PRESENTS THE
Photo © David Riley 2018
CAMBRIDGE FILM FESTIVAL REVIEW
INSIDE: - “Parkinson’s is a bit like having a stalker” - A raw and relatable sea shanty - A Bressonian crisis of faith, and a donkey - Headhunters - where are they now? takeonecinema.net | @takeonecinema
From Friday 26th look out for our FESTIVAL DAILY, edited by our student interns from Anglia Ruskin and available around the Picturehouse. News, reviews, interviews and special features, every day.
#takeonerecommends OUAGA GIRLS A group of young women training as mechanics are at the centre of Theresa Traore Dahlberg’s documentary OUAGA GIRLS. Dahlberg’s feature-film debut is set in Ouagadougou, the capital of Burkina Faso. This is a country with an unemployment rate of 51% amongst 15-29 year olds - a fact lingering in the background as the women sand down and hammer at cars. They share a bold determination to succeed, no matter the circumstances surrounding them. Patriarchal attitudes are highlighted at various stages in the documentary: the women are aware of their unique position in the trade, constantly being told how unusual it is to be car mechanics. The film demonstrates how, in actuality, there is nothing unusual about it. The women are not portrayed patronisingly; they are merely shown to be doing what they set out to do, with an unperturbed attitude to the world around them.
The narrative techniques used in OUAGA GIRLS seem atypical of a documentary of this nature. Radio bulletins and news reports are used to inform audiences of Burkina Faso’s political and social climate. Instead of the girls having interviews with the filmmakers, we are invited to be part of their sessions with the school’s psychologist. This is where we find out about the livelihoods shaping attitudes to their work: many of them have children depending on them, absent family members, or dismissive husbands. But OUAGA GIRLS is by no means a pitypiece. It’s the candid and assured story of a group of women working towards a stable future. What’s more, part of the film’s appeal is in seeing the joy they feel around each other, joking around in class or telling stories. Dahlberg’s debut is imbued with strength, meaning and sisterhood. - Yozzie Osman At the Picturehouse on 29th October at 18.45.
Illness spans all ages, as does the need to come to terms and live with the challenges it brings. Tom Martin’s KINETICS grants us a view of the emotional landscape of two people receiving different diagnoses, and how they become each other’s confidant. At the heart of this film is Rose, a drama teacher and Lucas, a student at the same school. Both have been diagnosed with lifechanging conditions: Rose with Parkinson’s and Lucas with ADHD. They are also connected by the desire to move. Rose has to come to terms with her decreasing ability to control her movement, and Lucas does parkour to de-stress. They meet through chance, and develop a friendship through lunchtime conversations and Scrabble. Finding out about their problems is what takes their connection to a new level, and how they become pillars of support for one another.
and their own perceptions of those responses. The film takes a very respectful approach to Rose and Lucas’s experiences, and the tone of the film is rather intimate and selfexploratory - Rose, for example, feels that “Parkinson’s is a bit like having a stalker … gradually eroding your freedom”. Overall, the film is a heartfelt and respectful portrayal of the journey from denial to acceptance, and finding support in unexpected places. - Sarah Henkel KINETICS screens at the Picturehouse on 28th October at 17.15. It is showing as a double feature alongside documentary #takeonerecommends ERIK & THE IBAN, in which Dr Erik Jensen returns to Borneo to find out how the headhunting community that he worked with in the 1960s are faring in the 21st Century.
While it is nothing new to portray a character’s personal experience with illness, this film also Dr Jensen will be attending the screening, explores other people’s attitudes. Rose and for an audience Q&A. Lucas reflect upon other people’s reactions
Francesc, an unhappy 13 year-old boy living in Barcelona, is inadvertently introduced to the works of Albert Camus, whose existentialist ideas he finds unconvincing but intriguing. Arming himself with a new French name, JeanFrançois, the boy sets out for Paris to give the writer a piece of his mind - unaware that Camus has been dead for more than 50 years. Met with obstacles almost immediately, and with no discernible plan, Jean-François falls in with a rebellious teenager, Lluna, who has her own reasons for wanting to visit France.
