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1 THIS TERM IN Q5…

Since the last issue (even in the space of a few months) there have been SO many sequels hitting cinemas around the world. These range from the record breaking Avengers: Infinity War to the SURPRISE Cloverfield: Paradox to Insidious 4 (yeah I didn’t realised that happened either) to another Star Wars Solo film!?! Enjoy our first sequel involving new talent and returningcontrib- utors discussing TV with the recently popular Black Mirror and The End Of The F***ing World as well as looking at the recent Oscar winner Jordan Peele in his success with Get Out. At the height of the #MeToo movement we look at why there are shockingly few female directors working in prominent places in the industry as well as being graced with the presence of a pro in our ranks as in this issue Mr. Saunders recalls many tales of his time working with his film production company 14167films. We travel back in time to visit a film outing from Mr. Keeley’s younger self and look back at the career of Leonardo DiCaprio. In Bertie Kinnings’ second Q5 article you may be left wondering why there is no spaghetti in The Good, The Bad and The Ugly… In the future months we hope to “GET TO THE CHOPPA!!” in the new Predator film, wonder if there will be“ no capes!” in The Incredibles 2 and can only imagine what Tom Cruise will jump out of/ climb up/ fall down in Mission Impossible: Fallout, with the controversially moustached Henry Cavill that cost DC millions of dollars. Bye for now… THOMAS ATTWOOD EDITOR-IN-CHIEF Hi there. Second in command here. I just want to apologise for the late- ness of this second issue, to the contributors and to the ever helpful producers. Equally, I need to point out that despite it being a night- mare, there is nothing I would rather do then spend my time with the editorial team creating the Q5 film magazine.—Hamish Newall

EDITORIAL THOMAS ATTWOOD HAMISH NEWALL ROSS WILLIAMS BETHANY TURVEY EMILY STANNARD LIZZIE BLACKETT

CONTRIBUTORS YASMIN CROSS OLIVE MCGRATH BEN EVANS EVIE EMBERGER TARA WILLIAMSON NIC SAUNDERS ROGER KEELEY BENEDIKTAS ZILINSKAS JACK CONNELL KEYI YIANG MARIA ALEINIKOVA MENDOZA HOUBEN CASPAR TALBOT JAMES DIXON THOMAS BUTLER BERTIE KINNINGS

2 CONTENTS The Red Turtle 4 An animation masterclass in the form of The Red Turtle. Hamish Newall

It’s a Mad, Mad, Mad, Mad World and The Grand Budapest Hotel 7 A trip down memory lane . Roger Keeley and Wes Anderson’s best film? Yasmin Cross Bonnie and Clyde 8 A poem in response to the outlaw’s plea and an appreciation of violence in film. Maria Aleinikova Raise the Red Lantern 10 The Master of Colour’s film is examined for its poignant messages. Keyi Jiang SHOK 14 Based on real events, a tale of friendship that strives through war. Jack Connell and Ben Evans Postcards from the Front Line 16 Memories from the director himself, a life behind the camera is revealed. Nic Saunders The End Of The F***ing World 22 A discussion of the programme and comments on modern television. James Dixon Black Mirror Timeline 24 The black future of our world is sequenced. Olive McGrath Get Out 28 A look at some of the theories surrounding Get Out. Mendoza Houben Pitch Black Heist 30 Robbing a bank is hard, so how do you do it in pitch black? Jack Connell and Ben Evans Leonardo Dicaprio 32 A look back on the career one of Hollywood’s leading men. Benediktas Zilinskas Why do so few female directors make it big in Hollywood? 33 A look at why female directors have and continue to strugglein Hollywood. Tara Williamson The Boat that Rocked 36 How the Pirate Radio’s film depiction is enhanced through its soundtrack. Thomas Butler The Good The Bad And The Ugly 38 A look back at the iconic spaghetti western. Bertie Kinnings Inception: the Most Intellectual Film of the Twenty First Century? 40 Christopher Nolan’s unique style is admired. Evie Emberger Recommendations And Quotes 42 A collection of some of our favourite films and quotes. Q5 team

3 The Red Turtle

WORDS Hamish Newall

Through the story of a Japanese animation of Studio Ghibli, boo-covered island, who in the midst man shipwrecked on a it is a collaboration alongside Wild of despair, manages to carry on, to Bunch, a German-French production survive, and to thrive despite or even tropical island inhabit- company, with the exceptional Dutch because of the mysterious Red Tur- ed by turtles, crabs and Director, Dubok De Wit. Equally im- tle. pressive is the length of time this film birds, The Red Turtle ‘Distinct’ is a fitting description of this has been in the making: 10 years of film, because when it comes to ani- recounts the mile- refinement from conception to re- mation, nothing comes close to The lease, this is truly the finished prod- stones in the life of a Red Turtle in terms of quality or style. uct of the best animators around. I human being. Why is it so different? Well, for start- was not the only one in awe of its ers, it’s Studio Ghibli, so beauty is a You know what they say about bril- animation; equally impressed were guarantee. But the French, German, liant classical music? That if you have those of the Cannes Film Festival and and Dutch influences of the produc- played it properly, in its best, most the board for the Academy Awards, tion team and director make it al- moving way, then the audience who nominated it for the ‘Best Ani- most reminiscent of Hergé – the au- won’t clap till long after the last note mated Feature Film’ of 2016. It’s not thor of the famous Tintin comics. Not has settled into silence. If there was surprising given its distinct anima- only is it of a different style, the crea- ever a film equivalent of that, it tion, other worldly sounds, and its tors used a completely different ani- would be The Red Turtle. No other ability to leave the watcher with a mation technique – and it shows. The film has left its images imprinted in sense of being underwater – as if the fusion of digital and analog methods my mind or kept its sounds ringing in weight of everyday life was suddenly is by far greater than the sum of its my head as much as this internation- lifted for those seventy five minutes. parts. Each palate has the grainy tex- al masterpiece of animation. I say The Red Turtle is the story of a name- ture of sand, with the simplified international because despite the less survivor, shipwrecked on a bam- black borders on everything make

4 The scene less of an exquisite renais- useful in making each scene that pletely in a way that keeps you excit- sance piece and more of a relaxing much more vivid. ed, apprehensive, sometimes even escape from the messiness of real tense, or completely the opposite: as Uncommonly for an animated fea- life. Furthermore, the use of comic- relaxed as if you were there yourself ture, where the beauty comes from style facial expressions suspend the in the tropical paradise. Lighthearted the skill of the animation, the scenes rationale of the viewer; the anima- but meaningful, the plot is as moving themselves are beautiful in their tion succeeds wonderfully in taking as any Studio Ghibli collaboration. composition. Dubok De Wit makes us away from real life confusion to Interspersed with humour, one can’t this noticeably clear as he draws the mystical world of the Red Turtle. help but smile, yet the feelings of our attention to each shot and the poign- We are taken to a place where it’s nameless islander are by no means ancy of the objects he focuses on, be simply accepted that the main char- pushed aside. The contrast between it the moon, the is- acter will tumble in flight in a display depth of meaning and land, or a procession The fusion of dig- of flowing acrobatics, where it’s trivial playfulness result of turtles. His mas- simply accepted that he can survive ital and analogue in an experience that terful use of quick on this desolate island, and where feels much more relata- cuts to view differ- methods is by far it’s simply accepted as beautiful for ble then most ‘realistic’ ent scenes, or sim- greater then the the sake of it. Art for art’s sake if you films; joy, sadness, an- ple fades from one will. Not only is the animation grainy, sum of its parts. gry, and the whole gam- shot to another, it can also be crisp and clear, as it is ut of human emotions. can, and does, have you on the edge when the moon, stars, and shimmer- To keep up with the pattern of pairs, of your seat, heart hammering, or ing water are pictured in the dead of the plot is subtle, yet concrete. Each relaxed, taking slow, deep, fulfilling night. This snap back to the precision new idea, or concept, is introduced breaths. The result from the anima- of pin-point stars is not only shock- in the peripheral: a new sound, a tion and cinematography alone is a ingly clarifying, but also exceptionally slightly different angle, a sneak peak film that manages to relax you com-

5 "'THE RED TURTLE' IS A FABLE SO SIMPLE, SO PURE, IT FEELS AS IF IT HAS EXISTED FOR HUNDREDS OF YEARS, LIKE A BRILLIANT SHARD OF SEA GLASS RENDERED SMOOTH AND ELEGANT THROUGH GENERATIONS OF RETELLING." PETER DEBRUDGE, VARIETY that makes you think “wait, what?” another technique used to make simplicity, beauty, and meaning. That being said, you are by no means everything seem just that much more Speaking of meaning, I haven’t men- left guessing; each subtlety is as de- pure. Human interaction is intrinsi- tioned my interpretation of the film fined as it needs to be for you to cally cloaked in hidden messages, because I feel that any external influ- know what is happening but still manipulations, and desires. By taking ence on a viewer’s interpretation hope against reason that it won’t, it the main form of human communica- would diminish it. All I’ll say is maybe can’t, it mustn’t. In this way, your tion out of his film, Dubok De Wit its themes of nature reflect our cur- emotional centre gets more than its manages to release us from our rent treatment of the world? Perhaps money’s worth, but like any good doubts and disbeliefs of everyone. the cyclic story is representative of exercise, you are left feeling so much The lack of dialogue by no means life and death, and the conflation of better afterwards. Simple and con- makes this film silent. On the contra- the two within the film simply sug- tained, the audience is not given the ry, the film is filled with sound: gest that they are nothing to be full details, not even hints with which sounds of soaring strings backing ac- afraid of as they are simply a contin- to guess. The film only explains that robatics, sounds of bamboo swaying uous progression? Having said that which is necessary, and fully explains in the winds of the islands, sounds of was it, I must confess that it’s not. it at that. For example, we have no the sea constantly swishing back and My last comment is on the subtitle of idea how our man finds himself in forth like a yogic meditation. the film, given to it by the director the sea at the beginning of the film, himself, which might pique your in- And a yoga meditation is almost the nor are we told anything about him: terest more than anything: best way I can describe The Red Tur- he just is. tle. It’s got the soundtrack of uplift- The Red Turtle: the milestones of the Of course, any review of The Red ing music, the animation equivalent life of a human being. Turtle would be incomplete without of a refreshing swim in cool water, talking about the lack of dialogue: and a plot that rivals all others in

