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Known for beginning his screenwriting career on Smack The Pony and Green Wing, this week we are very excited to talk to British comedy writer James Henry. His newest work 'Piglets' is available on ITV Player now! What film, TV show, podcast or book are you currently obsessed with? I keep going back to Justified (currently on Disney+), because it's so well put together. What’s the funniest and/or most unexpected thing that’s happened behind-the-scenes during a shoot or event?  A senior exec came into the writers room for one thing I was working on to see the producer, who said 'Hey, I don't think you've met any of the writers yet' and she said 'Ugh, I don't have time for THAT', which still makes me laugh. If you had the chance to go back in time and work on any film or TV show, which one would you choose? Silent films shoots must have been fun as you could presumably chat all the way through them. What is one thing you have always wanted to try but haven't had the chance to yet? I want to have a motion capture suit so I can act out all the parts in my scripts without anyone else having to get involved. What first sparked your interest in the media industry? Realising you could fill a blank page with a script much quicker than writing prose. What was your first industry role? Getting a commission to write scripts for Smack The Pony. Do you think that new technologies are improving the industry? I mean I SUPPOSE, although I try to keep away from technology as far as I possibly can. What’s the best piece of equipment you use in terms of value for money? My lovely Macbook, because I can also play games on it. What do you think are the biggest challenges facing the industry right now? Lawyers and finance guys who think no money is better than a slightly smaller amount of money than they'd been hoping for. Is there any advice would you offer to someone just starting out in the media industry? Be independently wealthy or quite posh or, ideally, both. What one piece of equipment would you recommend for someone just starting out in the film industry? A good pair of earphones for listening to podcasts on trains. What qualities do you look for when selecting cast and crew for a project? Exuding an air of quiet professionalism at all times is good. If you've worked in the film industry internationally, have you encountered any cultural differences with regards to working practices?  Nowhere else in the world outside of the UK cares where you went to school, which is refreshing. How do you approach balancing artistic vision with commercial success in your work? I like every project to have moments that there not to advance the plot, or move anything on or raise the stakes, but because they're weird and interesting and funny, otherwise what's the point? Has there been a particularly memorable project you've worked on (good or bad) and what did you learn from the experience? I did a comedy thing years back that wasn't terrible, but didn't come out in any way like I'd hoped, and I learned that was when criticism really stung, when you knew in your heart of hearts that it hadn't really worked.  Anything else you want to let us know about?  Senior execs are rarely excited to meet scriptwriters at parties. They pull a special disappointed face, it's quite funny when you know to look out for it. You can watch James Henry's most recent project 'Piglets' on ITV Player now!

We at Mor Media Charity have decided to stop sharing content on the social media platform X (formerly known as Twitter) and will no longer use it as one of our communication channels.  The decision to leave X comes following recent events in which disinformation surrounding the Southport attack and subsequent riots was permitted to spread widely across the site. The platform has seen a rise in hate speech and we don’t feel that this kind of online environment is acceptable, nor is it one we wish to be a part of.  Mor Media Charity is committed to fostering a culture of inclusivity, equity, and respect for all individuals, part of which includes being vocal advocates for a society that reflects these values. That is why we feel it is both important and necessary to specifically address X for its negligence towards combatting racism and spreading harmful rhetoric online.  Since X is no longer a space which aligns with the values we uphold as an organisation, you can instead find us on Instagram at @cornwallfilm or on our Facebook page for regular updates and event information. #mormediacharity #cornwallfilm #leavingX #leavingtwitter #twitter

As a Supporter of the Documentary Film Council, we are happy to congratulate its first-ever elected board of trustees, as follows: Olu Adaeze (Independent Director/Producer - Ikenga Creative Lab) Flore Cosquer (Scottish Documentary Institute) Fiona Fletcher (British Council) Roisín Geraghty (Independent Producer/Head of Industry & Marketplace - Docs Ireland) Jessi Gutch (Independent Filmmaker - Fig Films Emma Hindley (BBC Storyville) Andy Mundy-Castle (Independent Filmmaker - Doc Hearts Limited) Sandra Whipham (Doc Society) Filmmaker Andy Mundy-Castle, whose film, White Nanny Black Child won a BAFTA in February, said: “At a time when the independent documentary community faces grave challenges industry wide, it is vitally important to have a council that represents our overlooked and marginalised community. It is a great honour to be elected to a historic board of trustees and I look forward to pushing our collective agenda forward.” Roisín Geraghty, Independent Producer and Head of Industry & Marketplace at Docs Ireland, who served on the Interim Board as Chair of the DFC, said: “I am delighted to continue my role as a board member for the Documentary Film Council. I feel passionately about the important work of the DFC, and the organisation’s collective approach in engaging with independent documentary makers; setting an agenda for change and advancing solutions on the serious, and often existential, issues facing the industry.