Author Archives: Exeter Phoenix

1. Two Short Nights Collaborations: Critical Popcorn On Second Chances

   February 17, 2021 4:18 pm 17 Comments

   This year, Two Short Nights Film Festival has had the privilege of working with a number of creative collaborators, including Dan Bullock, editor in chief at Critical Popcorn.

   Here, Dan Bullock takes an indepth look at the short films featured in Two Short Nights Shorts #4: Second Chances – a place for filmmakers of the future to explore and hone their talents.

   What in the World
   Jamie Fraser, 2019, UK, 13 mins

   Driving down a country lane and lost in a world of loud, classical music, Tom Meeten’s character is stopped on the road by an outwardly happy-go-lucky young lady (a charming turn from Charly Clive), who wants him to photograph her stood next to her car. It’s a strange request, of that there’s no doubt, but he obliges. While you’re a little suspicious of her intentions, things take a turn for the peculiar as she reveals why she’s there and what she’s commemorating. No spoilers from me but Fraser’s short is unexpectedly compelling, touching, full of secrets and funny moments, all wrapped up in a welcomingly weird and dark stylistic. Also starring Branden Cook, I relished it. (P.S. Meeten is an indie legend!)

   

   Girl’s Night
   Ismay Bickerton, 2020, UK, 4 mins

   This partly-animated short film tells it tale through the medium of lips layered over real-life flowers in a garden. As the title implies, it’s a brief encounter where a group of young women talk about things they’ve done in their lives, including their views on men’s hairstyles and facial hair choices, and it’s all in the guise of spending the night in each other’s company. They discuss things from their past, their future and have quick jibes at each other. While I’m unsure if this is natural or scripted, it feels like the latter and is a little disjointed. However, they hit the target of what they’re aiming for, even if there’s not much depth to unearth.   

   

   Newbie
   Ieuan Coombs, 2019, UK 14 mins

   Newbie has a lot of promise, and some fun ideas, but is somewhat let down by a dated guitar score, which distracts and doesn’t add to the story. While we follow a young burglar who is robbing a house at the same time as another one, this element seems like it’s coming before it happens. Having said this, the central story has the bones of something greater. Cut a few minutes, take out excessive swearing and bulk up the script with quicker one-liners between lead pair Sam Adamson and Nick Delvalle, who work well when there’s more of that going on, because once it kicks off, it’s much sharper and with those few tweaks, you’ve heightened its conviction. 

   

   S*!T
   Simon Wegrzyn, 2020, UK, 2 mins

   After a guy (Liam Ballantyne) follows a girl home that he shouldn’t, he wakes to find himself outside of his body and in a ‘spiritual’ gateway with Laura Evelyn’s character questioning him. With decisions to make, this micro-short gets right to the point with a deeply satisfying outcome, and full of the right relevance.

   This is how you make an impact in two minutes. Superb.

   

   Pile Poil (On Time)
   Lauriane Escaffre & Yvonnick Muller, 2018, France, 20 mins 

   Set in a world of manicure, pedicure, and a butcher’s shop, we follow Madeleine Baudot’s Elodie who works with her Dad (Grégory Gadebois) in the family business but is also studying to become a beautician, and clearly has her mind on other things. In an early sequence, she heads to a gig in a local venue on the hunt for something, but we don’t know what until later. This is an incredibly well-told story and one I don’t want to spoil. It’s intriguing from the very start, filmed in a way that makes you feel part of what’s going on, and gives Elodie and her Dad huge depth of character. Not only is the Father/Daughter relationship effortlessly natural, but there’s also a wealth of invention in the storytelling, great performances and an equal measure of comedy and tenderness. Absolutely adored it. 

   

   2025: The Long Hot Winter
   Jake Lancaster, 2019, UK, 9 mins

   At first, especially after 2020, this is a bit of a kick in the ‘aaah, the sunny outdoors’ but, here’s the twist, this narrative is set in the winter of 2025, where the sun is out, the UK is hotter than Spain and everyone is loving it… aren’t they? There’s little doubt of Lancaster’s underlying climate change storyline but as this is sold as a documentary and is told via interviews with groups of friends in various locations, you’re encouraged in to listen to their stories. While most discussions appear to say about lovely the weather is, each conversation lingers around the reality of the situation and just as it gets serious, the characters are distracted, which is very shrewd. This is a new perspective, which is welcome. Well filmed, interesting subjects, clever cinematography. If we ignore Climate Change, it’ll just go away, right?

