Tag: Making Waves International Film Festival

  • The MWFF Community Curated Live Cinema Exhibition Project Launches at the 2nd Creative Producers Lab

    The MWFF Community Curated Live Cinema Exhibition Project Launches at the 2nd Creative Producers Lab

    On Saturday 4th November, the Making Waves Film Festival hosted our one-day live cinema Creative Producers Lab and launched our BFI Film Audience Network-funded Community Curated Live Cinema Exhibition project.

    001 Creative Producers Lab Oct 2023

    After initial introductions, 3 workshops covered how to market, design and perform in an immersive cinema experience, each of which focused on bringing the 1991 film The Commitments to life with their chosen subject. An understanding of marketing, designing and performing in cinema commenced the workshops before discussing The Commitments and how it could be translated into the Portsmouth & Southsea area. The film is set in Ireland and has themes of Irish Nationalism and disconnection to their identity and as a result leaves main characters feeling inspired by African-Americans, and more specifically, Soul music. The title references the name of the band in the film that performs in and around the fictional town of Barrytown, invented by the author of the book, The Commitments, Roddy Doyle.

    003 Creative Producers Lab Oct 2023

    Utilising these themes, attendees of each workshop came up with ways in which to bring the film to life, starting with the venue. Since members of the band in The Commitments spend most of their music career performing in bars or warehouses, looking at a local event space, like the Staggeringly Good Brewery in Southsea, it makes sense to look for a venue with a similar look and feel. This space would need to facilitate live music as well as food and drink stations to further tie in themes of Irish culture to the event. For example, hosting a run of Battle of the Bands nights sponsored by MWFF would draw attention to the immersive experience and allow the event to gain traction through a unique marketing funnel.

    Inviting local food and drink vendors like Pie and Vinyl to replicate classic pub food in a similar style as seen in the film would enhance the experience. This would also give local businesses a chance to make an income and bring together several Portsmouth and Southsea institutions.

    005 Creative Producers Lab Oct 2023

    Since such a vast percentage of this area’s population are students, the attendees included several ideas to give opportunity to those interested and provide them with a platform. Examples included putting on a competition for students to design a logo for the evening/event which would be used in all forms of marketing.

    After the workshops, we were joined by Professors Sarah Atkinson and Helen Kennedy who gave attendees an insight into the world of live cinema using their extensive research of one of the leading companies in this industry, namely Secret Cinema. Looking at the immersive cinema experience from more than just a design perspective meant that attendees could learn more about engaging audiences and the specific type of live cinema they desire to achieve.

    It was an extremely productive day, we are now steaming ahead with plans for the screening of The Commitments at a popular local venue in March 2024. Watch this space for further updates.

    002 Creative Producers Lab Oct 2023
    Professor Sarah Atkinson & Professor Helen W. Kennedy
    Creative Producers Lab Logos Banner 2023
  • Tim Burton’s Macabre through James March’s Film Analysis

    Tim Burton’s Macabre through James March’s Film Analysis

    Tim Burton’s Macabre stories have made a persistent impression. Firstly, they influenced filmmakers worldwide. Secondly, his most recent masterpieces inspired many articles and vlogs. However, unlike the others, James March decided to explore the legendary filmmaker’s early work. Therefore, there are many secrets to be found in this mesmerizing video essay ‘Gothic Horror: symbolism, philosophy & the dark imagination.’

    Haunted Realm of Tim Barton’s with James March

    Only a few creators have left a lingering mark on the imagination of the audience quite like Tim Burton. His unique blend of gothic horror and whimsy surreal visuals has been fascinating for millions of film lovers worldwide. With James March as our guide and his rich visual interpretation, we can uncover the hidden depths beneath the surface of Burton’s visionary creations.

    James March explores Tim Burtno's Macabre cinema in this video essay; 'Gothic Horror: symbolism, philosophy & the dark imagination.'

    A Cinematic Exploration of Enigmatic Macabre Secrets

    From the first frame, we are transported into the depths of Burton’s dark imagination. The video essay begins with peeling back the layers of symbolism and horror homage that define Burton’s first short film ‘Vincent’. Above all, James March shares his profound insights and experiences while unravelling the enigmatic secrets of Tim Burton’s macabre mastery. March’s meticulous film analysis explores the haunted story world, the tormented souls of Burnot’s characters, and the rich tapestry of Burton’s influences.

