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February-March 2018

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EDITORIAL

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Dear reader, The semester is in full swing; that means Strathclyde Telegraph is back! This edition is loosely based around Glasgow Film Festival, bringing you some of the top picks of must see screenings. We also had to throw love in here somehow, so you’ll find features on LGBTQ+ valentines, a review of Sex Education and the kind of love poem that makes you happy to be single. With Strathclyde Students’ Union elections coming up, we’re working hard to make sure that the students of Strathclyde have all the information and knowledge needed to make an informed decision on who to elect as the people to make the changes that matter for all of us. This year we’ve put together an election team that will focus on compiling neutral and unbiased information in order to make sure that this years’ election is the best yet. The last twelve months have shown us that student politics can be so much more than just funny campaign posters, things can actually get done (Say goodbye to graduation fees), and with the right people in charge they will get done. If you’re reading this then our coverage will have started to appear online already; our election team will be interviewing candidates, finding out what matters to students and providing breakdowns of the things that matter. Throughout the process our election team will be putting together a list of endorsements based on the information we receive that we will release the day before voting begins on the 4 March 2019. And that’s not all, we’ll be having our own elections towards the end of March as well. If you’re interested in getting exposure to journalism and feel like you have ideas that could shape the future of student journalism then stay tuned. This year so far have been a massive success and that means that the team take over from our current editorial team will have everything they need to truly make a difference. We’ll be posting information soon online. On that note, it’s only fitting that with a film-centric newspaper published in the month of cupid I leave you with one of my favourite film scenes of all time. As that old woman once said, “I’ll have what she’s having.” It just so happens you’re in luck, because what she’s having is some quality content from Strathclyde Telegraph.

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NEWS

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Should Postgraduate Tuition Fees be Abolished in Scotland? Undergraduate tuition fees in Scotland are paid for by the Scottish Government for Scottish and EU students but with postgraduate fees remaining unfunded, many students are still being left at a disadvantage. Postgraduate fees range dramatically in price, with the average starting prices of postgraduate diplomas in disciplines such as teaching starting at £1820. For research and taught degrees, the fees can be from anywhere from £7000 to £22,000 for Scottish students. Nicola Sturgeon said the Scottish Nationalist Party will “always protect free education because it is one of the most important things any government can ever protect”. But, the maximum tuition fee loan from the Scottish government for postgraduates stands at £5,500. For living costs, £4,500 is awarded. With some tuition fees reaching over £20,000, the loan does not even cover half of the price of continuing your studies. Many lower income students are put at a disadvantage due to the high tuition fees. They may have previously benefitted from free tuition for their undergraduate degree, but are hindered from pursuing further academic education due to the postgraduate fees. President of the Strathclyde Union, Matt Crilly, said: “Postgraduate fees should be capped at £5,500 at a minimum, to keep them in line with the postgraduate loans offered by the Scottish Government. As soon as fees are above the £5,500 threshold, home students are forced to cover tuition costs from their supposed living cost loan of £4,500. We shouldn’t have to decide between paying for fees or food.” A spokesperson for Universities Scotland highlighted that, when it comes to graduate fees, “there has been much focus on widening access to undergraduate study and comparatively very little about the access issues at postgraduate level study. We believe that this is the next big challenge which needs to be addressed”.

Nonetheless, they emphasized that “currently, free undergraduate student places are underfunded by 10 per cent so it’s difficult to foresee how it would be financially viable for the Scottish Government to extend free tuition to postgraduate courses.” There are also reports of issues currently facing Scottish universities. In 2016, many Scottish Universities reported that, although they welcome the funding investment and the close cooperation with the Scottish government, that “universities do need to see an end to the erosion of public funding for teaching and research in this year’s budget as the first step to recovering a sustainable position”. They also claim “the money from the Scottish government to cover free tuition is not enough

to cover the overall cost. The implication is that these free places are being partly subsidised by the other money universities receive”. Many European countries offer both free undergraduate and postgraduate degrees. These include Norway (where it is completely free for everyone), Denmark, Finland, Sweden, Poland (free for EU, EEA and Swiss students). Austria, Germany and Iceland are amongst those countries that offer very small administration fees. Although free undergraduate tuition fees have made great strides for students in Scotland, these countries highlight what can be done to widen the access for postgraduate studies for students from all backgrounds. By Caitlin McDonald

February-March 2018

February I’ve always thought that there must be a reason February is the shortest month of the year. The hype of Christmas and New Year has long passed and we’ve had 31 days to wallow in January blues. The new activity you forced yourself into as a New Years resolution has worn off, your gym membership is eating a hole in your SAAS, and you’ve still not quite come to terms with the fact that semester two is well underway and there’s only so long you can put everything off for under the guise of easing yourself into the new term. For those of us who are in university or work from 9-5, sunlight is a distant memory and we find ourselves procrastinating assignments by scouring the TUI website for anywhere sunny to at least give us the promise of vitamin D sometime soon. I’ve come to think as February as a month of self-acceptance. With the New Year comes a pressure to reinvent yourself in some way; the “New Year resolution-ers” come into the gym with unrealistic goals of having a Kim K bum and a flat stomach before their holiday in April, a look of sheer grit and self-loathing on their faces. Slowly but surely, they give up during February and honestly, I can’t help but feel a sort of admiration for those who have accepted that the gym is simply not worth the hassle. Nevertheless, if you want to get fit and actually enjoy working out, set yourself realistic goals. If you, like me, can’t afford a PT, there are so many workout apps such as Sworkit that can help you get the most out of the gym. I’ve also found a great way to get fit has been to go along to classes regularly or go with a friend to the gym to help you both stay motivated and encouraged. However, if you can, please try and avoid being that couple which every gym has… Of course, these couples get to alleviate the winter blues with what is (in my bitter single opinion) an overhyped and over-commercialised

