Archives for posts with tag: dennis chua

Last weekend saw both the completion of our crowd funding campaign for This is Cinema and the screening at the East End Film Festival of Circle/Line, our documentary investigation into whether people in London are happy.

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A poster for Circle/Line at the East End Film Festival screening.

We would like to offer our thanks to all those who helped to organise and who came to the screening (especially the team at the EEFF!) and to those who pledged money for This is Cinema via our campaign with LiveTree.

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Circle/Line screens in Old Spitalfields Market.

But this is not a moment to sit still, but a moment to carry on…

And so since Saturday 3 June, I have been doing some work on an essay-film, #randomaccessmemory, while Tom Maine and I went out on Monday 5 June to shoot more sculptures for our short essay-film, Sculptures of London.

The fourth day of our shot, Tom and I started at the Emirates Stadium, where we took some shots of Arsenal legend Thierry Henry, before then heading to the site of the old Gainsborough Studios in order to capture images of the giant film reel that sits in Shoreditch Park and a curious bust of the Master of Suspense, Alfred Hitchcock himself.

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Hitchcock on the site of the former Islington/Gainsborough Studios.

We then travelled down to Liverpool Street and the surrounding area, where we saw Fernando Botero’s Broadgate Venus, Xavier Corberó’s Broad Family, and one of the Kindertransport memorials created by Frank Meisler and Arie Oviada. The last of these commemorates the effort of the British to take in nearly 10,000 Jewish child refugees in the build-up to the Second World War.

Richard Serra’s Fulcrum then followed, a statue that we shot in a style that rhymes with a similar shot of Bernar Venet’s Neuf lignes obliques in The Benefit of Doubt. We shot The Benefit of Doubt in Nice, France, where Venet’s sculpture lives. The film is a retelling of the myth of Ariadne, the daughter of Minos abandoned on the beach by Theseus and who then meets (in our film, two versions of) Bacchus.

Next we viewed Jacques Lipschitz’s Bellerophon Taming Pegasus. As Tom and I discussed creativity, I wondered (cheekily perhaps) that the City location of this sculpture about the mythical slayer of monsters capturing the monstrous chimera seemed somehow to symbolise the way in which the world of work also captures and hinders creativity – with creativity being the creation of monsters, in the sense that creativity brings into the world things and beings that have never before existed (maybe this is why we call children little monsters).

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Bellerophon Taming Pegasus

Looking at Antanas Brazdys’ Ritual in front of the Woolgate Exhange, I also wondered how this particular sculpture also seems very meaningful given its location and the material from which it is made.

This stainless steel piece offers distorted reflections of those who walk in and out of the building, thereby making us look again at, and perhaps question, the daily ritual that is the commute into and out of work. Why do we do this? Is there reason to doubt the ritual?

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Ritual

There followed shots of Karin Jonzen’s Gardener, John Birnie Philip’s Peace and Michael Ayrton’s Minotaur by the Guildhall School of Music and Drama in the Barbican.

Given the difficulty that we had in finding the Minotaur, which had moved since when we used it for a shot in En Attendant Godard in 2009, it seemed as though this minotaur really did live in a labyrinth – until a very helpful man called José helped us to locate it by leading us through the Guildhall’s staff-only area.

In En Attendant Godard, the minotaur is used to represent a bull – the form taken by Jupiter in order to rape Europa, in the film represented by Annie, who is played by Hannah Croft.

En Attendant Godard refers repeatedly to the mythical Rape of Europa – with images of François Boucher’s Rape of Europa featuring early on, before we then see Alex Chevasco’s character, Alex, being slain as a bull by a torero (Tristan Olphe-Gaillard), before Alex re-adopts bull horns and poses with Annie (who has now changed her name, although we not sure to what) by Lake Geneva.

At the time, we felt as though these images allowed us to investigate visually a link between the Rape of Europa and the concept of Europe: to be European means to be wide-eyed (from the Greek eurys/wide and ops/face or eye). In other words, it means to be open, to look others in the eye or in the face; it is a sign of respect. But perhaps Europa suffers for her wide-eyed openness as Jupiter descends to abduct her.

