the compass of

i n t e r n at i o n a l f i l m f e s t i va l

bristol, uk
21 oct–9 nov 2007
resistance. the power to oppose. the ability
to withstand. an act of survival, struggle,
subversion, transgression.

the compass of resistance international

film festival takes us on a cinematic journey across the
globe, presenting five cultural reference points from which we
can explore the parameters of ‘resistance’ in international film.

In venues across the city of Bristol this series of encounters,

dialogues, events and screenings will allow us a rare, fresh and
innovative look at the notion of ‘resistance’, its meanings and
its implications.
sunday 21 october − cube microplex
19.00 Radical Reels: Five Minutes of Mayhem! Experimental Short Film Competition and Exhibition

wednesday 31 october − kuumba

18.00 Rhymes of Resistance: Urban Spoken Word Freestyle Event
21.00 Hip Hop Halloween Afterparty @ Mackies Bar

saturday 3 november − watershed

screenings workshops
10.45 Days of Glory 2h 10m 13.15 Living and Working in the Creative Industries 45m
11.00 Double Bill: Culloden and The War Game with 14.30 Cultural Exploration: UWE Film Screenings 45m
Introduction 2h 15m 15.45 Wandsworth Prison Film Project 1h
13.25 Life and Debt 1h 35m 18.00 Shedloads/Cuisine Youth VJ Masterclass
15.15 The Lighthouse with Discussion 2h 05m A www.eshed.net event 1h
20.00 The Harder They Come with Discussion 2h 45m 20.00 Cuisine Eyefeeding Adult VJ Masterclass 1h 30m

22.00 the official compass afterparty @ the river

sunday 4 november − watershed

screenings
11.30 Double Bill: Dust and Girls with Introduction 2h 50m
11.15 The Battle of Algiers with Discussion 2h 50m
15.00 Continuous Journey with Discussion 2h 15m
20.00 Rang De Basanti with Introduction 2h 55m
workshops
12.00 Approaches to Resistance: Film Studies and Political Film 45m
13.15 Feminism, Film and Resistance 45m
14.30 A Poetics of Porn Resistance 45m
15.45 The Psychology of Resistance 45m

friday 9 november – kuumba

19.00 Friday Night Flicks
north the lighthouse with discussion
WATERSHED / SATURDAY 3 NoVEMBER (15.15)

double bill: dust and girls with introduction

WATERSHED / SUNDAY 4 NoVEMBER (11.30)

the lighthouse / mayak (15) dust / pyl (15)

saakyan, 2006, 80min loban, 2005, 107min

The outbreak of war in the town of her birth
forces Lena to leave Moscow, the city of her
escape, and return to this place of her past:
a small, unidentified village in a corner of
the Caucasus. Here her grandparents still
remain, amongst memories of her childhood,
and ghosts of a time she thought she had
left forever. The war is not a war of mighty
armies but a morbid, backstabbing war.
Amidst stifling silence it wages, eating away
at the fabric of the town. Despite the night
time bombs and shootings, Lena discovers
that her family cannot be persuaded to leave
and, finding herself also trapped, realises
she must become reconciled to this, her fate.
Loban’s protagonist accepts an offer to take part in
a scientific experiment that he hopes may transform
him into to the male form of his dreams. Disturbing
the dust that settles on our powers of perception,
Loban’s film falls somewhere between fantastic
realism and existential drama, acting as a point of
resistance to what we think we understand.
girls / devochki (15)
gai germanika, 2005, 46min
The camera follows three girls, caught on the
brink of departure from childhood, in and out of
their daily lives. Though the girls’ hysteria may
suggest a Russian womanhood of a different
century, Gai Germanika’s voyeuristic mini-dv
medium, and the insight it offers into their world,
is a truly contemporary experience.
in focus
Acting as a site of resistance to the main-
stream commercial cinema currently dominat-
ing the Russian market, the films that comprise
Compass North refuse to conform. Giving
voice, unveiling truth, and undermining tradi-
tional views of reality, we see here a unique
snapshot of contemporary Russia.
Presenting a mould of the experiences borne
by its creators, The Lighthouse refuses to cast
judgment, but states what was. A slow and
atmospheric film, it uncovers a piece of recent
history, recreating the experience of times that
may otherwise have slipped from memory.
Dust and Girls are both produced by Mikhail
Sinev, director of Kinoteatr.doc, the biggest
independent documentary film festival in Rus-
sia. Sinev seeks to unite a new generation of
Russian filmmakers that strive to portray a real-
ity reinvested with sincerity and objectivity,
coined by some critics as ‘new naturalism’.
in discussion
birgit beumers is Reader in Russian at the
University of Bristol, where she specialises in con-
temporary Russian culture. Her publications include
Nikita Mikhalkov (2005), PopCulture: Russia!
(2005) and, as editor, Russia on Reels (1999) and
24 Frames: Russia and the Soviet Union (2006).
She is currently working on post-Soviet cinema and
on the history of Russian animation.
maria saakyan was born 1980 in Yerevan,
Armenia. In 1993 she moved to Moscow. In
1996 Maria entered the Film Institute, VGIK, fac-
ulty of directing, and graduated in 2002. Farewell
was her diploma film. Maria has also produced
two short films The Game (2000), and Lullaby
(2002). The Lighthouse is her first feature film.
peter hames is Honorary Research Associate
in Film & Media Studies at Staffordshire University
and a programme advisor to the London Film
Festival. Work in progress includes The Cinema of
Jan Švankmajer and Cinemas in Transition.
west the harder they come with discussion
WATERSHED / SATURDAY 3 NoVEMBER (20.00)

