This drama documentary for cinema explores the pacifism that was such a powerful influence on composer Benjamin Britten's life and work. The story begins in 1929 at Gresham's School in Norfolk, England. Our young actors take us into a world where social and political issues are actively addressed and young Ben Britten's hatred of all things militaristic is formed. As we explore the music that illustrated that hatred throughout his life, illustrated by new performances and unique observations from experts and friends, we frequently return to dramatic interludes at Gresham's, which cement the narrative - spoken by legendary actor John Hurt. The transcendent music of the War Requiem accompanies the climax of the film, before we return to Gresham's School 2012.
In addition to being a mainstay of the local lifeboat crew Norman (Roger Lloyd Pack) has been the manager of the little pier theatre in his home seaside town for forty years, ever since he was a youngster. In those days, the venue played host to popular singers like the flamboyant Alma Cogan, meeting with whom Norman still fondly remembers. Now, however, the council, who owns the pier, wants to oust Norman in favor of younger, hipper management, and Norman plans to fight. Norman has long been supported by his loyal assistant Sandra (Niamh Cusack), a would-be singer, but she persuades him that perhaps it is time for him to go, and so he does, this time supporting Sandra as she begins a career as a singer. it.
John Wilbye, considered the greatest of the Elizabethan madrigalists, spent his entire working life in the service of Sir Thomas and Lady Elizabeth Kytson at Hengrave Hall in Suffolk. This was not unusual – composers in the sixteenth century either worked for the Church or one of the great households. What is unusual is that after Wilbye’s second book of madrigals was published in 1609 he appears not to have composed anything else, yet Lady Elizabeth kept him on in the house until her death in 1628, showering him with gifts including the tenancy of the most prosperous sheep farm in the area.
So why, when Elizabeth died, did Wilbye throw all this up and spend the rest of his days with her daughter, the divorcee Lady Mary Darcy in Colchester? Why did he dedicate his second book of madrigals to the beautiful and notorious Lady Arbella Stewart? A collaboration with the internationally renowned vocal group; I Fagiolini, this sumptuously photographed film is a feast for movie fans and music lovers alike.
From 1st February 2016, you can buy Draw on Sweet Night on dvd with PayPal.
ChickLit is a comedy drama about four guys trying to save their local pub from closing down. They group write a chick lit, or more specifically a ‘mummy porn’ novel in the style of ‘Fifty Shades of Grey’ and it gets snapped up. The only snag is that the publisher insists that the young woman ‘author’ does press and publicity. The guys have to keep their involvement a secret and so engage an out of work actress to ‘role play’ the part of the author. This leads to her becoming the star in the film of the book, the tables are turned on the guys and she is in control – leaving them with the awful prospect of having to secretly churn out sex novels for the foreseeable future.
Through Lotte’s Lens tells the extraordinary story of the ‘Hitler Émigrés’, the refugees – mainly Jewish who escaped the Nazi regime in the 1930s and found refuge in the UK. Despite many of them being interned on the Isle of Man after war broke out, they brought a richness of endeavour and achievement to this country that still resonates today. Musicians, actors, artists, architects, scientists, historians shared a belief in the power of democracy and a loyalty to the country that had welcomed them.
Told through the portal of Austrian portrait photographer; Lotte Meitner-Graf, this is a story which is both engaging and thought provoking and the film’s epilogue, featuring the extraordinary sculptures of Ana Maria Pacheco underlines the contemporary resonance of the plight of the immigrant and the importance of nations closing neither their eyes nor their doors.
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