40 Acres

 This low fi Canadian thriller is an unlikely vehicle for Oscar nomine Danielle Deadwyler, who also produces, but here we are. Deadwyler's Hailey Freeman is the matriarch of a family fighting for survival in post-apocalyptic rural Canada where her farm is besieged by aggressive cannibals (yes) who want the family's crops and, uh, spices, and are quite happy to kill for them. 

The cannibal angle really never comes into focus, but for most of the film, the Freemans, a blended family of Hailey, her indigenous husband and four kids, live a martial existence of surveillance, supply runs and a lot of shooting. She also maintains radio contact with a woman called Augusta, who turns out to have a family connection. Eldest son Manny calls Hailey Ma'am and follows orders, until he doesn't.... 

The action sequences are fine, there is definite feel of threat and jeopardy but the family dynamics are poorly sketched. Deadwyler, a fine actress, spends most of the film gritting her teeth and clenching her weapons. One never feels engaged with the characters, to the point where I realised I was not even sure of most of their names. This is partly due to a sound mix that renders most dialogue a vague mumble. 

The themes of family, trust and letting go are clear enough but it is astounding that this is the type of fare being offered to Deadwyler.  

Trailer

 40 Acres will be in UK Cinemas from 1st August and Digital Download from 4th August 

Cedric Morris: Artist, Plantsman & Traveller

 This exhibit with the unwieldy title at the Granary Gallery in Berwick Upon Tweed caught my attention on a recent visit up north. I was not familiar with Morris's work and wondered if he were a relation to Walthamstow's own William Morris. Not the case, but Cedric Morris was a vibrant character whose life spanned most of the 20th century and a bit of the 19th. Living for many decades in Suffolk with his partner, fellow artist Arthur Lett Haines, he painted, ran a painting and drawing school and amassed an outstanding collection of plants. So, quite intriguing to me on many levels. 

The exhibit, which shows an array of both Morris's and Lett Haines' work, is fairly small, with paintings in low light facing each other, alongside some extended captions. I found Morris' self portrait, in three quarters view, to be quite arresting. There is a hint of melancholia in the shadowing of the eye closer to the viewer. A range of trees frames his head like a nebula or a tiara. Much of the rest of his work is landscapes, but the other one that caught my eye was La Rotonde, which owes a debt to the post-Impressionists in its subject and style, a cafe in Paris. 

What struck me was how many different styles the artists worked in. Lett Haines shows clear European influence with his paintings of train stations and abstract work. But their styles changed a great deal over time. 

Curiosity piqued, I picked up a bio of Morris which explains how the two met, their backgrounds and partnership. There is a lot of name-dropping of other painters, such as Freud and Hambling, as well. I also learned that Morris stopped doing portraits, in part because the sitters hated the finished works so much! 

Although he loved gardening and collecting plants, Morris did not like to be described as a plantsman. He reserved that term for others. But he and Lett Haines spent 60 years together, their interests at least complimentary if not matching. Two extraordinary lives. 

After years of neglect, the garden of their home, Benton End, is being restored with a view to reopening in 2026. Here is a tour of it. 

 Cedric Morris: Artist, Plantsman & Traveller continues at the Granary Gallery, Berwick Upon Tweed, through 12 October 2025. 

 

94114 to E17

 It's rare I get to go out in my locality, tucked as it is on the end of the Victoria line. The number of times I have had people ask, "Where's that?" 

The Times designation as the best place to live in London notwithstanding, Walthamstow is still an under-appreciated neighbourhood.  

So, last night was a rarity, a visit to the new Soho Theatre in Walthamstow. Formerly the EMD cinema and a hotly debated planning morass, the theatre has finally opened, offering live performance to Stowies and non-Stowies alike. On stage was Justin Vivian Bond performing Sex With Strangers, a tribute to the music of the late Marianne Faithfull. 

I confess I never got to see Ms Faithfull live, though I have seen DVDs of her live performance, and I found the ups and downs of her life fascinating. Joining Mx Bond onstage was a five-piece band, bringing the torch and roll of MF to life. 

The last time I saw JVB was way back in 2002 when the headliner of Ladyfest London had cancelled, necessitating a last minute replacement and Kiki and Herb graciously stepped in, doing fabulous covers of female rockers such as Peaches and Alanis. It was brilliant. 

But I go a bit further back with the performer as both of us lived in SF back in the early 90s and I well remember JVB holding court at A Different Light Books in the Castro, offering candid opinions on the written fare on offer. 

How odd it was to sit 10 feet away in the gloriously Baroque grotto of the SHW while Bond worked the stage and told rambling anecdotes about friends, family and Faithfull in amongst the Faithfull song book. I actually felt some of the songs did not suit Bond's voice. Broken English is one of my favourite songs but I didn't feel they did its bassy griminess justice. 

On the other hand, I loved what Bond did with "Why'd Ya Do It", coming toward the end of the 2-hour set. I think the whole band needed to warm up, as did the chanteuse. One person said at the intermission, "I don't know most of the songs, but I'm having the best time." 

The surroundings helped, as well, with many attendees craning their necks to look up at the vaulted ceiling. I recognised a few faces I usually see at Flare, but not in my neck of the woods. Everyone is welcome in E17. I hope they come back and see us some time. 

For Bond's part, they said there are plans to do a show at St Anne's church in September and they hope to use a Roger Waters song. Interesting bedfellows! Marianne would probably have a deep throaty filthy voiced chuckle. 

 Here is Marianne Faithfull's collaboration with Derek Jarman. 

Sex With Strangers continues at Soho Theatre Walthamstow on 12 July.  