“ The challenges facing the documentary film sector are well-documented. The DFC emerged following an academic research project that found the sector to be chronically under-funded and lacking coherent policy support, and in October 2023 over 500 filmmakers and executives signed an open letter drafted by the DFC’s interim board calling for ‘urgent, coordinated interventions across the sector’. While the problems facing independent documentary are acutely felt in the UK, they are compounded by a similarly vexed international landscape. This year has already seen the closure of Participant Media, the US studio responsible for titles from An Inconvenient Truth (2006) to All the Beauty and the Bloodshed (2022) while Hot Docs, Canada’s leading documentary festivals and one of the largest in the world, has been hit by mass resignations. Former Sundance Institute CEO, Keri Putnam, Writing for the Shorenstein Center on Media, Politics and Public Policy at Harvard, noted that streaming platforms are, despite a few exceptions, no longer acquiring independent documentaries and called for ‘a new PBS for the digital age’, arguing that streamers’ dominance is having ‘real ramifications for our culture and democracy’. In the UK, the DFC itself has struggled to find financial support for its work. Seed-funded in 2023 with a grant from the Arts and Humanities Research Council, the DFC has so far failed to secure funding and is currently run by volunteers. Nevertheless, its two Joint Acting CEOs, Emily Copley and Steve Presence, remain optimistic: “We all know there’s a need for a national membership organisation to represent UK documentary and this election demonstrates that. Though only 8 people could be elected, the calibre of all 31 candidates was outstanding and we want to thank everyone who put themselves forward. We’re confident we’ll find the backing we need to run the DFC this year. There’s a real energy for change in this sector and a belief in what can be achieved when we work collectively, and as a co-operative, the DFC enables exactly that. We can’t wait to start working with our new board to build a brighter future for documentary in the UK.” Images: Mor Media Director Louise Fox at The first Open Assembly, Sheffield Doc Fest, DFC new Board #filmindustry #UKfilmindustry #docs #UKDocs #DFC #docs #UKDocs #independentfilm #indiefilm #indiefilms #indiemovies #indiecinema

This week on the Mor Media Blog, we are highlighting two Truro & Penwith A-Level Media students, who have been on work experience this week. Roma (2018) spoiler review by Aaron Hinton Roma directed by Alfonso Cuaron is a brilliant film with one of the films main highlights being the cinematography where Cuaron has selected shots that show wide areas and lets the action play out as if we are in the scene with the characters allowing the audience to understand the films characters and understand their circumstances using tracking shots which follow our protagonist cleo as she goes about her daily routine. Another aspect of the film I enjoyed was the performance from the character of Cleo who the audience instantly sympathises with because of her repetitive life of having to do chores for the family in the film. Once she becomes pregnant the family and other characters such as Fermins' treatment of her changes significantly showing the bias and disrespect towards members of lower social classes in Mexico. Her performance toward the end of the film presents her character as broken and the actress Yalitza Aparicio plays the role which shows off the character's anguish and pain. One aspect of the film that i thought was executed efficiently was the structure as the story has major tonal shifts from being calm and relaxing to when the riots are taking place the film has a chaotic feeling to it and with Cleos water breaking on top of that it makes the audience left feeling the tension of the scene. The film is also clever with its use of cyclical structure by starting with a plane flying in the sky and also finishing with it. Cuaron succeeds in making the films setting of Mexico feel detailed through the use of black and white colour grading which further adds to the feeling of the 1970s and the films setting feels real and lived in as we see the Mexican people going about on a busy day and the riots toward the end of the film feel real. Roma, written by Indiya Jane Simon. Cuarón takes his time to consider each frame and pay attention to every detail in it, and because of this the film has some incredibly beautiful cinematography that adds to the emotion of the movie. However, sometimes it feels like some beautiful frames sit on the screen for a bit too long, which caused me to lose attention at some points. This happened a couple times throughout the film but the boredom was outweighed largely by the beauty and creativity of many of the shots that immersed you into the story (i especially loved all of the slow pans and tracking shots). Although it did bore me sometimes the drawn put frames create a sense of realism. Instead of cutting and editing the story to what the audience needs to see Cuarón puts the whole story on the screen for the viewer for digest. There is no typical story or plot, you are just taken through a character’s whole journey. Because of this lack of typical plot (which would mean the viewer pays more attention to that than the character) you feel like you know the characters and are living and feeling their lives along with them. The emotional journey is intense in this film and brings you to immense sadness and pain but also to many moments of pure happiness and joy.  The film shows that family is messy and chaotic but incredibly loving. The mess and chaos is merely a part of life that you must learn to appreciate. Cuarón also shows that family is not just blood, it can be whomever becomes an integral and important person in your life (like how Cleo is integral in the families life) Roma | Directed by Alfonso Cuarón | 2018 | Drama | 2h 15m is available to watch on Netflix