Further tying this myth to Beg Steal Borrow’s productions, Europa was the mother of Minos, the father of the minotaur, from which the afore-mentioned Ariadne, daughter of Minos and sister of the minotaur, saved Theseus by giving him the spool of thread that he used to make his way out of the labyrinth.

Ariadne is the name of the character that Hannah Croft again plays in The Benefit of Doubt, which is based on the myth of Ariadne, but here picking up the story from after she is abandoned by Theseus on the beach of Naxos (here, Nice) and then discovered by Bacchus (in The Benefit of Doubt represented by two characters played by Nick Marwick and Greg Rowe).

Ariadne is also a key figure in Letters to Ariadne, a film about which I shall blog shortly, and which is an attempt by me to help my niece Ariadne to make sense of the world.

Often life feels as though it is a labyrinth: a puzzle from which we can find no release, except perhaps through an act of love or kindness (as José gave to us at the Guildhall). I wonder (immodestly) that this is something that I try – in my limited way – to explore in my films (or at least to ask if to doubt, if not to know and yet to be open and wide-eyed – or in an etymological sense to be European – can benefit us).

And as in a labyrinth, where being lost we keep returning to the same places to try to make sense of them, so it is with Sculptures of London that we find ourselves returning to the same myths and themes from our other films, haunted by the same questions about what life is, and what the story is that the sculptures of London can tell us.

Indeed, as mentioned in an earlier blog, various of the sculptures that we shot in Kensington Gardens and Hyde Park also feature in The New Hope, while other sculptures that we have shot and are yet to shoot for Sculptures of London also appear in Circle/Line and Common Ground, about which more later.

To return to Day Four of the Sculptures shoot, though, we then shot the four feminised personifications of CommerceScienceAgriculture and Fine Art that live on Holborn Viaduct, while also taking an image of a lion covered in scaffold tarpaulin. This gave it the appearance of a sculpture modified by an artist like Christo, who is famous for covering monuments with cloth: like Ritual, the tarpaulin that hid the lion oddly also made it suddenly more visible than usual.

Wandering further around the City, we filmed images of Antony Gormley’s Resolution on Shoe Lane, the sculpture of Samuel Johnson’s cat, Hodge, by Jon Bickley (who also made the pig sculptures we shot on our last sortie), and St George and the Dragon by Michael Sandle and Morris Singer.

While we failed to find Stephen Melton’s LIFFE Trader, we did find J Seward Johnson’s Taxi! sculpture, before then shooting various more ‘monumental’ statues of the likes of Queen Victoria (on Blackfriars Bridge), Queen Anne (outside St Paul’s Cathedral) and the Duke of Wellington and James Henry Greathead by Bank.

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Taxi!

Outside St Paul’s, we created a shot of Georg Ehrlich’s Young Lovers that echoes a shot of Dennis (Dennis Chua) walking around the cathedral in Common Ground – during a sequence that we filmed during the Occupy London movement in late 2011.

Meanwhile, in front of the Wellington statue by Francis Leggatt Chantry, we came across some pro-EU protestors singing modified versions of protest songs (e.g. Pink Floyd’s ‘Another Brick in the Wall’) in the build-up to the next General Election. They very happily let us film them, and we chatted briefly about their desire for the UK not to leave the European Union (and their desire for Theresa May not to win the election).

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Pro-EU protestors before the Duke of Wellington

There followed brief visits to The Barge Master and the Swan Master of the Vintners Company by Vivien Mallock, and The Cordwainer by Alma Boyes on Watling Street. Interestingly enough, Tom and I marvelled at how – as per the latter statue’s inscription – shoemaking only really took off as an industry in the UK as a result of leather imported from Spain, with cordwain being a corruption of Cordovan, or things from the Spanish city of Córdoba.

