Saturday, 21 October 2017

Capital Celluloid 2017 - Day 303: Thu Nov 2

Floating Clouds (Naruse, 1955): BFI Southbank, NFT, 6.05pm


This 35mm screening, which is also being shown on November 5th, is part of the 'Women in Japanese Melodrama' at BFI Southbank. You can find all the details here.

Chicago Reader review:
Mikio Naruse belongs with Ozu and Mizoguchi in the great classical tradition of Japanese cinema, though he remains almost unknown to American audiences. Like his famous colleagues, he specialized in melodrama, but his work rigorously denies both the spiritual transcendence of Mizoguchi and the human connections of Ozu, moving instead toward a sense of defeat and futility. Floating Clouds (1955), which was a huge popular success in Japan and remains his best-loved film today, tells of a young woman's determined love for a man she knows to be worthless; the film piles betrayal upon betrayal, but her hope is never shaken. Naruse's visual style is austere to the point of invisibility; his meanings are contained in his actors' faces and in his distinctive dovetailing of dramatic incidents, a narrative pattern that allows his characters no rest, but affords a strange peace in its constancy.
Dave Kehr


Here (and above) is an extract.

Friday, 20 October 2017

Capital Celluloid 2017 - Day 302: Wed Nov 1

People in the Slum (Chang-ho, 1982): Close-Up Cinema, 7.30pm


This film plays in the Bae Chang-ho retrospective at Close-Up Cinema, which is part of the Korean Film Festival. Full details here. The film will be introduced by Mark Morris and feature a director Q&A.

Close-Up preview:
A shantytown miles south of Seoul has collected poor people and misfits from all over the country into its twisting alleyways and scruffy landscape. Myeong-suk, a fading beauty among the tough women there, is known as √ęblack glove√≠ for the one on her hand badly burnt in saving her baby boy. Myeong-suk tries to raise her son, keep one step ahead of her dodgy husband and run a small grocery shop. But her ex-husband is out of jail, again, and drives his nice green taxi cab right back into her already complicated life.


Here (and above) is an extract.

Thursday, 19 October 2017

Capital Celluloid 2017 - Day 301: Tue Oct 31

Ghostwatch (Manning, 1992): Genesis Cinema,



Genesis Cinema introduction:
On October 31st 1992, at 9.25pm, a BBC television show aired that shocked and mentally scarred millions of viewers for life. This iconic show was an originator of ‘alternative news’ in its most sinister form and its first broadcast lead to 30,000 calls logged to the BBC within 1 hour, the show being banned for around a decade and sleepless nights across the country. This show was Ghostwatch.
Through its genius cast of national treasure Sir Michael Parkinson and other known celebrities such as Craig Charles, Sarah Greene, Mike Smith and Gillian Bevan in combination with its masterful writing and direction, Ghostwatch lured a whole nation into terror as the innocent ghost hunting folly they assumed they were watching turned into a nightmarish experience live on television right in front of them. Following the airing of the show national newspapers were packed with stories of the outrage and trauma that the 90 min horror drama caused in the UK. On October 31st, exactly 25 years on from its initial airing, Pilot Light TV Festival will be paying homage to the controversial show by screening the entire first episode and inviting key creators and cast members to discuss their work on the show, the traumatic impact it had across the country and its place in Television history. Joining Pilot Light at this very special event for a Q&A will be creator Stephen Volk, director Lesley Manning, actress Gillian Bevan and the writer/director of Ghostwatch: Behind the Curtains, Rich Lawden.

Wednesday, 18 October 2017

Capital Celluloid 2017 - Day 300: Mon Oct 30

Rage (Aduaka, 1999): Ritzy Cinema, 6.30pm


This film is in the 'Lost Classics' strand in the Film Africa season. You can find all the detailsof the season by clicking here.

Time Out review:
'Tell me about your reality.' Rage (or Jamie to his mum) dreams of cutting a rap record with his friends Thomas (a DJ), and Godwin, a talented pianist. They're each struggling in their own way to grapple with questions of identity and race on the streets of south London. Rage, the most rebellious, is also walking a moral knife-edge, trying to help an elderly mentor out of his drug debts, but feeling the pressure to cross the law himself. Aduaka's independent, improvised feature isn't a smooth ride ('This ain't no Hollywood movie'), but it feels real, and it has something important to say about where young people are at right now. It's made with sincerity, but more than that, with integrity.
Tom Charity

Here (and above) is an extract.

