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The second chapter of the Fantastic Beasts franchise delves back into J. K. Rowling’s enchanting Wizarding World, swapping the hustle and bustle of 1920s New York for the moody streets of Paris a year on, where a slew of new characters and wonderful beasts await discovery.
The powerful dark wizard Gellert Grindelwald (a wildly white-haired Depp duded up in heinous style) has slipped the bars of custody and is out to purge the world of all non-magical beings. In a desperate bid to restore harmony, a young Albus Dumbledore (Law) calls upon the help of former Hogwarts student Newt Scamander (Redmayne) to stop Grindelwald and his growing army of pure-blood wizards in their tracks. But this only marks the start of a perilous quest into a world of dark magic.
How do you remake Suspiria, Dario Argento’s 1977 giallo classic, beloved by many a cinephile for its lurid colour palette, conspicuous dubbing and Italian prog score? The answer, in Luca Guadagnino’s (Call Me By Your Name) capable hands, is that you don’t; this slyly-feminist horror film is more of an homage to Argento’s original.
The story opens with young American Susie Bannion (here played by Dakota Johnson), traveling to Germany in order to audition for a renowned dance academy. She attracts the attention of school director and lead choreographer Madame Blanc (a luminescent Tilda Swinton), becoming the older woman’s protegee. Yet, as Susie begins her formal dance training, other students are whispering about a coven of witches who they believe control the school.
Whereas the 1977 version was drenched in vivid technicolour reds, blues and purples, Guadagnino re-enlisted the help of Call Me By Your Name cinematographer Sayombhu Mukdeeprom to give the film a distinctive look in a hushed range of earthy pastels. It’s a visual representation of the overall mode of Guadagnino’s vision - a subtle, disquieting, and masterful piece of cinema.
Guadagnino’s take plunges into the darkness swirling at the centre of a world-renowned dance company – one that will engulf the artistic director, an ambitious young dancer and a grieving psychotherapist. Some will succumb to the nightmare; others will finally wake up. Terrifying and magnetic in equal measure.
From Oscar-winning director Steve McQueen (12 Years A Slave) and co-writer Gillian Flynn (Gone Girl) comes a blistering heist thriller set against a backdrop of crime, passion and corruption. This contemporary reworking of the ’80s TV miniseries tells the story of four women with nothing in common except a debt left behind by their dead husbands’ criminal activities. In a time of turmoil, tensions build when Veronica (Davis), Linda (Rodriguez), Alice (Debicki) and Belle (Erivo) take their fate into their own hands and conspire to forge a future on their own terms. Colin Farrell, Daniel Kaluuya, Liam Neeson, Brian Tyree Henry and Robert Duvall round out the brilliant cast.
Fourteen-year-old Joe (Oxenbould) is the only child of Jeanette (Mulligan) and Jerry (Gyllenhaal) – a housewife and a golf pro – in a small town in 1960s Montana. Nearby, an uncontrolled forest fire rages close to the Canadian border, and when Jerry loses his job – and his sense of purpose – he decides to join the cause of fighting the fire, leaving his wife and son to fend for themselves. Carey Mulligan is outstanding as the mother struggling to keep her head above water, while Ed Oxenbould shines as the teenage son who witnesses her gradual unravelling. Co-written by Zoe Kazan, Paul Dano’s directorial debut is an elegant and absorbing drama based on Richard Ford’s novel of the same name.
Contains moderate sex references and infrequent strong language.
BOHEMIAN RHAPSODY is a foot-stomping celebration of Queen, their music and their extraordinary lead singer Freddie Mercury, who defied stereotypes and shattered convention to become one of the most beloved entertainers on the planet. The film traces the meteoric rise of the band through their iconic songs and revolutionary sound, their near-implosion as Mercury's lifestyle spirals out of control, and their triumphant reunion on the eve of Live Aid, where Mercury, facing a life-threatening illness, leads the band in one of the greatest performances in the history of rock music. In the process, cementing the legacy of a band that were always more like a family, and who continue to inspire outsiders, dreamers and music lovers to this day.
