This interview was done by our guest writer, Redmond Bacon.
Jumpman, the latest film by Ivan I. Tverdovsky, concerns an orphaned boy who suffers from congenital analgesia – meaning that he feels no pain. One day his estranged mother picks him up from the orphanage and together they run a blackmailing scheme whereby he jumps in front of cars and blackmails their owners for money. Set in and around Moscow, it’s a seething indictment of corruption in contemporary Russian society. The third film from the young director shows him in total command of his style, which deploys long takes to fully immerse us into the lives of its characters. Soundtracked by artists such as ЛУНА, and set in popular Moscow locales such as Squat 3/4 club, it maintains a contemporary feel, giving it a strong chance of connecting with young viewers in Russia today.
The movie celebrated its premiere in the competition slot of the Karlovy Vary International Film Festival. I sat down with the director to talk about his inspiration for the film, his attraction to characters who are outsiders, and the significance of national symbols.
I sat down recently with Jamie Jones and Sophie Kennedy Clark, the director and lead actress of what was undoubtedly one of the best films of the Edinburgh International Film Festival this year: the brilliant, brutal Obey. During our chat, we talked extensively about the hotly-debated topic of gentrification in London, in which Jones told me that he, himself, “saw the transition towards gentrification in Hackney” and laments on probably having “been a part of it himself”. As we talked, both he and Kennedy Clark lamented on the culture clash that is often found in London these days and the uniqueness of the city. “You have these huge high-rises, massive estates, right next to the most expensive houses! You get gang crime and you get people sitting drinking champagne and Peach Bellini’s in London fields.” Indeed, Jones even told me of a story of gentrification that he had once been involved in himself: “All these hipsters, I was amongst them, we were all just sat drinking champagne, the sun was shining and then we just heard a gunshot and a helicopter comes down and somebody was shot in the leg, and it just happened right next to us!” These sorts of opposing moments are found all throughout Obey, scattered across the film in various different manners, from individual scenes to the presentation of characters such as Kennedy Clark’s Twiggy and her band of bohemian friends squatting alongside Leon’s estate.
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 Interviewshere.
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!
This review/interview is by our guest writer, Redmond Bacon.
Leto (Summertime)is a combination of the traditional rock biopic and arthouse film; an auteuristic tale of love, optimism, melancholy, and loss told against the backdrop of a rapidly developing musical scene. It’s as if Almost Famous met Walking The Streets of Moscow. Set in the early ’80s, the star of the show is Viktor Tsoi (played by Teo Yoo), who would later become Russia’s most iconic rock star. Dying at the young age of 30 in a car crash in 1990, he carries in Russia the same kind of counter-cultural weight as Kurt Cobain does in America.
Roman Bilyk plays his mentor Mike Naumenko, the lead singer of the less famous Zoopark, while Irina Starshenbaum plays Mike’s wife Natasha. Based upon the memoirs of the real Natasha Naumenko, Leto is a story characterised by its naivety, optimism, and the very real belief that, for one brief moment, music could change the world. This message of rebellion comes at a time in Russia in which many artists feel their artistic freedoms imposed upon. This is especially true in the case of the director of Leto himself.
This interview is by our guest writer, Redmond Bacon.
The Cannes film festival made history this year with the inclusion of Rafiki, the first Kenyan film to premiere along The Croisette. Playing as part of Un Certain Regard, it is also a ground-breaking piece of Kenyan filmmaking for its loving depiction of a same-sex relationship. I sat down with the director Wanuri Kahiu to discuss the ban on the film, the importance of religion in Kenyan culture, and why homophobia is un-African.
Redmond Bacon: Can you explain the situation regarding the decision to ban the film in your country?
Wanuri Kahiu: The film was banned. This means it can’t be broadcasted, exhibited, distributed or be in anybody’s possession within the Republic of Kenya. That includes the poster and the trailer, although the trailer cannot be suppressed because it’s on the internet. But if we were to get a poster here and take it back home [then] we would be breaking the law. And it is possible to appeal, but you have to appeal to the same board that banned the film. So right now, what we’re doing is just concentrating on being here and being present in Cannes to represent the film. Once we get home we’ll figure out what the way forward is.
Independent filmmaking has always been the driving force behind new cinematic boundaries, and the up-and-coming filmmakers of today are no different. Interdisciplinary short-film series ‘Draping’ focuses on the under-examined subject of black femme identities and centres the voices of these identities in its examination of a myriad of complex issues – ranging from mental health, to queerness, to colorism, spirituality and motherhood.
We’ve been lucky enough to interview co-creators Kennedie King and Tiffany Ike and took the opportunity to ask them a few questions about their inspiration, the process of film-making on a micro-budget, and the necessity of black female voices in the media.