6 seasons of classic movies from the three-quarter hours made the jour- 40s, 50s and 60s - Will Hay, Humph- ney worthwhile. This epic rey Bogart, Howard Hawks and comedy is all about George Formby to name but a few. A a journey to find night at the local cinema (mine was treasure buried the Tatton in Gatley) had some mem- under a 'Big W', a orable aspects - choices between mad dash between stalls or circle and between right or a group of motorists who left of the central aisle (smoking was heard a dying man reveal allowed on one side), adverts for lo- this enigmatic location. cal services as a slideshow, the week- The movie has a stellar cast of great ly newsreel, an intermission before comic actors who, after a stunning WORDS Roger Keeley the main feature (Lyons Maid ice opening credits sequence, provide a cream or a refreshing Kia Ora?) and laugh a minute - and that's a lot of My teenage years were all spent in at the end of the film a rush for the laughs! Spencer Tracy, Mickey that glorious decade of the 1970s, a exits before the national anthem. I Rooney, Jimmy Durante, Ethel Mer- time when film-watching was very was always intrigued by American man, Terry-Thomas, Phil Silvers, Jack different to today's multi-media ex- films (and publications such as Mad Benny, Buster Keaton, The Three perience. If you missed a film in the magazine) which gave an insight into Stooges - more stars than heaven! cinema you had to wait until it was a country that always seemed years Fast forward to 2014 and I now own shown on one of three TV channels ahead of the UK in so many aspects the Blu-ray edition of It’s a Mad, (BBC1, BBC2 and ITV) and you had to of day to day life. A US movie that I Mad, Mad, Mad World (including the cancel all other engagements to had enjoyed on our black and white original three and a quarter hour ver- catch it - no facilities for recording TV was It's a Mad, Mad, Mad, Mad sion of the film!) produced by Criteri- existed. The maximum TV screen size World and one day I cycled 12 miles on, the highly regarded American in those days was about 24" and the to see it on the big screen in glorious DVD label. To be honest it's not a screen aspect ratio was 4:3, so any Technicolor and super-widescreen great film, but it brings back happy widescreen film would have been Ultra Panavision (aspect ratio 2.76:1) teenage memories. 'panned and scanned' for TV. The - the film's running time of two and BBC did, however, show some great

every frame. This satisfying sym- These situations add a dark metry is the filmmaker's iconic tech- theme to the storyline, which clearly nique which is exaggerated contrasts with the vibrant frames. in this film more than any others of Anderson masters the cinematic art his. Another striking theme in the of complementing the two con- WORDS Yasmin Cross film is the way humour and tragedy trasting themes in an aesthetically are constantly merged. The quirky, pleasing manner. However, there are There’s been a long lasting de- funny situations are overridden by always some opposing opinions who bate on whether the iconic ‘Grand melancholic undertones. Zero and dislike this style, seeing it as unneces- Budapest Hotel’ is director Wes An- Gustave, the two heroes of the film, sary and not how movies ought to be derson’s best movie ever made, and I often share awkward moments, like made. think it’s safe to say it’s true. sudden silences or the overshare of To conclude, the ways that Its classic Anderson style personal information. quirky humour, beauty and darkness slightly draws attention away from There are a couple of deaths in are intertwined throughout the film the narrative and towards the sim- the movie, such as Zero’s beloved contribute greatly to the atmosphere plistic, symmetrical form in almost Agatha or Madame D. overall.

7 Bonnie and Clyde An old film can teach us much about gender roles, relationships,nd a our own take on the world today. As a modern answer to Bonnie Parker’s original poem, here is poetic verse and an article. WORDS Maria Aleinikova

You’ve read the stories in this But despite the initial failures magazine, It was proven to be a success: Full of awe and pride, As decades move on, But if you’re still in need, The story is shown Of something to read, And its novelty does not get less. Here’s the story of Bonnie and Clyde Gen X: you, accustomed to Mar- vel, Now the story took place in the Will likely feel rather perplexed: 'thirties; When what’s regular now - Of Depression I’m sure you’ve all Seemed a shock to old crowd read. Unexposed to violence and sex. There weren’t any jobs, Banks would take away homes, When Bonnie and Clyde get to And people felt dying, or dead. romance, The two had no clue or guide: In the midst of this misery and Bonnie did not know what; anguish, Figure how, Clyde could not; Two rebels chose to take a stand: And neither would ask outright. Bonnie and Clyde Set out on a ride The first few of Barrow gang’s Together, with pistols in hand. robberies Just as awkwardly failed: The two raided dozens of banks They’d perform an attack then, On a bankrupted bank; Shooting nine police officers Or park their car in a really wrong dead. place. They won’t deal any more With distrust to the law: Nonetheless, it was the first time They would purposefully break it in hist’ry instead. That a movie contained so much blood: Some thirty to forty years after, The viewers were shocked, Their story lived on as a myth. And with horror recalled Until Robert Benton The final scene’s rat-tat-tat. And David Newman Took a shot at making it real. So if you are a curious viewer But producers fooled ‘round; Who approaches films with an Kept turning it down: open mind; Rejecting innovative script. Spare a couple of hours And days after release And devour the chaos The film managed to please Of the film“ Bonnie and Clyde”. Only one film critic from all.

8 In all seriousness though, this movie row, another character in the story. makes their love so much more be- was, and remains, pioneering. Bonnie Where Blanche whispers conspirato- lievable: They wait until they develop and Clyde was the first movie to ro- rially into her husband’s ear, understanding and trust for each oth- manticise outlaws, establishing a prompting him to speak on her beer, emphasising the importance of near-personal connection with the half, Bonnie carries responsibility for communication in relationships. In main criminals whilst antagonising her own words and actions, sharing contrast, when it comes to violence, banks and law enforcers. It has in- the challenges and burdens with the the movie goes all out. A significant spired a whole era of cinematog- rest of the members in the Barrow detail is that 1967 was the year tech- raphy, narrating the stories of gang- nological advancements finally al- sters and glorifying gun use, except… lowed realistic filming of gunshot it is not what you’d typically expect wounds; the contemporary viewers from a gangster movie. would have been astonished by the amount of blood! And the horror that First off, there is Clyde’s character: the characters experience after every Warren Beatty brought Clyde unusual murder, as well as the excessively depth and dimension. He is wise and violent finishing scene, would have charismatic, a confident shot and an ingrained repudiation from violence esteemed leader of the Barrow gang, in the viewers’ minds. but he is also a shy, awkward, inexpe- gang. Despite this, she is not exempt rienced young man. Not at all does That last point, however, is not al- from weakness; the very first scene he fit into the common image of a ways represented by other films of establishes her as exposed and vul- toxically masculine, cold-blooded violence. With developments in areas nerable, finding relief in her feelings killer that many gangster leads are of graphical art and special effects, for Clyde. But this is exactly what’s so today – such an interpretation of the modern viewers are exposed to vio- great about this movie’s presentation same role would have made it a very lence so often that we have become of gender: it does not try to define different film. Despite the fact that desensitised to it; watching this film what men and women should, or Clyde has suffered imprisonment, his was a very unusual experience for me should not, be like. Both characters actions are not motivated by hate of because it reminded me that death is are equally strong - and equally the police or of the law in general: very much a reality, and guns are ac- weak, painfully conscious of their everything Clyde does is either out of tually pretty terrifying. It is very diffi- weaknesses. caring for his brother - Buck Barrow - cult to imagine what sort of imagery or as a means to impress Bonnie. I found that the most surprising devi- needs to be put in a film today in oration from the genre lies in the film’s der to shock people. Think back to What is more striking is the strength depictions of sex and violence. Alt- how many people are killed on the of the female lead in a genre that is hough the opening scene is undenia- side in an average Marvel movie? All typically focused on masculinity. Faye bly suggestive, although Bonnie and the “evil guards” and passers-by’s, Dunaway’s performance as Bonnie Clyde fall for each other the moment whose death is not in any way influ- Parker was brilliant: she created a they meet, and although Bonnie is ential or plot driving. Every once in a playful and confident woman, who unashamedly willing, the sex scene while, people need to be reminded knows who she is and refuses to be between the two protagonists is left that a death of a single person is hor- pretentious. Bonnie rejects the stere- till very late in the film. The scene is rific. Bonnie and Clyde does that just otypes of femininity which are appar- left so late the viewer feels like it fine. ent in the character of Blanche Bur- might never actually happen, but this

