After the kicking it has taken from recent government cuts, it’s a surprise that the UK film industry hasn’t just crawled off, put on a suit and got a ‘proper job’.
But no, it’s still here, and if anything this climate of minimal budgets has given those filmmakers and artists used to making glorious moving images from peanuts a chance to seize some attention of their own.
Granted, nobody knows how it’s going to pan out until, over the next few years, we begin to see the fruits of any labour that’s happened following these constrictions. But for now things seem positive, especially within the world of artists’ film, with Clio Barnard buckling under the weight of critical love for The Arbor, Gillian Wearing at the London Film Festival, Frieze hosting its own cinema – it’s a time to reformulate our approach rather than panic.
Maybe I’m too optimistic, but it’s the only way forward for me. So when I went to the inaugural Cineast in London, a new film salon set up as a platform for the screening and discussion of contemporary moving image, I wasn’t surprised to have to elbow my way to a seat. Screening the work of Christine Molloy and Joe Lawlor, Cineast offered the audience a chance to see extracts from their Civic Life series followed by a discussion with Molloy... (read more)
No comments:
Post a Comment