Censor Movie – Video film censors think Welsh writer-director Prana Bailey-Bond’s work is too overzealous in her edgy first feature.
Welsh writer-director Pran Bailey-Bond’s thrilling and dizzying debut will evoke nostalgia in anyone old enough to remember the infamous “Video Nasty” horrors of the early 1980s. But beneath the retro surface lies a more universal story about the power of fear to confront our deepest fears. With a keen eye for period detail (horror expert Kim Newman is credited as an executive producer) and a fresh, irreverent take on nerdy fanboy “facts,” Censor weaves a serpentine tale of trauma, oppression, and liberation. The delicious, tactile medium of bootleg videotapes and pre-internet media panic.
Is Enid, a film censor who spends her days watching, editing and cataloging scenes of British violence in the mid-1980s. These are anxious times when the media and the public want to find a scapegoat for the country’s many ills. But despite being shocked by much of what she sees on the tape, Enid is also strangely drawn to the more unusual.
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As a horror title, especially the work of cult director Frederick North (Adrian Schiller), his unabashedly terrifying films seem to provide answers to long-buried questions. Fiction and reality merge as Enid’s haunting charm grows.
, a young boy searching for his father finds his family connection through a horror video portal. Although talking about
Very different and both involve characters longing for lost loved ones and literally being drawn into a world of unpleasantness. Bailey-Bond, a witty inversion of the cliché about the damaging effects of fear, evokes and more importantly embodies the specter of modern folk demons. Its protagonist finds solace in Eye of the Storm in a way that touches the hearts of horror fans. everywhere.
A depiction of fetishistic rituals in a cinematic classification where Enid is trapped in corridors and cubicles like the maze of her profession, surrounded by muffled sounds of torture and sin. Kudos to production designer Pauline Rzeszowska for creating the peculiarly seedy atmosphere of the censors’ offices. and Tim Harrison, a sound designer who used animation in 1978.
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– A shocking mixture of sadness and horror – Spatial inspiration. In contrast, the progression from gloomy reality to more bizarre fantasies
Kudos to Algaro for bringing such empathetic life to a character built on a cesspool of oppression and denial. From the early nervous scenes where her face struggles with disgust and fascination, to the later descent into full-blooded fantasy battle mode, Algar gauges the emotional temperature of each stage of Enid’s journey with great precision. Meanwhile, Michael Smiley plays Nordic swagger producer Doug Smart in a symphony of drawn-out vowels and haughty menace. And Guillaume Delaunay is terrifyingly formidable as the semi-mythical Beastman (a character inspired by Michael Berryman’s iconic presence in Wes Craven’s films).
), which embodies the dichotomy of fear and empathy that is at the heart of many horror novels.
) evokes the sloppy atmosphere of the era in conjunction with Annika Summerson’s tactile 35mm cinematography and strong use of Blanck Massa’s spiral composition Chernobyl.
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All of this, along with Jennifer Kent, Julia Ducuno, Nathalie Erica James, Rose Glass and others, is the future of high technology. Horror is brave, honest and feminine. “A revenge catharsis for male inadequacy” is how the central figure of the censor describes the video hate phenomenon in 1980s Great Britain. This phrase sounds very modern, but it fits the character of Enid Baines (Niamh Algar) very well. In 1985, she is working for the British Board of Film Classification, but being exposed to a constant stream of horror films has made her a little upset and may have triggered memories related to her sister’s disappearance. Can Enid figure out what’s real and what’s a celluloid nightmare?
So while Censor is a horror film, it’s a film that draws a lot of attention from behind the curtain that looks at our moral guardians. When Enid Baines feels the guilt and pain of her sister’s misfortune and finds a match in the dark film of fictional filmmaker Frederick North, he becomes a Nancy Drew-esque detective trying to track down her next job. But Enid is alone, without staff or parental support, and ends up crossing the wire when she plays a part for North. Writer-director Prano Bailey-Bond wants to mix things up as Enid’s obsession connects her everyday reality to the bloody massacre she soberly watches. The later stages are something of a blurb, but only then does the film begin to aggressively stop on the side of confronting the darker side of the male gaze.
Context is everything here. I wasn’t 18 when the moral censorship riots dominated the news in the 1980s, but I observed what we now call the Streisand Effect. More than 50 films deemed unsuitable by the BBFC have become compulsory for every teenager and we come home from school to see weird films like The Burning and Cannibal Ferox. The good ones like Tenebre or Possession were tracked longer. Did watching this movie destroy my moral compass and make me a hopeless deviant? Regular readers will have their opinions, but watching these movies I definitely felt the fear of poor production, misogyny, crappy scripts, and terrible acting. These films were something of a rite of passage, but as anything other than a cultural phenomenon born of the absurdity of nanny-state thinking, they are more to be laughed at than taken seriously or feared.
These kinds of themes have been tackled in movies like Sinister or in books like Theodore Roszak’s memorable Flicker, and this time the background is well captured. Enid’s job is in jeopardy because one of the films she completed was referenced by “The Amnesia Killer” as the catalyst for the actual murder, and the film explores Enid’s own specific lack of memory. If the Censor starts messing around halfway through, it’s because we have two films here. One is a humorous de-censorship, the other is serious horror, and both sides never create a coherent tone. But with horror guru Kim Newman among the executive producers, Censor is sure to be of interest to horror fans, even if the jump scare never lands without a key horror element.
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Cast: Adrian Schiller, Andrew Harville, Claire Holman, Danny Lee Winter, Erin Schanager, Felicity Montagu, Max Bennett, Michael Smiley, Niam Algar, Nicholas Burns, Nick Bramble, Sophia LaPorta, Vincent Franklin
Synopsis: Film censor Enid prides herself on her meticulous work, protecting unsuspecting audiences from the harmful effects of watching the bloody decapitations and blindfolds she has accumulated. Her sense of duty to protect is compounded by guilt over not being able to remember the details of her long-lost sister. A stuffed severed head and an eye through which he pierces his breathing hole. Her sense of duty to protect is compounded by her guilt over not remembering the details of her sister’s long-ago disappearance, who was recently pronounced dead in absentia. When Enid is assigned to review a disturbing film from the archives that brings back hazy childhood memories, Enid begins to uncover how this terrifying assignment is connected to her past. [Sundance]… develop
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Welsh writer-director Pran Bailey-Bond’s suspenseful and dizzying debut is a nostalgic treat for anyone old enough to remember the infamous “Video Nastis” horrors of the early 1980s. But beneath the retro surface lies a more universal story about the power of fear to confront our deepest fears. Read the full review
Welsh director Pran Bailey-Bond’s feature debut Censorship is one of those horror films that sticks in your mind long after the credits roll. Because it doesn’t follow the typical horror movie formula. Read the full review
Censor is Bailey-Bond’s impressive, visually stunning and deeply disturbing debut, and showcases Algaro, who delivers a truly spectacular performance. Read the full review
This film shows signs that the filmmaker has mastered the most disturbing strengths of vintage horror.
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