Athens International Film Festival
aiff

CENSOR

26/09/2021, 22:15, RIVIERA
29/09/2021, 22:15, STELLA

In Thatcherian England, a female horror film censor has become accustomed to cutting brutal scenes with mostly female victims. One film, however, will remind her of the events surrounding her sister’s disappearance, and her repressed memories will return to leave the final cut of her life uncensored. The surprise horror we have been waiting for, for ages, with earnest devotion to the 80s and made by women who undermine the male gaze, constantly moving between the boundaries of what is entertaining and what is disturbing, leading to one of the most brilliant plot twists of the genre in recent years.

UK | 2021 | COLOR | DCP | 84’ | ENGLISH

England, 1980s. Thatcher and video nasties reign in TV and invisible videoclub counters. A time when censorship still mattered. Enid, a censor of horror nasties, is faced daily with hundreds of images of cruelty, most of which towards females. A film though will remind her the detailed circumstances of her sister's disappearance. "Censoring" her repressed memories can no longer save the final cut of her life. Delightful brit-horror, pretty much of female authorship (writing, directing, acting, producing, photography, music and production design) that next to its 'midnight' euphoria places the relationship between censorship editing and the therapeutic editing of one's troublesome memories. I.D.

DIRECTOR: Prano Bailey-Bond
SCREENWRITERS: Prano Bailey-Bond, Anthony Fletcher
DoP: Annika Summerson
MUSIC: Emilie Levienaise-Farrouch
EDITOR: Mark Towns
PRINCIPAL CAST: Niamh Algar, Nicholas Burns, Vincent Franklin, Sophia La Porta, Adrian Schiller, Michael Smiley

PRANO BAILEY-BOND
Director and screenwriter, who worked extensively as an editor. She studied at London College of Printing and initially worked in music videos and shorts. This is her feature debut and was presented in Sundance Film Festival.

FILMOGRAPHY
2021
Censor



    Publication date: 2021-09-14 14:37:27

    POSSESSION

    POSSESSION

    The legendary Polish director succeeded in offering up one of the most thrilling film experiences of the 80s, though it was censored in many countries for a number of years. In this film he chronicles the end of a marriage in the midst of a divided Berlin, camouflaging a family drama in an almost surreal horror film getting from Isabelle Adjani one of the most breathtaking female performances we have seen, which rightfully earned her the Best Actress award at the Cannes Film Festival. Screening dedicated to Tasos Theodoropoulos.

    THE SADNESS / KŪ BĒI

    THE SADNESS / KŪ BĒI

    A couple try to reconnect in the midst of chaos caused by a pandemic in the city, as a mysterious virus turns people into sadistic beasts with invincible libidos, capable of the most unimaginable violence. A pandemic horror from Taiwan presented as a profane extravaganza of outrageous outbursts full of pure misanthropic carnage, ruthless zombies and nihilistic satire, tailor-made for macabre giggles in the dark. The grindhouse blood diamond of the year marks the end of politeness and order and the beginning of “The Sadness”.

    PRISONERS OF THE GHOSTLAND

    PRISONERS OF THE GHOSTLAND

    
In a post-apocalyptic universe, Nicolas Cage, in his leather clad outfit, must save the captured daughter (Sofia Boutella) of a corrupt governor before the bombs attached to his testicles go off. The first English-speaking film for Sono, a Japanese debut for Cage, destiny finally brings together the two savages of cinema who see eye to eye, and all that ensues is nothing but a Sergio-Leone-like wet dream the artform has about itself, alternatively it is the ultimate coming together of samurai and western films. If “Mandy” was the starter, you might as well get ready for the main course.

    IN THE EARTH

    IN THE EARTH

    
While the planet is plagued by a virus, a scientist and his guide search the woods for traces of a co-worker and former lover, coming face to face not with the perplexing details of her mysterious disappearance but with the certainty that someone is watching them and that something evil lurks between the trees. Atmospheric, kooky, chilling, psychedelic: this is Ben Wheatley's trippy return to horror and to the Festival's late night screenings.

    LAST NIGHT IN SOHO

    LAST NIGHT IN SOHO

    
A young country girl hoping to become a fashion designer in London, finds herself mysteriously traveling back in time to the swinging 60s, spying on the frenzied days and nights of an aspiring singer (Anya Taylor-Joy of “The Queen's Gambit”). Soon, however, her journey back and forward in time starts to become dark and threatening. The most anticipated horror film of the year, by the virtuoso British director of "Shaun of the Dead" and "Baby Driver", is a spectacular psychological thriller, something between Roman Polanski's "Aversion" and Dario Argento's "Suspiria", gradually transforming an exciting mystery into a Grand Guignol nightmare.