Dr. Eoin Devereux talks Moz Angeles

In advance of the release of Morrissey 25: Live  exclusively at the IFI, Eoin Devereux writes an IFI Blogpost about Morrissey’s Latino/Chicano Fans:

In the early 1990s a fan subculture focused on Morrissey emerged in the eastern suburbs of Los Angeles.  Undoubtedly inspired by Morrissey’s own relocation to Los Angeles, the Chicano/Latino fan subculture played a significant role in reviving his career in commercial terms.  The Chicano/Latino fan subculture has attracted widespread media interest.  Such media coverage has tended to focus on what it perceives as its cult-like, fanatical and obsessive aspects rather than seeing it as I do as a really interesting example of fan creativity.

The Latino/Chicano fans localize certain aspects of fan culture associated more generally with Morrissey. This is in evidence in dress code e.g. mimicking Morrissey’s earlier Rockabilly style; tattoo artwork; t-shirts with slogans like ‘Mexican Blood/American Heart’ and ‘Moz Krew: LA from Westside to the South Bay’. A group of Mexican immigrants play in a Smiths/Morrissey tribute band called Sweet and Tender Hooligans.  As a tribute to their (anti) hero, Morrissey’s Chicano/Latino fans have re-named their adopted hometown as ‘Moz Angeles.’ 

Many of his Chicano/Latino fans refer to how his songs have strong redemptive qualities, often describing their icon in quasi-religious terms.  One fan told documentary maker Kerri Koch in her film Passions Just Like Mine (2010) “What appeals to me most about Morrissey is his look on life… how there can be a depressing side but still find hope and live life to the fullest I guess” with another stating “His music is the soundtrack of my life, he reaches my innermost thoughts and fears and aspirations and longing. For a long time, I felt isolated and alone. Only Morrissey comforted me.”

The Chicano/Latino subculture is an obvious example of the glocalizing tendencies of popular culture.  Morrissey’s own status as the outsider’s outsider and particularly his second generation (Irish) immigrant and lapsed Catholic status are obvious points of connection between him and his Chicano/Latino fans.  His singing style has been compared to the Mexican ‘Ranchera’ genre and he has engaged directly with Chicano/Latino experience in songs like ‘The First of The Gang to Die’ and ‘Mexico’. Morrissey’s authenticity and ambiguity allows for a wide range of fan interpretations of his work.  His Latino/Chicano fans, as is in evidence in Morrissey 25: Live demonstrate the sheer scale of passion that fans have for this most reluctant and controversial icon.

Dr. Eoin Devereux is Senior Lecturer in Sociology at University of Limerick.  He is the co-editor of the book Morrissey: Fandom, Representations and Identities (Intellect Books: 2011).

Morrissey 25: Live will screen EXCLUSIVELY at the IFI on the 26th, 27th, 29th and 30th August.BOOK NOW.

The queues continue at Cannes... Cannes Film Festival 2013 blog: Part Five

After queuing for well over an hour for Yolande Moreau's Henri (are you sensing that I'm over queues yet, or do I need to be less subtle!), there was no room at the inn and the majority of the line was turned away...

The Last Days on Mars

Next up on my list (and another queue was awaiting) was Ruairi Robinson's science fiction film The Last Days on Mars which was part-funded by Bord Scannan na hEireann/Irish Film Board. It was great to hear the huge cheer that the Film Board logo received when it appeared on screen during the opening credits. A routine excavation goes horribly wrong for the crew of Tantalus Base on Mars, just hours before their mission was due to come to a close. As the group get picked off one by one, the remaining group hold out for the arrival of the relief ship Aurora. Robinson's film is an extremely accomplished piece of work and a fine addition to the sci-fi genre. It keeps you on the edge of your seat and builds momentum nicely as time starts running out for the constantly reducing-in-number crew. It got a great response from the Cannes audience too. 

Mohammad Rasoulof

Playing in Un Certain Regard was Iranian director Mohammad Rasoulof's Manuscripts Don't Burn. Based on real events, it follows the persecution of intellectuals in Iran and the determination of writers to get their work published without censorship. Khosrow and Morteza are hired to carry out an assassination to keep a writer's manuscript from being published, but they need to make it look like a suicide. But things don't go according to plan and there are other copies of the unpublished work being held by friends which also need to be tracked down and the minders silenced before their job is complete. It's a compelling film by Rasoulof (who also wrote the screenplay) highlighting the difficulties experienced by artists and writers in Iran. 