This week's Mor Media Blog delves into Oscar-winning films and offers reviews from The New Wave Jury at Cornwall Film Festival 2023, including "Poor Things" by Rebecca Jackson. An eerie blue sky frames the face of an unknown woman. She wears a Victorian dress which strangles her throat, and her jet-black hair is gathered into a meticulous updo. Her large, glassy eyes are heavy and world-weary. Below her, the Thames seethes and boils. The image is hauntingly beautiful, but there is a strange, uncanny quality to it. The sky is too blue. And that water... Enter Bella Baxter, played by Emma Stone. She has the face of that melancholic woman we met on Tower Bridge, but her formerly neat hair now cascades down her back, and her once-tired eyes are bright with curiosity. What has caused this transformation? ‘It is a happy tale’ proclaims the scientist Godwin Baxter (Willem Dafoe), before he joyfully recounts reanimating the corpse of the mysterious unknown woman, and replacing her brain with that of her unborn child. Thus begins possibly the most outrageous, brilliant film of 2023. We watch on as Bella, with her infantile mind and unsteady gait, embarks on a journey to discover all that the world can offer her. This includes, but is by no means limited to, masturbation, custard tarts and sex. She is aided in this endeavour by Duncan Weddenburn, a lothario played by Mark Ruffalo with all the pompous lechery you could wish for from a true Victorian rake. Their travels take them across an imagined Europe of dazzling sci-fi invention. From exquisite miniatures to vast constructed soundstages, the ambition of 'Poor Things' production design harks to an era of sumptuous technicolour and unbridled creativity. Taking inspiration from the likes of Powell and Pressburger, designers James Price and Shona Heath combined traditional filmmaking techniques with modern technology such as giant LED screens to create an immersive and fantastical world that is breathtaking in its detail. Alternative imaginings of European cities appear on the screen as it coloured with the vomit of a child who has eaten a packet of skittles. Rooms that at first glance would look at home in any period drama, reveal hidden details upon further inspection. From ceilings plastered with giant ears to phallus-shaped windows, every inch of the screen is imbued with a wonderfully perverse humour. However, despite its brazen surreality, the film remains rooted in its late Victorian setting through art nouveau design elements. The decision to use the architectural style of the 1890s, rather than the early 1800s when the novel is set, is a stroke of genius. Unlike the stark geometric forms of the neoclassical style, art nouveau lines are sinuous and sensual, taking inspiration from the natural world. Notably revived in the 1960s, the style is already associated in the public imagination with the strange and psychedelic, lending it perfectly to the dreamlike, bodily-inspired details of this strange universe. Colour plays an integral role in the film's storytelling. In a nod to The Wizard of Oz, Godwin's home, where Bella spends her early life, is entirely black and white. It’s only when she escapes that she experiences the world in its true kaleidoscopic brilliance. Perhaps most vivid of all is the blood red of the home of her monstrous first husband, a man for whom violence is a way of life. In the expressionistic style of Dario Argento, this terrifying hue seeps into every corner of the screen. Rather than distract from the substance of the film, its design serves to enhance and enrich its bold themes. Much like a macabre fairytale can be repacked as child-friendly by being set far, far away and populated with unearthly characters, the stylized setting of Poor Things allows its darker themes to be more palatable. Lanthimos has taken the familiar aesthetics of an era heavily associated with oppression and transformed it into something salacious and outlandish. This juxtaposition that perfectly compliments the story's anarchical messaging. This is, at its heart, a film of dichotomies. Nature, desire and freedom come at odds with civilization, repression and entrapment. Emma Stone plays the woman liberated, unencumbered societal rules and expectations. We watch on gleefully as this puts her at odds with the men around her. Though at first enchanted by her lack of inhibition, Duncan Wedderburn is subsequently embarrassed, then horrified, and ultimately ruined by her as he scrambles desperately to uphold the societal conventions that he initially professed to disdain. All the while Bella Baxter continues to dance through this dizzying world, ever growing and changing and learning. Much like the human bodies that are dissected and pieced back together over the course of the film, at times the story feels messy; the messaging overwrought. But I hesitate to criticise it for this. If anything, it made me wish I could stay longer with this complex, hilarious and completely original creation. See all the New Wave Jury reviews on Issuu Poor Things Played in Preview at #CornwallFilmFestival23 THE 96TH ACADEMY AWARDS WINNERS POOR THINGS | Official Teaser | Searchlight Pictures

