ROUNDEYE'S TOP 10 FOR 2010

This year has been pretty spectacular for new films… here’s my Top 10 favourites from the past 12 months (in no particular order, of course).



Black Swan
What if you took SWAN LAKE and mixed it with THE PIANO TEACHER, added a little bit of JEKYLL AND HYDE, seasoned with THE RED SHOES, REPULSION and SHOWGIRLS then wrapped it all up in a blockbusting MOMMIE DEAREST-type package, what would you end up with? Why BLACK SWAN of course!

I know I’m putting this on my 2010 list even though it doesn’t officially come out until 2011 – but I just had to, because I’ve seen it and think it’s incredible.

I haven’t really loved any of Aronofsky’s films before, but this one really did it for me. Epic, beautiful, mindfucking and of course, camper than a row of fluffy pink tents, it blew me away and I’m sure it will you too.

Just go see in the cinema for maximum effect – that’s where the magic happens folks!


Certified Copy
A guaranteed head-scratcher, Abbas Kiarostami’s first feature to use professional actors is a poetic, beautiful experience. Juliette Binoche is perfect, as per usual, and you won’t take your eyes off her.

CERTIFIED COPY is like the film equivalent of a Chinese thumb puzzle – the harder you try to understand, the less you will.

Don’t read any more about it – it’ll ruin the surprise – just watch it.


Buried
A (relatively) low-budget gem masquerading as Hollywood blockbuster, BURIED by Spanish director Rodrigo Cortés takes the old ‘one room’ format (à la Hitchcock’s ROPE) and instead shrinks the setting down to coffin-size proportions.

Yep, this unique thriller is entirely set in a box. Six feet underground. With just one actor (the not-unpretty Ryan Reynolds).

Completely claustrophobic and edge-of-your-seat all the way – this is imaginative filmmaking which uses its low budget as an advantage rather than an obstacle.


The Disappearance of Alice Creed
Almost verging on the same ‘one room’ format as BURIED, although not quite, Brit flick THE DISAPPEARANCE OF ALICE CREED is something of a thrill ride, with the nail-chomping tension and gay subplot that echoes the brilliant BOUND.

Being a beautiful Kentish girl, I was always going to admire Gemma Arterton. Just as long as she stays away from the Hollywood shite more often, we’ll get on just fine. Thankfully, ALICE CREED generally avoids the formulas.


Leaving
I love Kristin Scott Thomas, always have. She has that sad glimmer in her eyes that keeps her bobbing between vulnerable and strong, which is a great quality on film. Plus, anyone who can seamlessly switch between English and French-language films is always going to be a winner with me (and yes that does include you Charlotte Rampling).

LEAVING chronicles the torrid affair and subsequent marriage break up of a seemingly reserved, middle-class British ex-pat, living in the south of France. Dreamy, sexy and sometimes shocking, LEAVING is a real grower that you’ll want to revisit.


Another Year
Divided into four seasons, this melancholic passing of a complete year is a real tour-de-force of simplicity.

Mike Leigh’s latest film is his best in a decade, owed in part to his regular actresses Ruth Sheen and Lesley Manville. The latter’s performance as Mary – a single, needy, over the hill lush is heartbreaking – more so because you’re sure to know her, some way or another.

Definitely my favourite British film of the year.


Le Refuge
Ah Francois, Francois. How I love him so. And I swooned once more when I went to see LE REFUGE.

I can’t deny I love his moody, urbane films much more than the comedies, and this one shows him at the top of his game. Filmed when the lead actress really was pregnant, and using her changing shape within the plot, this is another understated gem. Oh, and the impossibly sexy Melvil Poupaud is in it, albeit briefly – what more could you want?


Dogtooth
What I know about Greek cinema you could write on a postcard (notwithstanding ‘ISLAND OF DEATH’) but I’m determined to find out more after being captivated by DOGTOOTH in the summer. Once again, it’s probably best not to read too much about this one, but let’s just say it’s about isolation, sexual naïveté and being fearful of the modern world.

