Given that the first official gig of Belfast Music Week fell on Halloween, the abundance of superheroes, witches and tiger onesies was assumed. The first band of the night, Colly Strings, unsuccessfully attempted to emulate the gothic cool of A Clockwork Orange’s Alex DeLarge. Instead, they resembled a quartet of immaculately turned out butlers. Dubious costume choices aside, the band won over the crowd with a splendid set, but still paled in comparison to the next twenty minutes from Rainy Boy Sleep.

BY TARA MCEVOY

The solo artist from Derry was doubtlessly the revelation of the evening, a troubadour for our times whose poignant tales of shopping centres to detentions came alive, aided by a simple loop pedal backing. Straddling the divide between Owen Pallett and Ed Sheeran, and reviving the concept of geek chic while he’s at it, Rainy Boy Sleep marks himself as a prospect to keep your eye on. Unfortunately, things from here on in took a turn for the worst, as the next band to take to the stage, Silhouette, offered a lacklustre performance. Those hoping surprise guests General Fiasco would provide a reprieve were also disappointed, as the Bellaghy four piece only had enough time to power through three (albeit rollicking) tunes, finishing up with the anthemic ‘Ever So Shy’.

Closing the night were A Plastic Rose, a group whose brand of in-your-face raucousness wasn’t to everyone’s taste.  Vocalist Ian McHugh bounced on stage  dressed as everybody’s favourite fried chicken vendor, Colonel Sanders, and their guitarist sported a mask of Marvin from JLS’ face. It was all a bit too Tenacious D to be taken seriously and a bit too uninventive to be considered funny. Suffocating under a maelstrom of guitars, A Plastic Rose left the stage, drawing to a close what had certainly been, to use an old sporting cliché, a night of two halves.

BY LAURA SHEARER

The group of assassins are assembled to bring justice and restore the order that Lord Naritsugu has destroyed by his selfish and brutal climb to the top of the Shogun rule. Not far off the plot of Kurasawa’s ‘Seven Samurai’, we see the horrors that Lord Naritsugu has inflicted upon those in his path and the helpless that he has no mercy for.  This is all with a Miike twist of course.  Involving some brutal death scenes, lots of completely honest seeming revelations of torture and naturally lots of blood, when one of the samurai comments that ‘this village will be a bloodbath’ he’s literally not lying.  Not for the faint hearted, this is a samurai film with extraordinary vision.

At the heart of the film are the central themes to most samurai features.  Honour, courage and loyalty are themes anybody can relate to and themes most people would link with their knowledge of the samurai feature.  Miike’s decision to maintain these ideals upholds something of the tradition that began in the 1940s with the samurai film master Akira Kurasawa.  To be honest, the narrative has upheld the best elements of these themes and used them to dramatic advantage.

Set in 19^th Century Japan, the film has a very classical feel to it.  Great attention to detail is placed in the recreation of the Edo period of Japan.  Miike’s choice to keep the narrative within this timeframe is both wise and inspiring, as he could well have taken a very different route and made a modern conversion of the samurai plot in say modern Tokyo.  The set designs and landscapes are beautiful and eloquent with a real sensation of nostalgia for ancient Japan.  The cinematography doesn’t ever make light of this aspect, often creating a few seconds of still frame for the audience to enjoy the luxury of the scenery.  Looking at any of the media releases of images from the film, it’s clear that the cinematography is justifiably indulgent in the fabulous sets.

It’s not the samurai epic in run time as it could have been so hardcore samurai fans may feel a little cheated, but there’s plenty crammed into every shot to make even the most critical walk away satisfied.  Those new to Japanese cinema will have their eyes opened wide by the glory that is this feature.  It’s a huge achievement for Miike and there’s not a single sequence that’s less than instantly impressive.  As much as I feel it must be seen on the big screen to get the full impact, it’s going to be in DVD collections the world over in no time.  ’13 Assassins’ is a sure fire winner for anybody who loves period features, blood and battles, or even just a well written, steady moralistic plot.  The success it’s already enjoyed doesn’t seem enough to evaluate the brilliance.

BY STEPHEN CONLON

Programme Editor Vicki Mohan described ‘Rough Cuts’ as “an opportunity to express our creativity, explore our imagination and create theatre,” and this was most evident in the amalgamation of the sets used for each play. Before the performance commenced, the stage was a cluttered mess of mannequins, chairs, doors, benches and bin lids, not forgetting the front half a red convertible car, until eventually the sets were stripped down and taken away as each play featured a well choreographed and seamless transition into the next.

‘Rough Cuts’ began with ‘Passing Places’, “a road movie for the stage,” originally written by Stephen Greenhorn and adapted for this stage by Ryan Crown, a QUB student and the host of Queens Radio’s ‘The Culture Show’. The play had a fairly light-hearted feel, evoking plenty of laughs from the audience, until it closed with an earnest monologue delivered by the main character Alex, played by Robbie Cully. In any of its incarnations, the play relies on the dynamic between Alex and his ditzy friend Brian, here played by Sam Gribben, and Crown’s actors do a nice, convincing job of portraying this relationship in the brief time-slot they had.

The contemplative conclusion to ‘Passing Places’ was radically juxtaposed by the intense drama of ‘Faustus’, a grim and psychological narrative directed by Kerry Burns that stays true to the original Christopher Marlowe text. The costumes were exceptional, the cast was charismatic, and the whole production ran remarkably tightly yet still finding moments of what felt like spontaneity.

‘Rough Cuts’ then took another surprising shift in genres with the nineteenth-century play ‘Lady Windermere’s Fan’. This piece explored issues prominent to the time period such as gender relations and social expectations. These were acted out wonderfully by Sarah McLaughlin and Aine Dambrook, and if the audience had not already realised it by this point, then ‘Lady Windermere’s Fan’ demonstrated that ‘Rough Cuts’ was proving to be an entertaining showcase of the dramatic talent at Queen’s University.

The intermission was book-ended by two raucously-received comedy plays, ‘Sparkleshark’ and ‘Black Comedy’ before delving into some of the most pensive and psychological offerings of the showcase in Sarah Kane’s ‘Crave’ and Brian Friel’s ‘Winners’. Again, ‘Sparkleshark’ and ‘Black Comedy’ featured talented actors with great chemistry and timing. They proved to be the perfect one-two punch in engaging with and eliciting laughter from the audience. They indulged heavily in physical comedy, but generally avoided falling into the pitfalls of farce and slapstick. By all means, the plays were heightened, extreme and bordering on lunacy, but the cast and the directors always seemed in control of the action.

‘Crave’ was arguably the most divisive portion of ‘Rough Cuts’, as is often the case with Kane’s work, due in large part to the absence of a linear narrative and the fact that such a psychologically complex piece followed ‘Black Comedy’. Unlike most of the plays here which have had a long, commercial life, Kane’s works have been largely marginalised by the theatre-going community, and her own controversial, abrupt death makes watching her plays a very disturbing experience. Nonetheless, the actors were once again excellent and at the hands of a fantastic director.

‘Winners’ struck a greater balance between comedy and drama as a solemn news report of the ambiguous deaths of two teenagers ran parallel to the teenagers’ fixation on school, marriage and impending parenthood. James Maguire and Natasha Harbinson worked flawlessly together as the young, eccentric couple, while Lauren Dornan and Hannah Webb excelled as the ominous narrators. ‘Winners’ really was quite moving at times and it exemplified the range of talent to be found among current QUB Drama students. In fact, ‘Rough Cuts’ as a whole featured so many fantastic pairings and groups that it was a genuine treat for the audience to see each cast converge in an amusing group performance of ‘IPH!’ directed by Holly Conlon. The performers received an enthusiastic applause and showed future students that the 2011 showcase is the one to beat.

BY MATTHEW MISKIMMIN

Like many of rock history’s tragic figures, biographies of Curtis have often descended into cliché, presenting him as a martyr to serious, confessional rock music. Fortunately Control is based upon Touching from a Distance, the courageous and unsentimental biography written by Curtis’s wife, Deborah. This makes for an authentic and austere piece, filmed in a stark black-and-white appropriate to Corbijn’s background as legendary photographer for the likes of U2 and Depeche Mode. The monochrome attention given to Curtis’s gritty hometown of Macclesfield oddly recalls the classic social realism of films such as This Sporting Life.

Newcomer Sam Riley is a revelation as Curtis, capturing the dichotomy between Curtis’s intense, theatrical stage persona and his brooding, introverted nature. Samantha Morton is also convincing as Deborah, although fans might be a little disappointed that key figures in the story such as Tony Wilson are restricted to cameo roles, while band members Peter Hook and Bernard Sumner are little more than caricatures. That said, this is a film about a very personal tragedy, and Corbijn deserves credit for handling it without recourse to cliché and with great restraint, particularly during the desperately sad closing scenes.

Jon Savage‘s Joy Division perfectly complements Control. Although grainy and in short supply, live concert footage of Joy Division and Curtis in particular remains uniquely powerful. Interviews with all three remaining band members are engaging, and Savage is granted a rare audience with Annik Honore, Curtis’ Belgian girlfriend. The band’s music is skilfully woven into the social and cultural context of seventies Manchester, and an evocative opening sequence captures the industrial decline and urban decay of the city. Like Control it closes with Joy Division’s elegiac masterpiece ‘Atmosphere’ but unlike Corbijn’s biopic, viewers are not then subjected to The Killers’ woeful cover of ‘Shadowplay’ if they remain in their seat for too long.

BY ANDREW MOORE

The film has comprehensively been honoured worldwide by more seasoned critics and scholars than I, appearing in the greatest films of all time lists in the decades since its original release. Can any more be said about this tragic, at times, heart-warming tale about one man’s futile pursuit for his stolen bicycle?

Though considered to be the best example of Italian neo-realism in cinema, The Bicycle Thieves, first and foremost, is just a beautifully made film for all the family. Pure and simple. From the exquisite camera-work, to the powerful leading performance from LambertoMaggiorani who delves between moments of sincere joy and complete despair.

However, where the film stands the test of time is in the magnificent, almost iconic, performance from the then young Enzo Staiola as Maggiorani’s son. His youthful, mischievous spirit and honest observations carries the film in a similar way Pascal Lamorisse did in The Red Balloon of 1956.

Alessandro Cicogrini’s score exemplifies the ridiculously suave pieces of music attributed to this era of cinema, and the world today feels a lesser place when compared to some more modern examples. This certainly isn’t to say modern cinema can’t “make them like they use to”, but The Bicycle Thieves effortlessly shows that less can result in so much more.

The original English title for the film was The Bicycle Thief, but not until it was retitled has the tragically ironic closing scenes become realised and continue to resonate in the minds of cinema goers.

BY MATTHEW MCKERNAN

The plot is essentially that of Richard Linklater’s Before sunrise, two people meet in a scenic European city and spend the day wandering and talking about a variety of subjects. Art and romance are the key subjects here, but there is also a twist thrown in. Art curator Binoche and art theorist/author William Shimell take on the roles of husband and wife and soon it almost becomes the real thing. Copying an apparent conveyor belt of newly-weds around them, the couple question whether an original has more validity than a copy or whether there is a difference and, by extension, whether life imitates art or art imitates life.

The film is reasonably intriguing while it lasts and the arguments are entertaining and sometimes funny. Shimell, in his first screen role, shines during an outburst in a restaurant. If you feel inclined to care, the mystery surrounding whether this couple have been married for fifteen years or have just met is well presented and left open to interpretation.

Most interesting, however, is the film’s self-awareness. A romance film set in Tuscany is nothing new and Kiarostami is aware of this. His prestige and the film’s philosophical undertones are mere window-dressing. Kiarostami is aware that his fairly conventional little tale will be viewed differently than something like Under the Tuscan sun simply because of its distribution in the arthouse circuit and because his name is attached. Like a Pop Art bottle of Coke, something everyday is perceived differently simply because of its surroundings.