By @laraabbey on Instagram, adapted from a longer essay Representations of high-rise tower blocks and council estates have a long and storied history within British cinema. From the social realist portrayals of the 1960s to the ‘Sink Estate Film’ of the mid-to-late 2000s, the council estate has appeared as a prominent image, oftentimes wrought with less-than-rosy connotations. However, British filmmakers have been imbuing the ‘council estate film’ with new meanings and new life. Last year alone, we saw the release of two films that gave audiences a new perspective on the genre - Charlotte Regan’s radically cheerful Scrapper and Kibwe Tavares and Daniel Kaluuya’s futuristic take, The Kitchen. But there is one director from the mid-00s whose name I think deserves a mention when it comes to rethinking council estate cinema, that being Andrea Arnold and her feature debut Red Road (2006), and its follow-up Fish Tank (2009). Read on to hear about how, in these films, Arnold gives some much-needed nuance and depth to the ‘estate film’. The earlier of these two films, Red Road, revolves around Jackie, a middle-aged CCTV operator in Glasgow who develops a fascination with a resident of the titular estate (used to house ex-cons) after seeing him on-camera, for reasons that are not revealed until the end of the film. Jackie’s act of ‘breaking the frame’ – traversing into an area that she is usually distanced from due to only seeing it on screen – allows her, and the audience, to come to understand the residents as actual people as opposed to images that she must surveil. In an exchange towards the end of the film, Jackie gets to know Clyde’s softer side – his attempts to reach out to his estranged daughter, as well as his passion for woodcarving – as well as witnessing a tender and vulnerable moment between Clyde’s flatmates. Ultimately, it’s Jackie’s interactions with the estate that give her closure on her past, and hope for a brighter future. Fish Tank moves from an outsider to insider perspective, following Mia, a troubled 15-year-old living on an East London council estate. Although arguably lacking the optimism of its predecessor, Fish Tank is still valuable when it comes to thinking about a different view of ‘council estate cinema’ because of how much we get to know Mia during the course of the film. We follow her in close-up, handheld shots, placing us right there with her and putting her interiority on display. We see Mia’s full spectrum of emotion - from anger, to joy, to sadness – which, thanks to Katie Jarvis’ performance, is believable throughout and manages to resist the stereotypes of people like Mia being overly volatile. The amount insight that Arnold allows us into Mia’s thoughts and feelings ensures depth and avoids falling into preconceptions. Overall, The nuance that Arnold presents the council estate with across both films, with them even contradicting each other at points, acts as an antidote to the slew of media that relied on generalising ‘sink estate’/’poverty porn’ tropes at the time these films were made, and even today – showing why films like Scrapper and The Kitchen are still very much necessary and relevant.

The team at Mor Media Charity are deeply concerned by the escalation of violence in the occupied Palestinian territory of the Gaza Strip, the West Bank, and Israel. This has resulted in an unacceptable loss of life — and we urge all parties, including the international community, to work to stop the bloodshed. We are calling on the UK government to live up to its obligations under international law and use every channel in its power to call for immediate de-escalation and an immediate ceasefire. We oppose all acts of violence. The attack on Israeli civilians by Hamas was horrific. The indiscriminate, disproportionate response by Israel against Palestinians, including bombarding Gaza and prohibiting the provision of food, water and electricity into the occupied territory, is creating an unprecedented humanitarian crisis that is depleting an already under-resourced health system and displacing civilians constantly seeking shelter.  The leaders of the international community have stood by and not used their leverage and influence with Israel to ensure that Israel abides by UN Security Council resolutions that demand a permanent end to the occupation of Palestinian lands. We felt it was important, at this critical moment, to have a statement on the Israel-Palestine Conflict where we call for an end to violence, for all parties to respect their obligations under international human rights and humanitarian law, and demand that the root causes of this conflict finally be addressed and resolved. You can help by supporting Medical Aid for Palestinians  , which is responding to the current emergency.

Against the backdrop of snow-covered mountains in Utah's picturesque Park City, I attended the 40th edition of the Sundance Film Festival from January 18 to 28, 2024. I was always drawn to Sundance's commitment to showcasing groundbreaking storytellers at the iconic Egyptian & Eccles film Theatres. The experience allowed me to see the best of independent film and interact with industry professionals, filmmakers, film festivals, critics, and fellow film enthusiasts. My Top five programme highlights Love Lies Bleeding Director Rose Glass (Saint Maud) smashes this unapologetic queer neo-noir thriller starring a mesmerising Kristen Stewart and Katy O'Brian as a hulk-like bodybuilder set in New Mexico circa 1989. It is funny, violent, sexy, brutal and extreme and will be a cult classic in the queer canon. A co-production between A24 and Film4. Kneecap A boisterous, political comedy in the Irish language. Liam Óg Ó hAnnaidh, Naoise Ó Cairealláin, and JJ Ó Dochartaigh play themselves in this fictionalised version of Irish Rapers Kneecap, directed by Rich Peppiatt. Why all the Sundance buzz ? It's not a bland, folksy, ethereal version of minority language it's a fresh, ballsy film a-wash with bad ketamine trips, terrorist jokes, and bum cheeks. Hit Man Glen Powell is great as a professor moonlighting as a hitman in this sharply scripted comedy/noir directed by Richard Linklater.  