Programme Specification

Total Page:16

File Type:pdf, Size:1020Kb

Programme Specification PROGRAMME SPECIFICATION Course record information Name and level of final award BA Honours Film BA Honours Film with Professional Experience The Film BA Honours degree is Bologna FQ-EHEA first cycle degree or diploma compatible. Name and level of intermediate Diploma of Higher Education awards Certificate of Higher Education Awarding body/institution University of Westminster Teaching Institution Status of awarding body/institution Recognised Body Location of delivery Language of delivery and English assessment Mode, length of study and normal Three years full time, September start starting month Four years full time with optional placement year QAA subject benchmarking Communication, Media, Film and Cultural Studies group(s) Professional statutory or regulatory ScreenSkills body https://www.screenskills.com/ Date of course 1976; reviewed 1990, 1996, 2001, 2007, 2013, 2015 validation/Revalidation Date of programme specification December 2020 approval Valid for cohorts 2021/22 onwards Course Leader Tania Diez UCAS code and URL W900 westminster.ac.uk/courses/undergraduate Westminster course code BATFM01F HECoS code UKPASS code (PG only) Admissions requirements There are standard minimum entry requirements for all undergraduate courses. Students are advised to check the standard requirements for the most up-to-date information. For most courses a decision will be made on the basis of your application form alone. However, for some courses the selection process may include an interview to demonstrate your strengths in addition to any formal entry requirements. More information can be found here: westminster.ac.uk/courses/undergraduate/how-to- apply. Recognition of Prior Learning Applicants with prior certificated or experiential learning at the same level of the qualification for which they wish to apply are advised to visit the following page for further information: westminster.ac.uk/recognition-of-prior-certified-learning. Aims of the course Film has been part of the history of the University of Westminster (formerly Regent Street Polytechnic) for many years. In 1896, Quintin Hogg rented out the theatre (which is now the Regent Street Cinema) at the Regent Street Polytechnic for a screening of the Lumieres' newly invented Cinematographe, ensuring the Polytechnic’s place in the history of Cinema. The Polytechnic first offered Cinematography as a 24-week evening course in 1913. During world war two it offered technical film-making and the training of projectionists, contributing to the war effort. Both the Polytechnic of Central London and the Harrow College of Art were offering film as part of three year diploma courses by the 1970s, before merging under the umbrella of the University of Westminster. BA Film is now one of the best-known film and television courses in the country. As production methods, technologies, society and ideas evolve, so do we. We have an international reputation, with collaborative storytelling at the heart of the curriculum, focussing on preparing undergraduates for the challenges of working in the film and television industries. We support students in their professional and creative ambitions by providing extensive industry level facilities and experiences, operating from a large, purpose- built studio in Harrow with two film and television studios, a set construction workshop, a 3D workshop, as well as celluloid and digital post production facilities that include two dubbing theatres. The Regent Street Cinema remains part of the University in central London and is used for student screenings. We believe in developing diverse, creative film-makers, who can collaborate proficiently as they develop a high level of competence in specialist areas, and who have something to say to the world, and about the world. We encourage the telling of untold stories that aren’t afraid of challenging expectations and existing perceptions. We expect students to reach high standards in all aspects of their creative, academic and practical work and to synthesise concepts and practices from across the curriculum. We ensure that they understand current debates and the realities of working in the film and television industries so that they are well prepared for their chosen future careers. Programme Specification: BA Film Version: 2021 1 Short film productions are a vital part of the course, and it is expected that all final year productions in documentary and drama, will engage audiences and be produced to a professional standard. Student films from the University of Westminster have done well in national and international Film Festivals and competitions in recent years, having won awards in festivals in Moscow, Beijing, Singapore, Bucharest, and London, and have been screened regularly all over the UK and the world. In 2020 alone there were six awards won at the Kodak Commercials Awards, seven nominations and three awards at the Royal Television Society, and the Nahemi Undergraduate Film of the Year went to one of our Second Year productions. In film practice, students have the opportunity to explore different disciplines such as editing, sound, production design, screenwriting, cinematography, producing and directing before specialising in the second year. The emphasis is on group work, with small groups in the first year, larger groups in the second year and in the third year students may work on full scale productions with large crews. The BA Film is oriented towards single camera production for both the small and large screen; the practical element has a