I Want To Start A Film Club: Roxy Bar & Screen, Borough, London Bridge, 3-5.30pm.
This is part of the Scala Forever season, a programme of 111 films and events at 26 venues through to October 2 that will celebrate the wonderful Scala cinema at King's Cross which closed in 1993. Here is an article I wrote in the Guardian on the history of the cinema and the season and here are the details of all the movies and special events on offer, via the Scala Forever website.
One of the important aspects of the Scala Forever season is the attempt to create a legacy and this will be one of the ways, by giving people the information and tools to create their own film club.
Here's the Roxy Bar and Screen's introduction to the day: Perplexed by your multiplex? Feeling half hearted by art house? Do you dream of running your own cinema? Roxy Bar and Screen hosts a special panel about how to start a film club or society with a day of discussions and workshops. Discussions will be split into three parts: choosing and finding the films, searching and selecting your venue and accessing funds, and most importantly recruiting and maintaining an audience. Members of the Scala Forever team will be joined by panellists from various film clubs including Midnight Movies and Cigarette Burns Cinema to answer your questions whilst representatives from Film London will detail their latest round of funding. Free entry but booking essential, reserve a place by emailing bookings@roxybarandscreen.com
You can read my Guardian article on the rise of film clubs here.
If there's a film you want to catch here's today's choice:
Zabriskie Point (Antonioni, 1970): Rio Cinema, 11.15pm
Here is the Chicago Reader review:
'Though Michelangelo Antonioni's only American film was very poorly received when it was released in 1969, time has been much kinder to it than to, say, La Notte, which was made a decade earlier. Antonioni's nonrealistic approach to American counterculture myths and his loose and slow approach to narrative may still put some people off—along with the uneven dialogue (credited to Fred Gardner, Sam Shepard, Tonino Guerra, Clare Peploe, and the director)—but his beautiful handling of 'Scope compositions and moods has many lingering aftereffects, and the grand and beautiful apocalyptic finale is downright spectacular. With Mark Frechette, Daria Halprin, and Rod Taylor.'
Jonathan Rosenbaum
Here is the famous explosive finale.
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