Running from 1 to 12 July, this year’s edition of the East End Film Festival presents an eclectic mix of new films from global and local independent filmmakers as well as industry masterclasses, free pop-up cinema screenings and music-focused events. With a special focus on showcasing home-grown talent , it’s also a great place for late and new discoveries of all kinds and one of the most exciting events this year is the screening of Hélène Cattet and Bruno Forzani’s neo-giallo The Strange Colour of Your Body’s Tears, now presented with a brand new original score by Edinburgh-based musician Ben Power (Blanck Mass, Fuck Buttons). The result is a fascinating score that enthralls, seduces and terrifies in equal measure and that is also available on double vinyl, released by Death Waltz Originals, presented in a 425gsm reverse board gatefold sleeve pressed on an exclusive screening event colour ltd to 500 units.
We are also delighted to be taking part again in a special day of screenings in the opulent and ornate surroundings of the Masonic Lodge Temple on Saturday 4 July, the perfect venue for a krimi classic such as The Dead Eyes of London, which screens at 1pm, followed by a special talk on krimi cinema hosted by Electric Sheep’s Alex Fitch, who will be joined by author and critic Kim Newman, and author Jim Harper. The afternoon screenings are then followed by a masquerade ball, in homage to George Franju’s 1963 production of Judex.
Among other highlights we are looking forward to an afternoon of radical film from contemporary Greece at the Whitechapel Galley, Marielle Heller’s celebrated Sundance hit Diary of a Teenage Girl and a special gala screening of Volker Schaner’s enlightening docu-portrait Lee ‘Scratch’ Perry’s Vision of Paradise, with the reggae and dub legend himself in attendance.
For more information about the programme and how to book tickets please visit the EEFF website.
Starting on Sunday 29 June, the brilliant Duke Mitchell Film Club prsent their first DukeFest Zero festival, four nights of fun, intriguing and odd cinematic gems, including special guests, an anniversary screening, a music night, a mystery trailer reel and a live translation by someone who doesn’t speak the film’s language.
The festival kicks off with the European premiere of My Name is Jonah, a documentary on self-described ‘real-life warrior, adventurer and musician’ and cult internet icon Jonah. Monday 1 July is ‘Mix-It-Up Night’, including a screening of Stockholm Nights with live audio translation by Duke host and Electric Sheep contributor Evrim Ersoy (who doesn’t speak Swedish), the Japanese edition of The Great VHS Experiment, and Night of the Trailers. The following night is a music night including Death Waltz’s Musical Horror Trip and Music Video Found Footage. The festival closes on Wednesday 3 July with a 30th anniversary screening of Ulli Lommel’s SF musical comedy Strangers in Paradise, about a hypnotist who cryogenically escapes from the Nazis only to be defrost by fascist Americans in the 80s.
For Halloween, soundtrack label Death Waltz Recording Company and Paint It Black are presenting a very special event: legendary Italian composer Fabio Frizzi will perform a selection from his scores, including Seven Notes In Black, Zombi 2/Zombie Flesh Eaters, City of the Living Dead, The Beyond, Manhattan Baby, live at the magical, atmospheric Union Chapel. In his first ever UK show Frizzi will be presenting his works in newly commissioned suites, accompanied by his seven-piece band and with an additional string section, the F2F Orchestra.
Together with Ennio Morricone, Bruno Nicolai and Riz Ortolani to name but a few, Frizzi was one of the maestros who developed the art of soundtrack in Italy in the 1960s-80s, mixing rock, jazz, classical music, lounge, funk, psychedelia and electronica. He is best known for his work on some of godfather of gore Lucio Fulci’s most memorable films such as Seven Notes In Black, The Beyond, Zombi 2/Zombie Flesh Eaters, City of the Living Dead and Manhattan Baby. Frizzi’s ominous, dark synth scores add a whole new dimension to Fulci’s disturbing visuals and their seminal import has been re-apparaised in recent years, as musicians such as Umberto and Boards of Canada have acknowledged his influence – not to mention that the ubiquitous Quentin Tarantino used the theme music from Seven Notes in Black in Kill Bill Vol 1.