However, the film is overlong, apt to confuse itself and rather self-indulgent. While Before sunset is the film’s favoured comparison, one would have to draw more parallels with Roger Corman’s schlock horror-comedy A bucket of blood, an hour-long film which, essentially, says all that Certified copy does without slowing down to accommodate its creator’s every whim. A bucket of blood knows it’s trash, and it really is, but it is also aware that it can say something, even if it is the interpretations of the most arrogant and inept art critic. Certified copy essentially walks the same line. However, even if the shoe fits, the problem is that, despite being a pleasantly diverting art film, it might give you blisters.

BY LAURA SHEARER

The interplay of visual importance in the exhaustingly well developed costumes and the allure of the perfectly apt soundtrack is something you simply will not be able to resist at any cost. The stylish suave of the overall film completely immerses you in the worlds of the creative minds at work and in love. Placing itself as firm competition for any much loved classic period novel to screen adaptation, the mise en scene is engrossingly befitting for the narrative. The sets are exuberant and lavish with fine detailing at the core of their success, but by no means the only achievement. Huge scaled theatres are brought to life in full colour and charismatic density that’s simply captivating.

The cinematography is of first class standard. Every element from sweeping tracking shots to dramatic stills and, of course, superb editing, places you right there in the moment – sharing heartbeats in this rollercoaster of emotions. It’s that sort of rare fiction that resembles a niche, behind the scenes, fly on the wall viewpoint. In a flirtatious way it develops your growing need to see. So vividly aesthetic you’ll long to literally reach out and touch the fabrics, walk inside the sets and feel the power of the music played first hand.

A new weight has been introduced that wasn’t present in Anne Fontaine’s enigmatic Coco Before Chanel. So much of the mysterious, sultry and work obsessed Chanel is embraced in Mouglalis’ performance. After a few scenes she becomes irreplaceable, the definite Chanel, so mesmerizing you can almost smell her No.5 as she wafts past without a care or second glance.

It’s bizarre that such an open imposition can feel natural, but as the narrative continues and as you gain more of an understanding of the characters, the quicker the surroundings and events are purely experienced and enjoyed. The sheer amount of energy put into the film from all creative participants shines through in every beautiful sequence. It’s eloquent and possesses a great warmth that lingers long after.

BY LAURA SHEARER

Think of summer and you think of the chilled melodies of sunny reggae. Jimmy Cliff is up there with Bob Marley and the other giants of the genre, so what better way to get into the Caribbean vibe than with The harder they come, a retro 1972 flick following the rise of country boy Ivanhoe Martin in Jamaica’s reggae fame after his criminal ways come to light. If the name Jimmy Cliff isn’t terribly familiar then it will surely to be lodged firmly in your musical vocabulary by the time the end credits roll. Those of you who are fans, your hearts will swell with love for the music.

This is a tale of musical freedom, with a genuine search for the quality of truth. Perry Henzell’s debut film is a real spiritualist piece. Ivanhoe’s bohemian radical spirit is his drive, his passion knows no bounds and his self belief is immeasurable. Striving to keep his girlfriend happy, his new life in the city is tough, his turn to drug dealing inevitable and hence he becomes a stereotype.

Violence ensues in true 70’s chic, so don’t expect anything impressive, but there is plenty of giggles with the unskilled editing style and interesting cinematography choices. Sequences of Ivanhoe’s ridiculous escapades are intercut with scenes of the search for him, and all of a sudden the producer that wasn’t interested in his music can’t wait for him to reappear. Some iconic photographs offer an insightful glimpse and are surely the most technical aspect of the whole film. Like so many, this is a film that has aged terribly, but that’s half the pleasure.

Set in the heartland of reggae, Jamaica is both beautiful and fraught with troubles, much like the life of our protagonist. Living mostly in poverty and struggling to make ends meet, surrounded by richness and gospel preaching, the  reggae roots are clear and apparent in wonderfully colourful dramatics. Footage of recording and performing has the same energetic exuberance that the whole soundtrack offers. You just can’t help it as a grin creeps from ear to ear, and before you know it you’re bopping along in the dark of the cinema, much to the distain of fellow viewers.

BY CONNELL LOCKE

www.queensfilmtheatre.com

Within the vast good-bad spectrum of film quality, there lies a weird nether region containing movies which are so bad, they are good. In this mysterious space a director’s sincerest intentions implode, leaving a glimmering jewel of unintentional comedy gold amidst the wreckage. Identifying these movies, and distinguishing them from simple guilty pleasures or movies that are just bad, can be controversial.

This leads us to the latest “so bad it’s good” internet sensation. Birdemic: Shock and Terror, was shown at a special event in the QFT on Saturday, so that the curious could make up their minds. Birdemic is the micro-budget tale of a young couple’s struggle to survive when their home town is attacked by a flock of killer birds.

Expectation was high, and Birdemic sets the bar low immediately. In the opening scene the male lead, Rod, walks stiffly into a diner, spies an attractive girl (Nathalie), and follows her outside where they exchange business cards. It sounds innocuous, but so much is wrong in these opening minutes it beggars belief. Wooden acting, atrocious dialogue, and above all, bizarre editing makes the film look and sound like it was composited together from a dozen different sources. Birdemic continues in this way throughout the whole 90 minutes, a feat that first evokes amusement, then amazement.

There is no plot to speak of; the first 40 minutes is a diabolical attempt at character development and romance. Then, without any foreshadowing, warning, or reason, a swarm of CGI eagles, which appear to have been rendered by a Nintendo 64 console, attack the city. The film immediately changes direction, as the two-dimensional terrors maim passers-by and inexplicably burst into flames as they crash into buildings.

Awoken by the commotion and trapped in a motel, Rod and Nathalie join forces with another couple, and together they fight their way past static formations of hovering birds using coat hangers, to reach a van and escape. As with all of Birdemic, words cannot do this pivotal scene justice, the acting and special effects are extraordinarily bad.

For the remainder of the movie the quartet drive aimlessly around the countryside, occasionally attempting to rescue people, and fending off intermittent bird attacks, in a string of absurd set pieces. As in every survival horror flick, the group’s numbers shrink as they are picked off in memorably bad death scenes. Eventually, out of food, water and ammo, both the characters and the audience are spared by the eagles’ spontaneous and unexplained departure. Roll credits, cue sarcastic applause.

No words can adequately describe the nonsensical awfulness of this film; it really has to be seen to be believed. I honestly can not think of a single redeeming quality, or any instance where the spectacle was anything other than a train wreck. At first I laughed along with everyone else at the screening, but then a deeper realisation dawned. Birdemic isn’t “so bad, that it’s good”, ‘Birdemic: Shock and Terror’ is so consistently bad, that it is literally the worst film I have ever seen.

BY LAURA SHEARER

www.queensfilmtheatre.com

Instantaneously exciting, we are enveloped in his world, starting in World War II Paris as a young boy in a Russian Jewish home.  Everything he does and sees is bounding with bold life and colour, giving us intimate glimpses of an imaginary world into which he reverts for entertainment and the salvation of his sanity during the Nazi occupation.  Young Lucien Ginsburg (Serge Gainsbourg is his stage name) takes with him a giant-headed figure of the terrifying Jew from a Nazi propaganda billboard poster, something which at first he fears, but realising it looks very similar to his own reflection it becomes a companion.  Brash and proud to wear his Star of David, it’s evident from the first few minutes that this young boy has the eccentric potential of the future artistic legend.

Famed for his womanising ways, Gainsbourg’s daring and ability to charm begins in the Montmartre Art Academy where he sneaks glances at female life models.  He progresses to the insatiable and suave genius, able to tweak his talents from painting to song writing as each beautiful woman desires.  Laetitia Castas is marvellous as Brigitte Bardot, acting with such enjoyment that she seems to emphasise all the fantasies her presence gives way to.  Anna Mouglalis takes the role of Juliette Greco and the late Lucy Gordon stars as Jane Birkin, both dazzling actresses that have their own very unique sultry charms in these powerful roles.

From his early watercolour comics doodled late at night he creates a fairytale creature version of himself, who becomes his partner in crime and devil on his shoulder for the rest of his life.  Magically depicted by obscure puppets, his alter-ego gets the luxurious treatment of Doug Jones, who played the fawn in Guillermo del Toro’s Pan’s Labyrinth.  In a way Gainsbourg becomes the literal embodiment of the French artist stereotype as he smokes constantly, tires easily, is very melodramatic, and is barely ever satisfied with himself.

Joann Sfar states that he didn’t want to make a realist, journalistic account of Gainsbourg’s life; he wanted to make a cult film.  Sfar’s background is of telling stories through images, so it’s only natural that his film is so visual, but this is what makes it such a huge success and accomplishment.  Production designer Christian Martí was directed to study Russian paintings and films such as Murnau’s Nosferatu, Carné’s Les Enfants and Fellini’s Amarcord for points of reference.  It’s a distinctive style that has been created on screen, but an easily subtle one that makes good references to expressionism.

Everything that makes you fall head over heels in love with Paris is sumptuously exposed before your eyes with an appealing allure unlike that found in any other city and in few other films.  The lighting is mood driven, with jazz clubs temptingly dim and always filled with the eccentric and beautiful people Paris is all too well known for.  The whole film is full of characters that embody art in what they do and in their image, a truly fascinating array that Gainsbourg fits into eloquently.  It’s just such a pleasure to watch from start to finish and I can’t see this project in the hands of anyone else. Joann Sfar has done justice to the man that so many claim inspiration from.

BY LAURA SHEARER

Curb Your Enthusiasm star Larry Davids is a huge let down, despite being given an undemanding role. Davids plays the same self-centred, easily annoyed old man role that has become monotonous within Allen’s films. At least with Vicky Cristina Barcelona Allen pushed himself away from this style of characterisation. Allen’s comic scripting ability is lost when the characters speak directly to the audience. By staring down the camera lens and seemingly straight at the viewer, Boris attempts to engage our interests in his miserable view on life. The rate at which he rabbits on incessantly about himself and his ideas quashes any form of response to his horrible comments. It is clear that this is Allen’s form of dark comedy, simply meant to be passively forgiven. What happened to Allen’s much loved and hilarious nonsensical situations and blathering? This is too dull to pass off as the same directing capability.

In an attempt to relive his glory days Allen rehashes his cinematic love of Manhattan. However, instead of showing lots of superbly desirable landscape shots, we are quickly whisked into the path of Boris again. Allen’s involvement with the city is fair, but he has opted for a bohemian approach. He appears to mock New York with the southern belle come photographer/artiste/mother-in-law, who undergoes an abrupt change in lifestyle after encountering the bustling city. This seems to be a bid to depict Allen’s own infatuation with New York City, but if so, he mocks himself and not in a way he would like.

The typical love affair impulse features in Boris’s affair with young runaway, Melody. This gives the film a sense of romantic idealism and confers new meaning to the film’s title. However, the main romanticism does not centre on Boris, completely isolating him from what becomes the key impulse of the film, even though it is presenting his theory on life. Ultimately, this begs the question of why Boris is our protagonist, a man of such ritual that the compassion of love is irregular to him.

If Allen had set out at the beginning that Whatever Works is a series of love filled tales, with Boris simply narrating and explaining his theory, then it would have made perfect sense. Instead, the film fails to show Boris’ theory working on a practical level, and the central idea of the film is lost by the finishing speech. Larry Davids fans might be disappointed by Whatever Works, but Woody Allen fans will feel robbed.

BY KERRI-ANNE CAMPBELL
Labour interim leader Harriet Harman responded for the opposition by calling it a ‘Tory Budget’ and predicting that it would increase unemployment and stifle growth. However, Mr Osborne has defended his drastic budget, which is clearly dominated by spending cuts and tax increases, as “unavoidable” and “tough but fair”. The Coalition has promised that the burden will fall on the richest and the poor will be protected. However, researchers claim that the chancellor’s slew of tax rises and massive benefit cuts will hit the poorest hardest.

The new budget will take 880,000 people out of the tax system and give basic rate taxpayers a tax cut of £200 per year. However, this may seem less significant considering that VAT will rise to 20% on 4^th January of next year; a change that will definitely impact day to day student life. There will be no increase in duties on cigarettes, alcohol and fuel; something that many students may appreciate.

