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opening single. We'll also have the super league results, all at | :00:00. | :00:00. | |
10:30pm. Now it's time for the film review. | :00:00. | :00:15. | |
Hello and welcome to The Film Review on BBC News. | :00:16. | :00:18. | |
To take us through this week's cinema releases, | :00:19. | :00:20. | |
We have I Am Not Your Negro, which is an Oscar-nominated | :00:21. | :00:31. | |
We have Raw, which is a real breathtaking debut feature. | :00:32. | :00:43. | |
And A Quiet Passion, Terence Davies' film | :00:44. | :00:45. | |
And I Am Not Your Negro, billed as a documentary. | :00:46. | :00:52. | |
Is it solidly a documentary, a funny genre? | :00:53. | :00:55. | |
Well, basically what it is if it's based on an unfinished project that | :00:56. | :00:58. | |
James Baldwin had started working on, to tell the story of America | :00:59. | :01:02. | |
through the story of three men, Medgar Evers, Malcom X | :01:03. | :01:05. | |
And so what you get is the film is narrated by Samuel L Jackson, | :01:06. | :01:14. | |
and it mixes news footage, reportage, clips from movies, | :01:15. | :01:18. | |
clips from television programmes and it puts together basically | :01:19. | :01:22. | |
a narrative which tells the story in a way which is both polemical | :01:23. | :01:26. | |
One of the outstanding features is some of the footage | :01:27. | :01:30. | |
of Baldwin himself, who comes across as a brilliant orator | :01:31. | :01:33. | |
I have more in common with a black scholar than I have with a white man | :01:34. | :01:45. | |
And you have more in common with a white author | :01:46. | :01:51. | |
than you have with someone who is against all literature. | :01:52. | :01:53. | |
So why must you always concentrate on colour, | :01:54. | :01:55. | |
There are other ways of connecting men. | :01:56. | :01:58. | |
When I left this country in 1948, I left this country with one | :01:59. | :02:02. | |
I might have gone to Hong Kong, I might have gone to Timbuktu. | :02:03. | :02:07. | |
There was a theory that nothing worse could happen to me there that | :02:08. | :02:13. | |
You talk about making it as a writer about yourself. | :02:14. | :02:19. | |
You have to be able then to turn all the intent with which you live, | :02:20. | :02:22. | |
because once you turn on your back on this society, you may die. | :02:23. | :02:26. | |
You can see it seems really, really urgent, really engaging, | :02:27. | :02:29. | |
The way in which they mix news footage and television and films. | :02:30. | :02:39. | |
There is a very coherent argument, which is about the sort | :02:40. | :02:41. | |
of nature of America, which seems every bit as pertinent | :02:42. | :02:45. | |
now as it did when this was sort of first envisaged. | :02:46. | :02:49. | |
The thing that was most striking about it is, | :02:50. | :02:51. | |
on the one hand, you asked, is it a documentary. | :02:52. | :02:53. | |
It's basically it's a visual essay that's put together with I think | :02:54. | :03:09. | |
No, it doesn't and that's what's so brilliant about it. | :03:10. | :03:14. | |
You end up feeling that what you are seeing is a visual | :03:15. | :03:17. | |
representation of an argument that may have been laid down a literature | :03:18. | :03:21. | |
and really engaging, really as I said timely. | :03:22. | :03:24. | |
Put together in a way that absolutely grabs the audience's | :03:25. | :03:27. | |
attention and leads them through this story. | :03:28. | :03:29. | |
It was up against very strong competition in the Oscars, | :03:30. | :03:36. | |
but it's a really good piece of work that is accessible | :03:37. | :03:38. | |
And has done really well at the box office. | :03:39. | :03:42. | |
Perhaps more than they expected, which is quite heartening as well. | :03:43. | :03:45. | |
