Cinema Releases - Bogancloch
Bogancloch is where Jake Williams lives, nestled in a vast highland forest of Scotland. The film portrays his life throughout the seasons, with other people occasionally crossing into his otherwise solitary life. At the heart a song, an argument between life and death, each stating their case to rule over the world. The film is without exposition, it aims at something less recognisable, a different existence of reality observed in discrete moments. A sequel to Two Years at Sea (2011), charting a subtly changing life in a radically changing world.
Week commencing May
| tbc | ||||
Week commencing May
| tbc | ||||
Week commencing May
| tbc |
Week commencing May
| tbc | ||||
Ben Rivers is an artist and filmmaker represented by Kate MacGarry Gallery in London. Awards include the EYE Art Film Prize, 2016; FIPRESCI International Critics Prize, 68th Venice Film Festival for his first feature film Two Years At Sea; Baloise Art Prize, Art Basel 42, for Sack Barrow; Paul Hamlyn Foundation Award for Artists, 2010; twice winner of the Tiger Award at Rotterdam Film Festival, twice shortlisted for the Jarman Award, and was a Radcliffe Fellow at Harvard University in 2015.
Recent solo shows include Urthworks, Hestercombe Gallery, Somerset; Phantoms, Triennale, Milan; Urth, The Renaissance Society, Chicago; Islands, Kunstverein of Hamburg; Earth Needs More Magicians, Camden Arts Centre, London; The Two Eyes Are Not Brothers, Artangel, London and Whitworth Museum, Manchester.
His work is held in collections including Tate Modern, Hamburg Kunsthalle, FRAC, Ville de Geneve and National Museum of Scotland.
| FEATURES | ||
| 2019 | Krabi, 2562 | Co-directed with Anocha Suwichakornpong |
| 2015 | Sunshine for the Poor | |
| 2015 | The Sky Trembles and the Earth is Afraid and the Two Eyes Are Not Brothers | |
| 2013 | A Spell to Ward Off the Darkness | Co-directed with Ben Russell |
| 2011 | Two Years at Sea | |
| CAST | ||
| As Himself | JAKE WILLIAMS | |
| Students as themselves: | EMILY ANDERSON | |
| LUCAS BROWN | ||
| LOGAN CAMERON | ||
| FAY CRAVEN | ||
| TYLER CUTTS | ||
| BRODIE HENDERSON | ||
| KYLA KINGS | ||
| AILSA LIPP | ||
| DECLAN LORIMER | ||
| ROWAN MAY-BLAKE | ||
| KAIDEN MILNE | ||
| ANGEL NWEKE | ||
| CALUM STEPHEN | ||
| Choir: | NEREA BELLO | |
| SHANE CONNOLLY | ||
| ALASDAIR ROBERTS | ||
| RACHEL SMILLIE | ||
| KENG KENG TANG | ||
| TOMÁS DIMBLEBY WEBER | ||
| CREW | ||
| Written and directed by | BEN RIVERS | |
| Producers | JOHN ARCHER, SARAH NEELY, BEN RIVERS | |
| Co-Producers | ZSUZSANNA KIRÁLY, HANNA BJÖRK VALSDÓTTIR | |
| Executive Producer for Screen Scotland | MARK THOMAS | |
| Musical Director | ALASDAIR ROBERTS | |
| Sound Recording | LUKE FOWLER, BEN RIVERS, | |
| BECKY THOMSON, MARK VERNON | ||
| Director of Photography | BEN RIVERS | |
| Sound Design | CHU-LI SHEWRING | |
| Re-recording Mixer | BJÖRN VIKTORSSON | |
| Production Assistant | KIT JONES | |
| Stills Photography | LUKE FOWLER, KIT JONES, MARGARET SALMON | |
| Archive Researh | GRAEME ARNFIELD | |
| Line producer | ISABELLE TILLOU | |
| Sound Mixing Facilities | AKKERI STUDIO | |
| Aerial Photography | TVP STUDIOS, GREG BARTLET | |
| Catering and Technical Support | MHARI ROBERTSON | |
| at The Gordon Schools | ||
| Film Labs | KODAK FILM LABORATORY | |
| Scanning | DIGITAL ORCHARD | |
| Post Production Services | THE POST REPUBLIC GmbH | |
| In-house Producer | SAVIO DEBERNARDIS | |
| Head of Picture | THOMAS LEHMANN | |
| Colorist | IVAN MARKOVIĆ | |
| Titles | MARCUS JACK | |
| Access Materials | SCREEN LANGUAGE | |
| Subtitles | BABELFISCH TRANSLATIONS | |
| Bookkeeping | JOHANNA BLAIR | |
| Accountant | KEN LIVINGSTONE | |
| Insurance | WK INSURANCE | |
| Thanks to: | Sonny Adamovich, Georgina and Debbi Beeson | |
| George Clark, Samuel Clark, Jeremy Cooper, | ||
| Deberon Projects, Liza Dimbleby, Gareth Evans, | ||
| La Fetiche, Luke Fowler, Struan and Isla Gardner, | ||
| Paul Harnden Shoemakers, James Holcombe, | ||
