In Contention

Tag: Artificial Eye

  • Things we lost in the fire

    Apologies for the silence on the site in the last day or so — Kris has been in transit, while I’ve been distracted by dispiriting events close to home.  The riots that have been plaguing London since Saturday night seemed to finally attract the full attention of international news networks today, but I’m not sure how effectively they can convey the queasy jumble of anger, confusion and dread afflicting most of the city’s residents, myself included.

    Many of us, even, are scarcely getting the full impression: it’s hard enough to wrap one’s head around local misfortunes — last night, I was dryly informed via Twitter that a bus a mere half-mile from my house had gone up in flames — before taking in the full, discontinuous jigsaw of incident and loss, and moving on to ponder what this means on a broader (and longer-term) national and social level.

    “It’s sad that so much damage is somehow being done with so little conviction,” I overheard a train passenger say this afternoon, a quote that seemed to me to sum up the stateless quality of the last couple of days.

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  • Selling ‘Antichrist’: arthouse or genre?

    Willem Dafoe and Charlotte Gainsbourg in AntichristAs we’ve seen from the wildly varied poster designs for the film, “Antichrist” offers it marketers an unusual range of options. Depending on the region, it’s being sold as a stern art film, a jokey provocation, a horror scream-fest or a mixture of all three.

    We have yet to see how the film performs Stateside, but my eye was caught by an article in this month’s Sight & Sound magazine, in which box-office analyst Charles Gant looks into the successful approach taken by UK distributor Artificial Eye.

    Though it is the country’s most highbrow art house outfit (“The Class” and “Fish Tank” are among the other titles they handled this year), Artificial Eye made the unusual decision to sell the film on its genre elements, playing up its more horror-inspired imagery and emphasizing the various “MOST SHOCKING EVER” critical tags that emerged from Cannes.

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