Loosely based on a true crime article Linklater read twenty years ago in the Texas Monthly. He says, " The film is attempting to hit a lot of notes—comedy, noir, thriller, psychological study—while examining most of all the concept of identity and how fixed our personalities may or may not be"  It is funny, sexy, clever and confident filmmaking and a total pleaser for audiences. Ibelin Absolutely poignant and deeply touching, the documentary "Ibelin" unravels the story of a young man grappling with a muscle-wasting disease. The profound narrative delves into the regrets of his parents and family following his death, as they initially hoped he would find love, make a difference in people's lives, and form genuine friendships. Little did they know that within the digital realm of the World of Warcraft community, Ibelin discovered a world that fulfilled all of those. Winner of the Audience Award: World Cinema Documentary at Sundance I watched 21 films over 4 days in person and 3 online. The film programme is massive: 145 feature films across 12 categories, short films seven programs short films, and 8 Episodic projects, including U.S. Dramatic & Doc Competition, World Cinema Dramatic & Doc, Next, Midnight, Premiers, New Fronters, Spotlight, Family, and Specials. Longer reviews are over on Mor Media’s Letterbox Other great titles included the charming My Old Ass, afterlife AI doc Eternal You, music Doc Devo, Jesse Eisenberg's debut A Real Pain with a brilliant Kieran Culkin, A New Kind of Wilderness, Didi, Girls will be Girls, and debut Good One. Some much anticipated but total turkeys included Handling the Undead, Love Machina, and the big-billed Kristen Stewart & Steven Yuen Love Me.  All the films I saw & the full programme are listed on the Mor Media’s Letterbox Sundance Six degrees of separation In true Sundance style, in the last two years, I chatted with Ira Sacks (Passages) only to find out he was great friends with the person I had brunch with the day before, I met Sundance Institute Vice Chair Gigi in a line to find out she had a family in Cornwall.  I had a drink with some old-time Sundancers in the Double Tree bar, only later to find out that it was Reed Hastings, co-founder of Netflix  - we talked about our film picks but mostly about our dogs & trainers ! I missed meeting up with my Celtic colleagues at UK Film Council brunch this year, which just highlights We are not all UK Film ! Our own South Wester Dave Taylor Mathews (formally Encounters) was with the Eventive team working behind the festival. Some takeaways: Slamdance runs concurrently with Sundance, it’s mantra: By Filmmakers, For Filmmakers,” set up as people were fed up with Sundance's limits, have grown a rich alternative progrramme!  A lot of people go to Sundance but never watch a film !  The Sundance Awards are bizarre and certainly not what everyone is talking about at the festival. Dress warm casual is king ! Accommodation is eyewateringly expensive and limited.  Sundance will have to move dates and places in the next couple of years and lastly everyone I know gets ill after Sundance! It was not much short of £3000, including flights, a pass (850$), and shared accommodation. Was it worth it? YES ! No other festival I've been to has been so open and welcoming, my contact book is brimming with great professionals willing to do some mentoring, run a masterclass or support the Film Festival’s development, sure it was -5 degrees most of the time, and you negotiate 6m high snow banks and slide around on the ice, I've seen performances by Saul Williams (Neptune Frost) had a lovely chat with André Holland (Moonlight) and his mum, went to talks & panels with fierce filmmakers, stumbled into happenings, and got thrown out of a bar (I'm 52!) met & made friends with people from all over the world,  it was a total blast and one that I won't forget in a long long time. Note - The 11th edition of Sundance Film Festival: London is set for 6–9 June 2024 at Picturehouse Central

The 1994 Lesbian Classic, Shines Anew at Sundance 2024 by Louise Fox It's hard to underestimate the impact of Go Fish. Even amidst the burgeoning wave of queer cinema, Rose Troche's first feature stood out as the scrappy, authentic film that epitomised the spirit of the indie movement. Now, three decades later, a digitally restored version of the film forms part of the Sundance Film Festival's 40th Edition. The 4K restoration not only enhances the film's visual quality but also broadens the frame, offering audiences a never-before-seen perspective. While the plot retains its familiar, humorous, and near-episodic charm, the characters radiate colour even in black-and-white film. Set in 1990s Chicago, Max, portrayed by co-writer Guinevere Turner, awaits her dream girl. Max's roommate, Kia (T. Wendy McMillan), suggests Ely (V.S. Brodie) as a potential match, sparking a comedic disagreement. With gentle nudging (or scheming) from their friend group, love might blossom. Reflecting on the film's creation, producer Christine Vachon acknowledges the hunger in the community for representation. Troche and Turner crafted the film to showcase their community on screen, unwittingly creating an enduring and significant piece. Three decades later, this heartfelt celebration of friendship and love, born during challenging times in the AIDS movement, when our friends were dying and we had only just survived Thatcher the film remains a powerful antidote to hopelessness. Troche reflects on the film's enduring impact, highlighting its role as a timeless balm for the soul. Troche says “It is always difficult to revisit something that you made as your first feature,” says Troche. “I think during this process, I really fell in love with this movie again. I never had fallen out of love, but I just came to appreciate its separate self. It’s been 30 years. It’s not mine anymore, really, it’s yours.” Revisiting Go Fish has proven to be a journey filled with nostalgia and gratification. A celebration of queer life on screen that resonates with me now as much as it did my 22-year-old self, and remains an enduring and vital film in the queer canon.