The year is 1997 and in a police state future the island of Manhattan has been turned into a maximum-security prison. The rules are simple: once you’re in, you don’t come out. But when the United States president (Donald Pleasance) crash lands an escape pod into the centre of the city after fleeing a hijacked plane, a ruthless prison warden (Lee Van Cleef) bribes ex-soldier and criminal Snake Plisskin (Kurt Russell) into entering the hazardous Manhattan and rescuing the stranded President from the twisted underworld and the demented clutches of its criminal overlord The Duke (Isaac Hayes).
The second chapter of the Fantastic Beasts franchise delves back into J. K. Rowling’s enchanting Wizarding World, swapping the hustle and bustle of 1920s New York for the moody streets of Paris a year on, where a slew of new characters and wonderful beasts await discovery.
The powerful dark wizard Gellert Grindelwald (a wildly white-haired Depp duded up in heinous style) has slipped the bars of custody and is out to purge the world of all non-magical beings. In a desperate bid to restore harmony, a young Albus Dumbledore (Law) calls upon the help of former Hogwarts student Newt Scamander (Redmayne) to stop Grindelwald and his growing army of pure-blood wizards in their tracks. But this only marks the start of a perilous quest into a world of dark magic.
How do you remake Suspiria, Dario Argento’s 1977 giallo classic, beloved by many a cinephile for its lurid colour palette, conspicuous dubbing and Italian prog score? The answer, in Luca Guadagnino’s (Call Me By Your Name) capable hands, is that you don’t; this slyly-feminist horror film is more of an homage to Argento’s original.
The story opens with young American Susie Bannion (here played by Dakota Johnson), traveling to Germany in order to audition for a renowned dance academy. She attracts the attention of school director and lead choreographer Madame Blanc (a luminescent Tilda Swinton), becoming the older woman’s protegee. Yet, as Susie begins her formal dance training, other students are whispering about a coven of witches who they believe control the school.
Whereas the 1977 version was drenched in vivid technicolour reds, blues and purples, Guadagnino re-enlisted the help of Call Me By Your Name cinematographer Sayombhu Mukdeeprom to give the film a distinctive look in a hushed range of earthy pastels. It’s a visual representation of the overall mode of Guadagnino’s vision - a subtle, disquieting, and masterful piece of cinema.
Guadagnino’s take plunges into the darkness swirling at the centre of a world-renowned dance company – one that will engulf the artistic director, an ambitious young dancer and a grieving psychotherapist. Some will succumb to the nightmare; others will finally wake up. Terrifying and magnetic in equal measure.
From Oscar-winning director Steve McQueen (12 Years A Slave) and co-writer Gillian Flynn (Gone Girl) comes a blistering heist thriller set against a backdrop of crime, passion and corruption. This contemporary reworking of the ’80s TV miniseries tells the story of four women with nothing in common except a debt left behind by their dead husbands’ criminal activities. In a time of turmoil, tensions build when Veronica (Davis), Linda (Rodriguez), Alice (Debicki) and Belle (Erivo) take their fate into their own hands and conspire to forge a future on their own terms. Colin Farrell, Daniel Kaluuya, Liam Neeson, Brian Tyree Henry and Robert Duvall round out the brilliant cast.
Fourteen-year-old Joe (Oxenbould) is the only child of Jeanette (Mulligan) and Jerry (Gyllenhaal) – a housewife and a golf pro – in a small town in 1960s Montana. Nearby, an uncontrolled forest fire rages close to the Canadian border, and when Jerry loses his job – and his sense of purpose – he decides to join the cause of fighting the fire, leaving his wife and son to fend for themselves. Carey Mulligan is outstanding as the mother struggling to keep her head above water, while Ed Oxenbould shines as the teenage son who witnesses her gradual unravelling. Co-written by Zoe Kazan, Paul Dano’s directorial debut is an elegant and absorbing drama based on Richard Ford’s novel of the same name.
