NCN Filmmaker Showcase at Rough Trade

Photo: Rob Hitchen

First-year media students at New College Nottingham were given the opportunity to screen their films to a live audience at Rough Trade last week. Joined by course leader Rob Hitchen and Film Production lecturer Sarah Gilkinson, they each presented two pieces of work, the first a stills film, the second a neo-noir chosen from three titles: The Killing, A Touch of Evil or The Stranger.

It is the first year that in-house collaborations had been an integral part of the process. “Early this year we got NCN Actors to meet with our film students. They pitched their film ideas to the actors at Rough Trade, where they held a mass casting, which was a bit like speed dating,” explained Gilkinson.

The showcase began with Zayn Naushahi’s impressive A Touch of Evil. Described as a “non-linear, Mystery-Crime Drama about a detective whose life is turned upside down,” it featured some nice cinematography, combining the use of black and white and colour footage to represent different periods of time, as well as a tight score that helped build the tension. This was followed by Patrick Timms’ The Killing, another neo-noir about an ex-hitman that had been out of the game for a few years. It featured some interesting camerawork, as well as making nice use of the natural light. 

The first stills film of the showcase came with Santwi Samuel’s Mother Love. Using just still photos and narration, it told the story of Jeff, a 17-year-old promising football scholar, whose father has passed away and mother is in financial trouble. After discovering her son has serious health problem, Jeff’s mother is faced with the possibility of making the ultimate sacrifice in order to save his life. The second stills film of the event, Oli Braybrook’s An Imperfect Reflection, was a technically accomplished study of hopelessness in the modern world, focusing on the loneliness of a man who has always desired to find love.

Matthew Wright’s The Stranger, a neo-noir with its influences as much in the work of Nicholas Winding-Refn, followed Detective Corrigan in the pursuit of a criminal figure with links to his past. Tom Auzins’ wonderful stills films The Basement followed this, which was one of the highlights of the showcase. Skillfully edited, it instilled a kinetic rhythm between the score and stills photos, creating a beautiful short that was as fascinating as it was intriguing.

After Dwayne Gunter’s The Stranger, which had a nice selection of different music (although some overriding technical sound problems), was Jack Martin’s A Boy by a Bridge, a stills film that explored the premature loss of innocence that stemmed from the difficult upbringing of its young protagonist. The next neo-noir, James Fox’s Touch of Evil, focused on Bennet, a man on the brink after losing his wife in mysterious circumstances. The use of a ticking clock, some great lighting and well-executed combinations of both colour and black and white footage combined to tell a well-crafted story.

Oli Braybrook’s second film of the showcase, The Killing, incorporated the classic conventions of noir film. Its American accented narration and atmospheric cinematography combined beautifully to show a filmmaker that understood and embraced what made the genre work.

Director Jim Little assimilated aspects of science fiction into his short, The Stranger. Its post-apocalyptic setting presented a world where the protagonist fought against an unnamed, unseen cannibalistic enemy. Its use of visual effects and use of all natural light made it one of the most ambitious shorts of the showcase.

Jasmine Jazz Band by Joe Gretton, told the story of a young jazz musician who takes a huge risk for a girl he loves. The neo-noir featured a strong lead performance from actor Josh Barrett.  Jack Martin’s The Killing featured some solid performances and beautiful cinematography, as well as a nice use of Johnny B. Goode in its score.

Another of the most impressive shorts of the event came with Luke Perry’s The Killing, which brilliantly established an authentic representation of the fifties with no budget. Embracing the classic noir traditions, from its cynical attitudes, sullen aesthetics, old-school New York accents and slow jazz score, it presented the life of two World War II veterans beginning their own Private Investigation firm with admirable acuity and visual style.

The Case of Cheryl Smith from Zain Naushahi utilised the Rashômon style of narrative, using the framework of a police investigation to tell the story of an alleged sexual assault from opposing testimonies. Its non-linear story, and use of opposing perspectives, work wonderfully in presenting a skillfully assembled stills film.

As the penultimate film of the showcase, Thomas Chapman’s The Killing suffered with some technical issues with sound, but was nonetheless a highly ambitious short with some well-choreographed fight sequences. The event was closed by Dwayne Gunter’s Downer Ending, a creative, reflective stills film that utilised aspects of animation with skill and subtlety.

“These are the first films that these young filmmakers have ever made,” said production lecturer Sarah Gilkinson. “They’re learning the importance of collaboration within the film industry, as they share their skills and volunteer on one another’s projects. Graphic designers are creating film posters, photography students are shooting behind the scenes stills, actors and dancers are being cast in films, and joiners are helping to build sets and props. It’s all helping massively in lifting the overall production design of the films being created and, more importantly, people are gaining work experience, networking and being give the chance to build their show reels and portfolios.”

The NCN Showcase took place at Rough Trade on Wednesday 30 March 2016. The next showcase from NCN students at Rough Trade will feature films made in the genre of Documentary and Drama.