As a result of the budget there will also be a two year public sector pay freeze on staff earning more than £21,000. People earning less than £21,000 will each receive a flat pay rise worth £250 in each of the two years. Weekly columnist and former editor-in-chief of The Observer, Will Hutton, has been appointed by the Government  to draw up plans for fairer pay across the public sector so that those at the top of organisations are paid no more than 20 times the salaries of those at the bottom.

Chancellor Osborne stated that he will publish a paper on rebalancing the Northern Ireland economy later this year. What is certain is that from 2013 the large number of Disability Living Allowance claimants in Northern Ireland will face a new medical assessment.

The impact upon university funding still remains unclear. Chancellor Osborne has suggested that there could be cuts of up to 25 per cent of its expenditure. It is feared that universities across the UK will be forced to reduce undergraduate numbers and slash thousands of jobs in order to service the national debt. There are growing concerns that cuts will increase the chances of an increase in tuition fees as the government turns to students to plug a hole in university budgets.

UCU (University and College Union) general secretary, Sally Hunt, said, “Starving education of funds and making families pay more to access a university education, while authorising billions in tax giveaways to big business would be a disaster for the UK. The Corporation Tax cut could have funded university places for all students forced to cough up for university fees.”

Queen’s is a member of the Russell Group which is a collaboration of twenty UK universities that together receive two-thirds of research grant and contract funding in the United Kingdom. In response to the Emergency Budget, Dr. Wendy Piatt, Director General of the Russell Group of research-intensive universities, said, “We sincerely hope that this Government recognises the vital role that leading research-intensive universities play in boosting the economy and improving quality of life and does not subject higher education to cuts of the truly alarming magnitude of 25%… Further cuts would be hugely damaging, threatening the UK’s status as home to world-leading universities.”

Student leaders at Queen’s have already set out plans to oppose any scheme to raise admission fees and opposition will take the form of political pressure on the Stormont Executive.

BY BEN FINCH

All four museums have been significantly redeveloped over the past few years. Development of the Ulster Museum cost £17.8 million and since re-opening in October 2009 has become Northern Ireland’s busiest tourist attraction.

Tim Cooke, Director of National Museums NI, said, “We are delighted to be selected for this final stage and are committed to extending engagement with our museum and its collections.” Kirsty Young, chair of the judging panel commented on how the “exceptional quality” of the longlist made the selection a “challenging task”.

A public poll is being used for the first time to inform the judges on their final decision. This closes on June 18th. The Ulster Museum is currently placed first with 35.6% of the vote.

Deemed by the Australian press as a film that Australia could be proud of, and winner of the Camera D’Or award at the 2009 Cannes Film Festival, ‘Samson and Delilah’ is a love story told unlike any other.  The small world in which the lovers inhabit is suddenly shaken when they are forced outside their comfort zones by their aborigine community.  Mistaken as social outsiders, the two youths are confronted with a very foreign environment and their relationship is the building block that keeps them going.  Director Warwick Thornton offers a truly original portrayal of young love and the struggle to come to grips with modernity in the midst of tradition.

BY LAURA SHEARER

www.queensfilmtheatre.com

One of the foremost striking components of this film that is evident from the very opening sequence is the great use of natural lighting.  It is an aspect that is introduced with such ease and the simplicity of its inclusion reflects the atmospheres in each scene perfectly.  Within the outback scenes it is representative of the estranged but peaceful community’s home life, but in the city space it becomes a showcase of the youths fear and lack of understanding.  Masterfully filmed, the lighting decisions are a clear creative control; always giving the viewer that little bit extra, quite efficiently lulling the audience into the romance of the narrative.

The sound design is simply astonishing.  The quality of the sound editing keeps a distinct sense of humanity and realism as well as maintaining the really moving subtle humour of the film.  It’s inherent from the first few mesmerising scenes that the skilfully crafted sound will play a huge part in our viewing experience.  Viewers won’t be let down by the well developed gripping tensions and will be taken aback by the vastly enjoyable easy flow of plot that the sound design helps along.

The cinematography is graphic, keeping audience attentions transfixed on the unfolding events.  As the continuity editing flickers by seamlessly, the camera angles and subject matters show an avid sense of artistry with the filmic mode.  There isn’t a single second of this film that won’t have you incredibly lost within its inspiring imagery.

The tale is cute in an endearing way, making it a real indie love story classic.  The superbly engrossing aesthetic feeling of young love is more than the key draw.  The lover’s tale is oddly not made relative to its western viewership, yet it effortlessly presents itself as something we can all understand on a compassionate level.  The exoticism of the film’s locations aids the developing sensation of distances within this tale of intimacy, overall giving a vastly rewarding consciousness that even by the roll of the credits is maintained as an almost numbed awareness.

The moody changing of the landscapes openly matches the emotions of the couple as they power along in their journey of personal development.  Equally, the narrative is haunting and perpetually sad, but always fresh and intriguing.  Thornton’s work is gritty and harsh, but it’s immensely watchable and is definitely deserving of more attention.

Once in a blue moon a film comes along which has the power to both completely challenge and flip your preconceptions of a subject,  remaining in your head long after you leave the cinema. Usually these films are lengthy, epic blockbusters involving a re-telling of a historic event, or on the other hand, serious, tense thrillers, anything really apart from a laugh-out-loud comedy about four idiots living in Doncaster. But then that’s the magic of Four Lions.

BY KATHRYN McCANN

www.queensfilmtheatre.com

Four Lions is essentially billed as a funny, thrilling comedy that illuminates modern Jihadism through the prism of farce. Controversial?  Definitely, yet the provocative and original nature of the film only serves to heighten its appeal.  The film does serious damage to your moral compass, sending it haywire as the audience are forced to look behind and beyond the labels of “terrorist” and “suicide bomber” to instead the ridiculousness of humanity itself.  The story illuminates Jihadists as human beings, as exemplified through the close bond between the four men, and especially the protective relationship between ringleader Omar and the dim child-like Waj who brings a prayer teddy bear with him on the trip to Pakistan’s training camp. This ingeniously results in reluctant feelings (shock, horror) of actual sympathy and empathy for the characters as they head to London for their doomed suicide mission.

Although Four Lions is a slow burner, I realised I was witnessing something special around an hour into the film when experiencing at the exact same moment, the very strange paradox of being both horrified,  and saddened by events on screen, yet unable to stop myself from genuinely laughing out loud. Make no doubt about it, director Chris Morris outdoes himself on funny, with dialogue where would be suicide bombers compare how being a Mujahedeen is like being on the ‘rubber dingy rapids’ at Alton towers as opposed to just waiting in the queue.  It is a credit to Morris that the film is successful in portraying slapstick in-your-face humour alongside clever subtleties which make a comment on how society wrongly deals with the threat of terrorism today. The most notable of these subtleties is the distinction between Omar and his more conservative Muslim brother which demonstrates the danger of falsely equating the religion of Islam itself with any sort of fanaticism. Four Lions is not all about humour though, with a beautifully ironic scene at the end portraying the hopelessness of the idealistic notion of martyrdom.

There is no doubt that this film will receive a fair bit of criticism due to its sensitive subject matter. However it will be a tragedy if this criticism overshadows the brilliance of the film itself. Is terrorism funny? Of course it’s not. But this film is not about making a joke out of terrorism, the joke is on the group of endearingly idiotic and clueless men and their relationship and conflict with each other.

BY BEN FINCH

For second year students it is an incredibly confident and assured performance with everyone playing their roles expertly. Daisy Brindley, Bridget Innes, Ashlene McGurk, Kirsty Reilly and Tripti Tripuraneni are excellent as the gut girls, as are Rosie Barry and Amy McNeilly, who play the upper class ladies trying to tame them. Of the thirteen players, only two are male. These unsympathetic roles are played convincingly by David Faulkner and Harry Thrush.

The play is directed by Rachel O’Riordan, the Artistic Director of Ransom Productions and part-time lecturer at Queen’s. Following the performance she said, “I am delighted with how it went. I am delighted with the audience reaction. They did themselves proud, they did the university proud and they did me proud. During this production they have taken a massive step forward.” Brenda Winter, Lecturer in Drama, said, “I’m very proud of my students and it’s very exciting to see the Brian Friel Theatre used in this way.”

The stage is expertly set by Stuart Marshall, to reflect the binaries of the domestic and work, and the difference between working and upper class; a well furnished home, with a decanter placed on the table opposing the slaughterhouse, with pig carcasses hanging, ready to be gutted, reflecting the chandelier on the opposite side. The actors are able to move seamlessly from one environment to the other and make great use of the centre stage as they are pulled from one to the other.

Written by Sarah Daniels following the Miner’s Strike and at the height of Margaret Thatcher’s power, The Gut Girls not only examines feminism but critiques attitudes to the unionisation of workers, something that may become increasingly relevant following the General Election. All the female characters are feminist in different ways and these themes dovetail to show the need for women to fight with a united front to gain equality with men.

This is an excellent production that is better than many professional plays and is definitely worth seeing, especially as tickets start at £4. It is a hilarious black comedy that is brilliant in all areas.

BY EMMA GALLEN

www.queensfilmtheatre.com

The weekend opens with a showing of the 1932 classic ‘The White Zombie’ on Friday the 30^th.  Often regarded as the first full length film of the zombie sub-genre, the film tells the story of a man trying to turn a woman into a zombie to win her affection.  A strange way of saying romance is dead.  The tickets for this event are £10 and include a White Zombie cocktail.

The weekend also includes Spanish cult horror film ‘REC’ (Friday 30^th April), Ontario set ‘Pontypool’ (Saturday May 1^st) and the late David Carradine’s ‘Autumn’ (Saturday 1^st May).  On the final day of the mini festival, the QFT will show Charlie Brooker’s ‘Deadset’ in full for the first time on the big screen.

French director, Robin Campillo’s arthouse chiller ‘They Came Back’ is also shown on May 2^nd.  The final in the fearsome film festival is George A Romaro’s ‘Diary of the Dead’ which blends the director’s long running series of zombie films with a re-animating dose of Blair Witch sensibilities.

BY MATTHEW MCKERNAN

www.queensfilmtheatre.com

Again, it centres on three sisters. Joy (Shirley Henderson) is still having trouble with men and her marriage to Allen (played by Omar from ‘The Wire’, or Michael Kenneth Williams), an incurable pervert, is on the rocks. She is also seeing the ghost of Andy (Paul Reubens), from a previous failed relationship. Trish (Alison Janney) and her children are dealing with life after Bill (Ciaran Hinds), her ex-husband who has just been released from jail for paedophilia. Meanwhile, Helen (Ally Sheedy) is unhappy with success in Hollywood.

Despite the fact that the film is a sequel to ‘Happiness’ (it was originally going to be called ‘Forgiveness’, thus reflecting its major theme just as the title of ‘Happiness’ did), all of its recurring characters are played by different actors. One of the film’s many oddities is simply the fact that the role Philip Seymour Hoffman made scary yet likable in ‘Happiness’ is now being played by Baltimore’s former legendary vigilante. And that’s before the film has even begun to be disturbing.
The bulk of the characters deal with one ghost or another during the film and the main trouble is whether they can forgive or be forgiven. Much of the film’s running time is taken up with conversation pieces between two characters, usually with one or both on the verge of tears. The film is a sometimes subtle, sometimes over the top exploration of the after-effects of a family torn apart. It may appear slow and very vague, but it ends on a powerfully sad and oddly optimistic note.

What makes the film so strange and hard to peg may be, I fear, the amateurishness of its director, who mixes scenes of profound sadness and introspection with horribly tacky scenes of ghosts fading from view. The final scene is a perfect example, which sees the film at its most beautiful and resonant but, in the background, returns the fodder of the dreariest drama.

While ‘Happiness’ was serious and disturbing and slightly misanthropic, but also very funny and likable, ‘Life During Wartime’ is much more serious, much less funny and a lot less realistic. It seems as if Solondz got a lot of smoke in his eyes and his judgement was clouded by his constant belief that he was making his “masterpiece”. The film is hard to be entirely moved by simply because its seriousness is taken in such ridiculous extremes. It is a good film and a powerful film, but it feels like a director’s debut, full of promise but a bit silly.

