editorial
As 2020 draws to a close I couldn’t be prouder to present the second issue of The Long Lens to you all
This publication was born during the first lockdown and was something I had been dreaming about putting together for a while The first issue was bigger and better than I could have imagined and was a true student led collaboration We even had some graphic design students contribute our cover design Things were tough during the first lockdown so to produce issue 1 at the end of the last academic year was such an achievement
Being honest I think the last 4 months has presented bigger challenges for us all As a result it feels an even bigger achievement for us to even be issuing The Long Lens again.
This is another student collaboration with it being their decision for our theme to again be one of diversity, with a particular focus on LGBTQ+ in film
We have pulled together a great selection of articles on a mixture of films as well as other topical issues such as the impact of the pandemic on cinemas and film releases Another highlight is an excellent review of ‘Finally Leon’ which was one of the submissions we have been watching as part of the Watersprite Film Festival Judging Group The group meets virtually each week to discuss the different submissions and is a cross section of year 1 and year 2 film students We are very proud that this article will also feature on the Watersprite Film Festival website Huge congratulations to Keira Thomson, the author of the article and a Year 1 Film Studies Student
This year has seen all subjects have to make adaptations to their practices and for us we have explored cameras on mobile phones to produce the Year 2 coursework - to make a short film Sam Gamble’s article on shooting a film on your phone offers great tips for all you budding film directors out there
If you like what you see and would like to write something for our next issue then just drop us an email at thelonglens@gmail com or ping Andrea Joyce a message on Teams Thank you to all of the wonderful contributors and a big thank you and well done to the Editorial Team - Arisa Lester, Emily Timmons and Byron Story
A massive thanks to Sam Gamble for pulling this issue together and designing the cover and layout From all of us, to all of you, Merry Christmas and roll on 2021
Andrea and the Editorial Team
FEATURED ARTICLES
THE BIG TOPICS THIS MONTH AT 'THE LONG LENS'
LGBTQ+ Representation In Film
Films are a reflection of our everyday life, of our world and it was only in the latter stages of the 20th century that homosexuality was decriminalised and same sex marriages given the same rights as heterosexual unions Is it that surprising then that mainstream films were littered with the kind of representations that either demonised homosexuality or belittled it in the veil of humour? The myth of heteronormativity was being strongly perpetuated through cinema and worse still, the coupling of homosexuality with crime and deviancy in films such as ‘Cruising’ (1980) contributed towards societies fear and mistreatment of the LGBTQ+ community.
Unsurprisingly older films are littered with negative and stereotyped representations of the LGBTQ+ community and when I say old films I am talking about as early as the classical Hollywood pictures of the 30s and 40s However, what is interesting is that there are also examples of more realistic and diverse representations as early as the 1930s Seek out films like Morocco (1930) and Queen Christina (1933) for some wonderful performances from Marlene Dietrich and Greta Garbo
Arguably mainstream cinema still has much work to do in the quality, diversity and realism of its portrayals of the LGBTQ+ community Out of 109 major studio releases in 2017 researched by GLAAD, roughly 13% had LGBTQ characters Of these films, about 64% featured gay men, 36% featured lesbians, 14% featured bisexuals and 0% featured trans-inclusive content. Large commercial markets such as China still criminalise homosexuality and so many big budget films won’t include LGBTQ+ characters, actors or themes as they won’t be released in China and therefore profit will be affected.
'Cruising' (1980)
'Queen Christina' (1933)
"This is where the importance of young filmmakers cannot be underestimated"
But not all studios are driven by profit alone and slowly we are starting to see mainstream cinema deal with stories that are universally relatable that happen to involve characters from the LGBTQ+ community. That being said there are multiple stories and differing experiences within that community and whilst homosexuality is becoming more visible, the trans experience is still significantly under-represented In 2017 Donald Trump banned transgender people from serving in the military The presence and reality of discrimination is very much an everyday lived experience and that reality is also visible in cinema and the stories that are told, and the stories that are in the mainstream.
Until there is more visibility, diversity and most importantly acceptance of that diversity in our world then we won’t see it on our screens This is where the importance of young filmmakers cannot be underestimated, and also the significance of online platforms for sharing films It has never been easier to make a short film and get it seen by people all over the world Shoot it on your phone, edit it on your laptop and get it up on YouTube. If you can’t see your face or see your story on screen then get it out there yourself.
'Love, Simon' (2018)
THE THEATRE CLOSURE CONUNDRUM
HOW THE PANDEMIC HAS IMPACTED FILM DISTRIBUTION
BY BYRON STORY
released digitally would be ‘Trolls: World Tour’? Yeah Well
It’s almost laughable that upon initially writing this article back in early October that the biggest news in the film world was the concerns of exhibitors over the final Daniel Craig Bond film ‘No Time To Die’ being delayed a second time until April of 2021, and causation of Cineworld and its subsidiaries decidedly going into a state of ‘hibernation’ into the new year.
