Personal Truth

A film with DIY origins that premiered at the SXSW festival in 2014, featuring a collection of scenes from teen movies, particularly from 1995 and 2004 — the title is a reference to Clueless, the successful 1990s teen movie with Alicia Silverstone that adapts Jane Austen to the American high school. The narration is by Fairuza Balk, the protagonist of The Craft, and includes an original soundtrack by the British duo Summer Camp.

The director just wanted to test a new camera and use an expired 16mm film stock. Seeing his crew out of ideas, Charlie Shackleton tells an amusing family story involving a 1963 Cadbury ad. 

Charlie Shackleton explores a possible vein of inspiration for one of the most successful horror films in American cinema, Wes Craven’s iconic Scream (1996): an obscure film by Rolfe Kanefsky, There’s Nothing Out There, which works in the same metatextual universe that winks at the horror genre.

Signing briefly as Charlie Lyne, Shackleton travels through a plethora of horror films (apart from the opening and closing sequences). The film comprises material from other films (classic, cult, etc.) to explore the viewer’s relationship with fear and cinema. 

A film that treads the blurred line between documentary and fiction to explore a story that seems to be more myth than reality: Caspar Salmon tells how, in 1980, he attended a meeting on an island in Wales where only people with surnames related to fish were present.

A look at Operation Scanner, during Margaret Thatcher’s final days in power, a case where the police arrested 16 men convicted of the crime of filming consensual behavior linked to sadomasochism. Their story has been told by everyone but themselves. 

Poet and artist Ross Sutherland and his parents were watching an episode of the British soap opera EastEnders when they were interrupted, and they never finished it. This film revisits that episode twenty years later. 

Paint Drying (an expression that refers to the most boring activity imaginable) is a cheeky protest against the British Board of Film Classification (BBFC), a board that assigns a compulsory classification to all films that want to be exhibited in the UK, charging an excessive fee that weighs mainly heavily on independent filmmakers. Shackleton made the film specifically to force the BBFC to sit for 607 minutes (without audio and with the help of a crowdfunding campaign) looking at a static shot of paint drying on a brick wall.

Just as it was never proven who the Zodiac Killer was, so was Charlie Shackleton unable to move forward with the big screen adaptation of the book The Zodiac Killer Cover-Up: The Silenced Badge by Lyndon E. Lafferty, who believed he knew the identity of the elusive criminal. But that didn’t stop Shackleton from making a movie-about-the-movie-he-would’ve-made, in a cinematic evocation of the true crime genre. Zodiac Killer Project is imaginative, intriguing and a masterful deconstruction that includes the most beautiful sunset.