9 Raise the Red Lantern Yimou Zhang, 1991

WORDS Keyi Jiang

“What’s the use of being educated? I’m just one of the Master’s robes,” said Songlian, a nineteen-year-old, drop-out college student who became the fourth wife of a rich man, Chen. After her father’s death, Songlian was forced to marry by her stepmother. Based on the novel Wives and Concubines by Su Tong, Raise the Red Lantern portrays the tragedy of the Chen family in 1920’s China. In the Chen family, women are treated just like the Master’s clothes: he cherishes the women if he likes them, but he easily discards them if they lose his interest. On the first night of her marriage, Songlian is treated like a princess in keeping the Master’s interest—is the As in the title, the colour red repre- her new home – each wife has her only way to survive. The struggles sents the core themes: desire and own house— whilst outside, the over power, the wives’ intrigues of lust. In the scene of Songlian’s mar- servants are busy hanging up giant each other, and Songlian’s own para- riage night, massive red hues are red lanterns—she soon finds out noia are those that finally, inevitably, used in a choking, highly saturated why. The Master spends each night lead her to tragedy. way such that all other colours van- with a wife of his choosing, and cus- ish. The red lanterns (symbols of toms dictate that whoever the Mas- Red: the Colour of Desire power, lust, and the objectification of ter dines with has a foot massage, Yimou Zhang, famous for his House women) are everywhere, creating a the privilege of setting the menu for of Flying Daggers (2004) and Hero flat lighting, leaving no shadow in dinner, and giant red lanterns hung (2002), has a distinct style, with a which Songlian may hide. The colour outside their house. generous use of visual stimuli, allow- is full of erotic meanings—the center However, Songlian soon discovers ing him to achieve storytelling of a framing puts her in the eye of the that life revolves around the jealousy unique kind; after all, he is known as storm; every bit of her is vulnerably and conspiracies between the wives; the ‘Master of Colour’ by critics. exposed to Chen’s lust and power. that getting pregnant—as well as

10 She is nothing but an expressionless to have the red lanterns raised. It’s All about control sex toy for Chen to manipulate. With bright and warm inside each house, Whilst every scene is set within the red lanterns faintly glowing behind whereas out in the courtyard it’s cold Chen complex, the framings are do- the dreamy, gauze curtains, the fig- and depressing, to such an extent mestic and extremely claustrophobic. ure of Songlian melts into the over- that the image is layered with dark Long shots of the courtyards taken whelmingly red background. This is a blue hues, with a chiaroscuro lighting from high-up positions are frequently prophetic image: both her body and that conveys a sense of loneliness used throughout the film; the roofs her mind are no longer her own to and desperation. A striking contrast of the courtyards forma closed space control and she is destined to be ab- is then created by the mise-en-scène: for the character’s actions. Zhang sorbed deeper and deeper into the the red lanterns, the essential motif, uses a variety of long shots, and riots, and insanity, of this family. But shimmer pathetically in the dark some extreme long shots, to create a red is also hope—yes, hope—for in night. In essence, without the lan- contrast between the characters - this deeply customized household, all terns that come to define the women who look incredibly small and power- the women’s destinies cling to Chen’s they would have no hope. less - and the buildings – grand and affection, as if their whole purpose is overwhelming. The Chen

11 complex confines all the women in customs of past centuries: that they hold: he sits on the edge of a window the family with the suffocating cus- not only restrict the wives in the in a relaxing gesture, and is playing toms that come to define their be- Chen family, but all women in the his flute (which is another significant haviors: the women would pay a country—the Chen family is just a symbol). He looks so self-willed and huge price for breaking the rules, miniature parable to the patriarchal unrestrained, whereas Songlian just sometimes even death. Even the society of 1920s China. stands by and listens to him quietly: proud, educated Songlian cannot Feipu is the orientation of her desire, This claustrophobic composition is break free: when Songlian first steps yet the freedom which he represents undone only when the actions take into the Chen complex, the stone is something that she (and other place on the rooftop. Every location

is encoded with meanings, and the gate immediately frames her inside women) can never dream of. It’s ob- rooftop is no exception: it is the sym- with a wall that has ancient Chinese vious that they both have romantic bol of freedom. They are open and characters carved on it as a back- feelings for each other, but the ro- high up with no restrictions and are ground. These characters are actually mance is eliminated before it even places that allow the women to about the customs passed down by starts—nothing between them is breathe. Meishan, the third wife of the ancestors of the Chen family. meant to happen in the first place, Chen, is a former opera singer. She is and Feipu is clearly not the hero who Moving on, it seems that by stepping a feisty character who knows the can save Songlian from her misery. out of a door, Songlian enters anoth- rules of survival very well and plays None of them are able to resist the their game: sing- destructive power of the feudalist Feipu is the orientation of her de- ing alone on the and patriarchal system. Any forms of rooftop is one of sire, yet the freedom which he rep- hope are simply illusions, and the her ways of cop- temporary freedom is just a snap- resents is something that she (and ing. Only there shot. For Meishan, even though she other women) can never dream of. can Meishan has a liberated soul, she has to come briefly immerse down from the rooftop eventually, er: they seem endless. Here the mes- herself into the past, back to when and in doing that, she returns to her sage is very clear: from the moment she was still young and free, through suffocating life; the short-lived ro- Songlian moves into this family, she singing with her old costumes on, mance with Feipu is nothing but a will be forever trapped in these sup- which are from her past opera per- hopeless fantasy to Songlian. Howev- pressive rules, and will never be free. formances. er, although the rooftop appears to Through the use of symmetry and Also, the rooftop is where Songlian be open and harmless, it still has a frames within each shot, Zhang di- meets Feipu, the eldest son of Chen, sinister side. During a random visit to rectly criticized the overelaborate and the young master of the house-

12 the rooftop, Songlian finds the shot in which there is no sense of the of her life; her fate gradually de- ‘House of Death’ that is used for the true portrayal of his appearance, cre- scends first into paranoia; finally, into purpose of killing women who break ating distance between the audience madness. But the story doesn’t end the rules. This is also where a full and Chen. Having Chen’s face out of there, instead it keeps going into stop is put to Meishan’s life: she is sight seems to give him a sense of “The Next Summer”—the Chen fami- discovered having an affair with the authority, for instance, when he ly is welcoming a fifth wife, who is family doctor. This chillingly implies commands Songlian, he is never seen young, beautiful and innocent just as that if the women are to seek power giving the orders, only heard. Con- Songlian was. This bookending sug- and freedom, if they challenge the trast this with the close up of Songli- gests the whole system is an endless

patriarchal system, they will be pun- an, and one might get the idea of an cycle, Meishan and Songlian’s sacri- ished with death. By setting the “invisible authority,” possibly a meta- fices are feeble, which cannot stop ‘House of Death’ on the rooftop, it phor for God. The same thing applies the oppression from being added to warns every woman who might dare in the opening shot where, similarly, the group of women which they rep- to challenge Chen of the dangers of there is a close up of Songlian, but resent, back in 1920s China. that path. we hear only her stepmother con- Afterword structing the marriage proposal for If we see Meishan and Songlian’s acts her (she is of course talking off- As one of the masterpieces made by against the patriarchal authority as screen). To speak at a further level, Zhang, who belongs to the so-called revolutions, they both clearly failed: these scenes represent the patriar- ‘Fifth Generation’ of film-makers in Meishan pays the price with death, chies which seem unnoticeable, yet mid-80s China after the Cultural Rev- and Songlian’s failure is presented as deep-rooted in twentieth century olution, Raise the Red Lantern had a her losing her sanity. China, and the people who actually startling effect in the West immedi- Whilst it may seem that Zhang is criti- nurtured and carried it out. ately after its release – it won the cizing the customs that oppressed BAFTA Award for Best Foreign Lan- The Narrative Structure Chinese women in the 20s, he is in guage Film. It is not only aesthetically fact attacking the people at the top The storyline of Raise the Red Lan- stunning, but it embeds a poignancy of the patriarchal system who set the tern is mainly divided into three parts that reflects on the once unspeaka- customs and, in this film, put the of narratives: “Summer,” “Autumn,” ble past of Chinese society, some- women to death. This is demonstrat- and “Winter” - each arc has a se- thing that must be acknowledged, ed mostly by the characterization of quence title according to the chrono- and must never be forgotten. Master Chen. His face is hidden logical seasons. Interestingly these throughout the whole film; the most titles match Songlian’s life: she be- common scene of him is a far-off gins at the highest point, the summit

13 Here we have two voices on the same prevail in the face of consequences actors were adept, and they cap- award winning short: SHOK. These adversity for friendship. The already tured the emotion of the film, cre- reviews were inspired by a challenge gritty story is taken even further ating in-depth characters. The film to review 100 films, including classics when the Kosovo Liberation Army would have been hard for them, but like La Voyage Dans La Lune.—HN raids one of the boy’s houses; death they did a fantastic job; only on one is imminent. Yet the younger, more occasion did they give an unfulfilling Jack Connell WORDS shy boy pulls a gun on the command- reaction that weakened the immer- Produced in 2011 by Jamie Do- er of the raid, saving the family. Then sion. This is outstanding for two noughue and based on true events, a powerful, emotional and saddening young boys in their first film; as, Shok is a dark, moving and powerful end arrives. Many aspects of the film without any similar life experiences story of two boys and their relation- are meticulously planned to integrate to relate to, it was impressive. The ship in Serbia during the Kosovo war. emotion into the ending, making it film effectively provoked emotion Nominated for an Oscar in 2016, and even more powerful. and told a good story through its di- countless other awards, the film has recting, and I enjoyed watching it. Cinematographer Philip Robertson done remarkably well. got to show off a little with his clever ‘Shok’ is the Albanian word for The story follows two young boys in angles and the intensely dark and friend. I think naming it as such this Kosovo. After one boy buys a bike, authoritative landscape in which the was a smart move, as it shifted the the other uses it for ‘business’, trad- film is set. I enjoyed the texture the attention from the general story of ing something (the film never states cinematography added to the film: it war to the friendship the boys what) with the rebels, the Albanians. was in my opinion one of its best fea- shared. This brought forward many This pulls the boys into deep water tures. Its framing added to the emo- questions for the audience to think and eventually they lose the bike. tion and storytelling. about, tying nicely into the director’s dramatic intention. Subsequently, their relationship As you can probably tell by now, the suffers. Moments of true bravery and film follows two boys, played by Andi On the whole, I enjoyed the short heroism are shown by both boys and Bajgora, and Lum Veseli. the young film, but not as much as others did. I it is inspiring to see eleven year-olds

