Category Archives: Short Cuts

SHORT CUTS: Franí§ois Ozon – Regarde la mer and other short films


Format: DVD

Release date: 31 March 2008

Distributor: BFI

Director: Franí§ois Ozon

Writer: Franí§ois Ozon

Titles: Regarde la mer, Action vérité, La Petite mort, Une Robe d’été, Scí¨nes de lit, X2000, Un Lever de rideau

France 1994-2006

152 mins

Franí§ois Ozon’s short films are not so much exercises in visual narrative as visual studies of people in situations. The main subject is faces of naked people in a sexual context. Mainly people to whom the context is new. So (conveniently) mainly young people – teenagers, and other experimenters. Ozon is not here interested in sex in a relationship, sex as part of a shared life. He is interested in sex as passing pleasure, as self-discovery, above all as recreation. This of course positions his work well for hipsters, who, one supposes, like to think of sex in this way. And, one might think, also for middle-aged voyeurs, but I am pleased to report that I detected little Larry Clark-style salaciousness here. As well as faces, Ozon is quite interested in bodies, particularly male bottoms and genitalia, and I think we should be grateful that this director does offer good parts for penises, a neglected resource in cinema, if you discount pornography. The shorter films in this compilation are varied in tone, mainly light and often whimsical. Ozon does a nice job of capturing natural performances from his cast. They often seem gauche and embarrassed, perhaps not surprisingly, but it seems to work.

The medium-length Regarde la mer is an entirely different matter, a disturbing psychodrama in which sexual attraction takes on a threatening or threatened aspect. Admirers of Ozon’s full-length Swimming Pool might wish to investigate, if they are feeling brave. It is hard to imagine anything further from my own Ozon favourite, the good-natured musical diversion 8 femmes.

Peter Momtchiloff


Alex and Her Arse Truck

‘In the bedroom of the Kurt Cobain-obsessed protagonist from my first short film Rocco Paris there are posters on the wall of Jimi Hendrix, Jim Morrison, Bob Marley and Sean Conway.’
Sean Conway

He’s been described variously as ‘the UK’s coolest filmmaker’ (Giuseppe Andrews, actor) and ‘a fucking genius’ (Rankin, photographer and co-founder of Dazed and Confused). Writer/director Sean Conway (and self-confessed frustrated rock star) is undoubtedly doing something right. But with a drama to be screened on Channel 4, enough feature script ideas on the boil to last him his career, a multimedia collaboration funded by onedotzero, and a novella being published, Sean isn’t about to lie back in self-satisfaction.

Sean has been making a name for himself since his award-winning short Rocco Paris made strange bedfellows of poignancy and cool. Since then, he’s proven himself with shorts Rabbit Stories (2006), and Alex and Her Arse Truck (2007). Sean aims to make films that, in his own words, leave people thinking, ‘Wow! I’ve been in another universe!’, and he sees himself as having the capabilities of directing the next Harry Potter film just as much as LA alt-porn: the binding factor being his possession of an ‘agitation of the mind’ (a phrase coined by Werner Herzog).

Rabbit Stories depicts the world of Fenton, a young man with schizophrenia. The fractured visual style complements a brilliant and similarly fractured script. The constant argument between sound and vision is a driving force in communicating Fenton’s state of mind. Unfortunately, we never reach Fenton’s inner core, despite being offered several ‘Thought Insertions’ in which Fenton’s sexual identity and propensity to violence are hinted at. This is slightly disappointing, as is the positing of Fenton as a Christ-like figure: a slightly tired concept that contrasts with an otherwise highly original film.

Sean’s latest, Alex and her Arse Truck, is a vast leap in many ways from Rabbit Stories. Funded by Film Four and the UK Film Council, part of the Cinema Extreme scheme, it revolves around a couple of idealistic hedonists, Alex and Baby Shoes, and their encounters with panties-sniffing perverts, dancing drug dealers and a car park full of cheerleaders. Sean’s use of light is visionary, but there are too many potentially interesting psychological concepts that end up in a music video style extravaganza. The ever-present music will most definitely date the film, but hopefully in the way of a good tattoo – it might not suit in ten years but it makes a statement about the film here and now. Several moments display stunning directorial vision. The decision to have Alex mouth her first line of dialogue, for example, is infinitely more powerful than if she had screamed it.