With the low performance of Christopher Nolan’s ‘Tenet’ earlier this year, it was made blatantly clear that audiences just aren’t nearly as willing to buy movie tickets at the current stage of the pandemic. Because of this, films slated to arrive this year, such as Denis Villeneuve's blockbuster ‘Dune’ within December which is now being pushed back to October of 2021
The ‘Dune’ director took to Variety to publish a statement upon the recent news, of which he, was apparently only informed of the announcement over social media just like the rest of us. No ti
films
‘’With this decision, AT&T has hijacked one of the most respectable and important studios in film history,” he writes. “There is absolutely no love for cinema, nor for the audience here. It is all about the survival of a telecom mammoth, one that is currently bearing an astronomical debt of more than $150 billion.”
As of Friday the 4th of December, AT&T made a surprise announcement that not only Wonder Woman 1984 would be arriving at the same time as it’s theatre release upon their streaming service, HBO Max (Available only in the US) but this would be their model for every single major film release going into 2021 For a one month period, alongside theatres at no extra cost to the subscription, a true jab to Disney’s attempt to make subscribers of Disney+ pay an additional fee for their live-action adaption of Mulan, earlier this
year A few of the more notable films to be released simultaneously on HBO Max:
Dune
The Matrix 4
The Suicide Squad
Godzilla vs. Kong
Mortal Kombat
In the Heights
The Conjuring: The Devil Made Me Do It
Space Jam: A New Legacy
Tom & Jerry
So what does this mean for cinema in the UK and beyond?:
Regardless of the fact that as it stands this a US-only service, The Head of HBO Max Global Andy Forssell states the platform ‘will be expanding into Europe during the second half of 2021 ’ The connotations of this jump to digital content by WarnerMedia is further indicative that within the current climate, even with vaccines for Covid-19 in the early stages of being delivered, that the future of the cinema viewing experience will be all new and different moving forward from here on out
It is said WarnerMedia and Sky have signed a five-year deal to coproduce HBO content in exchange for the ability to publish all upcoming HBO-based content through their channels and the Now TV streaming service up to 2025 It’s unknown at this point what will happen with the exclusive HBO Max content such as the aforementioned same-day release films and also the anticipatedZack Snyder’s Justice League cut Meaning that there is a high potential England for example isnt to see the same treatment as the US, more inclined to the traditional theatre releases unless anything is to change in the situation in coming weeks
With WarnerMedia being the first media giant to make the commitment to such high-value online content, it wouldn’t surprise me to see Disney+, Netflix, and other streaming services beginning to up their game to combat this by releasing more of their own big-budget blockbusters through this newly adopted mode going forward as to not opt into losing out upon their subscribers
Piracy? What amazes me most about this model is the ease in which these high budget films can and will be streamed and downloaded illegally via online piracy, when considering their new
easily accessible format. With the past showing that even blockbusters like Christopher Nolan’s Tenet just cannot fill the same number of seats nor bring in the box office that they would have pre-pandemic To the point where it seems studios are more than willing to take huge risks such as releasing their equivalent films primarily digitally We can only wait and see how this will play out in terms of revenue
My opinion runs much the same as Villeneuve, and many other film creators and lovers, in that when the pandemic inevitably eventually ends (whenever that happens), audiences will return to cinemas as they will to other public services when they know that these are safe for them and their families This unconventional method to releasing films in the current climate, as convenient as it can be, really can’t afford to stay indefinitely aside from being a last resort With the lower turn in profits, studios genuinely couldn’t afford to keep producing high budget films like Dune, Wonder Woman: 1984, or any of the scheduled releases with it remaining indefinitely feasible.
This isn’t even taking into consideration the mainstream and independent film exhibitors that are taking the blunt force of the pandemic. Due to decisions like the HBO max deal and more like it to come from other online streaming platforms The crews of these films are dissatisfied with it all, and I feel it’s inevitable the vast majority of even the most casual of viewers likely will be too after the service has been trialed We can only really wait and see how everything plays out in the strange new normal for the cinema viewing experience
https://www bbc co uk/news/business-54407213 https://www.digitaltveurope.com/2019/10/29/sky-in-five-yearoutput-deal-with-hbo/ https://www itv com/news/2020-12-04/warner-bros-uk-cinemasreact-to-studios-move-to-release-2021-films-on-streaming-servicehbo-max
https://metro co uk/2020/12/04/cineworld-addresses-warnerbros-sending-2021-slate-hbo-max-13702664/ https://www theverge com/2020/12/10/22168881/denisvilleneuve-christopher-nolan-anger-hbo-max-streaming-att https://variety com/2020/film/news/dune-denis-villeneuveblasts-warner-bros-1234851270/#article-comments
THE IMPORTANCE OF PRIDE
BY MARIANNA KOUZNETSOV
ever made me cry: the first two being Ice Age: Dawn of the Dinosaurs’ and the 2005 revolutionary ‘Brokeback Mountain’ And as I realized this, I found myself thinking back to the significance of ‘Brokeback’, and how far we have come in terms of historical LGBT filmmaking.