Though the film deals with dark themes, director Sergi Portabella has no interest in immersing the viewer in inarticulate but deeply-felt teenage angst. There is a literal distance to his approach: he likes to shoot from far back, showing people or cars moving horizontally across the entire screen, accompanied by stately but spirited Baroque music. This distancing effect is compounded by a set of laconic intertitles. The simple but elegant and precise style of the shots allows Portabella to take advantage of a number of repetitions throughout the film, both within The film that follows is, as Lluna later describes the story and inside Francesc’s elliptical it, an ‘adventure’, but she and Francesc/Jeandream-life. François are not the stuff of heroes. The characters’ occasional displays of initiative Though not actively funny - indeed, in view of and cunning are more than matched by their the subject matter, often rather melancholy aimlessness, self-destructive impulses and the film has a wry sensibility. The director is dishonesty. For much of the film they don’t lucky to have as his protagonist the young even seem to like each other very much. The actor Max Megías, whose face, so often called film reveals no acts of courage, and is all the on to show a combination of inscrutability and better for it. mystification, is nonetheless so expressive. - Stephen Watson
Jean-François and the Meaning of Life directed by Sergi Portabella
26th October at 20.00 (Picturehouse)
28th October at 14.30 (Light Cinema)
CARGO directed by Gilles Coulier
CARGO is a sea shanty of a family drama from writer/director Gilles Coulier, in which three brothers fight not only to keep their failing fishing business alive but to mend their own familial relationships. Rain crazed windows, the thrum of engines and the creaking of the ship’s bows set the scene and saturate the soundtrack to this raw and relatable tale of doing what you can for the ones you love.
allowing every aspect of the narrative even consideration and never compromising the plot.
In his debut feature, Belgian director Coulier successfully brings together land and sea in a poignant family drama. Heartfelt and gritty, CARGO will open your eyes to the fear, passion and obstacles faced by a family in an ebbing industry where blood ties may not be Following an incident during a fishing trip, Jean enough. Broucke (Sam Louwyck) must make the hard - April McIntyre decision to sell his family’s fishing vessel. The estranged and turbulent relationship he has CARGO screens at Emma College on 25th with his brother William (Sebastien Dewaele) October at 16.45. means Jean must attempt reconciliation in order to decide the businesses’ fate. Set in maritime Ostend, CARGO highlights the difficulties surrounding the fisheries and the apprehension many of the workers hold in the present social climate. CARGO addresses immigration, fatherhood, family, coming out and the implications of a changing fishing industry all in 91 minutes while still
Opening on the unedifying sight of Polish shoppers scrabbling around in their underwear for cheap TVs during a BlackFriday-like chaos, Malgorzata Szumowska’s MUG is an interesting and darkly comic look at what constitutes a personal identity in the eyes of our communities, our loved ones, and ourselves. Mateusz Kosciukiewicz stars as Jacek, the first person in Poland to undergo a face transplant after a work accident - constructing a giant statue of Jesus. Consequently, Jacek must deal with the ignorance and awkwardness of his own family, his fiancé Dagmara (Malgorzata Gorol), local community and authorities, in addition to examining how much of his own sense of self is wrapped up in his own appearance.
personality is laid out in clear - if perhaps broad - strokes early on. Further, some alarmingly racist jokes at the family dinner bring home the fact that Jacek is merely a victim of the prejudice in which he’d previously been complicit. Szumowska skilfully frames shots of the local community, albeit some blurring of parts of frames is overused (they work most effectively in the scenes re-establishing Jacek’s viewpoint post-transplant). Although effectively mirroring the deformity of multiple characters - figurative and literal - the effect is often a little distracting from the admirable acting work.Identity crisis clichés are sidestepped effectively, whilst still allowing Kosciukiewicz to have solo scenes where Jacek questions what he has lost, and perhaps what he never really had in the first place.
Kosciukiewicz portrays Jacek excellently after his transplant, under heavy make-up work. The wider cast of his family also change gears effectively, not being fearful in most cases - Jim Ross but suitably awkward compared to the freeflowing, if aggro-laden, conversations of the MUG screens on 25th October at Emma opening act. The writing allows this clash College at 21.15 and 27th October at the between the previous and ‘new’ versions Picturehouse at 10.30am. of Jacek to come through. The character’s
MUG directed by Malgorzata Szumowska
fortuna directed by Germinal Roaux Fourteen year-old Fortuna has been separated radical simplicity of Roaux’s approach, along from her parents during the perilous journey from Africa to Europe and now waits In a refugee centre, which has been set up within a monastery in the Swiss mountains. The handful of monks who live, work and worship there try to come to terms with the intrusion of this human tragedy into their secluded lives. Fortuna, increasingly isolated and unhappy, is assumed by the carers at the centre to be upset by her parents’ absence and her uncertain future. In fact, her predicament is even more serious...
with the sheer beauty of so much of the film, suggest that his gamble - if that’s what it was - has paid off handsomely.