    Uncovering the Tapestry of Tim Burton’s Influences

    To start with, March’s keen eye for detail and deep understanding of Burton’s cinematic language brought the symbolism to life in ways only a few can imagine. In other words, James deciphered the intricate messages that lurked beneath the surface. Because he reveals the profound depths of Burton’s dark imagination. Additionally, James shed light on the profound connections to literary traditions, unlocking a deeper appreciation for the layers of meaning woven throughout Burton’s distinctive style.

    Tim Burton’s Homage to Macabre and Horror Icons

    As we venture further, March’s analysis seamlessly connected the dots. Moreover, It reveals the interwoven threads that bind Burton’s films together themes, motifs, and recurring elements took on new significance accordingly. Above all, this is transcending individual narratives and weaving a tapestry of dark enchantment from Mary Shelley to Edgar Allan Poe’s gothic tales to echoes of classic horror icons. Through March’s insight, you can begin to acknowledge Burton’s skillfully blended homage and innovation, paying tribute to the masters while carving his own path.

    James March explores Tim Burton’s Macabre cinema in this video essay; ‘Gothic Horror: symbolism, philosophy & the dark imagination.’

    https://youtu.be/OznAC-oOTnk
    James Marsh: Gothic Horror: symbolism, philosophy & the dark imagination
    No copyright strikes 
    Premiere Tuesday 2nd May 7 pm 

    A Closer Look: moving image criticism

    Young video essayists comment on popular audio-visual culture. Produced as part of the BA (Hons) Film and Television degree at Solent University and brought to you by Making Waves Film Festival.

    If you liked reading Tim Burtno’s Macabre through James March’s Film Analysis, you can consider sharing this or visiting our social media.

     

  • The cinematography of Love, ‘The Light: and the Little Girl.’

    The cinematography of Love, ‘The Light: and the Little Girl.’

    Love can be interpreted in endless variations, mainstream films might saturate this theme in nearly all possible variations. However, Alice Cockburn’s video essay, ‘The Light: and the little girl’ beams the light of insightful knowledge on exploring this theme innovatively and playfully. Let’s have a closer look at the Cinematography of Love in this short film with Alice Cockburn.

    In a Ray of Love

    Romantic films commonly present affection between humans and love for our animal friends or hobby. However, have you ever considered that someone can feel this mysterious sensation towards something less tangible? Something more ethereal? Alice started by exploring the short romantic film of cinematographer Jih-E Peng and Director Guy Poole. In her video essay, Alice narrates how this heartbreaking journey captured hearts worldwide. Also, It is about the unusual connection that makes the short film stand out from the popular film genre creatively and poetically. The title of this fascinating short film is ‘The Light and a little girl.’

    Short Film about Love as a Poem

    Accordingly, Alice Cockburn has found this theme fascinating. She explains how this film carries the love theme without unnecessary dialogue, it is pure Cinematography of Love. Also, How the director convinced the audience that the little girl truly developed her first short romantic relationship with a ray of sunlight. Therefore, Alice took on the challenge in her video essay to explain mastery of the film’s fluidity and comprehensive narration with no use of dialogue. Firstly, Alice has captured the essence of theoretical reasoning, which stands behind the fluidity and comprehensiveness of this masterpiece. Secondly, Alice enlighted those theories through the bright thinking of writers such as Edgar Allan Poe and John Ruskin. Ultimately, Alice’s video essay explains a correlation between this short film and Poe’s ‘Brief’ and how the brevity of this short film allows for a succinct experience of the first love and heartbreak.

    The Cinematography of Love in a short film, The Light and the little girl.

    Alice Cockburn: The Light: and the little girl
    No copyright strikes 
    Premiere Tuesday 18th April 7 pm 

    The light and the little girl in short.

    To summarise, Alice’s video essay is an insightful creation that shines through this short film by explaining this unusual connection between poem theories and film narration. The experience of watching this video essay was enlighting, a true exploration of the cinematography of love. I can’t wait to hear your thoughts about this video essay and film.

