|Fri 09 Oct 7:30||
Corn Hall On Tour presents:
Corn Hall mini Beer Festival - at The Boiler House, 3 Cobbs Yard Diss
|Fri 09 Oct 7:30||
Mere Players presents:
Under Milk Wood at Roydon Village Hall
|Sat 10 Oct 10:00||
write2screen - connecting writers and film makers presents:
Pathways to Professional Screenwriting
Have a look through our On Tour events brochure for October to December.
Dig Diss - heritage archeological dig
To celebrate the Heritage Triangle project getting the go-ahead to start work, the Diss Dig - an excavation led by Professor Tom Licence of the UEA's Department of East Anglian Studies - took place in the garden area behind the Diss Town Council.
Help out with our Arts Awards
Our Arts Award group is celebrating success after scooping the Arts category in the Bernard Matthews Youth Awards on 29th October for their film project entitled The Diss Appearing Triangle which took 9 months to complete.
The Awards held at Open in Norwich netted the group prize money of £1000 to be spent on equipment and funding for future Arts Awards projects.
Diss Corn Hall's next Arts Award term has begun! If you are 11-18 and would like to explore and discover a specific - or a variety - of Arts disciplines in a friendly and fun atmosphere, come along to the Diss Corn Hall Arts Awards sessions on Wednesday evenings between 4pm and 6pm during term time.
For more information about Arts Awards visit their website on www.artsaward.or.uk. You can also keep up-to-date with what our group is up to on the Arts Award section of the Corn Hall website.
Arts Awards is a nationally recognised qualification with Bronze, Silver and Gold levels.
We also put on a showcase event for parents and families as well as occasional Saturday workshops in a variety of art forms which you will need to be available for.
Diss Corn Hall
Located in the East Anglian market town of Diss on the Norfolk / Suffolk border, this impressive Grade 2 listed building, originally built as a corn exchange, is now a thriving arts venue offering regular high quality entertainment from theatre, comedy and cinema to music, family fun and art.
The DCH Blog
Girlhood - a pre-screening review
Set in and around the sink estates outside of Paris, Girlhood is as much a visual journey as it is an emotional one, as director Céline Sciamma packs this classic coming-of-age story with stunning set pieces, perfectly complemented by Crystel Fournier’s vivid cinematography and Jean-Baptiste de Laubier’s emphatic score.
Bearing no relation to Richard Linklater's Boyhood, the film is far better served by its French title Bande de filles. Newcomer Karidja Touré plays Marieme (a 16-year-old horrified at the prospect of leaving school without the qualifications) falling headlong into gang culture in an effort to belong. Touré’s unaffected performance is at the heart of this film, but she is supported by a very able cast. Assa Sylla, playing gang leader Lady manages to be charismatic, yet fragile, while Cyril Mendy manages to be her quietly terrifying brother without ever lapsing into gangster caricature.
Setting aside the occasional stadium rock interlude, this is a brave and unflinching depiction of the challenges Marieme faces. That she does so with such fortitude and resilience is testament to the positive spirit Sciamma is able to inject into what is a sympathetic and nuanced portrait of an all but invisible stratum of French society.
By David Vass
Thursday 8th October 2015
Far from the Madding Crowd - a pre-screening review
In filming Thomas Hardy’s classic novel, Thomas Vinterberg had not only to face comparison with a complex and involving novel, but also with John Schlesinger’s recently reissued 1967 adaptation. With great help from David Nicholls’s spry screenplay he manages to boil down the essence of the novel, while offering something pleasingly distinct from Schlesinger’s film. Nicholls has had to make some hard choices in his slimming of the narrative, and inevitably some of the novel’s subtleties have been lost, but taken in its own right this is a cracking tale of romance and intrigue.
Carey Mulligan is excellent in the lead, drawing on the emphasis Nicholls places on Bathsheba’s independent spirit in a way that taps into modern sensibilities, without lapsing into anachronism. The curious casting of Matthias Schoenaerts as Gabriel Oak (and his even more curious accent) requires a suspension of disbelief but both Michael Sheen and Tom Sturridge are tremendous. Sheen is a bag of worried twitches throughout – kindly yet unhinged - while Sturridge somehow manages to be an utter cad without ever entirely losing your sympathy.
The film is also glorious to look at – a picture postcard version of Hardy’s Britain that offers countless splendid vignettes of a countryside long gone that perhaps never was. If this comes as a surprise from a director better known for the grit of Festen and the gruelling The Hunt, it’s also a fascinating insight into how a foreign director views this quintessentially British classic.
By David Vass
Friday 2nd October 2015
Suite Française - a pre-screening review
A Romantic World War drama that features a couple divided by allegiance, this is a story distinguished not so much by its own qualities, as having been written at the time of occupation, by an author that came to the cruellest end. The circumstances that surrounded the subsequent publication of Irène Némirovsky's novel make it difficult to objectively judge its film adaptation.
None-the-less, British co-writer and director Saul Dibb has managed to distil the essence of Némirovsky's work, which was in parts little more than notes, with sensitivity and style. With regional British accents standing in for the class divisions of rural France, and character traits nicely subverted (the civilised German plays piano while the French villagers spitefully betray each other) one is reminded of the BBC drama Secret Army. As with that excellent series, Dibb creates characters with nicely shifting moral centres. Madame Angellier (superbly played by Kristin Scott Thomas) may well be a loathsome profiteer, but that does not preclude heroism. Matthias Schoenaerts ensures officer Falk carries out his duties with an appropriate Teutonic efficiency, yet he still hides behind the bushes in fear of Madame Angellier’s wrath.
If the film teeters close to improbability, there is no denying it gives its audience the ending it wants. Any tendency toward melodrama is amply compensated for by the complex dimensions of its multi-faceted narrative, and its humane acceptance of the fallibility of human nature.
By David Vass
Friday 25th September 2015