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Month: April 2017

Album: Future Islands — The Far Field

Released 7th April via 4AD

7/10

Following a now-legendary Letterman performance of ‘Seasons’, the lead single from their 2014 album Singles, Future Islands became instantly canonised as indie darlings. They deserved it, and it was earned by more than just one performance: Future Islands have been producing some of the best synth-pop around for quite some time. Frontman Samuel T. Herring’s dancing, growling and passionate chest-beating made that performance what it was, but Future Islands have always acted as something of a Trojan Horse.

Their exterior is synth-pop that’s never too far away from A-Ha, New Order, and Orchestral Manoeuvres in the Dark, yet inside boasts slow-burning and sorrowful musings on life. Meanwhile, Singles is one of the most appropriately titled albums in recently memory. Simply a collection of great stand-alone tracks, over the course of the album you fall in love with not just with Future Islands, or Singles, but with life itself. Singles was joyous, as well as cathartic.

So, with the weight of their most successful and best work weighing firmly on their shoulders, how does their follow-up, The Far Field, fare in comparison? Pretty well, it turns out. During the Singles tour, Future Islands performed their thousandth show, so it’s not surprising that Herring’s steely vocals sound a little strained here. But it’s not just because of strained vocal cords, but because Herring is strained as a person.

Songs such as ‘Through The Roses’ and ‘Time On Her Side’ reflect on broken relationships of distant and recent past, whilst ‘Beauty Of The Road’ reveals the simultaneously damaging and rewarding life of touring and being away from home and from those you love.

The main highlight, however, is the song ‘Shadows’, where the vocals of Herring and the guest vocalist, Blondie’s Debbie Harry, intertwine perfectly. Harry, now a septuagenarian, understandably has a more brittle voice than that of her Blondie heydays, but it works. It totally works.

Giving a performance more like Victoria Legrand from fellow Baltimore-based band Beach House, her fragility mixed together with her sincerity and confidence makes for something to behold. All this entangles and swoons around the harshness and softness of Herring’s voice. The result is perfect, making a song that can stare down any of their previous work and win!

The Far Field is Future Islands’ fifth effort and shows that they don’t feel the need to change the formula, most likely for two reasons. One, because people don’t want a change from them: if Future Islands produced a hip-hop album in line with Herring’s work under the alias Hemlock Ernst, however good it may sound, it’s hard to imagine it would be received well by fans.

Secondly, The Far Field shows that there’s life in Future Islands’ formula yet. Songs such as ‘Ran’, ‘Cave’ and ‘North Star’ provide the fast-paced, soulful, indie-dance anthems that people expect of them. Yet, the main skill of Future Islands is to produce something familiar that never verges into something predictable or old hat. It’s easy to imagine lesser bands being called out on not moving forward or bring something new to audiences. Future Islands are beyond this. They don’t need to fix something that isn’t broken.

However, if there is a problem with The Far Field, it is that the slower tracks feel like slowed down versions of the band’s rapid, high-energy ones. Previous slow songs were much more than this. Take ‘Fall From Grace’ from Singles, where Future Islands mix the growling vocals Herring usually reserves for live shows with heavy, slow bass work to produce the closest approximation we’re likely to ever get to a Future Islands metal song. The result is intense, yet beautiful and emotional.

Yet, when you replace songs such as this for songs which just seem like Future Islands standards played slower, something is clearly lose and deeply confessional lyrics and passionate vocals don’t really make up for this.

It seems, at times, that Future Islands mistake alternation for variation, and those are not the same thing. Although the songs on aren’t bad — in fact they can be pretty great — it sometimes feels frustrating. The words the songs such as ‘Through The Roses’ are some of Herring’s best, but you can’t help but feel that those words deserve music that matches them.

On balance, have Future Islands produced a worthy follow-up to Singles? Sort of. Whilst songs such as Shadows can stare down the band’s best material, The Far Field cannot compare to the consistently high-quality Singles. That doesn’t stop it from putting up a good fight at times, though.

Album: Wire — Silver/Lead

Released 31st March via Pinkflag

7/10

Forty years after their first scorching document, 1977’s peerless Pink Flag, veteran art-rock outfit Wire are a totally different proposition. The closing trio of songs on their new album bear very little resemblance to the sharp, stinging racket of ‘Start to Move’ or the 83-second dash of ‘Three Girl Rhumba’. They approach something you could describe as greyscale psychedelia, some distance away from the 80s material of their old post-punk cohorts the Teardrop Explodes or Siouxsie & the Banshees when they mined the lysergic, primary-coloured 60s for inspiration.

You can hear it on the churning, languidly melancholic ‘Brio’, which replaces wide-eyed wonder with despondent pessimism, paisley with panic. Equally apprehensive is ‘Sleep on the Wing’ where skittering drums mesh with nebulous, echoing guitars, droning and unsettled instead of basking in acid-fuelled awe. It is supremely odd; it also happens to be the best song on the album. But then perhaps Silver/Lead, the band’s 15th, represents a very normal state of continuity.

Wire have always been supremely odd, if only music writers had been paying close attention. It’s what tends to happen with hugely influential groups of a certain generation, entering the years where they receive the uneasy status of being heritage artists, the words ‘epochal’ and ‘classic’ featuring heavily in their biographies. Things get left there. Barely anyone talks about their years stranded in the wilderness – try and recall the last time you saw a reappraisal of Tin Machine – or the decades of assumed inactivity, where band members pursued solo projects and extracurricular interests.

There are, of course, Wire’s outstanding first three records: the aforementioned Pink Flag, 1978’s Chairs Missing and 1979’s 154. But then there are the largely forgotten and overlooked albums from their variable period in the late-80s and early-90s that, in retrospect, are still worthy of discovery: the bizarre odyssey that is 1991’s The Drill, pitched somewhere between acid house and Brian Eno & David Byrne’s remarkable, sample-based My Life in the Bush of Ghosts; the somewhat unwieldy A Bell Is a Cup Until It Is Struck and its ambitious, New-Order-on-haunted-ketamine-comedowns predecessor The Ideal Copy.

Many post-punk bands of the original era made patchy albums after their seminal debuts – Public Image Ltd, Killing Joke, and Gang of Four, for example (and a good helping more, but we would be here for days) – yet Wire’s work from 1987 onwards until their second hiatus in 1992 was, if not always successful, certainly always interesting. You could say much the same about Silver/Lead.

‘Diamonds in Cups’ is deeply unusual and strangely metronomic: brash, metallic guitars vie for space with imposing bass. Yet it’s also capacious and sweeping, decorated with a sighing melody that’s almost pretty; stranger still, it recalls not blistering experimental post-punk but the reliable MOR chug of Chris Rea.

It perhaps serves as proof that not everything on Silver/Lead works. Not as engaging or involving as 2015’s self-titled album, you could easily end up feeling underwhelmed, thinking that the breathless dynamism that began with 2013’s Change Becomes Us has been abruptly halted.

‘This Time’, with its relatively clichéd intimations of doom and suspicion (“Some folks claim they know all the answers/ and for a price they share them with you”) spirals gloomily into muddled noise, at the slight expense of sounding like another, superior track, ‘Forever & A Day’. Likewise, the claustrophobic ‘Sonic Lens’ is less silvery and a bit more leaden. However, repeated listens reap rich rewards.

At first, Silver/Lead is a hard album to interrogate: it is wilfully dense, virtually all ten of its tracks uniformly progressing at a slow, considered, leisurely pace, as if underlining the fact that three-quarters of the band have a combined age of 191.

You can’t possibly expect men firmly in their 60s to replicate the shocking, thrilling ferocity of their debut. The driving, racing ‘Short Elevated Period’ certainly tries, delivering typically taut and economical punk rock. Lurking somewhere beneath it all exists an eccentric pop song in the same vein as 1979’s ‘The 15th’: the same inhaling breaths of synthesiser, the same whirling presence of reverb.

“Have you got an alibi?” queries ‘An Alibi’, a quietly threatening question conveyed in a very sleepy, defeated voice; its torrential if sedated cross-examination feels like a chore. That reads like a criticism, but it isn’t: ‘An Alibi’ rather brilliantly evokes what a prolonged enquiry feels like, augmented by its stoic melody, unchanging throughout, plodding on joylessly and determinedly.

A weary, fatigued mood even extends to Silver/Lead’s brightest tunes. The deftly somnambulant ‘Forever & A Day’ begins as brooding, Nevermind-esque grunge and slowly unfurls into a beguiling, unlikely love song. “Oooh darling, I want you to stay”, sings bassist Graham Lewis, “Forever and a day”. Distorted, buzzing guitars are entangled together alongside rich, airy synths that come in like a breath of fresh air. With some inevitability, a grave disquiet undercuts any sweetness: “Virtue’s been coupled, only shadows remain”, Lewis murmurs.

Some things never change: only stern, angular post-punks would let anxiety get in the way of unabashed romance. This is, after all, the band that wrote 1977’s ‘Brazil’. It’s the sole moment on Silver/Lead where you could accuse Wire of being self-referential.

For the most part, they continue their admirably forward-thinking approach to rock music, which, in itself, is the only constant thing about them. Four decades on, Wire are still the exact same band they were – supremely odd and ahead of their peers.

FA Cup Semi-Final: Manchester City 1-2 Arsenal

If this game was a TV programme…

Prison Break

Photo: Wikimedia Commons

Prison Break’s come back to TV with a new series and it’s just not how it used to be. We are meant to ignore the fact that all the recurring cast from the series seven years ago just happen to keep running into each other and are conveniently the best people for the tasks required. “Oh Simon, I didn’t expect to see you here!” Really? You’ve seen all seven of Simon’s mates today, it was only a matter of time. It’s driving me insane. The first few series were fantastic, enthralling, and innovative. Now it reeks a little bit of a writer who ran out of ideas.