Contains moderate sex references and infrequent strong language.
BOHEMIAN RHAPSODY is a foot-stomping celebration of Queen, their music and their extraordinary lead singer Freddie Mercury, who defied stereotypes and shattered convention to become one of the most beloved entertainers on the planet. The film traces the meteoric rise of the band through their iconic songs and revolutionary sound, their near-implosion as Mercury's lifestyle spirals out of control, and their triumphant reunion on the eve of Live Aid, where Mercury, facing a life-threatening illness, leads the band in one of the greatest performances in the history of rock music. In the process, cementing the legacy of a band that were always more like a family, and who continue to inspire outsiders, dreamers and music lovers to this day.
Assassination Nation opens with a tongue-in-cheek trigger warning: this film will contain, amongst other things, scenes of “toxic masculinity, fragile male egos and the male gaze". What follows is a film that rollicks along at a pace that feels akin to the rapid rhythm of scrolling through social media.
The story follows four high school students, Lily, Bex, Em and Sarah, who live, illuminated by the perpetual glow of their iPhones, in a small suburban town called – of course – Salem. Practised as they may be in managing their online presence, even these girls have secrets they don’t want shared, and when an anonymous hacker doxes the town’s personal information, chaos quickly spreads. It’s not long until mob mentality prevails and public shaming turns into a bloody witch hunt. Lily and her friends are left literally fighting for their lives.
Writer-director Sam Levinson mimics internet teen-speak with ease, working closely with his lead actors on a bold script that crackles with the energy and rage of the #MeToo era.
The year is 1997 and in a police state future the island of Manhattan has been turned into a maximum-security prison. The rules are simple: once you’re in, you don’t come out. But when the United States president (Donald Pleasance) crash lands an escape pod into the centre of the city after fleeing a hijacked plane, a ruthless prison warden (Lee Van Cleef) bribes ex-soldier and criminal Snake Plisskin (Kurt Russell) into entering the hazardous Manhattan and rescuing the stranded President from the twisted underworld and the demented clutches of its criminal overlord The Duke (Isaac Hayes).
The second chapter of the Fantastic Beasts franchise delves back into J. K. Rowling’s enchanting Wizarding World, swapping the hustle and bustle of 1920s New York for the moody streets of Paris a year on, where a slew of new characters and wonderful beasts await discovery.
The powerful dark wizard Gellert Grindelwald (a wildly white-haired Depp duded up in heinous style) has slipped the bars of custody and is out to purge the world of all non-magical beings. In a desperate bid to restore harmony, a young Albus Dumbledore (Law) calls upon the help of former Hogwarts student Newt Scamander (Redmayne) to stop Grindelwald and his growing army of pure-blood wizards in their tracks. But this only marks the start of a perilous quest into a world of dark magic.
How do you remake Suspiria, Dario Argento’s 1977 giallo classic, beloved by many a cinephile for its lurid colour palette, conspicuous dubbing and Italian prog score? The answer, in Luca Guadagnino’s (Call Me By Your Name) capable hands, is that you don’t; this slyly-feminist horror film is more of an homage to Argento’s original.
The story opens with young American Susie Bannion (here played by Dakota Johnson), traveling to Germany in order to audition for a renowned dance academy. She attracts the attention of school director and lead choreographer Madame Blanc (a luminescent Tilda Swinton), becoming the older woman’s protegee. Yet, as Susie begins her formal dance training, other students are whispering about a coven of witches who they believe control the school.
Whereas the 1977 version was drenched in vivid technicolour reds, blues and purples, Guadagnino re-enlisted the help of Call Me By Your Name cinematographer Sayombhu Mukdeeprom to give the film a distinctive look in a hushed range of earthy pastels. It’s a visual representation of the overall mode of Guadagnino’s vision - a subtle, disquieting, and masterful piece of cinema.