If this European connection were not enough, it felt apt that the statue would find itself on Watling Street, which Tom told me was both the site of Boudica’s defeat by the Romans in cAD60 and the dividing line of the Danelaw in the late 9th Century. This latter event saw Watling Street become a boundary between Wessex and Guthrum – which in effect were thus two separate countries at the time.

In other words, the shoes that we wear to cross boundaries are themselves the product of materials crossing national borders, and which are made on the site of a place that itself became a national border and which played host to a battle about national sovereignty. It would seem that today’s disputes over national borders and boundaries have long roots in our past – which we can begin to discover by looking at the public art that surrounds us both in London and elsewhere.

After a trip to Aldgate to see Keith McCarter’s Ridirich, Tom and I popped by the Tower of London to shoot the Building Worker Statue by Alan Wilson, which was created to commemorate the lives of those who have died undertaking construction work in the city.

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Tom Maine shoots Ridirich

We then visited St Katharine Dock, where we saw Wendy Taylor’s Timepiece and David Wynne’s Girl with a Dolphin, a companion piece to his Boy with a Dolphin on Cheyne Walk and which we shot on our previous day of filming (as mentioned here).

In contrast with his Boy, though, the presence in Wynne’s Girl of a fountain that sprays up on to her body, and which spray darts around in the wind, lends to this particular piece a pornographic dimension.

Crossing the river, we then discovered that Eduardo Paolozzi’s Head of Invention has been moved – although we have not yet discovered where to (but it was not in Butler’s Wharf as we were expecting), while we could not find a bust of Ernest Bevin on Tooley Street, either.

We ended, then, with Jacob the Dray Horse by Shirley Pace in the Circle on Queen Elizabeth Street, and John Keats by Stuart Williamson in the Great Maze Pond by Guy’s Hospital in London Bridge.

It is apt that we ended in a maze – another sign that we are all in a labyrinth through which we struggle to find our way.

‘Sure a poet is a sage; A Humanist, physician to all men.’ In The Fall of Hyperion: A Dream, from which these words are taken, Keats suggests that the poet is on an endless quest for knowledge, which in turn means that the poet is plagued by doubts, never reaching the point of understanding, but always seeking, open-mindedly, to understand further.

Furthermore, in the poem, Keats suggests that humans should suffer and seek the spiritual, rather than follow or create the words of false poets: not those who create (poiesis), but those who destroy.

Filming these final two sculptures of the day in London Bridge, we came across a multitude of people, including many wearing Muslim Aid-branded clothing, taking part in the vigil announced by Mayor of London Sadiq Khan for those who died during the terrorist attack that took place at London Bridge on Saturday 3 June.

It would seem that such horrific incidents haunt Beg Steal Borrow’s films. On 14 July 2016, there was an attack involving a truck on the civilians of Nice, where we filmed The Benefit of Doubt, while this attack took place just hours after the screening of Circle/Line at the East End Film Festival.

Such catastrophes are hard if not impossible to comprehend. London is a city full of paradoxes, just like a circle that is supposed also to be a line.

However, if the vigil can teach us anything, it is that above and beyond the stories that are told by London’s sculptures, London is a city full of loving, open-minded, wide-eyed and welcoming humans – of innumerable races, religions and other types of category that we use to define ourselves. Of the sort who I would like to think are open to taking in refugees, perhaps especially children, and even if the current government recently scrapped the so-called Dubs scheme.

With each other’s help and support, perhaps we can come to learn the benefit of not knowing all the answers and perhaps not knowing at all. If we not only learn the benefit of doubt, but also share our doubts with each other (by writing poetry), then perhaps we can also learn to be Humanists, physicians to all humans, and to give to ourselves and to each other the thread that will help us to find our way out of this labyrinth.

We are delighted to say that This is Cinema has so far raised £2,395 – or 80 per cent of its £3,000 target on LiveTree.

This leaves us with just £605 to raise in the 8 days that remain of our crowdfunding campaign.

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All support is extremely welcome as we put together the latest Beg Steal Borrow film, which offers an intimate glimpse into the lives of the people studying and working at a small London university.

