In an age where online video sharing is more and more common, it seems the short film has been given a new lease of life. So it's a shame we don't get to see more bite-sized films on TV and in cinemas.
So much can be gained in five to ten minutes, and the The Loch Ness film Festival which begins its fourth annual run at the end of the month celebra...
As the nights draw in and a post work run becomes even less appealing, it got us wondering about the alternative ways to get our pulses racing? We've all heard the expression my "heart skipped a beat", but how does horror actually affect our heart rates?
Shorts are a brilliant way of finding your voice in the competitive world of film. The genre allows you to hone your skills and can function as a stepping stone in your career as a director, writer, cinematographer, or any of the other disciplines.
Director Robert Rae's new film The Happy Lands takes place in the Scottish village of Carhill, in the heart of the Fife coalﬁelds during 1926.
Here we see Michael Shannon playing the eponymous Iceman aka Richard Kuklinski, a New Jersey-based Mafia hit man who despatched more than 100 people over a number of years before police finally caught up with him.
After superbly rebooting the franchise with Star Trek in 2009, J.J. Abrams returns to direct what will probably be his probably final Trek film before crossing over to a galaxy far, far away.
The Great Gatsby is currently available in the UK in at least seven different editions, is about to appear in its sixth film adaptation, has been adapted on innumerable occasions for radio and theatre, even succeeding without adaptation as an eight-hour theatre reading, and has also been performed as a ballet, an opera and an orchestral suite.
When BS Johnson first approached a literary agent with his debut novel Travelling People he received an outright rejection. The agent described the novel as 'pretentious and unsaleable,' according to Philip Tew, co-editor of a new compendium of Johnson's diverse output, Well Done God! Selected Prose and Drama of BS Johnson.
The Prince and The Showgirl, made at Pinewood Studios in 1956, is best known for the conflict between its leading lady Marilyn Monroe and her director and co-star Sir Laurence Olivier. I have directed the film My Week With Marilyn based on the diaries of Colin Clark, who was the third assistant director on the film, and he had a front row seat to watch the struggle between the two legendary actors.
Wearily predictable, but very necessary, the first thing I had to do after paying an extortionate West End £12.30 to see the much-feted film version of Tinker, Tailor, Soldier, Spy was to nip into a nearby HMV to buy......Tinker, Tailor, Soldier, Spy, a mere £7 if you're interested. You know the one.
Danish cinema's not-so-enfant terrible, Lars von Trier, came to Cannes this year trailing Melancholia, a beautifully mounted apocalyptic drama, which, compared to his previous cinematic assault, Antichrist, had all the shock value of a children's tea party. There was no graphic sex, no horrific close up of clitoral self-mutilation, no violence. It was up to Von Trier to personally up the ante at the now notorious post-screening press conference that sent shock waves along the Croisette.
Allan Niblo is an award-winning film producer and a founder member of film production and distribution company, Vertigo Films. His past credits include Human Traffic, Football Factory, StreetDance 3D and the award winning Monsters. Here, he reveals his inspiration for filmmaking and passes on top tips to aspirational filmmakers.
Watching black boys from London as protagonists made me giddy with joy, made me a black girl from London feel recognised, less invisible in the wider world. I don't know much about the actors that played the teenagers but their mannerisms and accents were convincing. Even in dealing with the film's drug dealing sublot which felt superflous - empty, weighty and simplistic - they were earnest enough.
All Night Long (1962) is an exception, a film I can't just turn up to. At the weekend I began watching it in jeans and a t-shirt but felt so slobbish that halfway through I paused and changed into a dress. (This wasn't sufficient but it was better.) One must prepare to watch All Night Long, it is an invitation to a party. You should attend in high spirits, your back straight, head held up.
The discussion of 3D is a horse that has been flogged to within an inch of its life over the last few years, with powerful film writers such as Roger Ebert being particularly vocal in their resentment of cinema's latest technological development. But with the vast majority of critics uncharacteristically singing from the same hymn sheet, and audiences beginning to turn their back on inflated ticket prices, what do people on the creative side of the film industry think?