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London Film Festival 2020

You missed a trick, TriciaThe story so far:

Coronavirus disease 2019 (COVID-19) is an infectious disease caused by severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2). It was first identified in December 2019 in Wuhan, Hubei, China, and has resulted in an ongoing pandemic. On 5 October, the WHO said that one in ten people around the world (around 800 million) may have been infected with COVID–19. As of 7 October 2020, 35.8 million cases have been reported across 188 countries and territories with more than 1.05 million deaths; more than 24.9 million people have recovered. Common symptoms include fever, cough, fatigue, shortness of breath or breathing difficulties, loss of smell and taste, and the wholesale disruption of film festivals worldwide.

For some reason, that last bit never stays on the Wikipedia entry for long whenever I try to add it. Some people just have no sense of perspective.

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Spank Gold Volume 9: Spank's LFF Diaries 2015-2019

Photo by The Belated Birthday Girl, who would like to point out that this is a more fitting cover than the one she shot for Volume 4: the Kiln cinema has actually held LFF screenings (back in 1998 when it was the Tricycle), whereas the Lexi hasn't.After close on two decades of dealing with my shit, The Belated Birthday Girl has become an expert at spotting those occasions where I casually skip over the details in a story for either narrative brevity or comic effect. For example, in my recent writeup of our virtual Edinburgh, I compared Christopher Nolan's film Tenet to a Tuesday afternoon in Lincoln town centre. The BBG acknowledges the structure of the gag in that case, but feels that because I stripped down the statement to its barest essentials, it's somewhat disrespectful to the town of Lincoln.

Another recent example is the story I've been telling people about how my pandemic's been going: “earlier this year the government paid me not to work for six weeks, and during that time I wrote three books.“ This is normally the point where she chips in with "well, you didn't actually write them in six weeks. You pulled text off the website that you'd already written, rearranged it to fit book pages and printed it off, and that took six weeks."

It's a fair point, but you know what they say: when the legend becomes fact, print the legend. I like the fact that my time on furlough had a narrative structure: I started on day one with three empty word processor files, and by day forty I had three actual printed books in my hand. Not finished, mind you, as they still needed to be checked for typos and other nonsense, and the covers were just temporary affairs. But I could go into work the following Monday and show them to people (or at least wave them in front of the camera during a video conference call).

So: I wrote three books last April and May. (Sorry, love.) The finished version of the first one came out in August, followed by the second one in September. Now here's the third one.

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Simian Substitute Site for October 2020: The Flying Monkey Movie House and Performance Center

The Flying Monkey Movie House And Performance CenterMONTH END PROCESSING FOR SEPTEMBER 2020

Food and Drink: The last six months have seen lots of real world events pivoting to video, but the staunchly traditional Great British Beer Festival has to be the most unexpected one yet. CAMRA came up with a similar idea to the one BrewDog used for their virtual AGM a few months ago - send them £46, and they'd mail you eleven bottles of beer (a standard set of five British favourites from Drone Valley, Grey Trees, Eyam, XT and Oakham, plus another set of six in a style of your choosing) to be drunk in front of your computer during a weekend of guided Zoom tastings. We decided to subvert the Britishness of the event and went for a secondary set of foreign muck from St Bernardus, Duvel Moortgat, de Molen, Schlenkerla, Hitachino Nest and Früh. Cheryl Cade's international tasting session was a jolly and informative affair, while Roger Protz's British tasting was notable for him getting through all five beers in 35 minutes, alarming the people who'd assumed that you had to drink each bottle dry before starting the next one. In addition we had Q&A sessions with hop and malt suppliers, and an entertaining (but hard) informal pub quiz at the end of the weekend. The event was refreshingly clear of beardy beer bores (we had just one, who inevitably wouldn't turn his mic off during a Zoom session), and the whole event was surprisingly educational - when the main focus isn't just banging ales down your neck, as it tends to be in real-life beer festivals, there's a lot of knowledge being passed around. I'm not sure I'd want the GBBF to be like this every year, but it worked incredibly well in the circumstances.

Movies: Five years ago today, one of the items I reviewed in this bit was the world premiere performance of Max Richter's Sleep, his notorious eight-hour piece of music designed to be listened to literally while you were sleeping. So it only seems fair that today, I throw in a quick review of Max Richter's Sleep, a film by Natalie Johns that's effectively a making-of documentary about the piece. Starting from the basic idea - actually the connection of two independent ideas from Richter and his partner Yulia Mahr, who proves herself to be the conceptual thinker behind a lot of his work - we follow its evolution up to an extraordinary open-air all-night performance in a Los Angeles park, with the audience lying in multiple rows of camp beds. Possibly the least interesting thread in the film is the series of interviews with LA audience members, pretentiously set up as if they're dreaming the interview in the middle of the show. But the most unexpected one is the focus on Max and Yulia's home life, and particularly how they were struggling financially for a large part of it. They come across as a lovely couple, throwing around some big ideas while always staying firmly grounded in the real world. If you're okay with watching a film that takes the rhythm of its editing from a piece of music that's intended to make you doze off, then there's a lot to enjoy here. You've missed Sleep's tiny theatrical run: on the night we saw it, there was one other person in the audience, which counts as a success in social distancing terms. But it's currently available on demand from the likes of Curzon Home Cinema, and you'll be able to get it on physical media from October 12th.

Travel: I never really know which category to use for my writeup of the Japan Matsuri each year. I tend to assume Travel is the safest bet because a) people travel to London to see it, and b) it's a festival that's largely about persuading people that they'd like to travel to Japan sometime. Of course, both of those points are less true in 2020. Still, the transfer of this year's Matsuri to the online Japan Matsuri Presents is certainly a lot less surprising than the GBBF's similar journey. Stretched out from the usual one day to a full weekend, we got the same cavalcade of Japanese culture that we would have got live in Trafalgar Square, but with the added bonus that guests didn't have to be flown in from Japan in order to take part. Certainly some of the quieter elements - for example, the Kakehashi Koto Ensemble's hour-long history of the instrument, complete with several full performances - simply wouldn't have worked in the open air. We didn't have to queue for ages for food, because we got to make our own, with a series of Zoom cookalongs to make our own okonomiyaki and sweet pancakes. For me, the highlight was Ura Ura Lockdown, effectively an hour-long fringe matsuri in the middle of the main one: driven by the anarchic spirit we associate with Frank Chickens (whose founder Kazuko Hohki is one of the organisers), we got everything from Hibiki Ichikawa and D.J. Takaki's mashup of traditional shamisen and modern turntablism, to No Cars and their delightfully daft indie stylings. It's all finished now, of course, but there's still some content lying around in the Matsuri site's Discovery Area: maybe it's time you discovered the joy of Radio Taiso.

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