Now, look, Mr Kermode, because when we decided | :03:46. | :03:48. | |
that we would like to continue working together, I said | :03:49. | :03:51. | |
your challenge of course was to try to get me | :03:52. | :03:53. | |
Well, thanks for doing that on week one. | :03:54. | :03:56. | |
It's a French Belgian cause c l bre, from | :03:57. | :04:05. | |
The story of a young woman who was a vegetarian, | :04:06. | :04:08. | |
who goes to vet school and there are these hazing rituals. | :04:09. | :04:14. | |
One such ritual, she is forced to eat a raw rabbit. | :04:15. | :04:16. | |
She says, I'm not going to do that, I'm a vegetarian, but then | :04:17. | :04:19. | |
she starts to develop previously suppressed appetites. | :04:20. | :04:21. | |
The film turns into on the one hand a horror movie, | :04:22. | :04:24. | |
that refers to movies like I suppose Trouble Every Day, and to some | :04:25. | :04:29. | |
that refers to movies like I suppose Claire Denis' | :04:30. | :04:31. | |
But on the other hand is a story about a young woman attempting | :04:32. | :04:38. | |
to fit in when she is a misfit, about somebody who really wants | :04:39. | :04:41. | |
to be part of a group but discovers that she's something | :04:42. | :04:44. | |
It's very metaphorical and allegorical and on some level | :04:45. | :04:47. | |
the director described it as a modern tragedy, | :04:48. | :04:49. | |
It's also got a fairy tale element to it. | :04:50. | :04:52. | |
Yes, there are visceral things in it. | :04:53. | :04:56. | |
Yes, there are moments in which you will gasp and recoil, | :04:57. | :04:59. | |
There's really heartfelt emotion in it. | :05:00. | :05:01. | |
It has meaty substance, pun fully intended. | :05:02. | :05:06. | |
I hear you, but I also read that people have been actually | :05:07. | :05:10. | |
Yeah, stories about people fainting I'm sure are exaggerated. | :05:11. | :05:18. | |
Honestly, give it a go, you'll really like it | :05:19. | :05:23. | |
Let's see how long we work together before I have the | :05:24. | :05:31. | |
guts, in every sense, to go and see that. | :05:32. | :05:37. | |
I am however really looking forward to A Quiet Passion, the | :05:38. | :05:39. | |
This is his film about Emily Dickinson. | :05:40. | :05:46. | |
A terrific central performance I think by Cynthia Nixon. | :05:47. | :05:48. | |
She is the young poet was told early on that the classics of | :05:49. | :05:51. | |
every language of the works of men, not women, says an editor who agrees | :05:52. | :05:58. | |
to publish one of her least wayward problems. | :05:59. | :06:00. | |
She's a rebellious spirit, she is wrestling with the eternal | :06:01. | :06:02. | |
Also with her lack of recognition in her lifetime. | :06:03. | :06:06. | |
She is finding solace in her family, and her friends. | :06:07. | :06:08. | |
Do you suppose that men are frightened of a woman who teaches, | :06:09. | :06:23. | |
Men are supposed to be fearless, aren't | :06:24. | :06:31. | |
And Catherine Bailey is a scene stealing-ly good. | :06:32. | :06:57. | |
And Catherine Bailey is scene stealing-ly good. | :06:58. | :06:59. | |
What I like about this film is, on the one hand, it is | :07:00. | :07:02. | |
There is real life and laughter in it. | :07:03. | :07:05. | |
It is a film which is about poetry which has visual poetry, the | :07:06. | :07:12. | |
You end up thinking of Vermeer or Carl Dryer. | :07:13. | :07:16. | |
If you know Terence Davies work, and the way in which she will | :07:17. | :07:20. | |
If you know Terence Davies' work, and the way in which he will | :07:21. | :07:23. | |
move a camera very slowly around a room or a theatre, he is somebody | :07:24. | :07:26. | |
who at an early age fell in love with cinema, | :07:27. | :07:29. | |
sitting in the balcony as a child, looking at the moving image. | :07:30. | :07:32. | |
You can tell this from every frame of the movie. | :07:33. | :07:39. | |