| Jolanka Höhn, Caroline Lawrence, Ruhan Lottering, | ||
| Helen Mans, Bob Mean and The Gordon Schools, Huntly | ||
| Martin McGlone, Benjamin Mirguet, Kirsten Niehuus, | ||
| Timi Oladeji, Andrea Queralt, Dan Redrup, | ||
| Michael Reuter, Ben Russell, Margaret Salmon, | ||
| Corin Sworn, Antoine Thirion, Mhairi Valentine, | ||
| Con Weber, Harry Wilson, Ricky Wood, Oliver Zeller, | ||
| Andrea Luka Zimmerman | ||
| Blue Skies', composed by Irving Berlin, 1926 | ||
| The Underground' by Seamus Heaney, | ||
| From Station Island (Faber, 1984) | ||
| ©The Estate of Seamus Heaney, 1984. | ||
| The Flyting o' Life and Daith', | ||
| words by Hamish Henderson, 1965. | ||
| Tune by Alison McMorland. | ||
| Harmony arrangement by Alasdair Roberts | ||
| When They Laid You in the Ground' | ||
| composed and performed by Dave Goulder and Liz Dyer, | ||
| with the Broken Consort, 1971 | ||
| Singing in the Bathtub', composed by Michael H Cleary, | ||
| with lyrics by Herb Magidson and Ned Washington, | ||
| for the musical film The Show of Shows | ||
| (dir. John G. Adolfi, Warner Bros, 1929) | ||
| Supported by the National Lottery through Screen Scotland | ||
| For Screen Scotland | ||
| Executive Director | ISABEL DAVIS | |
| Head of Unscripted | DANI CARLAW | |
| Head of Production | STEVEN LITTLE | |
| Legal Manager | MARK WILSON | |
| Legal Services | NEIL GILLARD, WIGGIN LLP | |
| Additional funding from" | MEDIENBOARD BERLIN-BRANDENBURG | |
| ICELANDIC FILM CENTRE | ||
| Director | GÍSLI SNÆR ERLINGSSON | |
| Consultant | HELGA BREKKAN | |
| FidMarseille | FIDLAB 2021, KODAK - SILVERWAY PRIZE | |
| ©Urth Productions 2024 | ||
| Running time 86 minutes | ||
| In English / UK, Germany, Iceland | ||
| World Premiere Locarno Competition |
'Ben Rivers' glorious new film continues his fascination with a Scottish forest-dweller. The pleasure of the film is that, if you are willing to spend some time with Jake on his own terms, there is an ease that comes with it.'
John Bleasdale, Sight & Sound
'...an especially beautiful illustration of the insight that documentary realism needn’t preclude wild flights of fancy.'
Max Goldberg, Inland Empires, Film Comment
'There's something Hitchcockian in the water: in the sustained tension of the extended sequence that patiently tracks the before, during and after of the plot's central murder, further implicating us at ech stage; but also in Guiraudie's eye for mordant humour. With its consistent attention to contingent absurdities, the film could be classed as a comedy. Mercy it turns out, is a messy business.'
Ben Walters, Sight & Sound
'There is less of the whimsy here that was in Two Years at Sea which included magical realist moments of levitation. Our perspective is still ultimately drawn up into the sky, but in a manner that, as our attention is turned towards the light of the cosmos, emphasises the humble scale of all on our planet, and one human's life.'
Carmen Gray, The Film Verdict
'Bogancloch aligns with the principle of slow cinema, eschewing plot in favor of focussing on seemingly insignifcant details. Nature plays a crucial role in Williams' life, and his wanderings through the lanscape offer moments of mediative tranquility. Living off the grid, Williams embraces a lifestyle free of modern anxieties and distractions, embodying a return to basics reminiscent of Thoreau's Walden in a world increasingly dominated by data and algorithms."
Martin Kudlac, Screen Anarchy
'Ben Rivers' glorious new film continues his fascination with a Scottish forest-dweller. Bogancloch is an intimate and poignant yet wholly unsentimental story about a man who's fighting to defend his own freedom.'
Muriel Del Don, Cineuropa
'It's a blessing that Ben Rivers wanted to visit thi sman's life again, and his flowing filmmaking style is still bewitchingly gripping.' Ali Ercivan, International Cinephile Society
Interview with Ben Rivers from Locarno (YouTube)
Film Comment Interview by Giovanni Marchini Camia with Ben Rivers
Download 3 larger photos
Download more photos