BY BEN FINCH

More than sixteen thousand people attended events last year, and following the success of the Out to Lunch festival in January the BFF promises to be a major event. For the sixteen days it runs there are no less than five events each night, with locations as varied as the Black Box and QFT, to the Culturlann on the Falls and the Spectrum Centre on the Shankill.
Screenings range from French horror film ‘The Horde ‘(“Die Hard with zombies”), to the anime ‘Summer Wars’ to classics like ‘Kiss Me Kate’.

Music is provided by the beautiful Efterklang and psychedelic Wooden Shjips at the Black Box on 24 and 16 April respectively. If music’s your thing then there are also films on Nick Cave, Neil Young and The Doors.

As it’s the Belfast Film Festival, Irish film plays a large role with the premieres of ‘Cupcake’, ‘Five Day Shelter’ and ‘Empire’. Along with this is ‘Mickey B’ with its cast pulled from HMP Maghaberry and based on Macbeth. John Lynch (Cal, In The Name of the Father) will be in attendance at the premiere of ‘Five Day Shelter’ and will give an acting class and read from his new novel ‘Falling Out of Heaven’.

Other events on the programme are the Maysles Brothers Documentary Competition, Short Film Competition, Same Sex Cinema, which celebrates hilarious and heartbreaking stories of homosexuality from around the world, and a tribute to JG Ballard.

For those interested in creating cinema, BFF and NI Screen are running a two day seminar with BAFTA nominee Tony Grisoni (Red Riding Trilogy) and others from the world of film called Northern Exposure = Deal Closure.

For more information on the Belfast Film Festival go to www.belfastfilmfestival.org or visit the Box Office at 47 Donegal Place.

BY BEN FINCH

These plans for 1,600 extra houses in Ramat Shlomo, East Jerusalem, have completely disrupted the revival of peace talks between Israel and Palestine fostered by Barack Obama, as President Mahmoud Abbas of Palestine will not enter talks whilst settlement building continues. Palestinians have long been complaining about their inability to gain planning permission to build in this area while Israeli buildings continue to pop up unhindered as if it were SimCity.

Joe Biden, the vice-president of the US, was in Israel when the announcement was made, and quickly issued a strong statement. “The substance and timing of the announcement, particularly with the launching of proximity talks, is precisely the kind of step that undermines the trust we need right now,” he said. Biden was in Israel to cajole the two sides into direct talks following negotiations with George Mitchell, who played a crucial role in the Good Friday Agreement.

This has blown into a crisis over the past couple of weeks. Two Israeli soldiers and two Palestinian militants were killed on the Gaza border in an exchange of fire. Both sides have different stories. Israel states that they found the militants “planting explosives along the security fence in the southern Gaza Strip”. Hamas say that they ambushed the soldiers.
Israeli tanks briefly entered Gaza following this, and there were reports of firing from the Israeli Navy, artillery and helicopter gunships leaving five Palestinians injured and ambulances unable to attend because of the gunfire. While this is nothing like the Israeli invasion of Gaza in January 2008 and the war crimes committed by both sides, it is a significant, and worrying, increase in violence.

While damning Israeli settlements, Ban Ki-moon stated that he would like to see a Palestinian state set up within the next two years. This is surely unlikely as Israel do not appear to even compromise on any grounds. Gaza has been blockaded since 2007, with only essential medical supplies getting through. All Palestinian trade in Gaza is carried out through tunnels, including the smuggling of rockets, which the blockade is ostensibly to stop.

The ceasefire between Israel and Hamas following “Operation Cast Lead” in 2008 has now been over for more than a year. Rockets continue to be fired from Gaza, and Israel continues to retaliate (or Israel continues to attack and Gaza continues to retaliate).

Following his recent domestic triumph with healthcare, and foreign, more bilateral nuclear disarmament with Russia, it would seem that Obama needs to bring some of his “Yes we can” to the Middle East, although Netenyahu’s talks with him last week appear to have come to nothing.

Goldfrapp have built their career on sex. It oozed out of every note played and every word in the seediest way possible.

BY BEN FINCH

On stage Alison Goldfrapp would play a theremin with her rude bits while singing ‘Strict Machine’, not really leaving anything to the imagination. Their fourth album ‘Seventh Tree’ changed direction, keeping the sex, and moving to Folk music.

‘Head First’ brings them back to their electronic roots. But something’s different, maybe it’s because Madonna tried to nick their sound, or all the La Roux types that have been about over the past year. They’ve dropped the sex (almost, ‘Rocket’ still has pretty sexy lyrics) and there’s nothing deviant about the music.

Goldfrapp have made a straight electronic pop album and it’s the best thing they’ve done in ages.

BY EMMA GALLEN

Queen’s hosted the prestigious award ceremony in 2007, and had’nt won anything since 2006 with Katie Duker.  The QUB Players’ production of ‘The History Boys’ found itself nominated for five awards: Best Supporting Actor, Rosie Barry; Best Actor, Mike Hooley; Best Sound Design, Jack Drewry; Best Director, Adam Turns; and The Special Judges Award.  They won the Special Judges’ Award which this year got the subtitle “Best Ensemble”.  The Special Judges’ Award is for something that is worth an award which does not fall into any of the prescribed categories. Best Supporting Actor nominee, Rosie Barry, said that there was a real sense of family amongst the cast, which was recognised by the award they won. ‘The History Boys’ cast were elated to win the award, especially as some of the cast had never acted before and this was the director’s first ever venture.  Adam Turns said that just being nominated was an honour for their efforts and that they were in the best company.  He stressed how ISDA was a great opportunity to see the inner workings of touring theatre companies as well as a tool for aspiring actors and playwrights to get themselves seen in Ireland.

These words from the director David Williams in a Q & A session succinctly shows the premise of this comic tale of heroism, poor preparation, and gay Norwegians. ‘Beyond The Pole’ avoids the lofty moralising of previous climate films such as ‘An Inconvenient Truth’, instead a message of small differences in our daily lives is promoted. The central theme of the film is a polar expedition carried out by two friends, Mark Bark-Jones (played by Stephen Mangan) and Brian Tongue (Rhys Thomas). The aim: To be the first all vegan, carbon neutral, and self-sufficient expedition to reach the North Pole.

BY JOSHUA GREENWOOD

www.queensfilmtheatre.com

 Consistently very funny, scenes such as the gay Norwegian couple having an argument and breaking up, a fight over a single biscuit, and the “murder” of a polar bear all provide a refreshing change from the preaching that is so favoured amongst the climate change circus.
The QFT also hosted the director David Williams and co-star Rhys Thomas after the film to field questions from the packed audience; the premiere of this film at the QFT was an excellent opportunity to quiz the director and the actor’s own views (an option that several members took with great enthusiasm!). Unfortunately the film is not on general release, however it was revealed that negotiations for this to happen are underway. It would be very disappointing if the public did not benefit from viewing not only a film with a pertinent moral message but one that does so in a new, funny, and unexpected way. If you are a fan of polar bears, snow, or arrogant homosexual Norwegians then I highly recommend this film to you.

BY MATTHEW MCKERNAN

www.queensfilmtheatre.com

You are alerted to the film’s tone from the off, with a bouncy and colourful opening credit sequences and an introduction by a fun, cynical and annoyingly recognisable narrator. The story is that of a fairly conventional comedy thriller with a heavy dose of seedy locations and even seedier characters. Cillian Murphy’s Michael owes local gangster Perrier (the ever dependable Gleeson) money and has no way of getting it. Things get worse and worse until Michael is forced into hiding, taking suicidal neighbour Brenda (Jodie Whittaker of Venus fame) and dying estranged father (Broadbent) along with him. Perrier puts a bounty on their heads and the hunt is on. It may sound like something you’ve seen before, but the film’s humour raises it to a much higher level, allowing for some brilliantly unexpected little scenes, such as when Gleeson consoles a grieving henchman and when two wheel-clampers get in over their heads.

The fun script is full of seedy characters spouting philosophical nonsense and tracts about non-existent codes of honour and even the Grim Reaper has a part to play. The characters are all very likable in the vein of Intermission’s multiple characters. Not one of them is innocent but fun performances and good scripting allow you to forget that. What’s great about the film is that it never gets too serious in an effort to be more than just a punchy comedy chase movie. Alongside the laughs, thrills and plentiful spills the film is a pseudo-profound mediation on something or other, which gives it a very enjoyable tongue in cheek feel but isn’t tackled seriously. Art this is not, and the film knows it. As the all-knowing narrator says, “Anyway…bit of craic, no?”

BY RUTH MAGENNIS

The event first took place in Sydney in 2007, with 2.2 million homes and businesses participating in Earth Hour. The following year the rest of the world followed Sydney’s lead with the Golden Gate Bridge, the Coliseum, and the Coca-Cola billboard in Times Square all plunged into darkness.

This year the organizers are aiming for the biggest participation yet, hoping for a billion people around the globe to turn off their non-essential lights at 8.30pm on the 27th March. WWF are campaigning for a global climate deal that will be binding and effective, in contrast to the disaster that was Copenhagen. With the existing emissions targets set in the Kyoto Agreement only lasting until 2012, a follow up agreement needs to be reached urgently.

You can show your support by signing up to Earth Hour at http://earthhour.wwf.org.uk. If you also sign up to their Facebook page, there is a chance to win a free night for two at a Radisson Edwardian hotel. There is a list of ideas on the website for things that you can do during Earth Hour – such as have a street party, a candlelit dinner party or…well, I’m sure you can come up with something else you can do in a dark room full of candles with a certain loved one!

Just remember, try and use carbon neutral candles such as beeswax or soy. If you must use paraffin candles, only use one for every light bulb you turn off. Sign up and switch off this Saturday!

Queen’s Film Theatre and BT are joining forces to present an exclusive preview screening of a new and exciting film with the BT Surprise Screening from 9pm on Saturday 27 March.

BY KERRI-ANNE CAMPBELL

www.queensfilmtheatre.com

The event is part of BT and QFT’s three year partnership which began at the BT Reel Genius Festival in 2009. It will bring together QFT’s history of bringing the best of film to Northern Ireland and BT’s reputation for innovation through communication. BT is a significant business partner for Culture and Arts at Queen’s and their collaboration brings together digital communication and film in a new and exciting way.

Susan Picken, Head of QFT, said, “Our partnership with BT enables us to programme events which will bring excitement, entertainment and surprises to Northern Ireland audiences and the BT Surprise Screening is a key element of this.”

The title of the film will remain a closely guarded secret right up until the credits roll, however, a series of clues will be released over the coming days in order to encourage people to think about, look at and discuss film in new and innovative ways. Picken suggests, “Watch the streets, the skies, your PC, and listen in to Citybeat to find out more!”

Funded by Arts & Business and supported by Citybeat, QFT promise that the BT Surprise Screening will be a memorable experience for audiences.

According to Peter Morris, Consumer Director for BT, “BT is delighted to be working with QFT on this unique idea…  Audiences will have to make their best guess from clues released via the web and social networking sites. It’s really a type of digital treasure hunt.”

Tickets cost £10 and pre-film cocktails and live music will be on offer. To find out the first clues and book online visit www.queensfilmtheatre.com/BTSurprise.

BY DEREK CROSBY

www.queensfilmtheatre.com

Throughout the film we are left wondering whether Guetta (or ‘Mr. Brainwash’ as is his Streetname) is a budding genius, or simply mentally deficient. With a bit of tongue in cheek humour and satire (as one would expect ), and some touching moments of a more human nature, we are led through what the movie describes as “the greatest counter-culture movement since punk”, from the inception of Thierry to the movement to the opening of his first major exhibit. We soon realise that it is the journey itself that is more interesting than the end result. Towards the end of the film, when Guetta begins to become big in his own right, we realise just how much effort goes into this subversive art form, and that one cannot simply ‘go into’.

