6.9 pe Scara Richter
A humble Romanian actor in his 40’s, hardly surviving between a complicated part in a musical, a depressed and pathologically jealous wife, obsessed with an imminent, devastating earthquake, becomes the willing victim of his manipulative father who appears in his life for the very first time.
A comedy which is “partly realistic, partly unrealistic” according to writer-director Nae Caranfil, ‘6.9 on the Richter Scale’ is the story of a young theatre actor who has a hard time balancing his complicated part in a musical comedy, a jealous wife bordering on depression, and the obsession with a great and devastating earthquake, announced as imminent by all the experts. But the true “earthquake” for him turns out to be the unexpected reappearance of his own father after decades of absence. Manipulative and amoral, he takes over his son’s world, turning his whole existence upside down. His leading role in Orpheus in the Underworld perfectly mirrors his chaotic life on the verge of collapsing. The parallel, musical world turns his apocalyptic thoughts into an explosion of sheer vitality. One of the rare box-office successes in the recent Romanian cinema, the movie has it all: uplifting storyline (boy finally realizes that he loves girl), inspired directing, a plethora of diverse characters, and a talented cast - with a plus for Lurentiu Branescu's singing. (Subtitles)
2017 Romania Nae Caranfil 117m
After returning to his childhood home, a disgraced children's puppeteer is forced to confront his wicked stepfather and the secrets that have tortured his entire life.
Sean Harris is on magnificently twisted form as Philip, a troubled children’s puppeteer who is forced to face up to his wicked stepfather (Alun Armstrong, delivering an equally deranged performance) and the dark and surreal secrets that have tortured him his entire life. As Philip deals with his past, he also has to face up to Possum, the hideous hand puppet he keeps in a black leather case, but he finds escaping the will of Possum is as hard as dealing with his demons. Premiering at Edinburgh and Fright Fest (London).
UK 2018 Matthew Holness 85m
Steve Coogan’s latest release made in the USA is about a bickering gay couple who must suddenly deal with the unexpected task of raising a ten-year-old boy.
In an inspired piece of casting, pairing Steve Coogan and Paul Rudd as a bickering gay couple is ‘Ideal Home's bright spark. The two veteran actors bring their impeccable comedic timing to the roles of Erasmus (Coogan), a TV chef with an inflated ego, and his TV director partner Paul (Rudd) who spend their days on set together trading snippy remarks. The two find their lives uprooted when Erasmus' ten-year old grandson arrives at their door looking to stay in their custody. The message soon becomes clear for these two estranged lovers: If they can learn to love the boy maybe they can learn to love each other again? Coogan and Rudd are genuinely funny and they share real romantic chemistry allowing the film to tap into a fountain full of humour and heart. Coogan’s straight-faced portrayal of the self-indulgent Erasmus provides many laugh-out-loud moments. His character is entirely oblivious to his absurdity and so serves to give him a surprising amount of sincerity. Packed with witty one-liners, the film is consistently funny.
USA 2018 Andrew Fleming 91m
Celebrating the 25th anniversary of Jane Campion's landmark film, the winner of three Academy Awards as well as the Palme d’Or at Cannes (with Campion becoming the first female director to do so), this extraordinary, female-centric masterpiece is presented digitally restored.
Holly Hunter gives a majestic silent performance as Ada McGrath, a mute Scotswoman and talented pianist who arrives with her young daughter Flora (Anna Paquin) in the New Zealand wilderness in the 19th century. She is to marry frontiersman Alisdair Stewart (Sam Neill), but takes an immediate dislike to him after he refuses to carry her beloved piano home with them, instead selling it to his overseer George Baines (Harvey Keitel). Attracted to Ada, Baines agrees to return the piano in exchange for lessons that gradually become a series of erotically charged sexual encounters. Soundtracked by Michael Nyman’s evocative score, the film won Oscars for Hunter and Paquin and Best Screenplay for Campion’s script. Concerning itself with Campion’s prevailing theme of women on the edge of societal norms, ‘The Piano’ is perhaps her most definitive work, and is long overdue for revisiting and remains as urgent and tremendous as ever.
Australia 1993 Jane Campion 121m
Ellen Cheshire, author of her new book “In the Scene: Jane Campion,” will briefly introduce the film.
An intriguing documentary about Hassan Sharif, the founder of the conceptual art movement in the UAE, and the most unique, influential and controversial artist of the region.
At that time, he was considered a destructive artist but with time he has become a legendary figure not only in the UAE art scene, but also in the whole region. Life has changed around him, however he has remained sincere to his sharp tools that have been used for making his significant artworks. His philosophy stayed enveloped in his work, as well as another aspect that will be unfolded for the first time in this film. Director Nujoom Alghanem is an Emirati artist, poet, scriptwriter and multi award-winning film director.
UAE 2017 Nujoom Alghanem 84m
The Art of Acting: Daniel Day-Lewis
An illustrated talk by Ian Haydn Smith
Like Chaplin and Jannings, through Grant and Dean, to Brando and Pacino, understanding Daniel Day-Lewis’ genius as an actor is to witness another step in the way Screen acting has evolved. In this illustrated talk, Ian Haydn Smith will look at how styles of acting have changed over the decades since the appearance of cinema, before focusing on Day-Lewis’ own body of work. The talk will include the many examples of Day-Lewis’ best work and show how generous a performer he is with his peers.
Isabelle Huppert's timid science teacher unleashes a dark, powerful alter ego in this amusing fable from Serge Bozon, very loosely based on the novel ‘The Strange Case of Dr. Jekyll and Mr Hyde’ by Robert Louis Stevenson.
High school science teacher Mrs. Géquil (Isabelle Huppert) is struck by lightning on the night of a harvest moon. The woman begins to embody a powerful alter ego, Mrs. Hyde, that instils a newfound confidence in her. However, the new persona is dangerous and must be controlled. The gender-swap from the book is not really Bozon investigating the idea of a woman’s empowerment but with ‘Mrs. Hyde’, he is most interested in critiquing the unfairness and inertia of the French school system, and in investigating what it really means to be a teacher. It’s a fascinating role in an uneven but frequently insightful movie riddled with amusing asides and enigmatic developments, partly because Huppert doesn’t undergo a radical transformation. Instead, she subtly finds herself at war with her inner confidence, and it’s often hard to tell which side has the upper hand. The most unusual movie in the Festival. (Subtitles)
France 2018 Serge Bozon 95m
Christy Brown, (Daniel Day-Lewis) born with cerebral palsy, learns to paint and write with his only controllable limb - his left foot.
The true story of the artist and writer Christy Brown who based his autobiography on his experiences of living with cerebral palsy. It recounts the many problems he faced growing up in his native Ireland, and charts the ways in which he developed the use of his left foot - the only limb over which he had any control - to achieve success as an artist. With the help of his strong-willed and dedicated family and his own sheer courage and determination, Christy not only learns to grapple with life's simple physical tasks and complex psychological pains, but he also develops into a brilliant painter, poet and author. Day-Lewis and Brenda Fricker give Oscar winning performances in an emotional tale of life, love and one family's incredible sense of courage. Also star Declan Croghan, Ray McAnally, Hugh O'Connor, Fiona Shaw, and Ruth McCabe. The film won two Academy Awards for Best Actor (Day-Lewis) and Best Supporting Actress (Brenda Fricker). UK/Ireland 1989 Jim Sheridan 104m
The Beatles agree to accompany Captain Fred in his Yellow Submarine and go to Pepperland to free it from the music hating Blue Meanies.
Yellow Submarine is a fantastic tale brimming with peace, love, and hope, propelled by Beatles songs, including ‘Eleanor Rigby’, ‘When I’m Sixty-Four’, ‘Lucy in the Sky with Diamonds’, ‘All You Need Is Love’, and ‘It’s All Too Much’. When the film debuted in 1968, it was instantly recognised as a landmark achievement, revolutionising a genre by integrating the freestyle approach of the era with innovative animation techniques. The film has been restored in 4K digital resolution for the first timeDue to the delicate nature of the hand-drawn original artwork, no automated software was used in the digital clean-up of the film’s restored photochemical elements. This was all done by hand, frame by frame.
UK 1968 George Dunning 90m
When former journalist Martin Sixsmith is dismissed from the Labour Party in disgrace, he is at a loss as to what do. That changes when a young Irish woman approaches him about a story of her mother, Philomena, who had her son taken away when she was a teenage inmate of a Catholic convent. Martin arranges a magazine assignment about her search for him that eventually leads to America. Along the way, Martin and Philomena discover as much about each other as about her son's fate. Furthermore, both find their basic beliefs. ‘Philomena’ is a much richer and deeper experience than anyone may have suspected. Anchored by a never-better Judi Dench and Steve Coogan in his most mature and substantial dramatic role to date. Stephen Frears subversively backtracks to his sparky best for an adaptation of BBC scapegoat Sixsmith’s 2009 chronicle. The result was one of the films of 2013, a sure-fire crowd-pleaser.
UK 2013 Stephen Frears 98m
We are delighted to welcome Steve Coogan to introduce the film, and following the screening in conversation with producer Andrew Eaton.
Watch the Sunset, an Australian crime-drama made in one shot, takes the viewer on an emotionally charged ride through a man’s struggles to reconnect with his family due to his violent, troubled past.
Danny, played by co-director and co-writer Tristan Barr, is a man on the edge. The sprawling scenery, measured pacing and economic dialogue serves nicely to develop his anxiety and tension – there is barely a word uttered in the first 15 minutes. Over time, we learn that Danny is desperate to reconnect his deeply damaged relationship with his ex-partner, Sally (Chelsea Zeller), and their daughter, Joey (Annabelle Williamson). During their reparative chatter, Joey is taken by two dangerous looking-thugs and it looks like things will never be the same for this struggling family. Danny is now faced with the overwhelming task of facing his past, whilst dragging the woman he loves further into the chasm of blackness he was so desperate to escape from – all in the pursuit of saving their beloved child. At around 80 minutes in length, the film’s greatest asset – in addition to the “one shot” element – is its tautness: it never overreaches or turns in directions it shouldn’t, and remains economical and focused in its objectives. Directors Tristan Barr & Michael Gosden know what they want to portray and how they want it portrayed.
Australia 2017 Tristan Barr & Michael Gosden 79m
Sandome no Satsujin
This metaphysical crime thriller from the maestro of Japanese family life, Hirokazu Kore-eda (who won the Palme d’Or in Cannes for ‘Shoplifting’ this May) will leave audiences with more mysteries to ponder than simply whodunnit.
This is a complex death-sentence drama which tells of one man s hunt for the truth whilst investigating the murky events of a gruesome murder. Leading attorney Shigemori (Masaharu Fukuyama) takes on the defence of murder-robbery suspect Misumi (Kôji Yakusho) who served jail time for another murder 30 years ago. Shigemori s chances of winning the case seem low - his client freely admits his guilt, despite facing the death penalty if he is convicted. As he digs deeper into the case and hears the testimonies of the victim s family and Misumi himself, the once confident Shigemori begins to doubt whether his client is the murderer after all. (Subtitles)
Japan 2017 Hirokazu Kore-eda 125m
We hope to welcome back Steve Coogan to briefly introduce the film.
On the occasion of the 25 years of Slovakia’s independence, Slovak Film Institute and Fest Anča have prepared the compilation containing widely recognized and renowned Slovak animated shorts made since 1993. Selected shorts present various precedencies, milestones and distinguish authors who have formed Slovak contemporary animation.
The selection was curated by Fest Anča. Total running time is 76 minutes.
A Ballad of Four Horses
Balada o štyroch koňoch
The first Slovak computer animated music video. Gratex 1995, 4m.
Steps, Jumps, Years… and the Last One Turn the Lights Off
Kroky, skoky, roky… a posledný zhasne
100 years of cinema in an animated box.
Katarína Kerekesová, Vanda Raýmanová, Michal Struss, Karol Holubčík, Maroš Končok, Vlado Král, Martina Matlovičová, Matej Klade, Martin Snopek. 1995, 5m.
The first Slovak music video made completely by computer using 3D animation. Igor Derevenec, Juraj Krumpolec. 1997, 4m.
Double Voice Invention A-Minor
Dvojhlasná Invencia A-Mol
The chase of the red riding hood and the wolf… with the sad ending. Vladimír Král. 1998, 2m.
In the Box
Short film about space. Michal Struss.1999, 6m.
Florence, 1500 A. C. A theatre company performs a love story à la commedia dell’arte: Harlequin desires Columbine, but she loves a noble and mysterious painter Leonardo da Vinci. The story gets tangled, nobody knows anymore what fiction is and what reality. Only
Leonardo keeps his head cool and makes use of the emotional disorder to create his masterpieces. Ivana Šebestová. 2004, 7m.
A story of Viliam, who lives his own animated life within the real world. Childish fun turns into a problem, the problem becomes a solution. No solution is perfect though… Veronika Obertová. 2009, 7m.
