Matangi/Maya/M.I.A. – Wikipedia

2018 film

Matangi/Maya/M.I.A.
Poster for Matangi-Maya-MIA, June 2018.jpg theatrical turn post horse
Directed by Steve Loveridge
Produced by
  • Steve Loveridge
  • Lori Cheatle
  • Andrew Goldman
  • Paul Mezey
Starring M.I.A.
Edited by
  • Marina Katz
  • Gabriel Rhodes
Music by
  • Dhani Harrison
  • Paul Hicks
Production
companies

  • Cinereach
  • Hard Working Movies
  • Doc Society
Distributed by
  • Dogwoof (United Kingdom)
  • Abramorama (United States)
let go of date
  • 21 January 2018 ( ) (Sundance)[1]
  • 21 September 2018 ( ) (United Kingdom)
  • 28 September 2018 ( ) (United States)
Running time 97 minutes
Countries
  • United Kingdom
  • United States
Languages
  • English
  • Tamil

Matangi/Maya/M.I.A. is a 2018 biographic objective film about English rapper and artist M.I.A. . Directed by Steve Loveridge, the film follows 22 years in the knocker ‘s life, her ascent to fame and her perspective on the controversies sparked over her music, public appearances and political activism. The movie premiered at the 2018 Sundance Film Festival and has appeared at respective other external festivals since. It was released in choose cinema in the United Kingdom on 21 September 2018 and in the United States on 28 September 2018. [ 2 ] [ 3 ] The objective was well-received, winning the World Cinema Documentary Special Jury Award for Steve Loveridge at the Sundance Film Festival .

production [edit ]

The film was in production a early as 2011 by Steven Loveridge, who was a long-run friend of Maya Arulpragasam ( phase mention M.I.A. ). [ 4 ] [ 5 ] She gave him tapes and footage from her personal collection to build the film. [ citation needed ]

In July 2013, Loveridge released a tease video recording on YouTube and his personal Tumblr page, responding to his dissatisfaction with Interscope Records and legal and financing delays associated with the project. [ 6 ] [ 7 ] The video was pulled from YouTube after a copyright claim was made by the International Federation of the Phonographic Industry, [ 5 ] on behalf of Interscope and Roc Nation, the pronounce representing M.I.A. [ 8 ] Loveridge quit the stick out, [ 6 ] stating he would “ preferably die ” than oeuvre on it any far. [ 9 ] The video recording had attracted the attention of the production company Cinereach, and in November, Loveridge restarted the project and the UK non-profit documentary support constitution BRITDOC Foundation announced fund. [ 11 ] [ 12 ] The score was made by Dhani Harrison and Paul Hicks. [ 13 ] The music supervisory program was Tracy McKnight, and the film features samples of the M.I.A. tracks “ Born Free “, “ Paper Planes “, “ Bad Girls “ and “ Borders “ .

acquittance [edit ]

The film premiered at the 2018 Sundance Film Festival [ 1 ] on 21 January 2018. [ 14 ] The special Jury Award for the film ‘s class, World Cinema Documentary, was awarded to Loveridge and M.I.A. [ citation needed ] In February, it appeared at the 68th Berlin International Film Festival ; [ 15 ] in March, the True/False Film Festival in Missouri, [ 16 ] CPH : DOX in Denmark, [ 17 ] and New Directors/New Films Festival in New York ; [ 18 ] in April, the San Francisco International Film Festival, [ 19 ] BAFICI in Argentina, [ 20 ] and Sarasota Film Festival ; [ 21 ] in May, Maryland Film Festival, [ 22 ] Hot Docs Canadian International Documentary Festival in Canada, [ 23 ] Los Angeles Asian Pacific Film Festival, [ 24 ] Beldocs International Documentary Film Festival in Serbia, [ 25 ] Docs Against Gravity in Poland, [ 26 ] and Seattle International Film Festival ; [ 27 ] and in June, the Biografilm Festival in Italy, [ 28 ] Beat Film Festival in Russia, [ 29 ] Encounters Festival in South Africa, [ 30 ] Sydney Film Festival ( where it was selected for the official competition [ 31 ] ), Art Film Fest in Slovakia, [ 32 ] and AFI Docs Film Festival. [ 33 ] On 1 May, M.I.A. reported that she was blocked from boarding a flight in London to Toronto for the Hot Docs Festival, after immigration officials identified a stamp in her recommendation. Festival spokespeople said in a instruction that M.I.A. ‘s representatives were working with authorities to resolve the situation. [ 34 ] Later, M.I.A. fly to the U.S. and travelled to Canada successfully by nation from Buffalo, New York, and attended the festival. [ 35 ] On 20 June, M.I.A. announced that the film would be stagily released in the United Kingdom on 21 September 2018 and in the United States on 28 September. [ 36 ] [ 2 ] [ 3 ] It will continue to screen at the Melbourne International Film Festival in Australia and Way Out West Festival in Sweden in August 2018. [ 37 ] [ 38 ] The film was theatrically released in Canada on 5 October 2018 .

