Capital Celluloid 2026 — Day 177: Fri Jun 26

A Taste of Flesh (Wishman, 1967): Barbican Cinema, 6.30pm

This screening, which is part of the Queer 60s season at the Barbican Cinema, will be followed by a discussion about Wishman and her legacy with Jaye Hudson and Selina Robertson, chaired by season curator Alex Davidson.

Barbican Cinema introduction:
Doris Wishman was truly a one-of-a-kind. She was a rare female director working in the exploitation subgenre, although there are few proto-feminist messages to be found in her films. She put a lesbian character centre in A Taste of Flesh (1967), a sensational thriller made on the cheap and shot entirely in one apartment, featuring three women who are held captive by two male crooks planning an assassination on a visiting foreign president. The results have to be seen to be believed. One of the women is a predatory lesbian, who, despite the problematic nature of her character, is underestimated by the two men who threaten her. There is a jaw-dropping queer daydream sequence that is worth the ticket price alone. While it is first and foremost a sleazy exploitation thriller, this is one of Wishman’s most fascinating films.

Here (and above) is the trailer.

Capital Celluloid 2026 — Day 176: Thu Jun 25

Kill List (Wheatley, 2011): Prince Charles Cinema, 5.30pm

Presented at the Prince Charles Cinema on 35mm with a special 15th Anniversary Post-Film Q&A with Director Ben Wheatley, as part of BLEAK WEEK 2026. Full details here.

Time Out review:
Much of ‘Kill List’ will be familiar to anyone who caught ‘Down Terrace’ during its brief run last year: the semi-improvised dialogue and naturalistic performances, the close, documentary-style photography and the deep-seated sense of suburban moral decay. But it’s altogether more confident: where the earlier film leavened the darker moments with slapstick and satire, ‘Kill List’ is an unrelentingly grim ride into the bleakest imaginable terrain, its only humour black beyond belief. There will be some who find the resulting series of increasingly brutal and dreamlike events hard to process, and a number of plot points remain unexplained even as the credits roll. But allow the film to take hold and its power is inescapable: the effect is like placing your head in a vice and waiting as it inexorably closes. It’s hard to remember a British movie as nerve-shreddingly effective since ‘Dead Man’s Shoes’ in 2004. Like that film, ‘Kill List’ may not make the impact it deserves upon initial release. But this is a grower, a film which lingers long in the memory: look for it on ‘Best of British’ lists for a long time to come.
Tom Huddleston

Here (and above) is the trailer. 

Capital Celluloid 2026 — Day 175: Wed Jun 24

The Crazies (Romero, 1973): Nickel Cinema, 8.45pm

Time Out review:
Night of the Living Dead suggested that George A Romero was an unusual if none too clearly defined talent; two non-horror movies later, The Crazies proved it. The main plot premise echoes The Andromeda Strain: an accident with a virus creates a terrifying civil emergency, and incidentally reveals that the US government is working towards germ warfare. Romero, however, is more interested in effect than cause. First, he brilliantly updates the riddle Don Siegel posed in Invasion of the Body Snatchers: how can one tell who is infected and who isn't? The virus drives its victims mad before killing them, but what is the line between 'normal' hysteria and actual insanity? Second, and equally brilliantly, he demonstrates the difficulty in imposing martial law on a community of gun-owners, thereby creating a highly feasible vision of social collapse. Good dialogue and performances, too.
Tony Rayns

Here (and above) is the trailer.

Capital Celluloid 2026 — Day 174: Tue Jun 23

Bad Timing (Roeg, 1980): Prince Charles Cinema, 8.45pm

This is an Animus magazine presentation of a 35mm screening. There will be an introduction by legendary producer Jeremy Thomas (schedule permitting). 

As with a number of movies by director Nicolas Roeg the producers did not know or, possibly, like what they had on their hands here and this was poorly distributed at the time.