Only Lovers Left Alive

Jim Jarmusch returns with Only Lovers Left Alive, a vampire tale set in Detroit and Tangier. Adam and Eve (Tom Hiddleston and Tilda Swinton) have been lovers for centuries. Living separately as the film opens he's depressed by the state of the human race (or 'zombies' as he calls us!) so Eve feels the need to leave her beloved Tangier to be with him. There's a long build-up to the lovers being reunited and the pace is rather slow. Jarmusch clearly enjoys all the references to their amazing pasts and to their artistic creations that they handed onto others (Shakespeare included!) so that their work could live but they could remain in the shadows. While this joke gets overly laboured, it does help to define the tone of the film. The story gets going when Eve's sister Ava (Mia Wasikowska) turns up and unsettles their world. The lighting is dark throughout and the fine actors aren't overly stretched but many will love Jarmusch's take on the now familiar world of vampires on film. 

Jeune et Jolie/Young and Beautiful

And then no sooner had it all begun than it was all coming to an end and I found myself in a queue (where else?!) for Francois Ozon's Jeune et Jolie/Young and Beautiful. It's a coming-of-age story of a 17-year-old girl during the course of one year of her life. Broken down into 4 chapters/seasons, we begin in summer where Isabelle (a wonderful Marine Vacth), on holidays with her family, meets fellow holidaymaker Felix from Germany. After losing her virginity to him on the beach, the complex Isabelle retreats from him, coldly brushing him off. What develops over the next three seasons is a development of this sexual awakening where the troubled and distant Isabelle makes some surprising life choices. It's a story that's been told in different ways before, but Vacth is simply captivating. Perhaps one of the best things that can be said for a film at this stage in Cannes is that it completely holds your attention (as fatigue is setting in for everyone at this stage), and this film did just that. A good choice of film to close Cannes 2013 for me. 

Until next year Cannes...

Ross Keane

IFI Director

Cannes Film Festival 2013 - read Ross' blogs: Part One, Part Two, Part Three and Part Four.  

Cannes Film Festival 2013 blog: Part Four

Unmade films, fine performances and false advertising. It's just another day at Cannes...

As the films were mounting up, I decided it was time for another doc, and playing as part of Quinzaine des Realisateurs was Jodorowsky's Dune, the story of the greatest film never made. Directed by Frank Pavich, it's largely a heads-to-camera doc, with Jodorowsky himself relaying his vision for the film that would "change humanity"! With input from many of his collaborators on the project, Pavich provides a detailed account of all the work that went into the film. Jodorowsky is a charismatic character and a raconteur extraordinaire. One also gets the impression that you may have to take some of his stories with a grain of salt as many appear to have fallen prey to some enthusiastic embellishment. However, the documentary is a fascinating insight into the obsession and determination that drive Jodorowsky in his ambition and vision, and it's a thoroughly entertaining and amusing watch to boot. 

Michael Kohlhaas

I was very excited to see Mads Mikkelson on screen again this year after his performance in The Hunt which was one of my highlights at Cannes 2012. This time he returned in Arnaud de Palliere's Michael Kohlhaas where he plays the titular character in a film set in 16th century France. After suffering an injustice, and being a man of principles, Kohlhaas looks for justice (initially through legal means and then choosing to take the law into his own hands) with massive repercussions. It's an epic story and, once again, Mikkeksen doesn't disappoint. The story at times seems familiar even with hints of Robin Hood but with such a capable actor at the helm it's still worth a watch. 

James Gray's The Immigrant

Next up was James Gray's The Immigrant. Set in 1921, Ewa Cybulska (Marion Cotillard) and her sister Magda leave their home in Poland in search of the American dream and a better life in New York. However, her dreams are shattered from the outset when her sister is quarantined with suspected TB and Ewa is threatened with immediate deportation due to actions of 'low morals' during the boat trip over. Enter Bruno (Joaquin Phoenix) who she begs for help so that she can remain in America. At what price, however, does his help come? Also starring Jeremy Renner (as Bruno's charismatic cousin), the film is a marvellous vehicle for Cotillard, who is spellbinding. While the film doesn't have anything new to say, its leads are interesting and Gray manages to avoid black and white characters, with each having shades of good and bad, making for a much more interesting story. 