The most Hanekesque film not directed by Haneke I’ve ever seen, this one recently emerged on the free-to-air Film4 channel just weeks after its UK DVD release – so keep your eyes peeled – it’s well worth two hours of your life.


Rabbit Hole
As someone who loves HEDWIG AND THE ANGRY INCH like a religion and who also went to some unforgettable cinema screenings of SHORTBUS (hardcore porn on the big screen with an audience of open-mouthed OAPs would stick in your mind too) I was nearly foaming at the mouth to see John Cameron Mitchell’s newest film.

Although it’s just his third feature in ten years, I’m getting the feeling than it’s quality rather than quantity that really counts for Mitchell.

And yes, this one does star Tinsletown upstart Nicole (does she deserve a mononym yet?) and is definitely more Hollywood that his previous films – but inside it feels like nothing has changed.

A modern avant-garde weepie with a message of hope, RABBIT HOLE is the conclusion of a victorious hat trick for Mitchell.


Inception
I know, I know. A film costing more than the GDP of a small country wouldn’t normally make it onto my list, and the total cost of all the Roundeye films probably comes to what they spent on Mr DiCaprio’s mascara alone – but this genre-defying cinema ride by Chris Nolan really did impress me. A lot.

Less a film and more like a pseudo-drug, I can’t deny it, INCEPTION is mind-bogglingly brilliant. In fact, I think I like it more than MEMENTO, and that’s saying something…

Ben Barton

BACK WITH A BANG!

Well folks - we're back at Nottingham's finest Bang! Short Film Festival this year - this time with our colourful little cult offering, Getting Ready. As always, the festival promises "to mix local, national and international films to create an original and exciting programme".

Once again it's being held at the Broadway Cinema, and you can catch our film on Saturday night - 27th November at 7:30pm.

Go to the festival website for the fundown with the rundown...

"NEAR, FAR, WHEREVER YOU ARE..."

No, it has nothing to do with the incessant warblings of newly-preggars Celine, but rather a funky new film night, which is launching May 27th at the Achromat Gallery in Hove.

As you can see, ‘Near, Far, Wherever You Are’ is the curious title, and you lucky peeps can look forward to a hand-picked selection of short films, from documentaries, non-narrative work, video art, music videos and more... And yes, they will screening some of Benny B's fab super-8 films too...

So if any of you ‘popcorn loving film watchers willing to donate a few coins for drinks’ are interested, get your bums down to the gallery on Queens Place, Hove (near the Sussex County Cricket Ground) at 7pm this Thursday.

BIRTHDAY FUN @ THE LANCASHIRE INTERNATIONAL FILM FESTIVAL

Well what better way to celebrate Benny B's birthday weekend than with this fab new film festival?

Enjoy two days of films, performances, workshops, masterclasses and conferences during the inaugural Lancashire International Film Festival.

All tickets are free and there is good food and a licensed bar area to sit back and relax between shows.

We invite you to enjoy the films and the opportunity to share time and space with other film lovers, makers, writers and creators. This is LIFE in its many shorter forms.

You can read the full programme for our screening here - it's being held in the Media Factory's Theatre 1 on May 23rd at 9pm.

CHOOSE LIFE...

A quick heads up that you can watch some fab Roundeye film, courtesy of Ben Barton, at the Lancashire International Film Festival... All details TBC - so watch this space!

SCREENSHOTS FROM OUR NEW FILM!

Above are some (of the best) screenshots from the first reel to come back from the lab. Fantastic aren't they?

This 50ft reel of super-8 was supposed to be the romantic ending of our new Roundeye opus, 5,000 Miles From Hollywood. We hired the magically retro Silver Screen Cinema in Folkestone for the scenes - and Benny B and Jimmy D made great big tits out of themselves, praying to the icons of old Tinsletown and munching on popcorn all loved-up, and much more besides. But the sad sad thing is - you'll never get to see it!

Lab error, faulty film, broken camera - we don't know what's gone wrong here folks. But we are crossing every crossable part of our bodies and hoping that the remaining three colour reels (currently at another lab) will be ok. So maybe we'll be able to salvage something and still have a film to show you... If not - suicide or something else suitably dramatic will be on the cards...