Welcome to Mor Media Charity’s 2023 annual end-of-year report, encouraging creativity and culture to thrive in the digital arts through events, education, community and industry projects. The 2023 Cornwall Film Festival was a resounding success, showcasing a diverse and captivating selection of films that captivated audiences of all ages. Here are some of my highlights of the festival: Opportunity for Cornish Audiences to see Preview Screenings of highly anticipated films that would not otherwise be shown. The festival delved into the intersection of technology and storytelling, exploring the myriad ways in which filmmakers are utilising digital tools to create immersive and captivating narratives. The lineup catered to a wide range of tastes, featuring films from around the globe and encompassing genres from captivating dramas to thought-provoking documentaries. Audiences had the opportunity to engage with filmmakers through Q&A sessions, workshops, and discussions, gaining insights into the creative process and the inspiration behind the films. Celebration of Cornish Filmmaking: The festival proudly showcased the talent of Cornish filmmakers, highlighting their contributions to the cinematic landscape. The festival fostered a sense of community among film enthusiasts, providing a platform for shared experiences and discussions about the power of cinema. Commitment to Education and Accessibility: The festival organised workshops and educational programs for aspiring filmmakers & film critics and provided accessibility options for all attendees. Impactful Social Commentary: Several films at the festival addressed pressing social issues, prompting reflection and dialogue among audience members. A celebration of Visual Storytelling: The festival showcased the artistry and visual splendour of filmmaking, highlighting the power of images to evoke emotions, tell stories and use film as a creative medium. Finally, inspiration for Future Filmmakers: The festival's diverse and engaging lineup inspired aspiring filmmakers and ignited their passion for the art of storytelling. Louise Fox (Director) Read the full report here >

Meera Syal - “I think in the casting, things really are changing and that’s fantastic for all of us but I’m worried that it’s window dressing when things aren’t changing fundamentally in the power structures.” The annual Edinburgh TV Festival is a vibrant hub in the television industry, where creativity and innovation thrive. Bringing together over 2,000 industry professionals from around the world, it's a fantastic chance to dive into the dynamic world of television. As a recent master's graduate and an aspiring independent filmmaker, I'm thrilled to have embarked on an exciting internship with Mor Media and the Cornwall Film Festival. Eager to immerse myself in all aspects of the screen industries, I couldn't resist the opportunity to be part of the Edinburgh TV Festival. In this article, I delve into the highlights of the 2023 Edinburgh TV Festival. I discuss thought-provoking panels, eye-opening masterclasses, and the industry's ongoing quest for authenticity and diversity. As a newcomer to this world, my approach was marked by candour and a desire to dive right in, eager to absorb all that the Edinburgh TV Festival had to offer. Starting with the panel that explored the concept of "Not So Guilty Pleasures: Does TV Have A Snobbery Problem?". This session attempted to delve into the world of TV guilty pleasures, examining the impact of labels like "guilty pleasure" and "trash TV" on commissioning and their potential connection to wider issues of classism in television. It celebrated shows often stigmatised, emphasising the skill behind their creation and the joy they bring to viewers. What stood out to me was the composition of the panel itself – primarily composed of middle-class commissioners. These individuals had every reason to be proud of their successful programs, which had achieved notable acclaim and success. Yet, it struck me that their discussions were predominantly centred around the creative aspects of their shows, highlighting the meticulous craftsmanship that went into creating top-tier content. This raised a thought-provoking question: how could these meticulously crafted programs, objectively of high quality, be relegated to the category of "trash TV"? Intrigued by this paradox, I seized the opportunity during the Q&A session to pose a question that had been brewing in my mind: "Is it possible that when we label certain TV as 'trash,' we are not actually critiquing the quality of the content itself, but rather passing judgement on the viewers who are associated with it? Could it be a subtle way of stigmatising and degrading the working class?" To my surprise, the presenter and host of the panel, Rick Edwards, responded with a resounding "YES." His candid agreement with my query hinted at a deeper layer of social commentary within the industry. However, it quickly became apparent that this was a sensitive and potentially divisive topic. The other panellists, skilled in navigating such discussions, adeptly redirected the conversation, avoiding a more in-depth exploration of the issue. This moment served as a stark reminder of the complex interplay between television, societal perceptions, and the ever-present issue