   

   Satanic Panic ’87
   Bryan M. Ferguson, 2019, UK, 4 mins

   Starring Arran Totten, Yuki Sutton, Amy Clydesdale, and Yoshie Campbell, this horror is an 80s-inspired nightmare that kicks things off with animal sacrifice but if you’re squeamish, don’t worry, you don’t see that, just the blood.

   After that, we’re thrown into a heavy-metal-accompanied family story of secrets, devil worshipping and neon-clad-aerobic-workout-demons. It’s utterly mad, it’s undoubtedly surreal and disturbing but Ferguson doesn’t waste a moment of creating this world, which gets right to the point with every visual.

   

   Anna
   Dekel Berenson, 2019, UK, 15 mins

   In the second short film with butcher connections, but this time set in Ukraine, we follow Anna (Svetlana Barandich) who works at a local meat factory and leads a simple life, living with her daughter Alina (Anastasia Vyazovskaya). It’s indicated she’s a kind soul because she leaves meat for wild dogs on her walks home, especially beneficial in cold weather. After hearing an advert about American men coming to town to look for partners, she signs up in the hope of something a little more exciting. Although Anna isn’t what they usually look for in these types of things, as suggested by the women who interviews her, she gets involved anyway. When the moment comes though, it’s as weird as you’d expect, Berenson’s film is very probably a comment on a nasty nature of American’s (or anyone) with too much money thinking they can buy what they want, and probably do what they want as well. It could also be a statement on the huge differences between these cultures, where people can be matched up and promised things that might not be true. Barandich in the lead is outstanding, this is a gritty lens but with a thoughtful, honest projection and one to ponder over for sure. 

   

   Critical Popcorn is an online space reviewing Films, TV, streaming, music, books, tech, creativity. Positive opinion and constructive criticism.
   CriticalPopcorn@Outlook.com | criticalpopcorn.com

   All of these films can be viewed online between 18 - 26 Feb 2021 as part of Two Short Nights film festival at the Shorts #4: Second Chances screening. Find out more by visiting twoshortnights.com

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   Published Wed 17 Feb 2021

2. Two Short Nights Collaborations: Lauren Tenn

   3:37 pm 31 Comments

   This year, Two Short Nights Film Festival has had the privilege of working with a number of creative collaborators, including Lauren Tenn. Shorts #4: Second Chances offered Lauren some entertaining and anxious viewing. Read on to hear her thoughts.

   Lauren Tenn is a Plymouth based producer and film programmer who has previously served as Programme Director for Toronto’s Queer West Film Festival. She is interested in championing new and underrepresented film makers. Lauren is also a member of Beyond Boundaries 360, a collaborative network and skills development opportunity aimed at individuals and small organisations based in the South West who are under-represented in the cinema sector.

   “What In The World straddles both themes, starting off as an amusing off-beat sketch where a younger woman attempts to distract a passer-by through an increasingly bizarre set of actions on the spot of her parents’ death. We’re not sure of her motives at first; has she drawn him out of his car to rob him, or to draw him to his death? The short takes a bittersweet turn when it is revealed that the passer-by is so helpful (or perhaps numb to the novelty of the situation) because he is driving to return his late partner’s belongings to her parents. You’re almost waiting for the scene where the young woman tails him to return the fuel. 

   

   

   You’d wish you were invited to Girls Night Out, an ode to that distant time where gossiping with friends over drinks in your living room was an offline activity, and this experimental animation sweetly captures the gossip and rambling in-jokes of a group. A fledgling working friendship is formed in Newbie, in which a jaded cat burglar’s passion for stealing is reignited by the excitement of the younger thief’s first steal. His mentor introduces him to security scanning apps, swaps his looted copy of Michael Jackson’s Smooth Criminal on vinyl (what else?) for a terrible, yet lucrative painting of a gnome. However, the tables are turned on who will make it away from the scene alive (or with the painting) intact. No such luck for Trevor in S*!T, who believes he has dodged death (and bureaucracy) only to be brought back as another form of pest. Very satisfying.  

