Lillian Crawford

Oct 11, 2024 | bfi.org.uk | Georgia Korossi |Lillian Crawford |Katie McCabe

Gian, the protagonist of Sara Fgaier’s debut feature Weightless, is a music professor who is diagnosed with temporary amnesia. His condition, it seems, was triggered by the death of his wife Leila, and he’s unable to remember his marriage or recognise the people around him. To help him remember his old love, Gian’s daughter Miriam hands him an old diary that he’d written years ago, which prompts fragmented recollections of his long-forgotten younger self.

Oct 2, 2024 | bfi.org.uk | Faye D. Effard |Ryan Swen |David Parkinson |Lillian Crawford

When Barbara Creed published The Monstrous-Feminine in 1993, she opened the door to a completely different way of thinking about female monsters in horror history. Instead of seeing them purely as frightening versions of women, Creed talked about how “all human societies have a conception… of what it is about woman that is shocking, terrifying, horrific, abject”, and how these characters represent deeper cultural fears about women, especially concerning their bodies and sexuality.

Oct 1, 2024 | bfi.org.uk | Ryan Swen |David Parkinson |Lillian Crawford |Bertolt Brecht

With the exception of Apichatpong Weerasethakul, the Malaysian-Taiwanese director Tsai Ming-liang is likely the most famous active filmmaker within the loose style known as slow cinema. Renowned for his static long takes, minimal dialogue, and the obscure and unpredictable nature of his pacing and narratives, Tsai operates at an extreme end of the general cinephilic consciousness.

Sep 26, 2024 | bfi.org.uk | Lillian Crawford |Bertolt Brecht |Chloe Walker |George Bass

When you’re asked to introduce a screening at BFI Southbank, you’re given one firm instruction on content: no spoilers. This can be rather difficult, for what exactly constitutes a ‘spoiler’? If one wishes to watch a film completely blind, then it is probably worth forgoing an introduced screening altogether. It is true that for most cinema audiences the element of surprise is essential.

May 3, 2024 | reclaimtheframe.org | Lillian Crawford

In Wallace Stevens’s poem ‘Thirteen Ways of Looking at a Blackbird’, he plays on the imagery of what a blackbird can be. The first canto: “Among twenty snowy mountains, / The only moving thing / Was the eye of the blackbird.” As shopkeeper Etero (Eka Chavleishvili) wanders along the edge of a ravine near her remote Georgian village, she too appears to be the only moving thing until she spies a blackbird in a blackberry bush.