A Brush With Comedy, the debut feature documentary from filmmaker Louis Moir, explores the relationship he has with his father Jim Moir, Aka Vic Reeves, through the lens of the latter’s creative output. It’s a film which playfully interrogates the relationship art has with comedy historically, highlighting where they overlap whilst examining how they are often seen as diametrically opposed. In addition to his father, Moir also interviews comedians Spencer Jones, Bec Hill, Miriam Elia and Simon Munnery who each incorporate various forms of visual art into their comedy. With the film available to watch on Sky Arts, Now TV, and Apple TV, Dn caught up with Moir to discuss his four year journey making A Brush With Comedy, from its origins as his graduate short at Arts University Bournemouth through to the challenges of sifting through the footage to structure the edit.
I read that A Brush...
I read that A Brush...
- 4/17/2024
- by James Maitre
- Directors Notes
This fascinating documentary observes Howson creating a large orgiastic scene while talking about how he banished the demons in his life
The work of Glaswegian figurative painter Peter Howson, who first rose to prominence in the 80s and early 90s, tends to be crowded with brawny, thick-limbed figures who are often clustered tightly together in large, dynamic compositions. Drawn to depictions of hedonism and working-class culture in his early days, then to disturbing war scenes when he was appointed Britain’s official war artist for Bosnia in 1993, and now religious subjects since he became sober and embraced Christianity, Howson has a many-layered imagination, embracing multiple strata of art history and frames of visual reference. Even his working process, using oils, lays down paint over paint, redrawing and reworking the figures with expressive strokes and shifting light schemes.
That intense process is revealed without fuss or pretension in Charlie Paul’s documentary,...
The work of Glaswegian figurative painter Peter Howson, who first rose to prominence in the 80s and early 90s, tends to be crowded with brawny, thick-limbed figures who are often clustered tightly together in large, dynamic compositions. Drawn to depictions of hedonism and working-class culture in his early days, then to disturbing war scenes when he was appointed Britain’s official war artist for Bosnia in 1993, and now religious subjects since he became sober and embraced Christianity, Howson has a many-layered imagination, embracing multiple strata of art history and frames of visual reference. Even his working process, using oils, lays down paint over paint, redrawing and reworking the figures with expressive strokes and shifting light schemes.
That intense process is revealed without fuss or pretension in Charlie Paul’s documentary,...
- 6/13/2019
- by Leslie Felperin
- The Guardian - Film News
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