Guadagnino’s take plunges into the darkness swirling at the centre of a world-renowned dance company – one that will engulf the artistic director, an ambitious young dancer and a grieving psychotherapist. Some will succumb to the nightmare; others will finally wake up. Terrifying and magnetic in equal measure.
From Oscar-winning director Steve McQueen (12 Years A Slave) and co-writer Gillian Flynn (Gone Girl) comes a blistering heist thriller set against a backdrop of crime, passion and corruption. This contemporary reworking of the ’80s TV miniseries tells the story of four women with nothing in common except a debt left behind by their dead husbands’ criminal activities. In a time of turmoil, tensions build when Veronica (Davis), Linda (Rodriguez), Alice (Debicki) and Belle (Erivo) take their fate into their own hands and conspire to forge a future on their own terms. Colin Farrell, Daniel Kaluuya, Liam Neeson, Brian Tyree Henry and Robert Duvall round out the brilliant cast.
Fourteen-year-old Joe (Oxenbould) is the only child of Jeanette (Mulligan) and Jerry (Gyllenhaal) – a housewife and a golf pro – in a small town in 1960s Montana. Nearby, an uncontrolled forest fire rages close to the Canadian border, and when Jerry loses his job – and his sense of purpose – he decides to join the cause of fighting the fire, leaving his wife and son to fend for themselves. Carey Mulligan is outstanding as the mother struggling to keep her head above water, while Ed Oxenbould shines as the teenage son who witnesses her gradual unravelling. Co-written by Zoe Kazan, Paul Dano’s directorial debut is an elegant and absorbing drama based on Richard Ford’s novel of the same name.
Contains moderate sex references and infrequent strong language.
On the centenary of the end of the First World War, Peter Jackson (The Lord Of The Rings trilogy) presents an extraordinary new work, revealing the Great War as you’ve never seen it. Using cutting-edge technology to transform images and audio captured a hundred years ago, Jackson’s passion project brings to life the people who can best tell the story: those who were there.
Using only the voices of the men involved, the film explores the reality of war on the front line; their attitudes to the conflict; how they ate, slept and formed friendships, and what their lives were like away from the trenches. Reaching through the fog of time, Jackson aims to give these men voices, investigate the hopes and fears of the veterans who survived to tell their stories, and detail the humility and humanity of those who represented a generation changed forever by a global war.
23.59Midnight Movies: Join us at The Cameo at midnight every other Friday for a series of bizarre, delightful, weird and wonderful movies that shouldn't see the light of day.
Out At The Cameo: Current and classic films chosen by our dedicated team of young LGBTQ+ programmers
Assassination Nation opens with a tongue-in-cheek trigger warning: this film will contain, amongst other things, scenes of “toxic masculinity, fragile male egos and the male gaze". What follows is a film that rollicks along at a pace that feels akin to the rapid rhythm of scrolling through social media.
The story follows four high school students, Lily, Bex, Em and Sarah, who live, illuminated by the perpetual glow of their iPhones, in a small suburban town called – of course – Salem. Practised as they may be in managing their online presence, even these girls have secrets they don’t want shared, and when an anonymous hacker doxes the town’s personal information, chaos quickly spreads. It’s not long until mob mentality prevails and public shaming turns into a bloody witch hunt. Lily and her friends are left literally fighting for their lives.
Writer-director Sam Levinson mimics internet teen-speak with ease, working closely with his lead actors on a bold script that crackles with the energy and rage of the #MeToo era.
The year is 1997 and in a police state future the island of Manhattan has been turned into a maximum-security prison. The rules are simple: once you’re in, you don’t come out. But when the United States president (Donald Pleasance) crash lands an escape pod into the centre of the city after fleeing a hijacked plane, a ruthless prison warden (Lee Van Cleef) bribes ex-soldier and criminal Snake Plisskin (Kurt Russell) into entering the hazardous Manhattan and rescuing the stranded President from the twisted underworld and the demented clutches of its criminal overlord The Duke (Isaac Hayes).