    The cinematography of Love in a short film, the light and the little girl.

    The light and the little girl
    The cinematography of Love in a short film, the light and the little girl.

    A Closer Look: moving image criticism

    Young video essayists comment on popular audio-visual culture. Produced as part of the BA (Hons) Film and Television degree at Solent University and brought to you by Making Waves Film Festival.


    If you liked reading The Cinematography of Love in a short film, the light and the little girl, you can consider sharing this or visiting our social media.


  • Famous Portsmouth – Les Miserables and Transformers

    Famous Portsmouth – Les Miserables and Transformers

    We all wonder about the spectacle of film and fame. Could you have been standing where famous filmmakers and actors once stood? Amazingly, the answer is potentially ‘yes’ as there are several examples of feature length films that have used a Portsmouth (or close by Hampshire area) as a key part of their blockbuster movie.

    In this second instalment of Making Waves’ Famous Portsmouth, I dive into two more household names.

    Les Miserables, Tom Hooper (2012)

    Tom Hooper’s Les Miserables is one of many adaptations of the drama that follows the life of convict Jean Valjean (Hugh Jackman) who fights to build a new life in the midst of revolution beginning to brew.

    Portsmouth’s own Historic Dockyard is used in the gritty opening of the film where Jean Valjean is among the convicts pulling a ship into the dockyard. This behind the scenes video goes into more detail on The Dockyard’s famous moment.

    Cast and crew at Portsmouth historic dockyard for filming of Les Miserables
    Cast and crew at the historic dockyard for filming of Les Miserables

    Transformers: The Last Knight, Michael Bay (2017)

    Humans are at war with the Transformers, and Optimus Prime is gone. Transformers: The Last Knight brings together inventor Cade Yeager, Bumblebee, an English lord and an Oxford professor to save the world.

    Going slightly further afield, The Royal Navy Submarine Museum in Gosport was used as a location for the film, welcoming A-Listers Sir Anthony Hopkins and Mark Wahlberg. HMS Alliance was also used as a location for the film with scenes filmed on board the boat over three days. Again, this behind the scenes video goes into more detail. 

    Crew with HMS Alliance for Transformers: The Last Knight
    Crew with HMS Alliance for Transformers: The Last Knight

    You can find more in this series by clicking here. Thanks for stopping by!

  • Famous Portsmouth – No Time To Die and Tommy

    Famous Portsmouth – No Time To Die and Tommy

    We all wonder about the spectacle of film and fame. Could you have been standing where famous filmmakers and actors once stood? Amazingly, the answer is potentially ‘yes’ as there are several examples of feature length films that have used a Portsmouth (or close by Hampshire area) as a key part of their blockbuster movie. Today I’m going to break down two of them.

    No Time To Die, Cary Joji Fukunaga (2021)

    The final instalment of Daniel Craig’s Bond journey, No Time To Die, finds him after leaving active service, searching for a tranquil life. However, after an old friend shows up, he ends up on the trail of a mysterious villain who’s armed with a dangerous new technology.

    Despite the unimaginable scale of a Bond film, Portsmouth still found a place in it. Film crews were spotted in the waters between Portsmouth and the Isle of Wight in 2019 filming boats and helicopters. HMS Dragon, a Type 45 warship based in Portsmouth, was also used in scenes filmed in secret pre-pandemic. HMS Dragon can be seen in the final trailer at around 1m50s.

    Portsmouth’s HMS Dragon in No Time To Die, (2021)

    Tommy, Ken Russell (1975)

    One of the most famous examples is Ken Russell’s Tommy filmed all over 70s Portsmouth. The film follows deaf, mute and blind Tommy. As a teenager, he stumbles upon a pinball machine and as he becomes a pinball champion and later the messiah of a religious cult.

    Apart from Tommy’s birth, the rest of the movie was shot around Portsmouth and nearby Hayling Island. Fort Purbrook and the King’s Theatre also feature but the film’s most famous location is South Parade Pier. During filming it burned for the third time since its construction and the film included the event in the movie’s climax (which can be seen at the top of this post!).