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mid-month lovefest which, despite whatever my relationship status has been, I’ve always associated with a feeling of mild nausea as the shelves at the front of Tesco begin to brim with cuddly toys and overpriced single red roses. We’re gifted pink heart shaped boxes of Cadbury Milk Tray that we all swore off in our New Year attempts to live a healthy lifestyle, and pack Veganuary in once and for all with a steak dinner at Miller and Carter with “that someone special.” That being said, it’s all too easy for us singles to jump on the Valentine’s-bashing bandwagon, and while I’m not a fan of clichéd and overdone, once-a-year gestures, I think having an opportunity to show people we love them should never be missed. Despite my aforementioned views on its commercialisation, I think Valentine’s Day should be an opportunity for us to show we care about not only our significant others,

but our friends and our family too. It’s never a bad time to show love to those close to us, especially when the dreich winter weather can get us down. Dark nights and cold weather can really give our mental health a kicking and it’s a problem many of us find difficult to talk about. According to the American Family Physician website, around 10-20 percent of us experience Seasonal Affective Disorder (SAD), and it is more common in Northern (and therefore colder, darker) places like Scotland. Small acts of care and kindness go a long way; it’s so easy for us to get bogged down in the stress of deadlines that we forget we need to make time for our friends and perhaps more importantly, ourselves. By Rebecca Cowie

HAPPINESS FEBRUARY

February-March 2018

FEATURES

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GUIDE TO A SUCCESSFUL QUEER VALENTINE

Valentine’s Day, like every other day, is for straight people. An annual party of velour pinks and satin reds, confetti, roses and chocolates for Jane, John, their golden retriever and two-anda-half children. The Valentine’s Day rubric is one of exclusion, gatekeeping and guilt fuelled consumerism. I want to address the screams of “you’re just bitter!” or “it’s just because you’re single!”. While these arguments are problematic in their own way, for the first time in three years I am actually in a committed, loving relationship for Valentine’s day. The catch, you ask? There aren’t a lot of cards for long distance, gender-queer lesbian and non-binary pansexual couples. Valentine’s Day is built on expectation like most Western commercialised holidays (except unfortunately without a day or two off work), and it is this expectation that causes such a mas-

sive resentment for the holiday. Online, on the street, on television and in print, Valentine’s Day plagues you throughout January and February as the perfect resolution to the January blues and hangover from Christmas. Gifts are broken down into His and Hers; the woman is expected to receive flowers, chocolates and jewellery in exchange for sex after the ritual of public displays of affection and a fancy meal (all evidenced on Instagram of course). This representation of what the true, ultimate fantasy of love looks like conforms with the white, straight, cis agenda of Valentine’s Day. The ideal Valentine’s day can only be truly enjoyed by those two (white, straight, cis, monogamous, thin, middle-class, young professionals) people who have enough financial security, time and self-indulgence to engage with the holiday’s expectations. Besides the class and racial disparity amongst Valentine’s Day adverts, as a queer person in a queer relationship, one is made to feel distinctly ‘lesser than’. It’s hard to feel anything but resentment for a tradition originally meant to honour and love your significant other, when your love is not the straight euphoric ideal.

It is also a contradictory tradition, as this day should be a celebration of Valentine, the saint who married soldiers against the law and who was a representative for love in all forms, regardless of the law and social standards of acceptability. In order to continue this legacy, holidays such as the Mexican Day of Love and Friendship are more open ended to difference forms of love and passion, platonically and romantically, if you specifically want a calendar holiday to celebrate your love. The change that Valentine’s Day should undergo will be brought about by queer people all over the world who continue to exist in spaces they are not permitted. From not being allowed to send same-sex valentines in the post box in primary school to being asked to stop kissing in a restaurant and not being able to find a Netflix and chill film for the evening in which one of the gays doesn’t die, Valentine’s Day brings a weight of anxiety with it for many queer people. All that being said, Valentine’s Day is not evil, and it’s taken me all my 21 years of life to come to that conclusion. There are many things you alone or with your significant other, best friend and thrupple can do to make this day as special as you wish it to be. Spark things up with a new sex toy or chocolate ice cream from all the sales and promos, take a stroll, blow kisses at one another from either side of a river or building site or have a séance. It really doesn’t matter how you choose to spend the day as long as for the rest of the year you cherish yourself and other people as much as John and Jane on the ‘SET MEAL FOR TWO’ poster, poised over a bottle of Chardonnay, a single red rose on the table, just gagging for ten minutes in the dark in some Anne Summers polyester. By Kirsty Crawford

February-March 2018

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Being CONFIDENT in the Era of Influencers

In an era where we can barely make a trip to the toilet without informing all of our peers, we are constantly bombarded with influencers who merely encourage us to do so. In a world of Twitter, Instagram and Facebook, anyone can be famous – and I mean anyone. So, then begs the question of influencers: who is an influencer? Is it our world leaders? Or are they the Instagram models promoting slimming shakes and appetite suppressants? And I’m not saying this to be critical of those who are genuinely influenced by social media. Even those of us who will pretentiously claim that we are wise enough to form our own opinions are kidding themselves. I’m one of the very many guilty people who tend to post every picture of every event in their life onto Instagram, and now that I sit questioning why I do so I can’t even remotely fathom a decent answer. Reality is, it all boils down to boasting about what wonderful lives we have as we periodically post bikini pictures and ourselves at world landmarks from the comfort of our couches in coffee-stained pyjamas, with spotty chins and dirty glasses. The real question here is, why do we do it? Is it

ply a means of our new socialisation. Just like previous generations had different social constructs to what we have today – our generation, and the many that have yet to come are being socialised in a totally different way. We are being socialised to not be able to live our day-to-day lives without broadcasting it, or even having a simple argument with a peer without consulting Google to get your facts right. However, this almost innate need to have an over optimistic outlook of life on our Instagram’s is contrary to that pessimistic one that we lead on the likes of Twitter. Apparently, those of use born between 96’ and 99’ don’t belong to a ‘generation’ – we are the definition of lost, so much so that we cannot even label ourselves which frankly, causes quite some confusion. We were born in the era of the internet, the invention of Google, and just by sorry luck, chance, fate, or maybe even serendipity, in the perfect age group for the height of the boom of social media. We all seem to have this innate need to influence others by showing off the highlights of our lives, and whilst we may pretend to not be interested in what others are doing – we are.

