrop of Margaret Thatcher’s Britain, a time of social and political strife.
In “Censor,” a young woman, Enid, is seen at work as a film censor in Britain in the 1980s, a time when the growing popularity of VHS players had led to a boom in cheaply made horror films, which soon acquired the nickname “video nasties” in the tabloid press. After a gruesome killing, which the press claims was inspired by a horror film, Enid finds herself in the eye of a media storm, as she had passed the film for distribution.
Bailey-Bond places the media’s “hysterical reaction” to these “video nasties” against the backdrop of Margaret Thatcher’s Britain, a time of social and political strife.
- 1/28/2021
- by Leo Barraclough
- Variety Film + TV
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