1 To Live & Die in L.A. (Friedkin, 1985):
The Church of London, 71 Leonard St, EC2A, 6.30pm
Little White Lies magazine and MGM HD TV film channel bring a taste of L.A. to London this summer, starting with William Friedkin's classic 1980s cops and robbers tale.
Time Out review:
'Willem Dafoe is an LA supercrook, forging dollar bills for a city whose sole form of social intercourse resides in the getting, counting, and spending of large sums of money. This is a city (photographed by Robby Müller with the same luminosity he brought to Paris, Texas) where everyone is on the take, and that includes the two FBI agents (Petersen and Pankow) who are out to break Dafoe by any means. It all goes horribly wrong when they decide to pull their own heist in order to secure the necessary funds to stay in hot pursuit. Friedkin plays it as brutal and cynical as he ever did with The French Connection; and this time the car chase takes place on a six-lane freeway at the height of the rush hour, going against the traffic. Today, the play-dirty antics of Popeye Doyle probably look rather dated; God knows what state we will have to get into before all this looks tame.'
Chris Peachment
Watch this brilliant trailer.
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2 The Pace of Time: In To Fragments at the Roundhouse, Camden 5pm
The Cinematograph film club are hosting a series of events at the Roundhouse in August. (All the details of the various screenings are here). The Pace Of Time comprises a series of events that explore different perspectives on time, designed to coincide with Conrad Shawcross’ installation, Timepiece.
Tonight's film screening involves different uses of time manipulation and fragmentation. The programme shifts from slower films which meditate on immediate surroundings (John Smith’s Leading Light) to the fragmented and jilted (Chris Welsby’s Fforest bay II), to the creative splicing of fragments and instances (The Cut-Ups by William S. Burroughs and Antony Balch). A presentation of transference from slow single focus, to the coexistence of multiple planes of consciousness.
The presence of the past informs our contemporary state. Memory focuses our attention in the present moment; it is fragmented, indistinct and filtered in flux.
PROGRAMME
Rob Gawthrop - Distancing (1979)
John Smith – Leading Light (1975)
David Hall - Phased Time (1974)
Chris Welsby – Fforest bay II (1973)
Rose Lowder - Bouquet 5 & 10 (1995)
Bruce Baillie – Castro Street (1966)
William S. Burroughs and Antony Balch – The Cut-Ups (1967)
All films shown on 16mm.
Projection by Maria Anastassiou
Programme by Ben Pritchard
Here is the Burroughs and Balch film 'The Cut-Ups'
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