for peer gratification, or rather the simpler selfgratification? If you ask me, it’s neither. It’s sim-

I’m not going to be one to sit and degrade women online for taking their clothes off for photo-

graphs, or for models posing in bikinis. Whilst I understand that this can be triggering for many young women, it should not be treated as though these women are degrading themselves for being body confident. I would congratulate anyone, regardless of their shape of size, for being comfortable enough in their own body to post it for the world to see. There is a constant stress on influencers online to have both a moral and ethical responsibility to young women, and men alike, to show that there is more to life than appearance, that there is more to our online image than simply showing the highlights of our life. This of course is quite a conflicting scenario, because whilst I agree that there shouldn’t be such flawless representations of who we are online as it may mislead more naïve users, I also think that I will by no chance be posting a picture of myself in my ‘Sunday best’ (i.e. Primark pyjamas with holes in them and greasy hair). We need to look at why we see nudity or expression of sexually on social media as degradation, rather than empowerment. Shouldn’t we be supporting influencers to be showing young people how to love themselves? And if that means posing in a bikini and showing off their ‘best life’, then I’m all for it. By Emma Malcolmson

February-March 2018

FILM

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The Matrix – Twenty Years On Upon discovering that The Matrix is twenty years old in 2019, I was reminiscent of protagonist Neo (Keanu Reeves) as he learns he’s been living inside a computer simulation. He panics, shouting “I don’t believe it. I want out!” before eventually vomiting. As Neo’s world unravels, so do my attempts to cling to my youth. What’s behind the longevity of The Matrix? The story can be read allegorically in ways which remain relevant today. You could interpret the machines turning humanity into batteries as a metaphor for mankind being enslaved by capitalism. There’s also the notion that Neo’s awakening is an analogy for transitioning – Lana and Lilly Wachowski both came out as trans after the trilogy released. The opening five minutes of the film set the scene perfectly; Trinity (Carrie Ann Moss) runs along walls, jumps impossible distances and swats two police units aside before fleeing in terror from Agent Smith (Hugo Weaving) and his cohorts. She’s demonstrably capable of remarkable actions and yet she doesn’t entertain the thought of attempting to battle the Agents, which establishes their threat. She escapes by answering a ringing phone before Smith smashes a truck into it. The action is jaw dropping – whilst hinting at a greater, more complex threat. That threat is the Matrix itself. As Morpheus (Laurence Fishbourne) and Trinity attempt to free Neo, the man they believe to be the saviour of humanity, Smith and the system race to prevent them. When Smith arrests and interrogates Neo, the allegory for transitioning starts to take shape. Neo is denied a future if he refuses to return to his life as Thomas Anderson; this evokes parallels of refusing to acknowledge trans identity and explores the dangers of deadnaming – a theme which continues through to Neo’s final confrontation with Smith. As Morpheus teaches Neo about the simula-

tion’s origins, he reveals that humans are now grown – serving as a power source for the Matrix. Humans are born into bondage with the system, propping it up with little reward and easily replaced. Oxfam recently revealed that the 26 richest people in the world own as much as 3.8 billion people who make up the poorest half of the world’s population. It’s easy to see the similarities between populations sustaining both our capitalist society and the Matrix’ - the majority of citizens receive scant reward for their enormous contribution.

Whilst strands of religious symbolism, morality and philosophical questions are woven seamlessly into the film, it’s possible that The Matrix still resonates because it’s a kick ass movie bursting with slick fight scenes that ooze style rarely matched in the modern films it helped inspire. As Neo and Trinity attempt to save Morpheus, Neo reveals to security guards that he’s armed to the teeth under his leather overcoat. It’s as iconic a moment as the slow motion ‘bullet time’ battle which follows. The film’s climax is a masterclass in tension. Everything the film sets up in the first two acts are paid off in the final as Neo faces off against Agent Smith in the Matrix, whilst Morpheus and Trinity battle machines in the real world. The Wachowskis consistently blend moments of levity with outrageous action and high concept philosophy. They manage to package them into something easily digestible for the audience; something which, twenty years later, few sci-fi movies readily achieve. In celebration of its twentieth anniversary, The Matrix is being screened at the 2019 Glasgow Film Festival on 22-23 February. Tickets are still available, offering moviegoers the chance to free their mind at the Argyll Street Arches, with the promise of an after party to unplug – hopefully without the threat of Agents crashing by. By Andrew McKissock

February-March February-March 2018 2018

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simply for the fact that Jim from the Office had made a movie. The quality of work for many actors-turnedauteurs is unquestionable, but the role of director itself is also more accessible. The confidence, experience and influence of the actor allows for easy promotion and early interest in the film. As with Hill and Gerwig, securing funding needed to create these films will have been a lot easier for people who were somewhat guaranteed an audience and had a reliable amount of insight to foster confidence in investors. The challenge of directing is a lot more accessible for those already working on the front lines of the film industry.

The Rise of the Actor-Turned-Director The actor-turned-director is not a new concept in Hollywood. Charlie Chaplin, Orson Welles and Gene Kelly were some of the first to take on the challenge of creating and directing their own films, but in recent years there has been a notable change – more actors going behind the camera to write and direct their own work. Encouragingly, it’s not just Hollywood veterans with decades of experience under their belt; Jonah Hill of the Jump Street franchise and Netflix’s dark psychological comedy-drama Maniac, released his brain-child Mid-90s to US audiences in late 2018 at the age of 34. The film received positive reviews and an encouraging reception.

from, and contributed to, the diversification of filmmakers in Hollywood. Gerwig’s witty and moving coming-of-age-tale Ladybird received a standing ovation at its premiere at the Toronto International Film Festival. Her experience as an actress and scriptwriter informed her art to the extent that it let her create something totally unique with confidence and expertise.

