This month sees the release of our last print issue! When I started this project in 2010 I had no idea what I was getting myself into (how difficult could it be to start a film magazine on top of a full time job, in a recession without any financial backing, right?) but editing this magazine is an experience that has taught me much. The most rewarding part of the project – besides watching the final product arrive in the hands of readers – has undoubtedly been meeting fabulous people along the way. There are far too many to name individually but if you have written for the magazine, drawn for the magazine, designed the magazine, promoted the magazine or in anyway mentored me in my times of crisis please understand that I am extremely grateful to know you.

Our final bumper issue is available for order today and will be sent to buyers and subscribers on Monday 29th June.  Unless you are already an international subscriber, I’m afraid this magazine is only available in the UK.

The front cover comprises of a collage of our past covers, all of which have been drawn by the supremely talented Dan Havardi (aside from our digital edition which was illustrated by Alfie Gallagher – thanks Alfie!). Dan’s* last illustration – inspired by the Giallo genre hints at the goodies within our final edition.

Inside you’ll find a special section on Giallo pictures, a section dedicated to cinematic rebels and myriad other film-inspired articles such as Whatever Happened to Fright Night? and Chaplin’s Box Office Bomb! All of these articles feature alongside our regular features including Adam Glasspool’s Why I Hate Film piece and The Empress Speaks column.

Thank you for five years of print fun! Order your copy of our last ever issue here.

A ‘buy one get one free offer is currently available on issues 1-4 whilst stocks last.

*the Giallo background texture was created by garryts- thank you!

As usual it’s a glorious action-packed schedule at BFI Flare (19th-29th March, London) helpfully divided into three sections; documentaries sit side by side with a starry James Franco and Zachary Quinto effort, Rocky Horror on at the IMAX and a party celebrating Warrior Women because it’s the 20th anniversary of Xena Warrior Princess’ arrival on to the small screen and into our hearts (Xena gets her own tribute event at NFT3 on 21st March). We also love the ‘Reading Between the Lines’ series, which examines how a selection of queer books were adapted for the screen (including Orlando, The Color Purple and Fried Green Tomatoes at the Whistlestop Cafe).

Amongst the gala offerings lie nestled the twin gems of Do I Sound Gay (Dir. David Thorpe), in which the director researches the evolution of the ‘gay’ voice and masculine stereotypes, and Stories of our Lives (Jim Chuchu) which features a collection of narratives from LGBTI Kenyans, shot in stunning black and White.

Anticipation is also high for these films;

Hearts:

54: The Director’s Cut (Dir. Mark Christopher) – This film, starring the beautiful ex Mr Witherspoon Ryan Phillippe, Mike Myers and Salma Hayek, had a lot of the gay elements removed for the original release but can now be seen in its glorious entirety.

Girltrash: All Night Long (Dir. Alexandra Kondracke) Battle of the Bands. Lesbian rock musical. Written by Angela Robinson, director of D.E.B.S (2004). Need we say more?

Frangipani (Dir: Visakesa Chandrasekharam) – First gay film from Sri Lanka. A light exploration of one man who decides to marry one woman, a woman attracted by his ‘otherness’, until an alluring mechanic becomes a bit of a sticking point.

Match (Dir: Stephen Belber) – Patrick Stewart plays a retired dancer now teacher in NYC who is tempted to reminisce about his life in the 1960s.

Bodies:

Dressed as a Girl (Dir. Colin Rothbart) Behind the scenes of the London East End drag performance phenomenon. Includes fearless discussion of drink, drugs, mental health, plastic surgery and HIV, and fabulous costumes.

The New Girlfriend (Dir. Francois Ozon) Gender-questioning deliciousness. Will be out in the UK later this year but it would be daft to let these screenings pass by unheeded.

Mirco (Dir. Silvia Chiogna) A mix-up early on in the life of filmmaker Chiogna led to her being thought to be a boy called Mirco. In this documentary Chiogna wonders what life would be like if she had been that boy.