life and debt

WATERSHED / SATURDAY 3 NoVEMBER (13.25)

the harder they come (15) life and debt (pg)

henzell, 1972, 120min black, 2001, 80min

Set in the ghettos of seventies downtown
Kingston to the classic soundtrack of a now
all-star reggae line-up, The Harder They Come
is based on the true story of a ‘40s criminal,
Rhygin, elevated to the canon of Jamaican
folk-law by his bad-man deeds and evasion
of bent cops. Here the story is retold, of a
country boy ‘gone a yard’ and determined
to make it big in the city. Learning fast from
dreams crushed by music industry sharks,
Ivan (Jimmy Cliff) deals and steals, taking on
the local gangsters and plying their trade.
Clashing with the police, Ivan cruises the
underbelly of Trenchtown in the wake of his
own notoriety: the classic anti-hero, loved both
on and off the screen.
Based on Jamaica Kincaid’s A Small Place,
Life and Debt is a probing documentary into
the social, economic and political legacy of
the island of Jamaica, and the effects of US
policy and external pressures on the lives of
ordinary Jamaicans. An unflinching investi-
gation into the crippling effects of interna-
tional debt, Black succeeds in presenting the
magnitude and reach of global economic
forces whilst telling a story rich in personal
incident and anecdote. Interspersing tradi-
tional documentary techniques with more
experimental styles, she binds her footage
in the compelling narrative voice-over of
Kincaid’s award-winning text.
in focus
Released in 1973 in New York to very
little initial acclaim, The Harder They Come
portrayed for the first time the gritty reality
of the Kingston streets, bringing to the
attention of the rest of the world this tiny
island bursting with cultural wealth despite
immense social poverty. The film began the
export, not only of the island’s home-grown
reggae music, but of an image and identity
that would become entrenched in popular
culture. Beginning the reggae revolution
that would sweep the world, Ivan’s now-
famous taglines voiced the plight of the
people, making him a champion of the
underdog, and lending a universalism to
the music that is reflected in its endurance
and continued popularity today. Quickly
recognised as a tour-de-force in action film-
making, the film laid the foundations, not
only for the development of Blaxploitation
cinema, but for contemporary classics such
as Do the Right Thing and Reservoir Dogs.
in discussion
yvonne brewster oBE was born in
Jamaica and came to England to study Drama
at Rose Bruford College in the Sixties. She has
worked extensively in theatre, film, television,
radio, drama schools and universities nation-
ally and internationally as producer, director,
lecturer, editor and actor. A founder member of
three theatre companies, The Barn (Jamaica),
Carib (UK), and Talawa (UK), she was Produc-
tion Manager for Jamaica’s seminal film The
Harder They Come.
Justine henzell is a freelance producer,
and production director for The Calabash
International Literary Festival. With a career
background in events entertainment she has
worked with Chris Blackwell of Island Jamaica,
and is a founding member of Women in Film
and Television, Jamaica Chapter. Living and
working in Kingston, Jamaica, Justine officially
oversees the international legacy of The Harder
They Come, co-written and directed by her
father, Perry Henzell.
D E D I CAT E D T O QUA LI T Y PRI N T I N G