In the days of Old Hollywood, almost all actorsslash-directors were white men in their fifties who had the power and backing that comes with a far narrower selection of films for people to watch (and zero competition from streaming services like Netflix). Now, while many filmmakers struggle to be seen amidst the sheer volume of blockbuster films released every year, there is a greater platform for budding young directors to take their shot. Greta Gerwig, An-

The film world will greater thrive with a wider representation of narratives – directors in the LGBT+ community and directors of colour, for example. It is exciting to see younger actors and actresses getting the opportunity to direct their own work and audiences across the globe welcoming fresh talent with open arms. John Krasinski, well-loved star of The Office, made his directorial debut with The Quiet Place, a post-apocalyptic horror film starring himself and Emily Blunt. The film received incredibly positive reviews and grossed over 340 million dollars worldwide at the box-office. While there is no doubt that A Quiet Place was a fantastic film in itself, many people

gela Bassett and Brie Larsson have all benefitted

would have been drawn to the cinema

This does not detract from the scale of their achievements themselves – these three films were some of the best of 2018 – but up-andcoming filmmakers face another kind of problem that A-list actors don’t find quite as pressing: becoming a director in the first place. Krasinski had the contacts and resources necessary to produce a film that can generate income and interest on a global scale; That this comes from his hard-earned acting career can be argued - He didn’t have his fame handed to him either. Ultimately, it comes down to this. Actor-directors may already have had the platform, but if their films were shit we wouldn’t still be talking about them. By Niamh Johnstone

THE QUIETUDE dir. Pablo Trapero The Quietude plays out in the well-manicured gardens of a wealthy Argentinian family’s estate, in a make-believe world where beautiful people have lots of passionate sex and are well versed in the art of melodrama. I love when films grant access to luscious familial universes, and this family’s antics seem on par with the incestuous Blossoms of Riverdale. I look forward to trespassing the cinematic world of ‘La Quietud’ and learning its secrets.

FILM

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PAPI CHULO dir. John Butler What excites me most about Papi Chulo is its premise: an LA TV Weatherman (Matt Bomer, who visits the GFF this year to promote the movie) strikes up a friendship with a middle-aged Latino migrant worker. There’s fascinating potential in how these two worlds will interact when they collide with one another. With this film being a comedy, I’m intrigued to see how this film utilises humour whilst managing to unpick themes of class and ethnicity in contemporary Los Angeles. SHE’S MISSING dir. Alexandra McGuinness She’s Missing follows Heidi (Lucy Fry) in her search across a violent and secret ridden desert for her missing best friend, who disappeared at a rodeo. The vast and brutal nature of the desert offers plenty of opportunity for an entertaining movie with an abundance of secrets to be discovered. What interests me particularly is writer/director Alexandra McGuinness’ perspective in her depiction of a genre which is often predominantly masculine. HOTEL MUMBAI dir. Anthony Maras Hotel Mumbai is the dramatisation of the 2008 Mumbai Terror attacks. Dev

EMMA OLSSON

GALVESTON dir. Mélanie Laurent Actor-turned-director Mélanie Laurent is known for her complex depictions of human relationships. Added to Elle Fanning, who I’ve had a growing crush on since her performances in 20th Century Women (2016) and The Beguiled (2017), plus a classic pulp-crime setup, I’m hooked. As a lover of mysteries but a hater of one-note masculine grit, I am forever drawn to films that attempt to disrupt this tired relationship. I’m hoping for Laurent to give us a fresh contemplation on time, memories, and human connection, all beneath the guise of a cigarettesmoking Texan hit-man drama.

OUR GFF Picks ANDREW MCKISSOCK

February-March 2018 VOX LUX dir. Brady Corbet After the blatant anti-pop agenda of 2018’s A Star Is Born, I’m looking forward to a film contemplating pop stardom with nuance and satire. Natalie Portman looks as though her character in Black Swan (2010) meets a ‘The Fame’-era Lady Gaga, with a believable Staten Island accent to boot. Combining elements of school shootinginformed trauma and fame in the social media age, Vox Lux looks to be a manic ride through late-2010s pop culture.

Patel stars as a member of staff at the Taj Hotel during its seige. I’m most interested as to whether this film takes a different approach to the standard Hollywood retelling of terrorist attacks; the location and diverse cast offers an opportunity for a fresh approach, so I’m hoping for something less exploitative than its genre counterparts’ depiction of similarly tragic events

MAISIE MCGREGOR

BORDER dir. Ali Abbasi As screenplay concepts go, few are as committedly original as Ali Abbasi’s Border, which crafts an intricate narrative of folklore, grittily-tinged Scandinavian noir and what looks to be some really empathetic characterisation. A sure standout of the programme, I’m inexplicably giddy to be immsersed in a story so far removed from anything I’ve ever encountered before. THE PUBLIC dir. Emilio Estevez A public library sit-in on Cincinati’s coldest night of the year becomes a matter of huge civil and media interest in The Public, starring Alec Baldwin as a policeman trying to bridge barriers between law enforcement and vulnerable, at-risk communities. I’m excited to see Baldwin take on another commanding role, working with a captivating, dramatic script that appears to ask some very serious questions. HER SMELL dir. Alex Ross Perry A film which stars Elisabeth Moss in any remote capacity is already one which has my interest piqued. She seems to throw herself in at the deep end here as Becky Something in the ferocious Her Smell. Trailers so far have focussed on Moss’ monologues and it’s clear her violently heartbreaking performance is something of a tour-de-force. I expect this to be a glamourous, filthy, hot mess of a movie; a journey which will absolutely give me whiplash but one I can’t wait to take.

February-March 2018

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The Strathclyde Telegraph are going to be all over the 2019 Glasgow Film Festival – here are our five writers’ picks from the exciting and diverse programme!