Please leave us alone to go have a wee cry.

See you soon.

The Roundeyes

STUFF THE ELECTION – VOTE FOR GAY JESUS!

NEWSFLASH!

Uphill for Jesus, our beautiful little art film, has been shortlisted for the Audience Award at the 4th Saltburn Film Festival.

It will be part of the Saltburn Shorts night, which promises “a selection of shorts from emerging film makers around the UK”. At the end of the night the audience will vote for their favourite film... so keep everything crossed for us! (crossed – geddit?)

Saltburn Shorts is next Thursday 13th May, in the Saltburn Community Theatre, at 7pm. Admission is 100% fab and free of charge too!

HI-HO, HI-HO OFF TO THE LAB THEY GO!

That there be the undeveloped film for the latest Roundeye work-in-progress, 5,000 Miles From Hollywood. I gave them a wee kiss for good luck before packing them off to the lab, so fingers crossed my compadres!

Ben Barton

THERE’S NOWT AS QUEER AS FILM

Following the low-key premiere of Getting Ready on Wednesday, the latest Roundeye film is now off to London for the fantabulosa Queer As Film night.

The event is part of the London Independent Film Festival, and we’re honoured to be part of what has been dubbed ‘the best of the New British Queer Cinema’. Kudos indeed.

As the title suggests, all the films come from those within the exclusive friendship circle of Dorothy, so we’re looking forward to a camptastic event which promises ‘desperate visions, trash chic imaginings, video nasties and midnight movie epics’.

If this sounds like your cup of Earl Gay, why not head to Soho’s The Crown and Two Chairman on Dean Street, this Sunday at 7:30pm.

The line-up for the night is thus:

‘Diana’ - directed by Aleem Khan
‘Homoworld’ - directed by Max Barber
‘Greg and the Luck Factory’ - directed by Alan Friel
‘Notice’ - directed by Amy Hill
‘Getting Ready’ - directed by Ben Barton
‘Latecomers’ - directed by Olivia Humphreys

Be there or be... queer.

"NO I DON'T HAVE A FUCKING PERMIT!"

Well - the act of guerrilla filmmaking never did run smooth, as they say, and yesterday was no exception.

The photo above was taken approximately nine seconds before we were 'moved on' (i.e. frogmarched off the premises) from our local Starbucks by the ever-vigilant Folkestone Town Centre security staff - citing 'terrorism' I might add.

If this doesn’t seem ridiculous enough to you yet - let me expand the picture a little more... The security guard in question was actually speaking to two filmmakers clutching a tiny super-8 camera, as well as... a seven-foot cardboard cut-out of James Dean.

“No I don’t have a fucking permit!”
I can hear my own rather-camp voice echoing in my ears even now, a phrase only half-jokingly uttered while being escorted to the exits by a grey, sad little man who clutched his walkie-talkie close to his chest like a prized teddy bear.

So anyway, back to the photo. Well those hands are the 2D cardboard limbs of the aforementioned James Dean – who has been resurrected, Roundeye style, for our latest film: 5,000 Miles From Hollywood.

Still a work-in-progress, the latest from your favourite universally ignored underground movie studio is another super-8 trash epic. This one is a shaggy dog story, of sorts, where two men (one real, the other cardboard) go sightseeing around Sunny Folkestone. The fact that one of the men was/is the greatest dead-too-soon Hollywood star ever to have lived, is inconsequential.

Sorry if it’s all a bit cryptic - but all will become clear soon. (Just as soon as the films come back from the lab – so let’s hope the super-8 gods are smiling on us...)

Night-night!

Words: Ben Barton
Photo: Chris Holdsworth - official Roundeye brother

WHAT'S THIS?

Well it's a fuzzy mobile phone shot of our Jennifer Harris on the big screen, during the Cinesaurus Film Society screening, that's what!

Hopefully Getting Ready will be coming to a screen near you soon!

x

¡VIVA ESPANA! - INCINERACION IS THIS WEEK...