Starring Beg Steal Borrow regulars Alastair Trevill and Dennis Chua, This is Cinema will also feature performances from a range of newcomers to the Beg Steal Borrow fold – with stalwart cinematographer Tom Maine also lensing the production.

The campaign comes in the middle of the production of our short film, Sculptures of London and just before our documentary, Circle/Line, plays at the East End Film Festival in London.

If you want to support truly independent filmmaking, then please pledge your support for This is Cinema! The campaign also features all manner of goodies depending on how much you pledge.

A huge thank you to everyone who has so far helped in the backing of This is Cinema, the new film from Beg Steal Borrow and which will be shot in July 2017.

As of Friday 19 May, we have raised an impressive £2,240 of the £3,000 that we are aiming for through our crowd funding campaign on LiveTree. This amounts to just shy of 75 per cent of the desired money raised, leaving us with £760 to raise to meet our target in the next 15 days.

This is Cinema tells the story of Ben, a university lecturer who is grieving the loss of his wife and child. One day, his brother-in-law, Dennis, unexpectedly arrives on his doorstep with Radhika, a homeless woman who is fleeing an unhappy marriage.

Slide1Meanwhile, Latoya is a diligent and popular student taking one of Ben’s classes. Her brother, Wilhelm, is also in Ben’s class, but he hardly attends, preferring to sell weed on campus in a bid to finance his musical aspirations.

Things become complicated when Ben and Latoya get a match on a dating app while Ben is on a drunken night out. Furthermore, Ben’s world also unravels when he is threatened with redundancy for not being productive enough.

Tensions rise, then, as Dennis struggles to rearrange his life after losing his own marriage and falling into drink, while Latoya wrestles with depression and Wilhelm a mounting debt that sees him turn to dealing cocaine.

As Ben tries to work through his grief, and as all of the characters try to find meaning in their lives, This is Cinema explores the lives of two very different families as worlds collide in contemporary London.

The film is thus about those who desire intimacy and trust in a city where neither is easily forthcoming, and where traditional barriers must perhaps be broken down if trust is to be found.

Set against the backdrop of the neoliberalisation of British university education, This is Cinema will partially be shot in the areas of London where François Truffaut made his 1966 adaptation of Ray Bradbury’s famous 1953 novel, Fahrenheit 451. In this way, the film’s setting will echo Truffaut’s use of south west London spaces in order to investigate how in addition to politics, the very architecture of the city plays a role in placing the freedom of thought under threat.

Starring Al Trevill as Ben and Dennis Chua as Dennis, This is Cinema is set to feature performances from various Beg Steal Borrow stalwarts, while also featuring performances from brand new collaborators, including Radhika Aggarwal as Radhika, Cherneal Scott as Latoya and George Morgan as Wilhelm.

Shot by stellar cinematographer Tom Maine, we also look forward to sound recording from Julio Molina Montenegro, as well, hopefully, as musical contributions from many of our long-standing collaborators (Radhika is the drummer in Extradition Order for whom we have shot a couple of music videos).

This is Cinema thus looks set to be a wonderful addition to the Beg Steal Borrow canon. And if you are interested in supporting the film, then please take part in our crowdfunding campaign, a link to which is available here.

Beg Steal Borrow Films is delighted to announce the launch of a crowd funding campaign to finance their new film, This is Cinema.

Running until 3 June, the campaign is being hosted by LiveTree, and is hoping to raise £3,000 to support the production of This is Cinema, the 11th Beg Steal Borrow feature.

If you are interested in supporting the film, then please sign up to the campaign here.

The film tells the story of Ben, a university lecturer who is grieving the loss of his wife and child. One day, his brother-in-law, Dennis, unexpectedly arrives on his doorstep with Radhika, a homeless woman who is fleeing an unhappy marriage.

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Meanwhile, Latoya is a diligent and popular student taking one of Ben’s classes. Her brother, Wilhelm, is also in Ben’s class, but he hardly attends, preferring to sell weed on campus in a bid to finance his musical aspirations.