Each of Sean’s films are very Gen Y, expressing a constant need to be made whole and the notion that the future will be brighter if you just hang on a little longer… As Baby Shoes puts it: ‘It’s like my balls are going to explode but my heart can’t breathe’.

In Rabbit Stories, Fenton believes that he is piloting a plane flying overhead with his plastic remote control. It’s a fitting analogy for Sean’s work as a filmmaker: with such an ambitious mind at the helm, the possibilities that may take flight are boundless.

Siouxzi Mernagh


Kathy Acker

Fifteen years ago the Spice Girls flogged the concept of Girl Power, or ‘feminism with a Wonderbra’, as they described it. Shortly before her death ten years ago Kathy Acker – the pro-sex feminist writer – interviewed the group for The Guardian. She was bewildered by their political naïveté but charmed by the positivity and bravery with which they took on the music industry without a thesis to their names.

So what would Acker think about the showcase of films either written, directed, produced or featuring women shown during the London Short Film Festival, a few miles away from the O2 Arena where the Spice Girls are playing one of their reunion shows? Certainly the films chosen by Sarah Wood and Selina Robertson of Club des Femmes would have received her thumbs up. After all, they included Fuses, the sexually incendiary film depicting Acker’s friend and ally Carolee Schneemann having graphic, loving sex with her then partner.

The amazing thing about Fuses is that it still has the power to shock, embarrass and delight. Not for any Nuts or Loaded wet dream could a woman look so content in a carnal setting. Not only that, but shots spliced into the sex scenes reveal she’s in a happy relationship which extends out of the bedroom. This woman has it all – both the feminism and the Wonderbra.

Moving forward in time, Acker’s own screenplay for Variety shows how, despite the ardent women’s movement of the previous two decades, the 1980s could still be an oppressive place for women. The female characters are forced to make a living as strippers and barmaids for lack of work, the photographer having to graft in a bar full of lecherous men while waiting for a sale, while lead character Christine is looking for a job that doesn’t list having a big bust as its main requirement.

Variety is beautifully shot as should be expected from a film starring cult photographer Nan Goldin. But while the supporting female characters are sharply drawn, in particular through their discussions of their lives and loves, the depiction of Christine remains blurred. She somnambulates through life, aimlessly smoking cigarettes in the foyer of the porn cinema in which she begins to work, having an answerphone relationship with her mother and a nonchalantly half-hearted relationship with a man who couldn’t care less about her personal development.

As she becomes more involved with her new job and the mysterious businessman who frequents the cinema, her feelings and desires become clearer but more problematic. She begins to follow him around the dark underworld of the city in which he works, watching him from afar. Stalking him as far as Staten Island, which he visits for a shady business trip, she takes the motel room next to his and goes through his things while he’s out. Rifling through his bag she finds a hardcore porn rag and is amazed by the pictures she sees.

In this way, Acker questions the male gaze of cinematic tradition: Christine is the woman looking at the man looking at the woman. In the same way, she begins to compose erotic prose which she recites to her distant boyfriend. But it isn’t until she trusses herself up in a sexy outfit and admires herself in the mirror that the gaze comes full circle and she controls both the gaze and the reflection. Or in other words, the feminism and the Wonderbra.

Go forward twenty years and the short films showcasing either female characters or females behind the camera show a drastically different world. Screened as part of Dazzle Short Film Label’s programme ‘Lipstick Cherry’, 100th of a Second depicts a front-line war photographer winning a prize for a shot showing the horrific killing of a child. It is a chilling look at the media’s representation of war zones and the conflict between the need to document and the temptation to exploit. Is it her female sensitivities that riddle her with guilt or the pure horror of the memories that haunt her? Things twenty years on are not so clear-cut.

In ‘Femmes Fantastique’ – a programme of new shorts depicting women with attitude, collected by Wood and Robertson – A Short Collection of Hilary Flamingo’s Dream Vocations shows a woman at work. She escapes the factory where she works by thinking of other jobs she would like to do. A wig designer, painter of men’s bare bottoms or showgirl are just some of the colourful ‘moving photos’ of Hilary’s imagination. Not anchored in the viewer’s mind by her marital status or sexual availability she is free to play out her fantasies without being judged as silly or childish. Hilary is a lovable, flamboyant character, proving LSFF organiser Kate Taylor’s belief that ‘interesting female characters on screen are as important as those behind the cameras’.