A quick reminder that Uphill for Jesus and The Return of Ellen Love are screening later this week from 21st-22nd April at the InCINEracion Independent Film Festival, Spain.
The 2010 event is being held in Granada at the Afrodisia Club, beginning at 8:30pm.

Screenings are free but seats are limited!

THE FUTURE’S ORANGE

As said a couple of weeks ago – we’ve been busy organising screenings for the latest Roundeye film, Getting Ready, and the premiere is nearly here...

First out the blocks, the film will be shown at Canterbury’s coolest venue, the Orange Street Music Club as part of the Cinesaurus Film Society evening. The main event for the night is ‘500 Days of Summer’, but before that there will be a selection of short films by local independent filmmakers as a warm-up to the main feature.

Late notice – but it’s this Wednesday 21st April at 8pm. Entry £3.
Oh – and for that oh-so-authentic movie going experience - there’s popcorn too! We love that.

'GETTING READY' IS... READY

Yep, finally it’s here! Getting Ready directed by Ben Barton and starring Roundeye starlet Jennifer Harris, will soon be coming to an underground venue near you*.


In Getting Ready we peer into the mirror as a fading actress prepares for the greatest performance of her life – a star-studded suicide. After applying her make-up for the last time, she goes to bed with her pills and Champagne. In her final dream she returns to the stage – but are the standing ovations and roses real, or just an illusion?

Filmed in the old dressing rooms of Chatham’s Brook Theatre, this super 8 poem is an opus of Technicolor glamour and peacockish preening, à la Kenneth Anger’s classic avant-garde gem Puce Moment.

We’ve previewed a short one-minute version of the film (called ‘Adored’) a few times since Christmas, but the final cut has taken some jiggery and pokery to get right. If it gets screened, you’ll be the first to know. Scout’s honour.

Thanks to Mr V for the film artwork.


*OK, nothing’s been confirmed yet, but we’re hopeful...

POLE POSITION (x 13)

Aye our Ellen Love is a popular lass. As I’m sure you’ll remember, last year our film The Return of Ellen Love was part of the official selection for Euroshorts, Poland’s premier film festival. Organised by the Foundation for Young Cinema and now in its 18th year, it’s the only festival in Europe which brings together screenings of short films and creative advertising.

Following the main event in Warsaw last November, our film has now been chosen to go on tour all round Poland, visiting more than a dozen towns and cities, stopping off at art galleries, cinemas and public buildings.

Ellen Love is one of just six films in the ‘experimental category’ to be screened up and down the country… We’re in very good company too - some of the directors who are also screening work include Guy Ritchie and David Fincher I kid ye not!

Here is the current line-up for the regional screenings. Obviously we can’t be there in person, but there in heart yes we will be! It all sounds so exciting a teeny bit of wee just leaked out! Seriously!

Koszalin – January 27-29 / Wrocław – March 3-4 / Bielsko-Biała – March 11-12 / Olsztyn – March 22-26 / Toruń – April 22-23 / Elblag – April 28-29 / Gdańsk – May 22-23 / Zielona Góra – June 8 / Kutno - June 18 / Lublin – June 21-22 / Szczecin – June 24-25 / Warsaw – June 24-25.

Check out the Euroshorts website for more information.

KENNETH ANGER RISING

Last night I attended a talk and screening from legendary filmmaker, visual magus and raconteur, Kenneth Anger, at the Tate Modern in London.

I have been eagerly waiting for Dr Anger to return to the UK, and let’s face it, he’s 83 now - even though he’d swear blind he’s only 80 (he’s not) - so the chances of him making frequent visits seems pretty slim these days.

Held in the Tate’s tiny cinema, it was a great night. True, some of the classics were left off the bill – most notably Fireworks and Scorpio Rising, but I still enjoyed it.

First up was Mouse Heaven, Anger’s ode to the darker side of Disney, back in the early days when Mickey Mouse had a more devilish grin and evil glint in his eye. Although Anger claimed to have shot some 16mm footage in the 1980s, this version is strictly digital. A kaleidoscope of dancing Mickeys coupled with gaudy chroma-key backgrounds, this is the best Anger film of the 21st century, so far. Along with Rabbit’s Moon, it is probably the only Anger film you could label ‘fun’.