The story is about two Siamese twins fighting each other in the boxers’ ring. “Thanks” to their disability they are sharing professional and private life, both from the different social side. The story is coming to the head when the smaller from the brothers tries to win a common fight. However, situation present that one part cannot be without another part. Peter Budinský. 2011, 6m.
The Last Bus
The Last Bus is a short film about people who are hunted. Ivana Laučíková. 2011, 15m.
They are the product of millions of generations before them and yet they're left all alone in the forest to fend for themselves. One day an all to active primate, the human being, finds them and they quickly become a pond in man's games. Matúš Vizár. 2013, 11m.
According to the rules of the Wild West, thieves must be punished. But when the sheriff's horse breaks, there is no-one to ever-see rule-keeping. Dávid Štumpf. 2015, 5m.
Spirit of the City
Pixel-art music video clip about the city and the life in it.
Andrej Kolenčík, Veronika Kocourková. 2015, 4m.
A portrait of a genius music composer Ryuichi Sakamoto, who created masterful scores for ‘Merry Christmas Mr Lawrence’ and ‘The Last Emperor’.
Director Stephen Nomura Schible shot this documentary over 5 years, capturing a turning point in Sakamoto’s life. Following a cancer diagnosis, the composer decided to take a break from his gruelling schedule to focus on his wellbeing. The film starts with Sakamoto discovering a piano that survived the 2011 tsunami and Fukushima disaster, dovetailing into his social and political activism and fascination with nature. While there’s footage from Bernardo Bertolucci’s ‘The Last Emperor’ or ‘The Sheltering Sky’, what’s most striking about this portrait of Sakamoto is just how much it manages to capture in a finite amount of space. Swinging from his early days a synth-pop pioneer in Yellow Magic Orchestra in the late 1970s/early 1980s through to his film work and solo recordings, we get a sense of what makes Sakamoto’s mind work.
Japan/USA 2018 Stephen Nomura Schible 103m
Winner of the Golden Lion at the Venice Film Festival, this is a cinematic landmark that introduced one of the most intriguing, complex and uncompromising female protagonists in modern cinema.
At the beginning of the film, the camera moves closer, and we see in the bottom of a ditch the blue and frozen body of a young woman. Then we hear Agnes Varda's voice on the soundtrack, telling us that she became absorbed by the mystery of this young stranger's last months on Earth and sought the testimony of those people who had known her. ‘Vagabond’, however, is the story of a woman who could not be known. And although there are many people who can step forward and say they spoke with the young woman, sheltered her, gave her food and drink, shared cigarettes and even sex with her, there is no one to say that they knew her. Sandrine Bonnaire won a Best Actress Cesar for her portrayal as Mona - a young and defiant drifter in this tragic story. Using a largely non-professional cast Varda recollects Mona's story through flashbacks of those who encountered her, producing a splintered portrait of an enigmatic woman. (Subtitles)
France 1985 Agnès Varda 105m
These John Le Carre-style political machinations involve the Israelis, the CIA, the kidnappers, and the PLO in a taut, fast-paced political thriller set in the Middle East of the 70's, starring John Mamm and Rosamund Pike.
If you get a feeling of retro charm from watching the Tony Gilroy-written ‘Beirut’, it should come as no surprise as he wrote it way back in 1991. The sense of political thriller nostalgia is further enhanced by the fact that the action takes place in 1982, with flashbacks to a decade before. Jon Hamm enjoys the role of troubled former diplomat Mason Skiles, whose chief occupation now is working as a mediator between unions and management while hitting the bottle in his off hours. In a tight set-up, we learn that back in the Seventies he was posted in the titular Lebanese capital, living with his wife Nadia (Leila Bekhti) and caring for orphaned teen Karim (Yoav Sadian Rosenberg), little realising that the youngster's brother Abu Rajal (Hicham Ouraqa) is a Palestinian whose CV majors in terror attacks. Tragedy is inevitable. Rosamund Pike's sharp-witted and enigmatic Crowder proves the perfect foil for Hamm's casual world weariness. With a level of intelligence often missing from recent thrillers, the film screened at Sundance and Edinburgh.
USA 2017 Brad Anderson 109m
The story of how the novel ‘Mrs. Dalloway’ affects three generations of women, all of whom, in one way or another, have had to deal with suicide in their lives, starring Nicole Kidman, Julianne More and Meryl Streep.
In 1923 England, ailing novelist Virginia Woolf is starting to write her novel, 'Mrs. Dalloway', under the care of doctors and family. In 1951 Los Angeles, Laura Brown is a pregnant housewife whom is planning for her husband's birthday but is preoccupied with reading Woolf's novel. In 2001 New York, Clarrisa Vaughn is a lesbian publisher planning an award party for her friend, an author dying of AIDS. Taking place over one day, all three stories are interconnected with the novel mentioned before, as one is writing it, one is reading it, and one is living it. David Hares’ brilliant film adaptation of a novel by Michael Cunningham, plays like a dramatic deconstruction of Woolf's 1923 novel. The effect is lyrical and surprisingly uplifting.
USA/UK 2002 Stephen Daldry 112m
1993: after being caught having sex with the prom queen, a girl is forced into a gay conversion therapy centre by her conservative guardians.
When Cameron is caught making out with her best friend Coley (Quinn Shephard) all hell breaks loose on the home front. Her Christian aunt Ruth (Kerry Butler) packs her off to a gay conversion therapy boarding school, God's Promise. Here, under the tutelage of born-again straight guy Reverend Rick (John Gallagher Jr) and his more menacing sister Lydia Marsh (Jennifer Ehle), the kids are supposed to come to see the error of their ways. Cameron never doubts herself for a minute, quickly finding solidarity with fellow 'inmates' Jane Fonda (the remarkably good Sasha Lane,) and Adam Redeagle (Forrest Goodluck). The portrayal of Lydia and Rick is also interesting, with the pair of them somehow more sinister because their belief in the possibility of conversion comes from a place of weird 'compassion', while a subplot involving Mark (Owen Campbell) brings home the consequences of trying to deny a fundamental part of yourself. Based on the novel Emily M. Danforth, ‘The Miseducation of Cameron Post’ focuses on a place that is a sad reality, despite its absurdity. Premiered at Sundance, writer/director Desiree Akhavan takes an observational approach to this story, focusing on different members of the camp and their own willingness.
USA 2018 Desiree Akhavan 90m
When JW becomes a drug runner in order to maintain his double life, his fate becomes tied to two other men: Jorge, a fugitive on the run from both the Serbian mafia and the police, and mafia enforcer Mrado, who is on the hunt for Jorge..
Based on a novel, this is at once a densely interlocking slice of Scandi-crime, an intense set of character pieces, and a poly-lingual indictment of a variety of shades of greed. It packs a considerable punch, beginning with Jorge (Matias Padin Varela), a bearded Chilean criminal escaping from jail and running through the woods to meet his accomplice. It doesn't slacken for two hours until the same man is again running for his life through the forest, and another man is nursing his wounds in jail. Essentially the film is about three men involved in crime who have retained some vestiges of conscience. With pounding synthesised music on the soundtrack, ‘Easy Money’ moves like a razor-edged Frisbee that could cut off a player's hand or sever his jugular if he doesn't see what's coming. Whether intentionally or not, we're often as confused (both morally and strategically) by a plot that switches between four or five languages as Jorge himself. It was so successful, that two sequels followed. (Subtitles)
Sweden/Denmark 2012 Daniel Espinosa 124m
It tells the story of a hidden Britain exploring the issue of immigrant sex workers but from a human perspective. Inspired by true events it follows Tina (Teresa Daley)x a recent graduate who is forced to start working in an illegal; massage parlour as a receptionist. The story follows down-on-her-luck immigrant Tina (Teresa Daley, Sashimi), living in London during the 2008 recession with her British boyfriend, who has graduated and is looking for work. She has an interview for a receptionist position, but when realising the place is an illegal brothel for exclusively Asian girls, she turns away. Her desperation for work means she ends up taking the position, and becomes close to the girls and their boss Lily (Sophie Gopsill). The film explores this world in a realistic and human way, while leaving room for humour and drama It’s really all about the characters journeys and the life of immigrants in a desperate situation, with an emphasis on uncovering the sex industry in London, and this is captured with aplomb. Some scenes are uncomfortable to watch when it comes to the customers sexual preferences and the abuse of the girls, and these are portrayed unflinchingly. Lu based the story on a friend who committed suicide, therefore it’s a very personal film for her. Our thanks to Munro Films for this screening.
UK/Taiwan 2016 Jenny Lu 102m
We hope to welcome actress Sophie Gospil to introduce this film with a Q&A after the screening.
A nurse is put in charge of a mute actress and finds that their personas are melding together.
With its hard edge of experiment verging on science fiction, and its
motifs of porous identity, consciousnesses and memory, ‘Persona’, no matter the vagaries of fashion, is still a “modern” film in 2018. This constantly astonishing, vital but boundless film stars Liv Ullmann as the actress Elisabet and Bibi Andersson as her nurse Alma, and unfolds as the strangest, most mysterious of Bergman’s oeuvre. ‘Persona’ tells the story of the recuperating Elisabet being tended by the gregarious nurse Alma, but over the course of the film, the mutual reliance and occasional mutual antipathy of the relationship introduces a kind of static buzz into the background, increasing in intensity until, at a moment of controlled cataclysm, the women seem to conflate irrevocably in the climax of the film. Nearly fifty years old, nothing in ‘Persona’ feels less than brand new today - it will all still be a revelation tomorrow. (Subtitles)
Sweden 1966 Ingmar Bergman 83m
An enthralling true story about a little German girl who is given away by her family to an Azerbaijani family, to avoid the harshness of exile.
In the beginning of the 19th century, Germans moved to Azerbaijan from their homeland and the rest of Europe. Their role in the history of Azerbaijan was outstanding. For example, while people were lighting a candle in Russia, Azerbaijanis were using electric lamps owing to German technology. Furthermore, they brought the first railway, asphalt and telegraph to Azerbaijan. But during World War II, 22,841 Germans were exiled to Kazakhstan and Siberia. One of the families were the Shollers. Mrs Sholler gave her granddaughter, who was 6 months old, to an Azerbaijani family due to the harshness of the conditions of exile. This is her story. Director Jalaladdin Gasimov obtained all the information about the Shollers from his father, and is hoping with this film to find any descendants of the Sholler family.
Azerbaijan 2018 Jalaladdin Gasimov 88m
New McGregor / The Age of Anxiety / New Wheeldon
ROH Ballet Live
The programme includes two world premieres by Resident Choreographer Wayne McGregor and Artistic Associate Christopher Wheeldon, marking each artist’s first foray into Bernstein, including a dance version of the Chichester Psalms.
Leonard Bernstein was one of the first classical composers in America to achieve both popular and critical acclaim. He was eclectic in his sources – drawing on jazz and modernism, the traditions of Jewish music and the Broadway musical – and many of Bernstein’s scores are remarkably well suited to dance. He was particularly associated with Jerome Robbins, their credits together including ‘Fancy Free’ and ‘West Side Story’. To celebrate the centenary year of the composer’s birth, The Royal Ballet has united all three of its associate choreographers to celebrate the dynamic range and danceability of Bernstein’s music.
At the heart of the programme is the first revival of Artist in Residence Liam Scarlett’s ‘The Age of Anxiety’, created in 2014 to Bernstein’s soul-searching Second Symphony. Both symphony and ballet are inspired by W.H. Auden’s masterful modernist poem, itself written in response to the atmosphere of disillusionment and uncertainty that followed the end of World War II. 180m approx including 2 intervals.
We are delighted to be able to encore this programme as part of the Chichester Film Festival, by special permission of the Royal Opera House.
Tickets £17.50 (Friends/Students £15)
L’une Chante, l’autre Pas
The friendship between two women over the course of 15 years is told through Varda’s unique lens.
Set against the backdrop of the women’s liberation movement, the film charts the friendship between two women over the course of 15 years. Suzanne and Pauline lead very different lives, but what unifies them is their commitment to women’s rights. A deeply personal film for Varda, it combines elements of a musical (with lyrics written by the director herself) with Varda’s usual blend of fiction and documentary. (Subtitles)
France 1977 Agnès Varda 120m
Richard Gere, Laura Linney, Steve Coogan, and Rebecca Hall make a riveting quartet in an adaptation of the Herman Koch novel about a dark-hearted dinner gathering to decide what to do about a crime their sons have committed.
The story centres on Steve Coogan's former history teacher Paul Lohman, an uptight, broken man who sees himself as a loser: a failure of a father and inadequate husband to his capable wife Claire (Laura Linney). The Battle of Gettysburg (“the beginning of the end”) is his obsession - and his metaphor for life. But even more importantly, he feels inconsequential when it comes to his successful politician brother Stan (Richard Gere), who he sees as 'elitist and self-serving'. One’s response to ‘The Dinner’ will hinge on whether you go for Coogan’s clipped, hostile performance, which some may find difficult, whilst others consider an honest portrait of a wrecked soul - and one who, as we learn, has crossed the line (and quite believably) into mental illness.