ALL CREATURES HERE BELOW dir. Colin Schiffli The first film I’ve chosen to review is the hotly anticipated All Creatures Here Below, a feature film exploring the lives of a family living on the fringe of abject poverty in downtown Los Angeles. The film examines the bond between Ruby (Karen Gillan) and Gensen (David Dastmalchian) which is put under strain by their situation and their search for stability and happiness. I love the themes the film is trying to bring to light; they resonate particularly well today, as there are people in many Western countries who are struggling and at risk of slipping into the situation that Ruby and Gensen occupy. MACKINTOSH REDUX dir. Murray Grigor Part of the festival’s ‘Local Heroes line-up. Murray Grigor’s Mackintosh Redux is a fifty-year old film which has been expertly digitally remastered with lost music score being re-recorded by the Scottish Chamber Orchestra. I am eager to watch this; it shows another aspect of the real diverse programming the Glasgow Film Festival has to offer THE SURPRISE FILM The third and final film I’ll be reviewing is quite literally a mystery – the Surprise Film! An annual staple at the festival, the Surprise Film represents the suspense and unpredictability of cinema. It’s set to be a treat at this year’s festival and speculation is beginning to spread. Absolutely no clues though, so the first we’ll know is when the lights go down on the night. See you there!

ARCHIE GRANT

EIGTH GRADE dir. Bo Burnham all the way back in January 2018, the UK release is finally here. Burnham’s feature-length debut received multiple Golden-Globe nominations, and the comedian’s coming-of-age comedy that takes inspiration from his own personal struggles with mental health is sure to be a success when it releases later this year. Following the story of Kayla as her time at middle school comes to an end, Eighth Grade focuses on technological anxiety as she turns to upload vlogs to the internet in search of her place in the world. Whilst I don’t want to get too caught up in my own personal hype, I think it’s fair to say that this is definitely the kind of film that I fall in love with; I’ll surely draw similarities to my younger self and dream of wiping away the inevitable wrinkles and growing my head hair again. UNDER THE SILVER LAKE dir. David Robert Mitchell In the midst of a film noir obsession, seeing Under the Silver Lake’s inclusion in the Glasgow Film Festival programme was a welcome surprise. David Robert Mitchell’s 2014 success, It Follows, was an inventive psychological horror that created an intense atmosphere around sexual intimacy; a noir-inspired thriller with Andrew Garfield attempting to uncover a conspiracy surrounding the super-rich in LA can only be a success, right? Well, after receiving severely mixed reviews from its premiere in Cannes the film has well and truly popped up on my radar as an ambiguous and misunderstood playground for a very talented director: I can’t wait.

JOHN-ANTHONY DISOTTO

Bo Burnham’s Eighth Grade has been on my watchlist for the good part of a year. After a very successful premiere at Sundance

FILM

February-March 2018

OSCAR PREDICTIONS 2019 The most anticipated night in Hollywood arrives on February 24th.! Here’s the definitive list of the year’s likely winners, deserving entrants and disappointing nomination omissions.

Best Motion Picture of the Year Likely to win: Green Book Should win: Roma Dark horse: Bohemian Rhapsody Should have been nominated: First Man

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Best Actress in a Leading Role Likely to win: Glenn Close (The Wife) Should win: Glenn Close (The Wife) Should have been nominated: Nicole Kidman (Destroyer) The Academy loves real-life Cinderella stories (think Gabourey Sidibe in Precious), so it’s no surprise to see Roma’s Yalitza Aparicio nominated for Best Actress, sweeping the nod away from Nicole Kidman’s terrific portrayal in Destroyer or Saoirse Ronan in Mary Queen of Scots. However, Glenn Close being nominated for the 7th time and delivering such a multi-layered performance in The Wife should most definitely be the Academy’s top choice.

A Star is Born, arguably the fan favourite, is almost too obvious a choice - The Academy has notoriously shown its preference for edgier, indie or socio-political films in the past, making it unlikely for this remake to win. First Man was an incredible adaptation of one of the key events of the last century and received an overwhelmingly positive response from critics and audiences alike. Nevertheless, it was overlooked in the big categories not only at the Oscars, but also the Golden Globes, suggesting that predominantly Caucasian casts are fast-becoming a tired concept. Alfonso Cuaron’s Roma is the first full-length feature by Netflix to ever be nominated in the Best Picture category, but while its stunning portrayal of 1970s Mexico, intense personal story and emotionally resonant performances are representative of the year’s best work, Netflix at the production helm could potentially be its biggest obstacle. Green Book tackles societal issues of the Deep South with drama and comedy; it was a success at the Globes which makes it a strong contender for the big win.

Best Actor in a Leading Role Likely to win: Rami Malek (Bohemian Rhapsody) Should win: Christian Bale (Vice) Should have been nominated: Robert Redford (The Old Man & the Gun) Adam McKay’s Vice is too controversial to win Best Picture but chameleon actor Christian Bale’s mesmerizing portrayal of Dick Cheney most definitely deserves recognition in the category for Best Actor. However, Bale could be snubbed for the exact same reason, if the Academy decides not to get involved in political issues. Bradley Cooper did not get nominated for Best Director, which could potentially mean he’ll get the Best Actor award, but at this point, considering his achievements at this year’s other awards ceremonies, the safest bet is Rami Malek.

Best Achievement in Directing Likely to win: Alfonso Cuaron (Roma) Should win: Alfonso Cuaron (Roma) / Yorgos Lanthimos (The Favourite) Should have been nominated: Bradley Cooper (A Star is Born) Roma and The Favourite have an equal number of Oscar nominations, receiving an impressive ten each. Yorgos Lanthimos most certainly did an incredible job with The Favourite, with its fast paced, snappy editing, gorgeous scenery and witty dialogue. However, this category is almost a sure win for the Academy’s own favourite Alfonso Cuaron and his raw, intense, brutal, black-and-white depiction of 1970’s Mexico.

Best Animated Feature Likely to win: Spider-Man: Into the Spider-Verse Should win: Isle of Dogs Into the Spider-Verse was released more recently than Wes Anderson’s Isle of Dogs, which is a sure advantage and tactical move for a film going for the Oscar. Regardless of its release date, in the past the Academy has been notoriously reluctant to acknowledge stopmotion animations (think of its treatment of Coraline, Fantastic Mr Fox, and The Lego Movie). The beauty of Anderson’s craft lies in his carefully observed details, poetic storytelling and refusal to be a crowd-pleaser – his film deserves to win this year’s award, but won’t. By Rado Tenev

February-March 2018

FILM

How Do You Host an Oscars Viewing Party?