   Pile Poil is the most traditionally framed short of the programme, and deftly mixes both funny and tender moments, from showing Elodie’s distress when she realises her model has reconciled with her boyfriend and therefore shaved, to Elodie’s father’s attempt to record over her Mother’s answerphone message, only to keep getting cut off. Although the conclusion is (freshly) scented a mile off, it is no less enjoyable.

   What may be not too far off are the events suggested in the fictional documentary 2025: The Long Hot Winter, which marks a darker, subversive turn of the programme. Non-actors are used to great effect to highlight societal indifference to global warming by imagining a future where Christmas heatwaves are the norm, at the expense of putting meat on the table for most of the population. The scene where a family’s Christmas lunch playlist is continuously interrupted by a news report on refugees fleeing global warming lingers on in the mind after the short has ended. Satanic Panic ’87 follows on the subversive theme, chronicling siblings following a set of twisted instructions via a demonic 80’s workout video to open the gates of hell. I’ll never look at a Jane Fonda video or a chintz sofa in the same way again.

   

   Anna likens the female attendees of the ‘Singles’ events to the slabs of meat that the titular character carves up at the beginning of the film. It proposes a far more grim interpretation of second chances (this time suggested by human trafficking), so we are left cheering when Anna’s protective instincts inspires a bar fight and ends the programme on a sympathetic note.

   All of these films can be viewed between 18 - 26 Feb as part of Two Short Nights Shorts #4: Second Chances screening. Find out more at twoshortnights.com

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   Published Wed 17 Feb 2021

3. Two Short Nights Collaborations: Olivia Leonard On Canvey Island

   3:07 pm 23 Comments

   This year, Two Short Nights Film Festival has had the privilege of working with a number of creative collaborators.

   Here, festival collaborator, Olivia Leonard, discovers themes of magical, motherhood and binary contrast in Isla Ure’s mesmerising short film Canvey Island.

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   Canvey Island: Prescribed Happiness and Manufactured AMUSEMENTS

   Reminiscent of Sean Baker’s, ‘The Florida Project,’ Canvey Island documents a day in the life of Mother and daughter Ronnie and Summer, as they explode onto the concrete outlined promenade of the Essex island, by the same name. 

   We first meet Ronnie, a blonde femme fatale; sat in her car, cigarette in hand, as she appears to make her way out of trouble and into the night.  Daylight brings an instant vibrancy and our introduction of the ethereal soundtrack by Moonlands. With the car parked up, the two freshen themselves up for the day ahead. Summer bursts into the frame, spitting the remnants of her toothpaste and gargled water off the side of the sea wall, flood defence. She listens to her mother tell stories of enticing excitement, as she conducts her roadside body wash, with a baby wipe. We discover instantly the two are living in poverty and from the confines of their car. As is often the case with reality, it isn’t always as magical as we were led to believe as children. 

   Although the film centres around a backdrop of dingy pubs; empty amusement parks, public loo rumpy-pumpy and mobile homes with kids smoking cigarettes, we are reminded that laughter and fun is never far away. Not least, the endearing depiction of this mother daughter relationship. Common with most fables of a lost childhood, their relationship isn’t one of postcard normality but something often slightly more sinister. 

   Director Isla Ure, divisively moves between role reversals in which the child comes to the parent's aid and the parent comes to the child’s aid, when it’s perhaps too late. This is subtly displayed when Ronnie, dressed as fellow femme fatale Marilyn Monroe, nervously collects herself outside the entrance of her old local boozer before ironically, hijacking the stage inside. Summer reminds her, “Fear is stupid.” 

   The comforting presence of Summer can be witnessed throughout: her attempts at making Ronnie laugh in scenarios where she finds herself being rejected by the world round her. Seemingly, unable to find her place within the world, she does however, have a place with Summer. Despite being humbly aware of this dynamic, Ronnie is seen to forget when an opportunity presents itself. 

   The film’s seaside backdrop provides an interesting contrast to the despairing nature of Ronnie’s attempts to - quite literally - out run reality. As with environments designed to manufacture ‘amusement,’ the lives of the residence of these old sea seaside towns often present a more polarised view. Taught to focus on what is presented to us at face value, we often fail to see those around us struggling to stay afloat above the poverty line. 