Shock Treatment (1981) (Dir. Jim Jarman) Richard O’Brien’s challenging follow up to The Rocky Horror Picture Show.

Minds:

The Amina Profile (Dir. Sophie Deraspe) Syrian uprising and the impact of the blog, written by Amina Arraf ‘Gay Girl in Damascus’. Told from the perspective of the Canadian-Jewish woman Amina had a long distance relationship with.

We Came to Sweat (Dir. Kate Kunath, Sascha Wortzel)) The 50 year history of the threatened-with-closure Starlite club in Brooklyn, a black owned and operated pre-Stonewall gay and dance club.

Tab Hunter Confidential (Dir. Jeffrey Schwarz) An examination of Tab Hunter’s closeted life in Hollywood in the early 1950s, including testimony from the man himself.

In the Turn (Dir. Erica Tremblay) Ten year old trans girl Crystal discovers junior roller derby, meeting ‘Vagine Regime’ members from across the US who have also rediscovered their confidence through this sport.

Links:

Book tickets

We love Xena Warrior Princess EVENT

BFI Flare on BFI Player

Issue 14 is our ‘Adaptations Special’. Guest edited by our online editor Maryann O’Connor, the issue explores a range of film-to-book adaptations and features a range of interviews with filmmakers who have themselves had experience in adapting texts to film.  Thanks, as ever, to our ultra talented cover artist Dan Havardi for putting together this awesome mash-up of Don’t Look Now and To Kill A Mockingbird.

Inside this issue we have a special section devoted completely to the adaptation of short stories to the big screen and we also have a mix of flashback features and topical articles covering the most pressing industry issues. Editorial includes: an exclusive interview with Jem and the Holograms creator Christy Marx, 1914 on Film and 90s Videogames: The Adaptations.

We are currently in the process of packing our orders. If you would like an issue shipped to your doorstep next week please click here.

Returning to the capital for its 9th year, the London Korean Film Festival will get underway at the Odeon West End from 6th – 15th November before moving on to Norwich, Hebden Bridge and Aberystwyth from 16th-21st November. The festival opens with recent Korean Box Office sensation Kundo: Age of the Rampant, a Robin Hood style adventure charting the final days of the corrupt Joseon Dynasty and the militia bandits who retaliated against their rulers. It is directed by Yoon Jong-bin (The Unforgiven, Beastie Boys) and stars Ha Jung-woo (The Chaser, Yellow Sea).

With over 40 films showcasing the very best of Korean cinema, the LKFF presents films from a variety of genres and will include commercial features, retrospective cult titles, critically acclaimed independents and also play host to guest appearances from established and emerging Korean talent as well as Q&A sessions from artists and industry professionals.

Director Han Jae-rim’s period drama The Face Reader premieres at the festival. Focusing on the ancient art of physiognomy, this court room based feature stars Song Kang-ho (The Host, Thirst, Snowpiercer) and Lee Jung-yae (New World, The Thieves) and tells the story of a fortune teller from a troubled, wealthy family and his indifference to greater conspiracies occurring around him.

Gyeongju, directed by Lu Zhang Zhang, will feature in the K-Spotlight section of the festival with emphasis being placed on the South Korean city of the title and setting of the film which is know for it’s hundreds of burial mounds. Gyeongju stars Park Hae-il (Boomerang Family) and Shin Mina.

K-BIFF’s Choice (New Korean Cinema strand) unveils Korea’s most critically lauded films from 2014, including Lee Su-jin’s multi-award winning Hang Gong Ju, a drama about a traumatised girl who is transferred to a new school then moves in with her teacher’s mother. While adapting to new surroundings she must also come to terms with the unexplained ordeal that is haunting her.

The festival will focus on the work of individual artists including renowned enfant terrible director Kim Ki-duk and will be premiering his three most recent titles One on One, Moebius and Pieta. Also under the spotlight will be Lee-Jun-dong, producer of Poetry (2010), who will also be attending the screening of her new film A Girl At My Door.