significant emphasis on short fiction and documentary productions, and theory deals with film and television aesthetics, criticism and history, with an emphasis on the analysis of film and television texts. The academic side of the course is assessed through presentations and coursework essays that build in complexity through the levels. This includes a research project in the final year which may take the form of a dissertation or alternative research format. First year modules provide students with the tools to observe film as a multi-layered discipline, and to transfer those insights into their own practical work. Second year modules are more specialised, with options to choose roles, learn technical specialisms in-depth and select areas of interest in theory. Formative feedback is at the centre of our teaching, and students are expected to work independently, creatively and reflectively to incorporate feedback and theoretical concepts as they develop their projects in all areas. The third year focuses upon advanced film-making and preparation for moving into the industry through production of a short form film and major project as well as professional development. Through the interplay of a range of carefully designed modules in film and television practice and theory, the course aims to give students: ● The ability to work as reflective “thinking” filmmakers in collaborative storytelling; ● The ability to explore diverse ideas and communicate collaboratively across disciplines within film and television; ● A specialist skill within the area of film and television production, and an understanding of the requirements of entry-level work in that area; ● An understanding of the cultural and economic contexts in which film and television operate, of business aspects in film, and of the opportunities for employment or further study; ● An advanced critical understanding of film and television, and of a specific subject within theory or practice; Programme Specification: BA Film Version: 2021 2 ● The ability to work in an autonomous and entrepreneurial way, choosing appropriate strategies and techniques to solve complex problems with minimum supervision. ● The opportunity to understand contemporary issues, enabling them to offer fresh perspectives and contribute to dynamic change within the film and television industries. ● The ability to reflect upon, negotiate and set their own criteria for developing professional and interpersonal networking and communication, and make informed choices about the direction of their studies and subsequent careers. What will you be expected to achieve? Learning outcomes are statements on what successful students have achieved as the result of learning. These are threshold statements of achievement the learning outcomes broadly fall into four categories: ● The overall knowledge and understanding you will gain from your course (KU). ● Graduate attributes are characteristics that you will have developed during the duration of your course (GA). ● Professional and personal practice learning outcomes are specific skills that you will be expected to have gained on successful completion of the course (PPP) ● Key transferable skills that you will be expected to have gained on successful completion of the course. (KTS) Level 4 course learning outcomes: upon completion of level 4 you will be able to: L4.1 Develop and apply creative ideas in response to a range of standard film and video production techniques in producing short form films and incorporate formative feedback in your working process. (PPP) L4.2 Propose, create and present work in the artform, creative practice or discipline of study; (KU, PPP) L4.3 Negotiate collaborative working practices with other students, and critically evaluate their own performance and that of their peers. (KTS) L4.4 Work flexibly and creatively on complex tasks, showing awareness of your own capabilities through guided reflection, and evaluating your learning in terms of skill, knowledge and future plans.
Recommended publications
  • Embodying the Rca's Values
    WORLD LEADEREMBODYING THE RCA’S VALUES ‘I am thrilled to be Chancellor of the RCA at this pivotal moment. The College has had a profound influence on many generations of artists and designers that I admire. My own team at Apple includes many RCA alumni, all of whom embody the fundamental values of the College. I look forward to being part of this exciting next phase of growth and development and ask you to join me in supporting the RCA’s compelling vision for the future of education, research and innovation in art and design.’ Sir Jony Ive KBE Chancellor, Royal College of Art Chief Design Officer, Apple 33 Annual Report & Accounts 2017/18 34 Annual Report & Accounts 2017/18 ‘At College, I was able to work with artists, animators, sound designers, fashion and graphic designers, to pull them into the world of film and learn from them. Film encompasses all of these disciplines, and it was that unique environment that taught me to make films that were visually compelling. Of the films that I’ve subsequently made, all of them somehow link back to what I learnt at the RCA.’ Asif Kapadia (MA Film & Television, 1997) Asif Kapadia is an Academy Award and four time Bafta-winning writer/director. Following his debut feature The Warrior (2001) and Far North (2007), international box office hit Senna (2012) established Kapadia as a vital name in documentary film. This success was triumphantly surpassed by Amy (2015), the moving documentary about singer Amy Winehouse, which won an Academy Award and is now the highest grossing UK documentary of all time.