14 think it is a great production, but as a through the presentation of children a fight between the two boys. The teenager from England, I could in no in times of war. following day, their school bus is way relate to the story. There was pulled over by the Serbian soldiers The plot involves two young boys something I couldn’t figure out which and the students are told to get out. named Petrit (Lum Veseli) and Oki lessened the film’s emotional impact, They are subsequently searched. Oki (Andi Bajgora) who are dangerously yet it still caught me off guard, and is found with Albanian books and is selling something paper to enemy was powerful. It’s a high quality film told off for having them by the Serbi- soldiers. This is done by Petrit, but and well worth a watch. I’ll leave you an soldiers. In an act of friendship, Oki provides the bicycle with which to watch it and find what I couldn’t Petrit claims them to be his own, and they travel across to the soldiers. The connect with, maybe you will relate in doing so is hit in the stomach. Lat- two then stay together at Petrit’s to these boys more than I could. er, the boys make up. Oki and Petrit house with his family. This gives the stay again in Petrit’s home and in the Ben Evans audience an insight into the wartime WORDS morning are woken by Serbian sol- lifestyle of Petrit’s family. This also Shok is a dramatic short film, docu- diers, who send Petrit’s family away shows the audience the friendship menting the friendship between two telling them that if they look back and building relationship between they will be killed. After leaving, Oki boys during the Kosovo war. The Petrit and Oki. The two boys agree to short film was released in 2015, and sees his old bicycle being used by a go again and sell the cigarette rolling nominated for best short film in Serbian soldier: his reaction, and the paper. However, this time, upon arri- 2016. The film was directed and end of the film, I will leave for you to val, the scene is much more intense. written by Jamie Donoughue, who discover. Due to the emphasis on danger, the also directed the TV show The Last two boys feel greatly intimidated by I thought the film was very well acted Kingdom. The short film stars bud- the weaponry around them. In this by the young boys, Lum Veseli and ding actors, Lum Veseli and Andi Ba- encounter the sale does not go to Andi Bajora, tand the cinematog- jgora. The film is a Kosovan film plan and upon request, Oki hands his raphy was impressive. The plot was which is historical and very dramatic. bike over to the Serbian soldier, Dra- very good with a very emotional end- The drama is largely achieved gan (Eshref Durmishi). This results in ing to the film.

15 POSTCARDS FROM THE FRONT LINE

THOUGHTS Nic Saunders

requires, the crew are all happy in he’s refusing to work. Now, normally AM on a fairly chilly their fleeces and bobble hats, the DP I like to think of myself as a rational 2 (director of Photography) is happy to being and perhaps I needed to con- morning in the shadow of the Sacré use the natural lighting of the various sider this when planning, but I had- Coeur and we’re getting ready to buildings and streetlamps and we’ve n’t. I’d presumed he’d have had the shoot the exterior scenes of a se- even done some pre-vis work on one foresight to realise we had to match quence in which a dream version of moment that could prove particularly earlier moments from this sequence our main character will lead his challenging, so we’re feeling good. we’d already shot in which he had Earthly equivalent through the back- And then – the problem. No one has bare feet BEING THE SEASONED streets of Paris to a small restaurant told our actor that he’d have to be PROFESSIONAL HE IS and I’d certainly in which he will meet a group of long bare foot – and by no one, I mean me not brought any elaborate prosthetic dead artistic giants and rediscover - and he’s now extremely worried feet with me. In fact, to my mind, I the ability to write – still with me? about everything from spraining his figured he’d probably DEMAND to do Good. Nothing too tricky, we’ve ankle on the cobbles to stepping on a tonight’s shoot bare foot and any mapped the route and know exactly discarded dirty needle and con- suggestion I would offer of shooting which twists and turns the sequence tracting a life threatening disease, so him from the knee up would offend

16 day of location filming and I’m feeling someone. Seeing as the scorpion was very tired and under pressure to in the palm of the hand of a young meet the stupidly tight schedule I’ve actress and a few centimetres away set myself – my default seemed to be from the face of our leading man, to crumble completely, offer no we were a little worried, but our workable solution and simply mum- scorpion wrangler – yes, that is a real ble things under my breath along the job – assured us scorpions only lines of “it’s all over.” Turns out he’s attack if provoked, so as long as no had a change of heart and is very one prods it with anything we will all happy to channel his inner Daniel be fine. With everyone ready, I call Day-Lewis and run anywhere I like ‘Action’ and she opens her hand for sans shoes or socks. As I attempt to the big reveal. For a moment, we all mutter something about eternal think he’s dead, but no, the scorpion gratitude and his professionalism, is fast asleep! It would appear hot he’s already walked off and is regal- studio lights make scorpions sleepy ing the crew with anecdotes from and, at this point, and I’m sensing other jobs that always seem to raise professional pride surging through spirits and he’s ready to go. Strug- him, our wrangler assures us in his gling to regain my composure as we burly voice ‘don’t worry’ and gets out attempt to finish our micro budget a long steel rod. When asked what love letter to The Third Man, I pull off that is for, he smiles a little more sin- my socks and shout ‘Action’. isterly than I’d like and says, ‘Oh, you want him to move, I’ll make him was relative- The scene bloody move’ and proceeds to ag- ly simple. All the actress needed to gressively and repeatedly prod him. I do was open her hand in front of his have never seen two actors and a face to reveal the hissing, ferocious crew go as pale as quickly. Well, I giant emperor scorpion within. Un- have, but that story involves trying to derstandably, the major concern we get an actor to act opposite an albino all had was that the little chap would python which I’ll save for another get more and more irate with each day. take and inevitably lash out and sting his sense of artistic integrity and he’d most likely rebuff me with a nearby baguette. I figured, we were stood on the brink of his “Marathon Man” moment, but no! He is point blank refusing to run anywhere without socks. So, what to do? How best to handle this diplomatically in order to keep him happy bearing in mind his is an entirely reasonable stance to take when one stops to think about it and still get the shots needed? Remem- bering it’s 2am, it’s our fourth

17 The feeling of a middle of probably the most complicated scene, both for crew and cast, film set is one of grandeur, especially it decided to stop working and when one is the director. These feel- plunge us into darkness and chaos. It ings usually dissipate pretty quickly, was at this point, I realised that a) I as was the case for this particular wasn’t sure exactly where we’d actu- shot. We were on our set, which was, ally put the generator, I just knew it to be precise, a small corner of a was somewhere in the distance, over working quarry just outside Swindon. a hill and far away, probably, it was a But it was dark, the actor was wear- quarry and b) I didn’t know how to ing an authentic Western costume fix it even if I did find it and I wasn’t and I knew a great foley artist, so no confident anyone else did. A genera- one would ever suspect a thing. Now, tor repair guy had not been top of we’d already been shooting for two my crew list when planning and they nights and had transformed the place certainly didn’t cover this at RADA. into a cross between where Indiana This was not good as nothing could Jones discovered the Ark of the Cove- happen in the darkness and, once nant and the moon landing. When again, my calm, rational, ‘good under we’d arrived it was an empty bit of pressure’ side came to the fore – not. quarry, but now it was full of people By a stroke of luck and not invention, standing around looking at equip- my pyrotechnics guy claimed to ment I didn’t know I’d hired turning know all about generators and as- dials I didn’t know existed and dis- sured me he could fix it – once we cussing things I didn’t understand. found it. I should have expected no There seemed to be abandoned flight less from him as this is a guy who had cases everywhere, cables running in worked on the original Superman Being pushed and over everything, small marquees film and seeing as he really had made up forcibly up against a wall by a man everywhere making me feel as if I me believe a man could fly, what’s a twice your size with the word ‘HATE’ was at Glastonbury instead of on lo- generator in Swindon? Have I men- tattooed on both hands toreally cation and people who I am sure I tioned this is our last night on loca- make the point can be an intimi- had never seen before seemed to be tion and we have to get these final dating experience, especially as hav- either cooking in them, getting their scenes or the film will make even less ing your head thrust into a wall tile make-up done or just sitting around sense that it is probably already go- can make it hard to explain that you talking (I mean learning lines). In the ing to? Three hours later – three are not part of an undercover crew centre of it all I’d asked for a grave to hours and time is money, more no- filming an expose on the ins and outs be dug and had filled it with gas ticeably my money – and the ma- of meat trade. Whilst I suspect my pipes that allowed me to have flames chine whirs back into life and once Smiths ‘Meat Is Murder’ t-shirt is jumping from it on demand. Tower- more we’re flooded with light and a probably not helping me here, what I ing over this crazy little scene were jubilant crew declaring ‘coffee’s back can say with some degree of certain- six enormous lights looking down on on’. A huge smile on both our faces ty from my limited time spent in us like giants wandering what all the as I begin to believe we will finish meat packing plants and abattoirs is little ant people were up to. And this. He then turned to me and said that it would appear there is a cer- somewhere in the distance through it ‘There you go, everything fixed. Let’s tain degree of paranoia surrounding all hummed our generator, the im- finish the film’ and handed me four this particular industry. Now, as any portance of which cannot be over screws, a sparkplug and a spring – filmmaker knows, securing locations stated as everything in our makeshift ‘Don’t know where these go, though’ can be a long, laborious process. First camp was powered by this and as all – before walking back towards camp. of all, you have to draw up a shortlist of our filming was night filming, boy, of locations that suit the script and did we need it. So, of course, in the then you have to arrange site visits,

18 answer lies in a mixture of the fact they could tell the BBC probably wouldn’t hire people like us and for ‘restricted access with an agreement of confidentiality’ a brown bag of used notes speaks volumes. Yep, the scary man took a back hander to let us film- and we promised never to tell.