Things become complicated when Ben and Latoya get a match on a dating app while Ben is on a drunken night out. Furthermore, Ben’s world also unravels when he is threatened with redundancy for not being productive enough.

Tensions rise, then, as Dennis struggles to rearrange his life after losing his own marriage and falling into drink, while Latoya wrestles with depression and Wilhelm a mounting debt that sees him turn to dealing cocaine.

As Ben tries to work through his grief, and as all of the characters try to find meaning in their lives, This is Cinema explores the lives of two very different families as worlds collide in contemporary London.

The film is thus about those who desire intimacy and trust in a city where neither is easily forthcoming, and where traditional barriers must perhaps be broken down if trust is to be found.

Set against the backdrop of the neoliberalisation of British university education, This is Cinema will partially be shot in the areas of London where François Truffaut made his 1966 adaptation of Ray Bradbury’s famous 1953 novel, Fahrenheit 451. In this way, the film’s setting will echo Truffaut’s use of south west London spaces in order to investigate how in addition to politics, the very architecture of the city plays a role in placing the freedom of thought under threat.

Starring Al Trevill as Ben and Dennis Chua as Dennis, This is Cinema is set to feature performances from various Beg Steal Borrow stalwarts, while also featuring performances from brand new collaborators, including Radhika Aggarwal as Radhika, Cherneal Scott as Latoya and Femi Wilhelm as Wilhelm.

Shot by stellar cinematographer Tom Maine, we also look forward to sound recording from Julio Molina Montenegro, as well, hopefully, as musical contributions from many of our long-standing collaborators (Radhika is the drummer in Extradition Order for whom we have shot a couple of music videos).

This is Cinema thus looks set to be a wonderful addition to the Beg Steal Borrow canon. And if you are interested in supporting the film, then please take part in our crowdfunding campaign, a link to which is available here.

Beg Steal Borrow has made two music videos for post-punk outsider band Extradition Order.

The first video is for the single, ‘I Love an Eyesore (LBJ ’60)’, which was released by Jezus Records on 5 May 2015, while the second is for ‘Boy In Uniform,’ which is set also to be a single from the band’s new album, Kennedy.

The ‘Eyesore’ video sees archive footage of Lyndon Baines Johnson mouthing the lyrics to the song as the band, disguised in LBJ masks, frolic and play in a grand-looking house. At certain points, LBJ is pictured giving various versions of the famous ‘Johnson Treatment’ to the band members.

The video for ‘Boy in Uniform,’ meanwhile, sees the band in pseudo-Village People outfits performing an illegal gig at an unspecified venue. Part way through the song, the police arrive to shut down the gig, but two enthusiastic young cops are seduced by the music and end up acting out a live version of Banksy’s famous ‘Kissing Coppers’ mural.

The band’s album, Kennedy, is a concept album based upon political events and figures from the USA in the 1960s.

In addition to the band, the ‘Boy in Uniform’ video also features Beg Steal Borrow regular Dennis Chua as a police chief, with newcomer Ariel Pozuelo playing one of his amorous underlings.

Beyond that, Beg Steal Borrow’s Selfie enjoyed a warm reception at a screening at the Cinémathèque québecoise in Montreal, Canada, in late March. Keep reading for news of any other Beg Steal Borrow screenings coming up!

Beg Steal Borrow is excited and proud to reveal the new poster for The New Hope.

Designed by the talented Angela Faillace, the poster shows leading characters Dennis and Hadrian silhouetted against two suns as their shadows are cast over an expanse of grass.

The poster draws its inspiration from Star Wars and in particular one of the posters for The Phantom Menace, in which a young Anakin Skywalker casts the shadow of Darth Vader, thus suggesting his shadowy destiny.

Here, however, the shadows that Dennis and Hadrian cast are, respectively, of Don Quixote and Sancho Panza as in the 1955 sketch that Pablo Picasso created of the two characters for Les lettres françaises.