The second chapter of the Fantastic Beasts franchise delves back into J. K. Rowling’s enchanting Wizarding World, swapping the hustle and bustle of 1920s New York for the moody streets of Paris a year on, where a slew of new characters and wonderful beasts await discovery.
The powerful dark wizard Gellert Grindelwald (a wildly white-haired Depp duded up in heinous style) has slipped the bars of custody and is out to purge the world of all non-magical beings. In a desperate bid to restore harmony, a young Albus Dumbledore (Law) calls upon the help of former Hogwarts student Newt Scamander (Redmayne) to stop Grindelwald and his growing army of pure-blood wizards in their tracks. But this only marks the start of a perilous quest into a world of dark magic.
How do you remake Suspiria, Dario Argento’s 1977 giallo classic, beloved by many a cinephile for its lurid colour palette, conspicuous dubbing and Italian prog score? The answer, in Luca Guadagnino’s (Call Me By Your Name) capable hands, is that you don’t; this slyly-feminist horror film is more of an homage to Argento’s original.
The story opens with young American Susie Bannion (here played by Dakota Johnson), traveling to Germany in order to audition for a renowned dance academy. She attracts the attention of school director and lead choreographer Madame Blanc (a luminescent Tilda Swinton), becoming the older woman’s protegee. Yet, as Susie begins her formal dance training, other students are whispering about a coven of witches who they believe control the school.
Whereas the 1977 version was drenched in vivid technicolour reds, blues and purples, Guadagnino re-enlisted the help of Call Me By Your Name cinematographer Sayombhu Mukdeeprom to give the film a distinctive look in a hushed range of earthy pastels. It’s a visual representation of the overall mode of Guadagnino’s vision - a subtle, disquieting, and masterful piece of cinema.
Guadagnino’s take plunges into the darkness swirling at the centre of a world-renowned dance company – one that will engulf the artistic director, an ambitious young dancer and a grieving psychotherapist. Some will succumb to the nightmare; others will finally wake up. Terrifying and magnetic in equal measure.
From Oscar-winning director Steve McQueen (12 Years A Slave) and co-writer Gillian Flynn (Gone Girl) comes a blistering heist thriller set against a backdrop of crime, passion and corruption. This contemporary reworking of the ’80s TV miniseries tells the story of four women with nothing in common except a debt left behind by their dead husbands’ criminal activities. In a time of turmoil, tensions build when Veronica (Davis), Linda (Rodriguez), Alice (Debicki) and Belle (Erivo) take their fate into their own hands and conspire to forge a future on their own terms. Colin Farrell, Daniel Kaluuya, Liam Neeson, Brian Tyree Henry and Robert Duvall round out the brilliant cast.
Fourteen-year-old Joe (Oxenbould) is the only child of Jeanette (Mulligan) and Jerry (Gyllenhaal) – a housewife and a golf pro – in a small town in 1960s Montana. Nearby, an uncontrolled forest fire rages close to the Canadian border, and when Jerry loses his job – and his sense of purpose – he decides to join the cause of fighting the fire, leaving his wife and son to fend for themselves. Carey Mulligan is outstanding as the mother struggling to keep her head above water, while Ed Oxenbould shines as the teenage son who witnesses her gradual unravelling. Co-written by Zoe Kazan, Paul Dano’s directorial debut is an elegant and absorbing drama based on Richard Ford’s novel of the same name.
Contains moderate sex references and infrequent strong language.
On the centenary of the end of the First World War, Peter Jackson (The Lord Of The Rings trilogy) presents an extraordinary new work, revealing the Great War as you’ve never seen it. Using cutting-edge technology to transform images and audio captured a hundred years ago, Jackson’s passion project brings to life the people who can best tell the story: those who were there.
