Category Archives: BFI

BFI FILM REVIEW: BAIT (2019)

BFI FILM REVIEW: BAIT (2019)

Directed, written, shot and edited by: Mark Jenkin

Produced by: Kate Byers, Linn Waite

Cast: Edward Rowe, Mary Woodvine, Simon Shepherd, Giles King etc.

Production company: Early Day Films

Distributed by: BFI (UK)


**MAY CONTAIN SPOILERS**



Not to be confused with the B-Movie shark movie, Bait (2015), Mark Jenkin’s tour-de-force arthouse classic, Bait (2019), is a whole together different kettle of fish. The story is set in Cornwall and centres around local fisherman, Martin Ward (Edward Rowe), and his various day-to-day struggles. Having had to sell the family cottage to middle-class city types, the Leigh family, Martin is fiercely determined to save up for a boat. In the meantime, he fishes with nets on the beach, as his brother, Steven (Giles King), uses their deceased father’s vessel for tourist cruises. Martin is resentful toward Steven and clashes with his brother and the Leigh’s throughout the film.

Bait (2019) is a low-budget and independent passion project. Mark Jenkin used a vintage hand-cranked Bolex camera, using 16mm monochrome film that he hand processed. He wrote, directed, lit, filmed and edited the film, but also used an army of local people to assist with the production. The story and themes of gentrification and city versus coastal types are explored very effectively in Bait (2019). Wherever you stand on the point of traditionalism versus upward mobility and financial appropriation, via the character of Martin and Edward Rowe’s bruising and hulking performance there are very powerful emotions of grief, loss and cultural absorption represented. The writing is initially quite simple in that the Leigh family are a negative force within the Cornish village. The son, Hugo, creates a lot of conflict by destroying Martin’s lobster traps and clashing with local hothead youth, Wenna (Chloe Endean). However, the Leigh’s are not mere stereotypes, but rather just shown as a family unit, like the Wards, who are trying to make a living.

Bait (2019) won’t be for everyone though as it is very experimental in nature. While the story and themes are clear, the editing, black-and-white-scratchy photography, dubbed dialogue and sound creates a self-consciously arty experience. Indeed, while some may proclaim the style as original, it is obviously influenced by cinematic formalists including Jean-Luc Godard, Ingmar Bergman and Sergei Eisenstein. The elliptical montage editing style, direct address (actors stare either at or just off camera) and overlapping dialogue will certainly appeal to film students and scholars alike. Overall, Bait (2019) treads a fine line between genius cinema and what could be classed as plain bad filmmaking. Thankfully, we have wonderful film critics, like Mark Kermode, to tell us it is one of the best and most important British films released in the last decade.

Mark: 9.5 out of 11

BFI FILM REVIEW: DAUGHTERS OF THE DUST (1991)

BFI FILM REVIEW: DAUGHTERS OF THE DUST (1991)

Directed by: Julie Dash

Produced by: Lindsay Law, Julie Dash, Arthur Jafa, Steven Jones

Written by: Julie Dash

Cast: Cora Lee Day, Barbara O, Alva Rogers, Trula Hoosier, Umar Abdurrahamn, Adisa Anderson, Kaycee Moore etc.

Music by: John Barnes

Cinematography: Arthur Jafa

***MAY CONTAIN SPOILERS***



“I didn’t want to tell a historical drama about African-American women in the same way that I had seen other dramas. I decided to work with a different type of narrative structure…[and] that the typical male-oriented western-narrative structure was not appropriate for this particular film. So I let the story unravel and reveal itself in a way in which an African Gullah would tell the story, because that’s part of our tradition. The story unfolds throughout this day-and-a-half in various vignettes. It unfolds and comes back. It’s a different way of telling a story. It’s totally different, new.” — Julie Dash

If you didn’t know the British Film Institute (or BFI) is the UK’s lead organisation for film, television and the moving image. It is a cultural charity that: presents world cinema for audiences in cinemas, at festivals and online; cares for the BFI National Archive, the most significant film and television archive in the world; is a registered charity that actively seeks out and supports the next generation of filmmakers; organises and runs the annual London Film Festival; and works with the government and industry to make the UK the most creatively exciting place to make film internationally. As my wife and I are members we get sent films on Blu-Ray/DVD as part of the membership. These can be re-released classics or remastered arthouse masterpieces such as Daughters of the Dust (1991).

Daughters of the Dust (1991) was a labour of love for writer and director Julie Dash. Originally inspired, way back in 1975, by her father’s experiences, she strived to create a short, poetic and cinematic account of a Gullah family’s migration from idyllic island life to New York at the turn of the century. Eventually, and after many year’s of development and struggle, PBS’ American Playhouse would grant the low budget for a feature film. The film is set in 1902. It tells the story of three generations of Gullah women in the Peazant family and their varying viewpoints, thoughts and philosophies in regard to the move from Helena Island.


Daughters of the Dust review – the dreamlike film that inspired Beyoncé's  Lemonade | Film | The Guardian

Daughters of the Dust (1991) was made for a reported $800,000, but it looks worth far more in terms of cinematography, costumes and settings. Arthur Jafa’s camera placement and use of the natural light, on the beach and swamp land especially, conjures up some magical imagery. The iconic images of the women on the beaches in their bright white dresses are stunningly memorable. While watching I felt like I was viewing a gallery of moving paintings, such was the exceptional nature of the composition. Again, despite a low budget and use of actors from independent cinema, Julie Dash, gets some incredibly natural and compelling performances from her cast. It’s all the more amazing as most of the cast had to learn the Gullah language employed from scratch.

Thematically the film is very powerful too. Conflict derives from dialectics such as the clashing of elder versus younger people, ancient beliefs versus Christian religion, African heritage versus Neo-American capitalism and nature versus technology. Julie Dash structures these themes and the character’s desires in a non-linear fashion over a period of a long weekend. There are poetic flashbacks and flashforwards too as the imagery is supported by a voiceover from a yet to be born child of parents, Eli and Eula. Ultimately, this film is a very immersive experience. There are no subtitles, so the language can be tricky to understand, but for me that enhanced the desire to feel the narrative. Indeed, the lyrical beauty of Daughters of the Dust (1991), combined with the humming percussion-driven music, stunning landscapes and inventive cinematic language mean you are swept out to sea by the powerful emotions of Julie Dash’s spectacular vision.

Mark: 9 out of 11