’The Forgiven’ and ‘Fall’ are also out this weekend.
After last weekend’s UK-Ireland box office results proved rather muted – no film reached the £1m mark for the first time since December 2020 – exhibitors and distributors will be anticipating a boost from this Saturday’s National Cinema Day (September 3), in which 560 venues across the UK will be offering tickets at just £3, for all screenings.
This weekend’s widest release comes from Entertainment Film Distributors’ Three Thousand Years Of Longing, playing in 545 cinemas. The Cannes 2022 premiere unites Tilda Swinton and Idris Elba and is George Miller’s first feature since 2015’s Mad Max: Fury Road.
After last weekend’s UK-Ireland box office results proved rather muted – no film reached the £1m mark for the first time since December 2020 – exhibitors and distributors will be anticipating a boost from this Saturday’s National Cinema Day (September 3), in which 560 venues across the UK will be offering tickets at just £3, for all screenings.
This weekend’s widest release comes from Entertainment Film Distributors’ Three Thousand Years Of Longing, playing in 545 cinemas. The Cannes 2022 premiere unites Tilda Swinton and Idris Elba and is George Miller’s first feature since 2015’s Mad Max: Fury Road.
- 9/2/2022
- by Mona Tabbara
- ScreenDaily
In the film of Sinclair’s book, the writer ends up rerouting the story of his great-grandfather’s expedition to the Amazon to its own psychogeographic musings
Accompanying the book of the same name, Iain Sinclair extends his psychogeographic franchise out to the New World in this lightly dramatised documentary, which traces the 1891 trek of his great-grandfather Arthur Sinclair into the Amazon jungle to set up a coffee plantation for the Peruvian Corporation of London. Kicking off with testimony from the Asháninka people whose land was hijacked, his stated aim is a Conradian voyage upriver – only reversing the “romance” surrounding the colonial plunder of the time and still stinking out certain culture-war circles today.
Sinclair actually made this journey for his book, with his daughter Farne. But in writing the narration for the film version, he opts for an odd distancing affectation: it is in the mordant voice of his...
Accompanying the book of the same name, Iain Sinclair extends his psychogeographic franchise out to the New World in this lightly dramatised documentary, which traces the 1891 trek of his great-grandfather Arthur Sinclair into the Amazon jungle to set up a coffee plantation for the Peruvian Corporation of London. Kicking off with testimony from the Asháninka people whose land was hijacked, his stated aim is a Conradian voyage upriver – only reversing the “romance” surrounding the colonial plunder of the time and still stinking out certain culture-war circles today.
Sinclair actually made this journey for his book, with his daughter Farne. But in writing the narration for the film version, he opts for an odd distancing affectation: it is in the mordant voice of his...
- 8/30/2022
- by Phil Hoad
- The Guardian - Film News
Lucile Hadzihalilovic’s first English-language feature is intriguing, but its nightmarish dentures slant needs a mouthful of narrative
A fog of menace descends on this hauntingly photographed, oppressive and driftingly directionless movie from Lucile Hadzihalilovic. It has the intensively curated atmosphere of body-horror noir – if not the conventional plot structure – and some way into the running time you might find yourself awakened from its reverie of formless anxiety by a sudden, horrifying stab of violence. It’s a flourish of brutality whose meaning and motivation are never entirely revealed (there is no question of calling the cops in this nightmare-world) and maybe it doesn’t entirely earn the resulting jolt of attention as the story loops mysteriously around and in on itself.
This is Hadzihalilovic’s first feature in English, adapted from the experimental novella of the same name by Brian Catling, author, performance artist and longtime Iain Sinclair collaborator.
A fog of menace descends on this hauntingly photographed, oppressive and driftingly directionless movie from Lucile Hadzihalilovic. It has the intensively curated atmosphere of body-horror noir – if not the conventional plot structure – and some way into the running time you might find yourself awakened from its reverie of formless anxiety by a sudden, horrifying stab of violence. It’s a flourish of brutality whose meaning and motivation are never entirely revealed (there is no question of calling the cops in this nightmare-world) and maybe it doesn’t entirely earn the resulting jolt of attention as the story loops mysteriously around and in on itself.