If you don’t know who Banksy is, then google him, but this film will probably be of little interest to you. Overall, it’s very informative, a little funny, and extremely thought provoking. It smacks a little of artistic snobbery towards the end, both in the portrayal of Guetta, and in the portrayal of reactions to him (both personal and public).

‘The Girl with the Dragon Tattoo’ is the first of the Millennium trilogy, a big-budget adaptation of a series of books by Swedish author and journalist Stieg Larsson. The story centres on both disgraced journalist Mikael and the violent and troubled young Lisbeth who, through alternate paths, become embroiled in a 40 year old mystery- the disappearance of a young woman. They investigate with an entire extended family of suspects over their shoulders. Needless to say, things get more mysterious as they get more dangerous.

BY MATTHEW MCKERNAN

www.queensfilmtheatre.co.uk

Going in, having never read the books, I had no idea what to expect. Being a Swedish adaptation rather than a Hollywood translation, I was prepared to like it on principle. The fact that it was made in Sweden was a good sign as my only previous experience of the recent Swedish crime fiction boom had been a turgid series of Kenneth Branagh-starring adaptations of Henkel Manning’s ‘Wallander’ series. I found an entertaining film, though one that could easily have been a Hollywood film if it wasn’t for the fact that everyone was speaking Swedish.

It’s disposable-fun while it lasts but gone from your mind once it reaches its end. The spy thriller-like score, the picaresque Scandinavian landscape and the obvious high budget all help to create a good, speedy murder mystery. There’s something likably old-fashioned about it and it does have a sense of humour. Indeed, the violence that lifts the film to an 18 rating feels slightly out of place, as the audience that may appreciate this film the most may be 15 years old. This is, however, a small qualm in this entertaining yarn, which uses its big budget not in the spirit of excess but to heighten the film’s visuals. Best are its chilling sequences in which photographs are analysed and murderers and victims found, which brings to mind Antonioni’s ‘Blow-Up’.

Regrettably, however, there are some problems. The film continues much too long after its denouement, losing its way and struggling to find a punchy note to end on. Here, things get a little schmaltzy and, at times, unintentionally comedic. The corny ending undercuts the sense of the seedy and violent underworld that the film manages to convey so well earlier. Hollywood romanticism creeps into this dark realist tale, allowing for total closure. The fact that the world that this film creates does not allow loose ends is hard to believe. A peek into Lisbeth’s childhood via flashback may raise more mirth than empathy. Her younger self and her dad have the exact same grimace: an excellent bit of casting or a funny accident.

If these sound like quibbles, it’s probably because they are. All in all, ‘The Girl with the Dragon Tattoo’ is a highly enjoyable thriller and well worth seeking out. I look forward to the next two instalments of the trilogy (The Girl Who Played with Fire and The Girl Who Kicked the Hornet’s Nest) both coming out later this year.

BY LAURA SHEARER

Jeff Bridges stars as the charismatic and secretive Bad Blake, a man of life’s pleasures, womaniser, alcoholic, chain smoker and apple of his fans’ eyes.  He’s reached an unstable point in his career where he’s no longer making money from song writing and relying on the corporate agent to set him up with small town gigs in bowling alleys and such like to scrape a living. Bad Blake is a laid back man who knows how he wants to live and hates being told otherwise.  This is a film about what a country music star might do when at this stage, when he has known nothing but his music and has nothing left.  He’s lonely but satisfied with his almost rock ‘n’ roll lifestyle, still living the dream, yet this time without the money.  Bridges has a really remarkable opportunity and shines through with his truly fascinating characterisation.  Bridges natural subtlety allows him to embrace those moments in the film that procure a seamless comic style, created out of the small everyday mistakes and disappointments.  This element is not only extremely enjoyable, but makes Bad Blake uniquely humanistic and hence we empathise with him and somehow find him gravitating towards the grey areas of appeal.  It’s perhaps all too easy to relapse into the durability of Bridge’s character The Dude, and love this film in the same spectrum.

Maggie Gyllenhaal is the very cute struggling journalist that becomes the perfect match for Bad Blake.  Sharing the same loneliness but of a different sort and through different life situations, she’s his polar opposite.  She’s selfless and for Bad Blake represents all that he’s been running from, until now.  Gyllenhaal gives another enigmatic performance, with a graceful empathy and a strikingly genuine level of emotional devotion.  Colin Farrell is the detestable boy who represents all that Bad Blake hates about the music industry.  He’s the literal embodiment of selling power and provides the audience with a validated reason for rooting for the perhaps otherwise unlikable Bad Blake.  Robert Duvall has a very interesting role, offering him the suave slightly more than cameo part that really seals the deal in a film that puts so much emphasis on the star system.

The on stage performance sequences are shot similar to concert footage and has the inexcusable style of a country music video.  Emphasis is placed on lighting effects and the singers are central to the camera lens, with several swirling 180degree angle shots keep the style instalment fresh and entertaining.  The idea of exciting first hand viewing of the gigs is evident in the camerawork, plunging the viewer into the unexpected fan position, deploying the idolising perspectives of his fans.  As based on the novel by Thomas Cobb, who also co-wrote the screenplay, the dysfunctional world of the fading country artist has never been made so intriguing.

I love New York City. I love walking in a group of hundreds of people, like we’re one great pack of sheep. I love the lights, the ambulances, yes, even the ‘New York Minute’ mentality. So why did I come here to Belfast? I wanted a change of scene. I’m someone who definitely likes being in their comfort zone, but I also think it’s really important to get out sometimes and live a little.

BY CLARISSA LONG

The first thing I noticed upon arriving here at Queen’s about a month ago was the size. In New York, I go to Sarah Lawrence College, which is a small liberal arts college that only has about 1,200 undergraduate students. I believe that here at Queen’s there is something like 22,000 students? While for many of the other American students here that doesn’t seem so big, it’s a whole new world for me.
When I walked into the Students’ Union one of the first days of this semester, heard the DJ playing and saw students wandering around and looking at tables with goodies from all over the world presented by the International Student Society, I thought I might have mistaken the Students’ Union for a shopping mall. At Sarah Lawrence, we’re so small that we don’t even have a student centre. Our equivalent would probably be ‘The Pub’. Unfortunately, since the US hasn’t caught on to the fact that having a drinking age of 21 actually INCREASES dumb drunk behavior (such as car accidents), it is really just a café/sandwich place. Everyone congregates there and it’s in the centre of our tiny campus, which you can cross in about 10 minutes.
I was told before I came here that a lot of Irish students don’t like to appear like they are studying when they actually are and that they don’t like participating in class. Hearing this, not only was I not sure whether or not that was true (can’t believe everything you hear!), it was also really hard for me to imagine. In the US we are taught from a very early age to participate freely in discussion in general (we tend to be pretty vocal people). At my school anyway, we actually like talking in class. I’m not so sure if it’s true or just that the set up is different here. For example, I hear that Irish students, before university, aren’t as encouraged to participate in class like we are in the states. Therefore, it would make sense to me that their speaking in tutorial or lecture wouldn’t be as comfortable. I do have to say, though, I still am not used to so much quiet. Sure, we don’t always participate right away, but after a certain point, the impatience takes over.
Besides academics, I have found that the people of Belfast are generally very friendly, yet stick closely to their friends. While this might make it more difficult for international students to break into social circles, I think it also really helps them because it is as if the community is telling them they need to reach out in order to become part of this city.
For the rest of the semester, I intend to do just that and to relax, sit back and enjoy some Belfast hours, instead of New York minutes. I’m finding it’s not as easy as it looks, to take on a different place and a different way of life. There are some universal similarities and differences, but it’s beyond that. What one really finds when they are living abroad is that you are the one who is the same or different. Belfast may be different from New York, but they’re both cities. I’m the one who will change the most, not the place.

Little Moscow (Mala Moskwa) is the opening film of the QFT’s current Polish film festival – Kinoteka On Tour 4. Directed by Waldemar Krzystek, it’s the story of marital infidelity and troubled occupation in Legnica, the Soviet headquarters in Poland between 1945 and 1990, known as ‘Little Moscow’. Wiera (Svetlana Khodchenkova), the beautiful wife of Russian commander Jura (Dmitri Ulyanov), isn’t in Legnica long before she is wooed by Polish officer Michal (Leslaw Zurek). The affair has unfortunate consequences, flying in the face of the awkward Russian-Polish relations, which emphasize acceptance but not fraternization.

BY MATTHEW MCKERNAN

www.queensfilmtheatre.org.uk

The film has a lot of potential. Alongside Andrzej Wajda’s ‘Katyn’, ‘Little Moscow’ was one of Poland’s biggest productions in recent years. Visually, it looks great with period costumes, settings and technology. The script exhibits some clever writing and the score is fantastic, albeit better suited for a thriller. The performances are all very good. Even the opening credits promise something exciting and entertaining, looking like a throwback to the big and loud credits of 1970s thrillers. The problem is that none of these elements come together.

The pace is kept to a minimum and things go on for too long. A speedy 90-minuter might have been a great film, but Krzystek seems to think slow and long-winded is the best way to tug at our heartstrings. Having taken a leaf out of The Reader’s book, he has delivered something emotionally confusing, rather than powerful. We are certain that we should be worried about the mess that the characters get themselves into, but we don’t. There is also a very typical modern-day storyline in which the ‘survivors’ exchange troubled looks and talk about ‘what happened that day.’ This common feature of period dramas has always confused me. We can’t emphasise as we haven’t been told what happened that day yet. It feels like an attempt at extra resonance but really it’s a means to lengthen the film, and advertise how powerful the ending will be. And, in the case of ‘Little Moscow’, it isn’t.

The film also brings back some memories that makes the film appear comical. The older Jura looks like a scrubbed up Groucho Marx, and the film as a whole brings to mind barmy and fun ‘Glorious 39′, a recent period drama that was rich and entertaining in the vein of Hitchcock’s spy thrillers. ‘Glorious 39′ was hampered by a similarly unnecessary modern-day storyline and the ridiculous endings, both of which ‘Little Moscow’ recalls.

Sadly, the film hints at the end of art house European cinema. It looks, sounds and plays like a Hollywood drama, when what you came to see was something more challenging and thought-provoking.

The Polish film festival at the QFT continues until Thursday 11 March and promises several interesting films, including the fantastic Rosemary’s Baby on Monday 8 March.

BY BRIAN SWANN

UPDATE: Introductory analysis to “The Woman in the Red Dress” by Catherine Lambert

UPDATE: Catherine Lambert explains the ISDA selection process

Each play was full of a cast and crew that had a passion for performance which would make alumni of the society like Seamus Heaney and Brian Friel proud of the tradition of inspiring a creative input in the performing arts.  While two plays stood out for being fantastic, one of the three plays stood out for all the wrong reasons.
‘The Woman in the Red Dress’ was an original play written by first year student Catherine Lambert. It should be made clear that the actors, under the direction of Daisy Brindley, were fantastic. It’s a true testament to their abilities as performers that they made a good attempt with the script.
But words cannot do justice in saying how terrible the script for this show was.  Characters were underdeveloped, the monologues were intelligent rambles that made little sense to the plot, continuity over the existence of the red dress woman kept changing, and there were far too many scene changes for an hour long play.  The romance between Emily and Margot was unbelievable and parts of the play were unintentionally funny for a serious drama.
Thank God for the arrival of ‘The Screwtape Letters’ to the second night of Players Week. Shiraz Engineer was devilishly good in the role of Screwtape. She commanded the stage with near fantastic grace and perfection. Her performance alone needed to be seen to be believed. All the actors in their roles were very believable which led to the staging of this C.S. Lewis play a true classic and one you shouldn’t have missed.
The play chosen for ISDA and closing the week, was Alan Bennett’s award-winning play, ‘The History Boys’. Directed by first year student Adam Turns, the production was simply outstanding. I liked the staging with the classroom in the centre and the teachers and boys on either side of the stage when they weren’t in the scene. Mike Hooley showed fantastic leading man status as ‘Hector’; among the talented cast of boys, Thomas Finnegan as ‘Scripps’ and Chris McCurry as ‘Rudge’ were outstanding with special credit given to Graham Boyd who was impressive as ‘Posner’ and the teachers and headmaster, played by Tom Balfour, Rosie Barry and Niall O’ Donnell gave the production a touch of class. ‘The History Boys’ is possibly the best student production of the year so far, as it heads to compete on behalf of Queen’s University Belfast with a chance to win at the ISDA theatre festival.