Don’t worry — I’m getting to my point. The first half of this game saw Manchester City have 70 per cent possession, and indeed they were banging on the door all game. Arsenal couldn’t get a sniff. Fast-forward 75 minutes and City are knocked out of the Cup after a swift deterioration. It’s all very Prison Break. I wonder if Nicolás Otamendi’s tattoos* are the blueprints to the Etihad Stadium…

*This is a niche reference for those who have watched the series, apologies if this is all getting a bit much.

Man of the Match

Alex Oxlade-Chamberlain had a brilliant game. The England midfielder dropped deep to pick up space and then started many of Arsenal’s attacks, in a game where Mesut Ozil was pretty anonymous — again. Perhaps I felt nostalgic watching Yaya Toure boss a game at Wembley, but it was beautiful watching the Ivorian. For the first 70 minutes he played pretty well, but he obviously isn’t the player he used to be. If you pass it to him, he rarely loses it, but he doesn’t take the risks that he used to so doesn’t create the chances.

But, as soon as Nacho Monreal equalised for Arsenal from a superb cross at the back-post, Yaya got frustrated at somebody trying to take his Wembley limelight. He turned on the style and it was like watching him back in his prime dictate the play and play incisive passes. Unfortunately, it was not enough because the rest of the team were knackered. That may very well be Yaya Toure’s last game at Wembley sadly. End of an era… or is it? Prison Break cliffhanger…

Squad Depth

With Gabriel Jesus missing the match due to fitness, and Raheem Sterling substituted on at the 23rd minute thanks to a David Silva injury, City’s bench was limited. With an ageing squad and contracts expiring, Guardiola may have a pretty big job in the summer. With Fernando and Fabian Delph being the go-to guys in extra time, and Kelechi Iheanacho the only attacking option for the Blues, they didn’t manage to put up a big fight at the end. Expect changes in the summer to a squad that have done well over the last five years, but may need a little shake-up.

#Wexit

It’s hooked the nation since last year. The Queen’s reportedly expressed that she’s ‘out’, Piers Morgan’s definitely ‘out’, I believe Gary Linaker is ‘in’. It’s caused rioting and has taken over news coverage. Yes, the Wengerendum! Whether Wenger will manage Arsenal next season is a mystery to the world, but now that he has an FA Cup Final to look forward to at the end of the season, it gives him an opportunity to either save his career or go out on a high… or fail miserably.

Wenger has overachieved at Arsenal throughout his entire career. With the squad he’s been given over the last five years, he has still managed to compete with the rest of the Premier League and finish in the top four, well above what that squad should achieve. Let’s not forget, that if we ignore Leicester City’s anomalous title success last season, Arsenal were the highest finishing side. It’s not actually all that bad. But, sure, let’s all cheer #WengerOut and watch Alan Curbishley finish 17th next season with Arsenal and complain about the squad that Wenger left behind.

Photo: Wikimedia Commons

Chances

Arsenal, it must be said, didn’t really have lots of chances. Their first goal came curtesy of Nacho Monreal flying in at the back post to tap the ball in from a wicked cross, and the second was an Alexis Sanchez tap-in from a set piece. Monreal had an excellent game bombing down the wing, after an impressive season despite an unimpressive tally for the Arsenal team in the league.

City had many more chances. Their goal came from a beautiful Yaya Toure counter-attacking ball reaching Sergio Aguero who chipped the keeper. Fernandinho battered the crossbar with a header from a corner in the second half, and Yaya Toure with a half-volley hit the post from long range also.

It’s also worth mentioning that City scored a legitimate goal courtesy of Sergio Aguero that was ruled out. The ball was deemed to have gone out of play from a Leroy Sane curling cross, but in fact was still in play. Aguero then tapped the ball in just over the line. The linesman was too busy reaching for the Flump in his pick ‘n’ mix and missed the goal. Whoops.

Review: Indique

Over the past four years that I have resided in Manchester, I have, until very recently, been frustrated by the Indian cuisine options I have encountered. Many may say I’m crazy and that my prime location within walking distance of Rusholme’s Curry Mile means I have a plethora of diverse and quality choices close by. However, apart from a select few instances, I have been disappointed by various restaurants that boast of serving fine Indian food.

(Other restaurants that serve grilled meat have actually far out achieved the curries I have tasted – namely Antalya Café’s cheap and succulent chicken kebabs, served in soft bread and with a large, fresh salad.)

Whilst scouring TripAdvisor for any new additions to their ‘best restaurants in Manchester’ section, I realised a name I have increasingly come across – Indique. Situated on the food hub of Burton Road, close to Fallowfield, I thought it was about time I tried this highly rated, talk about curry house.

With a partner in tow, I entered Indique on the Tuesday following the recent bank holiday, I therefore expected it to be somewhat subdued. However, we were met with an impressive half-full restaurant with smiling waiters and a cheery background hum of Indian music. The inside is a fairly strange layout, consisting of a wholly inside section and then a few tables located in the attached conservatory, glass roof section. We sat happily in the latter section and I was facing colourful wall paintings that continued the good impressions.

We quickly chose to order two pints of Cobra, the classic lager to pair with curry and began inspecting the food menu. I’m not a fussy eater, so I normally find it a struggle and toss-up between meal choices, however, this time it was especially hard. Indian cuisine, full of meat, spices, onions and tomatoes, combines many of my favourite ingredients and Indique’s menu seemed to have been created especially to meet my dinner desires.

After a record amount of toing and froing we decided to share three starters consisting of onion dall bhajis, Kathi chicken tikka rolls, and Peshwari lamb chops. We decided a variety of meats and a vegetarian starter would allow us to have the fullest experience.

Whilst we waited for our starters to arrive, our attentive waiter brought over a dish of complimentary poppadums and dips. The smooth sweet mango chutney paired expertly well will the slightly spicy tomato dip and the finely chopped onion mix to create small mouthfuls of flavour-filled enjoyment.

When our starters were brought out we firstly appreciated their simultaneous arrival, something that is becoming less and less common in modern restaurants. Next, we were hit with our first course of Indique’s beautiful presentation. Our kathi roll dish was served on a grey slate tile and was accompanied with slashes of bright green and pink chutneys, and not only was the presentation impressive, but the taste of the sauces were not redundant but added to the overall dish with sweet and minty notes. The Peshwari lamb chops were small, however, packed a powerful tang. The paprika filled coating left us wanting more. Finally, the onion bhajis were satisfactory, they would have benefitted from being slightly crispier, but the tamarind sauce that was squeezed over the plate more than made up for it.

Happy and more than contented by our starters, we eagerly looked forward to our mains. Earlier we had ordered: a chicken tikka makhani curry, a lamb rogan-e-nishaat curry, a garlic naan, a plain naan, and some rice. We had been almost tempted to order a delicious sounding vegetarian option such as Bhindi-do-piaza, however, the amount of food we had order was already enough to feed an army.

Without a long wait, our mains appeared. Two deep pots of oppositely coloured curry and full-to-the-brim wicker baskets full of naan bread made us feel instantly excited. My renowned to be fussy partner commented on the flavour and silkiness of the butter chicken tikka makhani curry being ‘tasty’ and my melt-in-the-mouth lamb was engulfed by rich layers of complimentary spices. We dipped and wiped every last inch of sauce from our dishes and sat back with a quiet sense of achievement.

Indique’s flavours, textures, presentation and waiters impressed me no end, my only question is: when can I go back?

Manchester Lift-Off Film Festival 2017 Short Interview: Found

One of the highlights of day two of Lift-Off was Found, a truly fantastic thriller about a man who spent ten years searching for his kidnapped daughter. I had the privilege of interviewing director Richard Hughes about his film, if you would like to read a review of this short before progressing to the interview click here

What makes the short worthy of even more praise is the fact the story is entirely original and not adapted from a book or real life events. “We took inspiration from films like Denis Villeneuve’s Prisoners and Man on Fire” he told me. “Dave Christian and I actually wrote the film back in 2015, whilst on a road trip through Montana in the United States”.

Going through the process of turning their idea into the finished product, they found the whole process raised very few issues. “We were confident in our script and found it was flowing well with the actors. As a result, we are able to shoot the film without any changes.” The shoot was not without its problems though as he went on, “it was touch and go during the final scene when the house was set on fire. With wild winds on the way, the Fire Brigade we close to shutting down the filmset which would’ve resulted in a totally different ending to the script”.

Hughes demonstrates his fantastic ability to control tension throughout the film with it being a large factor in making it so gripping. He takes inspiration from directors such as the Coen Brothers and Denis Villeneuve who seem to have a deep understanding of tension. “A technique they have mastered is to introduce it during silence. This technique, along with visuals to play out tension and suspense is a film craft that I want to execute.”

Alongside tension, Hughes also has great cinematographic skill extending past this short and covering all of his projects. “I think I’m a very visual director. I loved photography from a young age and always have a camera by my side. I love exploring the technique of ‘Mise en Scene’, or hidden meanings that may or may not be visible to everyone in the audience but can sway a viewers mind subliminally through framing, props and wardrobe. It can be powerful and used with boundaries.”

Away from the craft of the film, the cast deserves high praise for their performances. I asked if they two lead actors Richard Cawthorne and Shane Connor shared the vision or whether there were bumps along the way. “They did share the vision, both were extremely passionate about the film” he said. “In particular I learnt a lot about directing performance with the lead Richard Cawthorne. He used a method approach, which is basically when an actor aspires complete emotional identification with the part.” This, while a new experience for Hughes, lead to a great partnership. “Although emotionally taxing, we definitely connected on another level through the shoot. It felt as though we were inside our own intimate bubble, allowing us to break down his character’s motivations without influence.”

