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The Reports on Sarah and Saleem

“ Against the Odds: building Palestine's film industry under occupation ”

Posted on Thu 22 Nov 2018 by Aphra Evans

Modern-day Palestine is scarcely a place where you would expect to find a burgeoning film industry and yet, somehow, despite the occupation, politics, and resulting lack of resources, Palestinian film is blossoming, journalist and filmmaker Aphra Evans writes.

Pervasive Media Studio

“ Beyond innovation: understanding Artists as leaders ”

Posted on Tue 13 Nov 2018 by Clare Reddington

A short provocation on Artists as Leaders, the difference between innovation and invention and the danger of constraining the latter with the metrics of the former, given at Beyond Conference to launch AHRC's Clusters investments.

The Lost Honour of Katharina Blum

“ The lost credit of Margarethe von Trotta ”

Posted on Tue 30 Oct 2018 by Tara Judah

Margarethe von Trotta was one of the key figures of the New German Cinema movement, and yet she has constantly been overlooked by the cinematic history books. With four stunning new restorations of her most remarkable films back on the big screen, it's time to celebrate - and credit - this talented and strikingly political filmmaker, Cinema Producer Tara Judah writes.

Touch Me Not

“ Touch Me Not: fusing forms and breaking borders ”

Posted on Tue 23 Oct 2018 by Tara Judah

Winner of the Berlinale Golden Bear, Adina Pintilie's Touch Me Not is a unique fusion of fiction and reality, breaking down borders and opening up bodies on screen, Cinema Producer Tara Judah writes.

Glinda the Good Witch, The Wizard of Oz

“ Something wicked this way comes! Reclaiming the witch on screen ”

Posted on Thu 4 Oct 2018 by Thea Berry

Once banished to woods, caves and deserted islands, witches have made a comeback to mainstream popular culture. Thea Berry, UWE's MA Curating student based at Watershed this year, has curated a wicked season of films exploring and reclaiming the role of the witch in film.

My Beautiful Laundrette

“ Film Culture in the era of Netflix ”

Posted on Wed 26 Sept 2018 by Mark Cosgrove

Mark Cosgrove, Watershed’s Cinema Curator, reflects on the changing nature of film exhibition and the value of cinema.

Utoya

“ Conversations About Cinema: A new series of in-cinema discussions ”

Posted on Wed 12 Sept 2018

Starting in October with Utøya, UWE and Watershed are partnering on a series of screenings and discussions that brings together a multi-disciplinary team of philosophers, political theorists, and cinema curators and producers to unpick some of the most exciting and challenging ideas in contemporary cinema, Senior Lecturer in Philosophy at UWE, Francesco Tava writes.

Matangi/Maya/M.I.A.

“ Matangi, Maya or M.I.A. - just who is this problematic pop star? ”

Posted on Wed 12 Sept 2018 by Tara Judah

Everyone wants to know who's behind star persona M.I.A., and if there's more than meets the eye to the outspoken Sri Lankan born, London raised refugee bringing politics to pop music. Candid, confident and clever, Matangi "Maya" Arulpragasam speaks, sings and raps from the heart, Cinema Producer Tara Judah writes.

The Rider

“ Of shimmering twilight on the horizon: where fiction and reality meet in The Rider ”

Posted on Fri 7 Sept 2018 by Tara Judah

Horse trainer Brady Jandreau gives the performance of a lifetime, against the blinding twilight of a South Dakotan horizon, where fiction and reality meet in The Rider, Cinema Producer Tara Judah writes.

American Animals

“ "That's the Thing About Memory": Unreliable Narrators in Bart Layton's American Animals ”

Posted on Wed 5 Sept 2018 by Tara Judah

Talking to writer-director Bart Layton about his hybrid beast of a movie, American Animals, offered fascinating insight into his thrilling heist hybrid, told by a pack of unreliable narrators, Cinema Producer Tara Judah writes.

Cold War

“ What's fair in love and Cold War? ”

Posted on Tue 28 Aug 2018 by Tara Judah

Where love and war are concerned, it's all just shades of grey. Paweł Pawlikowski's Cold War romance hits the big screen with striking polemic and a full palette of black and white, Cinema Producer Tara Judah writes.