Berberian Sound Studio Picks Up Most Wins at 2012 British Independent Film Awards

Berberian Sound Studio picked up the most wins at the 2012 British Independent Film Awards last night Sunday 9th December.

The film won four Moët British Independent Film Awards in the following categories:

Best Director - Peter Strickland (Berberian Sound Studio) - WINNER

Best Actor - Toby Jones (Berberian Sound Studio) - WINNER

Best Achievement in Production - Berberian Sound Studio - WINNER

Best Technical Achievement - Joakim Sundström, Stevie Haywood AMPS IPS - Sound Design (Berberian Sound Studio) - WINNER

Commenting on the wins Philip Knatchbull, CEO of Curzon Artificial Eye said, “Artificial Eye are delighted that Berberian Sound Studio has been honoured with four awards at this year's British Independent Film Awards and are proud to continue supporting outstanding British film talent”

Winner of the Best Film, Best Director and Best Actor awards at the 2012 Film 4 Frightfest, Peter Strickland’s disturbing, eerie chiller is a must-see for fans of the work of Dario Argento, Roman Polanski and David Lynch and features a revelatory central performance by Toby Jones and a superb soundtrack by British indie electronic band, Broadcast.

Berberian Sound Studio is release on DVD & Blu-Ray and VOD 31 Dec 2012 (stayed tuned for review) and is available now on Curzon on Demand.

The soundtrack to Berberian Sound Studio, composed by renowned Warp-signed band Broadcast (aka Trish Keenan and James Cargill) is released a week later, on Jan 7th 2013. Time Out said of the film that the “stylistically ambitious, morally radical, thematically complex work…deserves the highest praise”. This turns out to also be an apt description of the film’s sublime soundtrack.

Initially conceived as the soundtrack to The Equestrian Vortex, the film-within-a-film (watch opening credits Below) around which Berberian Sound Studio unfolds, it would eventually spill outwards to encapsulate the entire world Strickland had created and populated with eccentric, magnetic characters. On it’s own, the music sets a sinister and atmospheric tone that still exists well within Broadcast’s sonic universe.



synopsis:It’s 1976 and timid, Dorking-based sound engineer, Gilderoy, has been transplanted to Italy’s run-down Berberian Sound Studio to work on “The Equestrian Vortex”, the latest low-budget horror movie by notorious exploitation maestro Giancarlo Santini. Gilderoy’s task is a seemingly simple one: to create, record and mix the sounds of bloodcurdling screams, limbs being severed and the insertion of red hot pokers into human orifices, mostly using a variety of everyday household items such as old vegetables and a hammer. But Gilderoy is totally unprepared for the graphically grotesque images on show, the effect they have on him and for the unusual working practices of his employers. As he becomes more deeply involved in his work, the line between fantasy and reality becomes blurred and, very subtly, Gilderoy’s life begins to imitate art in a nightmare scenario from which he may never escape.
Buy Soundtrack :Berberian Sound Studio

Fernando Meirelles' 360 Review

★★☆☆☆

Fernando Meirelles’ thoroughly impressed with his features City Of God, The Constant Gardner and the underrated horror gem, Blindness, however the director’s latest release – ensemble drama, 360, proves to be a far patchier affair than his previous work.

This drama centres on the lives of an array of interconnected people all of whom are at turning points in their lives. Based on a screenplay by Peter Morgan (Hereafter, Frost/Nixon), 360 takes us to several different countries and introduces us to an eclectic mix of characters from businessman, Michael (Jude Law), his wife (Rachel Weisz), a recovering sex offender (Ben Foster) and an older man searching for his missing daughter (Anthony Hopkins).

Meirelles’ feature should be an intimate and personal affair, after all we are shown these characters at crossroads in their lives. There are several fleeting moments when the director captures this perfectly (such as Hopkins’s turn as a father unsure whether to continue his search for his missing daughter) but for the most part, too little time is spent with each character to fully sympathise with their journey. This is partly due to an excessive amount of characters and trying to connect them often results in a clunky and uneven, patchwork-style narrative.

Had 360 devoted more time to less characters then it may have proved a more coherent and powerful piece. The opening promotes the theme that sex influences many of our decisions, which can be seen through Jude Law’s married businessman attempting to meet an escort, when on a business trip in Bratislava whilst his wife (Rachel Weisz) continues an affair with a young photographer. This segment also allows for some solid performances from Law and Weisz. However, as the connections become more and more contrived this message begins to lose impact bringing 360 to a standstill. Fortunately the appearance of Anthony Hopkins midway through the feature sparks some life into the tired, 360. The Welsh star features as a John, a man travelling to Arizona to identify the body of a young girl, who may be his missing daughter. On his flight John meets a young Brazilian girl, who reminds him of daughter and helps him decide whether or not to continue to his search. Hopkins truly dominates the screen with his heartfelt performance, particularly when his character delivers a touching monologue about his search. Meirelles’ handles the scene beautifully and this is without doubt, the highlight of a disorganised film. Sadly, 360 faces a rapid decline after this promising sequence with a formulaic and unconvincing pitfall featuring Russian gangsters bringing the film to a hault.

The conclusion of 360 tells us that we have come full circle, however, it is hard to agree with this as it seems the film stalled at 180 degrees. Despite a promising opening, 360 is a lifeless and tired film lacking in any distinct physical style or charm. The loose thread of human relations that connects it feels bogged down by too many characters and an unfocussed, clunky narrative. The performances prove to be the main highlight, most notably Hopkins’ thoroughly watchable turn.

Andrew McArthur

Stars: Jude Law, Rachel Weisz,Anthony Hopkins, Ben Foster
Director: Fernando Meirelles
Release: August 10th (UK)
Rating: 15 (UK)