While both films are set in the past, ‘Brokeback Mountain’ and ‘Pride’ are wildly dissimilar ‘Brokeback Mountain’, a fictional story based on a novella and set in the 1960s, depicts the tragic 20-year love story between two cowboys in the American West Whilst groundbreaking for its time, and arguably a successful introduction of LGBT cinema into the mainstream, the sombre nature of the film contributes to a widely perpetuated stereotype of queer love: that it will always end in tragedy A fear for many queer teenagers, even now, is that love is a concept too distant, unfamiliar, lonely and confusing, something only for straight audiences to resonate with In fact, a scene from the film that fully encompasses this feeling is when Jack and Ennis argue at the top of the mountain –they fight over Ennis’ job, that he cannot quit to see Jack again for several more months Jack laments that he wished he knew “how to quit” Ennis. A line, devastatingly powerful, reduced to a joke by straight audiences unable to understand why Jack is so desperate, why Ennis is so afraid and why their love was always doomed in the first place
g y
feature miles upon miles of exhausting tragedy, known as “ gay pain” films Based on the true story, a group of gay and lesbian activists decides to raise money to support the families of miners in the 1984 strike of the National Union of Mineworkers But there is a problem; the Union seems embarrassed to receive their support What this film does so well, surprisingly, is that it stays away from zooming out to the bigger picture Everything is close and intimate – the Lesbians and Gays Support the Miners (LGSM) group are all fierce friends, and quickly accept the protagonist, an audience surrogate, into the dynamic with the welcoming and nurturing enthusiasm of a group needing all the support they can get The LGSM faces opposition from the mining community who do not wish to associate with them, as well as within the gay community who feel that the miners have mistreated them in the past. Frustrated by the lack of response, the activists instead decide to take their donations directly to a small mining village named Onllwyn in Wales. Through linking these two small, downtrodden communities, bonds are inevitably formed and the miners of Onllywn eventually warm up to the support of the LGSM, though the National Union disapprove and vote to move forward without them Though some members feel disillusioned and disappointed, the strong and recurring themes of solidarity and a belief in doing the right thing eventually shines through
film reviews
At a Glance...
STAFF PICKS
Featuring picks from Michael Collins, Simon Howarth, and Andrea Joyce
'CALL ME BY YOUR NAME'
This film is amazing, and the ideas shown about lust, love and desire attribute to a great love story
'MOONLIGHT'
The importance of representation for black people in this film, especially gay black men, should not be understated
'TENET'
A film that would have been better received had it come out at any other time...
'PORTRAIT OF A LADY ON FIRE'
It helped me see how physical intimacy should be portrayed for what it is, and for everyone to appreciate
'WONDER WOMAN: 1984'
neon-tinged escapism that we all need right now
FILM REVIEWS
'CALL ME BY YOUR NAME'
By Abigail Edwards
Becoming an extremely beloved and precious film to many, taken from Andre Acindman’s novel in 2007, Call my by your name released in 2017 is a lustful and genuine love story between Elio, a seventeen year old who is spending his summer ‘somewhere in Northern Italy’ and he becomes infatuated with lust over his father’s graduate assistant, Oliver. It’s 1983, , the peak of the summer and seventeen year old Elio Perlman becomes infatuated with summer lust over his father's graduate assistant, Oliver Timothee Chalamet, who is now one of the most well known actors of his age, plays 17 year old Elio, characterised as an intelligent and talented teen who finds himself confused about his sexuality having relationships with both men and women Armie Hammer, who brings the charming and handsome 24 year old archaeology student to life with his amazing acting. The relationship between Elio and Oliver is an extraordinary and true love type of story
Calling each other by their names is representative of them becoming one another, as they fall more in love they pick up each other's traits, for example, Elio begins wearing Oliver's shirt as well as both of them wearing each other's clothes throughout Call me by your name presents the idea that two people can merge together, they become so much a single entity that they see themselves. This trope of character relationship is most likely an allusion on Aciman’s part to Aristophanes’s speech in Plato’s Symposium Which basically, is the idea that people are two separate parts of one whole With the ancient greek references in this film we can assume Oliver would also know this.
This film also presents the idea of desire between the characters, Elio’s father states ‘dare you to desire them’ when talking about ancient sculptures, symbolising Oliver and Elio’s relationship and wanting to repress them for society at the time
Towards the end of the film Elio’s father speaks to him, explaining to the audience his morals and the film’s sense of right and wrong and says, ‘Our hearts and our bodies are given to us only once, ” he says “And before you know it, your heart’s worn out And as for your body, there comes a point when no one looks at it, much less wants to come near it Right now, there’s sorrow, pain Don’t kill it, and with it the joy you ’ ve felt ” Again he mentions desire, stating, it’s the only way to live with both in the good parts and the painful ones
This film is amazing, and the ideas shown about lust, love and desire attribute to a great love story
'THE DOOM GENERATION'
By Michael Collins
Considered the godfather of the ‘New Queer Cinema’, Greg Araki’s madcap and violent film sees young lovers Jordan White and Amy Blue, who run in to the fugitive Xavier Red, and begin a nightmarish road trip across America after accidentally (and brutally) murdering a gas station clerk As the trio rob and murder their way across America, a distinctly homoerotic relationship grows between Jordan and Xavier.
