Daily Archives: April 15, 2011

Cannes Preview 2011: Women in the spotlight as directors

Nadine Labaki with a poster for her previous film, Caramel

Lynne Ramsay – back in the spotlight after too long away

It’s that time of year again. The line-up for the Official Competition at the Cannes Film Festival has been announced and it is an intriguing mixture of established and new talent that looks set to make 2011 a vintage year. Apart from the usual complaints – little from Latin America or Africa and possibly too much from certain European countries – what has caught the eye is the inclusion of six women directors in the two main sections.

The four films by women in the Palme d’Or section are:

Hanezu No Tsuki, dir. Naomi Kawase (Japan)

Sleeping Beauty, dir. Julia Leigh (Australia)

Poliss, dir. Maiwenn (France)

We Need To Talk About Kevin, dir. Lynne Ramsay (UK)

In the ‘Un certain regard’ section are:

Where Do We Go Now? (Et Maintenant On Va Ou?), dir. Nadine Labaki (Lebanon/France)

Hard Labor (Trabalhar Cansa), dirs. Juliana Rojas and Marco Dutra (Brazil)

Of these, the films by Julia Leigh, Maiwenn and Juliana Rojas are all first-time feature films and we look forward to hearing about them when the festival gets underway. Naomi Kawase is an established Japanese festival favourite who hasn’t really succeeded in international distribution yet. She has been previously nominated twice for the Palme d’Or and won the Festival Gran Prix in 2007 for Mogari no mori. Perhaps this will be her year?

We are most excited by the new films from Nadine Labaki and Lynne Ramsay. Labaki’s previous film Caramel (Lebanon/France 2007) has been one of our most popular postings and we are still hoping for a UK release of Stray Bullet (Lebanon 2010) in which she starred.

Most of all, however, it is welcome back to Lynne Ramsay. Ramsay first got noticed (and a prize) at Cannes in 1996 with her first film school short Small Deaths. When she won again with another short Gasman in 1998, she was able to turn that success into two lauded features, Ratcatcher (1999) and Morvern Callar (2002). At that point she looked like becoming the UK’s premier ‘art director’ making films that are great to look at, intelligent, different, moving and with something to say. But then she discovered just how crass and cruel the film business can be. She worked for four years on preparation for The Lovely Bones, only for the project to be taken away from her and handed to Peter Jackson. But Ramsay is committed and determined and she has stuck to her principles. We Need to Talk About Kevin is also an adaptation of a successful book but this time Ramsay has been working with Tilda Swinton two tough Scottish women together, quite a combination. Fingers crossed it all looks as good as we all hope it does on screen. The story of the film’s production is part of this useful piece by Andrew Pulver on the DGA website.

BIFF 2011 #20: JH Engström Q&A

JH Engstrom in conversation with NMeM curator Greg Hobson (photo by Paul Thompson for NMeM)

JH Engström in conversation with NMeM curator Greg Hobson (photo by Paul Thompson for NMeM)

Following two earlier photography documentaries, BIFF offered a chance to explore photographic practice directly through a Q&A with the Swedish photographer JH Engström. For several weeks the National Media Museum had been showing an exhibition of photographs by Engström and his ‘mentor’ and later colleague and close friend Anders Petersen. The exhibition closed a few days after this Q&A, but there is a book of photographs available for ‘From Back Home’ – a substantial project concerned with presenting images of the people and places of Värmland in West Central Sweden. In conjunction with the exhibition, I’ve been offering an evening class on aspects of Swedish Cinema entitled ‘Home and Memory’ so I was very interested to hear from Engström in person.

The event as advertised included both photographers and a screening of a short film about the pair’s work. However, Anders Petersen was ill and unable to travel and so Engström showed his own film about Anders, A Film With and About Anders Petersen (Sweden 2006). He also showed a ‘rough cut’ of a slide presentation of photographs from his new project focusing on his own recent family life – an intimate portrait culminating in the birth of his child. I found the slide sequence to be filmic and very striking. The documentary on Petersen was also very engaging and took us into Petersen’s world of close contact with his subjects which enables his distinctive high contrast black and white portraits. I understand that Engström has trained as a documentary filmmaker and there was clear evidence of this in the way he presented his friend (who reminded me in some ways of the Swedish writer Henning Mankell).

JH Engström with Anders Petersen (left)

JH Engström proved to be an entertaining speaker with lots to say, often very forcefully. Since I don’t know that much about international photography culture I wasn’t quite sure what to expect but Engström is clearly a major figure and the small cinema was packed. We learned that Engström’s whole outlook has been influenced by his background. He lived in Paris as a boy and returned there as a young adult to be an assistant to photographer Mario Testino. Then he returned to Sweden to gain a photography qualification. This is when he first worked with Petersen. But eventually he found Stockholm to be too ‘organised’ and restrictive and for a time he lived and worked in New York where he produced work for a project called ‘Trying to Dance’ (2004). When he did return to Sweden it was to Värmland where he had been born and where he embarked on ‘From Back Home’ with Anders Petersen. Now based in Värmland he seems to travel widely to give workshops etc. (See his website for his background.)

One of Engström's images in the 'From Back Home' exhibition. This image seems to me to be rich in cultural meanings and it 'speaks' to me about 'home' and 'memory'.

The key word for Engström’s approach appears to be ‘intimacy’. There was discussion of what this might mean, but for me Engström demonstrates it very successfully in his work. He seems to have a loose and free approach – but of course he works very hard and very professionally to achieve his aims. He said that when he first worked for Marion Testino, he wasn’t interested in fashion but he was impressed by the professional approach that he saw. He works in both black and white and colour on different formats, but always analogue not digital. I gather from this that there is no rigid ‘technique’ to be applied. Rather, he goes with whatever feels right in capturing the feeling of intimacy. As he said – “photography is about everything except reality”. His first project was in fact concerned with ‘social documentary’ – creating images with members of a women’s shelter in Stockholm but his later work consciously moves towards less organised communities.

In relation to the discussion about ‘close’ and ‘intimate’ qualities in the work a perceptive comment from the audience suggested the idea of the photographer who oscillates between the ‘personal’ – being immersed in the environment and emotionally close to the human subject – and the observer who is ‘close’ but detached. I think I’ve got this right but certainly Engström himself thought that this was an interesting line of enquiry.

I was impressed by many of the ideas in this session. For instance, I was taken by aspects of Engström’s methodology. He said that in his projects, selecting and editing photographs for the book comes first and that this then informs what goes into the exhibition (and presumably how they are presented). The photographs themselves I found quite striking and in his new work I was interested in how willing he was to display both himself and his partner for the camera. He seems like a very confident and assured young man. When I first saw the ‘From Back Home’ exhibition, I was struck by how the characters in what were recognisably Swedish locales looked rather different from the stereotypes – or rather that they looked both distinctively Swedish and ‘not at all Swedish’ at the same time. This probably says more about my own lack of knowledge about Swedish culture. However, several of the students on our evening class on Swedish Cinema linked to the exhibition remarked on how at first the characters seemed unusual but that after we had watched films set in Värmland or adjacent counties they seemed very familiar.

Here’s a short YouTube clip taken during the ‘From Back Home’ exhibition’s stay in Angers (dialogue in French):

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