Capital Celluloid 2026 — Day 227: Sat Aug 15

Graduate First (Pialat, 1978): BFI Southbank, NFT2, 8.45pm

This is part of a mini-season of Maurice Pialat films at BFI Southbank. Details here. The film also screens on August 18th and 21st.

Harvard Film Archive introduction: 
After two false starts and a large part of the budget spent, Pialat reworked the concept and the script for the third time, assembling a few professional teenage actors and filling in the rest of the cast with amateurs culled from Lens, the same province of Naked Childhood. While much of the wandering narrative was scripted as they shot—often from the teenagers’ actual conversations of the day before—at other times the actors would just be hanging out and not realize they were being filmed. Pass Your Exams First follows no single character or primary focus, as if, like its confused subjects teetering on the edge of maturity and responsibility, it is experimenting with various paths without knowing quite where any of them will lead. The most comic entry in Pialat’s oeuvre, the film follows the group’s antics in school, at home and on holiday, and at the only hot spot, the town’s actual cafĂ©. With limited options at a time of shifting traditions and economies, they engage in fleeting couplings, contradictory opinions, vague dreams and their own false starts. Presciently inscribed by the hand of Pialat, their lives remain a series of question marks … awkwardly, ambivalently, precisely rendered question marks. 

Here (and above) is the trailer.

Capital Celluloid 2026 — Day 226: Fri Aug 14

A Nos Amours (Pialat, 1983): BFI Southbank, NFT1, 6pm 

This screening is presented by A Nos Amours, with an introduction by David Thompson. A Nos Amours is a collective founded by Joanna Hogg and Adam Roberts dedicated to programming, promoting, understanding and enjoying over-looked, under-exposed or especially potent cinema.

This film is also being shown on August 17th and 20th. Details here. 

Once you've seen this film you might want to read critic Nick Pinkerton's take on this troubling movie here from the Reverse Shot website here.

Chicago Reader review:
A 15-year-old French girl (Sandrine Bonnaire, extraordinary) finds refuge from her troubled family in a series of casual sexual encounters. The subject invites a certain social-worker condescension (it's the stuff of TV movies), yet Maurice Pialat's mise-en-scene allows us no comforting distance from the characters. His ragged long takes plunge us straight into the action and hold us there, as if we, too, were combatants in this family war. His unorthodox dramatic construction rejects the symmetry of classical plotting, and the narrative has a quirky, self-propelling quality that allows for some astonishing things to happen. Pialat himself plays the father, whose disappearance sets the action in motion and whose reappearance makes it explode.
Dave Kehr

Here (and above) is the trailer.

Capital Celluloid 2026 — Day 225: Thu Aug 13

 Privilege (Watkins, 1967): BFI Southbank, NFT2, 8.45pm 

This film, which also screens on August 8th, is part of the Peter Watkins season at BFI Southbank. Full details here.

BFI introduction:
Peter Watkins’ extraordinary satire imagines a near-future Britain in which a manufactured pop idol is used by the authorities to distract the public into ‘fruitful conformity’. Casting Manfred Mann’s Paul Jones as the emotionally hollow Steven Short, alongside 1960s icon Jean Shrimpton, Watkins anticipated the growing entanglement of celebrity culture, advertising and political manipulation. It’s one of the key British films of the era.

Here (and above) is the trailer.

Capital Celluloid 2026 — Day 224: Wed Aug 12

Diary of a Shinjuku Thief (Oshima, 1969): ICA Cinema,  

This film, which is also screened on August 9th, is part of the Nagisa Oshima season at the ICA Cinema. You can find the full details here

Time Out review:
One of Nagisa Oshima's most teasing and provocative collages, inspired by the student riots of '68 and contemporary 'youth culture' generally. The main thread running through it is the relationship between a passive and vaguely effeminate young man and an aggressive and vaguely masculine young woman. They meet when he steals books and she poses as a shop assistant who catches him in the act; they spend the rest of the movie trying to reach satisfactory orgasms with each other. Their route takes them through a dizzying mixture of fact and fiction, from an encounter with a real-life sexologist to involvement in a 'fringe' performance of a neo-primitive kabuki show. The logical connections are there, but they're deliberately submerged in a welter of contrasting moods, styles and lines of thought.
Tony Rayns

Here (and above) is the trailer.

Capital Celluloid 2026 — Day 223: Tue Aug 11

The Amazing Quest of Ernest Bliss (Zeisler, 1936): BFI Southbank, NFT3, 6.20pm

This 35mm presentation features an introduction by Charles Drazin, writer and film historian.

BFI introduction:
Ernest Bliss is rich but miserable. His doctor diagnoses an excess of self-indulgence and prescribes a dose of hard work to sharpen his zest for life. Through his pursuit of happiness, Ernest finds romance and a social conscience. The role of Bliss was tailor-made for Grant’s suave but bluff screen persona, while Hollywood import Mary Brian is a worthy co-star, with excellent support from an ensemble of solid British talent. This BFI National Archive print runs close to the original British release, while all other copies currently available are of the 62-minute American-release cut.

Here (and above) is an extract.

Capital Celluloid 2026 — Day 222: Mon Aug 10

Clever Girls (Amendola, 1958): BFI Southbank, NFT2, 8.40pm

This 35mm presentation, introduced by the excellent Richard Dyer, is also being screened on August 1st and is part of the Monica Vitti season.

BFI introduction:
In 1950s Rome, three girls use all their wiles to trick their reluctant boyfriends into marriage. This early and little-seen Vitti film showcases a battle of the sexes in which only one side will triumph. A female-driven comedy of errors, it highlights Vitti’s nascent star power as she and the other women struggle with contemporary Italian sexual mores.

Capital Celluloid 2026 — Day 221: Sun Aug 9

Culloden (Watkins, 1964): BFI Southbank, NFT1, 12.40pm

This film, which also screens on August 12th, is part of the Peter Watkins season at BFI Southbank. Full details here.

Time Out review:
Peter Watkins' films are compulsively interesting almost in spite of themselves. His oeuvre may be characterised as a progression from polemical hysteria towards formal paranoia, yet it is impossible to deny his films their emotive, affective power, derived from an innovatory manipulation of technique. Culloden (made for TV) exhibits Watkins' virtues and vices in about equal proportions, but takes on a critical centrality as an initiator of the 'drama-doc' strain of British TV. These quasi-newsreels of the past and future, feeding off the documentary tradition to bolster the 'realism' of their speculative fictions, and usurping the medium's primary resources for capturing 'actuality' to present reconstructions, effectively efface their artifice by playing on the 'integrity' of certain strategies of representation. Yet Watkins must still here rely on an omniscient/propagandist commentary to convey the contextual discourses around his 'horror movies': a problem superseded in his later, similar, but increasingly worrying work.
Paul Taylor

Here (and above) is the trailer.