It can be a little dis- heartening to be told by an Oscar winning director that your film simply doesn’t make any sense – that if you want an audience to be able to solve the puzzle, you have to present them with the right clues. Also quite challenging is to know quite where to look when stood in front of six fully nude actresses and being asked to critique often involving the monotony of mo- excitement when you try to explain whether the make-up artist has fully torway travel. Half the time, the loca- the visual potential of a giant refrig- realised your vision of six apparitions tion doesn’t look anything like it did erator full of decapitated pig carcass- from your protagonists super ego or when you looked at pictures online. es and the powerful cinematic meta- whether you need her to add more The rest of the time it’s too small or phor it affords you and they’ll be veins and darken the overall look too big or too noisy or too remote – even more bemused when you finally before doing a camera test of the the list goes on. And when you do show up and end up filming a naked actresses crawling out from under- find the perfect location, chances are woman walking amongst the swing- neath an elaborate Edwardian bed it’s too expensive. It’s like buying a ing cadavers singing some ethereal currently raised a foot of the ground house: never, ever let the person Jazz standard! Which we did – and on bricks in possibly the world’s showing you round the location which begs the question how did we hottest green screen studio. know you like it, it’s exactly what you manage to convince them we were- were looking for and there’s no- n’t working for Panorama? Sadly, the where else like it – kerching, kerching! Don’t misunderstand me, location scouting is fun because if you do it properly and people ‘somehow’ believe you’re going to bring Jennifer Lawrence or Sir Ian McKellen with you, they’ll open the doors to the most interesting places and serve the loveliest of complimentary afternoon teas to secure your interest – unless that is they’re a meat packing plant and then I can promise you they will probably not share an iota of your

19 It is really frustrating to be sat with an editor in front of your footage in which you have painstakingly recreated a historically accurate Parisian restaurant complete with six actors perfectly repre- senting six dead famous artistic figures only to spot no one noticed a carton of or- ange juice in the background. It can be quite intimidating trying to film sequences in an Arabic Medina in the middle of the night when you can hear the gentle snores of three people asleep in the darkness of a street doorway only to discover the reason for their slumber is still hanging from the veins in their forearms. Filmmaking can be quite unconducive to your personal relationships as I can attest when your wife is screaming down the phone at you whilst you’re on a different continent because she’s just realised you misinformed her about your return date and, in fact, you’ve got two more days filming to go. Oh, did I say that she was home alone with your three month old daughter at this point? Stuff like that matters, it appears.

It is much more difficult than you it can feel would think to release a cockroach from Equally safe, but your actors are game, under a whisky glass and have it walk in a very fortuitous after a day traips- so move a few things, figure out straight line. They may well be able to sur- ing through a redwood forest in a few shots and bingo. It’s only vive a nuclear blast, but I can tell you they Southern California when you hap- later after dinner in a roadside cannot follow simple instructions. It is pen upon a broken down old diner, that you overhear a cou- made even more difficult when being shack that perfectly fits the de- ple of locals talking about how watched by an actor in a six foot latex scription of such a scene in your they’re heading into the woods cockroach suit wearing a fez. film – wow, what a distinctive tomorrow to look for the broken chimney and broken down old down old shack that Charles However, inventive and clever rocking chair, you allow yourself to Manson used to live in. They’ll you may feel later, I can personally vouch think. Steal a few shots without have no problems knowing when that Hollywood feels a long way away anyone knowing – hell, you are in they’ve found it, they say, be- when you’re hidden under a tablecloth at the middle of a forest after all – cause of its distinctive chimney four in the morning poking two pencils and you’ve got a great scene … for and they might even get to sit in through a hole in the table to simulate the no cost. Okay, it doesn’t look that his broken down old rocking beating of a heart ripped from a human chair that they’ve heard body.

20 sometimes the film gods will smile on you and it in those moments that you’re reminded that, despite all the challenges and problems and scary shaven headed men, you’re a storyteller and you have a story you’re really trying to tell. Making films has challenged my patience, my resolve, my interper- sonal skills, my resourcefulness, my bank balance, but from my experi- films because you believe in the ence, the film making process has stories you are trying to tell, then afforded me the chance to work the film gods are going to be on collaboratively alongside people your side and every now again will far more talented than myself, to give you a little shove in the right work with people I’ve admired my direction, but if you’re just chasing entire life, to travel across conti- fame and fortune, well you might nents to film in some remarkable annoyingly succeed as well, but places, to make lifelong friends. It’s beware the hollow men … is still there before getting back a cliché to talk about the journey into their pickup, complete with being more important than the rifles and roadkill and driving off. destination, but the journey my Besides teaching at Bradfield, Nic films have given me is without But sometimes the film gods Saunders is an award winning doubt one of the most important filmmaker and, to date, has produced smile. All filmmakers work hard of my life. And ultimately, whether four short films based on the work of before walking on set. Storyboard- it’s on the French Riviera or an in- the American Beat authors and one ing, rehearsing, table reads, pre- dustrial estate in Slough, the mo- short documentary film. He is currently visualisation, obtaining permits, ment I’ve felt the film gods smiling working on his second documentary booking locations, auditioning, dis- the most is when I’ve been able to film and developing a feature project. cussing menus, costume fittings, share the stories with an audience. His website is www.14167Films.com whatever. The pre-production pro- And I think, and it’s just my opin- and he can be followed on Twitter cess is long, tedious, but neces- ion, that it doesn’t matter if you @14167Films. sary. But we all know what can aspire to be the next Lars Von Trier All photographs are © 14167 Films, 2018 and happen to the best laid plans of or Michael Bay, if you’re making are the work of Marc Hankins, Sadie Osborne and Zoe Midford. Photographs may not be re- mice and men and all that, but produced with permission.

21 WORDS James Dixon

In my opinion, The End of the F***ing World has been one of the most unique pieces of dramatic episodic film to come out in the past year from one of the most interesting comic book stories. I was generally quite impressed by the show itself: the pacing of the series was perfect for the short story it had to tell. In every episode, there is a build-up, and release, of tension with a grand climax at the finale.

However, what really made the series for me was the uniqueness and depth of all the characters. Usually in film, a character has an apparent function to play that is solely dedicated to moving the main story along. The End of the F***ing World is different as in many cases the supporting characters are caught up in their own worlds and problems, and the main story is only a smaller thing on the side. Each new character gives a glimpse into their own lives and desires. These sub stories come together to push along the main storyline very smoothly and this gives the show a very natural, and realistic feel to it.

This is also one of the only teen dramas I have enjoyed watching. Usually these dramas are just full of the usual annoying, moody, difficult teens that sigh a lot, and are always saying and interesting, (a lot like The Break- reviews and low viewing figures. It things like “ugh, nobody gets me.” fast Club, I suppose) the main charac- was then quickly forgotten until The End of the F***ing World gets it ters role for the viewer constantly Netflix bought it and then marketed right in my opinion as it shows huge changes. it as a Netflix original a while later. If character development. the original release was a donkey, Outside of the 4th wall, the show has then the Netflix release would have From the rather stereotypical teen certainly had an unusual ride. Origi- been a genetically modified stallion into someone far more enlightened nally released on E4 in October 2017, on steroids. The ratings flipped from it was received with rather mellow

22 the average category to critically ence, but at the end of the day, it cal lives as we can watch whatever acclaimed praise calling for it to be really shows the fast approaching we want, whenever we want. marked down as one of the great redundancy of regular, terrestrial TV. Overall, this dark comedy has been a series of its time. This bi-polar recep- The reality of the situation is that breath of fresh air and even though I tion could have been down to the streaming services (Netflix, HBO have been told it’s a little hard to superior marketing of the show by NOW, VIRV, etc) fit in with our ever- swallow, it’s well worth a watch. Netflix, or the different viewing audi- increasingly frantic, and technologi-

23 Just One Black Mirror? How the dystopian TV show is all really in one shared universe

24 WORDS Olive McGrath

Creator of Black Mirror, Charlie Brooker, used to deny any connection between each episode of the show, but hidden references, and the season 4 episode Black Museum caused Brooker to confirm the popular fan theory of over- lapping episodes. In the episode, there is a museum con- taining many memorabilia from past episodes, the first official confirmation by the writers that all episodes are connected.

