21St Century Terror

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21st Century Terror Much of the imagery and iconography we have come to associate with horror films sprang from the last century, from Nosferatu to Halloween, but conversely, some of the best examples of the darker side of cinema have been developed much more recently. The 21st century with its modern insecurities and anxieties around technology, social media, fake news and extremist politics, has given rise to some of the most innovative, stylish and shocking horror movies ever to have hit the silver screen. From J-Horror, torture porn and disturbing psychological thrillers, the late-night movie has never felt so grim. With plenty of clips and discussion, this course will examine a number of films from the last two decades including Let the Right One in, The Babadook, Kill List, Get Out and The Witch and more recent offerings such as Hereditary, Possum and Mandy. The future is now and it’s scary as hell. DATE TOPIC FLIMS 8/10/19 J-Horror and Beyond Pulse (2001) – Japan Dark Water (2002) – Japan One Cut of the Dead (2018) – Japan 15/10/19 Ben Wheatley’s Britain Kill List (2011) – UK A Field in England (2013) – UK The Ghoul (2017) – UK 22/10/19 Project Fear The Devil’s Backbone (2001) - Spain/Mexico Pan’s Labyrinth (2006) - Spain/Mexico Raw (2016) – French 29/10/19 Fear and Found Footage Rec (2007) – Spain Borderlands (2013) – UK Creep (2017) - US 05/11/19 South Korean Creeps Oldboy (2003) – South Korea The Wailing (2016) - South Korea Train to Busan (2017) - South Korea 12/11/19 Sound and Visions Pontypool (2008) - Canada The Eye (2008) – Hong Kong Suspiria (2018) - US 19/11/19 Death Becomes Her Let the Right One in (2008) – Sweden The Witch (2016) – US/Canada A Girl Walks Home Alone at Night (2014) - US/Iran 26/11/19 Death Cults and Cannibals Martyrs (2007) – French Bone Tomahawk (2015) - US Mandy (2018) – US 03/12/19 New Nightmares Get Out (2016) – US Under the Shadow (2016) – Iran Possum (2018) – UK 10/12/19 Mourning Gory The Babadook (2014) – Australia Prevenge (2017) - UK Hereditary (2018) - US DATE TOPIC FLIMS ) .

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30 April 2013 www.winchesterfilmsociety.co.uk … why not visit our website to join in the discussion after each screening? Sightseers UK 2012 Every season when the committee Ben Wheatley is the outstanding young whittle down a long, long list to just British film-maker who got himself Directed by 16 films, there are one or two that talked about with his smart debut Down Ben Wheatley really intrigue us and we can’t wait to Terrace; then he scared the daylights out Director of Photography see. Sightseers is that film for 12/13! of everyone, as well as amusing and Laurie Rose baffling them, with his inspired and There is no direct French translation for ambiguous chiller Kill List. His talent Original Music and signature are vividly present in every Jim Williams the word ‘sightseers’, so Ben Wheatley’s new film is titled Touristes in Cannes, frame of this new movie, Sightseers, a Screenplay where it has screened as part of grisly and Ortonesque black comedy Alice Lowe Directors’ Fortnight. In a way, that’s about a lonely couple played by co- Steve Oram perfectly fitting: this flesh-creepingly writers Steve Oram and Alice Lowe. funny comedy turns into something that, Again, Wheatley is adept at summoning Cast rather worryingly, you can’t imagine an eerie atmosphere of Wicker Man Alice Lowe happening in any other country but disquiet; the glorious natural Tina England. Lowe and Oram’s script surroundings are endowed with a golden Steve Oram balances nimbly on the thread of razor sunlit glow and the trips to quaint Chris wire between horror and farce: the film venues of local interest are well Eileen Davies is frequently laugh-out-loud funny but observed: particularly Tina's heartbroken Carol the couple’s crimes are never trivialised, solo excursion to the Pencil Museum.