Similarly the character in When the Telescope Came – which won the Club des Femmes award – lets herself be taken away by her imagination in a beautifully rendered animation. Elsewhere, New Love depicts a world where beautiful women pay to court and have sex with beautiful men – a helpful set-up for the protagonist whose short memory makes it nearly impossible for her to form lasting relationships. The last couple of years have seen a growth in the number of artistic depictions of women who pay for sex and this was an interesting development of the trend as the woman in question was not fulfilling an emotional need but a practical one.

From a feminist point of view there is still more fighting to be done for and on behalf of women. It was disappointing not to see any films tackling things like sex trade trafficking, the appallingly low conviction rate for rape, and the disregard for women needing to work while bringing up children. But having said that, the overwhelming majority of films made by women shown during the festival were bold, thoughtful and entertaining. They showed that the emancipated women of today don’t have to choose between active feminism and Wonderbras. Now women can concentrate on what interests and excites them – be that astrology, sex, war or cupcakes. Acker certainly would be proud.

Lisa Williams


Smoking Cabinet collage, photo by Simon Howarth

The Smoking Cabinet: A Festival of Early Burlesque and Cabaret Film (1895-1933)

7-9 December 2007

More details here

Taking place last December, The Smoking Cabinet presented itself as a celebration of cabaret and
burlesque cinema from 1895 to 1933. The three-day festival at the Curzon Soho specifically concentrated on Germany and Europe rather than looking towards the later burlesque scene in 1950s America. Their centrepiece screening was the 1930 film by Josef von Sternberg The Blue Angel, which launched the career of Marlene Dietrich. The film is set around a small German town nightclub that hosts the touring burlesque stars of the day. It’s mostly frequented by young male students from the local university, but one night their outraged professor follows them there, and falls under the seductive spell of Dietrich’s Lola.

The screening was followed by an excellent panel discussion about burlesque in general, featuring Amy Lamé, host and founder of the notoriously outré vaudeville club Duckie, held weekly at the Vauxhall Tavern; Marisa Carnesky, a long-time burlesque performer with a number of plays and art projects under her belt; and Bryony Dixon, expert and curator of silent and historical film at the British Film Institute. It was interesting to hear both Carnesky and Lamé pronounce burlesque dead at a time when it seems to be in the throes of a massive revival, with countless nights documented weekly in Time Out‘s Social Club section, and risqué outfits gracing the pages of many a fashion magazine. Commenting that a star like Dita Von Teese has made burlesque overground and safe, Carnesky described the current cabaret nights as ‘students in their Hennes underwear’. This is why The Smoking Cabinet as a cinematic experience was so important: it provided an educative programme to an audience who may only know burlesque in its sanitised, modern form.

Elsewhere in the festival, short films weren’t as blindingly obvious as people were perhaps expecting. In an era when old found footage of dancing girls in grainy black & white can be found on any nightclub wall, the Smoking Cabinet programmers have tirelessly researched early cinema to give us work that doesn’t immediately fit into the burlesque canon. The early half of the twentieth century was an important time for all art forms, a time when cinema, live performance, music and dance all interacted with one another in the work of artists such as Man Ray, Norman Bel Geddes, Jean Cocteau, and George Mélií¨s. The Smoking Cabinet recognised these connections, in the screening of such films as the futurist Ballet Mécanique from 1924: using all sorts of mechanisms from airplane propellers to giant bells the film recreates the madness of dance, all accompanied by a highly percussive tribal score that evokes the new musical forms of the 1920s.

Outside of the films, the Curzon Soho bar area gave added attractions and perfect flourishes, from DJs playing 1920s cabaret music to free fairy cakes hand-decorated by the Smoking Cabinet festival organisers themselves. You wouldn’t see the director of Cannes or Edinburgh sitting in full view pouring hundreds & thousands into a creamy paste to tip onto sponge cake! Here’s to a further Smoking Cabinet, and perhaps to widening the net to look at America in the 50s or Britain in the 60s.

Philip Ilson

Philip Ilson is the co-founder of Halloween and organiser of the London Short Film Festival.


