Films Amongst Friends

November 22, 2011 Leave a comment

Film Society Quiz at Teviot - Kittiphon Boonma

Drawn together by a love of film on the big screen, Edinburgh University’s Film Society is one of the best ways to watch a wide variety of films at an affordable price. Screening three films a week throughout term time, it features a diverse range of new releases,classics and international cinema which can be enjoyed by students and non-students alike.

Since EUFS’ inception over 40 years ago, it has sought to provide a platform for those passionate about film to watch and discuss the relative merits of a production in a friendly and welcoming way. According to vice-president Lauchlan Hall, “it (the society) is not just the appreciation of film, but the appreciation of the art of film itself, and the dialogue that can be shared between films is an experience which surprisingly few people have had.”

Something which the society actively promotes is a sociable outlet for what is often a very isolated hobby. President Mat Seccombe reinforces this by saying “we are a very sociable society, often heading to the pub after screenings to discuss the film just watched and are hoping to bring back our monthly movie quiz which proved to be hugely popular when we ran it a few years ago.” It is those moments, when you are introduced to new films or ideas, that Hall seems keen to emphasise. This is the highlight of an organisation built around a shared passion, where he says “the best part of the society is being able to discuss things you have never even heard of and learn about new and exciting films and directors.”

Yet despite the society’s potential for film snobbery, arguably its best facet is its openness, where it makes anyone who shares a passion for film, no matter how limited their knowledge, or particular their tastes, welcome. As Seccombe notes, “We are not just film buffs expecting people to know everything; as long as you enjoy film then we actively encourage anyone to come along.” He seems quick to point out that “a shared interest in film draws crowds together as people enjoy discussing a mutual passion.”

It is also apparent that EUFS moves far beyond a society that merely watches films, as it requires projectionists, archivists, floor managers and film bookers who have to get around the constraints of copyright laws in order to run with the efficiency it does. Evidently, one of the most difficult features of the society is trying to compile a list of films in advance to be screened that will be enjoyed by all and cater for a huge variety of preferences. “We try to maintain people’s interest by showcasing a variety of films whilst not being elitist,” states Hall. This is done through weekly meetings where all are welcome to voice an opinion on what should be shown regardless of their position in the society. Often, they focus on particular themes or directors, which is similar to the seasons that many independent cinemas hold as part of their programmes.

Their recently updated website  provides information about the society, film reviews and details on how to join. It has never been easier to find out about upcoming events or read an online version of their programme, which features all of the forthcoming screenings.

There also seem to be plans in place to expand the sorts of events they run, with outdoor screenings in Pleasance proving to be particularly popular and talks of running special celluloid screenings to recreate the iconic image of a film currently in process. With a healthy number of their own projectors that is steadily rising, these are just a few of the ideas that illustrate how EUFS is very much a society that is constantly evolving to enable unique ways of enjoying cinema.

Having won the Film Society of the Year award from the British Federation of Film Societies numerous times, it is clear that this is a group that has all the right elements in place. The amount of thought that goes into curating EUFS’ program rather than merely showing a selection of rom-coms and big blockbusters makes this the quintessential society for any film fan.

Yearly membership £15.

Single semester membership £10.

£1.00 screenings for friends of members.

Taken from The Student, published Tue Sep 20th 2011.

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Imran Yusuf – Bring the Thunder: Fringe Review

November 21, 2011 Leave a comment

 

 

 

 

 

 

 

 

Imran Yusuf talks with such unrelenting enthusiasm that it is inexorably infectious. His material, which covers everything from politics, multiculturalism and difficulties with women, shows a diversity that is supplemented by an undeniable passion for what he does. This is honest comedy delivered by a man who primarily seeks to entertain. Using questions of identity as a major focal point of the show, he delivers a powerful message of following one’s dreams and never giving up. But this is also accessible comedy – it is easy to listen to and therefore easy to like. It also, therefore, fails to offer anything truly different – a shame, as he has lots of potential.

Pleasance Courtyard, 3 – 28 Aug, 7.00pm (8.00pm), £9.50 – £12.00, fpp92. 

tw rating 3/5

Taken from Three Weeks published Tue Aug 16th 2011.

Three Weeks 2011 – Daily Edition #12, Aug 16th

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Bane 3: Fringe Review

November 19, 2011 Leave a comment

4/5

Following the sell-out success of Bane 1 and 2, Joe Bone returns for the third instalment of his high-octane film noir parodies.  A one-man show featuring a host of characters distinguished through various accents and idiosyncrasies, he creates comedic crime-thriller stories through strong characterisation and impressive acting skills.

A continuation of last year’s Bane 2, Bone’s latest effort sees hired hand Bruce Bane attempt to lay down his gun in favour of a retired life with wife and family in the aptly-named Sunny View.  This human side to the hit man, witnessed here for the first time, adds a refreshing change to the play, thus making it more engaging to watch and more shocking when things start to go wrong.  References to previous characters provide light relief for die-hard fans whilst not confusing those who are new to the show – this is a trilogy that can be seen in any order, each standing up as an individual play in its own right.