UPDATE: Catherine Lambert explains the ISDA selection process

Up to three plays can be submitted from a college. Each college’s application is put to a committee of directors who submit the plays online to the ISDA festival director. There is a meeting including the applicants where a lottery is made to allocate time slot preferences. In this way, whoever is picked first from a hat gets the first choice of slot. The festival director makes the final decisions as to slot allocation.

Jun Ichikawa’s stunning film launched the QFT Girls on Film festival last night.  The festival is a touring programme by the Japan Foundation that promotes contemporary Japanese cinema and sometimes by women in the foreground.  The unique collection is only showing in five cinemas during February and March, so it’s a real cinematic treat that the QFT are offering.  With more than a modest Filmography in both directing and writing, Jun Ichikawa seems the perfect choice to open with, and the film is one of the most interesting studies of society I’ve seen in a long time.

BY LAURA SHEARER

www.queensfilmtheatre.com

It’s a skilfully crafted film that completely immerses you in the narrative, although not a on the edge of my seat gripping plot, the intense mode of realism and the relatable here makes Ichikawa’s work a very enjoyable watch.  Taking the little looked at topic of school, we follow the story of two girls as they find their places, both in social positioning and within family expectations.  This is a captivating tale that is presented clearly and effectively, making it very easy for anyone watching to recall those awkward teenage feelings about finding your true self and your place in society.

The feelings of the protagonist, Juri, are masterfully portrayed with the aid of a voice-over narration, but on a deeper level, the characters almost melancholy state is shown through the impressive cinematography.  Slow motion shots of leaves and branches swaying in the in the wind offers a refreshing alternative to the dear diary answer of the mainstream cinema, whilst sweeping tracking shots of the suburban surroundings position the narrative in the ordinary and entrapping everyday environment that Juri begins to struggle with.  A wonderfully inventive use of split screens during dialogue shows the distance between the characters.  An intuitive use of smaller screens within the big screen we view from show events happening from several points of view at the same time, whilst placed within a changing full screen backdrop of suburban scenery, or in some cases a simple black screen to emphasise the characters emotions.

Ichikawa’s use of the jump cut (a single rapid edit from one image to the other) is almost revolutionary.  Usually used to speed up the pace of a sequence, constant jump cuts to close-ups of the characters and mid-shots of leisurely actions provide a completely new use for the editing style.  There’s something melodic about how Ichikawa uses editing to her advantage, giving an overall sense of calm when viewing the final product, which is so well put together its style is definitely effortless.  Perfect delivery is key to the workings of Ichikawa’s film, so it’s only fair to say that this remarkable tale plays out like a haiku poem: Pleasant and satisfying.

She will be delivering a talk on Thursday 4^th March at 5pm in the Enterprise Unit in the Students’ Union closely followed by a Question and Answer session. Refreshments including Fairtrade Tea and Coffee will be provided.

Food Inc. is the latest documentary/expose of corporate finagling within the food industry. By buying a ticket, you are paying for a dose of depression and guilt, both of which you get in spades, but you also get a multi-layered and valuable insight into a very real and unmonitored problem. Oddly enough, what gives the film special credence is Eric Schlosser’s (author of  ‘Fast Food Nation’) unabashed claim that his favourite meal is still a hamburger and chips. Obviously, this isn’t some vegan polemic, as all foods get the same treatment.

BY MATTHEW MCKERNAN

www.queensfilmtheatre.com

Harrowing images of the mass-killing of chickens, pigs and cows abound, but what is interesting about this film is that everyone is seen to do it. The nasty corporate “food factories”, the near-utopian free-range pastures or the farms of an average American are all sites for animal slaughter. Whether an animal wanders into an abattoir of its own accord or is pushed is not the real issue. Morals, refreshingly, are left to one side. What the film tackles is the political and economic side of the food industry.

In America, the food industry is a very secretive organisation with the food itself separated from its origins by what the film terms as The Veil (in one of it’s tackier moments, the film notes how the word ‘veil’ is an anagram of ‘evil’), in which the government and the media turn a blind eye. Particularly stirring is the fact that the food companies were able to replace an independent food safety monitoring board with a self-policing system. This resulting lapse in food safety has lead to widespread poisonings and product recalls across America. The food companies all refused to be involved in the film. As a result, the film is very much of one voice, though this helps the film in some ways. No justification given, after all, suggests no justification to give.

The film does have a sentimental streak, however, with a few human interest story sequences that scream, “Staged!” An odd preachy tone develops at the end. Instructions are listed before the end credits can begin, detailing what to do now that you’ve seen the film. Though that may be a good thing. A documentary of this sort is inevitably going to be preachy by nature. Food Inc. becomes a sermon only at its epilogue. Nevertheless, this sentimental streak is detrimental, giving you the feeling that you are being cleverly manipulated. This realisation deadens some of the films effect.

The best way to assess the film’s impact is probably to look at my own actions immediately following the screening. I went straight home and had a frozen pizza (with meat) for dinner, but I did read the label.

With the Oscars less than a fortnight away, audiences must exercise caution when choosing a film to go and see. Oscar dramas are a tricky class of film. Taking as an example last year’s Oscar race, for every ‘Gran Torino’ and ‘Frost/ Nixon’ there was a ‘The Curious Case of Benjamin Button’ or ‘The Reader’. If you’re lucky, you could get something moving and riveting. If unlucky, however, you might end up with a dull movie with terrible Oscar clips (the scenes in which venerable actors give loud and annoying bravura performances), which merely serve to startle you back into lucidity. The Last Station, oddly enough, falls between these two stools.

BY MATTHEW McKERNAN

www.queensfilmtheatre.com

The story closely resembles your typical Oscar drama. Set over the last days of Leo Tolstoy’s (Christopher Plummer) life, it centres on Valentin (James McAvoy) a young disciple of Tolstoy’s writings, who becomes embroiled in a feud between Countess Sofya (Helen Mirren), Tolstoy’s devoted wife of 48 years and the oily Chertkov (Paul Giamatti). Chertkov seems to have convinced Tolstoy to write a new will, which Sofya fears might disinherit her. Valentin is swayed one way then another, whilst struggling with the celibacy aspect of Tolstoy’s doctrine.

Whilst it does sound like the perfect framework for some high-pitched melodramatic acting and Oscar-friendly period settings, the film is surprisingly entertaining for the most part. What helps it get by is its sense of humour which allows for several funny scenes. The sense of humour does remain strong for the first half of the film, with even a sting on the tail of one particular Oscar Clip. During this period, the film even retains a light comedy score.

The problem with The Last Station is that it loses its way during the second half. Here, the comedy is replaced by wallowing with everyone giving everyone else significant and serious looks. The comedy score gives way to the more typical Oscar Score, all over-bearing instruments and droning chords. Before you know it, The Last Station has become just another dull Oscar Drama. What is particularly frustrating about the film is that the first half shows you what it could have been had the film-makers tried harder while the second half shows you what its going to be because they can’t be bothered.

The performances are the same. In the first half, the four leads are all fun and likable (even Giamatti whose excellent performance as someone you really don’t know whether to like or dislike is the best in the film). However, by the end, their company isn’t all that enjoyable. Even plot and character motivations, initially so clear, become muddied and confusing.

Initially a good film with great potential, it’s a pity that the film opts for by-the-numbers melodrama midway through.

BRIAN SWANN

Of all the plays, we were eager to discover what it was about ‘The Donahue Sisters’ that was so attractive.

 “The Donahue Sisters is a very dark play with many different aspects such as success, the Irish family, physiological, physical and sexual abuse that can all be played around with. The three adult women had so clearly been affected by the ghosts of their childhood, I wanted to look into this and see how I could develop this more,” McGuigan said.

With the subject decided upon, and whittled down to a pure state of perfection, the next thing to be considered is setting. In theatre, setting is everything; it can make or break a performance and to make ‘The Donahue Sisters” site-specific seemed inextricably important to an honest portrayal of the play.

 “On my initial reading of the script I could see the piece being performed in no other venue than the Donahue family home. The claustrophobic conditions of the playroom in the family’s attic lent itself perfectly to the setting of the play,” she explained.

Working in the realm of site-specific theatre can be tricky, working with a limited number of plays it can be hit or miss, but when it’s a hit it has its rewards.

“Site specific work was a challenge, the team pulled together in the most professional manner. The rewards definitely outweighed the challenges,” McGuigan gushed.

The audience have been promised “a challenging, emotive piece of theatre”, and Ciara McGuigan assured The Gown, “The performance space will be transformed into the childhood playroom of the girls. Each room in the house was furnished and lived in, reminding the audience that they were not going to the theatre to see a show, instead they were intruding on the family who lived in the house. The experience of walking through the family home added depth to the performance.”

With such a uniquely moving play brought to new life in the hands of an ambitious and visionary first time director, ‘The Donahue Sisters’ is truly moving.

“As a director, a clear vision is paramount and I am privileged to have worked with a great team who went above and beyond their jurisdiction to make ‘The Donahue Sisters’ something I am very proud to have directed,” she said.

‘Adoration’ is the new film by Canadian-Armenian auteur Atom Egoyan, a director held in high regard by the art house crowd. His latest is a puzzle box of a movie that looks at terrorism with a complex and thought-provoking approach. It tells the story of Simon, a student, raising a kerfuffle when he presents the tale of a botched act of terrorism as the work of his own father. Egged on by Sabine, his French teacher, he develops the story, which spreads across the internet. Opinions get more and more reactionary and the situation soon spirals out of control.

BY MATTHEW MCKERNAN

www.queensfilmtheatre.com

Along with Egoyan’s pedigree and the production company’s name-Ego Art Films- the opening scenes of the film suggest that we’re in for something challenging. And, initially, that is what we get. The ever-present chat room becomes a verbal battleground in which a variety of people express their opinions on the subjects of terrorism, martyrdom and the importance of “The Cause”. Tension increases along with the heat of the debate, which culminates in a scary neo-Nazi voicing some vitriolic opinions. And then…the whole matter disappears and Egoyan begins what could be an entirely different film.

The problems with ‘Adoration’ are manifold. First of all, the achronological narrative raises the question, “If this film was shown with the events in chronological order, would it make it much less interesting?” The opinions are powerfully put forward but, despite the contradictory messages, they all sound like one voice: Egoyan’s. The film could easily be a comprehensive lecture on the different insights into terrorism with Egoyan a schizophrenic preacher. The problems multiply with the film’s gear shift.

Now, a second and third film emerges from the first. A drama about the prejudices within multi-racial Canada takes centre stage briefly. It’s speedily dispatched by Film #3, an ‘unhappy families’ melodrama. A diner scene brings to light some unlikely twists (the scene itself interrupted by a discrepancy over taxi fare for a reason that completely escapes me) which opens up some new aspects in the story. The terrorism theme is lost amid the shiny new exploration into the nature of truth and of remembering the dead. Guilt appears briefly too, in order to give one actor a chance to stare significantly into the middle distance before that too disappears completely.

Then, the film ceases even to be an art film (by which I mean a film of ideas and subtlety) evolving into a saccharine melodrama of the cheesiest Hollywood standard. A frankly hilarious romance scene in which the neck of a violin becomes a phallic symbol marks this shift, and the film becomes more and more ridiculous, ending on a note so squirm-inducingly corny that you eye the available exits waiting for that fade out and firs end credit with mouth-watering anticipation.

After an opening that promises some intriguing cinema, it soon becomes clear that Egoyan wrote several scripts and shuffled them all together. An odd experiment that I hope he never repeats. An unfocused and disappointing film.

