Crinkle Cut Motion Pictures Ltd

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2010-11-26T12:37:00.008Z

Report from the Northern Coal Face

2009-07-29T09:42:00.008+01:00

There used to be a saying about taking coals to Newcastle….Twenty-five years ago within twenty miles of Newcastle there were over hundred coal mines. Now there are none. The defeat of the miners in their great strike, signed the political death warrant of the industry. ‘Report…’ is a sort of memory-song composed to the lives that were lived by the communities that dug coal out of the pits in the ground. Three ex-miners, voices in counterpoint, conviction passion and humour, recall their times set against unusual illegal footage shot by miners themselves as they recorded the last days of mining in the region.

RESPONSE

2009-07-29T09:41:00.009+01:00

14 Mins 2009

Whilst out walking in Newcastle Sarah, a woman in her late fifties is approached by a young man, Jamil. As their encounter unfolds, urgent questions are posed about the consequences of the invasion of Iraq in 2003.

CREDITS

CAST
SARAH : CAROLE LUBY
JAMIL : WILLIAM EL-GARDI

CREW
CAMERA : MAT FLEMING
SOUND : CHRISTO WALLERS
EDITOR : ROBERT HARGREAVES
MUSIC : CATH AND PHIL TYLER
WRITTEN PRODUCED DIRECTED : ADRIN NEATROUR

SPONSORED BY : THE STAR AND SHADOW CINEMA

Click titles below to read review

2008-08-24T13:56:00.000+01:00

Boxing Booth

2008-08-24T13:25:00.001+01:00

Boxing Booth - Adrin Neatrour 1984

Sceened at Side Cinema 7 2 04

Directors comments

A friend asked me guess the composer of a piece of music he was playing. It sounded contemporary and I thought it might be Arvo Part. In fact it was Beethoven, one of the last quartets he wrote. Viewing my film 20 years after making it brings home how time referenced films are. The look and the feel of what we see are frozen into time. Realised immediate archaism. There are perhaps a few exceptions: film being film everyone will have their list of exceptions. Not only does film comprise multiple indicators and signs of its era or year of production even; but its medium its style and its structure all connote specific temporal provenance. To exist as archive does not mean that old films lack relevance meaning or the immediacy of saying something to us now - independent of historical signification or nostalgic attraction. And this was the question I wanted to pose about my film.

When viewing Boxing Booth I tried to look exactly at what was on the screen. This was torture. The editing sometimes seemed awkward and lacking rhythm; the dialogue sometimes arch and self conscious. But although I cringed and hated this they were central to the integrity of the film which was a self portrait emeshed in a documentary about the old fairground Boxing Booth. This was me. And I wasn’t smooth and still ain’t - though I have learnt to mimic smoothness. This was me as was, bad cuts silly lines and all. It was me taking on the boxing booth to find pain as a means of atoning a failed relationship and a messy abortion. It was made as my gesture. I think the film archaic as it looks still holds to this intention of seeking out judgement as self chastisement.

There is another aspect that struck me on reviewing this film - how little I’ve changed. Not physically but rather in mind in the way I make films. I regard this as my first film because I made the discovery that I wanted the films I made to be a journey started without destination or certain outcome in mind. Boxing Booth was started with the idea that I would travel with the fair and when the time came take my turn. I did not know the outcome of the film when I started making it: I knew there was a situation in which the possibility of a film existed, but that possibility could only become actual if my entire being was concentrated into it and I had confidence in the momentary forces that could resolve into the imagery action and sounds of film. But the initial step was a act of faith: there was No film. No script. Only the chance of movement.

Looking at the film at this screening I also realised that it was important for me to have made a film about myself that incorporated physical revelation and attempted honesty. The taking of unadorned and often ugly self as subject matter gave self confidence to me as a film maker. It somehow meant that in the future, as long as I retained humility before all life, that I was the equal of the people with whom I worked to make film. No matter what the subject matter - death - pain - dishonesty - I had been there in my film. And there was confidence in having made that trip that gave me the internalised right to intrude. I don’t say that my intrusions should be accepted; often they have not been. But I was not afraid on making demands; I ask questions as an equal not as a child.

Echolalia

2008-06-25T11:38:00.006+01:00

7 minutes 2007

A filmic take on Aneurin Bevan's 1956 speech to the UK Houses of Parliament opposing and condemning the invasion of Egypt by UK armed forces.

Echolalia

Tygers of Instruction

2008-06-25T11:38:00.005+01:00

Proposed 2 x 1hr Documentaries on world education.

Status - in development - one pilot film produced shot in Lagos, Nigeria.
The story of world education - how communities in Africa and Asia are developing the human resources they need to provide themselves with the skills and knowledge that will enable these societies to grow and create wealth and opportunities for their citizens. The Tygers of Instruction will go into the communities and townships where most of the people on the planet live and look at how they are preparing for their futures and ours.