- Select your snacks accordingly

The Academy Awards come and go every year, prompting everything from Twitter debate to an influx in cinema ticket sales. This year, in its 91st iteration the award ceremony will take place with no host (after Kevin Hart’s war against the trolls) on 24 February 2019.

When it comes to enjoyment, you may just feel that purchasing everything and anything from the party food aisle in the supermarket is a good idea. Don’t. The real trick to keeping the guests happy is a fine tuned selection of classy beige goods; These can usually be found in the crisp aisle and work a treat with a hand-crushed hummus.

You Don’t.

I have been given the unfortunate task of writing tips on how to host your film appreciation viewing party; I’ll apologise in advance for my enthusiasm. - Pick your guests wisely The Oscars run into the early hours of Monday morning, make sure the company you’ve hand selected to attend your prestigious event have enough wit about them to keep the conversation flowing. The last thing you want is to try and stay awake watching a monotonous fashion show with people that are so dull they make the actual event seem interesting. Pro Tip: Don’t allow anyone to stay over, the risk is too high when it comes to big sleepers; I’ve been there, trust me. By the time the show ends, towards 6am, open your door and send them on their way.

To start making your hummus combine chickpeas, garlic, tahini, olive oil, and a squeeze of lemon juice. Crush accordingly and season to taste. Using your hands instead of a food processor will leave your guests amazed at the effort put into an otherwise mundane evening. - Choose your pre-ceremony favourites If the Oscars has any effect then it’s bringing out the film snobbery in all of us. Make sure you’ve selected a film or two in order to have meaningful debate about the lighting used during particular scenes, the impact of the dialogue, or the

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career-defining performances of select actors. If you really want to have a laugh, pick a film you haven’t seen and fake your way to credibility. Another great idea is to have a film snubbed by nominations at your disposal in order to show your true film knowledge; Watch yourself grow increasingly frustrated as the night unfolds and your favourite films of the last 12 months go unmentioned. What’s even more of an annoyance is the film you have managed to create an animosity towards for no other reason than the rest of your friends like it will end up with all the awards. There’s not much else that needs to go into planning your dream Hollywood-appreciation party. These 3 elements are key to making the most of watching the Oscars. On a night that is filled with many attempts at socio-economic messages and political bravado let’s just forget about the rapists, racists, bigots, tax-avoiders in the room and enjoy the show. After all, if you can’t forget about the real issues in the world for a mere 6 hour award show then what’s even the point? If anything, watching a group of the mega-rich express their fight for change should fill you with hope; Reagan made the jump from the silver screen to the Oval Office and that turned out swell… John-Anthony Disotto

February-March 2018

MUSIC

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The Soundtrack to the Oscars Film and Music are synonymous with each other. Music is used by filmmakers as a tool to convey the tone, create an atmosphere, or to emphasise a certain aspect of the film. Would Jaws be the same without John Williams’ score? Likewise, films as we know and enjoy could be, arguably, not nearly as memorable had they not had the same musical influence. Great films are defined by their scores, songs and the suspense they create. Composers such as Hans Zimmer, Williams and Carter Burwell have made illustrious careers out of creating an atmosphere to compliment the silver screen. Films would not be the same without music, whether they be original scores or songs. There has been a rise in films with plots wholly or partially focusing on music since La La Land shattered the Oscars with six wins - including Original Song. In days of olde, films that featured music were the norm. Yet, with a change towards action, the artistic nature of music and film was somewhat lost. The Greatest Showman, Les Misérables and Mamma Mia have all excelled in the Box Office with their catchy repertoire of anthems for the viewer to enjoy. Their success, perhaps most effectively achieved through releasing the tracks in advance, enabling full theatre sing-along experiences. This Oscar season, in particular, it is clear that the thirst for music films has been quenched with Bohemian Rhapsody and A Star is Born offering the public a couple of excellent films with music essential to the plot. Both films are heavy favourites to pick up awards when the most coveted awards ceremony comes around on the 24th of February. Rami Malek’s stunning portrayal of the late, great, Freddie Mercury gained deserved plaudits from critics and he will be favourite to pick up either the personal accolade for Best Actor or in the collective with Best Picture. Meanwhile, Bradley Cooper’s reinvention of a ‘A Star is Born’ has gained critical acclaim but will it be enough to gain Best Picture; Best Actor for Cooper or Best Actress for Lady Gaga? By Lewis Faulds

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MUSIC

February-March 2018

Alternative Love Songs I'm not one for flashy gestures, but share your favourite band with me and you might win a place in my heart. Emotions and music go hand in hand, none more so than alternative music and love. Energetic, pulse increasing and passionate, this Valentines, make sure you turn these up to max and rock out with your crush, partner or pals! Love Is Paranoid - The Distillers Brody Dalle's punk rock ode to the headrush of love rings true; and with her gravelly, powerful voice you'll also fall all the way in love with the thrashing guitars and rapidfire drums on this track. Katherine Wheel – HIM Finland’s gods of ‘Love Metal’ strike again, their vampiric singer likening love to Catherine wheels, both the firework and the torture device; as incendiary as it is painful. Ville Valo’s baritone tells of a love so intense he is ‘burning for you’, melting the hearts of people worldwide. Perfekt – Die Ärzte Packed full of twangy guitars and a rocky 50s vibe, this romantic offering from Berlin’s self-proclaimed ‘Best Band in The World’, while sung in German, tells the story of yearning for love like in the movies, only to realise that what you already have is ‘Perfekt’. Still Into You – Paramore Hayley Williams’ sugar sweet lyrics rejoice the butterflies still fluttering around in a long-term relationship, recounting years gone by and reassuring that even in the worst of times, she’s Still Into You. Get your bubblegum pop-punk love fix with this pretty song. Underneath It All – No Doubt This steel drum infused slow ska number strips back all the complications of relationships to show that attraction isn’t about flashiness or bravado, and that true love breaks through even the most guarded exterior. Gwen Stefani’s soft lyrics and Lady Saw’s verse complement the lilting of the song perfectly By Audrey Gillies

