French Avant Gard filmmaker Jean Luc Godard passes away today. The influential filmmaker inspired generations. As a director he broke all the rules becoming a major a reference point in cinema world.
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An interview with artist and film director Rita Hui on her film Decameron. A
Your film is about resilience, how would define this?
I think after 2019, we (the Hong Kong people) have ben mental prepared about the action from the government. During the time in 2019, one of the slogan which become the most important mind set of HK people “攪炒” “ Laam Chow”, what’s the meaning is “I want mutual destruction”/ “I want damage on all sides”/ “If we burn, you burn with us”. We have prepare the worst scenario, so we won’t surprise of what the government will do to the people. Also. The resisted become the daily activity, that is the normal life we have during the time in 2020, after the social movement in 2019.
Everyday life in Hong Kong seemed routined, what were you saying to the audience with these settings?
One of the question we asked mostly in the early 2020: “How can we go back to the normal life?” and the further question is “ What’s normal life?” That’s the question we asked when we start to brainstorming the production, and also we want to capture the change of our daily life routine. Authority can easily change the daily routine, and the people can’t do anything to responded. When I go back to the history, hong kong history, and I found the pattern of history was make. The history is repeated. This is not the first time, to give a chance of the authority to control the people freedom. How we re-created the narrative of the daily routine, which is important.
The Decameron, tales set during a plague, your title “Decameron” please explain the reference.
After finishing the film, we concerned that how can we explain, or situate the theme of film for overseas audience by creating an English name. Decameron came across in my mind, it is a 14th-century Italian novel by Boccaccio. This novel set its plot during a pandemic society, several people escaped from that pandemic and start telling story each other to kill time. Those stories revealed how the society was corrupted. The link between Decameron and nowadays Hong Kong is the downward spiral like initiating National Security Law (which means Reform in the point of view of government) happening in every single day, under the shadow of Covid-19 pandemic. And through the film, you can read different pieces of ours daily life, especially before NSL, it is a hybrid situation (we fight against the Virus and fight for freedom).
Hong Kong is a city with a complicated past, forced separation, now, what looks an unwilling reunification, with parts in different worlds, as a person and a city, how do you process these positions?
This is a very difficult question. I don’t know how to position myself nowadays. The complicated past of Hong Kong, the colonial city, the immigration people, what we learn about democracy and freedom, human right from the past history, we hope we can be the master of our city. Now, the National Security Law become everything, we don’t have the free speech anymore, we cant have our own emotion and creativity, we cant stand on our position, even I don’t know maybe my film is “allowed” or not “allowed” to show in Hong Kong under the red line. We don’t know where’s the red line. The film, maybe become the evidence of crime, that would make our crew in danger. Are we breaking the laws? I don’t know. What’s Law? What’s the nation security?
Why the nation security much important than people safety? We have lot of question, especial nowadays. In 2020, the daily routine I want to created in Decameron, which is the resisted from daily life. But in 2021, we hear the bad news day by day, and we can’t do anything. The powerless feeling become our collective emotion, and we don’t know what is next. The film, maybe cannot pass the censorship in Hong Kong, and the film for Hong Kong which is not able to be show in Hong Kong.
Decameron was screened at the Rotterdam International Film Festival.
The battle over the state of modern cinema took a funny twist recently. Director Martin Scorsese weighed in by saying Marvel Cinematic Universe is not cinema. The backlash was swift. Do not attack a cultural movement. Martin, like so many others in Hollywood, has been left wondering what is his place in the new franchise driven film business. A critics darling, Scorsese has never been a box office magnet. His most successful films drew on the star power of Leonardo DiCaprio.
As his latest film, the acclaimed “The Irishman” premieres for Netflix, the helmer has taken aim at modern cinema. The free market economy does not count when it comes to buying tickets. “Marvel films are theme park attractions”, said Scorsese. Theaters should stop booking hem. According to this logic, as an exhibitor is better to choose “his idea of artistic integrity” over making a billion dollars.
Budgeted at $160 million “The Irishman” has a running time of 209 minutes. Translated; if this were a feature film, there could only be 2 theater screenings per day. It would need to earn $500 million to recoup production costs. Plus, an addition $50 million for marketing and prints costs. Martin Scorsese’s highest grossing film to date: 2006’s “The Departed” with Leonardo Di Caprio earned $291 million. No small wonder why the director had to turn to Netflix for financing his latest mobster film starring frequent creative partner Robert DiNiro. As the economics of the film business shift to even bigger tentpoles, Scorese’s view of cinema has been sidelined.
A filmmaker of the 70’s auteur movement, when studios gave directors autonomy over their work. Scorsese did not move into the blockbuster realm. Nor did he crash out like Coopola, DiPalma, or Bogdanavich. His was a world of dysfunctional characters on tee edge. Even his family friendly work, “Hugo” from 2011, a great look, but a times came across like a puzzle with missing middle pieces. Lacking an emotion. I felt no empathy for the characters. The film lost over $100 million at the box office.
