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REVIEWS


chris fawcett, steadivision, the seamless storytelling continuum

LET EACH ONE GO WHERE HE MAY

Grand Prize Winner of the 2010 Pamplona Punto de Vista Film Festival

International Federation of Film Critics (FIPRESCI) Award for Best Film of the 2010 International Film Festival Rotterdam

Best International Feature Film of the 2010 DOCLISBOA International Film Festival

Torino International Film Festival 2010 Cult Award—True Stories in Cinema

Grand Prix du Long Métrage Documentaire 2010, Festival International du Film de Belfort

Prix RED (Réseau d'Echange et d'Expérimentation) 2010, Festival International du Film de Belfort

 

Let Each One Go Where He May is made up of thirteen takes of ten minutes each. Two brothers (Benjen and Monie Pansa) are followed with a 16mm Steadicam, an athletic and aesthetic top achievement by cameraman Chris Fawcett. From the outer suburbs of Paramaribo, along forest paths and marketplaces, past illegal goldmines to the jungle, and on a motorboat along the river to a Maroon village, where they take part in the most exciting rituals still performed by these descendants of slaves who once fled the Dutch colonial rulers. The result is a reflection on the history of forced migration and a profound investigation into the cultural characteristics of looking and showing.

Film Festival Rotterdam

 

Throughout Let Each One Go Where He May, Russell and his performers (including the camera itself) continually mine these paradoxes, between unobtrusive observation and clear choreography, between freedom and determination. Fawcett’s work is some of the most graceful, athletic operation since Tilman Büttner’s in Russian Ark [2002].

Cinema Scope

 

One can immediately point to Ernst Karel's sound design (Sweetgrass) and Chris Fawcett's 16mm Steadicam cinematography (Let Each One) as virtuoso performances opening the films to beauty and doubt, an unlikely ethnographic tandem.

San Francisco Bay Guardian

 

The boys are on a pilgrimage from the north of Suriname to the jungles of the country. In the various stories we watch them travel on foot (a lot), by bus and by boat. They walk through jungle, through a city and by a remote mine. Their ultimate destination is a small village where they are to participate in a ritual event.

If there is a hero here it is Chris Fawcett the cameraman. To achieve what he did with a Steadicam is pretty bloody amazing. Would have had to have been an almost athletic feat if you ask me.

Heartbents

 


 

DIVA


Official Selection in over 60 Film Festivals
Winner Best Short, Accolade Film Awards 2007
Winner Best Short, Indie Gathering 2008

Diva is one of those very rare beasts, a short film that is both engaging and satisfying. Of course in common with the very best shorts films it is also frustrating as hell as it leaves you aching for a feature length version to find out the whole story. What Diva skillfully and effortlessly includes in its just over 6 minutes running time is: a simple story which immediately draws you in; a roller coaster of genuine and (for a refreshing change) genuinely believable emotions; a superb portrayal of the lead character Vincent; and some hugely impressive cinematography (Chris Fawcett).

Added into the mix is a very effective soundtrack, some beautiful steadicam shots of metropolitan Paris, and one of the best chase sequences since the shoplifting chase scene through the streets of Edinburgh in Trainspotting.

I have to say that short films are often self-conciously aimed at 'the industry' and, therefore, do not stand alone as a piece of entertainment. Diva, however, avoids that pitfall and that is testament to the considerable skills (and considerable potential) of both director / writer Josephine Mackerras and cinematographer Chris Fawcett.

Here is hoping that we get to see much more of their work in the future, and at the very least, an extended short of Diva.

alt-flix

 

 

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