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Desiring perspectives: Birds Eye View Film Festival 2010

Written by Celluloid Liberation Front
Monday, 22 February 2010 07:00

Although the Birds Eye View festival's chosen appellation would suggest a panoramic aerial view of the sensitive side of filmmaking, the scopic dimensions of the female proactive gaze have proved able to subvert the hetero-driven directives of dominant cinema through a desiring multi-subjectivity that transcends the restrictive dualisms object/subject, panoramic/POV, absence/presence, etc.

The fil rouge linking and commoving the work of Dorothy Arzner, Stephanie Beaton, Chantal Akerman, Stephanie Rothman, Vera Chytilova, Doris Wishman or Destiny Ekaragha is precisely this transgressive capability to mutiny their assigned roles within the phallo-imperialist frame reclaiming a desiring identity constantly challenging the symbolic order of patriarchal images. If transgression depends upon the context of the given discourse, what never changes is a creative will that reprobates the replacement of the existing order with a feminine regime; on the contrary the yearning affirmation of a new discourse is always confrontational, fearlessly addressing male’s connate fear of blissful eros.

Here is a mobile, multiple, hence autarkic arsenal of films where the relations between subjects and pleasure is characterised by multiplicity, and multiplicity is in fact the foundational matrix of the Birds Eye View Film Festival whose 6th edition will open on the 4th of March in London. During the eight days the festival will disclose a maze of visual delights and open transversal spaces of participation. In fact, along the more canonical screenings and previews the BEV will offer the opportunity to critically explore the multifaceted meanders of the cinema industry via meetings, workshops, masterclasses and networking events.

On March the 6th the leading ladies behind Papermint.com – an animated virtual world combining social networking and co-operation – will test their new creation live, offer an insight into the mechanics of telematic innovation and perhaps inspire into activity an otherwise passive audience. Another extremely interesting event is served up courtesy of BAFTA (March the 6th), an interactive and practical masterclass investigating how HD technology is changing the hair and make up industry. After Hollywood’s older and richer brother (the pornographic industry) complained about the too-revealing side (effects) of High Definition, here comes an aesthetic analysis of how the look of films is changing at the hands of modern technology.

There will also be an open screen at the ICA, on Monday the 8th, where women filmmakers will have the opportunity to meet each other, exchange views and start collaborations while visioning works in progress and discuss the trajectories of femme-making. Absolutely not to be missed is Lourdes by Jessica Hausner, one of the best film premiered in Venice last year, and the fact that it left the lido unawarded should not put you off, on the contrary…

Amreeka by Cherien Dabis – which won the FIPRESCI prize in Cannes – is also another of the most promising films being shown at this year BEV, it tells the story of Palestinian immigrants in America whose Arabic translation gives the film its title.

‘Sound and Silent’ appears to be one of the most regenerating sections of the festival where silent films will be accompanied live by specially commissioned new scores from the likes of Mira Calix, Gwyneth Herbert, Patti Plinko and Jane Gardner. The UK shorts section will be headed by Destiny Ekaragha’s psy(s)ociological masterpiece The Park, where thanks to a simple and convincing story the filmmaker exposes the existential void behind a negative and aggressive masculinity demonstrating a sociological insight of British society dramatically lacking from the public opinion. If the other shorts are to be as artistically valid as Ekaragha’s film then this series of shorts could turn out to be a creative forge for the years to come.

What else? Much, much more! The aforementioned is nothing but a minute sample of what the BEV will voluptuously display on the London screens, what we hope will not go missing is a participating audience willing to critically devour this cinematic banquet of elegantly sinful pleasures.

For further information about the Birds Eye View Festival visit: www.birds-eye-view.co.uk/

To see more of the Celluloid Liberation Front's work visit: www.celluloidliberationfront.blogspot.com/

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