Budget - £120,000 or 174,000 euro - please contact us for detailed budget

Scripts - in preparation for African film - please contact

Tygers of Instruction

Catch-a-Fishie

2008-06-25T11:38:00.003+01:00

Catch A Fishie is about the decline of the British fishing industry and how the people involved in the fishing see understand and react to this decline.

Catch-a-Fishie

The Last Kill

2008-06-25T11:38:00.001+01:00

When we read in the Illiad how the Greek leaders sacrificed a fatted five year ox ".......they drew back the victims head, slit its throat and flayed it....." we are at an opening chapter of recorded European history. And in this ritual in which the forces of life and death are inextricably entwined, the slaughterer plays an intimate and central role in our cultural history. But it is a role that rapid urbanisation has all but eradicated as we become ever more removed and alienated from the source of our food, and we buy our meat in polythene packs from the supermarket. Except small holders living in the country have held on to the old traditions, maintaining the natural right to rear and kill their animals for the table. But food scares, increased bureaucratisation and unending regulative legislation have steadily eroded this right until now in Europe home slaughter of most livestock is illegal. The Last Kill, illuminated by music from another era, follows the last working days of an old Scottish itinerant slaughterer Davey Kelly, and records the end of an age of innocence. Davy Kelly wants to pass on his knowledge and skills. A new generation of small farmers wants to learn how to slaughter humanely in order to be able to run their farms ethically and economically. But at this point the practical application of his knowledge is becoming illegal.

The Last Kill

The Cobbler's Tale

2008-06-25T11:37:00.006+01:00

37 MINUTES - DOCUMENTARY
distributed by EspressoTV www.espressotv.com

The cobbler himself, is a rare combination: both individual and architype, both a face and a skilled pair of hands. The cobbler is the man who repairs your shoes, but he is also a man who has allowed his shop to extend out into the world so that through the tensions of the shoe repair business, our understanding of our world is deepened.
The cobbler's shop is located in a run down street in Gateshead in the North East of England. This neighbourhood is home to a large Sephardic Jewish Community and has the largest Talmudic college in Europe. Shot between 2001 and 2006, the film captures some of the passions triggered by the events of 9-11 as the traditional values of the cobbler engage with the committed world view of the Jewish Community.

During these encounters, which take place during the everyday business of buying shoe laces or having a pair of shoes reheeled, the Cobbler's shop is transformed into a highly polished surface in which for a brief moment we can glimpse the fault lines of Israel and the Middle East.

The shop, the eye of the cobbler, is a mirror relecting back to the viewer images of some of the salient social and psychological processes that like tectonic plates, underlie our culture. Not just the sort of uncertain world where giant buildings are blown apart , but the more sort of mundane uncertain world where people's shoes start to fall to pieces only weeks after they have bought them.

The cobbler, represents an old fashioned type and is seen as such by his clients. They have faith in his skills and his knowledge and want to believe that he can mend anything. But often, all the cobbler can do is shake his head as he explains to his customers why their soles cannot be saved - the big shoe manufacturers make them like that.

The Cobblers Last Tale is not so much a narrative as a discontinuous parable in which shoes, in the hands of a master, bare witness to the way of the world.

Credits

featuring
Bill Pasola

Music
Iona Brown

Commentary
Simon Barnes

Editor
Robert Hargreaves

Produced and Directed
Adrin Neatrour

Distributed by
Espresso TV
7 Heathfield Rd
London W3 8EH

Tel + 44 20 89 60 55 25
Fax+ 44 20 89 60 40 54
www.espressotv.com

The Cobbler's Tale

The Cleveland Experiment

2008-06-25T11:37:00.005+01:00

Documentary - colour - 48 mins
distributed by 10 Francs www.10francs.fr 10francs@10francs.fr

The Cleveland Experiment is the third in a series of films made by the production company about paranormal subject matter. The focus of all three films has been on people, people's whose experience has led them into strange and unfamiliar worlds. The Cleveland Experiment is the story of Dr Howard Hall's investigation into the claims made for a Middle East Sufi healing practice known as Deliberately Caused Bodily Damage.

Dr Hall is an American psychologist from Cleveland Ohio whose work centres on mind/body effects in relation to healing. During his research he came across references to a Sufi ceremonial ritual in which practitioners engage in radical piercing practices through both their bodies and faces. The Sufis say that these practices cause them no pain. There is no bleeding, no infection and the wounds heal rapidly. Dr Hall travelled from Ohio to Baghdad to witness one of the Sufi rituals. His mission was firstly to find out if the claims made for this practice were authentic. Secondly he wanted consider if there might be a rational explanation for the practice or whether it could be a paranormal effect.

Impressed by what he has seen in Baghdad, Dr Hall set up the Cleveland Experiment. He invited a dervish to travel from the Middle East to Cleveland, to test if the piercing practice could be replicated in the sterile environment of a Western medical facility. If replication was possible this could have exciting implications for healing.