In a look to the future, I asked what film he would make, given free range and budget. “As a young child I was obsessed with cowboys and pirates. I have always had a dream to make a gutsy pirate film with no frills and true grit. An honest, dark and disturbing portrayal of how these fascinating barbarians rule the seas.” For now though he is working on transitioning from short to feature film. “We have dreams of one day turning this film into a feature length. Currently we have a two feature scripts and we’re pursuing both. The other film is a modern day pirate film ‘Friday Freedom'”. His dream of a pirate film may not be out of reach.

Finally, I ended by asking his top five films of all time and unsurprisingly the Coen Brothers and Villeneuve both feature in the form of No Country For Old Men, The Big Lebowski and Sicario. The rest of the top five is made up of Leon and The Truman Show.

Manchester Lift-Off Film Festival 2017 Documentary Interviews: Cabby and The Botanist

This years festival saw four documentaries featured in the program covering a wide range of topics. I had the privilege of speaking to the directors of two of those films in particular, Daniel Watts of Cabby, and Maude Plante-Husaruk of The Botanist. If you are interested in reading the reviews of each before progressing to the interview click here to find Cabby and here for The Botanist.

Cabby

Cabby’s showing at Lift-Off was perfect given its Manchester setting. It contained shots of many locations that would be familiar such as Fifth nightclub during freshers week. Giving an interesting insight to the people who aren’t often noticed, I’m sure it’ll spark more people to chat to their taxi drivers on their next night out.

Your film was also shown at Manchester International Film Festival in 2015, why was there such a gap between that and Lift-Off this year?

I made the film whilst at University and after I left I decided to set up my own production company. Since then I have just been doing corporate work for companies like Speedo, with the intention of becoming a documentary filmmaker and hopefully one day doing a feature film. It’s been two years since we filmed Cabby and it just makes me reflect, giving me motivation to make more films.

When you do reflect on Cabby are there things you see now and think ‘if only I didn’t include that’ or vice-versa?

I’m a massive perfectionist, so when I’m watching it I just shake my head at all the mistakes. In the development of making the film I spoke to at least 70 taxi drivers and they can be quite flakey and hard to track down at times. There was one in particular who dropped out last minute which was a shame as they had some really interesting stories.

Was Cabby your first attempt at a documentary?

I’ve done a few documentaries before, for example one about the street art in Manchester. Cabby was my final project though. I love meeting people and always had experiences of going on nights out chatting to taxi drivers and just having random conversations. It’s because of this that I wanted to document the characters.

As you progress through your career, what are the shorts you would really like to make given free range?

Personally I really like obscure cultures and scenes. The different ways that people act that are unique. In the same way I’m a big fan of Louis Theroux’s social commentary documentaries.

Do you watch lots of films or do you concentrate on documentaries like Theroux’s to get filmmaking ideas?

We are starting to see more and more documentaries incorporating a cinematic style which is taken from films. I love both and watch a diverse range of things in order to learn about different styles I could use. I can only see myself making documentaries though. The stripped back feel, just getting to know people and learning about their life experiences. There are lots of topics which have already been done so I try to find the more out-there people.

Are you working on another film? Or have plans for the next one?

Not currently. I want to be a filmmaker but I want to make a living being a filmmaker and sometimes you have to compromise in order to make the films that you want to make. As I said I’m such a perfectionist and once I meet person or subculture I’ll immediately know. Wherever I go I’m always on the lookout for my next topic. Everybody I meet I try to read them and suss them out to try and see if they are short worthy. There is a gut feeling I get when I know I’ve found the right thing.

 

The Botanist

This was my favourite documentary of the four. Surrounding a former botanist turned part time teacher in rural Tajikistan, we watch as he shows us the inventions that have helped make his life, and the lives of those around him, better. His ever-positive attitude makes this a wholesome watch and I can’t recommend it enough.

How did you initially hear of Raimberdi and his story?

Raïmberdi had been interviewed for a short French TV program about Central Asia. We only saw him briefly on screen but thought he was a very interesting man and that there was definitely more to his story. We were planning a trip to Central Asia and Iran that year (And always research interesting subjects to document beforehand) so as soon as we arrived in Tajikistan, we started inquiring about the « old Kyrgyz man who had built his own hydro electric power station ». Eventually, we got lucky and met a German researcher who knew him and he pointed us in the right direction. His village was two full days of driving away from us at that moment and we didn’t know if he was going to be home at that time or how to reach him, but we decided to do the trip anyways. We felt it was worth trying!

Once you decided to make this short, did you meet him before you began filming?

Before going to Shaymak (his village), we arrived in Murghab, the most populated village in the area. The locals we were staying with had some relatives in Shaymak, so they made a few calls a within minutes we were able to get in touch with Raïmberdi and let him know that we were interested in doing a documentary about him. He seemed enthusiastic and even offered us to stay at his home. In the following hours, we arranged for a translator/driver and the next day we left for Shaymak.

What were the logistical challenges you faced getting to the isolated location?

Transport is an issue, there are very few means to get around in the Pamir and hiring a private driver can be quite expensive. Moving from one place to the next takes some time because roads are not developed nor paved and the terrain is difficult. It took us half a day to get from Murghab to Shaymak even though we were only about 100 km away.

Was the language barrier difficult whilst filming?

The language barrier was definitely a challenge. Our interpreter only had a very basic understanding of english. Knowing this, we had made sure to write our questions in advance and had them translated by an english teacher in Murghab before going to Shaymak. Also, there are other ways than words you can communicate. We’re all human beings and have other ways of understanding each other. Sign language, laughs, smiles, voice intonations. We also knew a few Kyrgyz and Russian words that were quite helpful. However, since our translator had not been able to translate Raïmberdi’s answers very well on the spot, we definitely had a few interesting surprises when we had the film translated afterwards. Thankfully, they were mostly very good surprises.

Raimberdi appears as an incredibly humble and generous person, is there any other qualities that didn’t come across on film?

Raïmberdi has a wisdom that seems to go beyond the boundaries of his own education, age and culture. He is one of a kind and that’s what inspired us to make the film in the first place!

We went back to Tajikistan last summer to show the film to Raïmberdi (The Botanist). We posted this update earlier this year:

“Last July, we decided to go back to Murghab, Tajikistan to show our film to Raimberdi, the botanist himself. We organised transportation so he could come visit us from his recluse village in the Pamir, and organised a small projection event with a few Kyrgyz students. 2 years had passed since we had first met him. He had inspired us with his ingenuity, sense of humour, curiosity and sensibility and it was truly touching to see him again after all this time. When we noticed the tears in his eyes as he was watching the story of his life unfold before him, we knew our mission was accomplished!

The fact of having foreigners coming from the other side of the world, taking interest in his story, his environment and his small daily gestures rooted in a rural lifestyle, inspired him to start a conversation with the students that were present. He discussed the importance of their ancestral practices, of self-sufficiency and of having knowledge of the fauna and flora on which they’re entirely dependent. We have been inspired by Raimberdi’s story and we’re happy to see that he continues to inspire a young generation of Kyrgyz that will have to face the challenges of a rapidly changing world.”

Did you have any moments that you missed as the camera wasn’t rolling? Or you wish you included?

We are happy with the footage we captured while we were there, but there is definitely more to Raïmberdi’s story. We had a very interesting two hour interview we had to cut down for the 20 minute film.

Was the narrative style of your short predetermined or was it a result of going over the footage afterwards?

Being with Raïmberdi and his family in Shaymak was very inspiring for us. We remember having the idea of the chapters while we were shooting, right after he showed us his beautiful herbariums and explained each plant’s part’s benefits. We already had an idea of what story we wanted to tell but a lot of the storytelling structure came about while we were editing the film.

The animations you used were very beautiful, how did you decide to add that to separate the narrative?

The titles are a way to draw a parallel between his passion for plants and the different stages of his life. The plants that are displayed in the titles are all plants that you can find in the Pamir and each one of them has attributes pertaining to the specific part of the plant the chapter is metaphorically presenting.

Are you currently working on another project?

We are now working on a short project we filmed in Nepal last year.

Do you see yourself/yourselves progressing to a feature length documentary?

We’re discussing it, we’ll see!

Live: Sun Ra Arkestra

15th April at Band on the Wall

8/10

You arrive at Band On The Wall to see Sun Ra Arkestra, but you’re a song late. The silver lining is that when you make your way into the gig, the band is in full swing. If there wasn’t a  sea of heads in your way, you would have been immediately dazzled by the sequins that coat the members onstage. Colourful doesn’t quite describe it; glistening sounds too delicate. Sun Ra are glamorously gaudy.

You had held a hat-themed party the night before, and your mate whispers to you, “they definitely would’ve won the prize for best hat”. “Which guy?”, your other friend asks (they’re all wearing variations of hats), but your first mate just shrugs. All their hats are pretty incredible. You settle into the music. It’s finger clicking stuff, real jazz stuff. But it’s Afrofuturist. The movement of non-Western cosmology was basically pioneered by the late Sun Ra, so this is no surprise. The part-extraterrestrial, part-cultural costume of the ensemble is perfect for the sounds you hear. They’re unfamiliar, but seductive. You’re transported to another world.

‘Space is the place’. It’s impossible not to notice the feline voice that curls round the blare of brass. It’s softer and smoother than you would expect of a lady wearing forest green lipstick, but it’s also a voice as striking as one would imagine. Entranced by her personality, you search her for clues and note that although her shoulders are all a-sequin-verde, she wears a t-shirt that says ‘ASTRO BLACK’. As the performance continues, you begin to feel that you understand Sun Ra’s obsession with space, but you can’t actually have understood it on more than a surface level, because really you’re dazed and confused by it. In a good way, in a great way in fact, but your spirits are dampened, for you can only long to be a part of the scene.

The galactic theme that runs through the jazz vacuum adds a whole other dimension of special to the orchestra’s rendition of the Disney hit ‘When you Wish Upon a Star’. Pinocchio has never been sexier. But at moments, it’s never been squeakier. The band isn’t consistently smooth, and can be quite offensive on the ears at times. You wonder if this is part of the statement they’re making; you didn’t find it unpleasant, but your nose would get longer if you said that you thought the experience wouldn’t have been made better by a quieter approach.