Nothing Bad Can Happen

A title like Nothing Bad Can Happen arouses suspicion at Cannes where, let's face it, something (very) bad is happening at the vast majority of the films on offer! Well, if a film could be sued for false advertising due to a misleading title then Katrin Gebbe's offering would warrant a court appearance. Based on true events, a young man Tore (played by Julius Feldmeier) joins an extreme religious group called the Jesus Freaks and is desperate to cling to a belief. So when he meets Benno (Sascha Gersak) and his family, he begins to believe that it is God's way that brought them together and he soon moves in with this strange family. What follows is a series of increasingly manipulative and abusive behaviour from Benno (and then also his wife) which makes for very difficult and uncomfortable viewing. While it may be hard to watch and (personally for me) a struggle to identify with what compels Tore to stay, the performances are undeniably good. Gersak gives an intriguing and powerful portrayal of a character who goes from someone who initially appears to be venting some of his frustrations with his life on the new arrival but gradually becomes more psychotic and evil. Regardless, I learned something vital - never trust a title at Cannes!

Ross Keane

Director 

Cannes Film Festival 2013 - read Ross' blogs: Part One, Part Two and Part Three. 

Silent film no more!

“Not long to the tour now...” I hear my fellow musicians declare! Well, it's been an interesting journey that began over 12 years ago when I first researched ideas for a movie with a new score. Sunniva O’Flynn helped me select the film Willy Reilly and His Colleen Bawn, and it proved to be an exciting project for me as a composer so I began to create a voice for each character reflecting the theatrical performances you will see on the screen... 

The feature begins with a holdup… Squire Folliard is held up by the Highwayman Red Rapparee and his gang. Our hero Willy Reilly comes on the scene and rescues him, and the grateful Folliard brings Willy to his home where he meets and falls in love with the squire's daughter, Helen, the Colleen Bawn. Folliard opposes the liaison between Helen and Willy because of their different religious backgrounds, and seeks to encourage Helen to marry the bigoted, anti-Catholic Sir Robert Whitecraft… What will happen? Will the scheming Whitecraft get his way or will the Colleen Bawn find her true love?

Composer Bernard Reilly

After two performances in Meeting House Square, Temple Bar, and our debut at the National Concert Hall last summer, we are sooo excited about our three city tour in June where we will perform the 'live to screen' film concerts in Paris (Cinema Le Balzac, 10th June 8.30pm), Berlin (Kino Babylon, 8th June 8pm) and Madrid (Ciné Dore, 12th June 7.30pm). Please come and join us for our final pre-tour Dress Rehearsal with the CinéTheatre Ensemble on June 5th at 6:30pm Irish Film Institute,Temple Bar.

See you there!

Bernard Reilly

Composer

Willy Reilly and His Colleen Bawn with a magnificent new score composed and conducted by Bernard Reilly and performed live by the Irish Cine Theatre Ensemble will screen on Wednesday, June 5th at 18.30. Tickets available at the Box Office (016793477) and online. 

This event is presented by the Irish Film Institute as part of the International Culture Programme to celebrate Ireland’s Presidency of the Council of the European Union, and is supported by Culture Ireland and The Arts Council of Ireland.  

Cannes Film Festival 2013 blog: Part Three

Day Four in Cannes and it's all about queuing. Long queues. Despite being full of industry professionals who you'd imagine would be the most reverential of audiences, Cannes audiences seem to have the worst cinema etiquette! Phones are constantly lighting up - it's half understandable as people are often logging on to check on ticket availability - but even at the bigger competition screenings, when they announce that all phones should be switched off, there's a constant glow of mobile phone activity. 

Another Cannes staple is the constant in and out as people come and go - again this is partly understandable as time is precious, so if you find yourself at a dud screening, there's always something else just about to start elsewhere that you could hedge your bets on instead. But what is completely infuriating is the constant chat. During L'Inconnu du Lac/Stranger by the Lake, three people had a full-blown conversation and then proceeded to giggle like nervous children at every sex scene. At The Great Beauty/La Grande Bellezza, the people beside me - who clearly weren't getting into Sorrentino's crazy world - were unable to keep their frustrations to themselves and had to critically debate the film there and then. At Grisgris my neighbours managed to combine a lot of my pet peeves - they left the sound on their phone on, took and sent texts, and decided to give a running commentary of the whole film!

Rant nearly over! Today, being the day of queues, Cannes etiquette once again took me by surprise. With all the talk about Nicholas Winding Refn's Only God Forgives, this morning's screening was always going to be in demand, and as Cannes goers realise, that means queuing. For a long time! So two hours in advance of the screening time, I had my place in the queue. However, for the next 90 minutes, new arrivals barged in front with no shame or skipped the queue to join friends. Where is the Cannes Cinema Etiquette? Survival of the fittest?!