The film examines the footage from Baghdad and Cleveland and Dr Hall’s conclusion that a paranormal healing effect may be at work. It contrasts this claim with the opinions of other experts such as Professor Peter Mulacz of the University of Vienna. Professor Mulacz has made the Sufi rituals of piercing the subject of a special study. Drawing on his own photographic evidence that features in the film, he maintains that although the effect of piercing is spectacular there are perfectly natural explanations that can account for the
practice.

Within a scientific medical framework both sides of the argument present their cases and it is left to the viewer to decide whether there are supernatural or merely natural forces in play in the Cleveland Experiment.

Credits

camera
Andy Adamovitch
Paul Sadorian
Ken Slater

sound
Steve Katz
Tony Cogger

editor
Robert Hargreaves

commentator
Dan Russel

produced and directed
Adrin Neatrour

The Cleveland Experiment

Lights from Nowhere

2008-06-25T11:37:00.003+01:00

(UK) - Documentary - 27 minutes

Lights from Nowhere is the story of a quest. Tyneside poet multiple sclerosis sufferer Tony Jackson is totally paralysed from the neck down, but lives in his own home sustained by a care regime. When he says that he has seen a 'Light' shining from under his bed at night, everyone tells him he must have dreamt it. But when the 'Light' is also seen by his night nurses, Tony wants some answers! A humorous and very human film, Lights from Nowhere follows Tony as he tries to find out what's going on. As a life long trenchant and confirmed atheist, Tony has no preconceptions about what he has seen, just a willingness to listen to the people he meets. In the course of the filming, Lights from Nowhere explores the paradox met with by Tony: the greater his certainty that he really has seen a 'Light', all the more must he draw on his own inner resources to understand the experience.

Contributors include:

Subject
Tony Jackson

Interviewees
Professor Michael Barnes
Michael Bradford - Faith Healer
Gary Linten - Jungian Counsellor
Rev Neil Cockling
Dr Christopher French
Tina Ormhurst

TECHNICAL CREDITS

Camera
Ken Slater

Sound
Colin Lang

Music
Gordon Sharp

Picture Edit
Alex Cooke

Produced and Directed
Adrin Neatrour

Lights from Nowhere

Spoonbenders

2008-06-25T11:37:00.001+01:00

(UK 1999) - Documentary - colour - 28 minutes

Spoon Benders is a child led documentary into the strange world of paranormal metal bending. The film looks at two different generations of 'child benders', and with contributions from established scientists, probes beneath the surface of society's preconceptions about children. This juxtaposing of the world of the scientist and the world of the child give the film both its internal dynamic and its sense of poignancy. Spoon Benders is a humanist story set against the background of an intense and passionate controversy.

Contributors include:

Scientists
Professor Arthur Ellison
Professor John Hasted
Dr Christopher French

Children
Mark Henry
Simon Williams
Nicole Bain

TECHNICAL CREDITS
Camera
Ken Slater
Paul Sadourian

Sound
Tony Cogger

Music
Keith Morris

Picture Edit
Robert Hargreaves

Performers
Boy Joe Garnett
Voice Over Ben Price

Produced and Directed
Adrin Neatrour

Spoonbenders

Wall of Death

2008-06-25T11:36:00.005+01:00

1983 16mm colour 15 mins doc

The film of the last travelling Wall of Death show touring the fairgrounds of Britain. The Wall of Death is a stunning piece of entertainment in which the bikes are driven up the side of a circular wooden wall and on a plane vertical to the audience above them the riders perform a series of tricks and stunts. The film is a compression of imagery garnered form a summer spent living and working with the show which features the Mesham family who have 50 years of experience touring with this attraction.

Credits:
Camera - Maxim Fird
Sound - Dave Henderson
Editor - Nicki Clemens
Director - Adrin Neatrour

Featuring:
The Mesham family

Wall of Death

The Gaff

2008-06-25T11:36:00.003+01:00

16mm 25 minutes Doc colour 1985

A rich assemblage contrasting different aspects of the fairground - the light and the shadows - the screaming girls and the rough and ready gaff lads, the men whose labour and personalities bring the pleasure machine alive. A highly visual and visceral film that sees the fair as an essential part of British culture and myth. the gaff is also a complex world divided in social and economic terms, but united against the gaze of the outsider.

Credits
Camera - Maxim Ford
Editor - Kevin Hinchey
Music - Nick Moes
Director - Adrin Neatrour

The Gaff

Boxing Booth

2008-06-25T11:36:00.001+01:00

16mm 25 mins Doc colour 1984

A personal documentary of the subworld of the travelling boxing booth. The film chronicles Ron Taylor's fairground show the last of it's type to tour the land. The film features the absorption of the director into this fading world. The need to take part in bloody public spectacles to demonstrate manhood may no longer be a cultural imperative; there may be no more hungry fighters but we are quick to invent new excuses for old traditions.

Credits
Camera - Maxim Ford
Editor - Lynda Fowkes; Jon Davies
Music - Nick Moes
Director - Adrin Neatrour

Boxing Booth

Auto Freight

2008-06-25T11:35:00.001+01:00

Auto Freight