    [Show full text]
  • Doc Nyc Unveils Influential Short Lists
    DOC NYC UNVEILS INFLUENTIAL SHORT LISTS FOR FEATURES & SHORTS PLUS INAUGURAL “WINNER’S CIRCLE” SECTION, LIFETIME ACHIEVEMENT SCREENINGS, “40 UNDER 40” LIST AND NEW AWARDS NEW YORK, September 26, 2019 - DOC NYC, America’s largest documentary festival, celebrating its 10th anniversary, announced the lineup for three of its most prestigious sections. Short List: Features and Short List: Shorts each curate a selection of nonfiction films that the festival’s programming team considers to be among the year’s strongest contenders for Oscars and other awards. For the first time, the Short List: Features will vie for juried awards in four categories: Directing, Producing, Cinematography and Editing, and a Best Director prize will also be awarded in the Short List: Shorts section. The festival also announced the launch of a new section, Winner’s Circle, highlighting films that have won top prizes at international festivals, but might fly below the radar of American audiences. Michael Apted and Martin Scorsese, the two recipients of DOC NYC’s previously announced Visionaries Lifetime Achievement Awards, will also have their latest documentary films screened: 63 Up and Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese, respectively. The festival also announced the second year of its 40 Under 40 list of young rising stars in the documentary community, co-presented by Topic Studios. “Today’s announcements of the DOC NYC Short Lists, Winner’s Circle and 40 Under 40 showcase a tremendous breadth and depth of talent,” said festival Artistic Director Thom Powers. “We’re excited to bring New York audiences to some of the year’s best films and showcase the future of the documentary field.” AMPAS members can email [email protected] to register for a Short List Pass to gain free admission to Short List, Winner’s Circle and Lifetime Achievement screenings; as well as to the panel discussions for Short List: Features (Fri, Nov.
    [Show full text]
  • Here in the United Online Premieres Too
    Image : Self- portrait by Chila Kumari Singh Burman Welcome back to the festival, which this Dive deep into our Extra-Ordinary Lives strand with amazing dramas and year has evolved into a hybrid festival. documentaries from across South Asia. Including the must-see Ahimsa: Gandhi, You can watch it in cinemas in London, The Power of The Powerless, a documentary on the incredible global impact of Birmingham, and Manchester, or on Gandhi’s non-violence ideas; Abhijaan, an inspiring biopic exploring the life of your own sofa at home, via our digital the late and great Bengali actor Soumitra Chatterjee; Black comedy Ashes On a site www.LoveLIFFatHome.com, that Road Trip; and Tiger Award winner at Rotterdam Pebbles. Look out for selected is accessible anywhere in the United online premieres too. Kingdom. Our talks and certain events We also introduce a new strand dedicated to ecology-related films, calledSave CARY RAJINDER SAWHNEY are also accessible worldwide. The Planet, with some stirring features about lives affected by deforestation and rising sea levels, and how people are meeting the challenge. A big personal thanks to all our audiences who stayed with the festival last We are expecting a host of special guests as usual and do check out our brilliant year and helped make it one of the few success stories in the film industry. This online In Conversations with Indian talent in June - where we will be joined year’s festival is dedicated to you with love. by Bollywood Director Karan Johar, and rapidly rising talented actors Shruti Highlights of this year’s festival include our inspiring Opening Night Gala Haasan and Janhvi Kapoor, as well as featuring some very informative online WOMB about one woman gender activist who incredibly walks the entire Q&As on all our films.
    [Show full text]
  • AMY Discussion Guide
    www.influencefilmclub.com AMY Discussion Guide Director: Asif Kapadia Year: 2015 Time: 128 min You might know this director from: Ali and Nino (2016) Senna (2010) Far North (2007) The Return (2006) The Warrior (2001) FILM SUMMARY If you live in the Western World and have access to the mainstream press in any capacity, you’ve most likely heard of Amy Winehouse. Regardless of your knowledge of her before spending two hours in her filmic company, you probably have some notion of her - in many cases, not the most squeaky clean perception. Whenever Amy made it into the headlines, it was generally some kind of self-damaging drama that dragged her there. So when asked by Universal Records to make a documentary on the life of this renowned international pop star, director Asif Kapadia felt compelled to challenge the widely accepted notion of Amy as a train wreck. Lucky for him, hours and hours of amateur footage was offered his way, portraying a younger, fresher, happier, and healthier Amy, a young woman as of yet untouched by the destructive claws of fame, money, and addiction. Over the course of 128 hypnotic minutes, Kapadia takes us on a chronological ride through Amy’s short-lived time on earth. By adopting this approach, he grasps his audience by the heartstrings with early images of a charming and very talented young woman. As time progresses and success tsunamis her way, the natural arch of her life, however fast-lived, gains a clearer context, as does her untimely death. Despite the cast of dubious relationships and her substance-abusing decisions, Amy maintained an incredible natural talent up until her death.