Sun Ra just wouldn’t be Sun Ra if they weren’t so experimental though, so there’s no real way to get around this minor conflict. It’s jazz, you tell yourself. Jazz is freedom: it’s a genre that tells you to put the cat in a bag and throw it down the stairs. Jazz ought to be unsettlingly loud and it ought to be confusing. Just don’t go with a hangover next time, perhaps.

You were so mystified by the brilliance of the group that you look around to find yourself separated from your friends. Suddenly there’s brass behind you. A trio of trumpeting and tromboning bandmembers emerge. They find their way past you, right next to you, within centimetres of you. The brassy tones come in rhythmic threes too. The pace of the music slows. It’s calmer, but it’s thrilling. You’ve made real contact with the third kind: casual, fun contact. You feel a bit ashamed of yourself for filming it.

You feel absolutely no guilt for getting footage of the alto-saxophonist, Marshall Allen. At 92 years old, although he’s a gemstone of a relic, he’s also the Arkestra leader, and lead he does. Allen has remarkable command of his mouthpiece, as well as your attention. The band in its entirety offers soulful riffs and sharp interludes to take you back, way back into a decade of bar culture, but its energy and youthful sass carry you into the future. Sun Ra Arkestra is space soul personified.

Review: Raw

Viewing cannibalism and cinema, they share a close relationship with one another. Most famously springs to mind Hannibal Lecter and his conniving schemes. Working to unearth humanities darkest side, the consumption of human flesh has mostly served something greater and more meditative than simply shock horror entertainment.

Similarly, in Cannibal Women in the Avocado Jungle of Death, cannibalism is used as a vice to explore the boundaries in which women faced in 80s consumerist society. Also adopting the use of cannibalism as an allegorical study of humanity is Raw, created by first time feature writer-director Julia Ducournau.

Not only does the film analyse what it means to consume fellow humans, but too works to explore the strangeness of university, the discovery of one’s own sexual identity and the restrictions that our social environments place upon us.

Although this appears a mouthful of thematic elements when listed, Raw deals with such issues in nuanced manner — perfectly merged with the horror elements. Like any great horror genre piece, Ducournau’s first feature film does much more than scare you — it fascinates and seek to be much more than entertainment.

Opening in a longshot of a misty road, iconic of the horror genre, Raw appears to be going in one straight forward direction, like the road itself. Yet, with an abrupt cut, the narrative shifts to Justine (Garance Mariller) who is travelling to veterinary school in Belgium. Her campus is isolated and no traces of society can be found surrounding the university.

Stopping at a road side restaurant with her parents, all Justine gets to eat is a plate of mash potato. Like her parents, she is a vegetarian. Arriving at night, her new environment is obscured by the darkness. After being inaugurated into the veterinary fraternity via glorious red gloop, she proceeds to the final stages of being accepted into this frat group.

Confronted with jars of rabbit liver, she is forced to eat a small piece. Her new life instantly challenges all the ideas to which her parents have created for her. Eating the meat, she proceeds to throw it all up, leading to the appearance of a grotesque rash.

Awaking an inner urge for human flesh, eating this rabbit liver is the start of Justine’s discover of self-pleasure and indulgence. Yet, the boundaries of the fraternity dictate her life. Students are constantly awoken in the middle of the night and are forced into acts of humiliation and mockery of their innocence.

Extending the atmosphere initially felt after arriving at university, Justine’s isolation in the frame extends such an impression of her loneliness. It is only until Justine is reunited with her party animal sister Alexia (Ella Rumpf) at a student party, in one of the decaying sections of the campus, that she starts to open up.

Alexia is at the same university as Justine and is one year ahead, both in terms of education and recreational activities.  Like Mia-Hansen-Løve’s Eden, Ducournau in numerous party scenes creates a visceral experience of youth nightlife. Like the youthfulness reflection of house/ garage music on Félix de Givry’s Paul in Eden, Raw’s diegetic soundtrack reflects the lively vigour of its student setting.

Using The Dø – Despair, Hangover & Ecstasy in one sequence demonstrates the liberation and freedom experienced at university. The aggressiveness of Justine’s cannibalism is expressed through ORTIES – Plus Putes que toutes les Putes. Working in harmony with the demented movement of Justine in her bedroom mirror, this hip-hop song works to emphasis cannibalisms freeing of her female sexuality and inner desires.

Lastly, the orchestra score of Jim Williams harks back to classic horror. Used in one of the film’s best scenes, the music’s emphatic qualities further Laurie Colson production design and lighting. Taking an Argentina and giallo approach, lighting the grey walls of the halls with deep reds alludes towards the iconography of the horror genre. Moreover, it represents Justine submersion into her obsession with human flesh.

As her cannibalistic urge grows, so does her sexual desire for her gay room-mate, Adrian. Similarly, Justine’s bond between her sister also develops. Strengthened in a waxing scene, the best since A 40-Year-Old Virgin, it is chiefly through this pampering that unearths a commonality between the two sisters.

Using the vacuous spaces of the university to her advantage, Ducournau’s eerie corridors and rooms filled with living and dead animals evidently references the nightmarish quality of Texas Chain Saw Massacre.

Ducournau doesn’t see her film as a gore fest, and rightly so. With moments of dark comedy, family drama and bildungsroman, the film covers a wide spectrum of genres. Raw has been labelled as a ‘barf fest’ by some audiences and critics alike in the US. One theatre in LA gave out ‘doggie bags’ before some screenings.

This publicity could be seen as a positive in it is mainstream attention towards an independently created film. Yet, it holds a negative impact in my eyes as its ignores the film’s intelligence in being more than just blood and guts.

Ignore the sceptical media coverage and enjoy this fascinating exploration of humanities’ darkest cravings.

4/5

Lift-Off film festival 2017 review: Where The Windmills Are

Where the Windmills Are is set in a small town in Denmark, centring around thirteen going fourteen-year-old Thomas. Shy, different, and a little bit bored, he tries to capture the attention of the dangerous and exciting Vikki. Thomas knows how to make bombs, and with this knowledge befriends Vikki’s boyfriend and their gang who plan to get back at one of their teachers for some petty fight.

The day after the gang blow up the teacher’s bike, they are satisfied to find out that he has taken sick leave and won’t be coming back to teach for a little while.

After the event’s success, Thomas is welcomed into this strange, menacing gang with which he shares no interests and has absolutely nothing in common. The only thing keeping him there is his attraction to Vikki.

From this point on the film was a pain to watch for me, although I could recognise that for a practically entire teenage cast, their acting skills were quite impressive. The problem might have been that the targeted audience was for a lower age than mine, being difficult for me to believe in the plot. There were many sequences during the film that seemed easily solvable and had no need to blow up in such a way.

What the film did was underline how at fourteen, we rarely know how to deal with love, fitting in, or making rational decisions. This follows through as most of Thomas’ decisions are fuelled by either his feelings for Vikki or wanting to fit into the group.

Thomas is introduced to a new world of parties and beer, but this all feels very wrong. He isn’t amidst friends, on the contrary, these kids are always looking for trouble and basically bully him into doing things he doesn’t want to do. During one of these gatherings, it is thought that Thomas and Vikki have a sort of relationship going on behind her boyfriend’s back. As a result, she is hit repeatedly by one of the idiots of the gang, and when Thomas is asked to hit her too, he refuses. For some reason that escapes me, Vikki ends up being mad at Thomas asking him to hit her, which again he adamantly refuses to do. Turning up to school with a black, she lets everyone believe Thomas is the culprit.

Vikki ruined this film for me, and Thomas’ seemingly unrelenting feelings for her through everything didn’t help much in redeeming it. Clearly Vikki has problems, but her actions towards Thomas were unfounded and callous, making it impossible for me to muster up any empathy for Vikki.

What I did enjoy about this film was how it caught the quicksand of bullying on screen, and how difficult it is to come out of. Too often teachers overlook what is going on outside the classroom, and how deeply it affects a person who is growing up and becoming the adult they will be.

We know Thomas will be scarred from this period of his life forever, and what started out as a bit of fun to escape his monotonous life ended up having consequences that are more than skin deep.

Manchester Lift-Off Film Festival 2017- Day 3 Shorts Part 2

This was the last night of the Lift-Off film festival, consisting of shorts made exclusively by local filmmakers to Manchester. Managing to meet a portion of them afterwards at the venue and talk about their creations made the whole experience much more vivid, and the prospect of Lift-Off returning to Manchester next year very exciting.

Soldier Bee

After being victim to an IED (improvised explosive device), Jodie Baxter returns from Afghanistan to her family in the U.K, physically and emotionally damaged. This short succeeds in demonstrating that the cuts made during war are deep, and very rarely heal.

The young woman feels disconnected from the world around her, unable to breach the unfamiliar gap with her husband and feeling hopelessly distant from her adolescent daughter. Soldier Bee is a brutal short, managing to be incredibly well shot yet making the viewer feel constantly anxious and uncomfortable. One scene in particular conveys Jodie’s irrational behaviour, due to having her life now wrecked forever with mentally troubling memories.

Directed by Alex Hardy

Lost in Spring

“When I was six I wanted to be a cook. When I was seven I wanted to be Napoleon. And my ambition has been steadily growing since.”

This quote is shown at the beginning of the short, and resonates throughout as intelligent and shy seven-year-old Rosie is thrown into the lifelong pursuit of purpose.

Her character is built by a mixture of amusing innocence and maturity, a great penguin beanie and red hair. Asked by teacher to prepare a speech to give in front of whole class “What you want to be when you grow up and why”, the short exposes how prematurely the adult world wants children to find their calling. Her speech is hastily made but genuine, finding herself a little out of breath from the stress of wanting to get it over and done with.

