Marmalade Film & Media’s Founder and Managing Director Claire Eades was recently interviewed by Rachel Bull – Editor of Brand Republic for Libertine Magazine, on Marmalade and some of our harder-hitting campaigns.
You can view the article here: Libertine Magazine – Films for Social Change
A digital film by Marmalade Film & Media to raise awareness of Female Genital Mutilation (FGM), has launched this week and fronts a global push from charity Plan UK to end the practise ‘within a generation.’
The #FGMrose viral short is also part of the world’s biggest girls’ rights campaign – Because I am a Girl – which has so far reached 58m women. This week David Cameron also pledged that the issue is on the UK political agenda to “end violence and discrimination against women,” including action on FGM.
The creative, developed by Marmalade Film & Media aims to raise awareness around FGM and drive traffic to the global campaign site.
“As a female-led company we believe strongly in women’s rights and equality on a global scale. The film is designed to galvanise people into action and provoke a strong emotional reaction with its symbolism. We were keen to achieve delicate balance, and didn’t want to disengage viewers with shock,” says Marmalade Film & Media Managing Director Claire Eades.
“This video is an imaginative and thought-provoking way to convey what is a highly sensitive issue,” says Plan UK CEO, Tanya Barron.
“FGM is a human rights violation facing millions of girls and young women across the world. We believe it’s a global problem that requires a co-ordinated global solution. “Because the beliefs and traditions that are used to justify FGM cross borders, we won’t end FGM in the UK without ending it abroad.”
“As a survivor, I feel the video is a moving and respectful way of showing the issue,” says campaigner Jay Kamara Frederick.
For more information on the Because I am a Girl campaign visit:
Under the Skin (2013) – dir: Jonathan Glazer
Jonathan Glazer’s Under the Skin isn’t going to be everyone’s cup of tea. Those expecting something similar to his vibrantly surreal cult hit Sexy Beast (2000) might be in for a bit of a shock. Under the Skin is bleak, harrowingly bleak. The film follows Scarlett Johannson’s character, an unnamed alien who spends much of her time trawling Glasgow in a white van in order to prey on unsuspecting men.
This is real virtuoso filmmaking and much of it is incredibly daring. The extensive sequences showing Johannson driving about were filmed with miniature hidden cameras and depict the actresses true to life improvisations – in all their eerie coldness. Much of the film aims to try and show the world we know through the eyes of something without our frames of reference – an alien – and it does so with startling visual mastery. In seeing the world through her eyes we see a heartbreaking coldness to it, and an unnerving sense of otherness. The familiar streets of Glasgow become a lonely alien environment.
The film hinges on Johannson’s performance, which is superb. Her brutally cold and unfeeling actions are chillingly executed (watch out for the beach scene, which will leave you very cold indeed). Much of the film really depends on her objectification as a woman (which interestingly runs parallel to her views about her career), and in her Glazer has found someone who he can really fetishise in front of camera, dwelling long on her eyes and face, and using her as visual bait for both her unfortunate victims and cinema-goers.
Essentially, with its scenes and shots of both startling coldness and beauty, we have a truly important, if somewhat inaccessible film. The transformation that begins to ‘afflict’ the alien serves fantastically to highlight the film’s themes of beauty, ugliness and kindness, which are at the very root of our human existences.
Written by Ferdie Simon
Congratulations to Spike Jonze for his clever and innovative screenplay about a man who falls in love with his operating system. Joaquin Phoenix puts in a brilliant performance as Theodore Twombly – complete with high-wasted trousers, in this futuristic tale that highlights our obsession with digital devices.
The BAFTAs – an evening full of surprises; and here’s one that has really inspired us at Marmalade: Somali–born Barkhad Abdi winning best supporting actor. Huge respect to Abdi who, with no formal training, beat off competition from the likes of Matt Damon, Michael Fassbender and Bradley Cooper.
What a win!
Happy New Year! Bonne Année! Frohes Neues Jahr! Feliz Año Nuevo!
We are blowing away the January blues this year: the diets, the dryets and the winter weather, with our excitement over our BRAND NEW WEBSITE.
We’re genuinely itching to get at the New Year and take the bull by it’s proverbial horns. If you are less keen on the changing of the annual guard then perhaps this picture of a magnificent horse might inspire you.
Anyway that’s it for now but keep checking back here for loads of great new content including news, reviews, trends & views…
And remember, be who you want to be.
This little release from the BFI has been tickling our interest recently in the office. Claude Frisse-Greene’s early film on the streets and people of London of 1927 is a fascinating insight into life back then; what makes it all more easy to relate to is the fact that it is in colour. Frisse-Greene utilised a very early form of colour processing to create this faded and picturesque view of old London. What is strange is that with the addition of colour, London of 1927 doesn’t feel that far removed from London of today.
Pervasive trend of flat caps aside of course… It’s more flat whites these days.