Today’s ICA Daily is edited by US-based filmmaker Roberto Minervini. In 2016 Minervini’s The Other Side was the opening film of the first edition of FRAMES of REPRESENTATION, the ICA’s annual film festival, and his latest work What You Gonna Do When the World’s on Fire? is distributed by ICA CINEMA, our distribution and production arm. Minervini’s filmmaking is deeply rooted in the cinema of the real, his field of research is embedded in the representation of marginalised narratives, immersing himself in the communities within which he works.

Our new date for FRAMES of REPRESENTATION 2020 will be announced in due course.

Joris-Karl Huysmans’ Against Nature (À rebours) and Mary MacLane’s I Await the Devil’s Coming are among the most vocal intellectual mavericks of the late 19th Century. The former is a French hedonist and the latter a Canadian-American feminist; both of them challenged puritanism, bourgeois respectability and Christian-based morality with the force of a Texas bucking bull.

Jack Sargeant's Deathtripping: The Cinema of Transgression is an essential read to get acquainted with New York’s underground film movement of the 1970s and 80s. This was the last bastion of counterculture. After this, America cinema has never found its rebellious spirit again.

For Shinsuke Ogawa, documentary’s raison d’être resides in its commitment to triggering a sociopolitical change, while for Allan King the genesis of such change is found within the confines of the family institution. They both heavily influenced the way I make films today. Rollan Sergiyenko’s film is a rarely seen masterpiece of Soviet cinema. Ousmane Sembene is probably well known to most. Sherad Anthony Sanchez is one of the most underrated contemporary Filipino auteurs.

Punk and Jazz cover the large majority of my music universe. I have always been drawn to their common spirit of irreverence, insubordination and rejection of all sociocultural paradigms, as well as their often complete disregard for musical conventions. What Punk and Jazz have in common is the fact that, for decades, reactionary elites have dismissed them as lesser, unsophisticated genres, instinctual rather than technical, more appropriate for the so-called uneducated.