Then came Red Witch, a truly great piece of film. This one wasn’t actually by Anger, but a found footage piece constructed by his ‘producer and collaborator’ Brian Butler (who was also in attendance). Red Witch is a re-cut 8mm home movie of Marjorie Cameron, but not like any homespun footage you’ve ever seen before! She sits like a cat in her living room, surrounded by her grandchildren, who watch as she applies layer after layer of magickal make-up. As this mystical process progresses, the kids laze around and climb over their grandmother, who seems to be in a trance, as the soundtrack and thumping visuals build to a psychedelic climax.

Cameron – who preferred to be known by the mononym – was a fascinating character, who surely deserves a biopic all of her own. A real life witch, artist, underground movie star, wife of the famous rocket scientist Jack Parsons (who blew himself up in the shed one day) and friend of Kenneth Anger, she is the original ‘Scarlet Woman’ and the best part of the classic Inauguration of the Pleasure Dome.

It’s strange that the most memorable film of the night wasn’t actually by Anger, but it was this film I kept on thinking about as the evening wore on. Cameron is such a big part of the Anger legend, so to see a completely different side to her, and to see how very old she looked, was more than fascinating. The soundtrack (also by Butler, I believe) was pretty good too. If you want to see more of Cameron – albeit just a glimpse – then I highly recommend Night Tide, a little-known cult classic by Anger’s chum Curtis Harrington – in which Cameron has a creepy little cameo role. It’s also a good little reminder that Dennis Hopper was actually really sexy back in the day (look out for the not-so-subtle homoerotic subtext in the ‘massage scene’).

Invocation of My Demon Brother was next on the bill. Visually, this film is unique, with a dark streak that makes it just a little disturbing. Like all of his work, Anger had a number of dubious stories concerning how this film came about: he has always claimed that the original footage for this film was stolen, and so what we have here is ‘scraps from the cutting bin’. Whether or not that’s true – and it seems doubtful, as some of the film’s striking images are hardly stuff you would throw away – it’s just another part of the Anger legend which I love. Also, Mick Jagger’s bizarre and headachey synthesiser soundtrack has a way of keeping you alert and fixed on the screen.

Next up on the film programme was Brush of Baphomet, which is basically a sequel to Anger’s 2002 film The Man We Want To Hang. Another straight rostrum camera-type catalogue of Crowley paintings. Not exactly my cup of Chai, but there you go.

Finally, we were ‘treated’ to the Jimmy Page version of Lucifer Rising. This version is slightly shorter and was never officially released, giving it star status in the eyes of many Anger fans. Sadly though, I am not one of them. I don’t care for Page or Led Zeppelin or anything like that, so although I’m glad I saw this curious piece, I wouldn’t rush out to see it again. Page’s soundtrack is truly ear-splitting. And it’s no poetic simile to say the ‘music’ sounds like nails scraping a blackboard – it actually DOES sound like nails scraping a blackboard – all 25 minutes of it! It was something to be endured rather than enjoyed – and I kept thinking of those experiments on my fellow homos in the 60s, where they were tied down in medicinal viewing rooms and forced to watch porn while being electrocuted – a cinema experience dealing in pain rather than pleasure. What a shame, because Lucifer is a truly excellent film. It has a polished look and such great locations, you can’t help but be mesmerised by it. But give me the ‘real’ Bobby Beausoleil version any day. At least you can enjoy that one without Advil.

In the Tate cinema I noticed that some of the (very young) crowd seemed a little boorish, a bit distracted. I got the impression they had read the Hollywood Babylon books and not much else. They weren’t proper Anger mainlining smackheads like me. That’s why I wish the great man had put Fireworks up there on the screen. That would surely have given them a shake.