   The history of Canvey Island, is no different. Its past boasts bare knuckle fighting, smuggling and the North Sea flood of 1953. 

   Films such as Paul Andrew Williams’ ‘London to Brighton,’ and Sean Bakers ‘The Florida Project,’ also use backdrops of venues of prescribed happiness, allowing audiences to think about the real-life children, behind the veil of Disneyland; ice-cream, amusement arcades and shiny, bright lights. Long after the credits have rolled, the shadows cast by the children remain. For us: we can pack up the car, visit to escape and then return home. Whilst the children have no choice but to stay surrounded by the façade of magic, unable to join it and often fending for themselves, amongst the absence of parental figures. 

   However, redemption for Ronnie can be found in the eyes of Summer. This occurs during modest, tender moments created by Ure and Director of Photography, Howard Mills. There lies a painful awareness that Summer has grasped the mature concept of what is to love unconditionally. 

   With those who find themselves labelled “femme fatales,” or “women-on-the-verge,” there is often a misconception surrounding the way they conduct their business and their motives for doing so. Although fatalistic in approach, - and often the outcome - we forget the intent behind these beautiful women’s actions, is often desperation, in their love of another and hatred of themselves.

   The film’s conclusion highlights, despite any feelings of empathy for Ronnie, Summer’s wellbeing is better served in the care of another. 

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   Canvey Island, Dir. Isla Ure, can be viewed between 18 - 26 Feb as part of Two Short Nights #5: Local Talent screening. Find out more at twoshortnights.com

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   Published Wed 17 Feb 2021

4. Two Short Nights Collaborations: Olivia Leonard On Satanic Panic

   2:56 pm 25 Comments

   This year, Two Short Nights Film Festival has had the privilege of working with a number of creative collaborators.

   Here festival collaborator, Olivia Leonard, takes a close look at Bryon M. Ferguson’s new short film, which has an askew perspective on the mundane.

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   Satanic Panic'87: A Would-Be Cult Classic

   There’s a special place in hell reserved for fitness videos. In this instance, that metaphor most certainly applies. Metalheads Pike and Koda, are in deep real deep. A satanic, scavenger-hunt is underway. Following the guidance of Amber, ‘the demon airhead,’ the two have previously carried out, unseen evil acts, to gain entry (at) the gates of hell. Their distressed Grandmother, calling through the walls, regarding the whereabouts of her cat, Mormo, brings this to our attention.

   Director Bryan M. Ferguson weaves an amusing, unspoken commentary of the mundane throughout the film. He contrasts humour and underground subculture, with the grotesque and horrible, to highlight the everyday horror that can be found in a meaningless existence. Playful with both humour and violence Ferguson, reiterates this message throughout. Most notably, this occurs when the two pause mid-way through a blood bath, to fan the smoke alarm with a tea towel.

   Although we know these two are destined to commit unspeakable acts, their edgy attire distracts us.   As with Micky and Mallory, during the opening scene of Oliver Stone’s ‘Natural Born Killers,’ we remark upon the understated cool of their personal style first and their violent intentions second.

   Cut to Pike wearing a black leather jacket with long jet black hair, in a smoke filled room with the words ‘Aerobicise for Satan’ sprayed across the wall and Koda washing the blood from her hands.  We can draw our own conclusions thus far.

   Hearing word from the glitch-ridden VHS, Amber assures them hell is not far away. The question is, what’s next?

   This beautifully condensed, would-be cult classic, provides light relief for anyone on their third ‘keep fit’ attempt with Joe Wicks this lockdown. Or for those who have ever wondered whether hell itself, can be found inside an armchair.

   Satanic Panic '87, Dir Bryan M. Ferguson can be viewed between 18 - 26 Feb as part of Two Short Nights #4: Second Chances screening. Find out more at twoshortnights.com

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   Published Wed 17 Feb 2021

5. Two Short Nights Collaborations: A Response From Akulah Agbami

   2:47 pm 22 Comments

   This year, Two Short Nights Film Festival has had the privilege of working with a number of creative collaborators, including Akulah Agbami. Akulah Agbami is a poet, playwright, producer, and creative wonder woman. She is the Artistic Director of Sheba Soul Ensemble and FLY! A festival of black women's film.