Do not attack a movie genre for being successful. If the theater going public pays $20 per ticket, the film earns $2 billion at global cinemas. That is cinema.
Stay Tuned for more Chat Cinema Podcasts.
Dealing with bureaucrats with artistic pretensions is a balancing act. On the one hand they crave the hell with life mentality of Fassbinder, the go your own path of a Bowie, the respectability of Nolan mingled with the steady monthly salary of a state tax officer. Nowhere do I see this more than at the Berlinale Film Festival.
After the release of the 2017 petition calling for an overhaul of the film festival I saw many of the artistic and bureaucratic emotions collide. Artist and bureaucrats have thin skin. I experienced as well as witnessed the staffs defensive sensitive side during the press screenings, the shorten opening press conference, then at the festival.
Having attended the festival for many years, I support the annual event and films. The Berlinale mixes mainstream cinema to the quirky to the “I Don’t Get it!”
My criticism of the organization has not been any harder or meaner than the any other site or press outlet. As an attendee, I stated the reality. Real change has to come on all levels if it is to stay relevant on the circuit. As the film world knows, the Berlinale has been beset by criticisms from all sides. Festival Head Kosslick resigns this year. After last year’s fest and more recently during a “Chat Cinema” podcast we restated our opinions. A complete redo needed if the Berlinale can gain footing on the level as Cannes, Venice, and Sundance festivals.
I applied for festival access as press, no response. After a quick call, the reply on the other end, “We will check on it.” Then a declined notice via email. Never a problem in the past, all of a sudden a problem. Should I call a CSI team to solve the case? A small website critical of the fest, suddenly there is no space for attendance, press credentials denied for Black and Paper. I was told the press team is being diligent this year. What was their working method in the past?
After speaking to the press team concerning the declined noticed, they mentioned my YouTube features, it felt like they used it as a homework assignment. The numbers were low and the long videos. The reasoning made no sense: the number of seats limited. A drop in attendance the previous year meant there should be more places in 2019, simple math.
I asked, if the staff is so Internet Savvy why did not they not see the 24 pictorial, written, and video features produced and published about the 2018 Berlinale festival posted on Black and Paper.com. Additionally, there could have been more features had we written about the films not liked. Instead I decided to focus on the films liked.
After sending 10 weblinks from the 2018 coverage, I called the press officer back asking if they wanted more proof. I am so important the response was,” we are discussing it, it will take a few hours to discuss the application.” To be the topic of discussion at a film festival by staff should inflate the ego. Instead it feels sad on this side of petty. Did the Chat Cinema Podcast cause this relationship breakdown? I was smugly told we did not have time to listen to the long cast. I had time to endure screening 40 or so films at the film festival, only a few worth processing at a negative lab.
Can you work for another magazine, was a question from the officer. I responded with a “NO!” This site has been ok for me. I’m listed in the Berlinale data base, receiving emails from the festival.
My advice, put together a good festival that engages, not sermonises. Or develop thick skin.
Waiting a “few hours” from 1 pm until 7:48. I posted on Twitter a Chat Cinema tweet. Finally, 54 minutes later an email sent from the Berlinale press office stated my accreditation declined, again. REALLY! The press team spent 7 hours discussing Black and Paper, an honor in a way, the center of attention of a festival with over 400 films, thousands of attendees and we were singled out. A rejection letter that took an afternoon to write. There is an saying in the American South, “If people are talking about you, you must be relevant.” “But if they tell you not to come, you must be really relevant!”
Black and Paper will not attend the Berlinale 2019 because we stated our opinion. By and large not suffering from FOMO Syndrome.
The 69thBerlinale is shaping up. French Academy Award winning actress Juliette Binoche heads the festival jury starting February 7th2019.
Danish director Lone Scherfigs “The Kindness of Strangers” opens the winter cinema event. According to the press film’s release, the ensemble work stars Zoe Kazan and Bill Nighy as a group living in New York. Lone, a Berlinale regular, is known for character driven films. “An Education”, with Carey Mulligan opened to positive reviews with award nominations.
This is the swan song for Berlinale head Dieter Kosslick. After 18 years of greeting cinema goers on the red carpet, he is hanging up his hat. New head Carlo Chatrian takes over the creative reigns in 2020.
Staying to it’s reputation, the Berlinale showcases independent films and filmmakers with outsider perspectives.
The Competition list of films announced:
The Ground Beneath My Feet by Marie Kreutzer
By The Grace of God byFrancis Ozon
I Was Home, But by Angela Schanelec
A Tale of Three Sisters by Ermin Alper
Ghost Town Anthology by Denis Cote
The Golden Glove by Faith Atkin
Stay Tuned for our Chat Cinema Podcast on the 2019 Berlinale.