After a touching sequence of self-realisation, Rosie tells her class that she wants to be an actress because she can be anybody she wants to be and it makes her smile. Lost in Spring is a very clever and accurate depiction of how little time we have without worrying about what we aspire to be, but also how Rosie navigates her way through first sentiments of self-doubt and assessment of her own talent.

Directed by Fred Leao Prado Wall

The Sedate Escape

A light-hearted, intricately detailed stop-motion of two comrades from WW2 now in a home, planning their escape from what they think is a prisoner’s camp.

In this comedy, the characters resemble clay, details like the phone, food or the clock are all doll house miniatures, giving the illusion that these might be toys coming to life in a completely non-patronising manner. Definitely becoming a little senile with old age, these two gentlemen are lost in their own world that may be their way of escaping the reality of living in an old folks’ home. Overall, The Sedate Escape is a great addition to the stop-motion genre.

Directed by Joe Dearman

Ribbons

An abstract animation of the colours blue and red, representing many things.

Inspired by cultural ribbon dances and ribbon gymnastics, the ribbons flow with the music, and result in the idea of how opposites complete each other. The blue and the red can be seen as male and female coming together, of calm and energy, passion and control, rational and irrational behaviour.

The convergence of opposites brings to mind Les Mains Libres, a collection of poems by French poet Paul Eluard and illustrations by Man Ray, which celebrates the concavities of women and convexities of men coming together to form a perfect chaos.

Directed by Eldritch Knight

Ghosted 

The last short of the festival, Ghosted is a humorous short that encapsulates the themes of love, death and moving on.

We follow Rebecca, maybe in her late twenties or early thirties over dinner at a restaurant take on five dates from online apps, except that her deceased spouse Nigel (played by a wonderful Christien Anholt) haunts each and every one of these attempts at finding companionship. She fails to take these men seriously and through her experiences frames the ridiculousness of how people meet and interact with each other today.

The deceased husband’s ghost will not let her settle, and makes sure that those he deems inadequate have reason to leave. A man across the room seems to be struggling with his own dose of miserable dinner dates too. At the end of a draining evening with quite a desperate contender, Rebecca is quite relieved to be alone, yet it is then that she has the sincerest exchange.

Organically meeting the man across the room, they bond over their ironic inability to connect with anyone they meet over the internet, and sparks seem to fly off the screen. It is on this reassuring note that his deceased wife’s ghost decides to let him give this a chance, and encourages Nigel to do the same.

The ghosts acknowledge no longer needing to be a constant presence haunting them, now at peace with being a memory.

Directed by Neville Pierce

Manchester Lift-Off Film Festival 2017- Day 2 Shorts, Part 2

After a promising first night of the festival, we went back for the second night at Texture in the Northern Quarter. The quality of the shorts on this night was remarkably high, of which five are covered below.

Happy Tuesday (Happy Dinsdag)

Four young women spend the evening together in a flat, with the sole aim of getting intoxicated. This short is so uncomfortable in its excessiveness, it would be a complete write-off it if it was not for its satirical nature.

It’s nothing we haven’t seen before, the classic night where a group of female friends abuse drugs and alcohol to overcome the boredom or stress or their lives. There is a constant waiting for the storyline to pick up in the hope that all this build up won’t just result in another wasted night of regrettable behaviour.

Watching Happy Tuesday became increasingly strenuous as each character delved into the reasons they are not fulfilled — an unwanted pregnancy, a bland love-life or mediocre jobs, all pretty standard first-world problems. This take on a self-indulgent demographic is illustrated quite comically in this satire, as they do not seem to realise they are only filling the loneliness with more of the same.

Directed by Wouter van Couwelaar

Enemies Within (Ennemis Interieurs)

Selim Azzazi impressively demonstrates the control of human emotion with Enemies Within. From the very first second, he keeps the audience with baited breath as a simple citizenship turns into a tense interrogation.

The interrogator shoots questions at a dizzying pace, especially given the weight they seem to carry. After a few questions that our main protagonist answers with ease, the interrogator purposefully throws him off course. “Say we give you French nationality. What can you give us?” and suddenly the air is thick with indignation. It is now clear what is going on, the state’s paranoia surrounding Algerian terrorism seeping through the interrogator’s stance and tone.

Under interrogation, the man goes through different stages of response to the questions and is initially amused at their simplicity, only to end up scoffing at the underlying accusations. The neutrality this man came in with evaporates in front of our eyes as the interrogating goes on.

Changing his approach, the interrogator smooth talks our main protagonist with words of “needing” and “belonging”, he resembles something of a puppet master pulling the strings to get what he wants. The abundance of innuendos is anything but subtle, Azzazi gives us a straightforward, no nonsense short that will leave you doubtful if “Liberty, Equality, Fraternity” truly has any meaning.

Enemies Within was by far the most deserving of recognition out of all those on display at this year’s festival for me, as Azzazi flawlessly exposed a raw nerve of the history of France that touches on the consequences of their colonial past.

Directed by Selim Azzazi

Pazzo & Bella 

This wonderful Italian short introduces us to a humorous couple with very real problems.

Pazzo is a middle-aged man in a makeshift wheelchair who owns a small gas station with his attractive, alcoholic wife. Both have buckets of character, with very little prospects. Offered a large sum of money by a local mobster to kill a man, Bella is prepared for anything to break up the monotony of their life, yet it is safe to say that Pazzo is not thrilled by the proposition.

In typical Italian fashion, the pair argue vividly, the scenes seem straight out of a Scorsese production. Bella finally decides to go through with it alone, although it is an act of love as she wants the money to get Pazzo a real wheelchair. The actor playing Pazzo is a pleasure to watch as he conveys a wide range of moods and emotions through dialogue and silence alike. When preventing Bella from committing the crime outright, he explains that as a disabled man pulling the trigger “you’re not a murderer anymore, you’re the story!”.

The last scenes of the short bring warmth to their relationship, as Pazzo gently washes the blood off Bella’s forehead in the bathroom sink, ending on a shot of them watching television together, still in shock from committing murder but content with each-other’s company.

Directed by Marcello Di Noto

Hipopotamy

One of the few animated shorts on at Lift-Off, Hipopotamy is not about people, but about humans. Inspired by the post-impressionist painter Paul Gauguin, Piotr Dumala envisioned a story of simple movement and simple characters.

From what I understood, this doesn’t portray a feminist society, it doesn’t even attempt to elude at civilization. Primal instincts and survival as a race are the themes at stake. There seems to be a reference to the futility of war amid humans.

A serene dog passes by overlooking the conflict, showing that even animals are more civilised than them, bringing to mind the quote that “Mankind is truly the cruelest of species”. Stripped of colloquial language that we use today, these humans use dance in order to communicate and signal peace amongst each other, notably when their children are dead and they need to reproduce, apparently following nature’s course.

This was deeply polarizing short, and if you are into symbolism or very left-of-centre creations, this one is for you.

Directed by Piotr Dumala

Relentless

Just six minutes long, this short explores a young woman’s decision between a scholarship or pursuing training to be a boxer.

Quite explicitly emphasising the pressure put on by her single mother, the decision she makes will need to serve them both to eventually end their struggle as Latin-Americans. The scholarship to study medicine at Georgetown University is a prestigious one, and could very well be their ticket to the American Dream. Her mother makes sure to remind her that she shouldn’t question sacrificing her passion for the financial security and future of the family: “You can’t box forever, you should do something better with your life.”

This realistic short explores family dynamics and what the American Dream signifies to different people in their respective situations, and leaves you wishing we could follow the character a little longer.

Directed by Tayanna Todd

Manchester Lift-Off Film Festival 2017- Day 1 Shorts, Part 2

As of March this year, Manchester’s Northern Quarter held the independent film festival of Lift-Off for the first time. Just back from hosting the festival in Seoul, South Korea, the co-founders James Bradley and Ben Pohlman made filmmakers, journalists and students alike feel involved in the the whole event. These are five of the shorts shown the first night at the venue.

The Last Laugh

The Last Laugh, the first short on display at this year’s festival, surrounded three renowned comedians: Tommy Cooper, Eric Morecambe and Bob Monkhouse. The setting is Tommy Cooper’s backstage dressing room, just before the show that would be his last at Her Majesty’s Theatre. In obvious bad health, the camera seems to intrude on Cooper in an intimate moment of self-loathing. Over the next eighteen minutes, two of his comedic counterparts enter his dressing room and a discussion into the intricacies of their profession then ensues.

This fast-paced short does a brilliant job of bringing the three men’s era of comedy back to life, the dialogue much like a comedy sketch itself, immerses the audience entirely. Typically British, the tone is constantly sarcastic and cynical.

Each of the comedians share their jokes, old and new, but this light-hearted atmosphere suddenly turns heavy as they begin to speculate on their purpose and drive to ‘always search for the next laugh’. These men have spent their whole lives working towards getting a laugh louder than the last. But underneath the jokes, there is a constant fear of the next laugh being their last.

Directed by Paul Hendy

The Track

After a night of drinking, a young woman walks aimlessly in search of something she does not yet know she needs. Coming across her deceased grandmother, she assumes she is hallucinating, but does not look too much into the matter and goes along with it. What happens next is an intergenerational conversation of lost ethics and new burdens, comparing the choices these two women at the age of thirty-three had to make.

One of the main topics this short investigates is the luxury of choice. Hee-Kyoung complains of her lack of interest in her partner, that they aren’t ‘in love’. Her grandmother jolts at this, relating to her at the same age during a war, ‘surrounded by hunger and death, love is trivial’.

A stand-out aspect of this short was the cinematography. One scene in particular involved the lead actress dancing, putting her grandmother’s advice into practice. With a new way of expression and a new understanding of what is important, she seems at peace with herself.

Directed by Graham Holford

Faustine 

This short follows a successful young businesswoman over the course of an evening. Within about a minute of film, we learn that she is fluent in at least three languages and holds an important position of power. Nevertheless, she seems to lead a lonely existence at the very top of her field.