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east continuous Journey with discussion
WATERSHED / SUNDAY 4 NoVEMBER (15.00)

rang de basanti
WATERSHED / SUNDAY 4 NoVEMBER (20.00)

continuous Journey (15) rang de basanti (15)

kazimi, 2005, 87min mehra, 2006, 158min

Continuous Journey investigates the events
surrounding Komagata Maru, a ship carrying
Indian immigrants which was turned away
from Vancouver, Canada by immigration
authorities in September 1914, only to clash
with the British police on its return to colonial
India. Kazimi uses this event as the starting
point for a deeply personal reflection on the
criss-crossing influence of imperialism on the
lives of ordinary people, and of the global
nature of both its reach and opposition. This
piercing documentary is as much about the
search for history as about its animation for a
contemporary audience.
Rang De Basanti is cast in the flamboyant
strokes of popular Indian cinema into which it
inserts bold experiments with time and place.
The film opens on a young British woman’s
quest to make a film about her grandfather, a
British colonial officer who had presided over
the execution of the anti-colonialist socialist revo-
lutionary Bhagat Singh. She is able to recruit
to her lead roles five young men and women
of a very modern India, that at first seems far
removed from the history-book country evoked
in her script. However, during the course of the
film, the five are transformed into their historical
counterparts, as the struggles and sacrifices of
the anti-colonial movement are discovered to be
just as urgent and relevant in the India of today.
in focus anti-colonialist narratives under the disguise of
While the predominant discernable image of historical or mythical fiction, this contemporary
India today, both at home and abroad, is that trend can be sampled by two very different
of a ‘new’ India – one that is breaking away films, that are at once fascinating, moving and
from its history as a ‘Third World’ country and highly entertaining.
swiftly metamorphosing into a brand new,
in discussion
shining nation that shares with much of the
Jyotsna kapur is the author of Coining for
world a modern global vision – its filmmakers
Capital: Movies, Marketing, and the Transforma-
seem strangely preoccupied with the past, in
tion of Childhood (2005), about the changing
particular the days of the British Empire. Unlike
representation of children as savvy ‘little adults’
the conventional genre of ‘historical recon-
in contemporary American cinema and capitalist
struction’, or the ‘period films’ most striking
expansion. Kapur is an Associate Professor in
within these, neither Continuous Journey nor
the Department of Cinema and Photography at
Rang de Basanti are concerned with showing
Southern Illinois University, Carbondale.
the past through elaborate costume or set
ali kazimi is an award-winning documentary
design. Rather, they openly and boldly present
filmmaker based in Toronto, Canada. Raised
their historical interpretations as a means of
in India, Ali Kazimi began his career as a self-
understanding the present and of dwelling
taught photographer. His filmography includes
within it. In these films, the present phase
Runaway Grooms (2005), Documenting Dissent
of India’s globalization is presented, not as
(2001), Some Kind of Arrangement (1998)
something new, but rather as a return of his-
and, as cinematographer, A Song for Tibet
tory. For a cinematic tradition that grew under
(1992), My Niagara (1993), and Bollywood
the shadow of colonialism, and couched its
Bound (2001).
south the battle of algiers with discussion
WATERSHED / SUNDAY 4 NoVEMBER (11.15)

days of glory
WATERSHED / SATURDAY 3 NoVEMBER (10.45)

the battle of algiers / la days of glory / indigènes (12a)

