The dictionary defines A Dog’s Dinner as ‘A situation, event, or piece of work that is chaotic, badly organized, or very untidy.’ Such as when an unschooled dog gallops into the scullery for his bowl of specially formulated dog food moistened with a little water. It is gulped down in a flash, the bowl knocked about noisily until it hits a wall. But then there is a pause as his tummy swells. A burp is followed by a belch before up comes dinner again, now glistening and sticky with saliva and the first tentacles of stomach acid. The dog looks puzzled wondering what happened but then he spies the food, all over the floor and with excited tail wagging, eats it all up again. Only a mop and a big dose of disinfectant can clear the damage away.
This is the image that comes to mind after Suella Braverman’s published remarks that homelessness was a lifestyle choice. As Rishi Sunak sent her back to her kennel he had to reshuffle his cabinet once more. Even the newspapers had to print charts with pictures of who has come and gone and where to. We watched – soon to be Lord – David Cameron stride back into Downing Street, knock on the door of number 10 with his tail wagging as he tucks into the mess of Brexit that he created. It looks to be a dog’s dinner all over again.
On November 14th King Charles celebrated his 75th birthday by popping into a food bank between holding a couple of tea parties for people and organizations that also turned 75 this year. A tea dance was held in Dumfries House and then more tea was served at Highgrove with members of the Caribbean Windrush generation, nurses and midwives from the NHS. This week, The Big Issue, a weekly magazine sold on the streets by homeless vendors, has The King on the cover highlighting his Coronation Food Project, launched on his birthday. The King is quoted – saying that “Food need is as real and urgent a problem as food waste,” …. “If a way could be found to bridge the gap between them, then it would address two problems in one.” It seems to take a football player like young Marcus Rashford of Manchester United and a King like Charles the Third to steer this ship into a clearer lake of fresh water.
On Tuesday, we left for Poland and the Camerimage International Film Festival in Torun. It takes a full day of travel getting to the festival and we were only traveling from London. Cinematographers, manufacturers, filmmakers from other disciplines with films come from around the world. It is a jumble of festival and trade faire, a little glamor and a lot of graft for the craft of cinematography. We gather at breakfast, the same as on a film set, such is the comradery of international filmmakers.
The plane landed in Warsaw and the afternoon light stayed for the first hour of the two-and-a-half hours it takes to drive to Torun. Leaving the city there are single-gauge railway tracks that emerge and disappear in and out of the paved road. They are old, disused but along with the tree-covered mounds of larch, silver birch, and pine that cover the detritus of an ancient war, a chilling reminder of the wars past and present. The city names of old wars are now joined with new place markers that move traveling east into Russia and Ukraine, and then south with the eruptions in Jerusalem, Gaza, and Palestine.
The city disappears giving way to bare winter fields. There is very little green left to harvest, only tall dried-out corn to be cut for livestock. As we pick up speed, the farmhouses appear small, even tiny, most look old and decrepit. There are no lights shining to welcome a farmer home from the plow. As we drive north a storm is crossing Europe and for those moments that we are on the open barrier-less road, the raw wind beats across the motorway making this all-electric German limousine slip and tremble and the windshield wipers pick up speed.
We settle into the hotel with memories that slowly come back to us. Beyond the window the river flows fast, the current pushing and pulling fallen trees into the mud. There is no shipping. The countryside is bleak this far north in November. Even though it maybe earlier in the year than our previous visit winter feels like it is coming sooner.

Walking into the old medieval town we pay homage to the statue of Copernicus. Torun is not a big city but as Copernicus’s birthplace it is rich in history and over two million people come to visit each year. Some come for astronomy, Copernicus, science, and some for this festival. Walter is here to join Professor of Astronomy, Leszek Blaszkiewicz in a moderated discussion on ‘Copernicus, Dreamers, Inspiration and Science.’ Held in the beautiful old Camerimage Cinema, the audience is primed and happy to hear, think, and discuss such things. After the talk is over they linger and some have already brought with them the beautiful Golden Book on Walter’s Golden Ratio exploration that the festival produced. The days are busy although we don’t get to see one film.

On Saturday as we walk over to the main building for the closing ceremony and awards event, dusk has already busied herself with night and the street lights proclaim it is winter. The big theatre has filled up early and fast. The ceremony begins and is almost all in Polish though there are head-sets for translations and it all goes along easily and quickly. The Golden Frog is the symbol for this festival, with tadpoles for the rising stars of cinematography. Each film festival has its symbol, Berlin has the bear, Locarno a Leopard, Venice a Lion, and of course, it’s Oscar for Hollywood. While the Torun festival celebrates the art of Cinematography it is also a huge trade faire. It is overwhelming to see the equipment. The festival also acknowledges the other disciplines and those who – within their fields – carry a particular understanding and integration of cinematography and their own discipline. Walter brought his frog home in 2015 and it sits sweetly and discreetly on a bookcase shelf here in London.
The last award is given and the festival director returned to the stage for his closing remarks before beckoning a line of assistants to file in behind him, and then another line and another, and – as we rose to our feet – he has assembled everyone who made the festival happen on stage. It is the first time we have seen such an acknowledgment from a festival and it seems fitting that it should occur here where the emphasis has always been on the heavy lifting that it takes to be a cinematographer and to make movies. The yellow-vested stage hands arrive carrying three sofas and the recipients of this year’s gold frogs and tadpoles come to sit alongside those who have made this year’s festival possible and still the full audience is on its feet acknowledging that just as Copernicus wrote in his revolutions, we are all like the stars in the heavens and the universe beyond, elliptically revolving around each other.

As we walk back to the hotel we can see our breath and the sky prepares to scatter the first flurries of snow. The final party is going strong but we are too old for that and even in flat shoes my back hurts. At the bar, we sit among those who would rather drink and talk than stand and shout, enjoying a glass of wine and a bowl of Polish soup. The next morning camp is broken and the lobby is full of puffer jackets, wheeled cases, and fond goodbyes. We have barely left the city when a huge owl swoops down across the car, just three feet in front of us, and with wings unfurled for balance, he nails his meal of young bunny on the snow-covered grass beside the road. We drive on past the mistletoe-encrusted trees, the wind turbines emerging from the fog where acres of bare apple and pear fruit trees, red and black currant bushes are already dormant, preparing for the winter ahead. We quietly understand that life in this corner of the world is not easy for those who live here.
This has been A Letter from A. Broad written and read for you by Muriel Murch