Philip Ilson and Kate Taylor

London Short Film Festival

4-14 January 2008

ICA, Curzon Soho, Roxy Bar and Screen

LSFF website

This year’s London Short Film Festival is the fifth organised by Halloween, but the first to run under that name. Halloween co-founder Philip Ilson explains: ‘When we started the festival four years ago we were actually going to call it the London Short Film Festival but we thought that by calling it Halloween – because we’d been using the name for a few years – it’d help to have that kind of ongoing connection with what we’d been doing. And also I think the pressure would have been on quite a lot at the beginning if we’d called it the LSFF, which has happened this year. I think there is a certain amount of pressure for us to deliver something that might be considered more mainstream than what we’ve done in the past. But it’s still us, and the only difference this year is that there are going to be more industry-based events because we’re linking up with people like the Film Council and Shooting People.’

Overall the programme follows the same template as in previous years, with shorts gathered into loosely themed selections – comedy, horror, love, experimental, and a Fortean Times-sponsored night of general weird stuff. Turntable Café will be organising a night of British-centric visuals while Darryl’s Hard Liquor & Porn Film Festival are coming all the way from Toronto to present work. In spite of the name, it’s not a porn festival, but rather a comedy event: Darryl’s co-director Jill Rosenberg’s entry at last year’s Halloween was Origasmi, an origami sex film.

Music is again an important feature of this year’s festival with events featuring XX Teens and The Young Knives. Says Ilson: ‘We link up with organisations that we like that are doing interesting things. Transgressive Records are an independent label, they’ve got lots of up-and-coming young bands like Foals, Jeremy Warmsley and The Young Knives. The Young Knives got a few filmmakers to make a video for each track of their new album. We’re going to premiere all the videos – which will be on the album released later that month – and the band will do a live set afterwards.’

As in previous years, there will be retrospectives of directors whose films have been regularly screened at Halloween events. This year, the focus is on Asif Kapadia, who presented his masterful second feature Far North at the London Film Festival in October, and Jes Benstock, who won the award for best film at the first Halloween festival. Benstock gained notoriety for his music videos, including one for Orbital, but over the years he has become more of a documentary filmmaker, though this is not a path he had deliberately chosen. ‘Creative life tends not to work in straight lines’, explains Benstock. ‘I started with a half-hour film called Poof, which wasn’t a documentary as such but was real-life filming in real time. But it wasn’t well received so I thought I’d do something else for a while. I did a lot of interactive art and art installations, and then made videos for live music shows. Then some people I knew were doing an audiovisual programme for ITV with VJs and DJs. I’d been VJ-ing for a while, but this was a chance to create a ten-minute audiovisual work with no editorial control. It was a chance for me to experiment. The first one I did was Baby Dreams, which was a conjecture of what my then three-month-old baby son would dream about. There was a lot of colour and animated toys as well as people and family gatherings. I found it really interesting so I did another called Phosphenes, which are what you see when you close your eyes. It was a ten-minute animation with the music of Professor Oz. I really liked the idea of combining the visual elements of animation with documentary so I moved in that direction.’

This year, the festival’s women’s award will be given by Club des Femmes. Sarah Wood, who won Halloween’s best film award last year with I Want To Be A Secretary, runs Club des Femmes with Selina Robertson, a former programmer at the Gay and Lesbian Film Festival. Wood and Robertson started Club des Femmes to show experimental work by women filmmakers. ‘We use a lot of old artists’ films which we want to re-contextualise. We choose work that is innovative, pioneering and adventurous so we match up well with what Philip does with Halloween’, says Wood. ‘For the festival we wanted to mark the tenth anniversary of the death of Kathy Acker. We love her and we thought it would be interesting to show films that pay tribute to her work and combine that with readings of her writings. She wrote about inappropriate and radical sex, so we’ve chosen films with the same kind of sex-positive ideas.’

The festival has always been an occasion to link up with organisations outside of London and to showcase their work. Last year, 7inchCinema came down from Birmingham and this year it’s the turn of Bristol Meth, a collective of artists led by David Hopkinson. ‘Bristol Meth is based around three films made in Bristol’, says Hopkinson. ‘One is my video art piece called Cutting Up My Friends, which is about the mix of people who are part of the Cube cinema. Then there’s a film called Get Good, an extended music video by Frí ní§ois and Rozi Plain, who are musicians and animators. It’s a very sweet love story about the start of a relationship but it’s also very experimental. The third, Don’t Do Tricks, is a skate film by Lady Lucy and James Canyon. It’s a day in the life of a feminist skateboarder. All the films are underground, self-funded indie films made in Bristol around the same time, featuring some of the same people and locations. I put them together as I thought they were interesting as a trilogy. They’re often shown accompanied by live music. They show the cross-fertilisation going on in the underground Bristol scene. It’s all based around the Cube cinema, which is a very important meeting point for creative people in Bristol.’

