En Attendant Godard has UK premiere on Latest.tv

Beg Steal Borrow News, En Attendant Godard, Press and Blog Mentions, Reviews, Screenings

Beg Steal Borrow’s first film, En Attendant Godard, will this weekend screen on thelatest.tv as part of their FilmFest at 8 season.

The screening takes place on the evening of Sunday 19 October at 9pm. You can watch it on Freeview channel 8 or Virgin 159 in the Brighton area, or via livestreaming at thelatest.tv.

The logo for latest.tv, who will be screening En Attendant Godard on 19 October.

The logo for thelatest.tv, who will be screening En Attendant Godard on 19 October.

We are delighted that the film will screen – and for the first time in the UK since its very first screening at The Loft bar in Clapham in late 2009.

So do check out the film if you can – especially if you live in the Brighton area!

In addition, En Attendant Godard also recently enjoyed a review by great American experimental filmmaker and film theorist, Wheeler Winston Dixon, which can be read here.

First review of Common Ground posted online

Beg Steal Borrow News, Common Ground, Reviews

The first review of Common Ground has been posted online – with hopefully many more to follow.

Trent Griffiths, who blogs under the name Dusty Roar, has been particularly warm about Common Ground, making us blush with embarrassment.

You can read the review here.

As per the review, we hope that the film makes some festival screenings soon!

Afterimages mentioned in Films of the Year 2010

Afterimages, Beg Steal Borrow News, Press and Blog Mentions, Reviews

Esteemed film critic and academic Catherine Wheatley has mentioned Afterimages among her Films of the Year 2010, alongside work by Gaspar Noé, Lucrecia Martel and Catherine Breillat.

If you want to look at Wheatley’s list, click here.

Wheatley says that she would take films like Afterimages “over the likes of the overblown and overrated I Am Love any day of the week.” We are honoured.

Afterimages selected for CPH PIX 2011

Afterimages, Beg Steal Borrow News, Festivals, Reviews, Screenings

Afterimages has played at the 2011 edition of CPH PIX in Copenhagen.

This page for the film at the festival can be seen here.

The Festival Guidebook reviews the film as follows:

Everyone talks about the digital revolution, but only few people do anything about it and make films for fun. English filmmaker William Brown visited CPH PIX last year with his charming Godard hommage ‘En attendant Godard’. This year, he returns with his brand-new film ‘Afterimages’, and again we can expect a simple and likeable film, shot on video with absolutely no money – but with the same energy and desire to make films that drove his French role models in the 1960s. Dennis, an émigré from Guatemala, who makes a living as a baker in the middle of nowhere in Scotland finds a mobile phone on the street. The telephone contains nothing but a video of a girl being raped by three hooligans in a forest. After seeing the clip without knowing what was happens after, he can’t forget it again. ‘Afterimages’ of the video have burnt themselves into his mind and so the good-hearted Dennis sets out to find the girl and the three hooligans. If you have a penchant for the particular British kind of solidarity for the man on the street (and for French digressions), then ‘Afterimages’ is good company.

En Attendant Godard reviewed

Beg Steal Borrow News, En Attendant Godard, Reviews

Bill White of the Seattle Post Globe has reviewed En Attendant Godard.

White expresses some issues that the film is not really about Samuel Beckett – but overall finds himself getting into the low budget ethos of the film and endorsing it.

Although offline now, the link to the review was/is here.

En Attendant Godard named as one of Top 5 Films of 2009

Beg Steal Borrow News, En Attendant Godard, Reviews, Uncategorized

Jonathan Rosenbaum, the critic whom Jean-Luc Godard described as the most important writer on film since André Bazin, has included En Attendant Godard among his Top Five Films of 2009 in Sight & Sound magazine.

Rosenbaum describes the film thus:

This nervy, brand new feature is an excellent work of Godard criticism (with glancing look-ins at Resnais, Haneke and Cassavetes) that goes beyond detailed pastiche to forge a creative application of 1960s and early ’70s Godard across a tour through portions of western Europe. An inquiry, in short, into how Godard’s example might inform and apply to contemporary film-making.

To read the full poll, click here.