I should say this through gritted teeth, but Bristol is rapidly becoming Britain’s most cinematic city. Designated a UNESCO City of Film in 2017, its reputation for great cinema screenings and heritage is growing and growing. One of the newest, shiniest gems in its movie crown is Cinema Rediscovered, a kind of West-Country offspring of Bologna’s Il Cinema Ritrovato, which takes place every July at venues including the Watershed cinema in the city centre.
Disclaimer time: First, I am working with this festival again this year, and second, it’s not all silent. But genuinely, it’s one of the most exciting and ambitious archive cinema events in the country. Taking place from 25-28 July, Cinema Rediscovered will screen films ranging from the earliest experiments of Victorian cinema to a new 4K restoration of Chan-wook Park’s classic revenge thriller Oldboy (2003).
Other restorations on show include the landmark documentary Hoop Dreams (1989) and Márta Mészáros’ 1975 Berlinale Golden Bear winner Adoption (1975). There are strands devoted to the extraordinary films of legendary British director Nicolas Roeg, as well as to Nigerian director Moustapha Alassane and to feminist filmmaker Maureen Blackwood, who was the first black British woman to have a feature film theatrically released in the UK, The Passion of Remembrance (1986). Cinema heritage doesn’t always look like a pantheon of dead white men. Continue reading Back to Bristol: Cinema Rediscovered 2019
This post is a version of an introductory talk I gave at the Cinema Rediscovered festival in Bristol this year. The next Cinema Rediscovered festival will take place 25-28 July 2019.
This film, My 20th Century (1989), is a very special and intriguing piece. For my money, it is the perfect film to see at this festival. It may be only 29 years old, so it barely qualifies as vintage, but it is not shown as much as it should be – so it is ripe to be rediscovered. And it has as much in common with the cinema of a hundred or more years ago as it does with modern work, so it sits well in a festival devoted to film history.
It’s a fact, also, that Ildiko Enyedi fits perfectly with the name of this strand of the festival: Women on the Periphery. Hungarian director Enyedi was born in 1955 and has forged a thoroughly independent career. She studied philosophy at university, but quit because she considered the course to be badly taught. Then she went to the Budapest Film Academy and managed to complete the course, despite considering leaving because she felt that “some of those in power were lazy thinkers”. She became a visual artist and joined the Bela Belazs studio in Budapest 1979 – this is the place that produced works by such Hungarian notables as Béla Tarr. Enyedi made several short films, but My Twentieth Century was her first feature, and it won the Camera d’Or at the 1989 Cannes Film Festival, the prize for the best debut feature showing in competition.
In the intervening decades, Enyedi has made five more feature films, including On Body and Soul, her acclaimed 2017 film that is still available to stream on Mubi. That was her first feature film in 17 years, though, during which time she has also been teaching and working as a TV director. Continue reading My 20th Century: Ildiko Enyedi makes the familiar seem new again