Berlinale is around the corner, I attended a warm up event, Hellas Filmbox Berlin is an annual Greek Film Festival held to showcase New Greek Cinema. On the program is a series of up and close conversations with filmmakers titled “Box Talks”. I attended the first with German Auteur Volker Schlondoff had an influence on me would be an understatement. His 1979 film “Tin Drum” left a mark on me. I watched it on the den floor late night on cable televison. It blew me away! A whole new world of cinema opened. The characters and the narrative shocked an impressionable young teenager use to old Hollywood films.
What made a doctor’s son leave the comforts of a middle class life for Paris? Mr. Schlondoff was incredibly affable doing the conference. Telling the audience his stories on how he became a filmmaker working under Louis Malle in the French New Wave Movement and later in the New German Cinema were inspiring along with his memories of conversations with Nicolas Ray, Joseph Von Sternberg, and Billy Wilder. It was an inspiring talk for filmmakers and film lovers.
Greek Filmmaker Yannis Sakaridis shared the stage speaking about the present experience and challenges of producing feature films in Greece in current economic and social climate.
Hellas Filmbox Berlin runs through January 28th . For more information go to:http://www.hellasfilmbox.de/en/
Inhumans is the latest television series from the Marvel Universe. Created in 1965 by Stan Lee and Jack Kirby, Inhumans is the story of ruling family and their court on a distant planet split by intrigue and ambition. King Bolt flees to Hawaii because of a successful upraising on his home world, resulting in Earth’s and Attilan’s fates becoming tied together.
Starring Anson Mount as Black Bolt, Iwan Rheon as Maximus, and Serinda Swan as Medusa, the television show will have an exclusive release in IMAX cinemas on August 31st and September 1st before debuting on the ABC Television Network in the United States, September 29th.
Black and Paper sat down in Berlin to speak with Dutch Director Roel Reine after the IMAX screening of some scenes from his new project, Marvel’s Inhuman.
How many episodes were produced for Season 1
8, I directed the pilot and the first episode.
There are two versions of this story, one IMAX and another for TV. Are the two different?
Yes, the same story and structure but the IMAX version will have bigger, wider shots with the scope and framing. It will be the complete experience of a massive screen in the theatre.
Making a television show look like a movie, was that hard?
I specialize in making small budget films look like big budget films. The production schedule was for TV but I used IMAX Cameras for scope techniques.
As a creative person were you intimidated coming to the Marvel World?
I was. The Marvel movies are very successful. Their TV series are diverse. As a creative you feel it on your shoulders. That was the challenge I liked. As a director pressure is a part of the job. Marvel was supportive providing me with a great working environment.
The CG for Medusa’s hair, was this difficult?
It’s tricky. Hair is the most difficult CG element, making it move and the fluidity. Finding the right effects house, then, designing the right shots to tell the story. I designed long takes to show what her hair can do. The continued shot allows the audience to be more involved.
Lockjaw is a CG character, the first on TV. We had a good visual effect house, Double Negative. I had a big foam dog made for the actors and camera crew to interact with during production. It gave them guidance.
What is the series source of the Inhumans?
The source materials are from the comics of 1960’s and 1990’s. The show also draws from the present world; politics, inequality, diversity, Brexit, and Trump in America.
Will Inhumans connect to the Marvel Universe?
The Marvel Universe is surrounded by secrets. The company is protective of it’s properties and tie ins. We have to wait and see.
For more information go to: IMAX.com
Black and Paper interview with Director Yance Ford.
“Strong Island” is a documentary that is topical on a social and historical, the shooting of an unharmed African American Man followed by a criminal justice system that vilifies a person of color with a “Guilty Label” regardless of the circumstances and ultimate outcome. The 107 minute film investigates the 1992 murder of Mr. Ford’s older brother, William Ford Jr, who was involved in an altercation with car mechanic Mark Reilly.
The Limo at the scene of the crime, chop shop, while the police were there, was there a mafia connection to the garage?
No, it was not Mafia. The limo’s owner was the father of the owner of the garage. He was a wealthy builder. I put these pieces together of what happened that night. There was no proof concerning who was in the limo at the time. The guy who shot my brother called his father first, then the police. Funny enough Mark Reilly is now in prison for dumping illegal materials.
The Red Lining in your neighborhood, was this a form of segregation?
Yes, of course! It was institutionalized. This structure or form of segregation started with the GI Bill. African American soldiers could not take total advantage of the bill. There were restrictive clauses, where you buy, what articles did not apply based on skin color selling, buying, and reselling housing. My Black colleagues have had this experience but my White colleagues are in shock. They are surprised because they have never known this.
Was your brother the victim of same script different cast, unharmed African American, armed white man?