The piety and goodness of the monks, which are depicted with the same rapt sincerity as in Xavier Beauvois’ 2010 film OF GODS AND MEN, are matched by Fortuna’s own naive Christian faith, perhaps implying that they have more in common with each other than with the refuge centre’s wearily pragmatic administrator and the rest of the outside world. However, this idea remains unresolved, Shot in black and white, with plenty of in keeping with a film whose virtues are shallow-focus close-ups? Check. Employing mainly suggestive rather than explicit. In the old 4:3 screen ratio? Check. Wordless shots particular, the film employs a gracefully fluid of a beautiful but barren landscape? Check. chronology which makes it seem possible Action-free conversations about profound that much of the narrative, including some philosophical questions? Long sequences particularly well-realised dream sequences, is of mundane activity? Stubbornly passive taking place inside Fortuna’s head... protagonist? Check, check and check. As if - Stephen Watson to underline the connection with Bressonian transcendentalism, there’s even a donkey. See it at the Picturehouse on 26th Oct at FORTUNA is so stuffed with signifiers of 13.30 and Emma College on 27th Oct at serious intent that the viewer may be forgiven 16.15. for thinking that the director Germinal Roaux has overplayed his hand. Nonetheless, the
THE PIGEON is an intrinsically detailed, minimalist film focusing on one boy’s transition from a quiet life of bird-keeping to a confrontation with the realities of working life. Director Banu Sivaci takes viewers on a humbling journey through the Adana slums of Turkey, where life prospers within the small urban community, but protagonist Yusuf struggles to fit in.
Kemel Burak, who plays Yusuf, captures the emotiveness of youth, and the small pleasures we derive from the simple things in life. His persona is generally muted and subdued, but his wavering temper is expelled during heated moments. His family are not overly accepting of his lifestyle: the older members of the community demand a strong work ethic and a conventional morality. Burak’s performance as Yusuf demonstrates the power of positive vulnerability and rebellion in the face of toxic masculinity.
The film opens on the birth of Maverdi, Yusuf’s beloved pigeon, as he tentatively peels from his shell and strokes into the cold light of the world. There is something to be said for this Cinematographer Arda Yildiran captures moment, the minute size of the egg signifying beautiful aerial views of one individual’s life, the tentative fragility of our world. on the roof of a single house, in the slums of a town. THE PIGEON does not break down We are introduced to the family home, and barriers, but instead carries an interesting Yusuf’s isolated rooftop where he spends narrative of examining societal expectations, day and night. This bizarre, yet endearing the defiance of tradition over passion and the sanctuary provides a haven for the birds who contentment of sitting in the bare ruins of diligently return each evening after their a rooftop, with just the companionship of a release. Yusuf sleeps between woven blankets bird. next to the crackling of an open fire, his cosy nest contrasting with the crumbling paint on - Elle Haywood the walls and the miscellaneous junk littered THE PIGEON screens at Emma College on the across the rooftop. 26th October at 21.15 and the Picturehouse on 31st October at 10.00am.
The Pigeon directed by Banu Sivaci
beautiful boy directed by Felix Van Groeningen David is a loving father with three children. Nic, the only child from his first marriage, is addicted to crystal meth. David tries to understand Nic’s condition while Nic struggles with his addiction in the first English language film from director Felix Van Groeningen. After the text revealing the current status of the characters, the credits reveal that this is based on not one, but two, memoirs: one by David Sheff, giving his perspective on his relationship with his son and the effects of his son’s drug addiction, but also one by his son Nic. The narrative scatters around throughout Nic’s childhood from David’s perspective, as his casual drug use first becomes apparent,
before deeper problems being to reveal themselves. We also then move forward, through Nic’s attempts to commit to rehab and through David’s efforts to find both empathy for and solutions to his son’s plight. The audience’s initial perspective of Nic is literally framed, a series of photos from Nic’s youth adorning the walls of David’s study. To achieve this, Nic is portrayed by four actors: Kue Lawrence, Zachary Rifkin, Jack Dylan Grazer and Timothée Chalamet. While Chalamet dominates the running time, the use of other actors to give a perspective across all of Nic’s formative year strongly implies that David still sees Nic as his vulnerable young son, rather than the troubled young man he’s become. BEAUTIFUL BOY exhibits a steadily increasing intensity, with each further depth plumbed by the son shown in his father’s quiet desperation. The split perspectives occasionally cause the film to lurch narratively, but the anchor of Carell keeps it grounded and watchable. - Mark Liversidge At the Picturehouse on 29th October at 21.30 and 31st at 10.30am.