Despite being a low budget film, the set design and soundtrack choice is absolutely amazing, crafting a uniquely compelling and violently surreal fantasy. Bisexual director Greg Araki is fascinated by inserting queer themes and characters in to a variety of film genres, with Doom Generation feeling like a cross between a particularly messed-up teen comedy and a French arthouse film mashed in to one. It's criminally underrated Bonus points for the open credits reading ‘A HETEROSEXUAL FILM BY GREGG ARAKI’ Note: this film contains very strong sex scenes and violence, including sexual violence.
'MOONLIGHT'
By Year 2 Film Studies Student
A coming-of-age film which earned the 2017 Oscar for Best Picture, Moonlight tells the story of a lifetime in just under two hours. A rich visual portrait of love, masculinity, parenthood and growing up, it is intensified by strong performances and an empathetic storyline –ultimately achieving a film which leaves its audience both heartbroken and hopeful. Based upon the surroundings and experiences of its own director Barry Jenkins and playwright Tarell McCraney, Moonlight is a largely fictional film heavily grounded in reality; it refuses to shy away from the brutal reality of its story and, in doing so, undoubtedly gives a voice to countless black men.
The film opens with Juan (played by Mahershala Ali, who won an Oscar for his performance), an Afro-Cuban man who shows love and empathy towards a neglected child, Chiron, by befriending and caring for him whilst his mother abuses him and his classmates bully him mercilessly Juan is a drug dealer working at the height of the crack epidemic in Miami, providing Chiron’s own mother with the very thing that destroys her – but he is also the film’s closest example of a father figure and its first expression of love Although he is onscreen only for the first chapter of the film, his presence is felt throughout its entirety; the recurring imagery of objects and places associated with his character and Ali’s impactful performance mean that Juan exists emotionally from beginning to end His masculinity is made clear through his confidence, his clothes, his car – but his softness and emotional awareness provide relief from the harshness of Chiron’s surroundings As a character, Juan is a reminder of the fact that good men may do questionable things for survival
Moonlight perfectly captures the illusive passing of time by allowing three seminal moments in Chiron’s life to unfold before the audience like a dream, interwoven with recurring imagery and flashbacks The ocean is integral to the film and feels like a visual depiction of the way that time moves, with one of the film’s most memorable scenes being Juan teaching Chiron to swim in the Miami sea Like a baptism and a clear display of mutual trust, followed by Juan’s soft-spoken monologue in which he says “in the moonlight, black boys look blue” – the scene is a tender celebration of blackness, a demonstration of love and a (literal, and symbolic) lesson on survival Later, Chiron’s first sexual experience with another boy takes place on the beach, and the sound of gently crashing waves follow him and the audience as he grows older It's a visual and audible reminder of the places, people and experiences
that shape us and how those memories emerge consciously and subconsciously throughout a lifetime
When talking about Miami, playwright McCaney described it as “ a beautiful nightmare” – a sentiment that Moonlight captures perfectly Filmed on digital, the shots are full of light and tinged with blue, creating a hazy and dreamlike visualisation of a neighbourhood rife with crime and adversity Moonlight explores the masculinity, poverty, drug abuse and disadvantage of this environment similarly without placing judgement upon its characters Chiron is growing up Liberty City, a Miami neighbourhood experiencing the full effects of historical redlining and criminalisation as a result of drug abuse and lack of opportunity The audience is presented with various products of this - Juan sells drugs despite the emotional conflict this causes him and the violence associated, Chiron’s mother abuses drugs even though she loves her son, Kevin beats up Chiron because he feels pressure to conform to the social norms of their classmates At a surface level, these things may appear to simply be bad choices in the same way that the neighbourhood may appear to be simply bad, but Moonlight empathises with its subjects. It is a reminder that films can expose the ugliness of people and of places whilst simultaneously admiring the beauty that can arise from them.