Using only the voices of the men involved, the film explores the reality of war on the front line; their attitudes to the conflict; how they ate, slept and formed friendships, and what their lives were like away from the trenches. Reaching through the fog of time, Jackson aims to give these men voices, investigate the hopes and fears of the veterans who survived to tell their stories, and detail the humility and humanity of those who represented a generation changed forever by a global war.
Assassination Nation opens with a tongue-in-cheek trigger warning: this film will contain, amongst other things, scenes of “toxic masculinity, fragile male egos and the male gaze". What follows is a film that rollicks along at a pace that feels akin to the rapid rhythm of scrolling through social media.
The story follows four high school students, Lily, Bex, Em and Sarah, who live, illuminated by the perpetual glow of their iPhones, in a small suburban town called – of course – Salem. Practised as they may be in managing their online presence, even these girls have secrets they don’t want shared, and when an anonymous hacker doxes the town’s personal information, chaos quickly spreads. It’s not long until mob mentality prevails and public shaming turns into a bloody witch hunt. Lily and her friends are left literally fighting for their lives.
Writer-director Sam Levinson mimics internet teen-speak with ease, working closely with his lead actors on a bold script that crackles with the energy and rage of the #MeToo era.
We are happy for you to bring your dog along to this special dog-friendly screening (you're welcome without a dog too). Before the screening there are a few things to consider:
If you attend this screening with a dog, you'll be issued with a fleece blanket to cover the seat used by the dog or to use as a rug if the dog sits on the floor. During the screenings, we will provide bowls of water around the screen. We will leave lighting levels a little higher than usual during the screening and lower the volume of the soundtrack.
The second chapter of the Fantastic Beasts franchise delves back into J. K. Rowling’s enchanting Wizarding World, swapping the hustle and bustle of 1920s New York for the moody streets of Paris a year on, where a slew of new characters and wonderful beasts await discovery.
The powerful dark wizard Gellert Grindelwald (a wildly white-haired Depp duded up in heinous style) has slipped the bars of custody and is out to purge the world of all non-magical beings. In a desperate bid to restore harmony, a young Albus Dumbledore (Law) calls upon the help of former Hogwarts student Newt Scamander (Redmayne) to stop Grindelwald and his growing army of pure-blood wizards in their tracks. But this only marks the start of a perilous quest into a world of dark magic.
Please be aware that we reduce capacity when offering ‘dog-friendly’ screenings, so there may be fewer tickets than usual. We limit dogs to one dog to one adult. For further information, see dog-friendly screening policy in our cinema.
11.00Dog-Friendly: Customers are welcome to bring their well behaved dogs into the cinema for this special screening. Read our Dog-friendly policy before you book at picturehouses.com/dogs
The second chapter of the Fantastic Beasts franchise delves back into J. K. Rowling’s enchanting Wizarding World, swapping the hustle and bustle of 1920s New York for the moody streets of Paris a year on, where a slew of new characters and wonderful beasts await discovery.
The powerful dark wizard Gellert Grindelwald (a wildly white-haired Depp duded up in heinous style) has slipped the bars of custody and is out to purge the world of all non-magical beings. In a desperate bid to restore harmony, a young Albus Dumbledore (Law) calls upon the help of former Hogwarts student Newt Scamander (Redmayne) to stop Grindelwald and his growing army of pure-blood wizards in their tracks. But this only marks the start of a perilous quest into a world of dark magic.
How do you remake Suspiria, Dario Argento’s 1977 giallo classic, beloved by many a cinephile for its lurid colour palette, conspicuous dubbing and Italian prog score? The answer, in Luca Guadagnino’s (Call Me By Your Name) capable hands, is that you don’t; this slyly-feminist horror film is more of an homage to Argento’s original.
The story opens with young American Susie Bannion (here played by Dakota Johnson), traveling to Germany in order to audition for a renowned dance academy. She attracts the attention of school director and lead choreographer Madame Blanc (a luminescent Tilda Swinton), becoming the older woman’s protegee. Yet, as Susie begins her formal dance training, other students are whispering about a coven of witches who they believe control the school.
