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And then how does that demarcation reflect the cultural beliefs of the group. Van Extergem already noted what he referred to as the ritual aspect of going to a film festival film. Beyond that, however, Falassi, while like Stoeltje, categorically not referring to film festivals, expanded on the different kinds of ritual activities indicative of festival behaviours. Although, I am unaware of any such scapegoating rituals at any of the film festivals I have attended, certain kinds of cleaning and organization is required in immediate preparation for the event. At larger festivals, where opening night gala presentations require special guests requiring special treatment, red carpets are sometimes laid “ceremoniously”. Or the posters in the lobby will be changed to those more relevant to the event. Despite the seeming banality of these “rites of purification” they do underline that the event is somehow different to the everyday operation of the space wherein which the event will be occurring and the metamorphosis of the space is a highly symbolic gesture underlining the “sacred” nature of the festival. Part of the ethnographic project, of course, is not only to make the strange familiar, but also to make the familiar strange; and we need to problematize the assumptions we make about the special activities involved in ritualized preparations. These spaces of course are regularly purified through a ritualistic application of water, called “cleaning” (one hopes). What is the act of cleaning, but a ritual of purification. Surely who is included in granting these “golden awards” is significant in reflecting who can lay claim to being part of these communities. And what about those festivals who do not have any competition amongst their films? What kinds of competitions exist amongst the festival participants. The nature of the festival determines the phatic degree of the display of those “sacred elements” for that community: while the festival participant might be able to see (from a distance) or perhaps photograph a celebrity in attendance at the “universal festivals” like Cannes or Toronto, at the vernacular festivals like Dead by Dawn, the guests circulate among the audience themselves, thereby enhancing the sense of communitas. Rather than seeing these market stalls as prima facie evidence of the commercialization of the event, we need to look more ethnographically at the function and actual use of these market spaces for the community itself. Falassi further notes that such “rites of conspicuous consumption” in addition to “conspicuous display” is equally a marker of festival behaviour (Falassi: 5). Falassi notes that this rite “through symbolic inversion, drastically represents the mutability of people, culture, and of life itself” (Falassi: 4, emphasis added). We find here a characteristic logic, peculiar logic of the “inside out”, of the “turnabout”, of a continual shift from top to bottom, from front to rear, of numerous parodies and travesties, humiliations, profanations, comic crownings and uncrownings” (Bakhtin: 11). Van Extergem already noted, in some respect, how different film festival going is to everyday media consumption, but surely this is not sufficient to be considered a rite of reversal. Again, at this stage in the research, anecdotal evidence must suffice: in an informal survey of the 2004 Dead by Dawn participants, one of the most frequently cited reasons for their attending was to be able to gorge themselves on horror cinema for a few days before returning to their normal everyday lives.

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Holmes, perfectly capturing the story of a man who embraces his solitude and firmly believes that fiction is nonsense and that fact is logical. Read more. It was not only one of the most provocative and fearless explorations of male sexuality, but dared to state what needs to be said about the human condition. Llloyd Newson’s distinguished vision astonished; he successfully managed to convey the absolute loneliness of a man who is hopelessly lost in live and love, masterfully contrasting John’s isolation with his claustrophobic rambling in a male sauna where naked bodies become a sea of flesh, and the utter chaotic effect of drug addiction and physical abuse. John is an incredibly complex production to pull off and succeeded admirably. Hannes Langolf lead the powerful ensemble and delivered a memorable and compelling performance. Read more. Nightcrawler will have you on the edge of your seats until the very last moment. It’s one of those films that grabs you by the throat and never let’s go. For writer-director Dan Gilroy, the nocturnal subculture of maverick newshounds became the perfect world to launch lead character Lou Bloom. Jake Gyllenhaal, who delivers an astounding performance, describes Lou Bloom as a coyote. “He searches and scavenges for whatever he can find,” the actor says. “He is hungry at all times and will destroy what he needs to if it stands in his path. He will succeed at any cost. Lou’s ascent in the world of nightcrawling is aided by Nina, with Rene Russo delivering an equally brilliant performance. Read more. It follows two very different communities who found strength by standing together. Inspired by a miraculous true story, it is set in 1984 when Margaret Thatcher was in power and the National Union of Mineworkers was on strike, prompting a London-based group of gay and lesbian activists to raise money to support the strikers’ families. Initially rebuffed by the union, the group identified a tiny mining village in Wales and set off to make its donation in person. As the strike dragged on, the two groups discovered that standing together makes for the strongest union of all.

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I did a lot of research around the First World War, always from a civilian perspective and of course Shirley Williams (Vera’s daughter) and Mark Bostridge (Vera’s biographer) really brought her to life for me. It is the human struggle against that backdrop that makes it so powerful. Vera’s very personal journey set against this extraordinary epic backdrop of the war is what I think makes the story really special. I think that’s actually what gives the book its power. If you’re adapting a book, your job is to distil the essence of that book and to find the central threads that carry you through. So much of it is about structure, you want to capture the characters, the tones, the themes, and then structure them in a way that feels dramatically coherent. One of the first things I look for are image systems. For me in Testament of Youth there were trains, mud, blood, and a sense of decorum, as well, that contrasts with those. It was a journey away from Buxton and her decorous upbringing and into the chaos and horror of war, but with this amazing personality as the thread through all of that, taking you on that journey with her. One of the scenes that hit me the hardest in the book that we retained in the film is when Vera was nursing German wounded prisoners and officers at the Front. Vera holds the hand of a dying German officer and sees him through until the end. That scene is so powerful because she enters the war nursing at the Front seeing the Germans as a sworn enemy. It is about that moment of connection with that human being and experiencing that universality of what it is to be facing death. The humanity of a wounded person, no matter their nationality was a very transformative, pivotal scene. It really leapt out at me in the book, and hopefully will do the same in the film. It catapults her change of heart about war, and ultimately led to her becoming a pacifist. You don’t get to hide behind chronology, necessarily; you want to be true to the essence of something. In order to capture that essence, sometimes you have to play with the facts a bit. We wanted to show that her ultimate end point is a complete change of view of war and conflict. Otherwise, the story doesn’t have the same resonance and meaning.

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