With such an array of juicy delights, it looks like the London Short Film Festival will live up to its bigger, bolder name: it’s good to see that, despite the influx of sponsoring money, the projector’s teeth are still as sharp as ever.

Lisa Williams and Virginie Sélavy



Photo by Lisa Williams

In an age where big studios dominate filmmaking, short films have become a means to bring experimental and adventurous work to the movie-goer, and no more so than at events like Rock’n’Roll Cinema. The evening of bands and short films, held at 93 Feet East in Brick Lane, is going into its fourth year – quite a grand old age for a monthly event, many of whose contemporaries have vanished without a trace.

‘It was born out of a combination of me being in a band and wanting new places to play, and of knowing different creative people who could come together to help me put on a night. I also found that when I went to the cinema I always wanted to talk about the film afterwards’, explains Dan Cundy, founder of the night. The different creative people include Dan’s girlfriend Wednesday, known as Rollergirl, who skates around singing jingles and selling popcorn, and the DJs, VJs and compí¨res he chooses to pull together the night.

Also with him from day one was the team at Future Shorts, who provide the night with a tailor-made programme of short live action films, music videos and animations. The choice of films is dictated by the nature of the crowd and the set-up at Rock’n’Roll Cinema, according to Pippa Rimmer, director of exhibitions at Future Shorts. ‘I think the films we choose to show here are a little bit quirky’, says Pippa. ‘We choose lots of music videos, show the longer films earlier in the night and try not to use many with subtitles because it isn’t a theatre venue. When we see films in the office we can often tell straightaway which films the crowd here will really like.’

One of the films specially picked for the Brick Lane crowd today is Fitness Video by Japanese director Nagi Noda. A surreal spoof exercise routine led by a young girl with Popeye-style muscles backed by a chorus of bipedal poodles, it is lapped up by the audience. You can tell when the audience likes a film because the laughs are louder and longer than those usually heard in a cinema. The same goes for the gasps, and even the awestruck silences seem more silent. ‘I think people are more relaxed here because they can walk around. It might mean that they’re less absorbed in the films because they’re right next to a bar but you get a better reaction from them as they’re having a laugh with their mates’, says Pippa.

The loudest gasps come during the opening film Spider, an Australian film directed by former stuntman Nash Edgerton. Its slow build-up of tension and triple-shock ending show that with the right story and execution you can move the viewer more in eight minutes than some films manage in two hours. There may be speed-dating and cakes in the next room, a barbecue and bottle bar outside, and bands and hula-hooping to come, but while this film is playing all eyes are fully forward.

Lisa Williams

Rock’n’Roll Cinema takes place every first Sunday of the month at 93 Feet East, London. For more details visit the website.



London Film Festival

17 Oct – 1 Nov 2007


For two years running, the task of choosing the short films that make up the London Film Festival programme has fallen to Simon Young from the distribution company Shorts International and Philip Ilson, founder of Halloween and organiser of the London Short Film Festival. Out of the thousands of films that were submitted they had to select just over 40 shorts, which are organised into six themed programmes.

Young and Ilson come from two different sides of the short film world, which means their programmes are very complementary. Young likes well-structured, well-written films: ‘Too many filmmakers make very downbeat, inconclusive, open-ended type films. I think it’s just lazy.’ His favourite film in this year’s selection is I am Bob, starring Bob Geldof, not only because it’s well-made but also because it will appeal to everybody: ‘I like films that people who aren’t necessarily involved in the short film world will enjoy. I am Bob is a very rounded piece, it’s very funny and accessible because it has one of the most famous faces on the planet basically sending himself up completely.’

While Young likes shorts to have ‘a beginning, a middle and an end’, Ilson, by contrast, likes things to be left up in the air: ‘A lot of short filmmakers seem to think they have to have this sort of ending with a twist, or a definite sort of point where the film finishes. I was looking for stuff that was a bit looser, a bit more genuine than that.’ In order to showcase those shorts that don’t fit the ‘short film genre’, Ilson has created the ‘Death to Short Film’ section, which this year includes such works as Hinterland, an understated drama centred around a mother and her two children walking through a remote part of the French countryside. ‘It doesn’t hit you with any kind of quick, easy answer or any quick, easy plot. Not much happens but it’s really powerful stuff, there are so many emotions in that film.’