   Here Akulah shares her response to Shorts #2: Documentary Strand with a powerfully perceptive piece of creative writing.

   We wring emotional
   Mileage from moorland

   Wash our tears away in
   The blustery sea breeze

   We could stop
   Those dystopian rollings
   Stop the endless calls home
   Bringing mum up to date
   Knowing all along

   That the ghosts in our minds
   Are there to be stamped on
   Overcome with an exertion

   An assertion of who we are now
   Time and place
   And the melding of memory

   Distilling the essence of your / and
   Our longing
   For love
   Any old version
   Will do
   In one fairground ride
   One song in the dark prowling
   Car
   On the way home
   We see scraps of
   Jamaica
   in Somerset corners
   we write out the lifespan
   of a seagull on a spluttering beach

   we reach beyond the finality
   of ashes to the endless spiralling beyond
   layer upon layer
   holding us together
   in dystopian whirls
   any place can be wrought into other
   cornwall  and the oceans
   beyond

   it is all a kind of
   on the spot dancing
   twirling pouting
   dystopian whirls
   you put the phone down first
   you wore down wore out
   wore through the violin
   the bicycle
   the book

   to beyond

   All of the short films that inspired this creative writing are available to view online from 18 - 26 Feb 2021 as part of Two Short Nights Shorts #2: Documentary Strand screening. Find out more at twoshortnights.com

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   Published Wed 17 Feb 2021

6. Two Short Nights Collaborations: Critical Popcorn On Altered Perceptions

   2:24 pm 29 Comments

   This year, Two Short Nights Film Festival has had the privilege of working with a number of creative collaborators, including Dan Bullock, editor in chief at Critical Popcorn.

   Here, Dan Bullock shares his response to Two Short Nights Shorts #1: Altered Perceptions and reflects on our relationship with short films and their powers to connect.

   “For me, short films are where filmmakers of the future explore and hone their talents. The beauty of any piece of movie magic in micro-short and short films, that range between 2 and 20 minutes here, is that you can delve into the genre you’re most comfortable with and tell a story that’s close to your heart, or you can throw caution to the wind and jump into a genre you’ve always wanted to discover because, after all, this is the ultimate world of visual creations."

   Read on to see Dan's thoughts on the shorts included in this screening.

   The Sea

   Cameron Richards, 2019, UK, 14 mins

   We open the screening with Cameron Richards’ wonderfully intelligent, poignant and thoughtful The Sea, which focuses us on Anna Friel’s Jenny, who sits on a bench that looks out to the sea and chats to various people that share the seat with her. This is a story that unravels, whether you’re in different moments of time, or maybe exploring separate lives, isn’t clear to begin with, but this adds to the intrigue. It’s beautifully filmed, character-led and makes you want to be on that bench, Friel’s performance hypnotises and even though you know things probably aren’t quite what they seem, the rumble of the sea and visual representations of possible flickering memories become an emotional journey that’s worth every minute. It also stars Russell Tovey, David Elliot, Rhoda Ofoti-Attah, Megan Stewart, Jane Thorne and Gracie Friel, who all bring their moment to the screen. 

   

   Betty

   Will Anderson, 2020, UK, 14 mins

   

   Anderson’s animation opens with an introduction to two, colour, simply designed characters with high-pitched voices, and tells the story of a couple. He explains this is a somewhat ‘behind-the-scenes’ look into how an animated story comes together, explaining what he’s technically doing, whilst the story plays out at the same time. His initial intro speaks of self-indulgence and how he dislikes that, but the story also feels a little self-indulgent which is an unusual approach but, nevertheless, oddly curious. This is an experimental piece, and a deconstruction of story, and while there’s an emotive sadness lurking beneath the voice-over in the story, I think it’s one you’ll either really enjoy or be confused by. It will stick in your mind though, that’s for sure. 

   EXODUS

   Guido F. G. Jeurissen, 2020, Netherlands, 6 mins

   Exodus is immediately hypnotic in both its rhythms and images. You’ll be hearing a social and political poetry truth tale entwined with a compelling, and welcoming surprising, sequences of visuals. Juerissen’s piece genuinely captivates, it also asks the audience questions to make you think and, yes there’s more, captures incredibly unique moments in time in just 6 minutes. Now that’s powerful. So much to remember. So much to contemplate! 

