As the dreadful month of August ends, fall begins and with fall comes the most wonderful time of the year: Festival Season! Venice already started, Toronto and Telluride will follow, then comes London and New York. The happiness and the discourse will spread from the sunny seaside of Italy, bringing film lovers together (or apart) until the Awards Season, in which we all will sell our souls to competition. But until then, enjoy a list of some of the films we cannot wait to see from festival season.
Much Ado About Cinema is now looking for new regular writers! As a Much Ado writer your responsibility is to publish at least once a month. This could be through group pieces or an individual piece. We are very open with the subjects on which we write. We publish features, reviews, and essays concerning all aspects of cinema, written by a young and diverse group of contributors. The work we publish here ranges from graduate-level analysis, to casual commentary on mainstream television, to festival coverage of the latest films. In our work, we emphasise diversity and inclusivity, and we wish to cast new impressions on the traditionally white, male and heterosexual world of film criticism.
We pride ourselves in being a community amongst everything else. All our writers and editors are friends who communicate daily. Being a Much Ado writer won’t just give you an opportunity to publish and attend festivals but also have a community where you can engage in conversations and discussions about cinema.
We especially encourage writers of colour and members of LGBTQ community to apply. We’d like to remind you that all positions at Much Ado are unpaid (meaning no one on our team earns any money from the website) and we don’t accept any applicants who are younger than 18. You can be from anywhere in the world as long as you have a good internet connection. Applications will close on the 22nd of July. Good luck!
Click here to go to the application form.
The Critics Interviews is a Much Ado series in which we interview film and cultural critics about the industry, social media, responsibilities of a critic, and their advice for young writers. You can find all of The Critics Interviews here.
Our third interview is with Anna Smith, the president of The Critics’ Circle and film critic for Time Out, Sky, BBC, Metro and The Guardian. Enjoy!
My introduction to David Lynch was, unfortunately, at a very young age. I was in elementary school and my mother came home with a VCD (the DVD’s precursor) of The Elephant Man. She thought it was a Chaplin-like black and white film about a man who is also an elephant, a fun film for an 8-year-old. Quickly into the film she realised this was not the case, but it was too late and I was too stubborn to admit I was scared. I had nightmares for days and to this day, I have not rewatched it.
But I came back to Lynch, many years later, during my freshman year of university, with Mulholland Drive. I had no idea what I was about to encounter, but I knew the moment the man started telling his dream at the cafe, that another nightmare filled sleep awaited me. After the film, I went online immediately, as I’m guessing many people do after seeing Mulholland Drive, searching for some explanations. What does it all mean? There were pages and pages of theories, each one making as much sense as the other. I went to sleep, confused and afraid of something I could not name. So I went back, again and again, first to Mulholland, then to his other films, to name what it was that made me feel so afraid, so anxious, and unable to move. I’ve wondered why that fear I felt after watching his films stayed with me longer than any other horror. Why the horrors that made me jump and scream left my mind very shortly, while the word “silencio” is still enough to make me shiver. Why can’t I still watch The Elephant Man, despite not remembering a single shot from the film?
For the first week of the One Short A Day challenge, upon the suggestion of many friends, I decided to watch shorts of Ukrainian-American experimental filmmaker Maya Deren. I find it quite hard to talk about them, but what I know is that after every film I watched, I wanted to watch it again. And at the end of the week, I wanted to watch them one after another at one go. There is so much written about Deren, her films, her influences, and I wanted to read as much as I could but decided against it since it’s against the purpose of this challenge, which is to write about these films right after I’ve seen them, on how I felt watching them and their immediate effect on me. It was hard, but that’s why it’s a challenge. Hope you enjoy!
In case you couldn’t tell from the weather, summer is (almost) here! This summer, Much Ado is setting a challenge: One Short A Day. Starting from May 8th, I’ll watch one short film a day and will publish my thoughts on them every Tuesday. Films will be chosen randomly from your suggestions, films that are taught at film schools, films that won awards or went under the radar. My thoughts on the films will be one paragraph for each, written right after I watch them.
If you want to join me in this challenge, you can alter it in any way that fits you. Tag your posts with #OneShortADay on Twitter and/or Letterboxd to share your challenge with us and give us your suggestions in comments or Twitter. You can also follow the challenge on Letterboxd here which I’ll update weekly.
Enjoy the challenge and happy summer holidays!
This past week has been an emotional rollercoaster for Marvel fans. 10 years, 19 films, and a lot of heroes have been leading us into Infinity War. Now that we’ve all seen, and grieved over the film, it’s time to talk about it. Much Ado writers talk about their favourite scenes, problems and most importantly, about Carrie Coon’s cameo, in conversation.