Clio Barnard
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“I Think There’s a Parallel Between Gender Politics and Politics of the Land”: Clio Barnard on Her TIFF Premiere, Dark River
UK-based Clio Barnard has impressively transitioned from video artist to acclaimed feature filmmaker in the span of just seven years. After making several short films, her feature debut The Arbor, a hybrid documentary about the late playwright Andrea Dunbar, went on to win a bevy of awards, including London Film Festival’s Best British Newcomer award, Tribeca Film Festival’s Jury Award, British Independent Film Awards’ Douglas Hickox Award, and subsequently a BAFTA nomination for Outstanding Debut by a British Writer, Director, or Producer. Her second feature The Selfish Giant, loosely based on Oscar Wilde’s children’s story of the same name, also […]
by Tiffany Pritchard on Sep 15, 2017 -
RECAPPING THE 2012 CINEMA EYE HONORS
The backlash against the Academy’s recent changes to its nomination policies for documentary films contrasted with the casual atmosphere of last night’s Cinema Eye Honors. In an intimate theater at the Museum of the Moving Image, the pillars of the documentary community gathered to celebrate the breadth and diversity of their craft. In attendance were Frederick Wiseman, Al Maysles, Steve James, Alex Gibney, Michael Moore, Joe Berlinger, Bruce Sinofsky and many more. Founder and co-host AJ Schnack spoke of the Cinema Eyes evolution prior to the awards: “Some things about Cinema Eye are the same as they were that first time that we gathered […]
by Daniel James Scott on Jan 12, 2012 -
The Arbor — A Hammer to Nail Review
“Time heals all wounds,” goes an old adage with which everyone involved in The Arbor would likely take issue. Clio Barnard’s cinematic assemblage on English playwright Andrea Dunbar is certainly a document of sorts, but to call it a documentary would be to slight it: The Arbor is equal parts fact, reenactment, and archival footage. Adding to the genre-blending is a series of audio interviews recorded with Dunbar’s siblings, children (particularly Lorraine, in many ways the main “character” of the film), and acquaintances which Barnard then had actors lip-synch onscreen. The result is at first off-putting, eventually immersive, and unlike any […]
by Michael Nordine on Apr 28, 2011
