BFI Southbank Preview: Made in Britain | Film reviews, news & interviews
BFI Southbank Preview: Made in Britain
This BFI programme celebrates women without limits
If you’re game for a galling statistic, here’s one that’s guaranteed to stun: at present, only 14 per cent of British films released in the UK are directed by women. If that seems oddly as well as infuriatingly low, it’s probably because so many of the brightest and boldest British film-makers of recent years, from Lynne Ramsay to Lucy Walker, are women – women who it seems are exceptions as well as being exceptional. These towering talents, it could be said, give the impression that opportunities for women behind the camera are at a high, rather than being persistently paltry. And so it’s fitting that the first of a new, annual “Made in Britain” programme at BFI Southbank takes as its focus the work of contemporary British female directors - both highlighting the shortage and celebrating their against-the-odds accomplishments.
Following in the footsteps of luminaries like Sally Potter and more than holding their own amongst male peers such as Steve McQueen, James Marsh and Shane Meadows, “Made in Britain” showcases work by Ramsay, Walker, Andrea Arnold, Joanna Hogg, Carol Morley, Gillian Wearing and Clio Barnard. It’s a month-long bonanza, presented in association with Birds Eye View, and runs throughout April. This year’s “Made in Britain” comprises fiction and non-fiction, shorts and features; it tells national, global and painfully personal stories, with inspirations ranging from seminal literature to one director’s own alcoholic fug. From council estates in Glasgow and London we fly to the suburbs of America and a Brazilian "wasteland", before scaling Mount Everest. Along with demonstrating the myriad differences, drawing these films together as a programme serves to highlight their common themes; whereas Ramsay’s We Need to Talk About Kevin tells the fictional story of one woman’s eventual alienation, Morley’s Dreams of a Life shows the tragic reality of someone dropping off the societal map.
The narrative film-makers featured here represent three of the most acclaimed and exciting talents working in the UK, nay the world. Andrea Arnold’s body of work may be small (she’s the director of Red Road, Fish Tank and Wuthering Heights, plus several shorts) but among her dozens of awards are two Jury Prizes from Cannes, an Oscar (Best Short Film for Wasp) and an Outstanding British Film BAFTA for Fish Tank (Michael Fassbender in Fish Tank pictured above right). Arnold’s work is probing and dynamic, blissfully romantic and disconcertingly raw. Lynne Ramsay, too, has made just three films (Kevin, Morvern Callar and Ratcatcher) but each is virtual perfection – strange, illuminating and beautiful; she’s a mistress of life’s mire. The comparably talented Joanna Hogg (the director of Unrelated and Archipelago) depicts the filmically ignored (in the UK at least) upper middle classes in precisely realised, intellectually stimulating films which turn social discomfort into an art form.
Share this article
Subscribe to theartsdesk.com
Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 10,000 pieces, we're asking for £2.95 per month or £25 per year. We feel it's a very good deal, and hope you do too.
To take an annual subscription now simply click here.
And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?
Rising star Shailene Woodley is at the centre of a disappointing teen drama
Neill Blomkamp's latest sci-fi actioner is a well-intentioned misadventure
Kim Longinotto's latest is a lacerating documentary of Chicago's mean street lives
theartsdesk recommends the half-dozen top movies out now
Julianne Moore's Oscar-winning turn lifts largely pedestrian film
Passion hits the brick wall of decency in Fei Mu's 1948 masterpiece
New York's latest multi-hyphenate on making sense of her place in the world
The Swedish-born doctor's daughter on her rapid rise from 'Kill List' and 'Twilight' to 'Downton', 'Ripper Street' and Jimmy McGovern's 'Banished'
Gay Brooklyn dramedy memorably mixes great humour with uneasy search for identity
The expats are back in that rare sequel that betters its predecessor
Superlative performances in Mike Leigh's ravishingly filmed hyper-biopic
Hungarian allegory on racism and the rise of the far right fails to cohere