The theory according to SCREENCRUSH, whose list suc- cessfully links many of the stories is…

25 1. The National Anthem (1x01) All ter in this episode) trial was still go- Men Against Fire is very similar to the references in following episodes re- ing on in Shut Up and Dance, so this ‘grains’ in this episode, linking these fer to the Prime Minister after the happened after the events of that episodes loosely together. events of this episode, so this must episode. be first of the sequence. 11. White Christmas (2x04) The 6. Playtest (3x02) Most likely taking same contact technology (now 2. The Waldo Moment (2x03) This place early in the timeline, the tech- known as Zed-Eyes), although they takes place one year afterNational nology of this episode isn't as ad- are not optional in this time, and can- Anthem as, when the pilot episode vanced as some of the others, with not be removed is present in this epi- jumps ahead one year (at the end of Augmented Reality games in their sode. They have evolved since the the episode), the news ticker in- early testing phase. grain-free life of The Entire History of cludes the same event of the You, as although unusual, there is a “Tillsbury Fire” as in The Waldo Mo- 7.Nosedive (3x01) The news-ticker in more minor character who has decid- ment (See photo). Hated in the Nation reads ed to live without the popular grain

“Reputillgent Shares Nosedive”, implant. Here, the contacts have be- 3. Shut Up and Dance (3x03) Most which refers to the agent who helps come a part of everyone’s daily lives. likely next in the timeline, the main Lacie (the main character) manage character of this story has a Waldo her rating score. 12. Arkangel (4x02) The grain-like sticker on his laptop. News headlines technology installed in Sara seems also give context as the journalist’s 8. Hated in the Nation (3x06) Proba- like an advancement seen in The En- web page hints at the Prime Minis- bly taking place afterPlaytest , a com- tire History of You and that of White ter’s (from National Anthem) marital pany in Playtests announces their Christmas, since there’s no longer problems after the events of the first new game on the twitter account of contact lenses involved, just a simple episode. one of the characters. injection into the brain. The Arkangel software also seems to be a combina- 4. Fifteen Million Merits(1x02) A 9. Men Against Fire (3x05) A news tion of the blocking technology of new talent show “Hot Shots” is ticker in Hated in the Nation reveals White Christmas and the MASS aug- launched after the eventsof Shut Up the US plan to go through with the mented reality implants in Men and Dance as seen in the news head- MASS program, which is the same Against Fire. Another link to this epi- line also on the journalist’s web page. program used in the episode Men sode is through the violent war foot- Against Fire. age that a young Sara is blocked from 5. White Bear (2x02) The same web seeing: the footage comes from Men page as in Shut Up and Dance reveals 10. The Entire History of You (1x03) Against Fire. Victoria Skillane’s (the main charac- The contact lens technology used in

26 13. Crocodile (4x03) Although this his own ‘Cookies’ using DNA, and orabilia from USS Callister (the clon- episode seems to not make many then turning them into code for his ing machine), Arkangel (the broken references to other episodes, there own revenge. It’s almost like San Ju- tablet), Crocodile (the bloody bath- are hints it happens sometime after nipero, but this real world is not near- tub), Playtest (the VR headset), “White Christmas” because of the ly as advanced as the world of that White Christmas (the Cookie eggs), plot line. If the memory device in the episode. Hated in the Nation (the drone hon- episode can give police access to eybees) and White Bear (the White someone’s mind, making it easier to 16. San Junipero (3x04) Black Muse- Bear hunting mask). extract evidence and convict some- um, a later episode, gives more con- one of a crime, then Matt getting a text to this story, in which the main 19. Metalhead (4x05) Metalhead, confession from Joe in White Christ- character (of Black Museum), Nish, where the military robot dogs which mas would be totally irrelevant, mentions “uploading old people to were introduced during Black meaning that the ‘crocodile’ device the cloud,” the present-tense of her Museum have since been unleashed was invented after the grain technol- dialogue likely means crossing over onto the small human population ogy in White Christmas. to San Junipero is still available at the left. The episode is interpreted as an time of Black Museum. alternate reality. It seems much dark- 14. Hang the DJ (4x04) Like a few er: everyone in Metalhead is dead other episodes, Hang the DJ has little 17. Be Right Back (2x01) Be Right and trapped in their own digital hell. reference to other episodes, howev- Back’s storyline wouldn’t really have The entire episode is black-and- er, three episodes earlier, the dating made sense if it existed before “San white, which is the same as the digi- app prominent in the episode can be Junipero.” If it did, older Kelly would tal ghost of Clayton Leigh in Black seen. In USS Callister: the reception- have had the option to create a life- Museum, hinting more at an alterna- ist can be seen using the app. (See like version of her dead husband, as tive world to the human earth seen photo) Martha does with Ash in Be Right in all the previous episodes. This epi- Back. sode may be a virtual afterlife, per- 15. USS Callister (4x01) Antagonist haps an evolved version of White Daley’s cloning device is basically an 18. Black Museum (4x06) All but six Bear’s punishment program where a advanced version of the ‘Cookie’ tech episodes of Black Mirror are refer- person’s consciousness is extracted first introduced inWhite Christmas. enced in Black Museum, hinting that before death. However, in the world of USS Callis- this episode takes place at the end of ter, Daley builds a machine to create the timeline. The museum has mem-

27 WORDS Mendoza Houben One of the first theories mentioned in the article, which seemed to be a very popular theory, is that it is all an GET Get Out is one of the most talked imagined scenario by Rod the TSA about movies this year. From win- agent. This would partly make sense ning an Oscar to sparking conversa- as Rod already has a high opinion of tion, Jordan Peele has done an out- himself in the film, saying that he is standing job with creating this psy- an important pawn in keeping Ameri- chological thriller. The film has had ca safe. This theory would also confirm his strange obsession with the OUT people talking and wondering about what it truly means. Following a hi- entire situation of going to the police and researching the townspeople. THEORIES PROVEN larious interview with Peele in Vani- ty Fair, we’re about to debunk some Ultimately this would also explain the AND DEBUNKED theories and prove some others. ending, when he makes himself the hero of the story. But however

28 fascinating, enticing and slightly hilar- Very direct, but very interesting. Out was so intentionally constructed, ious this theory may sound, Jordan it definitely deserves all the attention There is no argument that Get Out is Peele himself confirms this as false. it has received. And yes, each to their not a beautifully complicated film own opinion but I think we can all say Another interesting theory analyses and I would strongly suggest you we are definitely looking forward to the greeting scene, when we see that watch it again. The film has so many future films by Jordan Peele . If you the ‘housekeeper’ is greeting the layers, and even now new theories do want to know more theories guests. This would not normally hap- on Reddit appear, though some are about the film, and I strongly suggest pen, but, since it is his party, he per- absolutely ridiculous when fully con- you do, just look up “Jordan Peele sonally greets the guests. What sidered. Vanity Fair.” Because, let me tell you: might be most intriguing about that So to conclude, what can we say? there are so many more interesting scene is that the guests all arrive in Get Out is a complicated and very facts and theories which Peele both black cars. As Jordan Peele says: interpretive film. From thinking that confirms and debunks. ‘they arrive in black cars, like the it was all in Rod’s head to Rose being black bodies they will ride away in.’ a psycho, its plot appeals to all. Get

29 PITCH BLACK HEIST This is another taste of the two previ- tices the art of monochromatic trayal is vivid and unbelievably im- ously heard voices on another short filmmaking in this thriller about a pressive. film. Distinctly filmed in black and literally ‘pitch black’ heist. Going The next scene takes place in a pub white with actors from well known from his first short film being entirely and this is where the connection be- blockbusters, this is a great example shot on an iPhone to winning a bafta tween characters gets all the more of contrasting colours in film. I’d like on his next production takes some impressive. Subtext is subtly re- to thank Jack Connell and Ben Evans talent, and Pitch Black Heist proves vealed, and long tracking shots of a for allowing Q5 to print their reviews this due to its expert filmmaking, and dance between the characters is a in this issue, and I hope that they will new way of storytelling, shifting en- beautiful contrast to the harsh colour continue to work with us in the com- tirely to audio at one point. scheme, once again hinting and playing years. The reviews were inspired After mastermind Alex, played by ing with the audiences supposed by a competition to watch and review Alex Macqueen hires Michael knowledge. When the pair finally rob 100 films by June next year, with clas- (Michael Fassbender) and Liam (Liam the bank, the entire screen cuts to sics such as The General, Vertigo, and Cunningham) to rob a bank, they get black, and we are left with the soft La La Land to be reviewed.—HN to practicing. A simplistic set of a voices dividing the darkness. This warehouse and cardboard boxes concept is seriously impressive, and paired with the monochromic style, I’ve never seen it before, it deepened Jack Connell WORDS the focus is fully placed on the story the characters, making the story After watching Game of Thrones, it and acting. Michael shies away from come to life. In essence, it allowed us was weird to see Ser Davos rob a social connection with Liam at first to ‘be with’ the characters. bank with Michael Fassbender. which the audience believes is due to The acting Is a point I’d like to focus Filmed entirely in black and white the the nature of crime and also just his on. Fassbender is a world class actor personality, yet later on in the film it film was given a distinct style, and and having this on his repertoire add some editing played nicely into this is revealed why. After this realisation, to his widening career, he laid down as well. Director John Maclean prac- the film and its entire story and por- a solid performance. It was really