battaglia di algeri (15)
pontecorvo, 1966, 121min
Retelling one of the most violent and bloody
battles of modern history, The Battle of
Algiers depicts a significant episode in the
Algerian War of Independence. With an
even-handedness that belies the political
persuasion of its convenors, the film presents the
perspectives of both the French Colonialists and
the National Liberation Front, relaying in gritty
detail the atrocities committed on both sides.
The impression of realism is enhanced by the
episodic newsreel narrative that secures the film’s
position amongst the realist film movements of its
time; against this backdrop the film’s impressive
musical score adds a dimension and nuance
that serves to further enhance its immense power.
bouchareb, 2006, 128min
Days of Glory presents the forgotten history of
the 130,000 ‘Indigènes’ who were enlisted
by the French Army to liberate France from
Nazi occupation in World War II. Narrated
via the lives of four North African soldiers,
the film depicts their recruitment in the African
French colonies, their subsequent dispatch
to the front line in France and the varying
personal aspirations of the soldiers. This film
faithfully chronicles the prejudice and cruel
discrimination that these men suffered at the
hands of their French counterparts, and their
continuing courage and determination to
establish equality for ‘colonial’ soldiers fight-
ing upon French soil.
in focus
The varying receptions of The Battle of Algiers
over the years is testimony to the power of
the film, a power that goes beyond armchair
appreciation and forges its way into political
reality. Banned by the French government until
1971, The Battle of Algiers was taken up by
guerrilla movements such as the Viet Minh in
Vietnam and the IRA in Ireland. The film still holds
immense influence today: the film was felt to be
so relevant to the current political climate that the
Pentagon famously arranged an in-house screen-
ing for functionaries in an effort to draw ideologi-
cal lessons in connection with the handling of
insurgency in Iraq. The film’s legacy of didacti-
cism can be in part attributed to Saadi Yacef,
who both wrote and starred in this legendary
film. Yacef was an Algerian revolutionary actively
involved in the uprising, who helped establish
the first post-colonial government. Yacef acted
as a guide in researching the film, bestowing his
first-hand knowledge of the contexts and nuances
that we see conveyed so beautifully in the film.
Though the film ends with the fall of Algiers to the
French, a coda to the film suggests that although
the Colony won the capital, the Liberation Army
were to win the war.
Rewinding a decade, Days of Glory paints
some of the political background to the War of
Independence, depicting a very different battle,
in which North Africans from many of the colo-
nies threw their heart and soul into protection of
France against Nazi Invasion. With France itself
occupied, the majority of the French army was
composed of these men, though after France had
won its freedom they were never recognised,
robbed of their pensions and written out of
the history books. After seeing the film, French
President Jacques Chirac agreed to restore
veterans’ pensions to the North Africans who
fought alongside French troops during the war.
in discussion
roland-françois lack is a Senior Lecturer
at University College London, where he teaches
French and Film.
centre double bill: culloden and the war game
with introduction
WATERSHED / SATURDAY 3 NoVEMBER (11.00)

culloden (12) the war game (12)

watkins, 1964, 69min watkins, 1965, 48min

Hailed as a landmark piece of documentary In the microcosmic setting of a small Kentish