   

   Vlogger

   Eleanor Hope-Jones, 2020, UK, 6 mins

   

   This short wastes no time in going behind-the-camera to break down the self-designed boundaries of Vlogging, with particular focus on the person and persona behind the blog. Hope-Jones’ film raises questions of why we ‘vlog’, the very real issue of voyeurism and inviting people into your home, like a modern-day Vampire tale. Vlogger is part-thriller/horror and, through a great performance from Rosie Taylor-Ritson, asks if reality can break through the mask we build via the small screen and why we endeavour to present perfection through that creation. It’s a very timely piece of work, maybe even more so after a year of Zoom, so delve behind the façade to see what happens when it’s live and you can’t edit what you want to. Truth and discussion will follow… 

   Bulldog

   Kieran Stringfellow, 2020, UK, 6 mins

   Short and snappy, Stringfellow’s Bulldog plays us with a lot of narrative strings in the air, before a shrewd reveal. Is Louis Brogan’s lead character a boxer, an athlete, a shoplifter or even suffering from PTSD? It’s not easy to tell, so you sit firmly in the middle and let your judgements make up a story before learning the truth. Scored with Drive-‘Tick of the Clock’-esque music, we’re given snippets of ideas and clues and it’s worth the wait. Clever and distinct, you’ll be intrigued from the start. 

   

   Night Visions

   William Glass, 2020, UK, 15 mins

   

   Night Visions is a curious beast and open to your interpretation of the situations. Containing a dark edge of Lynch/Cronenberg, we join two people lying on the ground on a country lane, with a strange Snake ‘statue’ sitting between them while they say things they love out loud, as if they’re declaring facts. While some of this feels a little more scripted than natural, and you’re unsure if they’re in a drugged state or it’s all metaphor, there’s no doubt over the surrealism and possibly a comment on links to obsession. It’s an experimental piece, which could do with a stronger opening over what’s going on, so we can disappear into what follows. 

   A Noble Truth

   Tia Salisbury, 2019, UK, 15 mins

   Fawn (the excellent Hannah Genesius) has found a new truth and is vlogging about it, which is our second tech-related short of the evening, but this is a very distinct insight. You see, Fawn believes in Flat Earth theory but why and how is to be discussed. One of the most fascinating things about this short is after she sets up a ‘stand’ in Bristol, and talks to the passing people about her beliefs. In this moment, it feels part-documentary, and there are fascinating chats. Whether they’re actors or not isn’t obvious, which strengthens the scene. Fawn also bumps into an old friend (Bethan Nash) who’s an Astrophysicist that works at the Planetarium and invites her along to explore the Solar System, but Fawn doesn’t like this reality, and leaves. While there’s a slight over-extension of her doubts, and we don’t really get to understand why she’s torn between the two worlds, Genesius is captivating and it’s refreshing to watch such a story from a new angle. I didn’t find it explicitly preachy, which was welcome, but I’d like to know why Fawn gets so angry about the subject. As this isn’t a standard discussion, you stay invested and eager to see where she goes.” 

   

   Critical Popcorn is an online space reviewing Films, TV, streaming, music, books, tech, creativity. Positive opinion and constructive criticism. Get in touch: CriticalPopcorn@Outlook.com 

   All of these short films are available to view from 18 - 26 Feb 2021 at Two Short Nights Shorts #1: Altered Perceptions screening. Find out more at twoshortnights.com

   Published Wed 17 Feb 2021

7. Two Short Nights Collaborations: A Poem From Akulah Agbami

   12:37 pm 27 Comments

   This year, Two Short Nights Film Festival has had the privilege of working with a number of creative collaborators, including Akulah Agbami. Akulah Agbami is a poet, playwright, producer, and creative wonder woman. She is the Artistic Director of Sheba Soul Ensemble and FLY! A festival of black women's film.

   Akulah has created this poetic piece in response to the juxtapositions and murmurs between the films included in the Shorts #3: Happy Families screening. The poem has been illustrated by Exeter Phoenix's designer Darren Shaddick.

