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  • 7. Fagan, op cit at 85. See also our article, The Life and Death of Mummy Brown.
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  • 3. This particular rationale tends to overlook the role of other people (such as dealers, auction houses, curators, critics and collectors), and other factors (such as luck and fashion), that may contribute to building an artist’s reputation: see Lewis, op cit (note 1) at 314; Klement, U, "Resale royalties for visual artists: an analysis of international developments and the implications for New Zealand", New Zealand Intellectual Property Journal, Volume 4, Part 9, September 2006, at 219.
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  • The film is understated, poignant and touching, and the occasional flashes of humour together with some nuanced acting by Marsan keep interest levels high. Despite its subject matter, the film is curiously life-affirming. What particularly interested me was the way in which the title itself resonated throughout the film - being reflected in John’s own quiet and restricted life, in the manner in which his efforts enable the memories of his (very) still clients to live on, and even in the cinematography of the film itself, with its series of quiet, almost static scenes. Crucially too, it is reflected in the emphasis placed on the "still life" photographs that John collects of his clients in their earlier happier days, and reverently keeps in an album which he often reflects upon. These visual frozen images play a crucial role in delivering the considerable emotional punch of the film’s final scenes and a denouement which I, for one, was not expecting. Still Life (2013) Eddie Marsan, Joanne Froggart; Dir: Uberto Pasolini.
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