cinema, not only for the powerful innovation
of its cinematography, but also for its incred-
ible cast of amateurs, Culloden portrays the
Jacobite uprising and 1746 Battle of Culloden
that changed beyond recognition the social
and political landscape of the Scottish
Highlands, wiping out forever the traditional
clan system, and the way of life that belonged
to it. originally broadcast by the BBC on 15
December 1964, Watkins’ first feature-length
is described in its opening credit as ‘an
account of one of the most mishandled and
brutal battles ever fought in Britain’.
town, The War Game unflinchingly depicts
the potential impact of nuclear attack on
Britain. The film is set over several months
in the run-up to a Soviet nuclear offensive,
sparked after war breaks out between USSR
and NATo. Enlisting, once again, an amateur
cast comprised of local people, Watkins
re-employed the ‘man-on-street’ reportage
integral to his docu-drama technique, with all
its power of gritty realism. The film won the
Academy Award for Documentary Feature in
1966, despite the fact that the BBC’s censor-
ship of the film meant it was not transmitted
until 1985.
in focus
Watkins’ use of pseudo-documentary tech-
niques and non-professional actors carries a
real-time/real-life atmosphere to the screen
that credited him as one of the most innovative
filmmakers of his time. In Culloden and The
War Game, Watkins’ process encouraged
an experiential investigation into the history of
the people. Watkins’ techniques challenged
documentary convention and raised questions
about the ‘reality’ to which supposedly unbi-
ased media reportage pertained. The brutal
depiction of battles and bloodshed that infuse
Culloden’s landscape struck a blow particu-
larly close to home and the contemporary
political troubles in Vietnam. Watkins intended
to ‘draw a parallel between these events and
what had happened in our own UK Highlands
two centuries earlier’. In fact both Watkins’
films allegorise war and comment on the
machinery with which establishments seek
to preserve the status quo. As head of the
documentary department at the BBC, Watkins
went on to direct the notorious The War
Game. Scheduled for transmission on 6
August 1966 (the anniversary of Hiroshima)
The War Game came at a volatile time,
placed as it was against the backdrop of
political debate and public fear surrounding
the nuclear arms race. In fact it was not trans-
mitted until 1985, a public statement issuing
that ‘the effect of the film has been judged by
the BBC to be too horrifying for the medium of
broadcasting’. Having received pressure from
the government, the BBC took the measure
of banning the film from broadcast, eventu-
ally leading to Watkins’ resignation from the
corporation. The War Game has only recently
been available for theatrical screenings.
in discussion
Introduction to the double bill provided by
mike wayne, who teaches and researches
Film & Television Studies at Brunel University.
School of Creative Arts
Media-related courses:
Undergraduate
Animation

www.uwe.ac.uk
Drama
Film Studies
Journalism
Media and Cultural Studies
Media Practice

Postgraduate
Cultural and Media Studies
Documentary Film and Video
Check our Journalism
website for Media (Animation/Graphic Arts/
Open Day Interactive Arts/Screenwriting/
Video Arts)
dates
New Media
UWE is the main sponsor of the 2007 Research Degree
Compass of Resistance International Film Festival
UWE08/16a

start here, go anywhere

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conference and film festival that attracts leading cult
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Image courtesy of Synapse Films Limited ©


13.15–14.00
living and working in the creative
industries
sam smith – transition tradition
Do you wish you could make a living from something you actu-
ally enjoy? Are you interested in a career in film, TV, music or
design? If so, this is the workshop for you! Sam Smith founded
Transition Tradition (www.transitiontradition.com) in order to help
people build careers in the creative industries. She will help you
think about your talents and give you information about specific
jobs and opportunities.
WATERSHED (WATERSIDE 2)
SATURDAY 3 NoVEMBER
14.30–15.15
cultural exploration
uwe film screenings
Cultural Studies grew in a climate of resistance: Richard
Hoggart, Raymond Williams, Stuart Hall and Angela McRob-
bie are among the people who developed the discipline in
Britain. Students in the Department of Culture, Media & Drama
at UWE are encouraged to reflect on their practice critically
and politically. Here recent graduates present a selection of
short films that seek to explore our experience of culture and
the everyday.
15.45–16.45
wandsworth prison film proJect
deirdre o’neill – inside film and filmmak-
ers anthony dickson, ezeikiel may and
leslie trail
These films are the result of a project that took place in HMP
Wandsworth in 2006, and developed out of a belief in the
potential of film as a radical pedagogic tool. Prisoners – the
majority of whom are black and/or working class and who
include the homeless, the mentally ill, the permanently unem-
ployed and the ghettoized – represent an ever expanding but
rarely heard symptom of the logic of a global capitalist system
where those who suffer from the crime of material inequality
are warehoused.
Produced by the inmates themselves and crucially, represent-
ing their own viewpoint, the films deal with issues of right
and wrong, justice, and represent a real intervention in the
cultural processes that dominate their lives. All of the films
are grounded in their own experiences, providing a space in
which to explore their knowledge of the world in a language
that is their own.
(www.insidefilm.org)
cuisine presents vJ school
18.00–19.00
shedloads youth vJ masterclass (ages 14–21)
a www.eshed.net event
20.00–21.30
eyefeeding adult vJ masterclass (ages 21+)
Cuisine, the Bristol/Paris-based audio-visual media outfit will showcase
some of their non-conventional projections on 3D structures, give away
some of their Wiimote and Gameboy hacking tricks, and share their
love for multi-projections, ‘lighting sculptures’ and ‘mapping’ techniques.
With special guests from the European visual media circuit, they will
introduce participants to state-of the-art software and equipment and
engage with attendees about their relationship to new technology and
creative media in a practical and educative environment.
22.00–02.00 @ the river
the official compass afterparty
The official Compass Afterparty will see Cuisine and their guests
present an audiovisual buffet, bringing this cutting-edge, youth-
driven and highly progressive creative medium out from the
underground and into the film festival arena.

