Shadows on the Wall | Arthouse Films

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On this page: BOORMAN AND THE DEVIL | SHOOT THE PEOPLE

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See also: SHADOWS FILM FESTIVAL | Last update 8.Jul.26

Boorman and the Devil
Review by Rich Cline | 4/5

Uchronia
dir-scr David Kittredge
prd Jim Fall, David Kittredge, Travis Stevens
with John Boorman, Linda Blair, Louise Fletcher, Rospo Pallenberg, Joe Dante, Karyn Kusama, Mike Flanagan, Garrett Brown, Ronald L Vargas Jr, Doug Pentek, Melissa Skoff, Victor Hsu
release US Aug.26
25/US 1h52

VENICE FILM FEST

Now streaming...

Because it works on several levels, this documentary finds remarkable resonance as it explores one of Hollywood's biggest box office bombs. While director David Kittredge traces The Exorcist's notorious 1977 sequel The Heretic, he also offers an involving profile of groundbreaking filmmaker John Boorman. And perhaps even more powerful is the exploration of a point in movie history when studios encouraged artists to take very big swings.

After his artistic and popular success with Point Blank and Deliverance, Boorman was asked to make a sequel to box office champ The Exorcist. But he was uninterested in doing a rehash. Then he discovered that The Heretic was something different, a challenging story to tell. This also drew actress Linda Blair back to her iconic rols, plus recent Oscar winner Louise Fletcher and the legendary Richard Burton. The lavish production was eventful, busting both the budget and shooting schedule, but everyone thought they had something special here. Critics and audiences strongly begged to differ.

Pointedly, the retitled Exorcist II The Heretic bears no resemblance to its predecessor, less a horror movie than a big-budget dive into spiritualism, so surreal that people found it laughably absurd. In a wonderful extended interview, Boorman discusses his frustration that audiences only wanted more of the same. But he also acknowledges how the project went off the rails.

Blair and Fletcher are equally engaging as they infuse their comments with wit, knowingly nodding to the film's wackiness while also remembering how much fun they had making it. "I mean, I got to work with Richard Burton," Blair says. Kittredge also fills the screen with amusing animation (locusts are everywhere, naturally) and hilarious anecdotes that add colour to every stage of the film's production. He also traces Boorman's entire career, smiling at Sean Connery's Zardoz (1974) mankini while highlighting underrated masterpieces like Hope and Glory (1987) and The General (1998), as well as other filmmakers from his generation.

It's fascinating to see The Heretic in this kind of context, especially its impact on Boorman's next film, the hit Arthurian epic Excalibur (1981). There's never an attempt to convince us that The Heretic needs to be reconsidered as a serious movie, but this documentary does champion its significance. And that maybe we shouldn't dismiss the pure intent and proper artistry that goes into making even the biggest flops in movie history.

themes, language, violence 5.Jun.26

Misan Harriman:
Shoot the People
Review by Rich Cline | 4/5

dir Andy Mundy-Castle
prd Wyn Baptiste
with Misan Harriman, Martin Luther King III, Ilhan Omar, David Meyet-Gollan, Camilla Harriman, Sule Rimi, Nomarussia Bonase, Lesley Redmond, Mari Mansfield, Thabo Shabangu, Sissanda Aluta Mbolekwa, Kamau Franklin
release US 19.Jun.26,
UK 10.Jul.26
25/UK 1h35

SXSW LONDON

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Exploring the state of today's divided world, this skilfully shot and edited documentary takes the perspective of Nigeria-born British photographer Misan Harriman. Because he narrates the film himself, it captures his heart, revealing how much he cares about the big issues of justice and equality that are driving the mass demonstrations he captures. And director Andy Mundy-Castle travels with Misan around the world to find the bigger picture.

Passionate about documenting the human condition, Misan is a self-taught photographer whose work is seen around the world on social media. Inspired by the images captured by photojournalists throughout history, most notably Peter Magubane's coverage of the struggle to end apartheid, Misan's focus has been on situations in that bring deeper issues to the forefront, from institutional racism to political violence. So he is drawn to scenes in which the people hold their leaders to account. Even his portraits of celebrities have a pointed vibe. And the hate he receives online every day is shocking.

It's fascinating to hear Misan speak about his life, and how he has always had to work hard to simply fit in. It took him awhile to work out who he was and what he was meant to do, recognising his own lived trauma in the Black Lives Matter protests, which in turn echoed the iconic coverage of America's 1960s civil rights protests and South African clashes in the 70s and 80s. And he sees strong connections with Free Palestine demonstrations. Misan estimates that 90 percent of his time is spent understanding the situation, before he starts snapping pictures. This allows his black-and-white images to speak loudly.

It's no surprise that his photograph of a placard saying "Why is ending racism a debate?" is what made him known, referencing a statement by Martin Luther King Jr. He sometimes wonders whether he is making any difference, but he knows that he needs to bear witness, even if truth seems to be the needle in the haystack. Another often-photographed placard reads, "Silence is violence." As he puts it, you can't allow worry about the world to make you retrench. Clearly, documenting these activists is a way of preserving their important place in history. And this film beautifully captures his belief in the power of solidarity and empathy.

themes, language, imagery 6.Jul.26

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See also: SHADOWS FILM FESTIVAL