(Anti) Love Songs With Valentine’s Day been and gone, it can feel like everyone is loved up but you. Your best friend is spending the day with her boyfriend, your parents are having a date night and you’re home alone… again. I highly recommend getting yourself a bottle of wine, or two (i’m not judging), a few boxes of chocolates and get your single friends round to belt out these anti-valentine’s day anthems. 7 Rings – Ariana Grande This song isn’t exactly anti-love, but it’s emphasis on self-love makes it the perfect soundtrack for a mate-date Valentines’ Day. Although you might not be able to buy matching diamonds for you and your besties like Ari does, you should treat yourselves this V-Day, significant other or not - you deserve it! Single – Natasha Bedingfield This one is a bit cheesy but it’s makes a great tune for singing at the top of your voice. Even better with friends. Natasha Bedingfield teaches us to enjoy being single in this declaration of independence, which is exactly what you should do around Valentine’s Day.

Gives You Hell – The All-American Rejects Playing this song is guaranteed to start a sing along. It’s a well worn classic, the words ingrained into everyone’s brains and just what you need to cheer yourself (or your pals) up if this is the first Valentine’s Day you’re facing post-breakup. Sorry - Beyoncé In this song, Beyoncé puts her middle finger up and tells that boy bye. Which is exactly what you should do if there’s someone - or something - holding you back and getting you down. Queen B ain’t sorry for it and you shouldn’t be either. I Don’t Like You Anymore – The Last Shadow Puppets Straight to the point, the chorus of this song explains just how you feel when you’re just not into someone anymore. Whether it be an ex, or just someone you were seeing, if you don’t fancy someone anymore and want to be on your own - this one’s for you.

By Eilidh Forsyth

MUSIC

February-March 2018

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which fall under each, it’s frustrating to see that all the names already enjoy great careers. Yes, most have earned it, I’m not disputing that. But will this award really have a huge impact on Sam Smith or Ariana Grande’s work? The answer is, probably not. So why are the Brits not making tin on the shelf, musing that one day you would efforts to represent and include lesser known talents? The UK is known for its virtuous, vimaybe return to it. brant and ever-changing music scene, and yet The Brits has lost its spice, lacking that added the one music awards show we have does very flavour which helped cultivate anticipation. We little to include them. miss the drunken drama, the buzz of excitement when things went wrong, the raw mess that Really, the Brits just feel overly safe. Too afraid would unfold on our screens. Iconic moments to offend, their content and music is censored, were made on that stage; Adele flipping off the big names win, and the nominations and James Corden when he rushed her through her live acts are all easy listening and mutually liked acceptance speech, Liam Gallagher throwing his talents. If they were bold enough to take a risk, award into the crowd and being called a ‘knob- then there is potential that people would actuhead’ by presenter Peter Kay, Alex Turner’s mic ally invest their time in watching and taking drop, Madonna falling… It lacked control, but an interest. They don’t though, reverting to the at least there was charm and a sense of purpose same tactics that they believe have served them – celebrating the diversity of homegrown talent. well and so damaging their audience engageHowever, the Brits now feel like a shallow rep- ment (viewership of the show has continued to

The Brit Awards, Is Anybody Still Watching? I remember when I was a teenager, the Brits was an exciting event. Me and my sister would sit in front of our tv with bags of popcorn, bopping our heads to the current chart-topping tunes, guessing who would win the various awards and acting outraged when our favourite act missed out. It was fun, and it was an excuse to go to bed late on a school night. Now I can’t even recall the last time I watched the award show, preferring to catch up on my Netflix commitments than dedicate time to the dull and mundane attempts of glitz, glamour, and entertainment. The Brits have come to resemble a can of tinned tomatoes, one that you bought on an inspired whim with plans to make your own Bolognese sauce from scratch. How-

ever, the novelty wore off when you got home, resentation of its former self. Scrolling through fall since 2000). instead opting for a ready meal and keeping that the various award categories and the nominees They’ve also failed to involve the youth, a study indicated that most teens didn’t know what the Brit Awards were, and others stating that though they had heard of the show, they were unlikely to be watching. With social media having such a presence, less people are tuning into tv, and if the Brits are failing to incite any kind of new interest, then they will continue to fail in capturing the imagination of this vast audience. What this show needs is a passionate revamp. The music needs to be brought back to the forefront and the managers need to take a leap of faith and represent the up-and-comers of the nation, rather than stroke the egos of the already prevalent. Until then, I think I’ll stick to viewing the Brits through the snapshots that are posted the following day rather than suffer through the forced comedy of Jack Whitehall or the political acceptance speeches that no one asked for. By Charlotte Jane Riley

February-March 2018

New Exhibition Marking the 500th Anniversary of Leonardo Da Vinci’s Death By Patryk Stepien

A collection of twelve paintings by Leonardo da Vinci, lent out on behalf of the Queen from the Royal Collection, will be available in a unique exhibition at the Kelvingrove Art Gallery and Museum from February until May 2019. This exhibit in Glasgow is part of a larger exhibition titled Leonardo da Vinci: A Life in Drawings, a nationwide showing of 144 of da Vinci’s greatest drawings. This marks the commemoration of the 500th anniversary of Leonardo’s death, on 2 May 1519. The exhibition is split into twelve simultaneous displays at galleries and museums around the UK with each receiving a dozen paintings. The aim is to reflect the wide range of da Vinci’s interests from painting, sculpture, architecture, music, anatomy, engineering, cartography, geology and botany. The exhibit is expected to receive between 800,000 to 1,000,000 visitors, according to Michael Clayton, Head of Prints and Drawings at the Royal Collection Trust. The paintings included within this collection were drawn by da Vinci with ink made from oak galls and iron salts which is transparent underneath infrared light. This transparency allows for Leonardo’s black chalk underdrawings to be seen for the first time, offering us an insight into his drawing process which has previously been unavailable and making for a truly unique display. At the culmination of this exhibition in May, the drawings will be gathered to form part of an exhibition holding over 200 drawings at The Queen’s Gallery, Buckingham Palace. The exhibit will be the largest showing of Leonardo’s work in over 65 years. A portion of the drawings will then venture up to Edinburgh for an exhibit at The Queen’s Gallery, Holyroodhouse in November, becoming the largest showing of Leonardo’s work ever shown in Scotland.