12.00–12.45
approaches to resistance: film studies and
political film
dr greg tuck – uwe
This workshop aims to introduce participants to a number of
approaches to the study of political film within the discipline of
film studies. It will begin by defining how film studies sees all film
as in some sense ‘political’, but not necessarily political in the
same ways. It will then discuss how different types of filmmak-
ing, both documentary and fiction, have been used to promote
resistance in both overt or more coded forms.
WATERSHED (WATERSIDE 1)
SUNDAY 4 NoVEMBER
13.15–14.00
feminism, film and resistance
dr kathrina glitre – uwe
The idea of resistance is central to many feminist films, from
Riddles of the Sphinx (1977) and A Question of Silence
(1982) to Born in Flames (1983) and The Piano (1993). Femi-
nist resistance was articulated not only through narrative, but
also through genre, style and form. In the age of the post-femi-
nist chick flick, is there still space for feminist resistance – or is
cinematic pleasure now simply irresistible?
14.30–15.15
a poetics of porn resistance
dr xavier mendik – cult film archive
Leading ‘dark star’ of European exploitation cinema Sole-
dad Miranda is best remembered for the surreal creations of
maverick Spanish horror director Jesús Franco. Cast as either
an undead, dying or death/revenge driven heroine whose
past transgressions involve sex, violence and incest-bound
retribution, these taboo fuelled texts accentuate the sensual and
sadistic elements of female sexuality in a disorientating and
disturbing manner, with Miranda and Franco’s ‘horrotic’ texts
functioning as a site of possible resistance to the presumed
pleasures inherent in heterosexual pornography/erotic cinema.
15.45–16.30
the psychology of resistance
dr graeme mcgrath
Dr Graeme McGrath is a Consultant Psychiatrist and Psychoana-
lytic Psychotherapist. He also spends an inordinate amount of
time watching movies. The workshop will offer a psychoanalytic
perspective on some films to be shown during the festival. As
well as reflecting on psychological factors involved in political
resistance, the workshop will consider why we as individuals
might be drawn to engage with these films.
 cube microplex
SUNDAY 21 oCToBER (19.00)

five minutes of mayhem!

experimental short film competition and exhibition

Are you ready to have your mind warped, your understanding eclipsed, your horizons broadened? From
digital art to manipulation of the film medium, Radical Reels: Five Minutes of Mayhem! presents some of
the best examples of contemporary video art and experimental moving image. Enter into the arena of the
cinematic avant-garde, and feast upon a smorgasbord of narrative and form-bending five-minute delights
from both close-to-home and far-and-wide.

Prizes for Best Film, Most Experimental Film and Audience Award, with an additional Young Filmmaker
prize, will be awarded by expert judges who will also offer a practical insight into the industry. Meet
some of the creators of these radical reels against the backdrop of bleepy noises and suggestive sound-
scapes, as local DJs spin experimental beats and basslines in the Cube Microplex bar.
 The RiveR, BoRdeaux Quay
saturday 3 november (22.00–02.00)

the compass film festival afterparty will see Cuisine and narrative labs [uk]
sprung from the avit vJing
their guests present an audiovisual buffet using the most refreshing quality food for festival this creative
laboratory explores the
the ears and the eyes. (free ticket to be collected from watershed box office) importance of narrative
within live visual performances.
www.nlab.org.uk
Cuisine, the Bristol/Paris based outfit has been serving their own blend of visual
delicacies and sonic treats across Europe in various formal and not so formal pikilipita [fr]
world exclusive! the french vJ
spaces. Ranging from clubs, parks & digital media festivals to exhibition halls & software developer’s first game-
abandoned buildings, Cuisine showcase their unique visuals and cutting-edge boy advance copies
will be available for sale.
techniques in increasingly diverse ways. www.pikilipita.com