    [Show full text]
  • Financial Statements 1 August 2018 -31 July 2019
    1 Contents Statement from the Chair of the Board of Governors ........................................................................................... 3 Statement from the Director………………………………………………………………………………………………5 Management and Advisors ……...………………………………………………………………………………………7 Strategic Report .................................................................................................................................................. 8 1 Objects, Strategy and Risk Analysis ................................................................................................................ 9 1.1 Objects, Vision and Values ........................................................................................................................ 9 1.2 Outreach and Widening Participation ...................................................................................................... 9 1.3 Community Engagement ........................................................................................................................ 10 1.4 Strategic Plan ......................................................................................................................................... 10 1.5 Looking Forward .................................................................................................................................... 10 1.6 Key Performance Targets ....................................................................................................................... 11 1.7 Risk Analysis .........................................................................................................................................
    [Show full text]
  • Asif Kapadia
    [INTERVIEW] AMY Asif Kapadia Text Radhika Iyengar BAFTA award-winning filmmaker, Johnstone, author of Amy Amy Amy humour. You will be surprised to know Asif Kapadia has crafted an interesting would go on to write, ‘Everyone wanted how funny and intelligent she is! When niche for himself. He’s gained an admi- a piece of her.’ you meet her young, she is so different rable momentum for producing stirring Through his documentary, Asif, to the person who becomes famous. biopics about icons the world has loved like a relentless scalpel peels off layers I think that was a big part of her jour- and admired. Archival footage forms of this larger-than-life persona to pre- ney. The more I sat down and watched the backbone of his directorial lan- sent the real Amy—the bruised, bro- her [footage], the more I learned about guage—ingeniously, he pieces together ken, utterly human Amy. The film takes her and felt it was a story that needed footage shot at varying points of time, you back to the starting point and maps to be told, because people have such a to mould a narrative that is truthful and her tragic trajectory. ‘You already know skewed idea of who she was, and there visceral in its account of retelling the the ending,’ Asif says, ‘but you don’t is so much more to her than just the icons’ story. His eccentric and arguably know why that ending happened… voice. ground-breaking style has brought him the film tries to make you understand much acclaim, celebrating him as one of what happened in between for her to How did you immerse yourself into her the most gifted documentarians of con- to reach that point.’ Platform speaks to highly intense, glamorized world? Where temporary times.
    [Show full text]
  • Diego Maradona: Documentary Portrait of a Controversial Football Legend
    Thursday 13 June 2019 Diego Maradona: Documentary portrait of a controversial football legend Diego Maradona was a footballing genius, celebrated for his stellar tenure with Napoli and known for his huge charisma. A new documentary by Asif Kapadia, Oscar-winning director of Amy and Senna, stories Maradona's controversial career, drawing on over 500 hours of unseen footage from Maradona's personal archive. Like Kapadia's documentaries about Amy Winehouse and Ayrton Senna, the film explores the relationship between exceptional talent and a troubled personal life. From his beginnings in one of the most deprived parts of Argentina, to his glory days on the pitch, Diego Maradona is an enthralling watch. Tickets | Trailer From Fri 14 June. Hyde Park Picture House, Science & Media Museum, Vue in The Light and Everyman Leeds. LIFF Presents: cult film with Peter Strickland and Nick Cave, Breeze Outdoor Cinema, and director Q&As at Square Chapel... LIFF Presents: Nick Cave - The Road to God Knows Where Regularly voted as one of the best music documentaries of all time, The Road to God Knows Where follows Nick Cave and the Bad Seeds on a US tour in 1989. LIFF Presents brings you a brand new digital restoration of Uli M Schueppel's film, beautifully shot on black and white 16mm by the German filmmaker. The Road to God Knows Where has an intimacy that’s very unusual for a tour film, capturing revealing and amusing moments backstage and some terrific concert footage. Tickets | Trailer Wed 26 June, 6pm. Vue at the Light LIFF Presents: In Fabric (Special Preview) In Fabric is the acclaimed new feature from cult British filmmaker Peter Strickland, director of Berberian Sound Studio and The Duke of Burgundy.
