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A BBC4 Documentary on the rise and fall and resurgence of the venerable LP record, and the dynamics of marketing and consumption of music as told through artists and musicians of the classic album eras of the 60s and 70s.
Documentary film about pop art sensation Pauline Boty, tracking the artist’s original contribution to British art, her feminism and her unique take on the nascent celebrity culture of the 1960s. Ahead of her time in so many ways, Boty’s story ends with her tragic early death at 28 in 1966 and the subsequent revival of interest in her work in the last decade. Packed full of original photographs and art work, the film calls on an array of family, friends, art critics and famous fans to lead us through the Boty story. Contributors include pop art titan Sir Peter Blake, comedian and artist Jim Moir, critic Kate Bryan, best friend and print designer Natalie Gibson MBE, pop singers Corinne Drewery and Tanita Tikaram and TV presenter Ronnie Archer Morgan
Documentarian Paul Kelly returns to the festival with his latest collaboration with the band Saint Etienne, following the loose trilogy of London films Finisterre, What Have You Done Today, Mervyn Day and This Is Tomorrow, all recently published on BFI DVD. In the decade since Finisterre Kelly has built a reputation as a distinctive voice in British cinema, developing a lyrical style that draws on the psychogeography and people of the city and its culture. How We Used To Live is effectively a prequel to Finisterre, a meditation on London life today and a glance back at a receding Britain. Using colour footage from the 1950s to the 1980s, taken from the BFI National Archive, the film covers the ‘New Elizabethan’ age from the optimism of the post-war era to the dawn of Thatcherism. Soundtracked by Saint Etienne’s Pete Wiggs and scripted by the band’s Bob Stanley with Travis Elborough, the film is for anyone who has ever tried to understand their city. (Source: LFF programme)
A cinematic experiment exploring the continuing relevance of the late theorist’s ideas on capitalism, culture, and the future. Blending documentary, performance, and hauntological fiction, the film follows Parkins — a time-slipped character — through ghostly landscapes and digital spaces, tracing Fisher’s thought from the 1990s to our algorithmic present.