Blending Star Wars with Don Quixote, then, the poster conveys the key themes of the film, which is an adaptation of the first part of Miguel de Cervantes’ great novel – although in this updating of Cervantes’ story, the main character believes he is not a knight errant, but a Jedi knight.

Finally, the grassy expanse conveys the way in which the film takes place mainly in London’s Hyde Park, itself a common ground that is free for anyone to visit.

The setting in this way ties in with the democratic aspirations of the film. Not only is it a movie about a man who wishes to be a Jedi knight (thus proving that we can be whoever we want to be), but so is the movie’s zero budget a bit like tilting at the windmill of the mainstream film industry.

If one charges with enough conviction, though, maybe one can give hope to people, by showing that one does not need expensive equipment and flashy CGI to make a film, but that there is equally magic in a park, a Boris bike, a scooter, a stick and a dustbin lid.

Designer Angela Faillace is currently a student at the University of Roehampton, London, where director William Brown also teaches. She also designed the poster for Selfie, her work having caught William’s eye through the posters she designs for the Roehampton Film Society, which she also runs. Angela also worked as a crew member for Beg Steal Borrow’s video of Extradition Order’s ‘Boy in Uniform’ and can be seen in a couple of shots in Selfie.

Designed by the talented Angela Faillace.

Designed by the talented Angela Faillace.

With the finishing touches being put to The New Hope, and with Selfie and Ur: The End of Civilization in 90 Tableaux slowly beginning to be submitted to select festivals (keep your eyes open for screenings!), Beg Steal Borrow Films has moved for the first time into the world of music video direction.

William Brown directed the video for Extradition Order’s new song, ‘Boy in Uniform’ in early December 2014. The video was edited over the Christmas period, and is now just awaiting grading and a confirmation of release date from the band’s label before becoming available shortly – online and in other places, no doubt.

The clip tells the story of the band playing an illegal concert that the police disrupt. However, the music is just too seductive for the coppers, who soon find themselves seduced into having fun, rather than doing their job!

Inspired by Banksy’s famous ‘Kissing Coppers’ mural, the video features performances from Beg Steal Borrow regular Dennis Chua and first-timer Ariel Pozuelo, while Tom Maine was as usual in charge of cinematography.

Beg Steal Borrow's video for Extradition Order's 'Boy in Unifirm' takes inspiration from Banksy's famous and controversial mural, Kissing Coppers.

Beg Steal Borrow’s video for Extradition Order’s ‘Boy in Unifirm’ takes inspiration from Banksy’s famous and controversial mural, Kissing Coppers.

Beg Steal Borrow newcomer Tony Yanick acted as assistant director, while the crew was made up of Angela Faillace, Bahareh Golchin, Sara Janahi and Dasha Sevcenko.

Friends of the band acted as party goers and crowd as shooting took place in Roehampton, London on 6 December 2014.

Extradition Order consists of lead singer Alastair Harper, bassist Nick Boardman, lead guitar Jez Walton, with Radhika Aggarwal on drums and Matt Bergin on keys. For the video, the band all wore costumes inspired by the Village People.

Extradition Order‘s new album, Kennedy, is due for release in early spring 2015.

Exciting times for Beg Steal Borrow Films!

As final touches are put on to Ur: The End of Civilization in 90 Tableaux (with festival submissions to take place as soon as is ready), and as Selfie is about to go into post-production, shooting is about to begin on new zero-budget feature, The New Hope.

The New Hope is an adaptation of the first part of Miguel de Cervantes’ classic novel, Don Quixote. It tells the story of a man who claims to be Obi Wan Kenobi, and who spends his time going around London trying to right wrongs as per the old Jedi knight errant way.

Oh, and this Obi Wan also challenges Ewan McGregor to a duel – in order to prove that he really is Obi Wan Kenobi and not just some actor playing the part.