Unearthed: the power of gardening

 Not 100% sure how to render the punctuation in this exhibit at the British Library but since today is the start of a two-day conference on gardens and empires, it seems timely to recount my visit to Unearthed. 

I was quite keen to see what might be included, as I have been staying away from indoor spaces since 2020, I have been starved of visual stimulation and gardening has become quite the focus for my attention since then. I attended a relaxed viewing and was indeed the first to arrive for my slot, so had the space to myself for quite some time. 

Alas, relaxed meant no open sounds, so I was unable to fully appreciate some of the installation work on show. I actually prefer sounds to pictures, so that was a shame. But there were some videos that had both captions and headphone-type devices to use so there is some good choice. 

 The selection of items puzzled me. It was so farflung, everything from Gertrude Jekyll's boots to pamphlets and some historical explanations. Presentation included the usual glass cases, plus a confusing spinning globe, some attempts at sheds and a digital screen allowing one to design one's own garden. Alas for me, you can only take away the result with a smartphone that reads QR codes. Oh, well. 

The most interesting bits to me were the mentions of guerrilla groups and squat communities connected to gardening--gardening activism, if you will. That seems to best illustrate the notion of claiming power, as opposed to being the recipient of it.

I felt coming away from the exhibit curiously underwhelmed, as if having so many gardening topics actually lessened the impact of the whole. 

What I thought might be fascinating would be to explore more fully topics like gardening and community or gardening and empire, hence my interest in the above conference, which I have only just found and so will not be attending. 

 But I am intrigued to look more into some of the groups I discovered by visiting, such as  Coco Collective, as well as learning more about land enclosures and The Diggers. 

 Unearthed: the power of gardening is at the British Library in London until 10 August. 

Various local libraries have related exhibits, such as this one at Warwickshire Library.  

The Venus Effect

 This Danish film directed and co-written by Anna Emma Haudal is billed as a lesbian rom com. Well. Not so sure about that.... 

 Taciturn Liv works at her parents garden centre and has a meet cute with hippy wild child Andrea when the latter's car breaks down and she bursts in wearing a pussy costume. 

 The first 15-20 minutes are quite intriguing as the writers weave in notions of growth and natural elements: trees, bees, plants making music. I was quite hopeful. 

 But once the two women strike up a relationship, the film falls flat. There is no sense of why these two disparate characters would get together, much less Liv cheat on her boyfriend. There are several set pieces in which characters sit down to uncomfortable meals that could be hilarious farce. But not here. It's just lots of awkwardness. It put me in mind of some of Joanna Hogg's work, with her tense silences and people putting on brave faces and being polite. I have never warmed to Hogg's work, and this felt equally stilted. Plus the two leads have no chemistry. 

The last 20 minutes pick up considerably, as we finally get a satisfying conflagration (over Christmas dinner), and Liv finally expresses some deeply held emotions after 80 minutes of being frustratingly passive. Over goes the tree. No cha cha heels, though. So, not so much rom com as low key drama.  

One thing I noticed was that the references to plant life also disappeared in the middle part and the director throws in very oddly paced cut aways to trees. A shame she didn't develop that strand as relationship and plant growth are a good match. 

Trailer

THE VENUS EFFECT is available on streaming services from 2 June.
 

The Ugly Stepsister

 Strap in for some Scandi horror, as writer-director Emilie Blichfeldt delivers a wickedly black humoured retelling of the Cinderella story, here presented as a 19th century marriage mart. 

While not as gory as I had anticipated, the film does regularly serve up truly gruesome imagery. I was expecting a rivalry between stepsisters Agnes and Elvira, but actually it becomes more of a war between Elvira and the social expectations of her to contort herself to find a husband. Her sights are firmly set on drippy poetry-writing Prince Julian and to this end she is willing to allow various body parts to be broken, reshaped and in a fingers-over-the-eyes climax, to be lopped off. 

But before all that, Elvira goes through dance and deportment lessons and in the course of this swallows a tapeworm to lose weight, as you do. As soon as this happened, I thought: this tapeworm will be making a reappearance. And, OMG, it really, really does. 

The voice of reason in all this is Elvira's little sister Alma who watches, learns and offers the sensible comment that Elvira is not right in the head. I rather expected to see more of Alma and was intrigued by her turning up in Elvira's room late in the day wearing boys' clothes. This was never explained, so maybe something was edited out. 

The power shift between Agnes and Elvira is quite interesting and the viewer may well find sympathies shifting. To my disappointment, there is very little sisterhood on show. And the mother of the two girls. My god. She really is a piece of work.

 While it was quite well done, I would have liked to see someone in this deadly game realise they are all being played and bail out. 

The Ugly Stepsister trailer

 The Ugly Stepsister is available for digital download in UK from 9 May. 

Queer East: Incidental Journey

 For my final post from Queer East, I am looking at Incidental Journey, a 2001 film from Taiwan (dir Jo-Fei Chen) and shot on 16mm. I honestly thought this was a much older film as I watched as it's quite slow and dreamy and nobody uses modern tech. 

It's quite short for a feature, running at 61 minutes, and there are long stretches without dialogue as heartbroken Ching picks up hitchhiker Hsiang in a remote location and the two then get stranded. They end up spending most of the film at the truly gorgeous home of Hsiang's friends Ji and Fu who grow their own food and live near a river. Ching and Hsiang spend a lot of their time smoking and not speaking to each other, which is how we know they must feel an attraction. Honestly, I started to get annoyed at their lack of speech. But they grow on each other over time and on us, the audience. 

Ji is the interesting character as it is clear she shares some history with Hsiang. She proves a catalyst in moving the action along a bit. 

Can't say I loved the ending, as it baffled me, but that seems almost a given for the films I have watched for this festival.

Incidental Journey trailer

Queer East continues through 18 May.