Lynne Ramsay

And it's a landmark film of British cinema of the first decade of the new millennium.

It's Lynne Ramsey's Morven Caller.

And it's screening in Melbourne and Sydney for the launch of a new book that's been written by the critic Anwen Crawford.

And that book is released by the Melbourne and New York-based Fireflies Press as part of a series of monographs that they've been publishing on films of the first decade of the new millennium.

For 30 plus years, this footage, which was shot actually by Seamus McGarvey, the Irish cinematographer who went on to be such a star cinematographer.

He works with Lynne Ramsey a lot.

He works with Joe Wright a lot of the time.

This footage, Seamus McGarvey had been, I think, a camera assistant or something on some of Jarman's early films.

uh first of all thank you for saying it's it's one of your favorites of the year i really appreciate that um it was it was great i'd never been to l.a uh so it's my first time in town and to premiere out there in front of an audience uh was really special and uh and the team did a great job it was a great great programming um i met a lot of other british filmmakers as well and obviously american filmmakers and i think to kind of get those initial reactions of of the story and how it impacted people was really special.

One person in particular got a reference to a Lynne Ramsey short film from the 90s that's in there that you'd have to see to know.

But the fact that someone has that knowledge and could see that and brought it up was quite special.

So I think I had the right audience.

[laughs] I mean, yeah.

It sounds like a Lynn Ramsey film when you pitch it like that-

Yeah

... as well, doesn't it? It's like...

And if people haven't seen that, they must.

It's Lynne Ramsay's se- is it second film, I think? S- was it Ratcatcher?

Se- yeah, second or third.

Second or third.

Filmmakers have talked about how Filmmaking, it's a little different because you do have like some of these filmmakers that are getting on in years that are still putting out like really high quality work, whether you're, you know, Catherine Bigelow is still putting out great work.

Like Lynn Ramsey, who seems like she'd be a lot of fun at parties, is still putting out absolutely like thrilling work.

Scorsese, you know, Killers of the Flower Moon is like maybe a top five of his.

So because maybe it's so collaborative in nature, you can still like get these bangers.

I'm very glad that I saw it because it's one of those movies that thinks about violence on screen.

in the same way that listeners of deep cut will know i love from movies like you were never really here by lynn ramsey and that's in our back catalog shameless plug because perhaps the most interesting stretch of this movie comes when henry and his roommate and eventual accomplice otis get a videotape camera and start filming their awful crimes across chicago and looking at how they look at themselves, how Otis becomes fascinated with the videotape that he recorded of a brutal murder of a family, the arc, which John McNaughton spoke about, of how there are some instances of violence that the audience feels are deserved, and then eventually you're lured into these moments of violence that are really just plain upsetting.

And the ending of the movie, which I won't give away as a sort of tying up of it all and what happens or doesn't happen to Henry at the end, it's one that I want to go back and study.

I think that it's such a fascinating movie and really kind of left me upset and disturbed and puzzled and thinking in ways that I really enjoy.

Mm

... filmmakers like Lucrecia Martel, Lynne Ramsay, et cetera, et cetera.

And I was like, okay, what Villeneuve is doing is he's, uh, and his camera is not, uh, sort of, you know, he doesn't have a style as such-

Mm

I was like, "Then what is this landscape thing doing here? Then why are we focused on Alexis Martin all of a sudden when the focus was supposed to be on this woman firstly?"

Yeah.

So to me, the more the film drifts away from her, I thought, uh, it lost me, 'cause I thought the strength of the film was on the, on capturing subjectivity, which then I think you can see films from like Lynne Ramsay and all, who do this-

Yeah