USA 2016 Oren Moverman 120m
Mark Cousins dives deep into the visual world of legendary director and actor Orson Welles to reveal a portrait of the artist as he's never been seen before, via an intriguing and illuminating examination of the great filmmaker's paintings and sketches.
Cousins’ portrait of Orson is personal, immediate and loving, on a first name basis, addressing him like an old friend and composing a long letter, long after he’s gone, to let him know what he’s been missing. But at the same time, it’s an adoring tribute, a devoted, venerating salute, a eulogy, a hymn to a man larger than life who the world has been missing sorely every passing day. It’s a strange balance that Cousins strikes, and it makes for the perfect homage. Using a box full of Orson’s drawings as his starting point, Cousins takes us through Welles’ life in an unconventional way He takes us through his various stops - the aristocratic, simple and archaic Ireland, where he focuses on painting portraits of the everyday man and woman; Morocco, where he sketches the forms of people with indistinct faces; back to New York when the war starts and as Orson loses faith in his beloved Europe and sees it fall from grace with Fascism. In New York, his radio days are full of strong stands, with his antifascism more vigorous than ever, and his activism continuously growing. A heartfelt love letter to Welles connecting the director’s films to his paintings and drawings.
UK 2018 Mark Cousins 110m
Postponed from last year, we are pleased to present this outstanding jazz documentary.
The US State Department introduced Jazz Tours as a propaganda initiative To combat fierce public criticism from the USSR, outstanding African-American jazz musicians including Louis Armstrong, Duke Ellington and Dizzy Gillespie were enlisted to demonstrate the integrated make-up of modern America. Musicians included Louis Armstrong, Duke Ellington and Dizzy Gillespie; with the support of radio host Willis Conover broadcasting on Voice of America. Over a 10-year period there were 20 hugely popular Jazz Tours to over 100 countries. However, dangerous racial tensions were building up back home in the USA, with growing demands for better Civil Rights. Interviewees include Quincy Jones, Darius Brubeck (son of Dave Brubeck), and many more.
USA/UK 2017 Hugo Berkeley 90m
We hope to welcome Producer Mick Csáky to introduce the film.
Police inspector Carl Mørck is put in charge of a department of cold cases, joined only by his assistant, Assad. They dig into a case about a disappeared woman in another atmospheric Scandinavian Noir.
Chief detective Carl Mørck is assigned to the newly established Department Q, a department for old, terminated cases. The department consists only of himself and his new assistant Assad. Although they get explicit orders to only read and sort through the cases, only a single day passes before Carls stubborn nature throws them headfirst into the mystery of Merete Lynggaards disappearance; a well-known female politician who vanished five years ago from a passenger ferry. The only witness is her brain-damaged brother who was found on the car deck, screaming at the top of his lungs. The case was put to rest as an apparent suicide. Unconvinced by this explanation, Carl and Assad venture on a journey that will take them deep into the undercurrent of abuse and malice that lurks beneath the polished surface of Scandinavia. Nikolaj Lie Kaaes and Fares Fares have great chemistry as the unlikely heroes.
(Subtitles) Denmark/Sweden 2013 Mikkel Nørgaard 97m
When a woman dying of cancer in early twentieth-century Sweden is visited by her two sisters, long-repressed feelings between the siblings rise to the surface.
Among the unlikeliest Best Picture nominees of all time, not only due to
its status as a foreign-language film but also as it’s a formally experimental, thematically uncompromising work, ‘Cries and Whispers’ is one of the Bergman’s bleakest films (and not surprisingly, one of Terence Davies’ favourite films). A chamber piece forged in blockish blacks, whites and blood-reds, it’s perhaps the culmination of Bergman’s recurrent obsession with the jealousy, malice and sheer
hatefulness that can infect sisterly relationships. Yet the film takes in
other familiar notions, like female duty versus female selfishness,
maternal relationships, religious faith, and an almost paranoiac horror
of the body, Bergman is rightly known as cinema’s great humanist, but sometimes his vision of humanity is one that begins and ends in despair. Bergman’s first foray into colour is quite a shock. (subtitles)
Sweden 1972 Ingmar Bergman 91m
NB: Ian Christie will be giving an illustrated talk on Bergman following this screening in the Studio
A film that portrays the struggles and triumphs of an Amish family, produced and directed by the Amish man at the centre of the story, Samuel Wickey.
In this incredible story based on true events, a mother and father are overwhelmed with emotion when their children are severely bullied in a public school, leading to the father wanting his family to leave the Amish. Their son was born with an enigmatic mental disorder, and they are gripped by fear and astonishment when they witness the boy has unusual artistic abilities. The mother and father are deeply concerned since their strict Amish religion, teaches that any form of artistic expression is forbidden. The boy and his siblings are raised by a mother who cannot embrace them, praise them or even say I love you. They must only pray that God heals them. In a family deeply ingrained in a religion where parents are forbidden to express love for their children, the father breaks the chains of fear and oppression to allow hope, the expression of love, and freedom to leave the Amish. Samuel Wickey is today a renowned artist, commissioned by both the NBA and NFL to create bronze sculptures for their major awards.
USA 2017 Samuel Wickey 79m
Bergman and the Re-Birth (or Reinvention) of Art Cinema:
An Illustrated talk by Ian Christie
When Bergman's films began to reach festivals and audiences outside Sweden in the mid-50s, they launched a new wave of enthusiasm and respect for cinema among the post-war generation. Countless artists and intellectuals have recorded how they were profoundly affected by ‘Summer with Monika’, ‘The Seventh Seal’ And ‘Wild Strawberries’, often seen while they were students or film society members. Coming after Italian Neo-realism and just before the French 'new wave', they promised a new seriousness and ambition - and a new sexual frankness - to the rising generation. Throughout the 60s, Bergman's path mirrored many of the period's anxieties and traumas, while he became the first of the major European filmmakers to embrace the new opportunities offered by television. How does his reputation stand today, as we mark the centenary of his birth? A distant memory of how cinema was once 'the most important art' - or a recognition that he was often ahead of the game? Ian Christie will weigh up the pros and cons of his reputation.
Nathalie Pêcheux (Karen Viard), a teacher who is divorced and has a daughter who is a dancer has an unhealthy relation with friends and daughter that is consumed by jealousy.
You only need one bad mom in this endearing French comedy. Something like ‘Mommie Dearest’ transformed into a light Parisian dramedy, the story follows the life of a recently divorced mother named Nathalie (Viard) who, as the title bluntly states, suffers from the cardinal sin of envy. Not only is Nathalie jealous of her ex-husband (Thibault de Montalembert), her best friend (Anne Dorval) and a new teacher (Anais Demoustier) at the preparatory school where she’s reigned for decades in the French department, but she’s absolutely resentful of her beautiful and nearly perfect 18-year-old daughter, Mathilde (newcomer Dara Tombroff), who’s vying to become a professional ballerina. ‘Jealousy’ goes more for the jugular in terms of the jokes. Viard is truly at her best when she’s doing some very bad things - whether it’s smoking mariajuana before a necessary trip to the therapist, driving away her daughter’s kind-hearted boyfriend (Corentin Fila) or wreaking havoc in the teachers’ lounge at school - yet she also turns Nathalie into a rather sympathetic character. 51-year-old actress Karin Viard impressively navigates through this unexpected mid-life crisis in a funny, touching... and politically incorrect way. (Subtitles)
France 2017 David Foenkinos, Stephane Foenkinos 102m
A New History of British Animation Part 3
New sources of funding and graduates from innovative animation courses put the British animation industry on top of the world. This selection of some of the key highlights packs a sizable punch. It takes the audience out for a night on the tiles, on a journey into the soul, and a visit to the funfair. It features animated battles big and small, military experiments, Billy Bunter, and the domestication of a sizeable British bulldog. And if that seems a lot to deal with, don’t worry there are a couple of lively dance breaks along the way.
UK 1983-1998 Various 62m
Night Club (Jonathan Hodgson, 1983) A vicarious night out lived through an animated sketchbook, laid down to a hypnotic post-punk beat performed by the filmmaker himself. A boiling, colourful study of human behaviour in the most social of situations revealing a surprising loneliness in many of the crowd.
Black Dog (Alison De Vere, 1987) A true masterpiece from a female animator, designer and artist with over three decades in the industry. It’s a journey into the soul of a life well lived and a work of profound depth and beauty.
Feet of Song (Erica Russell, 1988) African dance and rhythms are abstracted, animated and elevated into a colourful carnival of geometry. A musical poster of graphical pleasure.
Clothes (Osbert Parker, 1988) Take your partner by the hand, or perhaps the glove or the sleeve, as clothes pick themselves up and strut their stuff in this lively short. Originally edited on analogue video this new version goes back to the original film giving an already vibrant work a new lease of life.
Manipulation (Daniel Greaves, 1991) Oscar-winning excellence as the hand of the artist puts his unfortunate creation through his paces in this tour de force of animated interplay.
Kings of Siam (Ged Haney, 1992) All the fun of the fair, as a pair of conjoined twins wrestle with their sideshow reality, their dreams of fame, and their relationship with each other. Using the bold colours and thick lines of fairground art it’s a brash, physical, edgy delight that took seven years to make.
Britannia (Joanna Quinn, 1993) A concise history of the British Empire sees the British bulldog let off the leash before being brought to heel. Few artists wield a pencil with as much skill as Joanna Quinn, but to her remarkable skills as an animator she adds pitch perfect political satire in a short that earned her the Leonardo da Vinci International Art Award.
Queen's Monastery (Emma Calder, 1998) An acrobat returns from the military to the woman who loves him, but comes back a changed man. Her fantasies about the man he used to be puts the solider in conflict with his former self. Love and war played out to the music of Leoš Janáček in a strikingly unique watercolour style.
A man undergoes a face transplant and experiences ensuing identity issues in this scabrous and strangely affecting comedy-drama.
Szumowska’s ‘Twarz’ (Polish for “face” or “mug”) delivers the pleasure of vigorous storytelling. It is scabrous, mysterious and surprisingly emotional – inspired partly by the giant statue of Christ the King in Świebodzin in western Poland, completed in 2010, the tallest statue of Jesus in the world and a fierce religious and nationalist symbol. It is the face of patriotic Poland. Szumowska’s movie imagines a guy named Jacek (Mateusz Kosciukiewicz), employed as a builder on a giant statue like this as it begins to loom surreally over the landscape. He is an amiably scruffy, long-haired metalhead living at home with his extended family, whom he annoys with his vague plans to move to London. His brash brother-in-law (Robert Talarczyk) – a man with a fondness for jokes about blacks, Muslims and Jews – tells him the Brits are “wised up” to immigrants these days and won’t let him in. Then Jacek is involved in a horrible accident at work. His injuries are horrendous, and he has to have a face transplant, which is reasonably successful. His family, girlfriend and local priest have to decide how much they want to chip in for Jacek’s continuing medical bills and how they feel about someone with what seems like a new identity. ‘Mug’ is a strange, engaging film – well and potently acted and directed, a drama that puts you inside its extended community with a mix of robust realism and a streak of fantasy comedy. It is an absorbing and strange story, expertly managed. (Subtitles)
Poland 2017 Malgorzata Szumowska 91m
Martin Scorsese's Academy Award-winning film took nearly 30 years in planning and brought two major actors back onto the big screen after several years absence (Leonardo DiCaprio and Daniel Day-Lewis).
1846 New York and tensions have reached climactic and fatal proportions between the Irish immigrants and the British and Dutch inhabitants of the Five Points neighbourhood. William Cutting (Day-Lewis), aka Bill the Butcher, leads the inhabitants of Five Points and creates the 'Native Americans' gang, whilst the immigrants are led by Priest Vallon (Liam Neeson) and form 'The Dead Rabbits'. After a violent clash between the two gangs which leaves Vallon dead, his son Amsterdam goes missing only to turn up in 1862 under a new name and seeking vengeance for the death of his father. Amsterdam (DiCaprio) manages to integrate himself into Bill the Butcher's corrupt inner circle, which is now running the entire underworld around Five Points, and even becomes his right-hand man. However, his identity is soon revealed and a bloody showdown ensues. The film covers an array of New York historical topics--from the corrupt government of William "Boss" Tweed to the riots that rocked the community when President Lincoln tried to impose military conscription. The film contains an award-worthy study in moustachioed menace and corruption from Day-Lewis and an array of the best supporting actors from either side of the Atlantic (Jim Broadbent, John C Reilly, Brendan Gleeson, David Hemmings).
USA 2002 Martin Scorsese 160m
A Centenary Celebration of Ella, Dizzy & Monk
Georgia Mancio – voice, leads an all-star quintet: Steve Fishwick – trumpet; Camilla George - alto sax; Leon Greening – Piano; Andrew Cleyndert – bass; and Dave Ohm – drums, paying tribute to the music of Ella Fitzgerald, Dizzy Gillespie, & Thelonious Monk, supported in the first half by extracts and trailers from films featuring these greats.