During the obligatory Q&A which followed the screenings, there was a rather uncomfortable wall of silence from the audience – save for the sound of their backs sliding down into the chairs. But thankfully it was all kept very brief, so wasn’t too painful, thank Thelema.

I had brought with me my prized promo editions of the Fantoma DVDs for Anger to sign, if I got the chance to ask. I also had a DVD with a couple of my films on it – now I don’t know if Anger has a DVD player, even if he does I’m sure he couldn’t give a rat’s arse about my films, but hey, it was worth a shot. So while I was planning how to approach this subject and cajole him into autographing my DVDs without looking like some fawning fan, I noticed that the talk was over, and Anger was stomping up the staircase with the agility of a nubile moonchild half his age.

So realising that my idol was very soon to exit stage left, I made a beeline for the doors. Unfortunately I didn’t get to meet him – as I entered the lobby I just saw him stepping into the lift while some pretentious gallery assistant flitted around with a clipboard and poked at the buttons. So that was how my night ended – with the elevator doors sliding shut, then Kenneth Anger rising… up into the towers of Bankside.

Ben Barton

BARGAIN BIN BENNY

I personally believe that you haven’t made it as a poet until you’ve landed in the bargain bin, so you can imagine my absolute JOY when I discovered that Waterstones have finally put me there. A couple of my Red Books were stacked in the paper graveyard, thankfully looking very well thumbed and read – just the way I like it. They must have been on the shelf a good three years...

So what if no one decided to dig deep and buy these orphaned copies – they took the time to have a read – which is validation enough for me. Treat the large chain bookshops like free libraries, that's what I say. For all their inflated prices they deserve it!

Now this creased copy is up for the grand total of 99p! Utter bargain! I was so happy I had to record the moment for posterity...

Sorry for the fuzzy snap – you know I’m a technophobe, and that includes newfangled camera-phones I’m afraid!

Ben Barton

IF AT FIRST YOU DON'T SUCCEED...

It seems it wasn’t just good old Britain that was brought to its knees by the snow – but China too. The Electric Shadows screening in Beijing last month coincided with a whacking great snowstorm, which left the audience a tad thin on the ground, apparently.

With this in mind, Vicky and the team have decided to re-run the entire January programme again – which means both The Return of Ellen Love and Uphill for Jesus will be getting a second shot, along with a sumptuous collection of other experimental, hand-crafted films from around the world. The screening is this Sunday 7th February, 2pm, at the Peng Hao Theatre.

So fingers crossed the weather will be kinder this time – no skis required!

BENNY B'S POEMS REVIEWED BY CHROMA...

CHROMA: Review drop, anchor by Ben Barton

I'M A PHOTOGRAPHER, NOT A TERRORIST!

The UK activist group I'm a Photographer, Not a Terrorist! is planning a mass photo-shooting this Saturday in Trafalgar Square, London: "Following a series of high profile detentions under S44 of the Terrorism Act including seven armed police detaining an award-winning architectural photographer in the City of London, the arrest of a press photographer covering campaigning santas at City Airport and the stop and search of a BBC photographer at St Paul's Cathedral and many others, PHNAT feels now is the time for a mass turnout of photographers, professional and amateur to defend our rights and stop the abuse of the terror laws."

I feel passionate about this one folks - this Saturday 23rd January.

YOU WILL BE ADORED

Tomorrow, January 17th, we will be making a welcome return to Manchester's kookiest short film night, the Odder Mini Cine Picture Show.

It's the Picture Show's first anniversary celebrations, and they promise the "best short film oddities" from around the world. The night is held the third Sunday of the month in Manchester's Odder Bar on the Oxford Road.

Exactly one year ago our film The Return of Ellen Love was premiered there, and for the birthday party we will we back - screening a special two-minute sneak-peek of our latest film Getting Ready.

It's called Adored.

Entry to the Mini Cine Picture Show is free and so is the popcorn!

Films begin at 8pm.