30 interesting to see him perform in this Jobs), Liam Cunningham (Hunger) past and we discover something that way. Liam Cunningham was also ex- and Alex Macqueen (Peaky Blinders). puts the whole film into a startling cellent and this extended his range of context that makes one appreciate The storyline is based around a heist characters; he is extremely talented. the genius of this film. in London: two professional bank The directing, vision, creativity, story robbers are hired to rob a bank in I think that the short film is very and characters where all astonishing, pitch black. Liam, played by Liam good, with a brilliantly written script. a deep backstory adds to some of its Cunningham, and Michael, who is The twist of the film leaves the audi- impact. I thoroughly enjoyed this played by Michael Fassbender, are ence thinking about the entire film in short, and after figuring out the big the hired bank robbers. They practice a very different way, imagining the reveal, the film was even more im- for the event in a dark warehouse. way Michael tracked down and con- pressive: John Maclean, well done. On the day of the event the two wait fronted his past. in a pub for the call signalling them to go. Whilst waiting they drink beer, Cast and Crew smoke, and play pool. After being WORDS Ben Evans DIRECTOR: John Maclean called they arrive at the scene and Pitch Black Heist is a short crime film begin the robbery—this scene takes CINEMATOGRAPHER: Robbie Ryan based in London with a brilliant twist. place in the dark, in which there is It was released in November 2011 excellent acting, a brilliantly written MICHAEL: Michael Fassbender and the short film was directed by script and very good dialogue be- LIAM: Liam Cunningham John Maclean starring Michael Fass- tween the two actors. In the end, it is bender (who has also acted in Steve when Liam and Michael discuss their

31 In 1991, a movie by the name of Critters 3 came out. The film itself was reviewed poorly and has since gained a 4.3 rating on IMDb. Despite it being dubbed as an awful horror film, it was the debut film role for a legend in current Hollywood cinema – Leonardo Di- Caprio. After Critters 3, Leonardo had his breakthrough role in This Boy’s Life, where Rob- ert De Niro himself handpicked DiCaprio from 400 young actors. Slowly Leonardo was building up his name in Hollywood, where he starred in leading roles in The Basketball Diaries and Romeo + Juliet. These films helped him to acquire the public recognition he now has. However, 1997 was Leonardo’s big year; he starred as Jack in the cult classic Titanic, where it stayed as the highest grossing film until 2009, when Avatar took the title . From his lead role in Titanic, DiCaprio became a household name starring in blockbusters like Catch Me If You Can (2002), The Departed (2006), Inception (2010), The Great Gatsby (2013) and The Wolf Of Wall Street (2013), and finally The Revenant (2015). 32 WORDS Tara Williamson women in media in 2012: 6. Women snared 43% of speaking parts in prime-time TV, up from The message is: ‘women in Holly- 1. From 2007 to 2012, the 500 top 41% previously, but these women wood have never had it so good’, grossing films had 565 directors, tended to be much younger than but dig a little deeper and research 33 of whom were women and only their male counterparts. shows that this quote couldn’t be two of those 33 were black wom- further from the truth. Why is there en. 7. Only 6% of the top 100 films in 2012 hired a balanced cast of such gender inequality in Hollywood 2. In the top 100 films of 2012 – women and men. and why are we not at least a little when women had fewer speaking outraged? It seems that those who roles than in any year since 2007 – So, have things changed since 2012? run the studios and therefore make females snagged 28.4% of roles The “Celluloid Ceiling” study con- the ‘important’ decisions believe with speaking parts. cluded that of the top grossing 250 that women can only do certain domestic films of 2015-16: 3. 12 top decision makers in the film types of pictures and these don’t industry said they perceived the 96% had no women cinematogra- include action pictures and rarely pool of qualified women filmmak- phers big budget films! Is the tide finally ers to be smaller than that of qual- about to turn? What with the re- 92% had no women directors ified men. cent #MeToo campaign in Holly- 79% had no women editors wood, could we anticipate a huge 4. Of the 250 top grossing films of 77% had no women writers power shift? Perhaps actors and 2013, women accounted for 16% actresses will soon have the power of all directors, executive produc- 58% had no women executive pro- to choose who they work with. ers, producers, writers, cinema- ducers tographers and editors, slightly The Women’s Media Centre produc- It’s fair to say that when it comes to lower than the 2012 and 1998 fig- es an annual ‘status of women in US Independent films and documen- ures. media’ report which tries to provide taries women are taken more seri- an overview for women in media 5. According to a two-month snap- ously and are finding ‘relative suc- and the future still looks bleak. shot in 2013, men wrote 82% of all cess’ but when it comes to block- Here are 7 depressing facts about film reviews. busters they are simply overlooked.

33 On a more positive note, Sofia Coppola made history in Cannes this year when she became the second female filmmaker to win “I made can ’t Best Director for The Beguiled. it to the change top of her Let’s just stop and think about this my gender, for a moment. The second female profession and and I refuse been nominated for director in the festival’s 70 year his- to stop making many awards. She won an tory! The last woman to win was movies. It’s irrelevant Oscar for Best Motion Picture of the Soviet filmmaker Yuliya Solntseva in who or what directed a Year with The Hurt Locker in 2010 1961 for The Chronicle of Flaming movie, the important thing and an Emmy Award for Exceptional Years. How is this even possible? is that you either respond Merit in Documentary Filmmaking Two females in 70 years?! If you to it or you don’t. There for Cartel Land in 2015, a Bafta love film and this doesn’t anger you should be more women di- Award for Best Film with The Hurt just a bit, then it should! recting; I think there’s just Locker in 2008 and finally a Bafta not the awareness that it’s Award for Best Director in The Hurt You can’t write an article about fe- Locker in 2008. Bigelow also di- really possible. It is.” male directors without talking about rected Near Dark, Point Break, Kathryn Bigelow who somehow has - Kathryn Bigelow Strange Days, K-19 the Widow mak- er and Detroit.

34 Let’s end on a positive note and appreciate some of the best films directed Final words from Kathryn by females: We Need to Talk About Kevin, Lynne Bigelow on the lack of Lost in Translation, Sofia Coppola (1), 2003 Ramsay (7), 2011 female filmmakers in Hollywood: Frida, Julie Taymor (2), 2003 The Kids are All Right, Lisa Cholodenko (8), Something’s Gotta Give, Nancy Meyers (3), 2010 ‘It’s a travesty. I feel like it’s 2003 The Piano, Jane Campion (9), 1993 trending in the right direction Selma, Ava Duvernay (4), 2014 Whale Rider, Niki Caro (10), 2002 but it’s painfully slow, and Bend it Like Beckham, Zero Dark Thirty, Kathryn Bigelow, 2012 where’s that inequality coming Gurinder Chadha (5), 2002 The Babadook, Jennifer Kent (11), 2014 from? That’s a big and compli- The Hurt Locker, Kathryn Bigelow (6), 2008 cated sociological question.

35 The Boat that Rocked A movie is more than just moving pictures

WORDS Thomas Butler The Boat that Rocked is an incredible (Karl) on the boat, and the song in- believe you and me last forever.’ This movie. In my opinion, it has one of troducing us to the character, the is the listeners of the radio station the greatest movie soundtracks of all film, and the boat itself is a classic. saying that they never want the hap- time. The songs are used to empha- The first song’s title symbolises what piness created by the songs and gen- size moods rather than just create pirate radio stands for: bringing hap- eral broadcasts to end. If it were the them. The majority of music played piness to its listeners ‘All day and all listeners saying this then the fact that throughout the movie is diegetic, of the night.’ In the movie, the pirate the word ‘you’ is before ‘me’ is show- meaning that the songs are played as radio station is on a boat. Boats are ing that the listeners are prioritising part of the film itself, not as a back- generally named after those of the the radio station before themselves. ing to the events of the film. This is fairer sex. The second lyric of this The next song in the soundtrack is ‘Hi used to create a sense of involve- introductory song is ‘Girl I want to be Ho Silver Lining’. The end of the first ment in the plot. with you all of the time.’ In my opin- stanza of the song contains the line ion, this is a good reference to how The film is set on a pirate radio sta- ‘saying everything is groovy, when the listeners always want to be lis- tion calledRadio Rock in 1966. It fol- your tyres are flat’. To me this is basi- tening to the radio station. The next lows the life of a new crew member cally stating the fact that even when line contains a lyrical confession: ‘I

36 things are rough and bad, the sta- of deception. mood among the listeners which is tion’s broadcasts will have a positive portrayed by the song ‘You don’t Prior to this the broadcasters all go effect on the listeners despite their have to say you love me.’ The lyrics on a night out. The widely known situation. say: ‘you said you would always stay song ‘Dancing In the street’ comes … and now you’ve gone away,’ which Both of these songs have positive on. Now, the second line of this song helps to create a sense a deception. connotations which really emphasise is ‘South America, Australia, France, This in turn creates suspense for the the mood created by the song. There Germany, UK, Africa.’ The fact that all viewers of the film as we (the audi- are however some scenes in the film of these cultures are combined sends ence) know of the pirates’ plan. The in which the songs have a melan- out a very significant message. The song ends and then there is a pause choly feel and emphasise sadness, fact that these places are quite wide- of around a minute which gives the which especially reflect on the op- ly spread around the globe and have government officials enough time to pression from the government. For numerous differences yet are all still give a toast to the Queen. As the instance, one of the broadcaster’s together suggests that the radio sta- words come out of their mouths the wives betrays him by cheating on tion brings everyone together no pirates begin to broadcast again. The him. As such, one of the songs played matter where you are from. It brings pause almost makes it seem as around that time in the movie is everyone happiness and laughter. It though the officials are toasting the ‘Here comes the night’. The song tells then continues to the third stanza in radio station. This is used to portray the story of a man whose wife be- which the second line states ‘there’ll the fact that it is not only the ‘bottom trays him, a clear parallel to the story be music everywhere.’ ‘There’ll’ is an -feeders of our once great society’ line. The song slowly gets more and abbreviation of‘ there will.’ This use that listen to Radio Rock but even more depressing, reflecting the of the modal verb insinuates that the the high-class members of society mood of the broadcaster. Because station will bring you positive moods and some members of the govern- the song is diegetic, it creates a sense wherever you are and this language ment. that these are the broadcaster’s is used to emphasise the ecstatic thoughts. It also has a sense of irony mood of the protagonists. Thus, I have come to the conclusion as, if you were saying: “Have you that this movie has the greatest At a certain point in the movie the heard of the song beginning with the soundtrack ever. Not only are the suppressive government declares words ‘Here comes the...?”’ People songs used to portray a general feel- pirate radio illegal. Henceforth, come immediately think of ‘Here comes the ing, but the lyrics themselves are New Year’s Day, the radio station sun’ which is a song typically known chosen for the scenes, thoughts, and creates the façade that for the New for having positive vibes and conno- actions of the boat that rocked. Year they will quit broadcasting. For- tations. This helps enhance the idea ever. This creates a very negative