Ella Fitzgerald (1917-1996), Dizzy Gillespie (1917-93) and Thelonious Monk (1917-1982) all had their centenaries last year in 2017, and this event celebrates their music with film and a live jazz concert. In the first part of the evening, we will be screening extracts from their concerts and, as it’s a film festival, some trailers and clips of films they appeared in or composed, including ‘Les Liaison Dangerous’ (Monk 1959), ‘Ride ‘em Cowboy’ (Ella with Abbot & Costello 1942), ‘Pete Kelly’s Blues’ (Ella 1955), and even Dizzy in the Muppet Show (1980).
Following the 30 minute interval Georgia Mancio introduces and leads the great all-star British Quintet of Steve Fishwick (trumpet), Camilla George (alto saxophone), Leon Greening (piano), Andrew Cleyndert (bass) and Dave Ohm (drums), to present a live concert exploring and celebrating the music and songs of these jazz legends.
The repressed and bourgeois Maurice Hall (James Wilby) tackles the prejudices of Edwardian society as he comes to terms with his sexuality, in this landmark drama by Merchant Ivory in his acclaimed adaptation of EM Forster’s novel.
From the halls of Cambridge University to the cricket fields of the English gentry, this profound tale of emotional and sexual awakening features star-making performances from Wilby, Hugh Grant and Rupert Graves, and perfectly captures the fears and joys of submitting to a forbidden desire. This landmark all-star cast adaptation of EM Forster’s classic novel charts the interwoven fates and misfortunes of three families in Edwardian England. Described by The Guardian as 'undervalued and underseen' and a pre-cursor to the James Ivory-scripted ‘Call Me By Your Name’, ‘Maurice’ is a landmark film as important as any in the history of gay cinema and one that presents a positive and enriching portrait of first love. Following a sell-out screening at this year's BFI Flare: London LGBTQ+ Film Festival, this sumptuous 4K restoration comes to the Chichester Festival.
UK 1987 James Ivory 140m
A story about an estate agent who has considerable power over his town due to exploiting an accident.
Noboru Ueda moved to Rokujou four years ago, and has been selling "The Certain Land" in the town to foreigner investors, one after another. Ueda is the scorn of the dwindling population of farmers stuck in debt and harbouring provincial attitudes toward outsiders. His only daughter Nana is about to finish high school, and as she considers her next step, her father reveals the secret trauma linking him to this land and its people. Writer/director Thunder Sawada’s critical examination of rural life and the inevitability of change boasts a warmly authentic cast, gorgeous B&W cinematography, and a trembling, moody score.
Japan 2017 Thunder Sawada 91m
A young boy goes missing in a sleepy backwoods town, a local sanitation truck driver, Donald, plays detective, embarking on a precarious and obsessive investigation. An edge-of-your-seat revenge thriller featuring a captivating performance by Andrew Scott (Sherlock).
Donald Devlin is a garbage man in the town of Harburgh, Pennsylvania, a former steel town that has seen brighter days. A delicate single father, suffering from autism. Donny spends his days collecting the trash of the residents of this one-horse town alongside his best friend Donna Reutzel, and in his off-time, focuses his energies on being the best father he can be to his young daughter Wendy. But when young Tyler Zeigler, a neighbourhood boy, goes missing, Donny starts to fixate on finding out what has happened to him. With the local sheriff warning him off, and the town reacting to the young lad’s disappearance in a variety of confusing and out of character ways, Donny determines to learn the truth. But the truth may not want to reveal itself. Set in Trump’s America, the film references many issues faced by the US under the current regime.
UK 2018 Simon Fellows 90m
Leonard Bernstein’s gifts as a communicator remain without parallel, and according to his daughter Jamie, among all his accomplishments he was proudest of his work as a teacher.
He was never content to be ‘only’ a composer and performer; he also felt compelled to explain his ideas about how the music worked, to share his enthusiasm and understanding. And by good fortune both he and television came on the scene and developed at exactly the same time. Thus during the 1950s he made programmes for the Omnibus series hosted by Alistair Cooke, such as 'Beethoven's Fifth Symphony', 'The World of Jazz' and 'The Art of Conducting', while his Young People’s Concerts became legendary for enthusing audiences. Then in the 1970s his six Norton Lectures at Harvard uncovered yet further insights into the world of music. Terry Barfoot will introduce various examples of Bernstein’s unique gifts in this field.
A well-to-do couple host a lavish dinner party to impress their sophisticated friends, they but must disguise their maid as a noblewoman to avoid thirteen guests at the table.
Adding a little spice to a waning marriage, Anne (Toni Collette) and Bob (Harvey Keitel), a wealthy and well-connected American couple, move into a manor house in romantic Paris. While preparing a particularly luxurious dinner for sophisticated international friends, our hostess discovers there are thirteen guests. Panic-stricken, Anne insists her loyal maid Maria disguise herself as a mysterious Spanish noble woman to even out the numbers. But a little too much wine, and some playful chat, lead Maria to accidentally endear herself to a dandy British art broker. Their budding romance will have Anne chasing her maid around Paris and finally plotting to destroy this most unexpected and joyous love affair. A darkly humorous tale of toxic marriage and petty snobbery and financial troubles, delivering some sharp social commentary along the way with an unexpected ending.
France 2017 Amanda Sthers 91m
This was Leonard Bernstein’s only score that he composed for a movie. Written in 1954, Bernstein arranged this superb movie score for a 20-minute symphonic suite. Marlon Brando gives one of the screen's most electrifying performances and was named Best Actor at the 1954 Academy Awards for this film.
Ex-fighter Terry Malloy (Brando) could have been a contender, but now toils for boss Johnny Friendly (Lee J.Cobb) on the gang-ridden waterfront. Terry is guilt-stricken, however, when he lures a rebellious worker to his death, but it takes the love of Edie Doyle (Eva Marie Saint), the dead man's sister, to show Terry how low he has fallen. When his crooked brother Charley the Gent (Rod Steiger) is brutally murdered for refusing to kill him, Terry battles to crush Friendly's underworld empire. Directed by Elia Kazan (‘A Streetcar Named Desire’) and written by Budd Schuberg.
USA 1954 Elia Kazan 103m
An epic and emotional testimony and tribute to the aircraft teams that won the Battle of Britain and ultimately the Second World War, as told by the last serving heroes who built, flew and fought in her.
Narrated by Charles Dance (The Imitation Game, Gosford Park) and with breath-taking aerial footage from the world’s greatest aviation photographer, John Dibbs, and never before seen digitally re-mastered archive footage, ‘Spitfire’ explores how this extraordinary plane became the most famous fighter aircraft ever made. Timed to release as part of the RAF’s centenary year celebrations (RAF100).
UK 2018 David Fairhead & Ant Palmer 100m
As her marriage to Jack (Stanley Tucci) flounders, eminent High Court judge Fiona Maye (Emma Thompson) has a life-changing decision to make at work - should she force a teenage boy, Adam (Fionn Whitehead), to have the blood transfusion that will save his life?
Based upon Ian McEwen’s novel, Fiona Maye (Emma Thompson) is an eminent High Court judge in London presiding with wisdom and compassion over ethically complex cases of family law. But she has paid a heavy personal price for her workload, and her marriage to American professor Jack (Stanley Tucci) is at a breaking point. In this moment of personal crisis, Fiona is asked to rule on the case of Adam (Fionn Whitehead), a brilliant boy who is refusing the blood transfusion that will save his life. Adam is three months from his 18th birthday and still legally a child. Should Fiona force him to live? Ian McEwen has adapted his own novel, sensitively directed by Richard Eyre which co-incidentally is our second film dealing Jehovah’s Witnesses following ‘Apostasy’. Told with a depth of empathy so profound is that rarest of things: an adult drama, written and interpreted with a sensitivity to mature human concerns, with a superbly nuanced performance by Emma Thompson. Festivals: Toronto, Seattle. Our thanks to Entertainment One for this screening.
UK 2017 Richard Eyre 105m
Marleen Gorris, the Oscar winning director of 'Antonia’s Line', brings to life Virginia Woolf's ground-breaking 1925 novel, which itself inspired Michael Cunningham's Pulitzer Prize-winning book, 'The Hours'.
Vanessa Redgrave plays Clarissa Dalloway, an MP's wife, whose life is thrown into crisis when a lover she rejected 30 years ago makes an unexpected appearance at a party she is hosting at her elegant London home, prompting bittersweet memories of her youth. Beautifully filmed in period London and featuring an outstanding cast including Natascha McElhone (Solaris) and Rupert Graves (A Room with a View), ‘Mrs Dalloway’ perfectly captures Virginia Woolf's concerns about choice, truth and destiny.
UK 1998 Marleen Gorris 97m
One of the most ambitious Bulgarian films in recent years, Victor Bojinov’s ‘Heights/The Liberators’ was a Bulgarian box office success. Two members of a rebel movement are sent on a dangerous mission around enslaved Bulgaria in 1870's. Their leader has an important message to reach a man of high importance in the revolution of the country - Vasil "The Lion" Levski.
One of the most ambitious Bulgarian projects in recent years, this is an adaptation of Milen Ruskov’s novel published in 2011. The film explores the Bulgarian realities of the 1870s a few years before the war that would liberate the country from the Ottoman occupation. Directed by Victor Bojinov and adapted by Neli Dimitrova, the story follows Gicho a young man in a revolutionary group led by Dimitar Obshti, a real-life revolutionary fighting against the Turks. After a successful train robbery Obshti entrust Gicho with a special mission: to deliver a letter to Vasil Levski, the country’s most famous freedom fighter, now considered hero and dubbed The Apostle of Freedom. (Subtitles)
Bulgaria 2017 Victor Bojinov 148m
Visible only to those like them and to human children, Damiel and Cassiel are two angels who currently wander around West Berlin, trying to provide comfort to the troubled - although those efforts are not always successful. Among those they are currently observing are: the cast and crew of a movie (a detective story set in WWII Nazi Germany) which include a sensitive and perceptive Peter Falk; an elderly man named Homer looking for eternal peace; and the troupe of a financially failing circus. A visually beautiful film (in glorious black and white) which boasts one of the most poetic and literary scripts ever by Peter Handke, and the dreamlike poetry of the dialogue fits seamlessly in with the overpowering visuals. (Subtitles)
West Germany/France 1988 Wim Wenders 128m
We conclude with Bergman’s undisputed 1982 (an epic 3-hours) masterpiece. Two young Swedish children experience the many comedies and tragedies of their family, the Ekdahls.
Set in Sweden at the turn of the century, Ingmar Bergman's semi-autobiographical story tells of young sister and brother Fanny (Pernilla Allwin) and Alexander (Bertil Guve), whose comfortable lives change dramatically when their father dies onstage during a performance of 'Hamlet'. Their mother marries a puritanical bishop and the new family move into the bishop's draughty home, where the children are mistreated, and their mother becomes consumed with regrets. The film won the Oscar for Best Foreign Language Film, as well as Oscars for Best Cinematography, Best Costume Design and Best Art Direction. A longer 5 hour version made for TV also exists but is unavailable in the UK. (Subtitles)
Sweden 1982 Ingmar Bergman 183m
The spiritual journey of a ninety-year-old atheist, Lucky, played by the late Harry Dean Stanton in his last film.
In John Carroll Lynch's coolly unflustered directorial debut, screenplay by Drago Sumonja and Logan Sparks, the humble gestures are writ large. The routines of a man living alone in a small desert town, and his interactions with the world around him, are put under a microscope, and what could easily be seen as negligible burgeons into a wilderness bloom of late-life calm absurdity. For one, Stanton's Lucky has a circle of acquaintances anyone could wish for. There is Howard, played with emotion by David Lynch, impeccably dressed in suits and hats and idiosyncratic neckties of various colour. Howard needs a lawyer (Ron Livingston) to make a will - so that he can leave all his belongings to President Roosevelt! The shopkeeper (Bertila Damas), where Lucky buys his milk and cigarettes, invites him to a party for her youngest son Juan (Ulysses Olmedo). Such is the tone of ‘Lucky’ - deadpan absurdity, everyday madness and enlightenment through routine merge in an attempt to answer the big questions of life. Relish every detail of Stanton’s matter-of-factly fearless portrayal of a man who ran out of damns to give a long time ago, but still wants to make a graceful exit. It is, quite simply, the performance of a lifetime.
USA 2017 John Carroll Lynch 88m
Les Glaneurs et la Glaneuse
Varda’s rumination on finding and re-using discarded objects, and on her own artistic practice.
Armed with a digital camera, Varda travels through the French countryside and Parisian streets to celebrate those who find use in discarded objects. Throughout, she finds affinity as a gleaner of images, emotions and stories, and expands a poetic exploration of gleaning into an innovative self-portrait. This seminal work, referred to by Varda as a ‘wandering-road documentary,’ explores her creative process and approach to making film and art. (Subtitles)
France 2000 Agnès Varda 82m
A luminous and enthralling study of a young South Dakotan cowboy’s struggle following a near fatal head injury. Unable to carry on competing on the rodeo circuit where he made his life, he reflects on what it means to be a man in the American west.