of classism. It left me pondering the broader implications of such judgments in the realm of entertainment and the role of television in reinforcing or challenging existing biases. Hosted by Executive Producer Leon Campbell, C4 Commissioner Ian Dunkley, and featuring the lively cast members Baasit & Sid Siddiqui and Pete & Sophie Sandiford, “Gogglebox: The First Ten Years” provided a captivating behind-the-scenes look at the enduring success of Gogglebox. The session exhibited the show's casting, filming, and editing intricacies. This session stood out as a personal favourite, illustrating what television can achieve when it's crafted with unwavering passion and dedication. Ian Dunkley, Channel 4's commissioning editor, and Leon Campbell, executive producer at Studio Lambert, celebrated the show's authenticity. They allowed Gogglebox's stars to share their experiences and perspectives without interference. This dedication ensures that Gogglebox remains a show that authentically allows individuals from diverse backgrounds to represent themselves. Notably, the Siddiqui family's pride in representing their South Asian community with sincerity was palpable. Their genuine enthusiasm for being themselves and their community's unwavering support underscored the show's profound impact. Gogglebox serves as a refreshing departure from the norm, emphasising the importance of diverse representation in reshaping how television influences our perceptions. Instead of portraying people as mere objects of morbid entertainment, the show presents them as genuine reflections of reality, offering viewers comfort and joy. This masterclass emphasised that television, when infused with passion and authenticity, has the power to foster empathy, understanding, and a sense of belonging, uniting us in celebration of our shared humanity. Finally, in the realm of television, there are moments that stand out as truly transformative, and one such moment unfolded at the annual Alternative MacTaggart session. Launched in 1997, this session has consistently served as a platform for industry leaders to provoke insightful debates from diverse viewpoints. This year, the spotlight shone on Meera Syal CBE, a powerhouse in the world of entertainment – an actress, writer, and comedian whose career has traversed multifaceted landscapes. Meera Syal's recent recognition with the prestigious BAFTA Fellowship at the BAFTA Television Awards speaks volumes about her profound impact on the industry. In her conversation with Festival Executive Chair Fatima Salaria, she embarked on a journey through the highs and lows of being a trailblazing British Asian woman in film and television. However, her discussion transcended personal anecdotes; it delved into the very essence of representation and the amplification of voices that often go unheard. For many, including myself, this session emerged as an unequivocal favourite. Meera Syal possesses a storytelling prowess that lingers long after the session concluded. As an Asian woman, it was an honour to witness two remarkable women, Syal and Salaria, who mirror my own experiences, dominating the industry. Meera Syal approached the discourse on television with unwavering dedication, confronting the changes that the industry so desperately needs. She passionately emphasised that genuine representation on screen necessitates creators who deeply resonate with, and authentically represent, the stories they seek to share. She says, “I think in the casting, things really are changing and that’s fantastic for all of us but I’m worried that it’s window dressing when things aren’t changing fundamentally in the power structures.” The progress towards increased diversity and inclusion within the industry is undeniable, with marginalised voices finding more acceptance than ever before. However, the aspiration is not to only secure positions as diversity hires in entry-level roles. Instead, the goal is to ascend the ranks, ensuring that our stories are not just heard but also elevated. Meera Syal's presence and advocacy inherently challenge the status quo. Meera's pioneering work has rewritten the narrative of South Asian representation on television. South Asians have emerged as fully fleshed-out characters, capable of humour without being reduced to stereotypes, capable of engaging in serious dramatic roles without falling into tokenism, and capable of challenging societal norms by blending their British and Asian identities into narratives uniquely their own. This paradigm shift is equally essential for individuals of all ethnic backgrounds. Figures like Pearlena Igbokwe, Chairperson at Universal Studios, echo this sentiment by challenging the conventions of black representation in the shows she commissions, moving beyond narratives rooted solely in trauma to encompass stories infused with warmth. The impact and influence of individuals like Meera Syal, Fatima Salaria, and Pearlena Igbokwe cannot be overstated. They understand the transformative power of television, a medium that enters people's living rooms and moulds their perceptions of the world. Although much change remains to be seen, these women recognize their unique ability to drive the change they wish to see, making strides toward a more inclusive and representative future in the world of television.

