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Riddles of the Sphinx

“ The Riddles of Film History in 360 degrees ”

Posted on Mon 20 Aug 2018 by Tara Judah

Laura Mulvey and Peter Wollen's Riddles of the Sphinx showed us a 360 degree alternative view to the so-called 'male gaze' of mainstream cinema. Revealing a riddle of hetero-patriarchal film history, our Summer of rediscovery with restorations from amazing women filmmakers paves the way for an Autumnal change, Cinema Producer Tara Judah writes.

Spike Lee

“ Spike Lee and the Klansman ”

Posted on Sun 5 Aug 2018 by Edson Burton

Spike Lee is a political artist, and one with a particular comic sensibility. Artists may not be able to resolve social issues, but Lee's satire is responsible, Come the Revolution's Edson Burton writes.

I Am Somebody

“ Personhood (un)Differed : Madeline Anderson and the Edit Underground ”

Posted on Thu 26 July 2018 by Liz Chege

Newly restored, Madeline Anderson’s essential historical records of activism and vital body of cinematic work convey a radical commitment to hope, Come the Revolution curator Liz Chege writes.

Saute ma Ville

“ Women on the Periphery: taking centre stage ”

Posted on Wed 25 July 2018 by Tara Judah

On Cinema Rediscovered's focus on Women on the Periphery, Agnés Varda, Laura Mulvey, Spike Lee and more, Watershed Cinema Producer Tara Judah reflects on a history of critical conversations and curatorial choices that have left so many great filmmakers just outside of the spotlight.

Orson Welles

“ The Eyes of Orson Welles: opening the archive ”

Posted on Wed 25 July 2018 by Dr Peter Walsh

With unfettered access to Orson Welles' private drawings and paintings, held dear in the private archive of his youngest daughter, filmmaker Mark Cousins invites us into his Wellesian world, through the eyes of the great man himself, Dr Peter Walsh writes.

Saraband for Dead Lovers

“ Slocombe at Ealing: the early years ”

Posted on Tue 24 July 2018 by James Harrison

For this third year of Cinema Rediscovered we celebrate two rarities in Douglas Slocombe’s filmography, from his early years at Ealing Studios. The films are worlds apart when it comes to style, and yet, were filmed within the course of a few months, co-director and co-curator of South West Silents, James Harrison, writes.

Something Must Break

“ Something Must Break: love beyond labels ”

Posted on Tue 24 July 2018 by Thea Berry

Defying gender norms and refusing labels, Something Must Break is an intimate and energetic picture of people looking for who they can be and are allowed to be, Watershed's MA Curation student Thea Berry writes.

Black Pyramid Film Festival

“ Black Pyramid 25th Anniversary: which way forward? ”

Posted on Mon 23 July 2018 by Ian Sergeant

Twenty-five years on, Ian Sergeant, a founding member of Black Pyramid Film and Video Project, reflects on the history and legacy of black British cinema in the UK and the role Black Pyramid Film Festival played.

The Apartment

“ Behind Closed Doors: inside The Apartment ”

Posted on Mon 23 July 2018 by Tara Judah

In the wake of allegations against some of Hollywood's most powerful figures, Billy Wilder's The Apartment feels more timely than ever. Ripe for rediscovery, it reveals a savage critique of patriarchal capitalism, Cinema Producer Tara Judah writes.

Flash Gordon

“ The Look of Mike Hodges ”

Posted on Wed 18 July 2018 by James Harrison

Revisiting the films of Bristol-born Mike Hodges, South West Silents' co-founder and co-curator James Harrison reflects on the colour and design that set a look and defined a decade of filmmaking in the director's screen career.

Le Crime de Monsieur Lange

“ Bazin 100: Celebrating a cinephile activist ”

Posted on Wed 18 July 2018 by Mark Cosgrove

Ahead of our Bazin 100 celebration screenings and discussions at Cinema Rediscovered, Cinema Curator Mark Cosgrove reflects on the passion and curiosity of prototype cinephile activist, André Bazin.