As a result of the film’s three-act structure, Chiron himself is played by three actors of three different ages, who never met during filming. Despite this, their portrayal of the same man at different stages of life feels honest and real, grounded by their physical resemblance to one another. Young Chiron – “Little” –who is seen at the beginning of the film conveys a huge amount of emotional neglect and heartache with minimal dialogue, establishing a character who is unsure of everything including himself. Teenage Chiron’s performance places more emphasis on the growing fear and anger inside him as he fights to live with a mother who has lost control and a social circle which degrades him Trevante Rhodes gives a striking performance as “Black” – Chiron as a young adult “Black” emerges as a drug dealer, muscular and masculine; a nuanced portrayal of a man traumatised, filled with sadness and longing, altered by incarceration and hardened by rage He resembles Juan, not only in his appearance and the symbolic gold crown on the dashboard of his car, but in his underlying softness
The importance of representation for black people in this film, especially gay black men, should not be understated – but Moonlight will impact people who watch it from every walk of life and every part of the world Boys like Chiron, neighbourhoods like Liberty City, mothers like Paula, protectors like Juan, bullies like Terrel – the issues presented in Moonlight exist everywhere, and Jenkins turns these hardships into a stunning tale of love and survival Moonlight shows just one man ’ s experience of growing up, but the story is universal
STAFF PICKS
''ROCKETMAN'
By Sam Gamble, Media Technician
A beautifully vibrant and flamboyant jukebox musical that perfectly reflects Elton Johns aesthetic e film digs deep into his drug-fuelled psyche at the height of his fame in the 80’s, whilst offering some unique arrangements on his classic tunes, and featuring an uncanny performance from Taron Egerton This was Dexter Fletchers 2nd musical after taking over the duties on Bohemian Rhapsody’, and takes on an all-out stylized musical approach as opposed to Rhapsodys more traditional Biopic approach A great musical as well as a great biopic that remains faithful to the person it was based on
'Y TU MAMA TAMBIEN'
By Simon Howarth, Applied Media
Diego Luna says 'That was the greatest movie that I've been in so far and the one I love the most, I had the chance to work with my best friend and a director that I admire a lot I won a lot of confidence in my work after that ’ (according to IMDB)
Beautifully shot, unexpected story, coming-ofage, fun, exciting and a nice antidote to classic Hollywood productions A great insight into Alfonso Cuarón before he did Harry Potter and Gravity
'BROKEBACK MOUNTAIN'
By Andrea Joyce, Film Studies
I vividly remember the experience of watching this film in the cinema, I was so moved by it The landscapes were breathtakingly beautiful and vast,the music was
evocative of isolation and the story was something we can all relate to, one of love Ennis and Jack love each other over a long period of time but are destined not to be able to live their life together due to the conservatism of that time The fate of Jack is heartbreaking, and the agony of his loss to Ennis is so hard to watch Although this film was released in 2005 it is a timeless story of forbidden love, and not just because society as a whole hadn’t opened its heart fully to the fluidity of love, but because Ennis’ own experiences made him terrified of the strength of his feelings for Jack For anyone who has ever lost someone they love, the scene where Ennis buries his head in Jack’s shirt will leave you in tears
'PORTRAIT OF A LADY ON FIRE'
By Steve Brand, Teacher
This most amazing film was written and directed by Céline Sciamma. Other films of note written and directed by Sciamma are “Tomboy”, “Girlhood” and “Water Lillies”.
Portrait of a Lady on Fire is set in 1800s France. A young painter is sent to paint a wedding picture of Helouise, without her knowledge. Therefore the painter has to observe and get to know Helouise. The two women become closer and closer as they get to know each other before Helouise marries and becomes the property of her husband. This is an account of Helouise’s last few days of freedom.
This film is beautiful in the way it is shot. The landscape of Brittany provides an amazing backdrop for what is basically a powerful love story. There is very little music except for one scene where Helouise briefly catches fire which will leave you with your hair standing on end. It is amazingly acted. I became immersed in the story like a page turner novel and never once had to force myself to engage
For me, the most powerful, and personally educational element to this story is how it is filmed without the “male gaze ” For me it helped me see how physical intimacy should be portrayed for what it is, and for everyone to appreciate – not to objectify women, not there simply for the pleasure of a male heterosexual audience Watching this helped me see “Blue is the Warmest Colour” in a totally different light Comparing and contrasting how love and intimacy are portrayed between those two films have helped me appreciate much better what the male gaze is and how much it is embedded throughout mainstream cinema Another great movie, filmed with the absence of the male gaze is “Woman at War”, written and directed by Benedikt Erlingsson
FILM REVIEWS
'TENET'
By Sam Gamble
Tenet is the long-awaited, much maligned Christopher Nolan epic that was released to cinemas earlier this year, and was met by a decidedly tepid reception. Some people were confused by the story, which featured a surprisingly robust and realistic form of time travel, whilst others found the dialogue to be too expositional and clunky to the point of boredom.