What started off with a gripping premise quickly became utterly devoid of meaning. It must be said that the cinematography of Faustine was impeccable throughout. The beautiful shots of Hong-Kong at night underlined the protagonist’s isolated lifestyle.

The most memorable scene occurred at the beginning, involving an interaction between her and an underprivileged young girl selling flowers. Our main character Annika approaches the young girl in a soft, unstartling voice, asking how much the prettiest flower is whilst handing over a thousand-dollar bill. This interaction suggests that Annika also grew up in an impoverished background, wanting to give back to where she came from.

Sadly, the short loses its strength from this point onwards. Going back to a luxurious, empty apartment, the two interactions that follow take place over the phone, both quick and concise. The direction loses itself in the last few sequences which are of Annika roaming around her apartment alone. For such a powerful character, the storyline we witnessed fails to satisfy.

Directed by Jeff Gabriel-Yu

The Wolves Beyond the Timber 

Madeline’s little sister is seriously ill, but they do no not have the funds to keep her under hospital treatment. Her prayers unanswered for too long, Madeline resorts to help anywhere she can find it, even from strangers.

Joining a strange, dangerous cult-like group that call themselves the “Strangers” in order to make quick money, Madeline is initially pushed to her moral limits. The whole story calls upon the question of “means to an end”, as her promise to join the “Strangers” can only work for her if she holds up her end of the deal.

She enters a world of broken people fuelled by drugs, sex and violence, and eventually loses her inhibitions. Why shouldn’t she rob a gas station? Doesn’t her dying sister need the money more than them?

The “Strangers” become Madeline’s new family who help her numb the feeling of being alone and hopeless, instead giving her the illusion of power and freedom. Dark times call for dark actions, and in Madeline’s eyes her sister’s wellbeing could now only come at the expense of her own.

Directed by Brock Keller

Retriever

An illegal Chinese immigrant living on the streets in Korea, subject to terrible racial abuse, Lee Kwang survives by stealing dogs from shelters and selling them to butchers. This short begins with his finding of a golden retriever named Bori that makes the lonely cruel days on the streets a little more bearable.

Lee Kwang is offered a mediocre price for this golden retriever that is apparently “no meat, all fur”. Deciding to keep Bori, he becomes more approachable to passers-by, bringing out their generosity with his “Need money for dog-food” sign. This man, once alone in the world, now has a companion and dare I say a friend.

Personally not one for stories that revolve around animals myself, this short stripped any mawkish or slushy connotations from what one could expect, as the situation at hand has absolutely nothing maudlin about it.

The themes of homelessness and companion, or lack thereof, were impeccably illustrated by director Joo Hwan Kim. Dialogue was equally convincing, through the praise-worthy performances in ‘Retriever’. Lee Kwang’s relationship with Bori comes to a harrowing and emotional end, but what follows is all the more powerful.

The director deserves praise for avoiding what would have be an obvious ending, instead choosing a route that evokes far more realism and empathy than the events proceeding it.

This was my personal highlight of the first night of Lift-Off, and if you must only see one of the night’s selection, I highly recommend taking half an hour to watch this.

Directed by Joo Hwan Kim

Lift-Off Film Festival 2017 Review: Northern Lights

Nicholas Connor breathes new life into the young-adult drama genre with his latest film Northern Lights, featuring an unusual realism owed to his young age. There is a light dusting of issues throughout but overall it demonstrates a raw natural filmmaking ability and hints towards a very bright future.

We follow the story of best friends Rob and Emma as they journey through high school towards their GCSE exams. Rob seeks more than friendship, with his feelings for her made clear from the start but a combination of not wanting to ruin what they have and a lack of confidence to ask her out prevent him from acting upon it.

Emma’s little sister Mia easily notices though and relentlessly teases him for it, almost forcing his hand a couple of times. Running parallel to this is Emma’s deeply-rooted anxiety issues initiated by her mother’s death. This severely impacts her ability to enjoy life and it is only in brief moments that she finds true happiness, often with Rob.

For an independent film without the budget to sign well-established actors, I was shocked at the level of performances and versatility shown, most notably the younger actors. Katie Quinn and Rhys Cadman who play the lead characters perfectly capture the high-school romance in a way that just is not seen on the big screen today.

Stares that last a moment too long and both unknowingly liking the other are often exaggerated to allow even the most uninterested to follow. Conner avoids this by making the film his way rather than pandering to the audience, a strategy that consistently leads to films of far greater quality.

Sadly the acting falls short in the form of Emma’s father. The gulf in ability was most apparent during an argument between Emma and him and resulted in the scene lacking the entire emotional power intended. Quinn’s transition from happiness to tears was absolutely phenomenal and exposed the weaknesses in his performance, a crying shame given the high standard set by the fellow cast members.

Dialogue is at the core of the film generating some of the most evocative scenes while also being the source of some of the negative moments. A perfect instance of the former is during the psychiatric’s appointment. Emma is asked to describe how a panic attack feels for her personally and what follows is a harrowingly accurate explanation which leaves both her and the audience with a sense of nervousness.

The slow zoom in of the camera as Emma relaxes and opens up more and more really aids in emphasising the true extent of her anxiety. Where the dialogue falls flat though is in the normal everyday conversations. The pause between one person finishing talking and the next one starting was at times a little too long, resulting in it feeling unnatural. However minor issues such as this one do not detract from the overall viewing experience and can be easily rectified in Connor’s future films.

The emotional intent of most films are clear cut, either making you mostly laugh or cry. It takes something truly special to do both and Connor achieves this effortlessly demonstrating a impressive control of human emotion. With more filmmaking experience and higher budgets the few creases within this film can be ironed out.

Not just that, but the fantastic cinematography and editing present in this film can blossom further throughout his career. The potential to reach Loachian height is not out of reach and at only seventeen years of age, that is a very exciting prospect.

Manchester Lift-Off Film Festival – Day 3 Shorts Part 1

Sadly all good things must come to an end, and that includes the wonderful Lift-Off Film Festival. Day Three saw ten shorts and one feature film, five of those shorts will be covered below.

Meat on Bones

On a windy day in coastal Wales, Gwyn, an inexperienced council worker, struggles to climb a steep hill in order to deliver a court-ordered eviction notice to the caravan of Dai, a middle-aged alcoholic. Naturally he doesn’t take kindly to this and in a fit of rage abducts Gwyn and ties him up inside the caravan before knocking him out.

After the red mist clears and Gwyn comes to, our perception of Dai begins to slowly change. He isn’t this angry alcoholic as his initial portrayal suggests, rather a vulnerable and self-destructive man who has lost his home and his family. We watch as the pair unexpectedly grow close, in spite of their violent first meeting.

Meat on Bones is a fantastic example of how a large budget isn’t a requirement for a gripping film. Director Joseph Ollman uses the natural beauty of Wales as his setting for this realist film, including a sequence in a cave which is a fitting metaphor for their individual isolation.

The two actors, Jams Thomas and Matthew Aubrey as Dai and Gywn respectively, give very convincing performances as the leads and create a warmness and empathy uncharacteristic of the situation they present.

Directed by Joseph Ollman

Duke’s Pursuit

Duke’s Pursuit is a revenge thriller set in Iceland. It follows Duke whose deep-set principles lead him to seek revenge against a former colleague. After arriving in Iceland and meeting his guide he travels to the small town where his intended victim is currently living. We follow the unexpected twists and turns Duke’s story takes as nothing goes to plan.

In terms of style this short is reminiscent of the Coen Brother’s with its snappy dialogue and dark humour. The cinematography is also in the same vein with fantastic landscape shots as well as framed interior shots. For a 16 minute short there was a surprising amount of character development from visual and spoken cues. In addition the more subtle cues such as body language made the film have more depth than would usually be present in most of this length.

Directed by Charlie Edwards-Moss and Joe Williams

Ascension

In a post-apocalyptic world, every choice must be carefully evaluated, for one wrong move and your life may very well be over. Therefore the decision to abandon your family to increase your own personal chance of survival is not one that would be easily taken.

Our protagonist, aptly named the Survivor, takes refuge from the hellish environment in his hideout. In the corner of his room lies a radio. It is from this radio that we learn of his identity, of his family, and of his selfish disappearance from the voices of his children calling him, pleading for him to come home. His will is pushed to the limits as he tries to resist risking his life to return.

What is fantastic about Ascension is that we never see the world outside his room, because nothing we would see could ever live up to our own imagination. This allows the viewer to imagine the world in their own way while also keeping the film within budget, in this case a shoestring £220.

The climax to the short plays into the viewers mind once again, leaving the fate of our protagonist open to debate. While this is understandable due to budget constraints I would have liked to see a little more information about the background and fate of the Survivor. I feel this would have led to the audience having a deeper connection with the short, ultimately enjoying it more.

Directed by Rajnish Sharma

Cabby

For most people, a staple part of any night out is the taxi journey there and subsequently the taxi journey back. One is full of excitement for the night that awaits and the other’s outcome is entirely dependant on the how the night pans out. Shot in the perspective of those who drive taxis in Manchester, we learn of their unique experiences, both good and bad.

Cabby is the third and final documentary short at this year’s festival and sits squarely between the two in terms of quality. The film has the good fortune of being shown in the city that it celebrates, which I feel really deepened the audience’s interest. It features multiple interviews from the drivers pieced together with well-shot footage showing various parts of the city. I do think pacing was an issue at certain points throughout the short but for a student film it is a great effort.

Directed by Daniel Watts

Return of the Hat

A flat-cap and a silk scarf rest upon a mannequin in a charity shop. Here they live a peaceful life, watching their favourite VHS films every night when the shop closes. That is, until they are both individually bought. In order to return to their home they must kill their new owner and be donated back to the shop.