It isn't surprising the film suffered indifferent attention from the studio and puzzlement from the critics on release as this is a disturbing and complicated work. Labyrinthine plotting; cross-cutting; masculinity crisis and dazzling camerawork - all the touches associated with Roeg are here. If you like the Roeg oeuvre you are in for a treat. The ending stayed with me for quite some time. Here's an essay by the excellent Richard Combs on the movie.

Time Out review:
One of Nicolas Roeg's most complex and elusive movies, building a thousand-piece jigsaw from its apparently simple story of a consuming passion between two Americans in Vienna. Seen in flashback through the prism of the girl's attempted suicide, their affair expands into a labyrinthine enquiry on memory and guilt as Theresa Russell's cold psychoanalyst lover (Art Garfunkel) himself falls victim to the cooler and crueller investigations of the detective assigned to her case (Harvey Keitel in visionary form as the policeman turned father-confessor). But where Don't Look Now sustained its Gothic intensity with human intimacy, this film seems a case-example of how more could have been achieved with less editing, less ingenuity, less even of the bravura intelligence with which Roeg at one point matches Freud with Stalin as guilt-ridden spymasters.
Don Macpherson

Here (and above) is the trailer.

Capital Celluloid 2026 — Day 173: Mon Jun 22

River of No Return (Preminger, 1954): BFI Southbank, NFT1, 6.15pm

This typically excellent Otto Preminger film screens as part of the Marilyn Monroe season at BFI Southbank. The movie also screens on June 12th. Full details here.

Chicago Reader review:
Marilyn Monroe and Robert Mitchum search for her missing husband in this excellent 1954 western by Otto Preminger, one of the first films to discover the potential of CinemaScope and a fine example of Preminger's rational approach to the mysteries of personal morality.
Dave Kehr

Here (and above) is the trailer.

Capital Celluloid 2026 — Day 172: Sun Jun 21

Interstellar (Nolan, 2014): Everyman Screen on the Green, 2pm

This 35mm screening ias part of the Nolan in 35mm season at the Screen on the Green from June 20th to July 15th. Full details here.

Chicago Reader review:
On a visual level, Interstellar is an exceptionally well-crafted Hollywood entertainment. Director Christopher Nolan, art director Dean Wolcott, and their effects artists render the imaginary settings in stunning detail. The film is rife with brilliant imagery: a horizon of frozen clouds, an ocean wave as tall as a skyscraper, the flashing interior of a wormhole through which the principal characters fly their spacecraft. The most striking thing about these images is that we’re rarely encouraged to ooh and aah over them; unlike most ambitious space operas since 2001: A Space Odyssey(1968), Interstellar inspires not wonder but a cool contemplation. Nolan and his brother Jonathan, who cowrote the script, advance a hard-science perspective, incorporating such concepts as the theory of relativity and placing dramatic emphasis on research and problem solving.
Ben Sachs

Here (and above) is the trailer.

Capital Celluloid 2026 — Day 171: Sat Jun 20

Kind Hearts and Coronets (Hamer, 1949): BFI Southbank, NFT1, 5.20pm

This 35mm screening is part of the Push Play (Skateboarding) season at BFI Southbank and will feature a Q&A with artist, skateboarder and model Blondey McCoy.

Chicago Reader review:
Robert Hamer’s 1949 film is often cited as the definitive black, eccentric British comedy, yet it’s several cuts better than practically anything else in the genre. Dennis Price, as a poor, distant relative of the rich D’Ascoynes, must murder eight members of the family (all played by Alec Guinness) to obtain the title and fortune he believes are his right. Hamer’s direction is bracingly cool and clipped, yet he’s able to draw something from his performers (Price has never been deeper, Guinness never more proficient, and Joan Greenwood never more softly, purringly cruel) that transcends the facile comedy of murder; there’s lyricism, passion, and protest in it too. With Valerie Hobson and Arthur Lowe.
Dave Kehr 

Here (and above) is the trailer.