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POST-BRITISH CRIME FILMS and the ETHICS of RETRIBUTIVE VIOLENCE Mark Schmitt (TU Dortmund University)
CINEMA 11 152 “THEY’RE BAD PEOPLE – THEY SHOULD SUFFER”: POST-BRITISH CRIME FILMS AND THE ETHICS OF RETRIBUTIVE VIOLENCE Mark Schmitt (TU Dortmund University) In recent years, British popular genre cinema has displayed a tendency to allegorise the ethical ques- tions resulting from the nation’s social and political challenges of the 21st century.1 Whether it is the Blair government’s decision to join the US in the Iraq war in 2003 and the ensuing disillusionment with democracy and the futility of public protest, the austerity measures and subsequently increasing social divisions in the wake of the global financial crisis of 2008, the ongoing process of Scottish and Welsh devolution that challenges the very notion of a United Kingdom, Britain finds itself in a stage that Michael Gardiner has described as “post-British.”2 On the level of the nation-state, and especially with regard to Scottish and Welsh devolution, the post-British process can be identified as the “demo- cratic restructuring of each nation within union and each nation still affected by Anglophone imperial- ism”3, while the social structure of Britain is still marked by the internal fault lines of class divisions of class. The notion of “post-Britain” has been addressed in British film studies. William Brown has sug- gested that Britain’s cinematic output in the 21st century offers a “paradoxically post-British” perspec- tive which is reflected in subject matter, ideological points of view and modes of production.4 As Brown argues, such post-British perspectives can particularly be found in popular genre films such as 28 Days Later (2002) and V for Vendetta (2006).5 In the following, I will argue that this post-British sensibility in contemporary national genre cinema is aligned with urgent ethical questions regarding the nation state on both the British level as well as within a larger European context.
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1. Long Time Dead
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Film Reviews
Page 78 FILM REVIEWS Kill List (Dir. Ben Wheatley) UK 2011 Optimum Releasing Note: This review contains extensive spoilers Kill List is the best British horror film since The Descent (Dir. Neil Marshall, 2005). Mind you, you wouldn’t know that from the opening halfhour or so. Although it opens with an eerie scratching noise and the sight of a cryptic rune that can’t help but evoke the unnerving stick figure from The Blair Witch Project (Dir. Daniel Myrick and Eduardo Sánchez, 1999), we’re then plunged straight into a series of compellingly naturalistic scenes of domestic discord which, as several other reviews have rightly pointed out, evoke nothing so much as the films of Mike Leigh. (The fact that much of the film’s dialogue is supplied by the cast also adds to this feeling.) But what Leigh’s work doesn’t have is the sense of claustrophobic dread that simmers in the background throughout Wheatley’s film (his second, after 2009’s Down Terrace ). Nor have any of them – to date at least – had an ending as devastating and intriguing as this. Yet the preliminary scenes in Kill List are in no sense meant to misdirect, or wrongfoot the audience: rather, they’re absolutely pivotal to the narrative as a whole, even if many of the questions it raises remain tantalisingly unresolved. Jay (Neil Maskell) and his wife Shel (MyAnna Buring) live in a spacious, wellappointed suburban home (complete with jacuzzi) and have a sweet little boy, but theirs is clearly a marriage on the rocks, and even the most seemingly innocuous exchange between them is charged with hostility and mutual misunderstanding.
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belfast film festival 1st-9th APRIL 2020 :o wat*esd ev! Awat* adi _ ck m8hed 20 selly raby kane 1 OUR FUNDERS INTRODUCTION For more than 20 years we have celebrated the creativity, politics and joy film brings. We have witnessed with pride the growth of the indigenous filmmaking sector; hosted exciting ‘movie star’ guests; showcased brilliant international filmmaking talent; and shared thousands of diverse stories and cultures with you, our audience. Over the coming decade we will do it all again, re-energised and excited by the wealth of talent and love of film that surrounds us. Michele Devlin. Festival Director From Belfast to the World When I grew up in Belfast, there was no film festival. I was passionate about movies, and visually hungry, but there was no annual event to feed my hunger. I went searching elsewhere, and have ended up working with some of the greatest ACCOMMODATION OFFICIAL MEDIA people in cinema – Tilda Swinton, Jane Fonda, Sean Connery, etc. – but I think back to the 70s and 80s and imagine what more we could have achieved as movie PARTNER PARTNERS lovers and makers if we’d had a film festival. Thankfully we’ve seen brilliant changes in our society since then. Peace has returned, new populations have moved to our city, and we now have world class film studios and programme makers. The quality of our lives has improved and our horizons have opened. Film is the great horizon-opener. Since its birth 20 years ago, the Belfast Film VENUE Festival has had a centrifugal imagination.
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A Field in England
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No Vember/De Cember 20 18
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Saving Animals: Everyday Practices of Care and Rescue in the US Animal Sanctuary Movement
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Production Notes
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