Return of the Hat has a very original concept at its core but unfortunately this is where the positives end. A repetitive storyline quickly causes this initial excitement to disappear. The acting does very little to distract the viewer from this with every human character feeling either extremely overemphasised or entirely wooden. When the best performance of the short comes from a flat-cap there is certainly glaring issues.

Directed by Alec Birkbeck

Manchester Lift-Off Film Festival – Day 2 Shorts, Part 1

After a fantastic opening to the Lift-Off Film Festival here in Manchester we returned to Texture for Day Two. Eleven more shorts and one feature film were on show in genres ranging from thriller to drama to documentary, six of those shorts will be covered below.

The Botanist

Deep in the mountainous region of Pamir, Tajikistan lives Raimberdi, the focus of this fascinating documentary short. After the fall of the Soviet Union, famine spreads, and inevitably so does war. Raimberdi must learn to survive in his isolated village. Luckily he is both an accomplished botanist and a genius inventor.

Initially their family was very poor, ‘we didn’t even have a goat’ he remarked. But slowly, we learn of the incredible resourcefulness and creativity he employs to improve their day-to-day life. Out of whatever scraps he could find he builds a basic hydroelectric station, and when visitors came to the village, he paid them to build him a small reservoir to make the entire process of generating electricity much more efficient. Whilst all around him burned kerosene lamps, he had electricity.

It is not enough to just have an intriguing subject, the direction and cinematography have to also be of the same calibre. In this respect, the directors Maude and Maxime have really excelled in crafting a well-rounded short. Its narrative was split into several parts, each separated by an animation showing a different plant from the area, accompanied by its latin name. For such a small, and for the purpose of the narrative, irrelevant detail it adds another dimension, one that helps to make The Botanist a standout film in the genre.

Over time Raimberdi has become able to live very comfortably, with luxuries that those around him cannot afford. He can even tell us about Obama’s recent visit to Japan from his own personal radio. Despite all of this, and especially in this unforgiving terrain, community is key. He contributes by teaching at the local school long after his retirement age in order to help the next generation. A shot of him walking to school with his grandson reinforces the truly solitary environment in which he lives. Not one to be disheartened by life, he instead thrives upon its challenges. ‘Sometimes life forces you to do some things’.

Out of all the documentary shorts, this was in my opinion of the highest standard and I heartily recommend it for its portrayal of ingenuity in the face of great adversity.

Directed by Maude Plante-Husaruk and Maxime Lacoste-Lebuis

Found

Director Richard Hughes gives a masterclass in tension with his short, Found. Reminiscent of Denis Villeneuve’s Sicarios, he effortlessly holds the audience on the edge of their seat until the bitter end, with only brief moments of respite.

The plot centres arounds a father whose daughter, when out of his sight for but a few seconds, is kidnapped by a person unknown. For ten years he searches from farm to farm in the hopes of finding her. We open to a fabulously shot sequence of him parking up outside the gates of a farm, checking his map to see if he has been here before, then committing to searching it.

The cinematographic quality escalates further when the camera follows first overhead, then alongside as he travels through the farmer’s corn field towards the house.

Sweaty palms were a sure feature of every audience member as our protagonist reached the house. There were no hints yet that his daughter was in the house or even alive but after just a couple of minutes I was transfixed. While exploring the grounds to the house he finds a vehicle under tarpaulin, the suspense crescendos, reaching almost tangible levels before we learn that this car is the one used in the kidnapping.

Flashbacks often fail to have the desired effect but it was employed very successfully. For the purpose of not spoiling this fantastic short, my description of the plot must end here. However, this is a thriller of the highest order and one that deserves to be watch.

Directed by Richard Hughes

Wanderlust

Set in the heart of an unknown forest, two siblings must navigate their way through the endless wilds, seemingly devoid of any fauna. When night time approaches it’s time to set up camp and they start to search for supplies. As the sister collects firewood she runs into a white horse, and after running back to share this amazing experience with her brother, she finds he has disappeared.

When a short film is illustrating a metaphor, the metaphor itself has to be engaging enough to sustain interest otherwise no matter how well acted or shot it is, the audience will disconnect. I feel Wanderlust fails here but also it fails in the execution.

There is a massive constraint involving time and every moment has to add something or push the narrative forward. Several scenes including the opening where they discuss their mother’s cooking didn’t have an impact large enough for the percentage run-time they occupied.

A cliché that really irked me whilst watching the film is where there are two people and one looks away for a moment, and when they look back the other person has just vanished. It’s lazy writing that breaks the immersion the film is supposed to create.

Directed by Barnaby Boulton

Heathen

Trent’s dad is a renowned anthropologist who spends most of his time on expeditions. When he is back Trent finds it very difficult to get his attention, deciding to complete his own anthropological study on the effects of his towns current drought to try and impress him. However after discovering a darker side to his father, he finds a little dark side within himself.

Heathen is the only film at this year’s festival to break the forth wall, to directly address the audience. Director Siobhan Mulready utilises this technique to emulate the documentaries of those Trent’s father worked with, such as David Attenborough.

Our protagonist is played by Jayden Caulfield who, at just 16 years old, gives a very respectable and versatile performance as Trent, managing to switch from documentary style to the plot driven style confidently.

Directed by Siobhan Mulready

The Cyclops

When a husband and wife divorce, the children often feel the effects most. The Cyclops captures this brilliantly with two brothers each choosing the side of a different parent. A once tight fraternal bond begins to crumble as they place the blame of the failed marriage on the other’s side. Through it all, their mutual love of graffiti hold them together, but for how long can that last.

This social realist film confidently tackles a delicate issue that will surely be familiar to a proportion of those watching. It beautifully details the brief moments the brothers reminisce on the closeness of their past before splintering apart once more. The two actors who play the brothers are sublime, with the intricacies of their complex relationship displayed excellently.

Directed by Hugh Mulhern

A Battling Body

A Battling Body is the shortest short at this year’s festival, at approximately one minute in length. It is a dance routine illustrating the life of those suffering from multiple sclerosis. Initially she dances exquisitely but slowly, limb by limb, she loses the ability to control her body. The piano score that accompanies paints her frustration and sadness in a way she cannot.

My only issue with Laura Ghazal’s absolutely necessary short is that it was not long enough. I feel that had the short been five minutes long, showing a longer initial sequence before exploring in more detail the slow decay her body undergoes, we would be looking at a short worthy of the highest acclaim. Nevertheless this is profoundly beautiful film, one that demands to be seen.

Directed by Laura Ghazal

Festival Preview: Slam Dunk

Slam Dunk is a festival that has grown exponentially over the past ten years, having quickly established itself as one of the country’s biggest, best and most highly anticipated festivals. With the full line-up having now almost entirely been released, 2017 is undoubtedly set to continue Slam Dunk’s winning streak.

The line-up, as always, is a brilliant combination of pop-punk nostalgia and the latest names in alternative music, showcasing some of the greatest bands and musicians in the music scene across all eight stages.

The main stage is packed with headlining acts, beginning the day with Japanese electronicore band, Crossfaith, who are certain to inject the crowd with all the energy they need, ready for rock favourites Deaf Havana and Don Broco. The night wraps up with a special set from Enter Shikari, who will be bringing their 10 year anniversary celebration of ‘Take To The Skies’ to the festival.

In the meantime, pivotal pop-punk band Neck Deep are headlining the Monster Energy Stage, following The Maine, whose sixth studio album was released this month and has already soared in the US Rock charts.

If this wasn’t exciting enough, the Key Club stage and the Signature Stage are hosting bands like Waterparks and With Confidence, who have been inciting noise from all over the alternative music scene over the past year, whilst Frank Iero and The Patience are a band well worth checking out, their raw honesty making them one of my personal favourites on the line up. Combine this with the likes of Tonight Alive, SVPES and Memphis May Fire, and Slam Dunk 2017 is bound to be the perfect way to kick off your summer!

Tickets are extremely reasonably priced, at £44 or £49 with afterparty entry, so are perfect for that post-dissertation celebration — or just because honestly, why not?

While Slam Dunk South tickets have already sold out, tickets for Slam Dunk North, taking place in Leeds city centre, and Slam Dunk Midlands (for those of you going home to somewhere further down south for the summer) are still available.

Tickets can be purchased via Luna Tickets here.

Or, if having seen this line-up you already know that you’re going to struggle to see all the bands you want to see in just one day, you can get yourself a Slam Dunk Mega Ticket, which gives you access to all three dates across the weekend, plus after parties and a limited edition T-Shirt. Mega Tickets are available here.

Review: See No Evil — The Moors Murders

How do you get inside the minds of the horrific Moors Murderers? The two-part television series See No Evil does just that, giving us a chillingly accurate insight into the lives of Ian Brady and Myra Hindley during the time they kidnapped five children aged 10-17, savagely abusing them and burying the remains on the Saddleworth Moors in England between 1963 and 1965. The body of one victim, Keith Bennett, is thought to be up there and remains unfound to this day.

This production was fully backed by the families of the victims, based on extensive research, interviews and of course Hindley’s brother-in-law, David Smith (Matthew McNulty). If not for Smith, the missing children would probably have never been linked back to Brady (Sean Harris) and Hindley (Maxine Peake), each murder pulled off leaving no trail whatsoever.

Only after their confessions and the forensic analysis of the bodies did we find out their recurrent pattern for killing these children. The children were always alone, and always asked to help look for a lost glove of Myra’s. Ian would reportedly then proceed to rape and then strangle the child with a cord or a shoelace. We never see this happen, only through David’s time spent with Ian Brady do we start to see red flags that indicate Ian’s perversion and twisted mind.

In an attempt to include David into their secret, Myra and Ian arrange a live murder for David to witness. This is the only gruesome shot of the two episodes, in haunting red lighting Ian wields an axe fourteen times into his last victim, seventeen-year-old Edward Evans.