Capital Celluloid 2017 - Day 299: Sun Oct 29

La Baie Des Anges (Demy, 1963): Cine Lumiere, 2pm


This film is part of the Jeanne Moreau season at the Cine Lumiere Full details here.

Time Out review:
Jacques Demy's second feature has a ravishing Jeanne Moreau, ash-blonde for the occasion and dressed all in white, as a compulsive gambler who doesn't care what happens to her so long as she has a chip to start her on the roulette tables. Ostensibly the subject is gambling, but the real theme is seduction - with Moreau casting a spell on Mann that turns him every which way - and this is above all a visually seductive film. Shot mainly inside the casinos and on the sunstruck promenades of Nice and Monte Carlo, it is conceived as a dazzling symphony in black and white. Moreau's performance is magnificent, but it's really Jean Rabier's camera which turns the whole film into an expression of sheer joy - not only in life and love, but things. Iron bedsteads make arabesques against white walls; a little jeweller's shop becomes a paradise of strange ornamental clocks; a series of angled mirrors echo the heroine as she runs down a corridor into her lover's arms; roulette wheels spin to a triumphant musical accompaniment; and over it all hangs an aura of brilliant sunshine.Tom Milne

Here (and above) is the brilliant opening to the movie.

Monday, 16 October 2017

Capital Celluloid 2017 - Day 298: Sat Oct 28

Suspiria (Argento, 1977):  Regent Street Cinema, 11pm


Josh Saco, the man behind the Cigarette Burns film screenings, is giving you the chance to see Dario Argento horror classic Suspiria from a 35mm print. Don't pass up the opportunity ... plus ...

... this is part of a Halloween all-nighter which will also include Filipino lunacy in Killing of Satan; classic 80s slasher The Boogey Man; a rare screening of an imported Sony archive print of 70s Satanic panic shocker The Brotherhood of Satan and 80s schlock Re-Animator. All films will play from 35mm. Musical accompaniment will be provided by Pentagram Home Video.

London Film Festival preview extract for Suspiria: 
Four decades ago, Italian genre master Dario Argento brazenly subverted expectations by abandoning the giallo tradition upon which he had built his reputation, launching headlong into a fantastical tale of the supernatural. The resulting film remains not just one of the director’s most celebrated works, but a defining classic of horror cinema. American ballerina Suzy Bannion arrives in Germany to study at the prestigious Tanz Dance Academy. But as a series of murders and a variety of other inexplicable events begin to pile up, Suzy realises her new school houses a terrifying secret. Dripping in dark imagination, Suspiria ranks as one of Argento’s most visionary works – its garish colour palette and bravura set pieces adding to a frenzied sense of dread.
Michael Blyth

Here (and above) is the original trailer. 

Capital Celluloid 2017 - Day 297: Fri Oct 27

Halloween (Carpenter, 1978): Prince Charles Cinema, 2.15pm


This classic groundbreaking horror film is on an extended run at the Prince Charles Cinema until November 2nd. You can find the full details here.

Please Note: All weekday matinee performances will screen digitally. All other performances will screen from an original 35mm print! Due to the age of the print, there is a bit of colour fade; but overall is lovely for its age.

Time Out review:
A superb essay in Hitchcockian suspense, which puts all its sleazy Friday the 13th imitators to shame with its dazzling skills and mocking wit. Rarely have the remoter corners of the screen been used to such good effect as shifting volumes of darkness and light reveal the presence of a sinister something. We know, and Carpenter knows we know, that it's all a game as his psycho starts decimating teenagers observed in the sexual act; and he delights in being one step ahead of expectation, revealing nothing when there should be something, and something - as in the subtle reframing of the girl sobbing in the doorway after she finally manages to kill the killer, showing the corpse suddenly sitting up again behind her - long after there should be nothing. Perhaps not quite so resonant as Psycho to which it pays due homage, but it breathes the same air.
Tom Milne

Here (and above) is the original trailer.