    [Show full text]
  • News Release
    News Release Friday 12 April 2019 National Portrait Gallery Unveils Newly Commissioned Portraits of Leading Film Directors Portraits of Amma Asante, Paul Greengrass, Asif Kapadia, Ken Loach, Sam Mendes, Nick Park, Sally Potter, Sir Ridley Scott and Joe Wright go on display for first time Images clockwise from top left: (29:04:37) Ridley Scott by Nina Mae Fowler, 2018-19; (39:44:02) Sam Mendes by Nina Mae Fowler, 2018-19; (01:44:48) Sally Potter by Nina Mae Fowler, 2018-19; (00:21:22) Joe Wright by Nina Mae Fowler, 2018-19. All works © National Portrait Gallery. Photographed by Douglas Atfield The National Portrait Gallery, London, has unveiled a major new commission of portrait drawings of some of the UK’s leading film directors by London-born artist Nina Mae Fowler. The portraits have gone on public display for the first time in a new display Luminary Drawings: Portraits of Film Directors by Nina Mae Fowler (12 April – 1 October 2019). Fowler’s work often investigates fame, desire and our relationship with cinema. For the commission, she invited directors Amma Asante, Paul Greengrass, Asif Kapadia, Ken Loach, Sam Mendes, Nick Park, Sally Potter, Sir Ridley Scott and Joe Wright to choose a film of particular significance to them. During the sittings, Fowler projected the film of their choice, and recorded their reactions on camera and through loose sketches, with their faces lit only by the light of the screen in an otherwise darkened space. Images L-R: (20:30:17) Ken Loach by Nina Mae Fowler, 2018-19; (01:40:25) Amma Asante by Nina Mae Fowler, 2018-19.
    [Show full text]
  • July 4-September 30, 2012
    july 4-September 30, 2012 1 contents From the executive DIRECTOR See It Big! 4 Since the Museum opened to the public in 1988, of the film don’t do justice to the bold, expressive we have explored how movies and television colors of the original film. Yet we will present a The Muppet Show 9 shows are made—a process that has been magnificent digital restoration of Apocalypse Outdoor Cinema 2012 10 changing radically in ways largely unseen (and Now Redux that was painstakingly supervised by at Socrates Scultpure Park unheard) by the public. Writing in The New York Francis Ford Coppola. Because of the widening Times in 1999, film editor and sound designer array of possible presentation formats, we Film After Film 12 Walter Murch called cinema “a digital sandwich will now be listing format information for all Fist & Sword 17 between two slices of analog bread.” He meant screenings on our website. that theatrical movies were captured and Rural Route Film Festival 18 The conversation about film and digital formats presented photographically, but that everything is not just about how movies look—it is also about Extreme Exploration: Experimental Film 19 SEE IT BIG! 4 that happened in the middle—including sound how we look at movies. The digital revolution and Live Music by ARP and picture editing and visual effects—was is affecting the aesthetics and, indeed, the digitally driven. That was true ten years ago, but First Cameraman: Documenting the 20 fundamental nature of the art form itself. The Obama Presidency in Real Time it’s no longer the case.
    [Show full text]
  • Production Notes
    Production Notes @AmyFilmUK #AmyFilm AmyFilm 1 ABOUT THE PRODUCTION When filmmakers Asif Kapadia (director), James Gay-Rees (producer) and Chris King (editor) collaborated on the 2010 documentary SENNA, which charted the story of acclaimed F1 driver Ayrton Senna, they earned a clutch of awards (including two BAFTAs) and a mass of critical plaudits. Such is the film’s popularity, however, it still serves up fresh opportunities. Two years after SENNA’s theatrical release, Gay-Rees was approached by David Joseph, the chairman and CEO of Universal Music UK, who asked whether the team would be interested in turning their talents to another story about a modern-day icon whose life had ended in tragic circumstances. “David said, ‘Would you be interested in making a movie in the style of SENNA which captures the musical genius of Amy Winehouse,’” Gay-Rees recalls. “And it took me about a nanosecond to go, ‘Yes! We’re up for it. Absolutely.’” Gay-Rees had not considered the Amy Winehouse story up until that point. “But I knew instinctively that there was something interesting going on there,” he says. “I immediately called Asif. We weren’t actively looking for something to do together after SENNA, but he said yes straight away.” Like Winehouse, Asif Kapadia grew up in North London and though the majority of his films have been shot overseas, he was keen to focus his talents on his hometown. He had recently shot Odyssey, one of four films about London that were commissioned for the 2012 Olympics. “When James called me I was living in Turnpike Lane,” he remembers.