Chloé Zhao returns to South Dakota for this sublime study of a young Sioux cowboy and his broken dreams. To say that Zhao’s film is a narrative built around the real-life experiences of her non-actors might imply less artistry than this magnificently crafted drama deserves. Cinematographer Joshua James Richards (God’s Own Country) captures glinting rays of sunlight that reflect the soulful presence at the heart of the film, cowboy Brady Jandreau. He plays a semi-autobiographical character alongside his real-life father and sister. After a near fatal rodeo accident and with doctors ordering him not to ride again, Jandreau struggles to leave the sport he loves. Zhao focuses on Brady’s moving interaction with the horses and his tight community of fellow-riders. In doing so, she delivers an enthralling portrait of America’s cowboy culture and an archetypal story of a young man redefining his hopes and ambitions. Audiences will find significant moments of beauty and heart on the prairie. Brady training horses is magnificently cinematic and tense, and his fondness for the animals is touching, especially when he compares his own fate to that of a lame horse. Expertly controlled and caringly delivered, ‘The Rider’ is an absorbing human drama that manages to keep you gripped to your seat whilst everything around you bucks and jolts. It was the winner of the Grand Prix Award at the Deauville Festival of American Cinema and the Art Cinema Award in the Directors’ Fortnight of the Cannes Film Festival.
USA 2017 Chloé Zhao 104m
Written by cartoonist and playwright Jules Feiffer (‘Little Murders’, ‘Carnal Knowledge’), and based on characters he created for comic strips in Playboy and The Village Voice, Jim Rash and David Koechner play the title roles in Dan Mirvish's dark comedy based on a decades-old, unproduced Feiffer script.
‘Bernard and Huey’ is a lovingly detailed look at two unhappy and unpleasant men. Bernard (Jim Rash) is a 49-year-old book editor specializing in historical nonfiction and getting laid. He moved into his latest apartment five years ago but has yet to furnish it; he doesn't even have a table. One night his best friend from college, Huey (David Koechner of ‘Anchorman’, among other films), shows up unannounced, looking for a place to stay. It's the first time they've seen each other in 25 years. Huey is running away from the collapse of his own family; he destroyed it himself for reasons that will soon become clearer. ‘Bernard and Huey’ is a film about relationships and fatherhood but it’s also one that will likely hit close to home for the lifelong single folks. Because of the relationships, it probably won’t have the same appeal to younger viewers in a post-feminist world like it will to older viewers. It has been lovingly resurrected from a 30-year-old Jules Feiffer screenplay (updated by the still active writer/cartoonist) and drenched to the bone in the vintage misogyny of another era. The way men like Bernard and Huey relate to the world has changed a lot since the last time Feiffer brought such men to the screen. The resulting film served as this year's closing night film at the 2018 Slamdance.
USA 2018 Dan Mirvish 90m
Swedish thriller based on the hugely influential bestseller by Stieg Larsson, being shown in the original full length three-hour TV version.
The story centres on two very different characters whose worlds collide when they both become intrigued by a 40-year-old mystery. Michael Nyqvist is Mikael, an award-winning journalist now looking forward to time in prison after pissing off somebody with better lawyers than him. Noomi Rapace is Lisbeth, a computer hacker with a violent past who is used to having to fight every step of the way in order to live life on her own terms and there has been no softening of the character for the film which contains uncomfortable and disturbing viewing. Fans of this particular novel will be relieved to know that Niels Arden Oplev has done a superb job. Those who haven't yet read the book will find the film a compelling piece of work in its own right. (Subtitles) Sweden/Denmark 2009 Niels Arden Oplev 183m
In 1865, U.S. president Abraham Lincoln endeavours to achieve passage of the landmark constitutional amendment which will forever ban slavery from the United States. However, his task is a race against time, for peace may come at any time, and if it comes before the amendment is passed, the returning southern states will stop it before it can become law. Lincoln must, by almost any means possible, obtain enough votes from a recalcitrant Congress before peace arrives and it is too late. Yet the president is torn, as an early peace would save thousands of lives. As the nation confronts its conscience over the freedom of its entire population, Lincoln faces his own crisis of conscience - end slavery or end the war. Lincoln lacked social polish, but he had great intelligence and knowledge of human nature. The hallmark of the man, performed so powerfully by Day-Lewis, is calm self-confidence, patience and a willingness to play politics in a realistic way. Day-Lewis modulates Lincoln. He is soft-spoken, a little hunched, exhausted after the years of war, and concerned that no more troops die. Stephen Spielberg’s film is one of the finest historical films ever made, and co-stars Sally Field, David Strathairn and Tommy Lee Jones.
USA 2012 Steven Spielberg 145m
Expansive in scope and ambition, ‘The Deer Hunter’ moves from the steel mills outside of Pittsburgh to the mountains of Pennsylvania to the jungles of Vietnam as it explores the upheaval faced by a tight-knit group of Russian Americans when three of their number - Michael, Nick and Steven - enlist to serve in Vietnam. Bodies, minds and bonds are broken by the horrors witnessed there, and the trio isolate themselves in their own minds, in hospital wards and in illicit Saigon gambling dens where sweat drips from the walls and from furrowed brows pressed against grubby gun barrels. Both Oscar-nominated, Robert De Niro and Meryl Streep perfectly downplay the tragic almost-romance of two people torn apart by muted catastrophes and massive conflicts. Christopher Walken won a Best Supporting Actor Oscar for his portrayal of Nick: the angel-faced, hollow-eyed vet who survives the brutality of war only to be left with nothing to live for. (To include a 5m interval).
USA 1978 Michael Cimino 183m
The story of Jim McNeely, a young man thrust into the vibrant and brutal West Texas oilfields in 1939, who works his way through the ranks to ultimately become a formidable wildcatter.
In love with the daughter of a wealthy family but of unsuitable social status himself, Jim receives their “help” in the form of a position in the pipe-laying gang on a lease near Odessa. There he endures physical and psychological torment but rises above their petty antics to make friends and, eventually, run off with another man’s wife to start his own business servicing equipment. At its core ‘The Iron Orchard’ is a story about love and desire. Jim is torn between his past and present; two worlds juxtaposed by a rural and modern landscape and mindset.
USA 2018 Ty Roberts 112m
Paul (Morgan) investigates his late father's increasingly disturbing past and becomes suspicious of the mysterious, melancholic, and possibly dangerous Madeleine (Fanny Ardant).
When Paul’s (Colin Morgan in his feature film debut) father utters some deathbed clues to a past his son knew nothing about, it triggers a journey of discovery that leads him to a house situated amongst the foothills of the French countryside. Here lives Madeleine (Fanny Ardant), a secretive musician, who might be the key to unlocking the dark secrets of his childhood. Eventually he locates the house in question, blagging his way in as an architecture grad student looking to survey the house for a project. Madeleine, the frosty Madame in residence and daughter of the Colonel referenced by Paul’s father, puts him up for the week, but keeps him under her suspicious eye. When he gets a chance, he’s rummaging through her things to find answers to his father’s wartime French experience, or making eyes at Sylvia (Audrey Bastien), the girl who works in the cafe down the road. ‘Waiting for You’ gives the impression of a film built mood-first, in the sunny chateaux aesthetics. Sometimes a film’s greatest strength is how it just wants to tell an interesting tale, free of gimmicks and grandstanding, and this is one such story, if something of a mysterious slow burner. A beautiful assured first feature, writer/director Charles Garrad’s design background is obvious throughout in this lyrical, atmospheric mystery drama.
UK 2107 Charles Garrad 92m
We hope to welcome writer/director Charles Garrad to introduce his film plus Q&A.
In this film Bergman offers a clarity and simplicity, winning the first of his three Foreign Language Film Oscars as a result.
This unusually linear and comprehensible story, especially in light of thickets of interpretations thrown up by films like ‘Seventh Seal’ or ‘The Silence,’ is based on an old Swedish ballad. It tells of the murder of Karin (Birgitta Peterson), beloved daughter of local landowner Tore (von Sydow) and his wife, Mareta (Birgitta Valberg), which is witnessed by her surly, pregnant servant Ingeri (Gunnel Lindblom). Karin’s assailants seek shelter in Tore’s home, where they unwittingly betray themselves, leaving Tore to exact revenge. Sven Nykvist’s near-miraculous photography, and Von Sydow’s commanding yet internalized performance, makes ‘The Virgin Spring’ a compelling access point to Bergman’s more complex investigations elsewhere. (Subtitles)
Sweden 1960 Ingmar Bergman 89m
Following the launch of a Surprise Film in the Festival 8 years ago, we continue this idea where you settle down for a film, not knowing what it will be, and finding out along with your fellow patrons once the opening scene or credits give it away. In past years our surprise films have been ‘Julie & Julia’, ‘Jane Eyre’, ‘Untouchable’ (which became the most popular French film in 2012), ‘Blue Jasmine’, ‘Pride’ and ‘Café Society’ - an impressive list. So what will we have on Thursday 23rd August? Join in the fun and take the opportunity to gamble by booking in advance for hopefully a very worthwhile surprise! Roger Gibson
Academy Award-winning drama starring Daniel Day-Lewis as Daniel Plainview, a down-and-out silver miner who transforms himself into a rich oil tycoon.
When he learns of a small oil-rich town in California, he moves there with his adopted son, H.W. (Dillon Freasier). Using his son to project the image of a caring family man, Plainview gains the co-operation of almost all the locals in the town, with promises to build schools and cultivate the land to make their community flourish. However, over time, Plainview's gradual accumulation of wealth and power causes his true self to surface, and he begins to slowly alienate himself from everyone in his life, including his son. Crafted and stylised, Day-Lewis's performance, like Olivier, has apparently found the character by first hitting on externals, notably the voice, itself a startling invention. It is a drawl, oddly patrician in its pedantic intonations and emphases, with a Scots-Irish-American sound, perhaps inspired by John Huston. This is a dark, uncompromising film, thrillingly original and distinctive, with a visionary passion. Paul Thomas Anderson is doing something new with cinema, and you can hardly ask for more than that.
USA 2007 Paul Thomas Anderson 158m
A detective pairs himself with a famous psychologist on a case involving a traumatized young witness to a crime.
Lasse Hallström directs this Swedish thriller starring Tobias Zilliacus, Mikael Persbrandt and Lena Olin. Based on the novel by Lars Kepler. When a young woman and her parents are murdered, the detective in charge of the case consults with a famous psychiatrist in an attempt to understand why the killer targeted the whole family, with only the son managing to escape. As the psychiatrist reveals his unconventional methods of hypnotism he places the comatose son into a trance in the hopes of re-enacting the fateful night. Halleström creates that all important neo-noir mood. Early scenes are shot at night. Even in the daytime, colours are muted. Everything is wreathed in snow and the crisp air seems to make the stark absence of clues even crueller, especially when the tables are turned, and Erik finds his family in danger. It has high production values, an air of menace and enough twists to keep most thriller fans happy. (Subtitles)
Sweden 2014 Lasse Hallström 122m
American planes are sent to deliver a nuclear attack on Moscow, but it's a mistake due to an electrical malfunction. Can all-out war be averted? Sydney Lumet’s 1964 topical classic stars Henry Fonda and Walter Matthau is a suspenseful cold war thriller.
Made less than two years after the Cuba Missile Crisis, Sydney Lumet’s superb ‘Fail-Safe’ was clearly very heavily affected by that trauma and what it revealed to us all. We see a decent American President in the bizarre context of a nuclear showdown. In a real-time view, we watch as a million-to-one technical fault 'orders' a wing of American bombers to attack Soviet Russia, and the Defence Department and the President are helpless in trying to stop it. Henry Fonda is first-class as the president. He brings authority and dignity to the part, exuding Ivy League self-assurance. Larry Hagman plays Buck, the translator from Russian into English, who spends the crisis in the bunker at the president's side. Walter Matthau, against type, plays a heartless nuclear expert. Professor Groeteschieler advises the Pentagon top brass on nuclear strategy. He is a ruthless cynic who represents the Barry Goldwater end of the spectrum, and Matthau acts the part consummately well. Because this film came out around the same time of ‘Dr Strangelove’, it was somewhat overshadowed, and although more than 50 years old, it is perhaps more relevant today than ever!
USA 1964 Sidney Lumet 112m
Based on Virginia Woolf’s novel from 1927, and blessed with a fine cast, including Kenneth Branagh, Michael Gough, and Rosemary Harris, this film was nominated for a BAFTA as best single drama. Written by Hugh Stoddart and directed by Colin Gregg, it was one of six films they achieved in a decade beginning in the late 1970s. It was first broadcast in 1983.