Aimed at presenting innovative and interactive events that place equal emphasis crustea [fr]
introduction to the mapping
on moving image and sound, they have developed a highly personal approach technique which allows
to the art of eyefeeding. Get your knife and fork, the table is set. proJections on any shape and
3d structure rather than
standard 4:3 screen.
also check out cuisine masterclasses (shedloads & eyefeeding) as part of www.antivJ.com
the compass film festival main programme of events.

damien schneider [fr]

www.cuisining.com / www.eshed.net
simplexity, an idea explored
by damien in his pursuit of the
perfect balance between high-
energy rythms, elegant
melodies, minimal sounds and
full-on tracks.
 kuumba
HALLoWEEN, WEDNESDAY 31 oCToBER (18.00)

urban spoken word freestyle event

From oral traditions that predate literacy all the way through to the rap
music pioneers of the Bronx, poetry has been a force that contains the
power to inform, shape and change perceptions of the world around
us. one person and their words: resistance doesn’t come much purer.

Rhymes of Resistance is proud to present an evening of urban poetry:

a freestyle event that will provide a voice to those often unheard,
showcasing some of Bristol’s finest poets (including slam champion
Byron Vincent), and featuring an open mic session for up-and-com-
ing wordsmiths. Register your submissions prior to the event with the
festival team! Further details at www.compass-film.co.uk.

21.00: hip hop halloween afterparty @ mackies bar (stokes

croft) – fancy dress optional
 kuumba
FRIDAY 9 NoVEMBER (19.00)

Screening a mix of home-grown films, from local talent to cinema

from further shores, the rich cultural mix of the city of Bristol will be
represented on the silver screen.

The evening will include a screening of local filmmaker Lawrence

Hoo’s powerful documentary Inner City Tales set in Easton & St. Pauls
that graphically lays bare the tense issues of street-life in these areas
of the city. The evening will also showcase the winning films from the
BFM International Film Festival 2007 shorts competition.

Friday Night Flicks explores the histories of many local people, and
hints at the patchwork of stories that make up our community.

