‘You have no choice about being here, you’ll have no choice about when you leave’ proclaims a woman in Xiaolu Guo’s latest film, a documentary about the personal and physical journeys of the people of London’s East End. Herself an immigrant to the area, Guo’s sensitive character studies hint at an affinity with the push and pull of feelings of alienation, a theme she has previously explored as a filmmaker (She a Chinese, LFF 2009) and novelist (A Concise Chinese-English Dictionary for Lovers). This empathy is also apparent in her playful stylistic approach that layers Warhol-esque news reports, archival material and a soundtrack including Linton Kwesi Johnson and Fela Kuti, to comment on the human cost of capitalism. The resulting film is both a penetrating portrait of a frenetic place that feels deeply authentic, and a powerful piece of protest film.
Fox Rich, indomitable matriarch and modern-day abolitionist, strives to keep her family together while fighting for the release of her incarcerated husband.
The film consists primarily of degraded footage of landscapes shot from vehicles moving across the country; meanwhile, 537 computer-generated permutations of the film’s title appear like subtitles—the letters are scrambled over and over again, undermining the meaning of Pierre Trudeau's infamous motto.
With being thrown off buildings an occupational hazard, professional stuntwomen Jeannie Epper and Zoë Bell (the alter egos of Wonder Woman and Xena, respectively) would seem well-equipped for any challenges Hollywood might dish out.
This poignant documentary from directors Judith Leonard, Catherine Ryan and Gary Weimberg explores the rich complexity of mother-daughter relationships as told by women themselves in scores of candid interviews.
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Critics' Talk #7: Xiaolu Guo (Late at Night - Voices of Ordinary Madness)
During International Film Festival Rotterdam the audience can sit down in the foyer of LantarenVenster for one-on-one conversations between (inter)national ...
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