A new festival feature will present films inspired by contemporary Korean literature and upcoming young Korean actors will be showcased in conjunction with a screening of The Youth, by Kim jun-mu, Park Ka-hi and Joo Sung-su. There will also be short film screenings along with a number of Korean classics including The Housemaid (1960) directed by Kim Ki-young.

The award-winning Revivre will be the closing night gala on 15th November. From legendary director Im Kwon-taek (Chunhyang), it tells the story of conflicting, impossible loves as a middle-aged man comes to term with his wife’s recent death while falling for a young work colleague.

For more information you can visit the festival’s website: www.koreanfilm.co.uk

East Finchley’s Phoenix Cinema quite rightly chose to mark the centenary of WWI, the passing of Richard Attenborough and the open house weekend to showcase its beautiful 1910 building (at its opening the cinema was known as The Picturedrome) and a screening of the 1969 tour de force, Oh! What a Lovely War, a film which celebrated its 45th anniversary of release last April.

Director and actor Richard Attenborough, funnily enough most likely remembered by younger audiences as the man who tried to bring dinosaurs back to life in 1993’s Jurassic Park, was responsible for directing the film of the stage play known for being starkly but wryly honest about the origins of WW1 and its effect on our nation’s psyche.

The film contained many of that time’s biggest stars; Maggie Smith, Vanessa Redgrave, Dirk Bogarde, John Gielgud, Laurence Olivier, John Mills (plus other members of the acting dynasties of Mills and Redgrave) and much of the action was set on the seafront of Brighton; the gateway to the extravaganza of World War I, where carousels turn into forests scattered with the Belgian soldierly dead, where tiny seaside trains don’t just lead you along the promenade but to your almost certain death on the Somme as you and your family, who are being left behind while you go off to fight, sing ‘Goodbye-ee, goodbye-ee, Wipe the tear, baby dear, from your eye-ee..’

Oh! What a Lovely War quite rightly claims its place amongst the barrage of war films we have been subjected to over the years but with a difference; there is no focus on the fighting itself, no claims of heroism or bravado, just many reflections on the very real human story. The fear, the hopelessness and the realisation of many young men in the trench and on the battleground that there isn’t an upside to going to war. The very realisations that should prevent any war, the realisations that meant people referred to WW1 as The Great War because they did not believe that such a loss of life and heart could ever happen again on such a scale.

The film does not deny its stage foundations and, in that manner, finds a way to reach out to those who would not normally watch a war film. The film builds well on the drama of the beginnings of the war; the spat between European aristocracy, the joint assurances that it wouldn’t last very long, the refusals to accept offers of ceasing bloodshed, the overblowing of events into a war that was incredibly unlovely. Oh! What a Lovely War ridicules the entitlement of the officer class in a way that will be very familiar to those with an interest in Monty Python and Elton/Curtis’ Blackadder, which collectively took many pot shots at the institution of the army with The Meaning of Life and TV series Blackadder Goes Forth. Particularly poignant in Oh! What a Lovely War are the scenes showing Haig and his colleagues waltzing around the ballroom while boards display the latest numbers of allied deaths in each battle. Discussions of job promotions and lunches at Number 10 seemingly weighing more heavily on their minds than the heavy loss of life that their decisions were responsible for.

Not to take anything away from the dialogue, but the full impact of the film can be found in the imagery: the starkness of blending the innocence, bright lights and ice-cream colours of the seaside town with the blood and dashed hopes of the field hospital, the popular songs of the time bringing an added realism to a setting that should really be ridiculous but just highlights the futility of war to the fullest extent possible. The end scene of the film is dominated by camera panning out on the sight of innumerable rows and rows of white crosses, a sense of calm and peace washing away the hurt and uncertainty of war. Until the next time.