Emily Dickinson, she became reclusive. | :07:40. | :07:40. | |
She got frailer, and as she got older, she | :07:41. | :07:42. | |
lived in the same house for years and years. | :07:43. | :07:45. | |
Is there a sense of claustrophobic about this, as a result? | :07:46. | :07:48. | |
As in all of Terence Davies' films, one of the things he | :07:49. | :07:51. | |
does brilliantly is writing about people whose inner lives of very | :07:52. | :07:54. | |
Of course, what happens is, she expresses herself through poetry. | :07:55. | :07:59. | |
At one point, she says there is posterity, I suppose, | :08:00. | :08:01. | |
but I would like to be recognised during my lifetime. | :08:02. | :08:03. | |
This is classic Terence Davies material. | :08:04. | :08:07. | |
People trapped in slightly claustrophobic, slightly | :08:08. | :08:08. | |
suffocating circumstances but with these vibrant inner lives. | :08:09. | :08:10. | |
As I said, the thing to remember is, and | :08:11. | :08:12. | |
I think the poster has tried to play this up: it is very funny. | :08:13. | :08:16. | |
It is also tragic and spiritual and transcendent. | :08:17. | :08:21. | |
But think about it in a week in which | :08:22. | :08:23. | |
you have this, and you have I'm Not Your Negro, and Raw. | :08:24. | :08:26. | |
You have the full smorgasbord of cinema right | :08:27. | :08:28. | |
there, and I want you to see all three of those films because I think | :08:29. | :08:32. | |
you will find something in all three of them, including Raw. | :08:33. | :08:34. | |
That's my task for the weekend ahead. | :08:35. | :08:36. | |
Best out, she said, moving on swiftly? | :08:37. | :08:40. | |
Something I think is really good fun although it's | :08:41. | :08:42. | |
proving very divisive is Ben Wheatley's Free Fire. | :08:43. | :08:44. | |
It is a kind of absurdist action movie, all entirely set in a | :08:45. | :08:47. | |
warehouse with a group of entirely incompetent and unsympathetic | :08:48. | :08:50. | |
characters, taking potshots at each other. | :08:51. | :08:54. | |
It's like they have taken the central idea which is the shoot | :08:55. | :08:58. | |
out at the end of a film, what if you | :08:59. | :09:01. | |
Fantastic cast, Brie Larson, Cillian Murphy, Armie Hammer. | :09:02. | :09:05. | |
Again, much funnier than you would expect | :09:06. | :09:09. | |
I will have to take your word on that one. | :09:10. | :09:15. | |
DVD, for anyone who wants to stay in? | :09:16. | :09:17. | |
Moana, which is proper classic modern Disney. | :09:18. | :09:20. | |
It's the story about a young Polynesian adventurer, who | :09:21. | :09:23. | |
sets out into the ocean in order to save her homeland. | :09:24. | :09:27. | |
Wonderful songs, absolutely just jaw-dropping animation. | :09:28. | :09:30. | |
A film made with real love and affection, that you can | :09:31. | :09:36. | |
Is it aimed at children, but actually it is one of | :09:37. | :09:45. | |
I think like all the best kids movies, it's | :09:46. | :09:49. | |
If you think of Inside Out, or Mary Poppins. | :09:50. | :09:52. | |
Films that anyone of any age can sit down | :09:53. | :09:55. | |
I will probably discover now that my nieces | :09:56. | :09:59. | |
A quick reminder that you can find all the | :10:00. | :10:07. | |
film news and reviews from across the BBC online. | :10:08. | :10:14. | |
The usual address: You can also find all our previous | :10:15. | :10:16. | |
You can also find all our previous | :10:17. | :10:19. | |
I have my tasks for the weekend, enjoy your cinema-going. | :10:20. | :10:23. | |
Thanks for watching and see you soon. | :10:24. | :10:25. | |
We will have a look at the Easter weather forecast and just a moment, | :10:26. | :10:42. | |
one thing I can tell you straightaway is that it wouldn't be | :10:43. | :10:44. | |
as warm as | :10:45. | :10:45. |