A compelling drama about two friends that is as rigorous in form as it is in character exploration.Continue reading
Vivarium is not a ‘date movie’. It’s probably not for those expecting a child. Or couples about to step onto the housing ladder. It’s also a great little film.Continue reading
A couple of month’s ago I made a presumption that we wouldn’t be screening again until November, possibly even next year. Even before we locked-down it became apparent that screenings would be irresponsible and, as we progressed through the initial phases of lockdown, nothing really changed that. We all stayed in, we washed our hands, and suddenly here we are in the ‘Bailiwick Bubble’ and so I’m really pleased to confirm that we will start screening films again on Wednesday 22 July 2020.
At the time of writing this I’m awaiting a confirmation about the licence (nothing ever changes) for our first film and event details will be released soon.
Much will be the same as before, we’ll still be offering an interesting and varied selection of films, but there will also be some changes…
Firstly, we’ll be introducing a varied ticket price. You’ll be able to choose between £5, £7 and £10. Although we think that £7 is a fair price for a movie, it is hoped that the £5 option might encourage a few more people to give us a go or just make it a bit more affordable where needed. The £10 option is our ‘donation’ price for those people that want to give a bit of extra support. These prices will be available when booking online and paying on the door. We’ll also use this pricing structure when screening at Beau Cinema.
Secondly, and perhaps most nervously, we are going to trial not naming the film before the evening. This is a big change as we are asking you to come along, be adventurous and trust us. The poster for each screening will give a general idea of the tone / theme and we will still give BBFC ratings info so that you can make an informed choice regarding ‘content’.
I hope that both of these changes will be positive and add something to our screenings. I’ll be updating the website over the next couple of days and more information about our first screening will be released shortly.
Thank you for you continued support, I hope to see you soon.
If The Iron Mask is anything, it’s a lot of fun. Sure, it’s daft and ludicrous. Yep, you’re surprised by how much Arnie and Jackie Chan are actually in it. But it is fun.Continue reading
Please be advised that, regretfully, the following screenings have been cancelled due to the ongoing COVID 19 (coronavirus) situation:
Chained for Life (25 March)
A Long Days Journey Into Night (29 April)
I really didn’t want to make this decision but feel that, given the current advice being issued, it’s the sensible thing to do. Clameur Du Cinema simply does not have the ability to abide by the recommended social distancing guidelines and run financially viable events.
All tickets already purchased will be refunded.
I love screening films but it’s just a hobby and I’m pretty sure that everyone could do with a break from my terrible intros and awkward raffle.
Please remember that you can the latest information and guidance on COVID 19 (coronavirus) at https://www.gov.gg/coronavirus.
We are planning to return on Wednesday 27 May with a screening at Beau Cinema. We’ll be announcing the film soon, once the licence is confirmed, and I think it’ll be a real BIG SCREEN treat.
Please accept my apologies for any disappointment and I hope to see you all in May!
Regards and thank you for you ongoing support!
Clameur Du Cinema is all about bringing people together to watch films and, due to the current situation, I just wanted to highlight the following regarding our upcoming events…
There is currently no advice suggesting that public events should be cancelled / postponed. At present, all listed screenings will take place as planned. Please be assured that we will follow the latest advice as it evolves and act accordingly.
We are guests at our screening locations and we will act according to and in full support of any future decisions regrading events and hire.
If you are due to attend one of our events and are ill, or even just in doubt, please contact us and we will refund your ticket. We advise caution and consideration for yourself and fellow attendees in all cases. This is no different to any other time.
Clameur Du Cinema operates on a ‘covering costs’ basis. We are not sponsored or funded by any external group so if audiences decide that they wish take a break from attending events we will also take a break. We’ll go to the Winchester, have a nice cold pint, and wait for this all to blow over.
In the event that any of our screenings are cancelled please accept our apologies for any disappointment and / or inconvenience caused. Full refunds will, of course, be provided.
If you are concerned about COVID-19 please note that there is lots of great advice and info at gov.gg/coronavirus
Clameur Du Cinema
Much like its title (already altered to Harley Quinn: Birds of Prey), Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) contains all the right ingredients but can’t help get in the way of itself.
Following Harley (played by Margot Robbie’s sheer sense of enjoyment), the film centres on a rather basic MacGuffin hunt and simple nasty antagonist (although Ewan McGregor is typically bland especially stood next to Chris Messina absolutely killing it as Mr Zsasz). It also features a couple of outstanding fight sequences that perfectly blend the film’s violence and neon glitter aesthetic. When this film moves, it really moves but where it doesn’t fare so well is in the constant diversion. I understand why it does it, the film is narrated by Harley and she is an erratic storyteller, but it often feels like we are stumbling around rather than moving forwards and there just aren’t enough straight lines for our hero to feel like a genuine agent of chaos.