The new film from Jean-Pierre Jeunet, of ‘Delicatessen’ and ‘Amelie’ fame, features quirky comedy, a plethora of weird characters and a political message. Through its comedic story, we are introduced to the homeless Bazil (Dany Boon), who takes revenge against two warring arms traders, both inadvertently responsible for his troubled existence. One produced the mine that killed his father; the other produced the bullet now lodged in Bazil’s brain. Assisting him in his seemingly futile mission is a diverse group of seven second-hand dealers, the “Micmacs”, each with a unique talent.

BY MATTHEW McKERNAN

www.queensfilmtheatre.com

The strange plot could have made for a heavy-handed and annoying film, but Jeunet draws on all the right influences. Within the film, there is a very distinct feeling of the silent comedy, particularly the works of geniuses Buster Keaton and Charlie Chaplin. The plot and some of the score recalls the spaghetti westerns of Sergio Leone. An early scene in which Bazil stands between the two monolithic buildings of the arms dealers brings to mind ‘A Fistful of Dollars’. Most tangible, however, is the film’s link with 1940s American crime masterpiece ‘The Big Sleep’, both in its seemingly convoluted plot line and in its score (which borrows liberally from the earlier film). This is not to say that the film is a jumble of stolen ideas as Jeunet makes the film his own with his rich and unique style.

There is a real visual beauty in ‘Micmacs’, from the range of colours within each scene to the setting itself (a Paris that is far removed from the usual clichés). A visual treat, the film also displays some genuine wit, not just in the visual panache of its nods to silent film but also in its wordplay. The scrap-heap inventions that litter the home of the Micmacs are brilliantly realized and the quirky comedy that sees a security camera do a double take and an elderly couple argue about as dog raise some real laughs.

The characters are great fun, from the elderly yet Herculean Tiny Pete (Michel Cremades) to the evil arms dealers (brilliantly played by Andre Dussollier and Nicolas Marie) who vent their rage in increasingly hilarious ways without ever becoming caricatures. Bazil himself is a fantastic comedy invention with an unlimited range of gags. His schemes are all rich with ideas, particularly in an airport scene in which all the abilities of the Micmacs are utilized. His animated flights of fancy/ coping strategies are also great fun.

All in all, the film is a pleasant surprise with a resounding beauty and wit that makes it a rarity. It should secure a loyal following and is a film that will easily please a mass audience. It may make light of a serious issue, but it is much better than the turgid Nicolas Cage “expose” ‘Lord of War’ and much more entertaining. See it and enjoy.

BY BRIAN SWANN

It has an eclectic cast of student actors led by an impressive Tom Balfour ‘Lieutenant Yolland’, a believable Christina Martin ‘Maire’ and Gordon Fulton, who brings his wealth of theatre experience to give Hugh a commanding presence in the production. The play, at times, can be confusing with its blend of political undertones and overview of Irish history. It’s only when you allow yourself to get lost in translation, so to speak, and allow your personal perceptions to be challenged that you will fully enjoy Translations. I left the theatre impressed with the production as they leave a high watermark for the next Friel play to be staged.

BY HEATHER MCGARRIGLE

After centuries of civil and political unrest and decades of dictatorship, sanctions and violence, Haiti was a country already crippled by poverty and debt. Its poorly-constructed buildings had claimed lives before; in 2008, a school in Port-au-Price collapsed, killing around 500 pupils and teachers.

So when the magnitude 7.0 earthquake rocked Haiti on 12 January, the physical devastation that followed is on a scale which is difficult to comprehend. I could descend into tear-jerking, colour descriptions of the horrors but I don’t need to. We all saw the TV and newspaper coverage; it was yet another terrible ‘Remember where you were when…’ moment.

These images on the news were what inspired Anto to do something positive to help. He logged on to local music forum, Fastfude, and offered the services of his band, Tinpot Operation, for any benefit gigs that were bring be arranged. He soon realised it would be down to him to organise any such event!

Aaron was soon on board. “I contacted CDC Leisure, who own The Limelight, Katy Daly’s and The Spring & Airbrake and asked if they’d be interested in putting on a large event, a bit like the tsunami fundraiser they did five years ago. A couple of hours later, they came back and asked for a meeting. We went down and they said that in principle, they had no problem with it. So we went ahead and started booking bands.”

The speed with which the venue was arranged set the pace for Belfast4Haiti. In less than three weeks, around fifty bands had been booked for the gig on the 31^st January, including The Answer, In Case of Fire, Panama Kings, Mojo Fury, A Plastic Rose and General Fiasco. Aaron commented: “There were a few notable names – And So I Watch You From Afar, LaFaro, Two Door Cinema Club – who were on tour at the time, and if they hadn’t have been out of the country, they would have been on the bill too.”

Aaron and Anto even performed; not content with organising the night, Tin Pot Operation and Aaron’s band, Black Bear Saloon, both played sets in the early evening.

Setting up Facebook and Twitter accounts lent the campaign further momentum, with online ‘clarion calls’ producing logo designers, writers, PR experts and media interest, as well as generally spreading the word. Tickets went on sale on 19^th January and by the 29^th, the online allocation was sold out.

It wasn’t long before others became inspired to do their bit for the cause. The Stiff Kitten planned a ‘fundraver’ to run at the same time as the gig, booking big names in lightning-fast time, such as David Holmes, Phil Kieran and The Japanese Popstars. A 5k run was also organised to take place earlier that day. What was already an impressive ‘mini-festival’ was becoming a citywide event, all under the Belfast4Haiti banner.

“It took for an event to be announced for people to go, ‘Yeah, you know, I was thinking of doing something myself ’ ” said Aaron.

Lisa Millar from Lisburn was the brains behind the Belfast4Haiti 5k run, having participated in similar events for charity before. With a little help from twitter contacts, she sorted out logistical details such as public liability insurance and helped organise an event that drew around 700 runners to Ormeau Park on a cold Sunday morning, including well known personalities such as Dame Mary Peters and Hollyoaks actor Gerard McCarthy.

It kicked off a day to remember. Hundreds showed up to the gigs that day and many more without tickets queued outside for as long as it took to buy one. Anyone leaving early was urged to hand over their ticket to be re-sold, maximising proceeds to the cause. Bar staff, bands, lighting and sound engineers all worked for free, with smiles on their faces, and the night ran like clockwork.

Without getting too slushy about it, whether you were in the Limelight, Katy Daly’s, the Spring & Airbrake or the Stiff Kitten that night, there was a tangible sense of being part of something special. As Aaron put it, “There was no wrangling over egos or paychecks. Everyone was doing it out of the goodness of their own hearts.”

I won’t draw crass comparisons between this event and recent political happenings, but I have to say, it was heartening and inspiring to see the people of my country using their talents, working their backsides off and working together, with the ‘bigger picture’ in mind.

There’s no sign of so-called ‘compassion fatigue’ either; every day, it seems a new Haiti fundraiser is added to the Belfast4Haiti website, with Aaron and Anto only too happy to promote the efforts of those inspired by their gig. At the time of writing, the second of two fundraising nights of music organised by DeadOnMusic is taking place in Auntie Annies; a special arts sale, HeARTS for Haiti takes place on Valentine’s Day in the Black Box and an Xbox 360 ‘Battle of the Bands’ is being held at Auntie Annie’s on the 21^st February.

So far, the total raised altogether on the 31^st January has exceeded £40,000 – twice the original target – and continues to rise. All funds raised are going directly to the DEC (Disasters Emergency Committee), an umbrella organisation for thirteen UK humanitarian aid agencies. When major disasters and emergencies occur throughout the world, the DEC brings together the aid, corporate, public and broadcasting sectors to rally support, and allocates funds to DEC agencies best placed to deliver effective and timely relief to people most in need.

A list of useful websites is below, including the Belfast4Haiti site, which will be updated with any new fundraising events. Their JustGiving page is still active and will remain open for at least three months, so if you can’t make it to any of the events, you can still donate money to help Haiti.

The DEC website is also listed; donations can be made here and you can also check for updates on the relief effort. The DEC will be working in Haiti long after Haiti fades from our news schedules.

WEBSITES:

Belfast4Haiti:

www.belfast4haiti.com
www.justgiving.com/belfast4haiti
www.twitter.com/belfast4haiti

HeARTS for Haiti:
http://tinyurl.com/heARTSni

Xbox 360 Battle of The Bands:
http://tinyurl.com/Xboxni

Disasters Emergency Committee:
www.dec.org.uk

BY RIONNAGH SHERIDAN

www.queensfilmtheatre.com

Failing to recover from the death of his partner Jim (Matthew Goode), and haunted by imagined memories of the car crash that killed him, George repeatedly disconnects from the world around him as it tries to engage with him. A student, Kenny, (Nicholas Hoult) tries to seduce him, his gin-soaked friend Charley (Julianne Moore) hopelessly attempts to rekindle their relationship, and Spanish hustler Carlos (Jon Kortajerena) fails to pick up George in an L.A.-polluted carpark. Firth carries the film superbly, and is definitely worthy of the Oscar nomination he has received for his role. His portrayal of George is alternately gruff, sensitive and always multi-layered.
The film fails on some small points: the threat of the Cuban missile crisis is amateurishly handled, the movement of people onscreen is limited and bears more of a resemblance to a fashion-shoot tableau at times, and George’s suicide attempt is embarrassing as he struggles to shoot himself inside a sleeping bag.
As Tom Ford says, this is a film which simply looks at George while he does very little, and revels in the tiniest of quotidian details. This is a slow-moving film that revels self-consciously in its own aesthetics. While criticism has been drawn from many quarters on the unsubtle colour changes in Colin Firth’s face, which becomes leached of colour at important junctures, it remains a beautiful and colourful film to watch. Overall, it is a fascinating adaptation of the Christopher Isherwood novel and well worth a trip to the cinema.

A Single Man opens Friday 12th February in the QFT

Tokyo Story is a film which enjoys perhaps the highest critical acclaim of any film. As I sat down to watch it, I imagined it would be so inherently likable that I would have to agree with all the critics. I was wrong.

BY CATHAL McGUIGAN

www.queensfilmtheatre.com

Tokyo Story follows an elderly couple who visit their grown children in Tokyo. Their children have little time for them, as they are busy with work, or their own children. The children pay for their parents to stay at a spa at Atami. Yet, they find this place too noisy and decide it is for the younger generation. Feeling that they are a burden, they make their excuses and go home.

I felt the film depicted a transitional period in Japan. The traditional emphasis on family values and respect are fading while modern Japan is coming into focus, the hyper-competitive, capitalist Japan that we see today. This is shown through the lack of respect the children show their parents and the contrast of the elderly couple’s rural home with the growing industry of Tokyo.

The film has been listed as of the greatest films ever made, it is widely acclaimed from its place in Roger Ebert’s great movie list to its 100% rating on Rotten Tomatoes. Yet for me, it was honestly the most boring film I have ever seen.

Next to nothing happened, some people went to sleep, some men got drunk, a woman borrowed some things from another woman. I have a personal hatred of social realism. I dislike seeing a film filled with moments which I could see for myself on a bus, or in a particularly long queue. The film, in my view, lacked any form of story and its emphasis on everyday life and the mundane almost put me to sleep.

You might say I’m judging this from a purely Western perspective, yet I can name several Asian films which I feel are much, much better. For example, South Korea’s international hit ‘Oldboy’ or practically anything by Akira Kurosawa. You might accuse me of being a philistine, who as a victim of the Tarantino generation, is a fan of purely action films. At least something happens in them.  In ‘Tokyo Story’, nothing particularly out of the ordinary happens until maybe the last 10 minutes of its 2 hours 15 minutes.

Nothing happens in Waiting for Godot but at least there’s some lively conversation. About 90% of Tokyo Story was made up of the Japanese equivalent of people saying “Aye”.

“Mother is very sick.”

“Aye.”

“You should remarry and forget our dead son.”

“Aye.”

You may think that I am simply stirring up controversy against what must obviously be a good film. I’m perfectly willing to concede that my review is only my personal opinion. Yet, I think if you watch this you will be just as bored as I was.