Keeping it together somehow, David does as he is told and helps clean up the mess. In the early hours of the morning he finally gets home, a total wreck, to his wife Maureen (Joanne Froggatt), through a mixture of heaving and sobbing from shock, he tells her everything.

Maureen coils at the idea that her own sister (Myra), that she knows so well, could be mentally capable of such things. Nevertheless, at the break of dawn the pair rush to the police station. This experience will destroy their lives forever, and is only the beginning of a painful “concatenation of circumstances”.

Once denounced, the trail of evidence comes together incredibly fast. The discovery of Evans’ body in Brady’s flat along with the axe. Soon followed a suitcase, containing tape recordings and photographs of the sexual abuse of missing ten-year-old Lesley Ann Downey.

The sound is not heard and the photographs are not exposed, mercifully so, the sound of the tape recordings of 10-year-old victim Lesley Ann Downey and the obscene photographs taken of her would have been unnecessary to the depiction of the story. The mere knowledge of their existence is enough and was a card the director did well not to play.

David Smith is initially questioned by the police, as Brady and Hindley attempt to include him in the rape and murder of the children. Public opinion of Smith is that he is the third Moors Murderer, and this will follow him and Maureen for their entire lives.

Finally, Brady and Hindley are charged with three counts of murder and get life sentences. It is only in 1985 that Brady confessed to the killings of sixteen-year-old Pauline Reade and twelve-year-old Keith Bennett, of which only the body of Pauline was found in 1987 on Saddleworth Moor.

Ian Brady remains imprisoned today, in the high-security Ashworth mental hospital since being diagnosed as criminally insane in 1985. Recently, Brady remorselessly explained that his actions were simply in pursuit of the ‘existential experience’ of it all.

Intended for television in 2006 on the 40th anniversary of the pair’s conviction, this was a remarkable effort in bringing this unsettling story into the light once again. A very well cast, tasteful production that I recommend watching to anyone interested in true stories or the psyche of criminals.

Lift-Off Film Festival 2017 Review: Busking Turf Wars

Busking Turf Wars was advertised as a traditional documentary surrounding the busking scene in Leeds. Five minutes in and sadly I was very unimpressed. It took me far longer than I would like to admit to realise that this was in fact a mockumentary, with clear influence from shows such as The Office. From that moment on my opinion changed entirely.

Steven Lockmoore is no ordinary busker. He doesn’t just sing to the onlookers, instead giving them an unforgettable experience. In one scene he regaled us with a tale from his past about someone coming up to him during a set. ‘What chord’s that?’ they said. His reply? ‘I don’t do chords mate’. In essence that is Steven Lockmoore. There is no rulebook, and if there was he would have written it anyway. All improvisation, all heart. This sets him apart from the mainstream buskers, and what endears him to the locals of Leeds.

Beneath the surface there are some real issues dealt with during the film. Of love true and love lost. Of friends and of foes. Ultimately though it’s one man’s struggle to get the recognition he deserves. Along the way he faces hardship, like working in a corner store to continue his long hours of busking. Even the greats had to pay rent. Heck even Madonna worked at Dunkin’ Donuts. Chasing your dreams is not easy, but Steven battles on regardless.

Suddenly a challenger enters the arena. Whilst there is no rulebook to busking, there is an unspoken code of conduct. One of the most disrespectful things one busker can do to another is steal his spot. This is what the challenger, who goes by the name Paul, does. However Steven will not give up, he has been busking too hard for too long to let some spineless wannabe take his rightful position. So they solve the dispute in the only way they know how, a busk off. Taking it in turns to play a song, whoever makes the most money wins the rights and ownership of the land. But when Steven’s dad makes a surprise appearance, the battle takes an unexpected turn.

Six months on, with a new haircut and a middle-management position at the store, Steven is a changed man. Sworn off busking, he says his life has changed for the better, that he is happy. That could not be further from the truth and regardless of how much he applies himself to the corner shop nothing can fill the guitar shaped hole in his heart. The old Steven is in there, he just needs to be released from the shackles of society. Then the cameraman informs him that Paul will be at Battle of the Buskers X, the tenth anniversary. Just like that, in a fashion that can only be described as Hulk-like, the shackles are shattered and Steven quits his job. His mind is clear, his goal is set. Win the competition, and more importantly, beat Paul.

After I understood the satirical nature of this film, I was hooked. The script was incredibly well-writtten, with none of the jokes falling flat or feeling forced, which is a problem many mockumentaries face.

Christy Coysh who plays in the leading role was sublime, captivating me about the intricacies of the Leeds busking scene, something that until I watched the film I did not know existed. His performance, coupled with the outstanding direction made this a film of considerable quality. One that I feel has immense replay value.

Live: Mallory Knox

2nd of April at Portsmouth Pyramids

8.5/10

On an average Sunday night in Portsmouth I normally would have said there wasn’t much going on, nor would I have thought I would end up attending possibly one of the best live shows I’ve ever seen.

Mallory Knox were preceded by two opening bands. Indie-rock band Fatherson, who brought the energy and set a high bar for the rest of the evening, certainly outshined the guitar-fronted Lonely The Brave, who disappointed with a mumbled set that was lost in a sea of sound. Credit where it’s due, though, to singer David Jakes, who brought a cup of tea and a kettle with him on stage. Who said rock and roll was dead?

Mallory Knox kicked off their set with gusto, starting with palpable forcefulness with ‘Giving It Up’ from their most recent album. They performed a range of tracks from the last four years of their career that oozed with confidence and coolness, reminding us that they know just how good hits like ‘Beggars’ and ‘Shout at the Moon’ really are. The crowd hung on every word and every lyric, bouncing along with the shredding guitars and rock anthems which reverberated through the venue.

Halfway through the evening, the band paused to have a classy shot before frontman Mikey Chapman delved into current affairs: “There’s always a new fascist crawling out of the crevices — Theresa May and Donald Trump, what the fuck is up with that?!”, he said, lamenting that our generation will have to pick up the pieces previous generations have left behind. This all flowed quite nicely into their next song, ‘Savior’.

The setlist was all very well thought out, moving effortlessly from song to song and consistently striking the right balance between calm and chaos. It was clear to see, though, that Mallory Knox have been on the road for a long time: vocals regularly cracked and big notes were missed. It’s lucky, then, that their passionate and explosive attitude just about made up for this sloppiness.

The encore finished the night with some of their biggest tracks to date, ‘Lighthouse’ and ‘Better Off Without You’, which got the whole crowd up on their feet and losing themselves in the music. This wasn’t the first time I’ve seen Mallory Knox, but this incredible display will be the one that I remember.

Beyonce’s Lemonade: One year on

You must have been living under a very large rock if you haven’t heard someone talking about Lemonade in the past 12 months. As always, Beyoncé’s sixth and arguably most discussed album to date has garnered her critical and commercial success, so what makes Lemonade any different from her previous musical projects?

 Lemonade’s rollout kickstarted in February last year with the infamous performance of her lead single ‘Formation’ at the 50th Super Bowl halftime show. Beyoncé, supported by her dancers dressed in military Black Panther outfits, was chastised by numerous police forces and news outlets across America, who pioneered the ‘Boycott Beyoncé’ slogan. With lyrics celebrating her African-American heritage and black pride, it’s impossible to deny the lead single’s political edge, especially in the era of the Black Lives Matter movement. Thanks to Queen Bey, the American fast-food chain Red Lobster saw a 33% boost in sales after its reference in ‘Formation,’ reflecting the undeniable influence of both Lemonade and Beyoncé.

Of course, the album’s political message did not conclude with ‘Formation.’ With help from Kendrick Lamar, Beyoncé conjured the thunderous anthem ‘Freedom,’ which now acts as the soundtrack for the new Apple Watch advert. After its debut performance at the BET Awards in June last year, it was unmistakeable that Beyoncé had fully immersed herself into America’s political commentary. Accompanied by a voiceover from Martin Luther King Jr. and sporting braids typically associated with African-Americans, Beyoncé ignited a conversation which forced the issues of mistreatment and prejudice against minorities as well as black pride into the public eye.

When discussing Lemonade’s impact, it’s easy to overlook the musicality and production of the album in its entirety. The album’s 12-song track list features a variety of genres including her core sounds of R&B and pop with an urban twist. Nevertheless, by integrating genres of rock and country into the album, Lemonade has sparked a debate amongst music lovers regarding the roots of these sounds, as both stem from the jazz and blues genres typically associated with African-Americans.

It may be surprising to learn that the album’s impact does not only transcend into politics, but also more specifically into education as well. More and more universities across the world are offering courses relating to womanhood, race and politics through the lens of the Lemonade album. The University of Texas recently offered the opportunity for Beyoncé-obsessed students to study the intricacies of black feminism through the medium of her latest album.

It’s no secret that Beyoncé has always left her mark on pop culture after each of her six album releases. The iconic catchphrase “I woke up like this” (2013) joins the likes of “Who run the world? Girls” (2011) and “To the left” (2006) in the long list of iconic Beyoncé references. Of course, Lemonade really is no different. After the visual album’s premiere on HBO, it seemed like everyone was asking the same question; who is Becky with the good hair? Towards the end of ‘Sorry,’ Beyoncé orders her unfaithful lover to “call Becky with the good hair.” This line instantly became an empowering lyric for those who could relate to the emotions surrounding infidelity.

Not only did the album spawn various iconic lyrics and dances, it also provided social media with enough material to use for the remaining year. The likes of James Franco, Ellen DeGeneres and James Corden enjoyed a glass of lemonade after parodying the renowned ‘Hold Up’ music video, which sees Beyoncé flaunting a yellow dress whilst fiercely smashing car windows with a baseball bat.

The impact of Beyoncé’s extraordinary album Lemonade over the past year is undeniable. By delivering a politically controversial message accompanied by great music and dazzling visuals, the megastar created a buzz throughout the world. After all, she’s called Queen Bey for a reason.