reception [edit ]

After the film ‘s premiere, Loveridge said that his intention with the film was to give background and context to Maya ( M.I.A. ) as a person, in the current clock period where “ media moves so fast ”. He had disagreed with media coverage of her being presented as a ‘controversial crop up star topology ‘ without an hearing understanding her origins. [ 40 ] He tried to centre the film more on the backstory of Maya, her breeding, migration to the United Kingdom and the relationship between her don, his political activism and the civil conflict in Sri Lanka in 2010. This was distinct to the expectations that M.I.A. had for the project, [ 4 ] which is that it would become a “ tour objective “. [ 35 ] M.I.A. had not seen the film prior to the premier, suggesting at an interview at the Sundance Film Festival that Loveridge had been absent for the stopping point four years, communicating with her sporadically. [ 41 ] Loveridge responded and said during the same time period he had “ been drowned in MIA and her report and like my all day every day for the last four years ”. [ 42 ] She remarked to Andreas Hale ( Billboard ) : “ [ Loveridge ] took all the shows where I look effective and tossed it in the bin. finally, if you squash all the music together from the film, it makes for about four minutes. I did n’t know that my music would n’t very be a part of this. I find that to be a little hard, because that is my life sentence. ” [ 43 ] She belated remarked that she felt Loveridge had “ boiled the film down to an perfume of what people already know about me ” but that she “ could still make 20 other films and not crossover with what Steve has made ”. [ 44 ] Loveridge said that his film “ was n’t about music ”, [ 45 ] and that it was necessity to keep distance between himself and the artist during the editing march, and avoid the subject of the film influencing their depicting as any documentary film maker would. [ 35 ]

The movie has an 88 % approval rat on Rotten Tomatoes [ 46 ] and a leaden average of 70/100 on Metacritic, [ 47 ] with the former web site reporting the critical consensus as, “ Matangi/Maya/M.I.A. makes up in energy and ambition what it lacks in objective distance, offering fans a personal perspective on a remarkable career. ” Reviewers praised its blunt depiction of M.I.A with the film ‘s focus being weighted towards its discipline ‘s animation, identity and ideas, but gave assorted opinions on the storytelling threads presented by Loveridge using archival material. [ 48 ] Spencer Kornhaber ( The Atlantic ) wrote that the film is a “ antic and kinetic fulfillment of Maya Arulpragasam ‘s desire, back then, to be heard as more than an entertainer ”. [ 49 ] Charlie Phillips ( The Guardian ) criticised that M.I.A. received no directorial credit, given that from her own footage is where the film “ sources its greatest energy ” but that “ for once [ M.I.A. ] in truth gets to control her own narrative ”. [ 50 ] however, the ocular quality of the footage used concerned early critics. [ 51 ] [ 50 ] Simran Hans ( Sight & Sound ) suggested that the “ bleary and shakily shot [ … ] images suffer when blown up to the film riddle ”, but praised M.I.A. as “ an artist who documents things as they happen, quite than shooting material that slots neatly into a bright, predetermined PR narrative ”. [ 52 ] There was blame found with Matangi/Maya/M.I.A. for lacking exploration of M.I.A. ‘s musical process, manner or production, atypical of biographic documentaries in the music genre. [ 52 ] [ 48 ] Being a biography, Sam Mac ( Slant Magazine ) remarked that Loveridge ‘s approach to editorial portrait of the artist was “ empathic, admiring but critical ”, but noted that he had elided some details in the fictionalize of events, like that M.I.A. “ crossed a line ” by tweeting a journalist ‘s call numeral in reception to the negative compress story published by The New York Times. [ 53 ]

Awards [edit ]

Award Category Nominee Result
2018 Sundance Film Festival World Cinema Documentary Special Jury Award Steve Loveridge; M.I.A. Won[54]

References [edit ]

  • https://www.miadocumentary.co.uk/ – official website for the film
  • Matangi/Maya/M.I.A. at IMDb
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