Are the most interesting British film directors currently working women? Charlotte Wells’ textured, precise and poetic Aftersun begs the question. Clearly influenced by Lynne Ramsey (and Chantal Ackerman), and working in the same indie vein as Andrea Arnold, Wells has an eye for the original expressive image that can externalise interior states. She’s got a feel for rhythm too and alternations between movement and stillness, through editing and simple diegetic movement, is what help the film evoke mood and feeling as powerfully as it does. Aftersun is a beautiful and touching film about memory and relationships between fathers and daughters, overhung with depression but laced through with a love that keeps trying to break through the sadness. Paul Mescal and Frankie Corio are terrific in the central roles. We discuss all of this and more in the podcast.
A discussion of Peony Birds, part of a strand of films by women directors or films focussing on women that is a most welcome additions to the Taiwan Film Festival in Edinburgh. It is also a slight historical corrective to what may be seen as the ‘all-boys’ account of New Taiwanese Cinema from the 1980s and 1990s. In the podcast we discuss, how Peony Birds an inter-generational film focussing on mother-daughter relationships that deal with themes of love, money, class as well as differing perspectives on similar actions. Richard and José are divided on the film itself, with Richard perhaps more persuasive on the film’s virtues.
I really hated One Mile Away. At the Q&A session after the film, Penny Woodcock, the director, said something like, ‘I wanted to show how there are invisible lines that you or I might not see but that are real to other people living in the same neighbourhood. To them, a street is a barrier and a danger and they could get killed if they cross it. And the problem is not just in Birmingham, but London, Liverpool and internationally. And it’s not just an issue of race; in Liverpool it could be white gangs’. She went on, but really, that’s not how the film comes across. One Mile Away is about the rivalry, one so long-standing no one seems to remember how it started, between the Burger Bar Boys and the Johnson Crew, two gangs whose postcodes – B21 and B6, are just one mile apart.
The film shows Birmingham as a sort of cross between a British Hell’s Kitchen and a banana republic, with everything ugly, dangerous, lawless; which I think outrageous if one compares crime statistics or criminal justice systems. Also, the film is exploitative: very charismatic leads show up on camera really because they want to be rap stars, they do their little number in exchange for telling something about their lives. And they don’t tell us very much, one cliché after another about not having a father, and being poor, and the system being racist; but then again, I’m not sure they’ll get very much in exchange either.
The film offers very little analysis. Is there so much drugs and crime in that particular community compared to other ethnic or racial communities and if so why? Is the system unfair to them in comparison to Pakistanis or Poles or members of other ethnic or racial communities? Are there internal problems these communities should be addressing? The film avoids these issues. Its treatment of the police I found particularly disgraceful: as if there weren’t people behind those masks.
I so wanted to like it; it’s a rare film dealing with Birmingham ; but it’s a foreigner’s view of the local; actually a patronizing foreigner’s view of the local; a London ‘artiste’ visits the ‘jungles’ of Aston and Handsworth and, heart bleeding, condescends to objectify and vilify the police only to conclude that really everything would be less ugly and dangerous if people would only talk to each other. The film has already won all kinds of awards, more for its subject matter and its good intentions than for its achievements as cinema I should think. Be that as it may, I didn’t’ find it worth my time and I suspect Birmingham City Council will not be thanking the director.