The Soundtrack - Just some of the greats:

All Day and All of the Night—The Kinks

Hi Ho Silver Lining— Jeff Beck

Here Comes the Night—Them Ft. Van Morrison

Jumpin’ Jack Flash—The Rolling Stones

For Your Love—The Yardbirds

My Generation—The Who

Let’s Spend the Night Together—The Rolling Stones

The Wind Cries Mary—Jimi Hendrix Experience

Dancing in the Street—Martha Reeves

Let’s Dance—David Bowie

37 Spaghetti in the West Director: Sergio Leone Starring: Clint Eastwood, Lee Van Cleef, Eli Wallach Genre: Spaghetti Western

WORDS Bertie Kinnings The Bad Lee Van Cleef - otherwise ship with Blondie, but Tuco and Blon- known as ‘Angel eyes’ - is a ruthless, die turn on Angel Eyes when they get Clint Eastwood - otherwise The Good unfeeling mercenary who always fin- their chance. known as ‘the man with no name’ or ishes the job he is paid for: usually ‘Blondie’ - is a bounty hunter who The Ugly Eli Wallach, otherwise finding—and killing—people. When temporarily teams up with Tuco (the known as Tuco, is the fast talking, Blondie and Tuco are captured while Ugly), and Angel Eyes (the Bad) to Mexican bandit, wanted by the au- posing as Confederate soldiers, Angel find buried gold. Blondie and Tuco thorities for a long list of crimes such Eyes is the Union sergeant who inter- have an ambivalent partnership; Tu- as robberies and murders. Tuco man- rogates and tortures Tuco, eventually co knows the name of the cemetery ages to discover the name of the learning the name of the cemetery where the gold is hidden, but Blondie cemetery where the gold is hidden where the gold is buried, but not the knows the name of the grave where and buried, but he does not know name on the tombstone. Angel Eyes it is buried, forcing them to work to- the name of the actual grave. therefore forms a fleeting partner- gether to find the treasure.

38 The Good, the Bad and the Ugly is a was a great success: the film grossed Themes and cinematography 1966 epic. A Spaghetti-Western di- over $25 million at the US box office. The director Sergio Leone noted that rected by Sergio Leone, starring Clint In case you didn’t know, The Good, the film's main theme is the empha- Eastwood, Lee Van Cleef and Eli Wal- the Bad, and the Ugly was not shot in sis on violence. Leone tried to re- lach. The film is mainly remembered the giant plains of the Wild West. It place heroic western protagonists for its mix of close-up and longshot was shot in Italy, most of the shots with morally com- cinematography, as well as Leone’s are of Rome and the Spanish plateau plex antiheroes. Negative themes distinctive use of tension, violence near Burgos in the north. This is such as capitalism and greed were and of course gunfights. The plot pri- where the word Spaghetti-Western also given focus. marily revolves around three gun- comes from. In the film, the produc- slingers competing to find long lost In this film, Leone used many long tion team required many elaborate confederate gold, whilst also partici- drawn out and close-up styles of film- sets, such as a civil war battlefield, a pating in many shoot-offs and ing by mixing extreme close ups and large cemetery, and a western town battles. The film was the third collab- sweeping long shots. He used scenes taking on cannon fire. For a famous oration between Leone and East- which created a real sense of tension scene in which a bridge is blown up, wood, and their second with Van such as the image of hands slowly the team had to film it twice as all Cleef. As the final installment to their reaching for a holstered gun. three cameras were completely de- ‘Dollars trilogy’ including A Fistful of stroyed by the explosion in the first Dollars and For a Few Dollars More, it take.

from a bottle of bleach, which a film hands bound tightly behind his back. technician set next to his soda bottle. A Few Facts The first attempted bridge scene In one scene, where Wallach was to ended in disaster, as the Italian pro- Eastwood and Wallach flew to Ma- be hanged after a pistol was fired, duction team member said a word drid together to film. Whilst East- the horse underneath him was sup- sounding similar to the word ‘start’ in wood was on-set, he would use his posed to bolt. While the rope around Spanish. This giant misunderstand- time to practice his golf swing and Wallach's neck was severed, the ing led to two cameras being de- relax by the pool. horse was frightened a little too stroyed. Fortunately, no film mem- much; it galloped for about a mile bers were injured in the making of Wallach was almost poisoned during with Wallach still mounted and his this film. filming when he accidentally drank

39 Inception One of the greatest intellectual films of the 21st century?

WORDS Evie Emberger

Inception is famously one of the most ly starts at the beginning, Nolan intro- The second clue: the ‘kick.’ Cobb is intellectually cunning films produced duces the movie in the midst of explaining that he and his wife (Mal), in the 21st century. Of course, it was Cobb’s story, and just as Cobb stated: ended up in their limbo, where they directed by the notorious Christo- “we never think about how we got were creating their aspirations, due pher Nolan, and although it was not there.” This signifies the idea that to experimenting with multi-dreams. his first film that left people dumb- They then evoke the ‘kick’, com- struck, this film was more confusing Even if you think you mitting suicide on the train tracks in than most. In Memento, or The Pres- did, you probably did- their dream world to go back to their tige, a similar pattern of unexplained reality. However, they were experi- endings and twists are portrayed. n’t. For example, did menting with multi-dreams, meaning that they would only go up one level. On people’s comprehension of the you think that the end This suggests that they never actual- film, every single person that I have was a cliff hanger? It ly resurfaced to reality. Also, in the ever asked has said the same thing: ending scene, we see an aged Saito “I did not understand it.” Even if you wasn’t. with Cobbs, who plan to shoot them- think you did, you probably didn’t. the movie might be a dream. The in- selves to escape limbo. However, For example, did you think that the troductory scene is in the middle of a this would only cause them to resur- end was a cliff hanger? It wasn’t. dream heist within Cobb’s mind. I face by a level, although nothing guess this is similar to how you re- In my opinion, the whole movie was would be there as Robert is already mind yourself what happens in a a dream and the film was never ex- conscious by that point. This would dream: you start in the middle and posed in their reality. The first clue is mean that the first person to shoot work out the beginning and end from the start itself. The film never actual- themselves, Saito, would fill this there.

40 level with his subconscious. the first dream level, the train which scious. However, this could also lead arrives on the road has the number to the interpretation that Saito is a The third clue: the subconscious. We 3502, just like in Cobb’s limbo. This projection of Cobb’s own subcon- are told, within the movie, that part implies that the dream never be- scious suggesting that Saito never of a person’s subconscious will ap- longed to Robert, and that we were existed. pear within the dreams. For example, in Cobb’s mind all along. the code for Robert’s father’s safe Honestly, this may have confused (528491) appears in every level of Lastly: the spinning of the totem. Sai- your understanding of Inception the multi-dreams. This also occurs to once said that he wished for a even more. That being said, regard- with the number of the train (3502), house on a cliff. When he and Cobbs less of individual interpretation, No- which initially killed Mal and Cobb in are in limbo, they are in a house on lan designed this movie to show that limbo. Variations of the number com- the cliffs. When Cobbs embraces his all movies are, intrinsically, inception. bination appear within the inception, children, they say that they have for example, the hotel room which built a house on the cliffs. Maybe, Mal trashes is number 5302. Within instead, we are in Saito’s subcon-

41 RECOMMENDATIONS Frances Ha Abigail Hatch A New York woman throws herself into her dreams as they begin to dwindle Animal Kingdom Thomas Attwood A young man tries to survive in a criminal family

No Cameras Allowed Ross Williams A documentary about breaking into music. Literally.

The Lure Marta Malecka A Polish musical following two mermaids finding their way through an adult environment Captain Fantastic Olive McGrath Following a father (Viggo Mortensen) devoted to raising six children in the Pacific Northwest forests The Third Man Caspar Talbot A classic Orson Welles film noir set in post-war Vienna

Quadrophenia Hamish Newall A London based coming of age story with music from The Who 808 Albie Mayo An inspiring documentary about the creation of the Ro- land TR-808 drum machine

42 “The past is just a story we tell ourselves” - Her

“I don’t want to be a loser” - Little Miss Sunshine

“If you want a friend get a dog” - Wall Street

“What a good day for an exorcist” - The Exorcist “A boy’s best friend is his mother” - Psycho “I’m off like a dirty shirt” - Pretty In Pink

“Gentlemen, you can’t fight here. This is the war room” – Dr Strangelove

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