kuumba bar: enJoy the tunes and tuck into some authentic
Jamaican cuisine
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www.compass-film.co.uk
compass film cic is a not-for-profit community interest com-
pany, dedicated to opening up ignored areas of visual culture, and
to enabling access to a wide range of moving image and critical
debate for the general public, those that currently lack access, as
well as dedicated film interests. We aim to provide a vital space for
skills development, growth and reflection around moving image, and
to nurture a grassroots cultural organisation that will represent and
contribute to the creativity and diversity of the South-West region.
Company HQ: 19 Albany Road, Bristol, BS6 5LQ
All those who work for and participate in The Compass of Resistance
Film Festival do so on a voluntary basis, for the love of film and belief
in the cause. Many Thanks.
Samantha King festival director, Tara Sachdeva festival director,
Daniel Lindvall expert advisor, Per Linnertz expert advisor, Satish
Sachdeva expert advisor, Graeme McGrath expert advisor,
Robert Mayers art director, Matt Whitford accountant, Maya
Alexander marketing officer, Milla Kontkanen press officer,
Ben Newman illustrator, Øivind Hovland illustrator, James
Ling competition coordinator, Milla Kontkanen competition
coordinator, Barney McGrath musical events coordinator,
Daniel Love event organiser, Tara Sachdeva editorial, Alex Turner
photographer.
website design & maintenance
Nick Tuckwell, Robert Mayers, Øivind Hovland.
volunteers
May Yao, Karen McCandless, Nicky Butcher, James Ling, Zoey
Roberts, Pavan Heire, Rosie Armistead, Eric Davis, Matt Warren,
Cleis Masterson, Tom Maxted, Alex Caine, Luke Roberts, Joe
Barker, Hannah Driscoll, Rosa Cosmelli, Nadia Aranca, Daniel
Palmer.
compass speakers
Birgit Beumers, Maria Saakyan, Peter Hames, Yvonne Brewster,
Justine Henzell, Roland-François Lack, Ali Kazimi, Jyotsna Kapur,
Kathrina Glitre, Greg Tuck, Mike Wayne, Deirdre o’Neill, Anthony
Dickson, Ezeikiel May, Leslie Trail, Graeme McGrath, Xavier Mendik,
Sam Smith, Joanie Lemercier, Lawrence Hoo, Byron Vincent.
special thanks to
Robert Mayers, Barney McGrath, Daniel Love, Daniel Lindvall, Per
Linnertz, Martin Degrell, Satish Sachdeva, Nick Tuckwell, Øivind
Hovland, Ben Newman, May Yao, Birgit Beumers, Amirah Cole &
the Kuumba team, Madeleine Probst & the Watershed team, Liam
Kirby & the Cube team, Matt Whitford, Kathrina Glitre, Mark Bould,
Greg Tuck, Paul Gough, Masoud Yazdani, Gabriel Solomons,
Sam Smith, Peter Watkins, Nicholas Boritch, Joanie Lemercier, Fleur
Buckley, Katie Crowden, Tom Hoyle, Lorraine Leaney, Sarah-Jane
Meredith, Karen Alexander, Kelsie (Jongleurs), Helen Spencer,
Damon Mills, Tom Clark (Revolver), Xavier Mendik, SPAT-C, Graeme
McGrath, Elizabeth Brown, Lawrence Hoo, Byron Vincent, Colin
Brown (Poetry Can), Ed Jenks (Jam Jar), Pam Sachdeva, Tom Bell
and Lisa Cullen (Axiom Films), Bobby Blackstock (Gutenberg), Helen
Almond (Metrodome), Subline, october, Peverelist, Barry Steppa,
The River, the ATTIC, Knowledgist, Leon, the Unmuzzled ox, and
our hugely supportive friends & families.
how to become a patron
If you are interested in supporting Compass Film at this exciting
stage in their development, please contact one of the festival
directors: Sam King (sam@compass-film.co.uk) or Tara Sachdeva
(tara@compass-film.co.uk).
 festival tickets are available now
from watershed box office
0117 927 5100 / www.watershed.co.uk

single entry tickets
Watershed & Kuumba Events £6 (full) / £4 (conc.)
Cube Microplex £3 (non-member) / £2 (member)
Workshops £2.50 per session (excluding vJ masterclasses)
please check festival website for age restrictions for workshops
Shedloads Youth VJ Masterclass (ages 14–21) £2 (please bring
proof of id, e.g. nus). a www.eshed.net event
Adult VJ Masterclass (ages 21+) £10 (full) / £8 (conc.)
final film. Advance tel. bookings can be made until 2030hrs seven
days a week. Concessions apply to full-time students, claimants,
Asylum Seekers, over-60s and disabled people. Please produce proof
of eligibility where applicable when purchasing a ticket. Please note:
there will be no further ticket sales for a performance from 15 minutes
after the advertised start time and late entry to the cinema for ticket
holders is at the discretion of the House Manager.

watershed
All single entry tickets available to book in advance from 1 Canon’s Road, Harbourside, Bristol, BS1 5TX
Watershed Box office. Tickets are available on the door of each E: info@watershed.co.uk
respective venue on the night of the event (subject to availability). W: www.watershed.co.uk
Box office: 0117 927 5100
The official Compass Afterparty at The River: free ticket to be
collected from Watershed Box office. kuumba
20-23 Hepburn Road, St Paul’s, Bristol, BS2 8UD
ticket bundles (five for the price of four!) E: info@kuumba.org.uk
Bundle £24 (full) / £16 (conc.) W: www.kuumba.org.uk
Available from Watershed Box office (subject to availability). Box office: 0117 942 1870
This offer excludes entry to workshops, VJ Masterclasses and
Cube Microplex. cube microplex
4 Princess Row, Kingsdown, Bristol, BS2 8NQ
box office E: cubeadmin@microplex.cubecinema.com
Watershed Box office is open Mon to Fri from 0900hrs / Sat & W: www.cubecinema.com
Sun from 1000 hrs. Box office closes 15 minutes after start of the Box office: 0117 907 4190
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