Whereas the 1977 version was drenched in vivid technicolour reds, blues and purples, Guadagnino re-enlisted the help of Call Me By Your Name cinematographer Sayombhu Mukdeeprom to give the film a distinctive look in a hushed range of earthy pastels. It’s a visual representation of the overall mode of Guadagnino’s vision - a subtle, disquieting, and masterful piece of cinema.
Guadagnino’s take plunges into the darkness swirling at the centre of a world-renowned dance company – one that will engulf the artistic director, an ambitious young dancer and a grieving psychotherapist. Some will succumb to the nightmare; others will finally wake up. Terrifying and magnetic in equal measure.
From Oscar-winning director Steve McQueen (12 Years A Slave) and co-writer Gillian Flynn (Gone Girl) comes a blistering heist thriller set against a backdrop of crime, passion and corruption. This contemporary reworking of the ’80s TV miniseries tells the story of four women with nothing in common except a debt left behind by their dead husbands’ criminal activities. In a time of turmoil, tensions build when Veronica (Davis), Linda (Rodriguez), Alice (Debicki) and Belle (Erivo) take their fate into their own hands and conspire to forge a future on their own terms. Colin Farrell, Daniel Kaluuya, Liam Neeson, Brian Tyree Henry and Robert Duvall round out the brilliant cast.
Fourteen-year-old Joe (Oxenbould) is the only child of Jeanette (Mulligan) and Jerry (Gyllenhaal) – a housewife and a golf pro – in a small town in 1960s Montana. Nearby, an uncontrolled forest fire rages close to the Canadian border, and when Jerry loses his job – and his sense of purpose – he decides to join the cause of fighting the fire, leaving his wife and son to fend for themselves. Carey Mulligan is outstanding as the mother struggling to keep her head above water, while Ed Oxenbould shines as the teenage son who witnesses her gradual unravelling. Co-written by Zoe Kazan, Paul Dano’s directorial debut is an elegant and absorbing drama based on Richard Ford’s novel of the same name.
Contains moderate sex references and infrequent strong language.
On the centenary of the end of the First World War, Peter Jackson (The Lord Of The Rings trilogy) presents an extraordinary new work, revealing the Great War as you’ve never seen it. Using cutting-edge technology to transform images and audio captured a hundred years ago, Jackson’s passion project brings to life the people who can best tell the story: those who were there.
Using only the voices of the men involved, the film explores the reality of war on the front line; their attitudes to the conflict; how they ate, slept and formed friendships, and what their lives were like away from the trenches. Reaching through the fog of time, Jackson aims to give these men voices, investigate the hopes and fears of the veterans who survived to tell their stories, and detail the humility and humanity of those who represented a generation changed forever by a global war.
WHITE CHRISTMAS is a treasure trove of Irving Berlin classics, among them ‘Count Your Blessings Instead of Sheep’, ‘Sisters’, ‘Blue Skies’, and the beloved ‘White Christmas’. Two talented song-and-dance men (Crosby and Kaye) team up after the war to become one of the hottest acts in show business.
A perennial festive favourite, the film is presented in a stunning restoration.
13.0012 Days Of Christmas: A selection of festive favourites to spread the Christmas cheer
Vintage Sundays: Classic films back on the big screen where they belong.
Assassination Nation opens with a tongue-in-cheek trigger warning: this film will contain, amongst other things, scenes of “toxic masculinity, fragile male egos and the male gaze". What follows is a film that rollicks along at a pace that feels akin to the rapid rhythm of scrolling through social media.
The story follows four high school students, Lily, Bex, Em and Sarah, who live, illuminated by the perpetual glow of their iPhones, in a small suburban town called – of course – Salem. Practised as they may be in managing their online presence, even these girls have secrets they don’t want shared, and when an anonymous hacker doxes the town’s personal information, chaos quickly spreads. It’s not long until mob mentality prevails and public shaming turns into a bloody witch hunt. Lily and her friends are left literally fighting for their lives.