That has been the script for generations. My grandfather died of an asthma attack because he had to wait in the hospital waiting area because he was Black. It is a script as old as America.
The police description of the hyper black body; powerful, oversize, strong, all of the words pointed to aggression, aggressive. None of “facts” added up. The autopsy report and pictures were not aligned. The guy shot my brother because he could. It was easy to take a Black Life.
“Judge People by Character not Color” was a quote from your mother in the film; did your mother question this value assumption after your brother’s death?
Yes! She was devastated. It was a realization. Character not color does not apply when you are Black. My mother has been 2nd guessing herself ever since, did she do her son a disservice by teaching him what Dr. King taught. She did not think it was mistake until after police investigation, wrestling with this feeling of “what if”.
Why aren’t you angry?
The look on my face in the film was irony. I think about the loss of my brother everyday.
If you had told your parents about your brother’s first incident do you think history would have been different?
I don’t know! I try not to think about that.
Strong Island was screened by Black and Paper in the Panorama Section of the 67th Berlinale.
God’s Own Country
Critically acclaimed at Sundance, screening at the 67th Berlinale Panorama Section to great reviews, first time director Francis Lee delivers a poignant story of an emotionally struggling young man coming to grips with his sexuality in Northern England.
God’s Own Country is not about a gay relationship but about two people on journey of discovery. I decided not the label the film “Queer Cinema” because the feelings of the young protagonists are universal not bound by sexuality or physical attraction. The director drew out exceptional performances from newcomers Josh O’Connor and Alec Secareanu as two men struggling to make sense of their feelings for each other.
Actor, Director, and Writer, Francis Lee interview with Black and Paper at the Berlinale.
How do you feel about the Broke Back Mountain comparison?
I loved that film. It was well acted and directed. But the main difference with my film is the relationship could survive. God’s Own Country is a story of a personal journey not about sexuality.
As a first feature with main gay characters, were you nervous about being classified as an LGBT Director?
NO! I like raw emotional stories, interesting engaging characters. God’s Own Country was the first film I wrote.
Given the subject material, how did you communicate with actors Josh and Alec?
I did not know then before the casting which was a long process. We worked with great Casting agents in London and Bucharest.
When I saw Josh I knew there was something and he wanted to do the film. There were great actors in Bucharest but with Alec it felt right because we shared the same working style.
I had a very close relationship with them. Three months before production I worked with them on developing the characters. We started from scratch, adding all the details like where is the bed in the room, etc. They had to work on a farm weeks before the camera rolled because I did not want stand ins or hand shots, I wanted as authentic as possible. When production rolled they knew their characters.
After the shoot we became comrades. I took them on an emotional journey so I could not abandon them.
As a director I believe in protecting the actors.
Have you been surprised by the response to the film?
Overwhelmed! I had no expectations. At Sundance it was all positive. I think when people see the film it unlocks emotions.
Is this a romantic film?
It is a love story. I am a big fan of films about hope.
How did you work with the Cinematography?
The landscape as seen by Johnny is about hard work. That is how the terrain affects him. You see him humped over, closed. We contained the shots.
What were the shooting conditions in the Yorshire?
Tough! The weather, the animals were unpredictable. We had to carry equipment up the hills. The roads were not so good.
We had the sheep farmer call us when there was a lamb was born. Those scenes were real. We did not kill one for the film. The number one occupation of sheep and lamb is death.
The farm is owned by a friend of my dad.
How much of Johnny is in you?
He is not me. It is not autobiographical. The landscape is from my childhood. Johnny comes from a tight family unit. His family loves him but they know if he leaves the farm is finished. They see the change in him when Gheorghe arrives.
A Black and Paper film recommendation.
God’s Own Country was screened at the 67th Berlinale in Panorama.
Berlinale Day 7
On the competition front there was the new Volker Schlondorff film Return to Montauk. I did not see the film but the judging by the level of applause the critical reaction to the film was not so good. I asked two people, a male and a female. The male journalist loathed it but the female journalist liked it. The film is based on a book by Max Frisch concerning lovers who meet then separate with the Max (Berlinale regular guest Stellan Skarsgard) hoping for another chance. Nina Hoss also stars as Rebecca .
Stay tuned for updates about this film.
Screening out of competition was the newest film by Alex de la Iglesia’s The Bar, a dark Spanish comedy starring Maria Casas and Jose Sacristan. During the press conference Mr. Iglesia mentioned the use of lighting and sets as a narrative tool, finding inspiration from old Hollywood films. Berlinale press reaction to the film was lukewarm. I am not a fan of the director’s previous work. I have a feeling his latest film will not change my mind.
Berlinale Updates:
There are two standouts A Fantastic Woman and The Other Side of Hope. One could take home the Gold Bear. Luis Gnecco could get the Actress Award.