Emerging from a catastrophic car crash in which her driving companion has been killed, the traumatised Dafne (Bafort) crawls away from the wreck, through the lethal desert in the heat of the day, and is near death when rescued by Jake (Cvetkovic), a lonely architect who bundles her into his jeep and takes her back to his place. Once she is in his care, Jake tries to convince the amnesiac Dafne that her name is actually Katya or ‘Kitty’ and that she’s his wife. From now on, in an effective slow-burn, the tension mounts as Dafne tries to piece her memory together while Jake keeps her from meeting any visitors likely to give the game away. As she searches the house for clues, he is out trying to persuade potential clients to take a chance on his wacky designs. Gradually, as the couple visit the African coast and recreate their supposed honeymoon among Roman ruins, Dafne/Kitty succumbs… but as cracks symbolically appear in the swimming pool, so Jake’s elaborate subterfuge starts to crumble. YOU GO TO MY HEAD’s denouement is neither unexpected nor predictable. It’s a measure of de Clercq’s control of his story, and the actors’ conviction (they’re on screen together for most of the running time) that nagging reallife questions (such as, where did all Kitty’s clothes come from, and how come they’re such a good fit?) are overcome by the dreamy mystery of the whole venture. - Andrew Nickolds
UK premiere at the Picturehouse on 27th October at 12.45 and 1st November at 19.30.
you go to my head
It’s not hard to see why Dimitri de Clercq’s first solo feature as a director (he previously shared co-credit with Alain Robbe-Grillet on THE BLUE VILLA in 1995) has become a film festival favourite, recently winning Best Picture at Bogota, Houston and Orlando and picking up nominations for its cinematography, score and two lead actors (Delfine Bafort and Svetozar Cvetkovic). A psychological thriller which increasingly grips and unsettles, it also benefits from gorgeous Moroccan landscapes lovingly shot, spectacular architecture and copious (though rarely gratuitous) nudity.
Eastern Memories directed by Martti Kaartinen and Niklas Kullstrom In this thought-provoking documentary, the journals of the Finnish linguist G. J Ramstedt are narrated, following his travels to Mongolia, Japan and China, starting in 1898 as a 25-yearold linguistics researcher. Ramstedt firstly journeys to Mongolia to study the languages, including their relation to the Finnish tongue. He’s accompanied by his family as he embarks on the beginning of what became years of crucial research and discovery, as well as a six year long diplomatic career as Finland’s official representative in China, Japan and Siam. The narration is accompanied not by old stock footage but by contemporary stories and film from modern life in Mongolia: ranging from Buddhist monasteries to night clubs to rappers still citing and remembering the linguist. Ramstedt’s research is influencing Mongolia’s people, even today. He’s remembered for putting Mongolian poetry onto paper and having a profound influence on their folk culture. The linguist’s travels take him from the rule of the Qing Dynasty to an independent Mongolia, to the Boxer Uprising and through the Chinese occupation of Outer Mongolia. He sets up the first Finnish mission in Tokyo in 1919, only to see it destroyed in the earthquake of 1923. Eastern Memories is a historic timeline as well as the personal story of a man who sacrificed his family to immerse himself within the Mongolian and Japanese social, political and linguistic culture. With its sweeping shots of Mongolian and Japanese landscapes, EASTERN MEMORIES is a visual pleasure, capturing the beauty and traditions of these two countries. This debut feature from directors Martti Kaartinen and Niklas Kullström is stunning in its execution, bringing the past and present together in a seamless and beautiful tale of discovery. - April McIntyre All content © TAKE ONE MAGAZINE 2018 Editor-In-Chief: Rosy Hunt Managing Editor: Jim Ross Deputy Editors: April McIntyre and Yozzie Osman Photographer: Dave Riley
Meet the directors at the UK premiere of EASTERN MEMORIES at the Picturehouse on Wednesday 31st October at 17.15 and Thursday 1st November at 10.00.
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