    Elton John at the King’s Theatre, Tommy, (1975)

    You can find more in this series by clicking here. Thanks for stopping by!

  • IN SOLIDARITY WITH UKRAINE

    IN SOLIDARITY WITH UKRAINE

    Making Waves will join film festivals across Europe in showing solidarity with Ukraine. From film screenings to a fundraiser for the Disasters Emergency Committee, we’re shining a spotlight on Ukrainian film.

    Film has always had the power to bring people together. Even now, with Ukraine’s cinemas closed, the Ukrainian people are still watching films. President Volodymyr Zelensky has requested that Ukraine’s biggest film archive screen a series of Soviet-films in metro stations from Kyiv to Kharkiv, where residents have sought shelter from the war.

    Outside of Ukraine, pro-Ukrainian sentiment has swept across Europe’s film festivals. Festivals in Berlin, Venice and Sarajevo have screened Ukrainian films in solidarity. Other festivals have gone even further. Cannes and Venice have chosen to ban official Russian delegations while others such as Glasgow Film Festival and Stockholm International Film Festival are boycotting films funded by Russia. Here at Making Waves we are running two events to show our solidarity with Ukraine.

    MWFF & The Front Room present ‘HOME’ a fundraiser for DEC Ukraine appeal

    Friday 22rd April 7-10pm at No 6 Cinema

    Making Waves and The Front Room have partnered to raise money for The Disasters Emergency Committee with a fundraising event. HOME will include an eclectic mix of spoken word, live animation and a selection of short films by Ukrainian filmmakers. For us, home is a place of shelter, security and nourishment, something we would like to celebrate and share with you.

    The DEC delivers effective and timely relief to people most in need. With more than 10 million people haveing fled their homes to escape conflict in Ukraine, the DEC is raising money for shelter, food and water.

    We invite you to donate directly to the DEC Ukrainian Humanitarian fund via our Just Giving Page. To buy a ticket for this event please make a donation of what you can afford. One donation equals one ticket and we suggest £10 or more.

    https://www.justgiving.com/fundraising/mwff-home

    HOMEWARD (cert 15) 2019

    Saturday 23rd April 7pm at No 6 Cinema

    Having lost his oldest son in the war between Russia and Ukraine, Mustafa resolves to take the boy’s body to his native land: Crimea. Together, he and his younger son set out on a journey that will profoundly mark their relationship.

    In solidarity with the Ukrainian film industry we will be screening Homeward. Ukrainian filmmaker Nariman Aliev’s debut feature premiered at Festival de Cannes 2019 and was nominated for Un Certain Regard. Acclaimed by critics and audiences, Homeward is a powerful road movie following a father and son united by grief, travelling across a war-torn land.

    Despite being one of Ukraine’s finest films in recent years, Homeward is just one film in a rich and vibrant history of Ukrainian cinema. The Oleksandr Dovzhenko National Centre (Dovzhenko Centre) in Kiev is the largest Ukrainian film archive with an extensive collection that includes over 7,000 feature films, documentaries, animated films and thousands of archival records from the history of Ukrainian film.

    In times of war it’s important to remember that art and humanity are inextricably linked. We are honoured to be screening Homeward and hope you will join us in celebrating Ukrainian culture.

    https://www.no6cinema.co.uk/films/making-waves-film-festival-presents-homeward

    Making Waves Film Festival runs in partnership with No 6 Cinema in the Historic Dockyard, Portsmouth and is supported by BFI FAN, BFI NETWORK, Camera Crate, Tilly Films, Euroscript, University of Portsmouth and Portsmouth Guildhall.

  • SPOTLIGHT ON LOCAL FILM TALENT: Meet the Nominees

    SPOTLIGHT ON LOCAL FILM TALENT: Meet the Nominees

    Say hello to the five talented directors from the Solent region nominated for Best Local Film. Here at Making Waves Film Festival we’re all about recognising and celebrating the very best of local filmmaking talent. Read all about our official selection below and join us on April 20th at Portsmouth Guildhall to see these bold and innovative short films.