    [Show full text]
  • DIEGO MARADONA” Documentary for Latin America
    PRESS RELEASE DIRECTV acquires the rights of the “DIEGO MARADONA” documentary for Latin America “Diego Maradona” is the latest documentary from Director Asif Kapadia, Academy winner for his documentary film Amy (based on Amy Winehouse) and creator of Senna (based on Ayrton Senna). The Diego Maradona documentary is constructed from over 500 hours of never- before-seen footage. Buenos Aires, May 2019. DIRECTV has announced that it has acquired the exclusive rights of the “Diego Maradona” documentary film that will be available for all its subscribers on all DIRECTV platforms, including its exclusive channel OnDIRECTV. The documentary was directed by Asif Kapadia, who also directed the biographical films of Ayrton Senna (Senna, 2010) and Amy Winehouse (Amy, 2015), which have won several awards granted by various organizations. It was made from over 500 hours of previously unreleased material which Maradona himself handed over so that the British director would be able to share more information to what is already known about his life. The documentary depicts the Argentine soccer player ´s life from his beginnings in the sport up to his triumphant term in Naples. “Kapadia’s art fully captures the contradictions of Maradona’s legendary achievements as well as his life outside the playing field. Beyond any personal opinion on the football player, this film must be seen”, said Willard Tressel, OnDIRECTV General Manager. OnDIRECTV is reaffirming its commitment with documentary films after the exclusive broadcasting of Amy, the 2015 multiple award-winning film and others such as “The Clinton Affair”, “The Kennedy Files”, “Pope, the most powerful man in history”, “Weinstein, The Inside Story”, “Harry & Meghan, A Very Modern Romance” or “The Vietnam War.” Other contents include European series, films, concerts and “The Tonight Show Starring Jimmy Fallon” and “The Ellen DeGeneres Show”, among other highlights.
    [Show full text]
  • MEDIA RELEASE EMBARGOED UNTIL 00.01Am MONDAY 3 JUNE 2019 SYDNEY FILM FESTIVAL ANNOUNCES NEW FILMS, on SALE NOW
    MEDIA RELEASE EMBARGOED UNTIL 00.01am MONDAY 3 JUNE 2019 SYDNEY FILM FESTIVAL ANNOUNCES NEW FILMS, ON SALE NOW The 66th Sydney Film Festival (5-16 June), which opens on Wednesday, announces that nine important new feature films and one outstanding documentary, including seven titles from the recent Cannes Film Festival, will have their Australian Premiere at the Festival. “Direct from screening at prestigious film festivals across the globe, we have secured ten new incredible films, from both acclaimed master storytellers and exciting up-and-comers,” said Festival Director Nashen Moodley. “Festival audiences will be the first in the country to see Olivia Wilde’s directorial debut Booksmart, an uproarious high school movie for Generation Z and a hilarious shot of pure cinematic girl power, as well as Ken Loach’s devastating drama Sorry We Missed You, straight from the Cannes Competition, about a working class British family struggling in the gig economy,” he said. “Also from Cannes are the Un Certain Regard winner The Invisible Life of Eurídice Gusmão, about two sisters forcibly separated by conservatism and fate; Jury Prize winner Les Misérables, Ladj Ly’s explosive feature debut about a routine police patrol gone horribly wrong; Best Screenplay and Queer Palm winner Portrait of a Lady on Fire, Céline Sciamma’s first foray into period drama and Academy Award-winning filmmaker Asif Kapadia’s documentary Diego Maradona, tackling the controversial soccer megastar,” he said. “We also present the first Cannes selection from a Peruvian woman, Song Without a Name, the true story of a newborn child stolen at a fake clinic; and Critics’ Week selection The Unknown Saint, a charming Moroccan comedy about a criminal whose buried stash has a mausoleum built over it; and thrilling noir film The Whistlers, about a cop who becomes entangled in the crimes he’s investigating,” he said.
    [Show full text]