So onto Only God Forgives. This divided audiences and critics at its first screening yesterday. But I was pleasantly surprised. It doesn't deserve the vitriolic response it's received in some quarters. Yes it's flawed, resembles a Greek tragedy and has many thinly developed characters. But it held my attention. Set in a Bangkok boxing club which acts as a front for drug business, Julian (a non-emotive Ryan Gosling) is pressured by his mother Crystal (Kirsten Scott Thomas) into avenging the death of his brother who was killed after murdering a young prostitute. Scott Thomas must have had great fun with her OTT role and it's a beautifully lit film. But boy is it violent? Let's just say it gives a whole new meaning to 'see no evil, hear no evil'. That was quite a lot of blood to stomach so soon after breakfast!

And from one queue to the next. As we draw towards the latter stages of the Festival there are reruns of some of the official selection, giving everyone a chance to see some of the bigger titles that they may have missed earlier in the week. So, for another two hours, I stood patiently in line (when else do you think I'd have time to write blogs!) for Arnaud Desplechin's Jimmy P. Based on a true story it follows Jimmy Picard (Benicio Del Toro), a Native American Blackfoot who fought in World War II in France. Upon his return and suffering from a range of symptoms including headaches and temporary blindness, Jimmy is admitted to a mental institution for soldiers. But when no simple medical solution can be found, the hospital management drafts in Georges Devereux (Mathieu Amalric), a French anthropologist and specialist in Native American culture. The relationship between doctor and patient forms the basis of this simply told story. With no huge dramatic climax, it's a gently engaging story with solid performances from both the leads and supporting cast (Gina McKee gives a lovely understated performance as George's partner Madeleine). 

Inside Llewyn Davis

Next up was a change in tone as I grabbed a late opportunity to see the Coen Brothers' latest, Inside Llewyn Davis. After a lot of very sombre films with challenging subject matters, it was a refreshing change of pace to enter the world of Ethan and Joel Coen for their story of a young folk singer in Greenwich Village in 1961. Struggling to make a living from his music and living on the kindness (which may be about to wear thin) of friends and family, Llewyn Davis is a little lost in life! Oscar Isaac is a wonderful lead and ably carries the film on his shoulders. The film starts brilliantly but somewhat loses its way during a road trip to Chicago with John Goodman in the back seat! But overall it's an enjoyable watch. There's the usual wonderful soundtrack that one has to come to expect from the Coens, but you'll even get to tap your foot along to a rendition of The Auld Triangle performed in Aran sweaters! It may not go down as a Coen classic but it's still a very enjoyable ride. 

Ross Keane

Director

Cannes Film Festival 2013 - read Ross' blogs: Part One and Part Two. 

Cannes Film Festival 2013 blog (Part Two)

Day 3 at Cannes began with glorious sunshine and ended with a lot of rain! Would the films follow the same path and start full of cheer and end on a damp note?

My first film of the day - and possibly my favourite to date - was La Jaula de Oro/La Cage doree (unofficial English title: The Golden Cage). This film by Spanish director Diego Quemada-diez was a beautiful and powerful story of three young teenagers trying to flee Guatemala towards Los Angeles. When they meet an Indian boy who joins their group, things begin to change within their group dynamics. Their struggle can be heart-breaking at times and I found myself so drawn into the story that I was just willing them to get a good break. It's tender, moving and beautifully shot and I can't wait for more people to get to see it so I can talk with them about it!

La Jaula de Oro/La Cage doree 

The theme of Wednesday seemed to be people down on their luck and Grisgris - which was playing in Competition - could certainly fit the bill. Despite a paralysed leg, 25-year-old Grisgris dreams of being a dancer. But when his stepfather becomes ill and the family cannot afford the medical bills, he resorts to desperate measures to try to help his family. The actor Souleymane Deme, also paralysed in real life, puts in a moving performance. He scored a lot of points from the Cannes crowd after he danced for everyone on the red carpet before the screening! It's a touching tale by director Mahamat-Saleh Hardoun. 

The Argentian comedy Diablo was next on my list but coupled with a few technical hitches and soaking shoes (yes, the rain had started at this stage), perhaps I wasn't in the right frame of mind for it as it didn't do anything for me. 

