Editorial – Transition

We’re in an awkward state of transition at the moment, where there a number of really exciting things happening but little of which is worthy of discussion in a capacity such as this. Fret not though, for next week brings with it a much more comfortable sense of order, with the likes of Schrader, Bresson and Scorsese all candidates for extensive discourse. For now though, chaos and eclecticism reigns. 

Potential subjects of discussion (Said discussion since abandoned in favour of later focus). –

1) The currently in-the-works project that is dominating much of my time at the moment. 

2) The week ahead in cinema. Spring Breakers and Trance fill the first half of this week, reviews of both which will be shortly forthcoming. The early works of Harmony Korine defined my own early years of film viewing, with an early obsession with his Gummo and Larry Clark’s Kids (which Korine wrote) occupying my mid-teens. Julien Donkey-Boy aside I’ve been largely unimpressed with Korine’s output since his first foray’s in to the world of film, but Spring Breakers appears to have plenty of subtextual meat on it’s bones. Boyle, on the other hand, is a filmmaker whose work I nary anticipate, and simply binge on them upon release. That Trance has been described as some kind of Olympic-Opening-Ceremony interconnected piece of communication does fascinate though, and the Vincent Cassel-orientated money shot from the recent red-band trailer serves as a reminder of the kind of powerfully evocative imagery the director of Trainspotting and Sunshine is capable of producing.

3) The Lynne Ramsay affair. But alas, details are slim. 

4) DocFest 2013. Accreditation was finalised this week, and needless to say, I can’t wait. It’s my favourite film festival of the circuit, and this year looks to be the best yet (yes, I know that sounds like a horrible cliché). 

5) The weather. 

Adam Batty – Editor-In-Chief

Further Reading

Larry’s Kids. An era-defining (for me at least) retrospective on Larry Clark’s Kids from the now defunct The Face.


This week’s Criticwire Survey. In which we were asked to name the best Die Hard knock-off.


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