But the real reason people are interested in this film is because of the context in which it was released In August, cinemas had been closed for nearly six months Nothing had been released in theatres, the majority of big releases had been pushed to 2021, and people were waiting for the great ‘return of cinema’ The film that was supposed to do this? Why it was Tenet of course
Does it live up to this? No, not completely If you ’ re asking if it’s an artistic gem full of dense characters, Oscar-worthy performances, and a flawless script, then no It misses the mark on all of these counts If, however, your question is whether this is a cinematic experience? Then, yes, this is where this film shines
It's a pure spectacle Ginormous action set pieces, over-the-top sound design (more on that later) and a pulse-pounding score make it a film that I genuinely recommend seeing in the cinema for the ultimate experience ‘Tenet’ is, by every definition, big The set pieces are absolutely ginormous, and the filmmakers know this, as some of the films are seen twice
The general premise revolves around John David Washington’s ‘Protagonist’ (that’s how he’s credited in the script, the end credits, and indeed by himself) as he’s brought into the folds of an organisation trying to - essentially - prevent World War Three from taking place due
Tto new technology that allows objects and people to be ‘inverted’. Basically, they begin to travel back in time. So, rather than firing a bullet, you ’ re catching it.
That’s a rather dense but lengthy explanation of how the world works, but in reality it translates to the screen as a rather run-ofthe-mill spy film in the vein of ‘James Bond’ or ‘Mission: Impossible’ with a sci-fi twist to try and make it fresh
But I said, I’d come back to the sound design When I saw it at the cinema, there was one scene set in a train yard, where a large amount of dialogue was completely drowned out by the background noise of the trains The opening scene, which featured several explosions, was almost deafening Some people enjoy this experience, and I will admit, I enjoy watching films as loud as possible But there’s a fine line between as loud as you can get, and nearly blowing out your eardrums Maybe this was just the cinema I watched it in, but from other people I’ve spoken to, it’s a common problem
Not every film has to be the best film ever made, but I think people potentially needed this to be Had this come out of any other time, it might have been better received But it was lumped with an expectation and responsibility that it was not meant for Overall, ‘Tenet’ is a great spectacle and cinema experience that, if you want to watch it, is absolutely worth seeing in theatres However, what you will watch is a severely mediocre Christopher Nolan film, and a better-than-average action film
SHORT SPOTLIGHT
''FINALLY LEON'
By Keira Thomson
Finally Leon is a German short film directed by Paula Weiß that I had the pleasure of watching with the Watersprite Film Festival judging group, who meet once a week to discuss and judge
various short films It tells the story of a young transgender man who after recently having top surgery, goes to an abandoned swimming pool and takes off his shirt to reveal his post-surgery scars
From the minute we began to discuss it was clear that, although the film is short (roughly 6 minutes) we all felt deeply touched by the film’s message and realised that we could not think of any negative comments about it! This is a film that I immediately connected with as the topic is very personal to me as a member of my family is transgender and it is clear how much happier he is after having his surgery
Therefore I can emphasise with the feelings that Leon must be going through in this short film After nearly 30 seconds of watching the main character cycle past houses trees, the viewer is hit with these bright red abstract shots that contrast against the cold and pale filter being previously used When watching for the first time, these multiple splitsecond shots shocked me The footage of a hand dragging itself across skin and clawing at flesh seemed so unexpected in the calm setting we had previously been introduced to It was only after watching the whole thing and finding out the plot that I understood the meaning behind them and was moved by how poignant they were It was clear from these scenes of the struggle he had gone through
'WONDER WOMAN: 1984'
By Sam Gamble
The clawing at his skin represented the feeling of gender dysphoria that transgender people experience: these are the memories flooding through his mind as he’s on his way to achieve the next big step in starting his new life
The film is also unique because it has no dialogue, instead it uses sound to add to the narrative For example, when Leon arrives at the swimming pool, we hear the sound of children playing despite the fact that the pool is abandoned This conveys to the audience a loss of childhood, that he probably hasn’t been to a swimming pool since he was young This makes this film so much more impactful as this simple task that many of us can do without fear of persecution, is actually a massive step towards freedom for him and an achievement to be proud of In my opinion, this is a short film that deserves to be seen by everyone This beautiful portrait raises awareness in a sensitive way of the struggle people in the trans community go through yet it does this without sensationalising it There is no big plot twist, l ff d h h le s g
Another film carrying a lot of weight, like ‘Tenet’ before it, this film was released in December of 2020 to only a quarter of UK Cinemas I, myself, was hankering to get back to the cinema, eat some over-priced, overly salty popcorn, and chow down on a tango ice blast with a film that just allows me to escape into something else for two hours or so. This movie allowed me to do just that.
The first half is slower paced than your average superhero escapade, opting for fleshing out the characters, their motivations and - more importantly - their conflicts with each other. This is much welcomed and much needed when balancing a conflicted hero, two burgeoning villains in Maxwell Lord and Barbara Minerva a.k.a Cheetah, and the return of Wonder Woman’s love interest from the previous film, Steve Trevor. You need to take the time to get to know these characters, and it results in deeper connections formed. You witness the villains fall from grace, understand their actions, and feel for them as, for the most part, they are simply misguided. This is what makes the best villains.