   Gronde Marmaille

   Rain, rain, go away

   Clouds come and go
   And a grandmother slumbers

   Children dance on hilltops
   Imploring rain
   squabble                    draw lines
   on hilltops leading to tents
   dance in rain
   arms outstretched
   to merge with the land
   to conjure the power
   in nature

   in you
   slick shots
   lens outstretched
   to conjure the power
   in nature

   to conjure the power
   in view

   

   scrum
   a woman
   stands
   framed and there
   is no escape
   from  the pain
   you watch them fall
   try to stop them fall
   they don't/can/t listen
   at all
   it was not this at the beginning

   

   you remember stroking another
   woman's hair

   remember all that balled up
   love awaiting release

   you will always be there
   be fretting and watching

   washing and wondering
   rules of the game

   and she knows where she stands
   two tower blocks
   standing

   together

   the granddaughter

   reverently
   wipes doors
   finds things
   rings
   finds essences and mysteries

   mamani

   almost vanished into
   air

   the plants all shrouded

   then the call comes

   you take away the mask put
   on a smile
   and point out new buds
   the miracle

   of life
   of constant unexpected
   growing
   even in the face of

   death

   Mairi
   amusement arcades
   are devoid
   of fun

   suggesting loneliness
   emptiness
   the dissatisfaction
   in a plastic giant
   ice cream

   which never melts

   naturally the
   reunion
   with one who has cast
   you off
   to fight her demons
   just be thrust away

   sea swirls
   and swerves
   and is

   and all the wisdom
   in the grandmother's summaries
   of life which fails
   to take account

   of all you've lost and gained

   a late night knock
   a phone call recalling
   the inevitability
   of lock and key

   a boxed up proof
   of how you stand in love

   it is a tide that never turns

   the photo never lies

   post partum
   images
   and sounds

   the loss of all
   control
   the descent into
   madness
   and chaos
   and loss and recovery

   and the beauty

   of the call

   

   

   De Berde
   let out
   of hell to another hell
   to an endless hell

   to smudges and the seagull's
   cackle

   smudge away distance
   smudge away echoes
   smudge away searching

   the birds fly in flocks
   migrate
   and then return

   they have no need
   of permission

   

   Winter Coat
   is more than just a garment
   more than just a remnant

   it's a substitute
   for days and nights
   when there was no portal
   for love no way in

   a walk a pie a trip to
   a charity shop

   let me find a way
   to keep you
   warm

   ma'am
   we all pretend
   wear masks
   leaking
   think about harming
   ourselves
   one way or another
   call out for love
   empty promises

   male remonstrances
   as if an archbishop
   could understand

   

   there is only so much
   anyone can take
   make no mistake

   having to pose for
   the world babe draped

   the drugs the drink

   it was no this at the
   beginning

   escape

   

   All of the short films that inspired this creative writing are available to watch online from 18 - 26 Feb as part of Two Short Nights Shorts #3: Happy Families screening. Find out more at twoshortnights.com

   Published Wed 17 Feb 2021

8. A New Space For Visual Art In Exeter

   February 11, 2021 11:12 am 28 Comments

   Exeter Phoenix is proud to be supporting creativity in Exeter by partnering with Positive Lights Project on an exciting new venture in the city centre.

   Positive Light Projects is a not for profit organisation using photography to engage and inspire a diverse range of audiences and communities as well as developing emerging practitioners and aiding them move their practice forward in exciting and innovative ways. Based in Exeter, Devon, they have a focus on and strong belief in community based, socially engaged creative practise.

   Today the team behind the Positive Lights Project have launched a Crowdfunder. They are seeking to raise funds for the development of a creative and cultural working and teaching space, with a focus on community engagement and collaborative practice in a disused retail unit on Sidwell Street in Exeter. The intention is to build a creative visual arts hub that operates to support various communities within Exeter and beyond.

   Visit The Project's Crowdfunder page here >>

   The space will provide:

   • 6 x Artist Studios - Space for creatives to make work and develop personal projects.
   • Project Space - Large street level accessible communal space that workshops and classes can be run in.
   • Gallery - Displaying artwork, both group and individual shows.
   • Darkroom - Range of enlargers and equipment for processing and printing work.
   • Photography Studio - Professional studio lighting and backdrops.
   • Library - Books, journals and periodicals for reference and research.
   • Meeting Space - Space for creatives to meet & discuss thoughts, plans, projects & proposals.
   • Resident charities & organisations - Office and studio space for local groups.
   • Study Space - Quiet space for individual study.