Ilson also programmes ‘Mondo Mayhem’, a selection of very short, low-budget and generally bizarre material. Aside from music videos, surreal shorts and strange documentaries, it includes the horror-tinged Belgian drama Anémone. Says Ilson: ‘It starts with this little girl, and there’s obviously some strange things going on with her. It’s got the feel of something like Don’t Look Now, or Japanese horror films, little hooded kids in a corridor as in Dark Water, but it’s not so obviously horror. It’s shot a bit voyeuristically so it might make people feel uncomfortable but it’s the whole point of this programme, trying to find the slightly disturbing, freaky stuff that’s out there.’

One thing the two curators do share is a love of beautiful photography. For Young, one of the most visually impressive films in the programme is an American short entitled Left. ‘It’s inspired by a painter called Andrew Wyeth, so it’s really about the visuals, there’s no dialogue at all. It’s a poignant end-of-a-relationship kind of thing and it’s set in the rolling landscape of the Midwest, with this incredible light and amazing photography.’

‘It really deserves to be seen on a big screen’, is something both Ilson and Young say again and again. Starting October 18, they get their wish and London audiences will get a chance to appreciate these films in their full cinematic splendour.

Virginie Sélavy


High Maintenance

Raindance Film Festival

25 Sept-07 Oct 2007

A-Z of Shorts

Selecting shorts for the Raindance Film Festival means sitting through thousands of films every year in order to pick the 100 that make up the programme. Having worked as a shorts programmer since 2000 Jamie Greco has seen his fair share, yet he has lost none of his enthusiasm for the format: ‘It always amazes me to see fresh angles and original concepts. You think you’ve seen it all before over the years, but there’s always something new that comes up. It’s great to find a film that’s totally unexpected, and that’s the whole Raindance ethic, to find invigorating, refreshing stories.’

Short film as a legitimate form has greatly developed in the last few years. For Greco it’s down to two reasons in particular: ‘Filmmakers now have got it down to a fine art. Instead of simply making a short film to promote their career, some use it as a format, like a writer might use the short story. And then there’s the likes of Future Shorts; Fabien (Riggall, founder of FS) has done an amazing thing with shorts, he’s really promoted the whole format in itself. Before, short films were just throwaway items, but now people will go out of their way to see a programme of short films.’

There are eight programmes of shorts on at Raindance, representing an amazing diversity of genres, subjects and styles: The Girls, a stunning slice of British Gothic about two cruel little girls; Cherries, a topical film set in an all-boy comprehensive which brilliantly subverts expectations; Quincy and Althea, in which an old couple discuss divorce while walking around a New Orleans devastated by Katrina. ‘Tales of the Unexpected’, the section devoted to the more surreal shorts, includes films such as High Maintenance, about a lady so unhappy with her unresponsive husband that she switches him off and exchanges him for another, and Forna, which, says Greco, is about ‘cocks growing in the garden… you know, genitalia.’ There is also a section devoted to animation, an area that has grown so much in the last couple of years that Raindance have now introduced a special animation award.

The film that surprised Greco most this year was The Demonology of Desire: ‘It’s about a teenage girl who’s praying for God to find her a boyfriend. At the beginning you think it’s going to be a nice teenage love story, but then it turns into a drama of manipulation and twisted desire. The leading actress is straight out of a David Lynch film. It’s bizarre, shocking and brilliantly done.’

Aside from the many unknown and first-time directors there are also some famous names in the programme: Dog Altogether stars Peter Mullan and was written and directed by Paddy Considine while Club Soda features James Gandolfini and Joe Mantegna. But the fact that big names were associated with the films had no influence on their selection. Says Greco: ‘It makes you take notice a little bit more, but it certainly doesn’t make you say, this is in, this is out. I rejected films with famous people in them; if they’re not good enough, they’re not in.’

Greco has worked hard to make the programme ‘as tight as possible’. The excitement he feels about this year’s films is contagious and on the evidence of the ones we saw, entirely justified. It is this kind of vibrant enthusiasm that makes Raindance such a unique festival.

Virginie Sélavy