During the first half, we ’ re treated to an almost ‘Indiana Jones’ style sequence of hunting for an ancient artifact, trotting the globe, and the return of Chris Pine’s Steve Trevor. A much brighter colour is implemented, distancing it from the previous war-trodden film, and just a general feeling of innocent joy is washed over the entire film
The second half delves into more classic superhero territory, but the final battle veers away from the previous films mistake of a CGI-laden slog fest of heavy punches, and opts for a shorter fight with a more emotional conclusion tying it back to the overall message of the film, wrapping everything up in a neat little bow The warmer color palette is still there, but it’s clear that Jenkins knows when to do away with the pretty colours and take things a little more seriously
I must say, I was thankful for the shorter CG sequence They reserve the full transformation into Cheetah, and it seems that’s because they didn’t really know how to make it look good Dark lighting hides some of the rougher edges, but when you get close up, I was reminded of a certain musical film that featured Cat-like features from last year, and shuddered in my seat
But apart from some dodgy CG and a missed opportunity with the man out of time, this is the joyous romp that I think we need right now It’s accessible for non-superhero fans, doesn’t get bogged down in setting up for sequel after sequel, and applies surprising depth to pretty much every single major player in ways that you might not necessarily expect Whilst I don’t think this will single-handedly save the cinemas, it’s a good enough time on or off the big screen to give you a much needed break from the seriousness of this year, and just relax into a neon-tinged world where you can have a good time
ON FILMMAKING
THE TRIALS AND TRIBULATIONS OF MAKING A FILM CAN SEEM INSURMOUNTABLE. WITH THE HELP OF THESE ARTICLES, HOPEFULLY YOU'LL LEARN SOMETHING TO HELP OUT ON YOUR JOURNEY.
WRITING FROM AN LGBT PERSPECTIVE WRITING FROM AN LGBT PERSPECTIVE
"WHY DID I WRITE A SCRIPT ABOUT A YOUNG GAY MAN DECIDING WHETHER TO COME OUT IN A SOCIETY THAT ON THE SURFACE SEEMS TO HAVE COME A LONG WAY IN TERMS OF ACCEPTANCE, TOLERANCE AND UNDERSTANDING?"
...And yet homophobic attacks are on the rise with well documented cases that have become nationally known including the two lesbian women who were beaten up on a bus for no other reason than they were not heterosexual
This however wasn’t why I wrote a script about a gay man and a terrible homophobic attack on him that is so clearly presented in my script I am a heterosexual man, who sure, has friends who are part of the LGBTQ community but it is not one I belong to or have to say have overly thought about, except for the personal belief that you should be able to love whoever you love without persecution or threat of violence
Yet it was the sad story of Ian Baynham that struck a chord with me. I am always triggered by injustice and this story hurt to my core. A man should be able
to walk home safely and not be hurt or in this tragic case, murdered because they are gay It also shocked me as the three perpetrators were young and in my naïve thought process have always held a strong belief that the young are far more open minded and right on, right on than the older, previous generations that have gone before
ON FILMMAKING
This is why when the opportunity to write a script for the British Film Institute’s young filmmakers initiative came about I jumped at the opportunity. The only remit that was given was that the script had to deal with a social issue and so the story of a young gay man coming out and being assaulted came storming to my creative mind.
"AS A WRITER, I WANT MY SCRIPTS TO RESONATE, TO SAY SOMETHING RELEVANT TO PEOPLE’S LIVES IN BOTH BIG AND SMALL WAYS."
In this case I wanted to show a character afraid to show their true self, concerned that the society they live in would not accept them.
I knew that I wanted two young gay men to have a conversation about coming out, with one being afraid and the other already proudly out and willing to face any trials and tribulations he may face at
being gay. This was on purpose as I wanted to show two people who dealt with being gay very differently Based on the film that the students made from my script, I think it came over very well and honest thanks to the great young actors they cast.
The biggest issue I had with the script was whether to have the young gay man attacked. On one hand it seemed important to show that homophobia was still present and a threat. On the other hand I was concerned of how this may come across Was I saying that if you came out you would be immediately attacked?
This was not the message I wanted to put across, yet it became clear that it needed this ending as I wanted people to understand that attacks on the LGBTQ community does happen and unfortunately some people need to see it, sometimes in its brutality for them to feel it
On reflection I am happy with the choices and the reaction to when the short film was shown at the Cambridge Picturehouse was gratifying as the film received a standing ovation and round of applause thanks to the way the young filmmakers took my script and elevated to a visual medium with distinction, but I
SHOOTING WITH YOUR IPHONE SHOOTING WITH YOUR IPHONE
You’d be surprised how capable that piece of technology you have in your hand actually is. Phone cameras have come on leaps and bounds in the last few years to the point where it’s relatively commonplace to see films entirely shot on phone’s making their way into film festivals, and even theatrical releases Whilst you will never get the same level of control and detail that you would get with a DSLR or cinema camera, you can get incredibly close.