The film features Beg Steal Borrow regulars Dennis Chua, Alastair Trevill, Kristina Gren, Nick Marwick, Andrew Slater, Alastair Hird and Deanne Cunningham. And the film will of course be lensed in part by the ever-present and wonderful Tom Maine. Alexandra Brown will also have a brief role in the film – together with her gorgeous new daughter, Ariadne Bullen.

And the film will also feature new Beg Steal Borrow collaborators, including Aleksander Zerov Krawec, Grace Ker, Samuel Taylor, Millad Khonsorkh, Lucia Williams and others.

Filming takes place in and around Hyde Park between 23 and 25 August and 30 and 31 August. A whole feature in a five day shoot!

Passers by by are welcome to interact and to change the film if they spot us.

Otherwise, here’s a teaser featuring Obi Wan and a statue of Karl Marx – explaining how being, rather than acting a Jedi knight is the new source for hope in a world that’s blowing itself to pieces right now.

It seems as though Afterimages has found its spiritual home – Lithuania!

After two screenings in Kedainiai City in late 2013, Afterimages recently enjoyed another screening in Gelgaudiškis at Cinema Camp, an event run by Meno Avilys, an NGO based in Vilnius that specialises in film education and restoration – as well as producing DVDs of great Lithuanian films.

Around 70 people were at the screening, making it the busiest Beg Steal Borrow film screening so far – and the Q&A afterwards was enthusiastic and engaged.

Afterimages screens at Cinema Camp in Gelgaudiškis, Lithuania, on 25 July 2014.

Afterimages screens at Cinema Camp in Gelgaudiškis, Lithuania, on 25 July 2014.

Afterimages director William also gave a talk about 3D cinema during the event, which also featured works by artist-filmmakers Francisco Janes and Saulius Leonavicius.

William would like to thank all of the organising team for a wonderful welcome, for fantastic hospitality and for all of the kindness and generosity that everyone at Cinema Camp, especially the Meno Avilys team, showed.

Cinema Camp, run by Meno Avilys, took place in this beautiful country house under a glorious sun.

Cinema Camp, run by Meno Avilys, took place in this beautiful country house under a glorious sun.

Maybe this will be the next in a long line of events and screenings in Lithuania!

Ur: The End of Civilization in 90 Tableaux enjoyed a preview screening at the prestigious Olympic Studios in Barnes, London, on 25 May 2014.

The film tells the story of six disaffected people who are on holiday in the south of France – and who do not realise that the zombie apocalypse is taking place all around them.

The preview screening garnered an enthusiastic crowd, who overcame technical difficulties to watch this first airing of Ur.

Leading zombie film scholar Stacey Abbott was on hand to lead a Q&A after the screening with stars Edward Chevasco, Dennis Chua and Laura Murray, cinematographer Tom Maine, assistant director Alexandra Brown (who was/is nine months pregnant!), and William Brown.

Rosie (played by Roseanna Frascona) says good bye to the world in Ur: The End of Civilization in 90 Tabeaux.

Rosie (played by Roseanna Frascona) says good bye to the world in Ur: The End of Civilization in 90 Tabeaux.

On Facebook, various of those in attendance commented on the film. One viewer described the film as an ‘excellent zombie apocalypse film yesterday – funny, engaging, astute and beautifully shot.’

Another commented on the ‘fine work’ from cast and crew.

And Stacey Abbott herself described Ur as ‘a most unusual and fascinating zombie (but not zombie) film.’

Many thanks should be given to Mairead Murray, Will Orpin and Rick Gould at the Olympic for all of their help.

It was particularly a thrill to have the preview at a cinema where Jean-Luc Godard shot the Rolling Stones for his 1968 film, Sympathy for the Devil. Godard was, of course, at the heart of the first Beg Steal Borrow film, En Attendant Godard.

Edward (Edward Chevasco) and Rosie (Roseanna Frascona) talk love in Ur: The End of Civilization in 90 Tableaux.

Edward (Edward Chevasco) and Rosie (Roseanna Frascona) talk love in Ur: The End of Civilization in 90 Tableaux.