In this episode of Beginnings, we discuss Ulrich Seidl's 'Import/Export'. 

The nuance of binary lies in its capacity to establish the boundaries in which true expression can unfold. Import/Export is able to stylise life, imitating its love of binaries: of beginning and end, of love and loss, of hope and desolation. The form of this films takes on that of the human voice; join us in communion.

Here we discuss the  four documentaries that Pawel Pawlikowski made for the BBC in the early nineties: 'Tripping with Zhirinovsky', 'Dostoevsky's Travels', 'Serbian Epics' and 'From Moscow to Pietushki'. 

Each of these films represent Pawlikowski's unique touch in the way that they blur the boundaries between fiction and reality, occupying a space of heightened, absurdist reality. 

Tune in and join the chat for a real discussion on one of the greatest filmmakers of our time. 

The art of cinema is its ability to rigorously utilise all the artistic forms that surround it, whilst also preserving them in amber. 'Portraits' is about taking a microscope to the entombed.

The series begins with two biopics: 'Andrei Rublev' by Andrei Tarkovsky and 'Pirsomani' by Georgi Shengelaia. The biopic, like every other genre, derives its name from its duty to certain conventions. It is seldom true that such tight constrictions lead to liberated and exciting filmmaking, but here are two exceptions.

No more erroneous romanticisation of the individual. The art is all that remains of these subjects and is the only document one can use in faith to tell the story of their lives. Pirosmani, the man of black oilcloth, is a film of shadow and booze. Andrei Rublev, the man famous for his celestial azure, is a story that can only be told in black-and-white.

It takes a sensitive filmmaker like Sergei Loznitsa to craft archival footage into a strong and cohesive documentary narrative. This film is a real document to arguably the most significant death of the twentieth century, which is portrayed with fidelity to those filmmakers of the 1950s whose efforts were suppressed by the historical weight of their subject matter. 'State Funeral' is the most impressive and respectful film of its kind that we've seen to date and certainly warrants a full discussion.

Never before have we seen a film with so laden with IMAGES with such few cuts. This is a real testament to the visual power of film and a well-constructed scene.

Check out our review of Valentyn Vasyanovych’s inspiring debut ‘Atlantis’. 

We have a real episode of cogitation for one of the most literal, yet inventive adaptations we’ve seen to date. Malmkrog is an experience that won’t be forgotten any time soon and not one to be missed. 

Where is the line between a documentary and a piece of serious filmmaking? We don't know, but maybe it lies in the borderlands, the no-place between conflict zones. When faced with brutal, self-evident violence, perhaps the only thing that remains is storytelling. The diversity of violence bleeds into the plurality of voices that echo inside this landmark of documentary filmmaking.

If you're looking for THE themes, then they are heavy with this one, as we review Gianfranco Rosi's 'Notturno'. 

Best enjoyed at either twilight or dawn. 

Here we have the surprisingly polarising piece 'Beginning' by first-time director Déa Kulumbegashvili. Geology, Jehovah and a proper nasty scene. All is discussed here. 

This is not a burial; it's a masterclass of cinema. Tune in for a gusher over one of the best films to come out of the early days of 2021.

This is not one that can be missed in good faith.

2020 has been quite the year for cinema, and we couldn't keep quiet about that. Here's part one of our end of year roundup where chat about the giddy heights of this year, as well as the real stinkers.

Tune in and get chatting.