Go and see it if you must. But if it is at all possible, find a good Kurosawa film, like Yojimbo, Ran or Dreams. You won’t be disappointed.

“If good men do nothing, evil will prevail”. As the tag line suggests, this is a documentary which follows the struggle of a righteous few against the actions of the oppressive state in which they live.

BY COLIN WILLIAMSON

www.queensfilmtheatre.com

Michael Campbell has owned Mount Carmel Farm in Zimbabwe since 1980, now he is fighting, along with his wife, daughter and son-in-law, to retain it against the wishes of President Robert Mugabe and his program of ‘Land Reform’.

Mugabe promised, when elected, that he would create a “Zimbabwe for Zimbabweans”, and proceeded to strip land, usually forcefully, from the white farmers under the auspices of giving it back to the native black African. What Campbell and his family are attempting to establish is that they are African too, they just happen to be white, and that what Mugabe is doing is not only immoral, but illegal.

Both the film’s opening and closing scenes take place in the court of the SADC (Southern Africa Development Community) in Namibia. The legal dimension of the struggle, the attempt to expose the blatant discriminatory nature of Mugabe’s forced evictions, provides much of the drama and suspense to this tale. As the wheels of justice turn frustratingly slowly towards the films conclusion, you find yourself gripped with hope that it is justice that will prevail, and not the diversionary tactics of Mugabe’s legal henchmen.

It is away from the courtroom where the real battle is portrayed, a battle to cling onto a way of life and indeed life itself. Whilst the film does not contain any graphic depictions of violence, eschewing a modern media obsession for ‘disaster porn’, it is almost more frightening to observe the menacing, ever-present, threat of violence that runs through the entire feature. The film is shot in two styles, with footage from both a professional crew and the personal video entries of the family themselves. It is this raw, spur of the moment filming on handheld camcorders which captures the almost unbearable degree of tension that is being endured. An early encounter between Campbell’s son-in-Law, Ben Preeth, and the would be occupier of his farm is particularly ominous.

Whilst the world was, and is, aware of the plight of the white farmer in Zimbabwe, it is sometimes overlooked that black Africans are also suffering. This documentary highlights the personal injustices and terror that is dealt out to the white man, but it also alludes to the misery of those black people who would dare to side with him. What can be gathered is that a despotic regime serves only its own purposes, despite the proclamations it may make.

This is a film which will engage you with the protagonists. You will share their fear, hope, despair and even occasional joy. And, at the films conclusion, it is difficult not to feel affected by their ultimate fate, as inevitable as it may be.

BY LAURA SHEARER

www.queensfilmtheatre.com

‘The Road’ is extremely enjoyable, as without warning we are immediately immersed in the world of the father and son.   The film begins without introduction to the current situation, so even if you haven’t seen the trailer or know anything of the story-line, you are quickly transported into this strange environment.  Hillcoat’s genuine skill as a director is his ability to pleasantly force his audience into that nervous notion of ‘got to keep your wits about you’ that plays suitably into the major themes of the film.  The atmosphere of the environment that the characters inhabit is distinctly and very personally addressed to the viewer by infrequent flashbacks to the man’s peacefully serene life pre-apocalyptic event.  Those first few seconds that give an indulgent notion of awareness that we are in a strange and unexplored place, quickly give way to an odd realisation of the stark reality presented to us.

If anything, Hillcoat is perfectly capable of developing a remarkable tale of human bonding that interestingly questions man’s primal instincts and what we deem today as sophisticated culture.  The relationship of the father and son is both ordinary and undeniably unique as it is straddled with issues of domestic and social boundaries.  Likewise, the relationship between man and woman is complex under the given circumstances, but there is an obvious connection between the pair, as there is with the man and boy.  Viggo Mortensen is splendid and seemingly unchallenged by his emotionally difficult depiction of an unhinging man.  There are some surprisingly delicate performances from Robert Duvall, Charlize Theron and Kodi Smit-McPhee, all of which exhibit some wonderfully multi-dimensional acting.  More importantly, the characters are treated with unexpected depth and deploy a discursive element of humanistic tenderness.

The cinematography is astounding, plausibly depicting the immediate landscapes and situations both delicately and with an intense level of detail, which only makes the viewing experience so much more pleasurable.  The slow pace of the film is admittedly hypnotic and the soundtrack gives a heart-felt dream-like vibe to the entire piece.  The constantly changing camera angles offer a subtle quality that makes the film truly memorable from start to finish.  An unexpected aspect is the honestly photogenic aesthetic appeal of the film.  After every series of shots follows a perfect example of deep-focus photography that would impressively put Orson Welles to shame.  The dark colour palette of the film manages to follow through as descriptive, but it works so well with the style of the film that after a while it becomes unrecognisable, and determinedly unable to be detached from.

Whilst there’s umpteen films  released in the past few years that deal with the same post-apocalyptic, ending earth sort of idea, ‘The Road’ stands out as one of the most intense.  As many other critics have suggested,  it does reference quite a lot of the same possible events that these other films have dealt with, but it seems to do so in such a stylistic tone that it has defined itself as the film that in a moment, changed the world forever.

BY LAURA SHEARER

www.queensfilmtheatre.com

As much as modern crime cultures are complex, Audiard presents a very undercut and problematic prerogative in a shockingly interpretative manner.  The viewer is welcomed and delicately tempted right from the beginning of the film into seeing the unfolding events as relatively simple and even understandable to an extent.  Here it’s Audiard’s ability to present this predicament that’s a sure sign of talent as both writer and director, making his work a joy to watch as the narrative unfolds.

There’s definitely a touch of surrealism and strong hints towards the standard French New Wave cinema style, although this is expected from Audiard when considering his filmography (which includes the instant indie favourite ‘The Beat that my Heart Skipped’).  His artistic influences are a breath of fresh air for the ever popular Hollywood crime drama genre, allowing him to explore more of the criminal’s experiences than other films would perhaps have attempted to tackle.

The naturalistic camera movements keep our viewing of the world of the condemned to a brief minimal, but Audiard manages to use his fantastic techniques to suggest that there is much more than we could ever have expected to see already being shown.  The editing pace falters between rapid and an almost documentary style, impressively depicting both the respective thrilling action sequences and intimate moments that whisk the viewer away into the anti-realism before their eyes.

The resourcefulness of camera angles and footage shot in such a confined zone is one of the main draws of the film and what separates it from previous prison topical.  Audiard’s defined knowledge of the cinematic format is what keeps this film sharp with a sleek modern edge that ‘Mesrine’ introduced to the crime drama.  There are many references to the much loved crime thriller classics such as ‘The Godfather’ and ‘Blow’, but Audiard somehow manages to leave these resounding famous images untouched, and I’m sure that this is much appreciated by fans of the classics.  Audiard simply uses his knowledge of the crime thriller as a point to draw upon, cleverly developing the well known traditional notions of the criminal mind and giving us something hugely enjoyable and lushly creative.

The suspenseful secrecy that keeps the cogs of the prison machine turning is what drives Audiard’s visuals and what keeps his film that little step above the rest.  The plain view brutality is stark and bold throughout, but keeps the audience at a desired distance from the characters, as well as constantly drawing the viewer in, playing on their curiosity and encouraging them to demand more.  There’s definitely some odd pleasure in watching something that makes you both squirm and question what you’re seeing.  As far as thrillers go, it’s good enough, but in regard to the crime genre, Audiard has hit the ground running.

BY DEREK CROSBY

www.queensfilmtheatre.com

Malkovich plays David Lurie, a professor of literature with a mild fixation with Byron, and also for his female students. After the ‘disgrace’ of being caught having seduced one of his students, he flees his city life to live with his daughter who operates a small farm out in the sticks. And this is where the fun really begins. The Veterinary clinic, and the dogs put down there, serve as a constant reminder of the overhang of death. Likewise, later events come to show that tragedy is never far away, even among the idyllic scenery of South Africa. The main irony of the film lies in that only those who feel disgrace, are themselves disgraced. After the main female protagonist is raped, her rapist finds refuge with her close friend, and thus is the irony of the film. Being a tragedy, we are not sure how to feel about Lurie, leaving a hard hitting sense of catharsis.  A powerfully sad piece of cinema.

BY BRIAN SWANN

In an interview with The Belfast Telegraph, QFT’s press and marketing offer, Sarah Hughes, spoke of the theatre’s involvement in broadcasting the series of NT Live shows. “We are tremendously excited about the forthcoming live broadcast of Terry Pratchett’s Nation. The combination of one of the UK’s best-selling authors, one of the world’s most celebrated theatre companies and a home-grown actress in the lead role (Emily Taaffe) makes for an unmissable show for all the family.”

‘Nation’ is the latest spectacular family production from the company. It’s an exhilarating adventure story of survival and self-discovery, based on a novel by Terry Pratchett and adapted to the stage by Mark Ravenhill.

Set in a parallel world around 1860, a deadly tsunami brings two teenagers together on a South Pacific island. They find a way to come to terms with the destruction that has thrown them together while struggling to understand each other’s language in the process. Together they come of age while somehow learning to survive for the sake of the island’s refugee community. Daphne takes responsibility in delivering a baby, milking a pig, brewing beer and in battling a mutineer. Mau fights with cannibal Raiders and asks questions about the world around him as the old doctrine of the tribe’s fiercely patriarchal gods, which gets discarded to forge a new Nation.

Some may complain about the show’s theme of presenting children with the concept of evolution and a godless universe. But unlike Philip Pullman’s ‘In His Dark Materials’, this play has a combination of a lively moral debate within its strong narrative, than a direct attack on religious belief. The South Sea Islanders singing and dancing numbers do resemble a Hawaii cabaret act, the puppetry could’ve been improved and the music is instantly forgettable. But the simply stunning underwater sequences stand out along with the script which captures the mixture of humour and human sympathy found in Pratchett’s novels.

Gary Carr, captures the courage and increasing wisdom of Mau and Emily Taaffe is amusing as the young aristocrat. They are supported by the strong ensemble which brings the islanders and the English colonials to life. The lead actors leave a lasting impact to the audience which shows in the beautiful conclusion which is deeply affecting.

You leave the theatre knowing you’ve been part of a global audience. The experience was a success for the theatre with a strong turn-out on Saturday afternoon. Many of the audience with went straight to the box-office to pre-book for the next NT Live production, the new Alan Bennett play ‘Habit of Art’, on the 22nd April at the QFT.

BY LAURA ANN SHEARER

www.queensfilmtheatre.com

The ever-present contemporary worry of the cost of the earth’s natural resources that we use daily is brought to the foreground by director Joe Berlinger.  The recent success of other eco-documentaries such as The Cove has set the bar high for any followers.  Luckily Berlinger has the right amount of intimate footage so this film not only fulfils expectations, but presents itself as a direct challenge to documentary makers.  Crude is honest and hard-hitting, and even if you know a relative amount about the real price of oil this is still a big eye-opener.

Crude premiered at the 2009 Sundance Film Festival and is the winner of over a dozen esteemed awards for documentary film, and rightly so, this is a must-see for all those that enjoy a good gritty documentary.  We are indulged in the harsh realities that the tribal families face due to huge pits where Texaco and owners Chevron dumped their industrial waste, sadly which they refuse to accept any responsibility of.  The stark facts put forward by the inhabitants are barely believable, but just in case the message of the film seems too out of reach, we hear the horrifying tales of the village people.

The images this film seeks to get noticed are sometimes graphic and disturbing, but the film comes across as relatively subjective.  Although there is a strong bias and bold opinions are being expressed throughout, the audience are allowed that comfortable distance that documentary rarely offers.  The firsthand accounts seem barely edited and you get this sense of minimal editing from the film, perhaps the only major work put into the editing is in piecing the events together in a relative order, but that’s what makes this film so refreshing.  Do prepare yourself for an emotional journey, but also be reassured that you’ll definitely come away feeling satisfied by the progress that even the production of this film has made.  Berlinger makes a statement, but stresses that it’s only a starting point, so definitely a film that encourages you’re inner human rights activist.  Crude is wonderfully thought provoking.