    Joe Burbidge, dir. DISEMBODIED

    Disembodied, dir. Joe Burbidge

    After Todd accidentally decapitates his lifelong friend Marcus, he tries to preserve their friendship the only way he can think how: in the fridge.

    Joe Burbidge is a director based in the Solent area. He is a self confessed “lover of the abnormal” and it’s no surprise his creative process involves indulging his weird and wacky side through the medium of film.

    Benjamin Cook, dir. THE BEAST

    The Beast, dir. Benjamin Cook

    Trapped in a cabin nestled deep within the woods, a man struggles to cope with the demands of a creature that feeds at nightfall.

    In 2015 Benjamin Cook graduated from the University of Portsmouth with a First Class Honours degree in Film Production. His graduate film went onto travel film festivals across the world. Since leaving university Benjamin has started a production house and is on the lookout for interesting and exciting creative projects.

    Tim Faraday, dir. COME THE DAWN

    Burdened by loss, Isaac’s journey to the evergreen takes an eerie turn to the bitter truth.

    Tim Faraday is a successful actor and director with a track record of festival-selected films. He is co-founder of Square Peg Films, an independent film company who embrace their eponymous philosophy.

    Nicole Barbosa Filipe and Tomás Romão Arreigota, dir. MOÇA

    SAUDADE – the feeling of hurt, nostalgia and rawness caused by absence or disappearance from something or someone.

    Co-directors Nicole Barbosa Filipe and Tomás Romão Arreigota are film students at the University of Portsmouth. Sharing a passion for cinema since childhood, Nicole and Tomás are determined to forge successful careers in visual arts. Nicole is currently working as an assistant editor at Bro Cinema in Portugal for her year abroad.

    Jack Lucas Smith, dir. THE JAMES MODEL

    James is an AI software engineer working for ARCA. Virtual assistant malfunctioning and a conversation with his boss begin to confuse James. He feels more tired than normal. Why?

    Jack Lucas Smith is a film student at Portsmouth University. An aspiring director, photography and graphic art are among his many creative skills. The James Project was produced in association with Oxford University and the Ethics of Artificial Intelligence Institute.

    MWFF Local Films Screening & Get Networked Event

    Join us on from 5pm on April 20th at Portsmouth Guildhall for our Get Networked event.

    In addition to screening our Local Film Shortlist, we’ll be hosting BFI NETWORK Talent Executive Alix Taylor-Searle. Alix will talk through the upcoming call out for BFI NETWORK Short Film Production Funding and Early Development Feature Funding, which both close for applications in May. There will also be a Q&A with a filmmaker about their experiences working on a BFI NETWORK short film project. 

    So, if you want to know more about how your short film could make our official selection next year, come along!

    Tickets: FREE (but you must book)

    For more information visit our GET NETWORKED! events page: https://makingwavesfilmfestival.com/get-networked/

    Book your ticket via Eventbrite: https://www.eventbrite.com/cc/making-waves-film-festival-2022-200779

  • ALI & AVA: ONCE UPON A TIME IN BRADFORD

    ALI & AVA: ONCE UPON A TIME IN BRADFORD

    Realism meets romance in Clio Barnard’s refreshing love story.

    Nominated for two BAFTA’s (Outstanding British Film and Best Actor), Ali & Ava is the centrepiece of Making Waves Film Festival 2022. Written and directed by Clio Barnard, this contemporary romance is a bold move for one of Britain’s most talented and original filmmakers.

    Barnard has earned widespread critical acclaim and multiple awards for The Arbor (2010), The Selfish Giant (2013) and Dark River (2017). Exploring dark and tragic themes across post-industrial and rural Yorkshire with a mix of professional and non-actors, her cinematic social realism and poetic naturalism has been compared to Ken Loach and Lynne Ramsay. Ali & Ava, a feel-good romance, might seem a surprising follow up.

    Ali & Ava meet in the rain. Ali is a happy-go-lucky landlord who occasionally gives his tenants’ daughter Sofia a lift to school. Ava is Sofia’s classroom assistant. Ali & Ava’s first encounter is fleeting, little more than a glance. Their second is a rain-drenched journey across Bradford as Ali offers reluctant Ava a lift home. Add a frisson of sexual tension and we have a classic meet-cute. Sounds like the start of a romcom? It is… sort of.