People would have sat under the barrel-vaulted ceiling of the East Finchley Picturedrome cinema and watched footage of people on the front line in the same situation that their own family members could have been in, 1914 being a budding time in the life of film and the cinema. Oh! What a Lovely War did recreate the scenarios in some of these short films, such as the meeting of ‘Tommy” and “Jerry” in the middle of no man’s land one Christmas, so once again manages to be entirely relevant to the events of that time, a time when we were more keenly aware of the effects of war than ever before. Showing Oh! What a Lovely War is certainly a fitting tribute to Lord Richard Attenborough: his first stint in the directorial chair produced a film that anyone could be proud of making..

The Iris Prize Festival (running in Cardiff 08-12 October) features the world’s largest LGBT short film prize, which will this year be contested by thirty films from 16 different countries, including India, Cambodia, Canada, Norway, Chile and Ireland. The shortlist was announced this week.

The Iris Prize is an award of £25,000 to the winning short, which will be announced in an awards ceremony on 12 October, hosted by writer, broadcaster, human rights activist and potential future MP Amy Lamé. The prize is to be commended for encouraging LBGTQ filmmakers in this way; allowing the full breadth of creativity and subjects to be addressed. This year a growing theme of getting older has been identified, which had also found a growing voice in the BFI LGBTQ festival, BFI Flare, earlier this year. The BFI is also a big sponsor of the Iris Prize Festival, along with supporter of the Best British film short award, Pinewood Studios Group, and equalities and art charitable organisation The Michael Bishop Foundation.

Andrew Pierce, Festival chair, said: “Iris is recognised for supporting talented film makers from all over the world. Five shorts, made with the prize, have been produced since we launched in 2007 and a sixth is just about to start filming. Iris is more than just a trophy that gathers dust or a certificate that yellows on the wall. Iris is what film makers need – funding, support and guidance,”

“It’s great to see films from all over the world represented in the shortlist with entries for the first time from Cambodia and Chile joining work from Canada, Germany, Brazil, Israel, Norway, Ireland, India, Sweden, Australia, US, Belgium, Portugal, and the UK all making it through to the final. The US has once again secures the largest number of films in competition with an impressive 7 out of the final 30,” said Andrew.

The Festival Programme will be announced in due course but here is the website if you want to familiarise yourself with past features of the festival.

If Shaun the Sheep has dropped off your radar since his showstopping turn in Wallace and Gromit adventure A Close Shave (1995), then you needn’t bother reading on… Aardman studios and StudioCanal are looking for Shaun’s biggest fans, so they can shower them with Shaun the Sheep film 2015 goodies and give Shaun’s ultimate fan their own model-based appearance as an extra in Shaun’s film (released February 2015)

So, to win the chance to ‘meet’ Shaun the Sheep and star in his film, Aardman and StudioCanal want to see evidence of just how much you love Shaun. Evidence of said fandom to be sent in via Postman Pat to StudioCanal, or you can email your tribute to the Radio Times. Entries will be judged by Shaun the Sheep film director Richard Starzak. Full details are on the Radio Times website. All competition entries must be received by 1100am on 27 August.

Shaun made such an impression in A Close Shave that he got his own solo outing, first on the little and now the big screens. Shaun’s wool has long since grown back after that unfortunate shearing incident and he has been seen ruling the roost [not to mention the pig pen, barn, farmer’s house and field] on the BBC kiddiwink channel, CBBC. Non-child fans of the show will know that Shaun is the ultimate mastermind, fixing any tricky situation to crop up around the farm and, with the limited help of ineffectual sheep dog Bitzer, keeps the farmer completely in the dark about the flock’s non-sheep-like antics.

The humour is brilliant, as with Wallace and Gromit’s offerings, but sometimes manages to take a step up from Wallace and Gromit. The film references are well placed, especially in Series 4 episode The Spider, where Arachnophobia is heavily referenced. The things the sheep get up to are so intricately thought out and all communication takes place with a baa here and a baa there so it could be classed as a perfect example of how silent film can still knock it out of the park as far as comedy is concerned.

