Wednesday, 17 October 2012

Capital Celluloid 2012 - Day 293: Sat Oct 20

The Pervert's Guide to Ideology (Fiennes, 2012): Odeon West End 1, 6pm
This film also screens at VUE7 in Leicester Square on Sun 21 Oct at 8.45pm. Details here.

56th LONDON FILM FESTIVAL (10-21 October 2012) DAY 11

Every day (from October 10 to October 21) I will be selecting the London Film Festival choices you have a chance to get tickets for and the movies you are unlikely to see in London very soon unless you go to see them at the Festival. Here is the LFF's main website for the general information you need. Don't worry if some of the recommended films are sold out by the time you read this as there are always some tickets on offer which go on sale 30 minutes before each screening. Here is the information you need to get those standby tickets.

London Film Festival introduction:  
'In keeping with good blockbuster logic, renegade philosopher and bionic cineaste Slavoj Žižek gets his own sequel in Sophie Fiennes’ engrossing follow-up to The Pervert’s Guide to Cinema. Unleashing his voracious intellect on films from The Sound of Music to Full Metal Jacket, Žižek postulates on where and how cinema reinforces, and sometimes exposes, the tenets of prevailing ideologies. Leaping (literally) from the ‘trashcan of ideology’ in John Carpenter’s They Live – in which a drifter discovers a pair of sunglasses that allow him to read the real messages beneath everyday signs – Žižek continues on an intellectual rampage via Jaws, Starbucks, Oratorio For Prague, The Dark Knight, Weapons of Mass Destruction, and the London riots – until he reaches the monstrous heart of his dissertation in John Frankenheimer’s Seconds, a cult classic about a man whose fantasies can’t ultimately be satisfied because he ‘dreams the wrong dreams’. Reprising the technique of the previous film by locating Žižek in elaborately recreated scenes from the films he critiques (Titanic affording one of the film’s funniest visual gags), Fiennes takes this further by providing more real-world context through news footage and excerpts from propaganda films, resulting in a documentary essay as resonant as it is wilfully provocative.'

Here is the trailer. 

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