Mr Ramsay (Michael Gough) adores his family, but his academic work is past its best, and his anguish is making him tyrannical. Mrs Ramsay (Rosemary Harris) is wearing herself out trying to ensure everyone around her is happy, husband children and guests alike: they are, after all, on holiday. Their youngest child, James, is caught between them – his father is vexed with him, his mother cossets him - but his passion to go to the lighthouse is endlessly frustrated. Artist Lily Briscoe (Suzanne Bertish) coolly observes the family dramas but struggles with her painting, and Mr Ramsey’s student (Kenneth Branagh) seethes at being ignored. Their summer ends; World War One and personal tragedies engulf them. Finally, survivors return. Encouraged by Woolf’s own comment regretting the novel’s setting on Skye as unconvincing, director Colin Gregg locates the film in Cornwall, the setting for her childhood holidays. The film retains the novel’s three-part structure, honouring Woolf’s stated aim “to tackle the flight of time.”
UK 1983 BBC Colin Gregg 115m
NB: An illustrated talk on the films adapted from Virginia Woolf’s work will precede this film.
Italy 2012, Mario Monti’s government is in power. Francesca, in her sixties, suddenly finds herself in a state of desperation without any income.
Even though she lives with her niece Mary (Carlotta Bazzu), the situation keeps getting worse, mainly because of the contempt that the teenager feels for the misery in which they have fallen in to. Not finding any solution, Francesca finds herself door-knocking for work, and eventually ends up begging in Rome’s Piazza della Repubblica. The city folk who cross the square every day are struck by Francesca, she is so distinct and so far removed from the stereotypical beggar. Francesca embodies the new Italian poverty. Things get complicated when Mary accidentally bumps into Francesca while begging in the square. (Subtitles)
Italy 2017 Ciro Formisano 102m
LEONARD BERNSTEIN CONDUCTING WEST SIDE STORY:
THE MAKING OF A RECORDING
Featuring extended extracts from the1984 BBC film introduced by the director Christopher Swann.
Filmed in 1984, produced by Humphrey Burton and directed by Christopher Swann for the BBC, this feature-length documentary follows Leonard Bernstein through one week as he records West Side Story, the first-ever complete album of his musical theatre masterpiece. Virtually the entire documentary takes place in RCA’s New York Studio with a pick-up orchestra, session singers and headliners Kiri Te Kanawa (Maria), José Carreras (Tony), Tatiana Troyanos (Anita) and Kurt Ollmann (Riff). The 89-minute programme alternates rehearsal footage with complete final takes of the main numbers - including ‘Tonight’, ‘America’, and ‘Maria’ - with comments from the principal players. Te Kanawa explains how much the music means to her, Troyanos notes how she grew-up in the very streets depicted on stage and Carreras provides a rare moment of tension when a session ends unsatisfactorily. Bernstein himself is by turns commanding, charming, enthusiastic or weary.
BBC 1984 Christopher Swann 120m approx
Based on Jo Brand’s critically acclaimed novel of the same name, this is a warm, comedy drama focusing on the life of an unconventional family in 1980s rural England.
The film focuses on Gina, a young mother, whose efforts to be a loving mother and wife are undermined by her declining mental health. Things deteriorate when she develops an obsession with the local weatherman, which leads to an admission to the nearby psychiatric hospital. Over the years, as she grows up, her daughter Alice struggles to relate to her heavily medicated mum and causes chaos when she comes up with a plan to reconnect with her, which divides the family forever and leads to a moving climax. Set to the songs of The Smiths, ‘The More You Ignore Me’ provides a sometimes stark, yet comical insight into life within this quirky household, whilst addressing mental health issues and their impact on the family. The cast includes Sheridan Smith, Mark Addy, Ella Hunt, Sally Phillips, Sheila Hancock, Tony Way, Michelle Collins, Elizabeth Carling, Ricky Tomlinson, Tom Davis, Clive Mantle, Jo Brand, Nicholas Ball and Roger Morlidge.
UK 2018 Keith English 105m
A father and his estranged son must come together to hand deliver his daughter's wedding invitations to each guest as per local Palestinian custom, in this rousing and humorous family drama from Annemarie Jacir
Loosely inspired by events in her own family, Jacir’s film follows Shadi (Saleh Bakri) as he returns to Nazareth for the wedding of his sister Amal (Maria Zreik). Tradition dictates that he should accompany his schoolteacher father Abu Shadi (Mohammad Bakri) as they personally hand deliver wedding invitations to a large extended family, friends and anyone else considered an essential guest. Abu Shadi is a schoolteacher, divorced from a wife who left him and the country many years ago. It becomes clear that the pain of that is still raw. Shadi is an architect who now lives in Rome with his girlfriend, but initial scenes suggest a distance between them. They are as polite as two strangers, but eventually niggling comments and tensions rise to the surface. Naturalistic, nicely paced and well played by the lead actors, ‘Wajib’ succeeds at making us invest in its fragile father/son relationship and willing them to acknowledge that there is more that unites them than threatens to drive them apart. Warmth, charm, charisma and humour are brought to this engrossing and immensely entertaining drama. (Subtitles)
Palestine 2107 Annamarie Jacir 96m
A beautiful, moving documentary about New Orleans musicians that is itself a "second line" parade to the devastation of Hurricane Katrina. 'If the musicians ain't got a chance to live, then what chance has the music got?' Dr John.
This is a beautifully crafted, feature documentary, rich with colourful characters, and set in the iconic musical backdrop of New Orleans. In 2005 the music stopped, when one of the most deadly and destructive hurricanes in American history struck. The flood defences failed, flooding the Crescent City for weeks. Lives were lost and shattered. Many displaced musicians felt compelled to return to the chaos and bleak confusion to play again. This is the story of some who made it back, told in their own words, with those who fought alongside to resuscitate the music scene; In particular the founders of The New Orleans Musicians' Clinic, a unique medical facility with the motto, 'Keeping the music alive'. A labour of love 10 years in the making! A documentary for any true cultural historian or jazz fan!
USA 2017 Renee Edwards 95m
Thanks to Munroe Films
An immaculate, entirely female-driven drama, the debut feature of Paraguayan filmmaker Marcelo Martinessi screened in Competition for the Golden Bear at the 2018 Berlinale, where it won the Alfred Bauer Silver Bear and received unanimous acclaim.
Both a piercing character study and a commentary on the Paraguayan class structure, it follows Chela (Ana Brun) and Chiquita (Margarita Irún), who – both women descended from wealthy families in Asunción, Paraguay – have been together for over 30 years when their precarious financial situation begins to impact both their way of life and their relationship. Forced to cope on her own, Chela starts driving for the first time in years, providing a local taxi service to a group of elderly wealthy ladies. Encountering the much younger Angy (Ana Ivanova), they forge a fresh and exhilarating connection – encouraging Chela to finally break out of her shell and embark on a personal revolution, engaging with the world on new and intimate terms. (Subtitles)
Paraguay / Uruguay / Germany/ France 2018 Marcelo Martinessi 95m
An in-depth and heart-breaking chronicle of the rise and fall of a legend- Whitney Houston.
This is the second doc on Whitney Houston in less than a year; last autumn Nick Broomfield’s ‘Whitney: Can I Be Me?’ leaned in on the salacious elements of this very classic Hollywood rise and fall story. Kevin Macdonald’s film was made with the support of the Whitney Houston Estate and includes interviews with family and friends – even mother Cissy and ex-husband Bobby. The result is a bit more carefully curated and spends more than half of its running time on the more positive elements of her rise before digging into the darker vortex of her eventual demise. Feted at a midnight screening at Cannes.
UK 2018 Kevin Macdonald 120m
Ben Hall returns playing organ to accompany Carl Dreyer’s classic creepy chiller.
With ‘Vampyr’, Danish filmmaker Carl Theodor Dreyer channelled his genius for creating mesmerizing atmosphere and austere, unsettling imagery into the horror genre. Dreyer turned to an English author: Sheridan le Fanu and his novel ‘Carmilla’. The result a chilling film about a student of the occult who encounters supernatural haunts and local evildoers in a village outside Paris is nearly unclassifiable. A host of stunning camera and editing tricks creates a mood of dreamlike terror. With its roiling fogs, ominous scythes, and foreboding echoes, ‘Vampyr’ is one of cinema's greatest nightmares. This was originally a very early sound film, but was virtually made as a silent film with little dialogue (with English subtitles). This was the first film to receive an 'H' certificate in the UK, for "Horrific: Films which are likely to frighten or horrify children under the age of 16 years". A lot of it doesn’t make a great deal of sense, but how many nightmares do? Deemed by Alfred Hitchcock ‘the only film worth watching… twice’, ‘Vampyr’s influence has become, by now, incalculable. Released in the UK for the first time in a restored version, and we present it as a silent film with original live organ accompaniment created by Ben Hall. Prepare to be chilled!
Denmark 1932 Carl Theodor Dreyer 70m
The winner of 10 Academy Awards, this 1961 musical by choreographer Jerome Robbins and director Robert Wise (‘The Sound of Music’) remains irresistible. Based on the smash Broadway show updating Shakespeare's ‘Romeo and Juliet’ to the 1950s era of juvenile delinquency, ‘West Side Story’ stars Natalie Wood and Richard Beymer as the star-crossed lovers from different neighbourhoods - and ethnicities. The film's real selling points, however, are the highly charged and inventive song-and-dance numbers, the passionate ballads, the moody sets, colourful support from Rita Moreno, and the sheer accomplishment of Hollywood talent and technology producing a film so stirring. Leonard Bernstein and Stephen Sondheim wrote the score.
USA 1961 Robert Wise 151m plus short interval
Two estranged sisters, Ester and Anna, and Anna's 10-year-old son travel to a Central European country on the verge of war.
On the surface (and beneath) this is one of Bergman’s most forbidding films, but the film also prefigures many of the themes of ‘Cries and Whispers’, though here, Sven Nyqvist’s photography is in silky, insinuating black and white as opposed to the crushing reds of the later film, lending an even more austere edge. Two sisters, the ailing, intellectual Ester (Ingrid Thulin) and the sensuous, uncaring Anna (Gunnel Lindblom), along with Anna’s young son Johan, are making a journey through an unnamed Eastern European country, in which none understand the language (dialogue is minimal). They hole up for a few days in a hotel of crumbling grandeur, and as Ester contends with bouts of body-wracking pain and despair, Anna ventures out and has several sexual encounters, while Johan drifts between his sick aunt and the other hotel residents, most memorably a troupe of circus dwarves. (subtitles)
Sweden 1963 Ingmar Bergman 96m
A young detective is torn apart after his wife ends up in a coma while hunting a serial-killer at the same time.
A promising young Detective, Ryan Barnes, arrives home on his anniversary to find his wife has been in a devastating car accident. Seven months later she is still in a coma and Barnes, unable to accept her condition, throws himself into a new investigation that soon develops into a murder investigation and manhunt for a serial killer. Without giving away too much of the plot, this film questions the audience in a debate of life and death
The detective (up-and-coming star Matt Hookings), who, reeling from an accident involving his wife, which subsequently puts her into a coma, throws himself into a serial killer mystery that focuses on an elderly care home. touching on the ever-growing focus of Alzheimer’s and Dementia in the elderly Along with his 2 colleagues, also played by up-and-coming actor Justin McDonald & Micheal Mckell they embark on a thrilling chase to hunt down the killer. It is dark, edgy, and thrilling debut filmed on location; in Lynton & Lynmouth, North Devon. Our thanks to Phoenix Worldwide for this screening.
UK 2018 Dom Lenoir 100’tbc
We hope to welcome director Dom Lenoir and some of the cast (TBA) for a Q&A following this screening.
From the earliest days of movie-making to the present day, through rare and unseen footage, we see the changing relationship the British have with their land.
From images of local celebrations and festivals to agricultural practices through the seasons, village life and lost crafts. Scouring 100 years of archive footage, much of it drawn from the BFI National Archive, BAFTA-winner Paul Wright constructed an exhilarating study of the British people’s shifting – and contradictory – relationship to the land. The film takes us on a sensory, visceral journey through the contrasting seasons, observing folk carnivals and fetes, masked parades, water divining and harvesting. Set to a grand, expressive new score from Adrian Utley (Portishead) and Will Gregory (Goldfrapp), alongside folk music from the likes of Anne Briggs, Wright’s captivating film essay captures the beauty and brutality, and the magic and madness of rural Britain.
UK 2017 Paul Wright 79m
A tumultuous love story between two people of different backgrounds and temperaments – who despite their overwhelming passion for each other, are fatefully mismatched – it won him Best Director at Cannes in May and has received ecstatic reviews.