This is Hadzihalilovic’s first feature in English, adapted from the experimental novella of the same name by Brian Catling, author, performance artist and longtime Iain Sinclair collaborator.
- 10/15/2021
- by Peter Bradshaw
- The Guardian - Film News
Sophie Hawkshaw (L) and Zoe Terakes in ‘Ellie & Abbie (& Ellie’s Dead Aunt)’.
Since Zoe Terakes came out, the proudly gay actor has not been offered any screen roles as straight characters – but that has not hindered the 19-year-old’s flourishing career.
There is no such discrimination in the theatre world and Zoe is currently performing in Arthur Miller’s A View from the Bridge at the Ensemble Theatre, directed by Iain Sinclair.
She made her stage debut as Catherine, a college student who is romantically involved with Italian immigrant Rodolpho, in the Old Fitz Theatre production of the play while she was studying for the Hsc.
Miller’s play has been a talisman for her as she appeared in the Melbourne Theatre Company production, also directed by Sinclair, earlier this year.
Terakes is gratified by the growing acceptance of Lgbtqi actors and storylines but she tells If: “In the...
Since Zoe Terakes came out, the proudly gay actor has not been offered any screen roles as straight characters – but that has not hindered the 19-year-old’s flourishing career.
There is no such discrimination in the theatre world and Zoe is currently performing in Arthur Miller’s A View from the Bridge at the Ensemble Theatre, directed by Iain Sinclair.
She made her stage debut as Catherine, a college student who is romantically involved with Italian immigrant Rodolpho, in the Old Fitz Theatre production of the play while she was studying for the Hsc.
Miller’s play has been a talisman for her as she appeared in the Melbourne Theatre Company production, also directed by Sinclair, earlier this year.
Terakes is gratified by the growing acceptance of Lgbtqi actors and storylines but she tells If: “In the...
- 8/4/2019
- by The IF Team
- IF.com.au
Author: Linda Marric
Director Andrew Kötting’s latest Psycho-geographical feature offers up far more questions than it is likely to answer, and his many fans wouldn’t want to have it otherwise. Edith Walks is a brilliantly shambolic and wonderfully ramshackle adventure which reconciles it audiences with the weird and wonderful world of King Harold’s “handfast” wife Edith The Fair (Edith Swan Neck), who alone was able to identify his mutilated body as he lay dead after the battle of Hastings in 1066.
Featuring author Iain Sinclair and with a truly impressive performance from brilliantly eclectic singer Claudia Barton as Edith herself, the film is a pilgrimage of sorts which seeks to retrace Harold’s lover’s journey from Waltham Abbey in Essex via Battle Abbey to St Leonards-On-Sea to be reconnected with her dead king.
Accompanied by a merry band of weird and wonderful characters, Kötting uses a super...
Director Andrew Kötting’s latest Psycho-geographical feature offers up far more questions than it is likely to answer, and his many fans wouldn’t want to have it otherwise. Edith Walks is a brilliantly shambolic and wonderfully ramshackle adventure which reconciles it audiences with the weird and wonderful world of King Harold’s “handfast” wife Edith The Fair (Edith Swan Neck), who alone was able to identify his mutilated body as he lay dead after the battle of Hastings in 1066.
Featuring author Iain Sinclair and with a truly impressive performance from brilliantly eclectic singer Claudia Barton as Edith herself, the film is a pilgrimage of sorts which seeks to retrace Harold’s lover’s journey from Waltham Abbey in Essex via Battle Abbey to St Leonards-On-Sea to be reconnected with her dead king.
Accompanied by a merry band of weird and wonderful characters, Kötting uses a super...
- 6/20/2017
- by Linda Marric
- HeyUGuys.co.uk
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