Shezad Dawood, Piercing Brightness, 2012
The Glorious Eight: questions Piercing Brightness director Shezad Dawood might have been asked; answers that might have been given.
What has Shezad Dawood been reading?
On the train to Preston to shoot Piercing Brightness (PB), hauling cameras, lights, sound equipment… nevertheless, Shezad did not stint on reading material carrying as many Philip K Dick novels as he could. Seeking to embody the greatest and most prescient of timetravelling, genre-mashing writers, he sought to instil in his film the qualities of accessible otherness and narratively-fuelled speculation so beloved of the high priests of pulpparanoia.
Fred Kelemen, Frost, 1997/1999
A Nos Amours returns to the ICA on Thursday 30 May with the director’s cut of Fred Kelemen’s Frost (1997/1999) on 16mm. Writer and theorist Ella Harris looks back at the last A Nos Amours screening to consider how pop-up cinema could be changing our relationship to film.
Mary Harron, American Psycho, 2000
The ICA Cinematheque is a new strand of programming that will incorporate classic art house titles, film seasons, director retrospectives and 35mm repertory screenings into the weekly cinema events.
Agnès Varda, La Pointe Courte, 1955
Tonight we commence our retrospective season of French New Wave pioneer Agnès Varda’s works with the director’s rarely-screened debut feature La Pointe Courte. Shot in 1954 on a tiny budget by her newly-founded filmmaking co-operative Ciné-Tamarais, Varda’s debut pre-dates the better-known works of New Wave posterboys Godard, Chabrol and Truffaut by half a decade and has been dubbed by French cinema historian Georges Sadoul as, “truly the first film of the nouvelle vague.”
Querelle, Rainer Werner Fassbinder, 1982
Ahead of the screening of Querelle on Thursday 2 May, the ICA’s Associate Curator of Artists’ Film and Moving Image Steven Cairns spoke to Beige magazine about this little-seen queer cinema classic.