Search results
Sep 10, 2012 · Blue Black Permanent 1992, directed by Margaret Tait | Film review. Film. Time Out says. A first feature from veteran avant-garde film-maker Tait, a septuagenarian Orcadian.
6/10. ‘Blue Black Permanent’ is released on dual format Blu-ray & DVD by BFI, £14.99. Tags 90s films BFI Dramatic Films Sarah Morgan. Scottish director's only film is a highly personal, visually arresting document, despite an occasionally unclear storyline and sleepy pacing.
People also ask
Is blue black permanent a good movie?
Is blue black permanent a Canadian movie?
Who plays Barbara in blue black permanent?
Neil Young’s Film Lounge – Blue Black Permanent. BLUE BLACK PERMANENT. 5/10. UK 1992 : Margaret TAIT : 84 mins. Overrated sole feature from Tait, a 74-year-old Orcadian highly praised for the many poetic short films she’d directed over the preceding decades.
I absolutely loved this. The plot is well laid out - it explores the reminiscences of a daughter who is coming to terms with her mother's death. The acting is first rate, particularly from the two female leads. It is thought-provoking in a very British way which is unfortunately lacking in many emerging UK films.
Jun 12, 2019 · Blue Black Permanent review: Margaret Tait’s poetic feature - The Skinny. Arts & Entertainment. Film. DVD Reviews. Blue Black Permanent. The BFI’s re-release of Margaret Tait’s Blue Black Permanent acts as a neat greatest-hits collection for the Scottish artist. ★★★★. Film Review by Thomas Atkinson | 12 Jun 2019.
6.3 /10. 198. YOUR RATING. Rate. Drama. Barbara Thorburn wiles away the hours with memories of Greta, her mother, the poet. Director. Margaret Tait. Writer. Margaret Tait. Stars. Celia Imrie. Jack Shepherd. Gerda Stevenson. See production info at IMDbPro. Add to Watchlist. 5 User reviews. 5 Critic reviews. Awards. 1 win & 1 nomination. Photos.
Review by Harrison Wade Pro. Blue Black Permanent 1992 ★★★★½. Watched Aug 08 , 2018. A generational portrait of daughters, Blue Black Permanent is built on the same careful, attentive framing as Tait’s shorts. The single, static, shot comes in interludes between narrative sequences, often analytically introducing a space through choice objects.
- Margaret Tait
- Harrison Wade