Yes, we are very excited about the upcoming Shaun the Sheep film, so much so that we don’t even care about this competition’s flimsy promotional context.

Historic film footage of bridges, industries and rivers in the Middlesbrough area is being made more accessible to the public as part of link-up between the North East Film Archive and the £2.6m Heritage Lottery Fund supported Tees Transporter Bridge Visitor Experience Project.

During a six week placement at the Middlesbrough-based archives, Teesside University BOOST Summer Placement student Jonathan Lithgow sifted through hours of footage as part of the Bridges, Rivers and Industrial Heritage Project. Lithgow said of the footage: “The collections feature a whole range of key events, industries and landmarks across the north east from professional footage of royal visits to amateur footage of family holidays in the region.”

Jonathan sifting through the film footage

 The research will help shed new light on the vast collections that feature landmarks such as the Transporter, High Level, Queen Alexandra and Union Chain Bridges spanning the Tees, Tyne, Wear and Tweed, as well as providing new information on films chronicling shipbuilding, iron, steel and chemical industries in the region.  A list of over a hundred films relating to the aforementioned rivers has been compiled as part of the project, as well as timelines charting key moments and developments along each river.

Reel footage of the construction of the Tyne Bridge

A selection of footage featured in the project can be viewed on the North East Film Archive website including Bygones, a short film from the late 1970s charting the history of the Tees Transporter Bridge.

Click here to view some of this historic footage

Issue 13 is now ready to order and will be shipped on Friday 11th July! This issue is our Teen Movie Edition and is jam-packed with stories and articles about your favourite teen flicks – alongside a few that may not be so familiar. Thanks as always to our talented cover artist Dan Havardi for his work on this issue!

Our special section this issue is on 90s teen movies – a totally dope compilation of articles on the best-loved films from that era. In addition to this you can catch up on some of the most amusing film news snippets from the last couple of months, find out why Adam Glasspool still hates film 13 issues in and read our very special tribute to John Candy. Our print editions have a nasty habit of selling out quick so order soon to avoid bitter disappointment.

Click here to pre-order your copy today and make sure you get yours first!

The Game of Thrones television series has proved to be one of the most successful shows of recent years, gripping viewers for the duration of its four seasons. From die-hard fantasy fans to first-timers, the show has taken over a generation of viewers and kept them glued to their screens, waiting for the next development.

For the minority of people who have yet to experience the show’s wiles, it’s not too late to get involved. With around eight seasons planned, and only four released, there’s plenty of time to step into the magic. Here, we provide an introduction for the uninitiated, to get you started.

An overview

The Game of Thrones TV series is based on a series of novels written by George R. R. Martin and titled A Song of Ice and Fire. Five novels have been released since 1996, with plans for a further two to be released before the series is complete.

The series, which is widely considered to fit into the ‘Epic Fantasy’ genre, follows a number of noble families living across two fictional continents, Westeros and Essos. A recent article in The Guardian claimed the show to be the most talked about television series of all time.

Plot

The plot and themes of Game of Thrones are thoroughly original, but like most of the series shown by HBO UK, it has learned some important lessons from the most successful shows of years gone by. Avoiding any harmful spoilers, the power of the enticing Game of Thrones plot is easy to recognise – even to those who have yet to see it!

The beginning of the TV series enters the dramatic world at the end of a decade long summer. In this fictional world, seasons can last for many years at a time. This first season of the show follows a civil war between a number of families – all of whom are battling to win the Iron Throne of the Seven Kingdoms. Even Queen Elizabeth has been impressed by the power of the throne during a recent visit to the film set!

The second season of Game of Thrones sees some of the most impressive visual displays in all of the show. The plot moves on to focus on the coming of winter – a long and difficult period (Season 3).

Some of the biggest and most unexpected plot twists appear in Game of Thrones Season4, the most recently aired collection of episodes and that is leaving fans questioning just what will happen next?