The final film of the night was a special screening of the 1972 documentary Weekend of a Champion which had been re-edited and updated with new material. It follows Roman Polanski and his friendship with Formula One driver Jackie Stewart and focuses on the sportsman's attempt to hold onto his title at the Monte Carlo Grand Prix. For anyone with an interest in motor racing, this film is an absolute must. For the non-enthusiasts, it does go into a lot of detail about which gear you should be in at each turn during the circuit! It was a very special screening however with lots of guests in attendance including Polanski and stars of two of his films' stars Christoph Waltz and Adrien Brody (both sitting just 5 seats away from me!) and lots of people from the motor racing world including Jackie Stewart, Damon Hill and Alain Prost.

Weekend of a Champion

So despite the earlier sunny weather, by the time I dragged myself home at the end of the day after lots of queuing in the rain, I looked like a drowned rat. This Cannes business isn't all glamour you know!

Ross Keane

Director

Read Part One of our Cannes blog. 

IFI's Ross Keane at Cannes 2013: Part 1

I arrived in Cannes this year, for my second visit to the Festival, a few days after its official opening and was instantly playing catch up! With five nights already under the belt for many people, and with reviews flooding in, I quickly scrambled to figure out what I had to see. 

By the time I got settled and registered, there was only time for one screening on Monday, and since we often find many films for the IFI French Film Festival at Cannes, I decided to begin proceedings with Les Rencontres d'apres minuit. It's a film many have been talking about - largely due to its controversial subject matter. The film is set over the course of one night as a variety of guests arrive for an orgy. With guest names including The Slut, The Stud and The Teen, it's not your average dinner party! The cast includes Eric Cantona and Beatrice Dalle. All put in good performances but I wanted the film to engage me more overall. 

Les Rencontres d'apres minuit

Tuesday saw a marathon day of five films. The morning started with another French film and one that had also generated a lot of talk and interest. Playing as part of Un Certain Regard, L'Inconnu du lac/Stranger by the Lake is also causing a bit of controversy. Set in a cruising spot for gay men, the film contains a lot of explicit scenes, but the tone changes when the main protagonist witnesses a murder and the film suddenly becomes a whole lot more engaging. It's beautifully shot and utilises just three locations throughout the film - the car park, the lake and the woods. It's a thought-provoking film by Alain Guiraudie and one that we're all still discussing. 

Cast and crew of L'Inconnu du lac/Stranger by the Lake

Fresh from a lot of media attention, Pussy Riot are the focus of Mike Lerner's doc, Pussy Riot - A Punk Prayer. The film follows the band in the build up to their performance at the Orthodox Cathedral, their subsequent arrest, court case and appeal. With good access to the band and their families, it presents a fairly balanced view of the situation, at times with the girls coming across as extremely naive and foolish, while at the same time exposing religious extremism. 

Pussy Riot - A Punk Prayer

Steven Soderbergh may have said he had made his last film, but Behind the Candelabra - which was made for TV - gives us a good chance to see his work back on the big screen. Telling the story of virtuoso pianist Liberace (Michael Douglas) and his secret five year love affair with Scott Thorson (Matt Damon), it's a thoroughly entertaining watch. The first half is an enjoyable romp, fairly frivolous with its fair share of chuckles. But as their relationship begins to spiral and the cracks begin to show, it starts to become a darker affair. The two leads give great performances. Michael Douglas clearly relishes the opportunity to play the effeminate Liberace, while Matt Damon has the bigger character arc to portray going from wide-eyed country boy to a near-replica of his camp older lover, with a drug habit on the side to add to the effect. A mention has to go to Rob Lowe, the plastic surgeon who works on both leads - his facial paralysis, squinting eyes and inability to take a sip due to his own amount of surgery gives for a wonderfully comic performance. 

Behind the Candelabra

Youth /Jeunesse is a French film from first time director Justine Malle dealing with first love and the looming loss of a parent. It's a good first film and particularly shines during the protagonist's attempts to discover her sexual identity. 

La Grande Bellezza/The Great Beauty

The final film of the day was the red carpet gala of Paola Sorrentino's La Grande Bellezza/The Great Beauty. The whacky world of Sorrentino was a joy to spend just over two hours in. The opening ten minutes - including a frenzied party scene - was a joy to watch and set the tone for the whole film. Toni Servillo was fantastic as main character Jep Gambardella who celebrates his 65th birthday and looks on at the world and characters around him. While it could do with an edit, and doesn't all quite make sense, if you let it wash over you and don't ask too many questions, it's an absolute pleasure. 

Ross Keane

Director