Why has cinema found football to be such a tricky customer? Football scenes in film and television are traditionally very awkward affairs, with the "defenders" tip-toeing nervously around the "attackers" as they advance, the goal finally coming via the sort of impractical flying volley you just never see on a real pitch. It's clearly very difficult to let someone score a script-dictated goal while pretending to try to stop them but, at the same time, trying not to look like you're pretending to try to stop them. Perhaps they teach it at Rada, who knows?
Furthermore, filmmakers have the challenge of adding a fictional big-screen gloss to what is already an overwhelmingly camera-friendly and consistently dramatic spectacle in its own right. Real-life football already has its own "script
An expanded New Frontier will showcase installations, performance, transmedia and panel discussion section. Most of the installations will be housed at a new, 5,000-square-foot location at the Gateway in Park City adjacent to Main Street.
Doug Aitken’s The Source (Evolving) will occur at a nearby location along Main Street.
“As human and machine, biological and media experiences blur and hybridise, the distinctions between them are also becoming irrelevant,” said curator of the exhibition and Sundance Film Festival senior programmer Shari Frilot.
“The digital and the organic integrally constitute a new primordial pool. What does creativity and storytelling look like if we revel in this new way of being?”
“This year’s expanded New Frontier allows artists to continue pushing the boundaries in telling their stories,” said Sundance
Shock And Gore, Birmingham
Like all good horror festivals, this is a mix of old classics and new blood, the latter led by James "Saw" Wan's Amityville-like The Conjuring. Talking of blood, Xan Cassavetes makes her fiction debut with modern vampire flick Kiss Of The Damned, while a post-dinner dare game gets horribly messy in Would You Rather. For the more civilised there's Coppola's Dracula, and for the sincerely debauched, Saturday is an all-nighter, with films, parties, horror-director guests and offbeat awards such as Best Death and Worst Nicolas Cage Movie.
Various venues, Sat to 25 Jul
British Airways Silent Picturehouse, London
Cementing the relationship between movies and air travel, BA transforms the arched caverns of Vinopolis into a sumptuous cinema lounge this week, where you can choose between five films playing simultaneously (in different
You don't need to know, or care, about motor racing to enjoy Senna. In sports-cinema terms, it's closer to something like Douglas Gordon and Philippe Parreno's Zidane than recent releases like TT3D or From the Ashes: an inventively crafted portrait of an exceptional individual. Yes, we're taken chronologically through the Brazilian driver's stellar track career, with team-mate Alain Prost as his Dick Dastardly-like arch-rival. But beneath the helmet, Ayrton Senna was a fascinating, contradictory mix of religious faith, boyish innocence, global celebrity and reckless determination; you couldn't have made a film like this about Nigel Mansell. The film's masterstroke is its exclusive use of archive footage, with no visible talking heads or modern-day interruptions. With so much recorded footage of Formula One available, it has been possible to fashion Senna
The moving image is much more artistically interesting than the still photograph, to me anyway. The photographic image is not as rich as a painting or a drawing – until it starts to move. The films of Alfred Hitchcock and Luchino Visconti offer poetic images that go far beyond photographs.
But another example of the way moving images are more complex than still photographs is the genre of the filmed portrait. Richard Phillips's 98-second film Lindsay Lohan, which is about to be shown at the Venice Biennale, is an interesting example of this modern kind of portrait.
In the 60s, Andy Warhol filmed the poet John Giorno asleep, and asked visitors to his studio to sit for screen tests, in which they looked directly at a camera. Warhol's filmed portraits have a lyrical,
Snow drifts at the windows of the Serpentine Gallery and the glass is fogged, as though invisible children were clamouring against it. I write this on a day when real snow has fallen – and the ice on the Serpentine lake is authentic enough (just ask the waterfowl sliding and waddling on it). But the snowflakes in front of the gallery churn from a machine on the building's pediment, and the ghostly breath has been etched by acid on the windows. The idea that real and fake snow might fall as one, and that cold breath from inquisitive passersby might mingle with etched mist, somehow has a magical synchronicity.
Philippe Parreno's Serpentine exhibition is a delight. The Algerian has bought
'Do you know the average time a visitor spends in front of a work of art in the Louvre?" asks Philippe Parreno over coffee in his Paris studio. "Only three seconds! Crazy when you think about it." Absolutely – that's no way to treat the Mona Lisa or any of the Louvre's 35,000 artworks.
"At the Met in New York it's 10 seconds. I don't know why there's that difference." Maybe it's because the cakes are better in the Louvre cafe. Or perhaps it's because of Jean-Luc Godard's 1964 film Bande à Part, in which three characters try to break the world record for running through the Louvre. It takes them nine minutes 43 seconds, which probably drags down average artwork viewing times.
These are not small matters.
Wednesday's announcement also revealed the lineup for the festival's famous Piazza Grande venue, which will include the European premiere of Jay and Mark Duplass' comedy "Cyrus" -- John C. Reilly, the film's star, will be on hand to receive a special tribute -- Gareth Edwards' science fiction drama "Monsters," and "Gadkii Utenok" (The Ugly Duckling) from first-time Russian director Garri Bardine.
The picturesque Piazza Grande, which seats more than 8,000, is the largest outdoor film venue in Europe.
Among previously announced films is "La Zombie" from the provocative Bruce Labruce, which will screen in competition,
Of all Anthony Minghella's legacies to the world of cinema, among the most valuable may yet turn out to be the movie career of Sam Taylor Wood, the artist he far-sightedly mentored when she turned to film directing. Admittedly, this was a career with a dodgy start. I occasionally wake up screaming at the memory of Death Valley, the short piece she contributed to Destricted, the 2006 compilation film on erotic themes, which showed a man masturbating alone in the desert, while making startlingly unattractive gurning expressions. But then two years later, in collaboration with Minghella and screenwriter Patrick Marber, Taylor Wood directed the excellent short film Love You More: the story of two 1970s teenagers finding each other to a soundtrack provided by Buzzcocks.
Now she's stepped up to her first feature,
I went to see the Coen brothers' new film the other evening. I won't spoil A Serious Man for anyone who hasn't seen it yet – except to say it has the most compelling opening scene you could wish for, and one of the most startling closing images.
The bit inbetween is good, too, I think. Well, it probably is … The trouble is that I don't seem to respond to films like this – smart, vaguely indie, well-made fare – in the way I used to. I don't feel as thrilled as I ought to be, and it is the films made by artists that are to blame.
I have seen some amazing artists' films this year. I finally watched Zidane. (The delay in seeing it being put
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