But the good bits are rather good and if you do like this version of Harley Quinn as much as Margot Robbie does, then I suppose the time spent just hanging out will be just as enjoyable.
Clameur Du Cinema presents Gan Bi’s A Long Day’s Journey Into Night (2018) in 3D.
This special screening will take place at The Mallard Cinema and will be a unique chance for Guernsey audiences to see this film, containing a 59 minute single take shot in 3D, presented as intended.
Directed by Gan Bi, A long Day’s Journey Into Night chronicles the return of Luo Hongwu (Huang Jue) to Kaili, the hometown from which he fled many years before. Back for his father’s funeral, Luo recalls the death of an old friend, Wildcat, and searches for lost love Wan Qiwen (Tang Wei), who continues to haunt him.
Suitable for ages 12+ (BBFC info)
Due to the change in venue ticket prices for this unique event are £9 (including 3D glasses).
On 24 January I was invited by the Thinking On Your Feet arts group to introduce a screening of Michael Radford’s 1984 (1984), which was part of a series of local events celebrating the author George Orwell.
Here’s what I said…
1984 means a lot of different things to different people.
Some people see nothing but the Party, The State, any State, The States, a traffic warden. Others see CCTV, mass surveillance, Facebook and the internet of things. Some focus on the language. The loss of words, changing meanings, political correctness. One local politician invoked it when some students at a university decided they wanted Maya Angelou’s words on their common room wall rather than Kipling’s. For me, Orwell’s genius lies in the personal. Or rather the portrayal of obliteration of the personal, private experience in the face of the party.
Tonight’s film is Michael Radford’s 1984 adaptation of 1984. There have been numerous films and TV productions that play with the themes but we are perhaps most familiar with two of the direct adaptations. The first being the BBC / Nigel Kneale adaptation starring Peter Cushing, broadcast live in 1953. Questions were asked in Parliament about the violence and it was repeated, live, to a much bigger audience, the largest since the Coronation. In 1956 Michael Anderson directed a feature film adaptation starring Edmund O’Brien. Whilst the film retains much of the spirit by far the interesting aspect is that, like the wonderful Halas and Batchelor animation of Animal Farm, it was partly funded by the CIA. Ironically Orwell had already been branded ‘prematurely – anti fascist’ by the US Government.
Both of these versions are fine in their own right but Radford’s film succeeds for me because it is tactile and grounded in physicality. John Hurt as Winston looks broken and weathered. You can almost feel him rattle. The same is true of the surroundings and supporting cast. You can feel the room at the two minutes hate, the breath and the spit. You can almost taste the dust of the locations, the bitter cigarettes and oily gin. This is important because it’s a film about being human and human contact, it’s about intimacy, moments freely given and received, when all the world disappears. In a society without fixed meanings, where love isn’t for people but only for the Party, touch, the first gift we receive at birth, is everything, even if it is a boot stamping on your face – forever. Freely given and received.
Some quick notes on the film. On its original release the film featured music by the Eurhythmics. Michael Radford detested this change, forced on the film by Virgin Films, and much preferred Dominic Muldowney’s original score. The colour palette is cinematographer Roger Deakins’ answer to not being allowed to shoot in black and white. This was Richard Burton’s last film performance.
For further watching I would suggest Terry Gilliam’s Brazil, original title 1984 and a half, a film that sees totalitarianism run not by Big Brother but petty middle management. Dystopia brought to you by the people who can’t even run the bin rounds. I also implore you to seek out The Missing Picture, a documentary about the Khymer Rouge and the degradation of the private life, told by survivors and, as no film exists, illustrated by hand made dioramas.
Thank you again to Thinking on Your feet for inviting me to introduce the film. I hope that the film speaks to you and that it pops into your head when you are least expecting it in a few day’s time. Reread the book, because you’ll find something new there, turn off the voice command function on your TV and, no matter what, remain human.
Oddly, on the night, I said Burt Lancaster rather than Richard Burton and, looking back, here’s what I said in 2017 about the film…
Personally, I don’t think they really crack Winston Smith’s inner monologue (his diary) and that single piece of privacy is vital to the whole work. Also, although John Hurt is perfect as Smith, I’ve never quite liked Richard Burton as O’Brien. For me, the only actor who springs to mind when I think of the immortal line “If you want a picture of the future, imagine a boot stamping on a human face — forever.” is Burt Lancaster. But as one of Smith’s musings is whether O’Brien feels the same way he does… I wonder if Lancaster would just be too imposing for this to be credible?
If you are interested in diving into the film a bit more you can always try on of the following…
The film, and I suppose the book, is available on loan from Guille-Allès Public Library, Guernsey