Leonardo Da Vinci: A Life in Drawing at Kelvingrove Art Gallery and Museum is open to the public from 1 February to 6 May 2019.

ART

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Netflix Review: Sex Education By Aaron Burns Lees With an estimated 40 million viewers in just its first month of release, Netflix’s latest endeavour into teenage drama is on track to be a huge success for the world’s largest online streaming service – and really, it’s no surprise. Sex Education follows 16-year-old Otis, a “post-pubescent boy with sexual phobias” as defined by his own sex therapist mother, on his (and his classmates’) journey into adulthood. The show is a British production with an all-British cast, yet, as a UK viewer, it’s glaringly obvious that the characters aren’t living in the world we know. Otis goes to Moordale Secondary School which, for all intents and purposes, is an American High School which has been miraculously relocated to the UK; where the jocks wander around in Letterman jackets, and the popular girls strut down the corridors, shooting demeaning glares at nerds as they fumble about in their lockers. This provides a bizarre sub-theme to the viewing experience where you can’t help but be constantly on the lookout for things which are distinctly ‘un-British’. Despite this, these Americanisms do serve to widen the scope of the audience (a clear tactical decision by Netflix) and certainly adds a quirkiness to the show which is yet to be explored elsewhere. The main premise of the show, though, is best defined by Otis’ friend Eric, upon returning from summer for the first day of the new school year: “everyone’s either thinking about shagging, about to shag, or actually shagging.” Otis begins to counsel students on their sexual endeavours, despite his personal inexperience, armed only with the accumulated knowledge he has gathered over years of growing up under his mother’s influence. Sex Education combines the best features of the greatest hits in teen comedy. It takes the surrealism and characterisation of Skins, the drama and social commentary of 13 Reasons Why and the upbeat 1980s vibe of the Breakfast Club and fearlessly mashes them together alongside an impressive young cast. If you can get past the oddity of American footballs being tossed about without a regular football in sight, Sex Education is a unique, feel-good production that is almost impossible not to binge.

February-March 2018

ART

The Marie Kondo Book Controversy: been given as a gift. Another category is books

We Should Get Rid of Our Books By Naina Bhardwaj By now you’ve probably seen Marie Kondo’s Netflix show ‘Tidying Up,’ and felt the need to suddenly reorganise your wardrobe by colour at 2am. Based on her best-selling book, The Life Changing Magic of Tidying, the series has proved controversial after Kondo said that you should have no more than thirty books at a time. In response, Twitter has been blowing up with die-hard Marie Kondo fans battling it out with book lovers across the globe. In the six part series, Kondo remind us that if it doesn’t spark joy, thank it and get rid of it. Now I’ll be honest, I’m a self-proclaimed book hoarder and my bookshelf has a few categories of its own. Firstly, there are the ones that are outright damaged and need throwing away all together. Secondly, there are the classics I’ve accumulated which I don’t have any real desire to read but think I ought to and will look impressive when people see my bookshelf. Then there’s the ones that I’ve either impulse bought or included in a purchase if there is a deal on or

bought for reading lists throughout the semesters which are rarely or never used (interestingly, it is often your lecturer or their colleague who has written this book). Lastly, there are the ones I have actually read, am currently reading, or plan to read next. Many of us book-lovers carry our book of the week in our bags, ready to whip out and make use of during our commutes or our time off. You probably also have a water bottle and some snacks in there too. It is inevitable that the two will likely collide at some point, you’ll need to clean it off as best you can and put it back onto your bookshelf. You’ve got to ask yourself though, is your salsa-drenched copy of The Lord of the Flies really still sparking joy or are you spending most of your time hiding it from view? If you are, then it’s time to say thank you and put it in the bin since that’s the only place it’s destined for. Donations have to be sellable and usable too. With the classics, the impulse buys, and the gifts, be honest with yourself; do you actually want to read this or not? If it is the latter, then thank it and donate it so someone can truly appreciate it. Then there are the books you’ve read. How many times have you ever re-read a

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book and are you seriously going to re-read all of them when there is so much else to read and constantly new things being released? I doubt it. And of course, for us students, there are often the piles of books we have collated from our reading lists throughout the semesters. This can often be the most painful of all to part with as some of these are only available at extortionate and subsequently exploitative. The best option here is to sell them. The problem with this is that reading lists change year upon year and current students of your previous course may no longer require them. Instead, I suggest selling them online. Websites like WeBuyAnyBook.com and Zifft.com will let you type in the ISBN number and then offer you a price. If it’s decent, you can package it up and send it away and you could make enough for a pint every day until the end of the semester at least. Ultimately, it shouldn’t be about the quantity of books you have, but the quality of them. I don’t mean literary quality in terms of what fits within the English literature cannon but rather the ones that would represent you. Pre-KonMari method, my mini-library was definitely the most valuable thing in my house. However, even with far fewer books, it still is.

February-March 2018

ART

The Modern Love Story By Danielle Riddell In the space between you, and I, there is a melody which acts as a bridge. Like a bugle or a trumpet; a sound which announces the arrival of your voice, rumbling gently like salt water waves on calm days, pushing us together, voice to ear, face to face, and nothing more. A bittersweet melody of longing and relief, and though I never say I miss you. And it seems silly to romanticise a ringtone or the blue chat bubbles, or even that you are one thumb push away, but what else is there, without your eyes, or your skin, or the little things you do? Where would I be without this melody, or the blue bubbles and sing-song notifications, or the ability to click a button and be able to hear about your day, the happy stories and sad anxieties that I miss. Your body is a thousand miles away buried in Portuguese land and clouds, and I miss: the way your hand feels in mine, the way your head fits under my chin and the way you look in the morning, at night, sleep smile and loose limbs, but for now there is just this: your voice and mine.

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February-March 2018