    Adeel Akhtar’s Ali and Claire Rushbrook’s Ava are the eponymous star-crossed lovers embarking on a secret romance. A Bradford-born DJ and landlord, Ali lives in the predominantly South Asian neighbourhood of BD3 with his estranged wife Runa. He is determined to keep their separation hidden from his Bengal British Muslim family.

    Ava is a teaching assistant from an Irish Catholic family. A widow whose husband was an abusive bully, she lives in the white working class neighbourhood of BD4. Her house is always open, a revolving door of children and grandchildren.

    Ali loves dance music and when Ava shares her love of folk and country he thinks their friendship is over before it has begun.

    “Oh that’s it, that’s it for me,” he says jokingly offering to pull the car over.

    But this is a love story and it’s not long before Ali is dancing on the sofa to Sylvan Esso’s Radio next to Ava singing along to Karen Dalton’s Something On Your Mind: a headphone disco for two. It’s an extraordinary scene, a worthy addition to any list of all-time-great-romantic-movie-moments.

    Of course, once upon a time comes before happy ever after and Barnard’s middle-aged protagonists have plenty of obstacles to overcome. Ava’s son Callum is fiercely opposed to her new relationship and chases Ali from the house while wielding a sword. Ali is still desperately in love with his first wife who longs for him to reveal their separation to his family. Ava still struggles with the memory of her abusive partner. Thinking he’s having an affair, Ali’s sister accuses him of running around with a “gori (white) chav.”

    The history of romance in film has been rocky to say the least. With the great love stories consigned to the 20th century golden age of cinema, for many the genre is now synonymous with “fluff,” “melodrama,” and “clichés.” It is interesting then to note that Ali & Ava marks an evolution, not a departure, from the sombre reflection of Barnard’s early work. While Barnard treads fearlessly onto romantic ground with Ali & Ava, she retains her trademark social realism.

    “If you’re brave enough to climb up, you’ve got to be brave enough to climb down,” says Ava with practised patience to Sofia who gets stuck on the school climbing frame. 

    If you’re brave enough to show the love, you’ve got to be brave enough to show the pain. Such is the thesis of Ali & Ava. While the film leans into pain and trauma, it never dwells. Romance is tempered with reality and, in Barnard’s words, “joy becomes an act of defiance”. Nowhere is this clearer than when a group of schoolchildren throw stones at Ali’s car as he drives Ava home. Ali quickly wins them over by turning up the stereo in his car and encouraging them to sing and dance along.

    As Ali & Ava cultivate space for love in their complicated lives, it becomes apparent that love is a choice. It doesn’t negate the pain, it isn’t a miracle cure. Sometimes choosing love is the more difficult choice. Barnard reminds us it’s the right one.

    After all, she chose love when she decided to make a diagetic romantic musical set in Bradford. With its euphoric soundtrack, Ali & Ava is a love letter not just to its titular characters but to the city. Bradford is beautifully shot by Judy cinematography Ole Birkeland with twinkling lights, less a post-industrial wasteland waiting for the Conservatives to level up the North; more a city of hope. Unlike most romantic films the central couple don’t exist in a vacuum and neither does the film. As Ali and Ava are woven into the fabric of their community so is Barnard’s filmmaking, inspired by, made with and for the people of Bradford.

    It feels important, during a time of divisiveness fuelled by politicians, Brexit polls and world events, to celebrate love and kindness. To be reminded that within the ordinary everyday we can find the most extraordinary capacity to love.

    Yes, Ali & Ava is a love story. It’s also more than that. With exquisite writing, sensitive direction and mesmerising performances, Barnard’s film reminds us that the language of love is universal. More than ever we need a language we all speak to connect us and although happy ever after might not be guaranteed (no spoilers here), once upon a time is today. Love is a choice.

    Making Waves Film Festival will present a special screening of Ali & Ava preceded by a Wave Makers Q&A with Score Composer Harry Escott, winner of the Best Music British Independent Film Awards 2021. Thursday 21 April at 7pm, No 6 Cinema, Portsmouth. Book online via No 6 Cinema.

    By Sophie Thomas