HACKNEY'S VARIETY BOX - THIS SATURDAY

It's all down to Hackney's Empire Theatre this Saturday for the regular live art event, Variety Box. Held in the theatre's Marie Lloyd Bar, it's a platform for experimental and physical theatre, contemporary dance, stand-up, music, short film and more. Unlike other nights, Variety Box has no firm concept regarding themes. It is literally a night of artistic mayhem and surprise with a neo-avant garde touch. This weekend a hand-picked selection of Roundeye films - all directed by Ben Barton and featuring the vocal talents of Jennifer Harris - will be screened, the only films of the night!

Entry is free and the show starts at around 8pm, but get there early for a seat!

INCINERACION TAKE 2

Some advance notice here - and Incineracion, Spain's super 8-friendly independent film art festival, is gearing-up for another screening. Ben Barton's Jesus and Ellen Love films are back on the programme, with screenings this April 20th at the Afrodisia Club in Granada.

OBLONGING & LOVING THE LITTLE CINEMA

Starting tomorrow, there's something very special beginning at the Oblong Gallery, London. And that's because Initial Prospect, our down-and-out-in-Dungeness super-8 film poem, will be screening as part of a curated exhibition of artists' cinema. Oblong Screenings runs from the 7th-21st January, with two screenings per day; the first from 12pm-2pm and the second 3pm-5pm, both on a loop.

This sounds like a good one folks - the gallery will become a temporary little cinema, with 20 'first come, first serve seats' where guests will be presented with complimentary popcorn and a drink.

The opening night, tomorrow, will be the only time you can view the films at night, from 7pm-9pm - thanks to Time Out London's First Thursdays collaboration, supported by the Arts Council England.

ROUNDEYE BEHIND THE BAMBOO CURTAIN

First off the bat for 2010 - and two Roundeye films du jour - The Return of Ellen Love and Uphill for Jesus - are going to make their Chinese debut in Beijing (which Benny B was lucky enough to explore on a tour of China a couple of years back).

Electric Shadows is a multi-platform film and music venture designed to promote experimental and art house cinema in the Chinese capital. Run by a team of passionate volunteers, they hold a screening every month aiming to "showcase the finest short works from around the world which challenge the conventional labels of documentary and fiction, and blur the lines between narrative and experimental film".

The inaugural event of the new decade will be tomorrow, January 3rd, at the Peng Hao Theatre, Dongcheng. This exceptional new theatre and coffeehouse is one of the first privately-owned theatres in Beijing. Located in the centre of the performing arts district, it is a beautifully-restored hutong house with a bohemian feel, chill-out zones and rooftop bar.

The screenings begin at 2pm and entrance is 30 yuan.

Benny B in Tiananmen Square, 2007

SO THAT WAS 2009 - AND HAPPY NEW YEAR!

Well that decade flew by like shit off a shovel - and 2009 was the busiest yet for Ben Barton’s super 8 films.

In just 12 short months the Roundeye-produced creations were screened at 16 film festivals in cities from Budapest to Manchester and Madrid to Warsaw; at music festivals in Cambridge and Wales; cafes and bars in Edinburgh and Tokyo; universities and galleries in London and Liverpool; in a multiplex cinema in Brazil and ‘little’ cinemas in Berlin, Birmingham, Dublin, Norwich and San Francisco; projected onto buildings in Athens and Leeds; with a live choir in Windsor; at scary Halloween horror events in Brighton, Croydon and Huddersfield; and at many great underground film nights in Beijing, Canterbury, Luton, Northampton, Nottingham, Preston and of course, London. LOTS of unspeakably cool nights in London.

None of this would be possible without the input of the informal Haus of Roundeye, an uber-talented bunch including the 'modelling' and vocals of Jennifer Harris, music of Robert Harris, styling of Scott Gibson and artwork of Mark Vanstone. So big love to all of them.

We’ve also shot our next film, Getting Ready, and are beginning the next one very soon. Oh, and all the current films have been picked-up by the BBC for their ‘Big Screen’ public screening project. Phew!

Not sure if we’ll beat our busy sophomore year that was 2009, but there’s already lots planned for 2010, and we’re keeping it all under our big shiny hat for now, but here’s a wee clue…


Look out for Jimmy D on the streets, and have a good one!