Horror films from the very earliest days of cinema tended to be adaptations of Gothic novels, and as such, shared many of their ideas regarding gender and sexuality. One of the first feature length horror films, 1922’s serves as a loose German adaptation of Bram Stoker’s Dracula (predating the official one by over a decade), that amplifies what the original novel has to say about sexual transgression. During the climax of the film, it’s discovered that the vampiric Count Orlok can only be defeated if distracted by a pure-hearted woman’s beauty, with the added caveat of her allowing him to feed off of her of her own volition. Combined with the notion of bloodsucking as a metaphor for sexual deviancy, and the subtext surrounding race and the Other in interwar Germany – Count Orlok is considered by many to be a antisemitic stereotype with his hooked nose and clawlike fingers – we see a woman who is both a victim and willing participant to nefarious forces outside the realm of societal acceptability in Ellen, the woman this duty falls upon, and who tragically dies in the process. This figure of the ‘woman seduced’ appears in some capacity in other notable horrors of the era. Phantom of the Opera (1925), Dracula (1931), Frankenstein (1931), Dr. Jekyll and Mr. Hyde (1931), King Kong (1933), Mad Love (1935), and The Hunchback of Notre Dame (1939) all feature a woman pursued, or perceived as being pursued, by a hideous, inhuman, or immoral figure, in some cases completely rejecting their advances, in others seeming to accept them to some extent. Due to the fact that a lot of horror films from the 30s to 70s tended to be remakes or sequels to the classic monster movies, or else work off their blueprint, slasher films from the 70s to the early 90s are the next important development when it comes to the history of horror films, with their unprecedented ramp up in shock value, and gorier, grimier aesthetics. However, they are very limited with regards to conversations about female desire due to their overwhelmingly masculine focus. Much has been written and rewritten about how slashers punished their sexually active female characters with suggestive deaths, whilst rewarding the virginal with ‘Final Girl’ status in order to appease the gaze and sensibilities of their adolescent male audience. We might look towards the fact that the vast majority of these films include a female protagonist ultimately defeating the villain as proof that they’re progressive. However, I think of this as slashers wanting to have their cake and eat it too: they follow a female protagonist as fear is only acceptable if experienced by a woman, but only allow her to take on the hero role once she has renounced her sexuality and becomes more identifiable for male audience members – reinforcing patriarchal ideals about gender on both counts. This is not to say that women can’t get any enjoyment out of slasher films, but I think that 70s horror offered us a much more valuable glimpse into female desire in the classic (1976). Carrie is another film that’s been written extensively about when it comes to its portrayal of female sexuality, the power it holds against dominant structures, and how its feared and rendered monstrous, so I won’t beat a dead horse. The reason I mention it is because of its influence on how women, and their desires, are presented in horror, spurring on the idea of the ‘Monstrous-Feminine’ – as coined by Barbara Creed in her 1992 book of the same name. This is not to say that there were no female monsters in horror before Carrie, films like Bride of Frankenstein (1935) Cat People (1942), and The Wasp Woman (1959), would prove that wrong. But Carrie was one of the very first times that a horror film centred that ‘monster’, showcasing her as a victim and villain in equal parts, much akin to how early horror explored the duality of woman as a compliant victim. Whilst the films that can truly be considered Carrie’s daughters took a long while to materialise, once they did they created a trend of monstrous, complex women in horror that still lives on today. Some are moreso about the horrors of puberty and ‘becoming a woman’ – like Ginger Snaps (2000). Some utilise their female monsters to craft a revenge fantasy in response to the violence against women that’s so abundant in real life – Teeth (2007), Jennifer’s Body (2007), and Under the Skin (2013). And then there are some which, most relevant to the topic of this essay, hone in on the perversities of female desire – including but not limited to May (2002), Excision (2012), Raw (2016), The Love Witch (2016), Saint Maud (2019), Titane (2021), and Pearl (2022). At this point the question is long overdue: why is horror such a fertile ground for exploring female desire? The obvious, and readily accepted answer, is that the purpose of horror is to differentiate what’s acceptable from what isn’t, and punish that which is not. This is especially true for the pre-Carrie era, where women are punished for engaging with their sexuality. Cast your mind back to the beginning of this essay, and Ellen’s death in Nosferatu. If bloodsucking is a metaphor for sexual activity, then Ellen’s death as a result of it might as well be her dying due to having sex. We can see this basic idea traced to slashers decades later, where the trope of the sexually active woman being one of the first to die in any given film (and often having the most brutal, drawn-out death scene) has been observed, mocked, and commentated on to the high heavens. We could consider the backlash to the sexual revolution and steady rise of hardline conservatism during the 70s as the reason why this was such a staple of horror films at the time. However, although we have an answer for why horror films are so concerned with female sexuality, we still don’t have an answer for why so many women derive empowerment and enjoyment out of the genre. In the case of the ‘modern-era’ of female-driven horror it’s clear: they showcase complicated and nuanced female protagonists that wield some level of power. They’re compelling and relatable because, not in spite, of their monstrosity. But what about the classic-era of horror films? Why might women be in some way drawn to seeing someone who looks like them being victimised on-screen instead of empowered? And how does this relate to female desire? As Linda Williams writes in her essay ‘When Women Look: A Sequel’, horror films tended to be analysed from the ‘masculine sadistic point of view’. After all, who would want to identify with the ‘terrified, suffering woman’? Well, as Williams goes onto write, there exists the ‘masochistic and feminine thrill of “opening up”’ to these images, and the pleasure of experiencing such highly charged emotions as fear and terror alongside the woman in question, within the safe space of a cinema (or living room, or bedroom). So then, horror films become an outlet for women to express the fear that their subject position in the real world affords them, also reflecting the experience of female desire which, much like horror, has always been mired as a terrain of fear, uncertainty, denial, and punishment – not just to outsiders, but themselves as well.