In a similar fashion to its predecessors, Bane 3 is hectic and chaotic at first, but once the audience’s attention is grasped they remain hooked to every word as the tense story unfolds.  Arguably funnier than the previous shows, Bane 3 offers a selection of well-thought out lines and entertaining clichés that can be spotted from a mile off in what is, once again, a very successful performance.

3rd – 28th Aug 2011 (not 15th), 5:20pm, Pleasance Dome, £10(£8)

Taken from Informed Edinburgh, published online Aug 2011.

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Joe Wilkinson – My Mum’s Called Stella and My Dad’s Called Brian: Fringe Review

November 19, 2011 Leave a comment

4/5

The awkwardness at which Joe Wilkinson enters the stage, sloth-like with his long limbs and scraggly beard hidden behind a dishevelled brown suit, creates an immediate sense of uncertainty amongst the audience. Proceeding to hug most of the crowd before fumbling through the first few minutes of his set with a definite lack of self-assurance, it is understandable that many would think this the result of a lack of experience in the field of comedy. However, this is Wilkinson’s game.

As the show unfolds you realise that this incertitude forms the backbone of his comedic style where he seeks to divulge the lack of excitement that has happened in his life. This disassociation from the sort of events that are commonly experienced amongst men his age creates stories filled with embarrassing and cringe-worthy situations that are hilarious when recounted.

It is easy to empathise with Wilkinson as one could feel sorry for the relative lack of stimulation he has experienced in his life but whether or not any of these events actually happened is testament to the brilliant way in which he says them. The sincerity at which he presents the material – ending with a fantastically uncomfortable ending to the show where the audience is left questioning whether it ended in disaster or purposefully – makes this a performance that is definitely worth looking into as it offers a form of comedy that is not often found at the Fringe.

3rd – 28th Aug 2011 (not 10th, 17th, 24th ), Pleasance Courtyard, 5.45pm, £9.50(£7)

Taken from Informed Edinburgh, published online Aug 2011.

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Russell Kane: Smokescreens and Castles Review

October 10, 2011 Leave a comment

4/5

Russell Kane has seen considerable improvement since his 2009 fringe show Human Dressage, which illustrated his definite potential but lacked the lustre necessary for a brilliant show. His latest effort Smokescreens and Castles not only won him the esteemed Fosters comedy award at this year’s fringe but demonstrates that Kane has hit the nail on the head with sharp, effective and even endearing comedy.

The incredibly quick, sporadic style of Kane’s comedy takes a while to get used to, but once accustomed becomes remarkable to watch. The speed at which one almost sees his brain working, along with the prodigious accuracy with which his thoughts are expressed is truly impressive.

Kane takes a while to break into the core of his material, although his plethora of put-downs and the dexterity with which he interacts with his audience could arguably create just as effective a performance.

Previously criticised for his overly camp and airy nature, it comes together with a focus on sociocultural divides and his working class upbringing, there is a particular emphasis on his somewhat oppressive father who has been of various significance in parts of his prior shows.

The honesty with which Kane goes into detail about his right-wing father’s racist and homophobic tendencies and his mother’s aspirations to appear of higher status in society gives an endearing edge to the performance; this is real life comedy, better explicated through its construal by Kane.

There is, however, perhaps one slight flaw in his performance. The speed at which he moves from one story to the next makes it appear to be founded on a desultory sense of what pops into his head and not on any particular structure. It lacks a certain seamless transition or flow from one anecdote to the next, combining the ideas together. Arguably though, this doesn’t matter as it is exactly this capricious style which adds to Kane’s appeal.

Taken from The Journal, published online Sun Feb 13th 2011.

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Comedy Central Live: Ria Lina and Yianni Agisilaou Review

October 9, 2011 Leave a comment

3/5

Being half German, half Filipino and with an American accent, Ria Lina is something of a mixed bag of cultures and identities, which allows for copious amounts of self-ridiculing.

Accompanied by a ukulele, she does well to craft entertaining songs about topics as diverse as her mum being a mail-order bride to stories of various dubious sexual experiences in a catchy, well structured fashion.

Teetering on the edge of social awkwardness, she gauges the audience’s mood whilst constantly stretching the limit of an impertinent style which leads to some highly controversial yet enjoyable comedy. Perhaps it is because of her girlish good looks and multi-nationality that she is able to get away with it.

However, at times this brash nature feels shocking for the sake of being offensive. This combined with a clear sense of script that has been followed too many times removes some of the life from a show that is in need of more vigour and energy.

Australian comedian Yianni Agisilaou, of Cypriot descent, imbues some of the energy which Lina lacks in a set that unfortunately would have been considerably better had compère Ro Campbell not been absent, making Agisilaou have to fill more time than the amount of material he had would allow.

He does well to ostracise his audience early on as his overflowing personality leads him to accidentally make various incongruous comments. Luckily these are accepted as hilarious moments of temporary ignorance and not merely prejudice.

Peak moments follow those where the audience questions what he is trying to say, as the flow of his performance is somewhat sporadic. However, this slightly disjointed style is again probably due to the undesired length of his set.

The moments that do shine are particularly excellent allowing the audience to warm to his nature, especially those where he recounts moments with his family in Greece such as his ability to speak Greek better than he understands it, which, as he sarcastically points out, makes no sense.

Taken from The Student, published Tue Jan 18th 2011.

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