   What Is Planned For The Space

   Before work can start on activating the space, the building needs to be made safe and accessible. The money raised through this Crowdfunder will go towards essential electrical and plumbing works, ensuring wheelchair access and the installation of an accessible toilet, renovation of communal work spaces and artist studios, cleaning, painting and decorating, fire safety precautions and a heating system, all to make the building safe, warm and accessible for all.

   In the future, the plans are to use the space for:

   • Workshops - A variety of both contemporary and traditional technical and contextual approaches to photography and the visual arts.
   • Courses - Extended programmes delivery key skills to developing and emerging practitioners.
   • Talks - Internationally recognised artists presenting their work and professional practice.
   • Symposiums - Themed days of talks and discussions exploring a range of concepts within and approaches to photography and related creative mediums.
   • Exhibitions - High quality projects from both high profile and emerging artists presenting their work from a variety of contexts as well as showcasing community based art works.
   • Residencies - Keeping the space vibrant and active by having practitioners producing work within the space.
   • Commissions - Provide funded opportunities for new work to be produced.

   Exeter Phoenix is proud to be supporting this new activity in the city. If you are in a position to, please consider pledging your support to the project's Crowdfunder.

   Visit The Project's Crowdfunder page here >>

9. Two Short Nights Film Festival Moves Online

   February 2, 2021 12:28 pm 31 Comments

   Film lovers rejoice! This February you can enjoy our very own Two Short Nights Film Festival from the comfort of your sofa. 

   We have been championing the world of short film with our annual Two Short Nights Film Festival. The latest edition of the festival was due to be held in November 2020 but was postponed due to lockdown restrictions. We won't let that stop us though! We have rescheduled the festival to take place online from Thu 18 - Fri 26 Feb 2021, giving you a unique chance to experience the film festival buzz without leaving the house.

   Tune in to stream hand-picked screenings, cast your vote for the Audience Choice Award, go behind the scenes with filmmaker Q&As, or dig out your glad rags for the virtual awards ceremony.

   With nearly 40% of all the films selected for the festival hailing from the South West, moving the festival online means that more people than ever have the opportunity to experience the wealth of filmmaking talent in the region. A special Local Talent screening will be dedicated to showcasing the very best entries from across the South West, including filmmaker Joe Blandamer’s stop-motion short Overload which was awarded Best Animation at the Into Film Awards 2020. 

   Don’t miss the 48 Hour Film Challenge screening where audiences can catch the results of this year’s festival competition to create a short film in just two days. 

   The festival will be streamed on Film Festival Plus. Festival passes cost £13 (£10 concessions). Tickets to individual screenings are £3.99. The 48 Hour Film Challenge Screening and Live Pitch event are both free. 

   Get Your Festival pass now >>

   What's On

   

   Live Pitch: SW doc commission

   

   Shorts #1 Altered Perceptions

   

   Shorts #2  Documentary strand

   

   Shorts #3 Happy Families

   

   Shorts #4 Second chances

   

   Shorts #5 Local talent PLUS Q&A

   

   48 hour film challenge premiere + Awards ceremony

   

10. A Song For Us: Celebrate Through Music

    January 25, 2021 1:24 pm 24 Comments

    We are delighted to be a partner venue for A Song For Us – a national music project marking this historic time. A Song for Us celebrates our communities and the power of music to bring us together.

    Leading singer-songwriters and composers Gavin Bryars, Skinny Pelembe, Seth Lakeman, This Is The Kit & Bucky and Gwenno have created the first in a series of County Songs. These launch on 23 March 2021, the first anniversary of lockdown 1.

    Help Us Put Exeter On The Map

    Share a favourite song (or even one of your own!) that holds a special meaning to you at this time, and help us to create a music map of the country by adding it here >>

    Find Out More About The Project And Get Involved

    Visit asongforus.org to find out more and get involved!

    Published: Mon 25 Jan 2021