Pawel Pawlikowski, director of the Oscar-winning ‘Ida’, returns with the exquisite ‘Cold War’. Loosely inspired by Pawlikowski’s parents (to whom the film is also dedicated) it’s set against the oppressive background of the Cold War and across Poland, Berlin, Yugoslavia and Paris; following singer Zula (an effortlessly magnetic and beguiling performance by Joanna Kulig) and pianist Wiktor (Tomasz Kot) from their initial meeting at an audition over the course of the ensuing 15 years. Endlessly drawn to each other, they are unable to co-exist but their inability to move on from one another is cyclical, stuck on a painful and exhausting loop. The film’s very structure – particularly through use of narrative ellipses – serves to compound and solidify their unbreakable bond as Zula rises to fame, as they perform across Eastern Europe (the film includes some brilliantly choreographed musical set-pieces) and realise that they must find a way to slip past the Iron Curtain, and soon. It’s a moving, searching and highly personal film from Pawlikowski, who grew up in exile from Poland’s Communist rule and lived in the UK and Paris. (Subtitles)
UK/ Poland/ France 2018 Pawel Pawlikowski 85m
Le Sens de la Fête
A classically constructed ensemble comedy in the tradition of the greats from Eric Tolendo and Olivier Nackache, the new kings of French comedy who previously created ‘The Intouchables’ – winner of Best Film at the 2013 Chichester Film Festival.
This latest Nakache/Toledano collaboration is like a good wedding champagne - bubbly, frothy fun with an excellent structure and a hint of complexity that leaves you on a high. Not that wedding planner Max (Jean-Pierre Bacri) has any time to stop and have a glass, he's far too busy trying to ensure that the only hitch on a big day is between the bride and groom.
If things go wrong, he simply urges his staff to "adapt" - an instruction he's having some difficulty taking on board himself, what with his wife currently taking a break from him and his girlfriend sick of playing the other woman.
Set over the course of one event, the directing duo prove adept at planning and crowd management, plunging us into the workings of the backstage staff and some of the wedding party without losing us in the melee. Max just wants a quiet life, but there's little chance of that considering his right-hand woman Adele (Eye Haidara) is in almost constant foul-mouthed conflict with egocentric replacement wedding singer (Gilles Lelouche), his photographer (Jean-Paul Rouve) is on the romantic prowl, with the help of his young work shadow (Gabriel Naccache), and the groom (Benjamin Lavernhe) takes over-inflation to an entirely new level. (Subtitles) Our thanks to CineFile for this screening.
France 2017 O.Nakache/E.Toedano 117m
Danila is sixteen. Katya is twice his age. He spends hours watching her out of the corner of his eye from an old shed on the edge of the forest. He does not even think about trying to be with her until Danila’s father shows up on Katya’s doorstep in an attempt to run away from his avalanching problems.
Father and son are drawn into a turmoil of events where neighbour turns against neighbour, dividing the community into "us" and "them". The strong show more and more disregard and contempt the weak, pushing everyone's life towards a disaster. Russian Director Roman Zhigalov says: “Cinema for me is primarily honesty. It is a straight conversation about social issues without any embellishment and smoothing things over. It is becoming increasingly difficult and dangerous to tell the truth in my country. That’s why it is more and more important for me.”
Russia 2017 Roman Zhigalov 96m
The Place He Called Home
This documentary by Leo Zahn, explores Frank Sinatra's deep attachment to Palm Springs and the Coachella Valley, his primary home for almost 50 years. We are honoured to present the UK premiere of this exclusive film.
The film captures the spirit of the Sinatra era and pays tribute to the unique lifestyle of Sinatra's Palm Springs and Rancho Mirage. Steeped in affection and appreciation for the deep bond between Sinatra and these beguiling desert towns, ‘Sinatra in Palm Springs’ tells the story of a man whose generosity and compassion for his fellow citizens had no bounds. He loved the desert and its people. He loved the local restaurants and bars. His best friends lived nearby. He conducted a lot of his business in the desert and many moved there from LA to be near him and his businesses. Revealing interviews bring to life a bygone era. Beginning with the post WWII years and Sinatra's 1947 home in Palm Springs, tumultuous times with Ava Gardner, his 1954 move to Cathedral City/Rancho Mirage, his marriage to Barbara, and life at the "compound". 1954 was a pivotal year for him. Ava Gardner filed for divorce and he won the Oscar for 'From Here to Eternity'. Clips from that film and more than 50 other movie and television clips bring to life the Sinatra of legend during the Palm Springs years. Major sequences are dedicated to historic restaurants Sinatra frequented for decades. Featuring interviews with Barbara Sinatra, Mel Haber, Tom Dreesen, Nelda Linsk, Bruce Fessier, Trini Lopez, Michael Fletcher and many others who knew and lived and played with Frank Sinatra.
USA 2018 Leo Zahn 95m
50th Anniversary Screening
It has been 50 years since Elvis Presley – the undisputed king of rock – performed his legendary 1968 Comeback concert. Here it is for all to enjoy on the big screen.
Originally airing as a TV special, this spectacular performance is seen by many as the Memphis icon's most substantial achievement as a stage performer. His first stage performance in from of a live audience for more than seven years sees him performing alone as well as in jam sessions with Scotty Moore and D.J. Fontana, his early backing musicians. Over 90 minutes, Elvis performs his classic rock and pop hits, introduces new material and reminisces about his career. This event includes a cinema-exclusive special introduction and studio tour by Steve Binder (the original producer and director), including special guest appearances and commentary offering a unique perspective on Elvis and his iconic status.
USA 2018 NBC 110m
Tickets £12.50 (Friends £10)
Sophie (Amanda Seyfried) learns about her mother Donna's (Meryl Streep) past, in this sequel to ‘Mamma Mia!’, that will surely be the film of the summer.
As the film goes back and forth in time through Donna’s life, experiencing the fun she had with Sophie’s three possible dads, it shows how relationships forged in the past resonate in the present. Sophie is now pregnant, so like Donna, she will be young when she has her baby. This is where she realizes she will need to take risks, just as her mother did. Lily James will play the role of Young Donna. Julie Walters and Christine Baranski play Donna’s friends Rosie and Tanya, with Alexa Davies and Jessica Keenan Wynn playing their younger version. Pierce Brosnan, Stellan Skarsgård and Colin Firth return as Sam, Bill and Harry, with their younger selves played by Jeremy Irvine, Josh Dylan and Hugh Skinner.
USA 2018 Ol Parker
Join star tenor Jonas Kaufmann for a magical night of music under the stars, featuring famous arias and timeless Italian songs.
Regarded as one of the world’s greatest tenors, Jonas Kaufmann has captivated audiences across the globe with his incredible voice. Join him this summer for a spectacular outdoor concert, captured live at Berlin’s iconic Waldbühne amphitheatre. The star tenor will perform famous arias and timeless Italian songs from his bestselling album Dolce Vita, in what promises to be a magical night of music under the stars. 120m including interval.
Tickets £15.00 (Friends/Students £12.50)
This new version of August Strinberg’s play ‘Miss Julie’, written by Polly Stenham, remains shocking and fiercely relevant in its new setting of contemporary Britain.
Wild and newly single, Julie (Vanessa Kirby from ‘The Crown’) throws a late-night party. In the kitchen, Jean (Eric Kofi Abrefa from ‘The Amen Corner’) and Kristina clean up as the celebration heaves above them. Crossing the threshold, Julie initiates a power game with Jean – which rapidly descends into a savage fight for survival. Drawing on the festivity, social divides and intense escalation of Stringberg's tragedy, Stenham shifts the story from 19th century Sweden to modern London.
Directed by Carrie Cracknell (NT Live’s ‘The Deep Blue Sea’), this production will be broadcast live from the National Theatre. 120m inc interval.
Tickets £17.50 (Friends/Students £15)
Thu 6 Sep 19:00 (Live)
Teatro alla Scala Ballet
This presentation is part of the Festival of Chichester.
‘Le Corsaire’ is a ballet in three acts, loosely based on the poem ‘The Corsair’ by Lord Byron, to the music of Adolphe Adam. Captured live from Teatro alla Scala, Milan 16 May 2018.
‘Le Corsaire’ follows the swashbuckling adventures of a dashing pirate who journeys across the high seas to save his beloved from the Pasha’s harem with danger looming at every turn. With lavish sets and costumes, the choreography mirrors Russian ballet master Maris Petipa’s revival from 19th century St. Petersburg. Full of action, passion and a romantic twist form the heart of this unmissable ballet. Following our sell out live production from the Bolshoi last October, it will be fascinating to see how La Scalla’s new production compares. Conductor - Patrick Fournillier; Choreographer - Anna-Marie Holmes.
Running time with intervals TBA.
Tickets £17.50 (Friends/Students £15)
The Education Section of Chichester Cinema at New Park present an illustrated talk on the different aspects of song and dance on film.
The presentation, by Cinema Trustee Michael Cox and Projectionist Paul Stanley, covers not just musicals but how an individual song or dance from any film can engage, move, influence or entertain the audience. Background information on a wide range of songs and dance styles featured on film will abound.
Tickets £6 (Friends £5)
Fri 14 Sept18:30 (Studio)
The only way is Windsor in this new production of Shakespeare's merry comedy of suburbia, wives and over-inflated egos.
John Falstaff (David Troughton) plans to hustle his way to a comfortable retirement by seducing the wives of two wealthy men. Unknown to him, it’s the women of Windsor who really pull the strings, orchestrating Falstaff’s comeuppance amidst a theatrical smorgasbord of petty rivalries, jealousies and over-inflated egos. For a fat Englishman, a Welshman and a Frenchman, the only way is Windsor in this outrageous and fun-filled new version, directed by Fiona Laird. Running time tbc, includes 1 interval.
Tickets £17.50 (Friends/Students £15)
Sat 15 Sep 14:30
From the World's Most Spectacular Opera series, experience the love, laughter and loss of La Bohème at the magnificent Handa Opera on Sydney Harbour.
Puccini’s beloved classic – the original bohemian love story – has long captivated audiences around the world. His music swells with love, soars in ecstasy, crackles with jealousy and cries with heartache. With lavish sets and costumes transforming the harbour-top stage into a romantic Paris winter, Opera Australia's glittering production will be an unforgettable delight.
La Bohème, the passionate, timeless, and indelible story of love among young artists in Paris, can stake its claim as the world’s most popular opera. Experience the romance of the original Bohemian love story, from the magnificent outdoor setting of the Handa Opera on Sydney Harbour.-3 act opera is sung in Italian with English subtitles
Running time 150mins including 15 min interval
Tickets £17.50 (Friends/Students £15)
Sun 18 Sep 14:30
Irresistibly frothy and lavishly theatrical, ‘The Merry Widow’ has enough tangled affairs, narrow misses and jealous lovers to fuel a French farce.
Based on the beloved operetta by Franz Lehar, this lively tale is set in the ballrooms and salons of Belle Epoque Paris and is dressed magnificently in velvets, silks, spangles and feathers. Created especially for The Australian Ballet, ‘The Merry Widow’ is a laugh-along favourite with hum-along melodies and its heart on its sleeve. 114m including 20mins interval.
Tickets £15 (Friends/Students £12.50)
Sun 23 Sep 15:30
CFT’s Production Live from the West End
We’re delighted to present the NT Live broadcast of the Chichester Festival Theatre production of King Lear with Ian McKellen live from live from London’s Duke of York’s Theatre.
Chichester Festival Theatre’s production received five-star reviews for its sell-out run, and transfers to the West End for a limited season. Jonathan Munby directs this contemporary retelling of Shakespeare’s tender, violent, moving and shocking play. Considered by many to be the greatest tragedy ever written, King Lear (an extraordinarily moving portrayal by McKellen) sees two ageing fathers – one a King, one his courtier – reject the children who truly love them. Their blindness unleashes a tornado of pitiless ambition and treachery, as family and state are plunged into a violent power struggle with bitter ends. 220m inc intervals.
Tickets £17.50 (Friends/Students £15)
Thu 27 Sep 19:00 (Live)
Sun 30 Sep 14:30 (Encore)
This year, we are celebrating the 60th anniversary of iconic films from Woodfall Studios and to help us, we are delighted to welcome Steven Hess as our guest speaker.
Steven is Tony Richardson’s son-in-law and as a result, the accidental curator of Woodfall films. He will tell us the Woodfall story and why it was created by Tony Richardson, John Osbourne and Harry Saltzman. Woodfall was a company that was never satisfied with the status quo and for many it was a breath of fresh air in the film world of its day. Recently, Woodfall has restored a significant number of its films and Steven will share the highs and lows of this work, plus many anecdotes of Woodfall films and their stars. The BFI have recently celebrated this restoration as part of British cinematic history and we are delighted to bring to our Chichester Cinema the best of Woodfall and showcase its pioneering and creative spirit. As an additional treat, our Education Team and guest speakers will share with you clips of ‘six of the best’ Woodfall films which we can all discuss and question.
Which Woodfall film would be your favourite?
Perhaps ‘Saturday Night and Sunday Morning, ‘Kes’, ‘Tom Jones’?
This promises to be a not-to-be missed day and we look forward to sharing it with you.
Tickets £10 (Friends £9)
Sat 29 Sep 10:00 – 15:30 (Studio)
Tea /Coffee available at bar on arrival
‘The Winter’s Tale’ is Shakespeare’s great play of the irrational and inexplicable, illustrating how uncontrollable emotions can range across gender, country, class and age.
