In Chile a piece of legislation is progressing through parliament, the Ley Machuca, the Machuca Law, which will make it mandatory for every school, public and/or private, to make a percentage of places available to girls and boys from the shanty towns and slums.
Why Machuca? At the centre of Andres Wood’s vastly successful Machuca is a friendship between a middle-class boy, Gonzalo, and Pedro Machuca, from a shanty town, who meet in Gonzalo’s Catholic private school following Allende’s policy of sending kids from the slums to private schools. Of course, after Pinochet’s coup, Machuca and kids like him were thrown out.
Machuca is one of Chile’s most successful films. In just over a decade since its release it has become a classic and is on the syllabus of most schools, colleges and universities in Chile. It is even included in the UK’s A-level Spanish syllabus. But the Machuca Law is something different. At a time when Politics and Media have become the same thing, Machuca has escaped beyond the media. It promises to influence the lives of thousands of children and their prospects thereafter.
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On June 13 2013, we posted an introduction to Kurosawa’s STRAY DOG at the National Film & Television School.
At the time the question of the use of clips was not clear and we chose not to risk infringing copyright.
We now include clips under the conditions of ‘Fair Dealing’ in the UK, or ‘Fair Use’ in the US.
So we are here with the first, ‘Revisit’ to Movie Masterclass introductions.
We are pleased to announce that Mamoun has been invited to appear at the first El Gouna Film Festival (CineGouna Springboard) in Egypt, as one of the ‘Mentors’.
The challenge of helping Arab filmmakers develop their projects is a daunting, and exciting, challenge over the duration of the festival which takes place from 22nd – 29th September at the exclusive Red Sea resort region of El Gouna.
CineGouna Springboard is a celebration of the rise of Arab Cinema, with the hope that “the interactions of our platform will not only provide financial reward, business and cooperation, bit also creative feedback and insight, with the goal of advancing the visions and aspirations of the film projects themselves.”
For more information, visit the festival website: http://elgounafilmfestival.com/cinegouna-info
Although it has been a while since the release of the magnificent Criterion box set of ‘The World of Apu Trilogy’, it is worth reflecting on some of the the responses to the ‘extra’ Mamoun contributed to the set.
The Criterion forum Chris Galloway wrote: ‘We next get a piece on the trilogy, featuring the former head of the BFI, Mamoun Hassan. Entitled The Apu Trilogy: A Closer Look, it features Hassan offering a rather thorough examination of the trilogy as a whole, giving detailed analysis of Ray’s framing, how he introduces characters, the flow of editing, and how the visual language of the films can be broken down into “sentences and paragraphs.” He goes through each film, talking about particular scenes and sequences. It’s lengthy at 43-minutes but found it a very strong scholarly supplement that does make up somewhat for the lack of commentaries, an item that I’m surprised is missing from the set.’
Brian Tallerico on RogerEbert.com : “”This is Ray’s first film, and it is amazing.” So says Mamoun Hassan in a fantastic, detailed examination of “The Apu Trilogy” included in the amazing array of special features on the Criterion release. Hassan, the former head of the British Film Institute, breaks down the movies beat by beat, with such attention to detail that you further appreciate the filmmaking in new ways.”
Peggy Earle of HamptonRoads.com cited Mamoun’s extra as the ‘best extra’ in the collection. “Mamoun Hassan, former head of the British Film Institute, gives a fine overview of the trilogy, Ray’s directorial style, and the significance of the three films. He points to Ray’s ability to show emotions with no dialogue, and urges viewers to “give themselves up” to the films. “Ray had ambiguity. And that’s why we participate in his films. He’s given us room to interpret.””
Jake Cole for Slant magazine – “For a deeper dive into the films themselves, a 43-minute analysis from filmmaker Mamoun Hassan is so minutely observed that even actors’ body language and orientation to the camera is fodder for discussion.”
It is always nice to be appreciated, and we must acknowledge the work of Abbey Lustgarten of Criterion, who worked with Mamoun on the extra with amazing focus, crafting it into the final product.
‘All Quiet on the Western Front’ (Dir. Lewis Milestone 1930 – based on the novel of the same name by Erich Maria Remarque) was shown during a season curated by Christopher Nolan to celebrate the release of his new film ‘Dunkirk’, as a film that is a major influence on his work.
Chaired by David Somerset, Kevin Brownlow and Mamoun Hassan discussed the film before a live audience following its screening at the National Film Theatre, BFI Southbank, 6 July 2017.
Kevin Brownlow is the acknowledged authority on the films and history of silent cinema. His first book, ‘The Parade’s Gone by…’ (1963), was transformative in our understanding and appreciation of that era. Satyajit Ray called it ‘one of the most important film books of our time’. Brownlow is the author of many outstanding books and documentaries, and, with Andrew Mollo, he wrote and directed two of Britain’s most controversial political films: ‘It Happened Here’ and ‘Winstanley’. In 2010 Brownlow was awarded an honorary Oscar – ‘For the wisdom and devoted chronicling of the cinema parade’.
Mamoun Hassan is a producer, director, screenwriter, film executive, teacher and deviser of C4’s innovative ‘Movie Masterclass’ series. Most recently he was co-writer on Andres Wood’s ‘Machuca’, Chile’s most successful film, and screenwriter on Andres Wood’s ‘La Buena Vida’, a winner of the coveted Goya Award.
This event took place through the determination, commitment and passion of David Somerset at the BFI.
The recording of the event was marred by the failure of the close up camera.
In May 1973, just after the release of Lindsay Anderson’s O Lucky Man, London University Audio Visual (LUAV) filmed a conversation/interview with Lindsay Anderson and me. O Lucky Man was the focus of the interview, which was part of an LUAV planned series of interviews with leading figures of the time. The results would be kept in a kind of time capsule and would not be released until fifty or a hundred years later. The project was abandoned early on.