While out hunting in west Texas Llewelyn Moss finds the drug deal gone wrong, then discovers the “last man standing” dead with the brief case under a tree. Llewelyn removes the trace, buries it at the feet of the man and goes home to tell his wife it’s time for a new life in a new state, where they go and live a wonderful life happily ever after.
The Fugitive
Doctor Kimble is charged with murder by a DA who didn’t do his homework. Kimble’s defence counsel proves to the judge and jury that Kimble couldn’t have done it, had no motive to kill her. Case is dismissed, leaving the police to DNA trace the one-armed man – they do. He leads them to Dr Nicholls. He and the one-armed man go to jail for life
The Godfather
Michael Corleone at the marriage reception of his sister decides life as a mafioso is not for him. His father at a loss out buying oranges is shot and dies in hospital, apparently by suffocation. Sad but resolute Michael marries his girlfriend joins the Democrats, goes into politics and is elected to Congress. The Corleones divide their father’s fortune between family members and decide on a side by side middleclass Condo existence down in Florida.
I am a writer, novelist, living and writing on the south coast of France, where I swim and continue renovating my apartment.
I am very close to finishing a novel set in 1963. My recently published novel Out of Competition, published by JEF Books, Illinois, October 1, 2024 won the Kenneth Patchen Award for the Innovative Novel.
Humorously subversive. It goes so fast I read it in two days. A must for anyone with a love of cinema and its festivals. And the most irreverent novel written about the South of France
5 OUT OF 5 STARS
Ten Years is Enough!
Read-fest UK, 9 September 2025
A sharp satire about democracy set in a Riviera Film Festival facing collapse as young cineastes demonstrate against privilege and lack of transparency in the annual voting shakedown, the novel opening with the kidnap off the streets of a desperate bankrupt Hollywood producer cadging money wherever he can
Oliver Stone’s film Alexander shows the power of war as a means to extend power. With JFK, Stone followed and unravelled at least part of the story of how Jack Kennedy – who began a process of rolling back war as the means for the extending and using power exporting America’s cultural power peacefully – was brutally cut down in his prime.
A three-bird Cockatoo convention visited me soon after I arrived home yesterday, tapping on my window, asking for a conversation. I gave them some nuts, guessing they were down from the fire-affected forests, and they headed off.
Christian Mihai discusses his ideas on unreliable narrators, something he likes to see writers use, and a technique he says he uses himself. Still, he misses a fundamental point – all narrators, storytellers, dramatists, poets, are unreliable. From Homer, Shakespeare to Sartre, no writer tells, gets close to ‘the truth’, even if he or she is prepared to die in the process of collecting all the observable details of a factually based fiction.
Do we trust Tolstoy’s account of Napoleon in War and Peace? Perhaps… if we are Russian.
Narrator unreliability doesn’t have to be a first person account, though the most obvious modernist exploitations of narrator unreliability in fiction use that form. The best approach – for this writer at least – is when the writer sets out to deceive us, and by convincing us that he or she has told the truth, transfers any doubt on narratorial reliability to a reader’s interpretation of the tale.
..handheld shaky cam, found footage, ultra-violence, meta-storylines, etc., all becoming part of the broad pop cultural landscape and assimilated into the commercial marketplace. This translates across all cultural lines – music, art, technology, etc. as the outsiders and untouchables of yesteryear are today’s TV spokesmen and tastemakers..
…experimental film seems to represent more fully the true potential and magic of cinema
…for brief moments in history, think the ‘beats’, the real ground-shakers, the true risk-takers, manage to do something that is life and culture affecting, their minds drafting the future…
From one of cinema’s earliest experimental films, Luis Buñuel’s Un Chien Andalou (1929), to Maya Deren’s Meshes of the Afternoon (1943), winner in 1947 of Cannes’ Grand Prix Internationale for 16mm experimental film, on to the films of Cocteau, Godard, Tati, Fellini, Lynch, Cronenberg and others, the notion of the film experiment inspires admiration, distaste, love and hatred in film audiences. Commercial movies (frantic pacing, hackneyed surprise, worn-out tropes, special effects barages), with their hero and quest driven narratives, seem diametrically opposed to the whimsical, subjective, interior, asymmetric, disjointed, dream-state inspired plotless, timeless, amoral, and often carelessly created worlds of the film experiment. Yet most if not all conventional cinema depends entirely on the concept and nature of experimental film. It’s axiomatic: without the experiment there is no convention. Experiment lies at the heart of cinema not only because early cine-cameramen experimented with moving images and celluloid film created art (even if art wasn’t the intention); experiment is the fundamental ancestor of all cinema.
A film that succeeds at the box office will often be remembered for a sequence that cites, borrows from film experimentation.
Commercial filmmakers often reconfigure ideas and approaches from earlier films, all art in fact, but they owe their largest debt to the spirit of film experiment in all its disguises.
Cannes encourages filmmakers to exhibit their experimental works in Un Certain Regard. 2012’s lineup includes sons of the famous in twenty chosen films. The route of an art film to the festival’s screens is not simple, with the spirit of today’s Deren or Buñuel struggling to shine in the annual failed attempts of filmmakers with ‘unexhibitable’ projects we never see, but without which we would know little of the true scope of cinematic experimentation.
A film that succeeds at the box office will often be remembered for a sequence that cites, borrows from film experimentation.
Swimanög 