Its universe is full of monsters, gods and natural disasters with a colossal sweep that takes audiences from the stifling atmosphere of the Sicilian court to the unbuttoned joy of a Bohemian festival. Staged at the beautiful and iconic Globe Theatre in London, this new production is directed by Blanche McIntyre and stars Will Keen (‘The Crown’, ‘Wolf Hall’) as Leontes, Priyanga Burford (‘Marcella’) as Hermione and Annette Badland (‘Father Brown’) as Old Shepherd. A reconstruction of an open-air Elizabethan playhouse on the bank of the River Thames, the Globe Theatre has become a significant part of the national and international theatre landscape, celebrating Shakespeare’s transformative impact on the world. 180m approx including interval.
Tickets £17.50 (Friends/Students £15)
Thu 4 Oct 19:15 (Live)
Superstar soprano Anna Netrebko makes her Met role debut as Aida in this thirtieth-anniversary revival of Sonja Frisell’s production. Opera in 4 Acts by Giuseppe Verdi sung in Italian with English subtitles.
Verdi’s drama is set in Ancient Egypt, where the Ethiopian Aida lives a life of slavery. She and the Egyptian warrior Radamès, sung by tenor Aleksandrs Antonenko, have fallen in love, although the princess Amneris - mezzo-soprano Anita Rachvelishvili - is an implacable rival for Radamès’ affections. Then, when Radamès goes into battle, he unwittingly captures Aida’s father as a prisoner of war. As Aida and Radamès face impossible choices between patriotism, passion, and paternal bonds, the stage is set for tragedy. With heart-stopping music and spectacular set pieces, including the famous Triumphal March, Verdi’s towering masterpiece opens our Met matinees with a bang. (Recorded 6 Oct 2018). 235m approx inc 2 intervals.
Tickets £17.50 (Friends/Students £15)
Sun 7 Oct 14:00 (Delayed Live)
A new production of one of the funniest plays in English, Oscar Wilde's The Importance of Being Earnest, will be broadcast live to New Park from the Vaudeville Theatre in London's West End.
Wilde's much-loved masterpiece throws love, logic and language into the air to make one of theatre's most dazzling firework displays. Jack, Algy, Gwendolyn and Cecily discover how unsmooth runs the course of true love, while Lady Bracknell keeps a baleful eye on the mayhem of manners. This is the fourth and final play from the Oscar Wilde Season, a year-long celebration of the brilliant Victorian playwright being staged by the Classic Spring Theatre Company. 165m inc Interval
Tickets £17.50 (Friends/Students £15)
Tue 9 Oct 19:15 (Live)
In the aftermath of WW2, after decades of Fascist propaganda, warfare and poverty, a number of Italian filmmakers began focusing on the personal, especially the marginalised and powerless.
They used documentary techniques - location shoots, natural lighting and non-professional actors - to reproduce reality. Labelled Italian Neorealism (INR), this movement has been described as “the most precious moment of film history”, “Neorealism breaks all the rules” and “washing our dirty laundry in public”. In Richard Cupidi’s informal workshop, we’ll develop a functional definition of INR, examine its historical context, tease out some important themes and stylistic practices, and show how these were applied cinematically with examples drawn from both iconic and lesser-known films. We’ll also touch on geopolitical factors, which affected INR’s evolution, e.g., American intervention in Italy’s 1948 elections. Later in the day we’ll explore in depth one of INR’s most signature films: ‘Bicycle Thieves’. This will be followed by a discussion about INR’s legacy - on the French New Wave, the New Hollywood, Indian Realism, and on auteurs such as Pier Paolo Pasolini. In our post-post-modern era where notions of “the real” have been down-graded, perhaps it’s time to re-evaluate this innovative period called Neorealism. Everyone welcome.
Tickets £10 (Friends/Students £9)
Sat 13 Oct 10:00 – 15:30 (Studio)
‘Mayerling’ is a classic of the Royal Ballet repertory, with its emotional depth, haunting imagery, and one of the most demanding roles ever created for a male dancer. With music by Franz Liszt.
Kenneth MacMillan choreographed a complex work around the psychologically tormented heir to the Habsburg Empire, Crown Prince Rudolf. From the ballet’s start, the glamour of the Austro-Hungarian court is contrasted with undercurrents of sexual and political intrigue that drive the story to its violent climax in a double suicide. The large cast allows for impressive ensembles in addition to the ballet’s many solos of distinctive character and pas de deux of disturbing eroticism. This ballet, bursting with intensity, madness and passion, proves that sometimes the truth is more scandalous than fiction. 195m including 2 intervals.
Tickets £17.50 (Friends/Students £15)
Mon 15 Oct 19:15 (Live)
Tony Award-winning director Darko Tresnjak gives Saint-Saëns’s biblical epic its first new Met production in twenty years. Soprano Elīna Garanča and tenor Roberto Alagna sing the title roles, with Sir Mark Elder conducting. Opera in 3 Acts by Camille Saint Saens sung in French with English subtitles.
Blessed with immense physical strength Hebrew leader Samson is sworn to defend his people and his faith from the Philistines. Though his body is strong, his heart is tender, though. When the Philistine Dalila sets out to seduce him, he is powerless to resist. The beautiful aria ‘Mon Coeur s’Ouvre à ta Voix’ marks the climax of his seduction - and his betrayal. He reveals to Dalila the secret of his strength, and immediately, his fate is sealed. Imprisoned, blinded, and humiliated, how can Samson atone for his folly? Soprano Elīna Garanča and tenor Roberto Alagna sing the title roles, with Sir Mark Elder conducting. (Recorded 20 Oct 2018). 205m approx including 2 intervals.
Tickets £20.00 (Friends/Students £17.50)
Sun 21 Oct 14:00 (Delayed Live)
Beethoven’s 9th Symphony performed by the Vienna Philharmoniker, conducted by Christian Thielemann, one of the most recognized conductors of our time, leading the legendary Vienna Philharmonic orchestra. With Annette Dasch, Mihoko Fujimura, Piotr Beczala and George Zeppenfeld.
There is perhaps no other musical ensemble more consistently and closely associated with the history and tradition of European classical music than the Vienna Philharmonic. In the course of its over 160 year history, the musicians of this most prominent orchestra of the capital city of music have been an integral part of a musical epoch which, due to an abundance of uniquely gifted composers and interpreters, is widely regarded as unique.
The orchestra’s close association with this rich musical history is best illustrated by the statements of countless pre-eminent musicians of the past. Richard Wagner described the orchestra as being one of the most outstanding in the world; Gustav Mahler claimed to be joined together through “the bonds of musical art”; and Richard Strauss summarized these sentiments by saying: “All praise of the Vienna Philharmonic reveals itself as understatement.”
Recorded in 2010. 80m - no interval.
Tickets £12.50 (Friends/Students £10)
Tue 23 Oct 18:30
Wagner’s Ring cycle is one of the greatest works of all opera. Keith Warner’s production is conducted by Antonio Pappano, Music Director of The Royal Opera, and this final revival is cast with an outstanding international array of Wagnerian specialist singers. A music Drama in 3 Acts, sung in German with English subtitles.
The full cycle’s four operas journey from the beginning of a world to its destruction, with gods, heroes and monsters. This epic myth portrays every type of human emotion in music and ideas of extraordinary power. The Ring is always a special event in the operatic calendar: once experienced, never forgotten. ‘Die Walküre’ (The Valkyrie) is the second opera in the cycle, and features several of the Ring’s musical highlights – the sparkling ‘Magic Fire Music’ and the electrifying ‘Ride of the Valkyries’.
But among the musical fireworks and Norse mythology, at the centre of this opera are the unforgettable characters and the complex entanglements between them, including twins Siegmund and Sieglinde, and Wotan and his Valkyrie daughter, Brünnhilde. With Stuart Skelton (Siegmund), Emily Magee (Sieglinde), John Lundgren (Wotan), Nina Stemme (Brünnhilde) and Sarah Connolly (Fricka). This will make a fascinating comparison with the Met production being transmitted next year on Sunday 31 March. 290m approx including 2 intervals.
Tickets £17.50 (Friends/Students £15)
Sun 28 Oct 17:00 (Live)
Following the critically acclaimed West End run, this utterly irresistible new production of ‘Funny Girl’ stars Olivier Award-winning Sheridan Smith as Fanny Brice.
‘Funny Girl’ brought global fame to Barbra Streisand 50 years ago, boasting some of the most iconic songs in film and theatre history, including ‘People’ and ‘Don’t Rain on My Parade’. Half a century later, this ‘exhilarating embrace of a production’ (The Independent) comes to cinema screens after wowing critics and audiences alike in London’s West End. This iconic musical tells the story of Fanny Brice, whose vocal talents and comedic ability see her rise from Brooklyn music hall singer to Broadway star. Michael Mayer’s vivacious production has wit, charm and energy, sparkly choreography, and a strong, ebullient cast. The production heralded 5-Star reviews from many critics including The Daily Telegraph and The Independent. 160m inc Interval.
Tickets £17.50 (Friends/Students £15)
Tue 30 Oct
Rosemary Coxon will lead us through the enigmatic character that is Oscar Wilde, with the help of the films connected to him.
Those of you who have seen Rupert Everett’s stellar performance as director and lead actor in ‘The Happy Prince’ will have realised the complex nature and the genius of the man that is Oscar. Not surprisingly, films of Oscar’s life have met with mixed reception. We will look at film versions of his plays and of his private life, leading to his trial and his fall from grace. In this talk, illustrated with readings of his work and film clips, we will try to unpick the character and life of this gifted but ultimately flawed and tragic man. Rosemary Coxon is the Education Officer at Chichester Cinema at New Park.
Tickets £6 (Friends/Students £5)
Fri 2 Nov 13:30 (Studio)
Puccini’s gunpowder western returns to the stage where it premiered under Arturo Toscanini. Gold Rush, 1849. with Jonas Kauffman as the Outlaw. Opera in 3 Acts sung in Italian with English subtitles.
Bar owner Minnie looks after a crew of rough miners while fending off the unwanted attention of the local sheriff. When a tall, mysterious stranger walks into the bar, it looks as if her life is about to change. But the newcomer is not what he seems, and Minnie gets drawn into deadly peril. Boasting gunfights, poker games, and stagecoach robbers, ‘La Fanciulla del West’ combines the action of a great adventure with the emotional punch of Italian opera. Soprano Eva-Maria Westbroek sings the role of the gunslinging heroine, alongside Jonas Kaufmann as the outlaw who steals her heart. Marco Armiliato conducts. (Recorded 27 Oct) 220m approx including 2 intervals.
Tickets £20 (Friends/Students £17.50)
Sat 3 Nov 14:00 (Delayed Live)
Award-winning stage and screen actor Alfred Molina reprises his critically acclaimed performance as the American abstract expressionist painter Mark Rothko. He is joined by rising star Alfred Enoch as his assistant Ken.
Under the watchful gaze of his young assistant, and the threatening presence of a new generation of artists, Mark Rothko takes on his greatest challenge yet: to create a definitive work for an extraordinary setting. The delight of the piece is its ability to balance theory and practice. The studio really does look like a workspace, and the highlight of Grandage’s production is the moment when Rothko and Ken take a blank canvas and slap on an undercoat. The two men go at their task like demons and at one point, applying layers of paint horizontally, achieve a physical harmony that totally belies their intellectual rivalry. The play first premiered at the Donmar Warehouse in 2009 before transferring to Broadway and winning six Tony Awards. The Wyndham's production is one of the few plays that offers a plausible portrait of an artist at work. 90m – No Interval.
Tickets £17.50 (Friends/Students £15)
Wed 7 Oct 18:30
Powell and Pressburger: In Their Time and in Ours
We are delighted to welcome prolific film historian and writer Ian Christie back to New Park for this day course on an extraordinary film partnership, following his excellent day course on Russian Cinema for our Education programme last October, and his talk on Ingmar Bergman in this year’s International Film Festival.
Michael Powell and Emeric Pressburger’s ‘The Archers’ film company produced many of the outstanding British films of the 1930s-1950s period, including ‘A Matter of Life and Death’ (1946), ‘Black Narcissus’ (1947), ‘The Red Shoes’ (1948) and ‘Peeping Tom’ (1960). After this extraordinarily productive and well received period, their eminence and reputation faded somewhat, and admiration for Powell and Pressburger was slow to develop after their partnership ended in the mid-1950s. In fact, they were often denigrated during the 60s and 70s, particularly after Powell’s Peeping Tom, which caused an enormous controversy.
This day course will first consider their partnership in the context of the periods before and after WW2, and then look at why they were re-discovered and championed with such enthusiasm in the 1980s by Scorsese among others to become perhaps Britain’s most cherished filmmakers. Ian Christie organised the first full retrospective of Powell and Pressburger’s work in 1978, wrote the first books about them, and knew both filmmakers during their later years. He is now Professor of Film and Media History at Birkbeck College and at Gresham College.
A day not to be missed …
Tickets £10 (Friends £9)
Sat 10 Nov 10:00 – 15:30 (Studio)