Now, there are a few things you have to pay attention to, and I’m going to look at a clip from probably the most famous iPhone shot film, ‘Unsane’ (2018) to explore these further Directed by Steven Soderbergh, the film follows a woman as she is confined to a mental institution after she tries to escape a stalker The film has been called a ‘crazily broad, brash exploitation horror-thriller’ and received decent reviews Soderbergh believes that you can’t tell the difference between the way this film was shot and a normal camera, and whilst I don’t think that’s necessarily the case, it’s definitely a decent option when working on a modest budget.
But first, what do you need to bear in mind when filming using a phone? What steps and extra techniques can you employ to improve your shots? Here, I have a breakdown of the different things you can do
Apps and Additional tech
The first thing to do, other than extensive planning and preparation, is to kit yourself up where you can, the first being the camera itself. There are many apps that ‘unlock’ the potential of your phone’s camera, adding digital controls to your footage that replicate the manual controls of a camera ‘Unsane’ used an app called ‘Filmic Pro’ but there are other free alternatives such as ‘Mavis’. These give you back manual controls such as ISO, aperture and white balance to allow you to optimise your footage
You also want to either find some source of stabilisation like a camera grip or a gimbal (these can vary in price), or lock off the phone itself Phone footage is incredibly susceptible to any shake or jitters you may have, so placing the phone on a tripod or making one yourself is probably the best option A stack of books or a coffee cup with a slit cut out of the middle make for good makeshift tripods if you don’t own one that fits your phone You can also customise selfie sticks, as it removes your hands direct contact with the phone, it should reduce shake a little bit.
Work within your limitations
Whilst using a phone is a definite option when it comes to creating content, it doesn’t come without tradeoffs First of all, the focus Focus on an iphone tends to be at a larger depth of field so large amounts of the frame remain in focus This definitely contributes to phone footage looking ‘flat’ because you can’t manipulate your depth of field as far as you would with a standard camera lens. A way to improve your footage from looking as flat is, unfortunately, lighting properly
1 2Lighting involves pretty much what is said on the tin. Adding lights to situations. The standard setup is what’s known as three-point lighting Again, this is fairly self explanatory It’s a setup that consists of three points, called the ‘Key’, the ‘Fill’ and a ‘backlight’. The ‘Key’ light is the chief light in the setup. It illuminates what you want the audience to see The ‘fill’ is designed to bump up the shadows created by the key light, and the backlight goes behind your subject and illuminates the back to create separation and help with creating three-dimensionality
The other thing to pay attention to is your sound design If you record your sound externally using a pocket recorder or a sound kit like the ones we have at Long Road in the media and film department,, you will get better results than you will using your phone’s internal microphone Paying particular attention to dialogue and ambience, you will be able to properly mix these together to make your film an extra level of immersion
3
Trust Your Actors
Most of the reason people become emotionally invested in the film you ’ re making is to do with the performances on screen. Accurately portraying believable characters with deep and engaging relationships Work with them, rehearse your scenes, talk through their characters objectives and super-objectives
I think all of this goes to show how, essentially, utilising all of the different skills and techniques available to you means that what camera you shoot on ultimately doesn’t matter The camera is ultimately one aspect of a film-makers toolkit, and whilst it definitely has its limitations, it’s a completely viable method of capturing your story
FILMS SHOT ON PHONES FILMS SHOT ON PHONES
'ROMANCE IN NYC' 'ROMANCE IN NYC'
Most of the reason people become emotionally invested in the film you ’ re making is to do with the performances on screen. Accurately portraying believable characters with deep and engaging relationships Work with them, rehearse your scenes, talk through their characters objectives and super-objectives
I think all of this goes to show how, essentially, utilising all of the different skills and techniques available to you means that what camera you shoot on ultimately doesn’t matter The camera is ultimately one aspect of a film-makers toolkit, and whilst it definitely has its limitations, it’s a completely viable method of capturing your story.
'AND UNEASY LIES THE MIND' 'AND UNEASY LIES THE MIND'
I would argue this is another ‘gimmick’ use of iPhone filmmaking, but it’s still a clever way of using the phone to show a perspective ‘And Uneasy Lies The Mind’s’ central character has experienced a head injury on a couples retreat in snowy ski territory The director uses the sometimes uncontrollable focus, and soft edge look that clip-on lenses give to put us in the perspective of this characters confused headspace, creating a trippy and unique look that has been touted as the first narrative feature to have been entirely shot on iPhone.
In a directorial turn from actress Olivia Wilde, the music video for this song was shot entirely on phones to encourage people to make films using devices they already had Featuring trippy choreography, this hides it’s camera very well
Hopefully, you now feel a little empowered to go out and make something yourself. Don’t be intimidated by these examples, they are simply to serve as inspiration Experimenting with your equipment, and learning what works for your directing style will make all the difference. I firmly believe that any film can be shot this way, you just have to pay attention to what you ’ re doing, know your limitations, and work within them, to make something unique to you.