Writer-director Sam Levinson mimics internet teen-speak with ease, working closely with his lead actors on a bold script that crackles with the energy and rage of the #MeToo era.
The second chapter of the Fantastic Beasts franchise delves back into J. K. Rowling’s enchanting Wizarding World, swapping the hustle and bustle of 1920s New York for the moody streets of Paris a year on, where a slew of new characters and wonderful beasts await discovery.
The powerful dark wizard Gellert Grindelwald (a wildly white-haired Depp duded up in heinous style) has slipped the bars of custody and is out to purge the world of all non-magical beings. In a desperate bid to restore harmony, a young Albus Dumbledore (Law) calls upon the help of former Hogwarts student Newt Scamander (Redmayne) to stop Grindelwald and his growing army of pure-blood wizards in their tracks. But this only marks the start of a perilous quest into a world of dark magic.
How do you remake Suspiria, Dario Argento’s 1977 giallo classic, beloved by many a cinephile for its lurid colour palette, conspicuous dubbing and Italian prog score? The answer, in Luca Guadagnino’s (Call Me By Your Name) capable hands, is that you don’t; this slyly-feminist horror film is more of an homage to Argento’s original.
The story opens with young American Susie Bannion (here played by Dakota Johnson), traveling to Germany in order to audition for a renowned dance academy. She attracts the attention of school director and lead choreographer Madame Blanc (a luminescent Tilda Swinton), becoming the older woman’s protegee. Yet, as Susie begins her formal dance training, other students are whispering about a coven of witches who they believe control the school.
Whereas the 1977 version was drenched in vivid technicolour reds, blues and purples, Guadagnino re-enlisted the help of Call Me By Your Name cinematographer Sayombhu Mukdeeprom to give the film a distinctive look in a hushed range of earthy pastels. It’s a visual representation of the overall mode of Guadagnino’s vision - a subtle, disquieting, and masterful piece of cinema.
Guadagnino’s take plunges into the darkness swirling at the centre of a world-renowned dance company – one that will engulf the artistic director, an ambitious young dancer and a grieving psychotherapist. Some will succumb to the nightmare; others will finally wake up. Terrifying and magnetic in equal measure.
From Oscar-winning director Steve McQueen (12 Years A Slave) and co-writer Gillian Flynn (Gone Girl) comes a blistering heist thriller set against a backdrop of crime, passion and corruption. This contemporary reworking of the ’80s TV miniseries tells the story of four women with nothing in common except a debt left behind by their dead husbands’ criminal activities. In a time of turmoil, tensions build when Veronica (Davis), Linda (Rodriguez), Alice (Debicki) and Belle (Erivo) take their fate into their own hands and conspire to forge a future on their own terms. Colin Farrell, Daniel Kaluuya, Liam Neeson, Brian Tyree Henry and Robert Duvall round out the brilliant cast.
Fourteen-year-old Joe (Oxenbould) is the only child of Jeanette (Mulligan) and Jerry (Gyllenhaal) – a housewife and a golf pro – in a small town in 1960s Montana. Nearby, an uncontrolled forest fire rages close to the Canadian border, and when Jerry loses his job – and his sense of purpose – he decides to join the cause of fighting the fire, leaving his wife and son to fend for themselves. Carey Mulligan is outstanding as the mother struggling to keep her head above water, while Ed Oxenbould shines as the teenage son who witnesses her gradual unravelling. Co-written by Zoe Kazan, Paul Dano’s directorial debut is an elegant and absorbing drama based on Richard Ford’s novel of the same name.
Contains moderate sex references and infrequent strong language.
The Octonauts are a team of adventurers who explore the world’s oceans, rescue aquatic creatures and protect their habitats - from the bustling eco-system along the Amazon River to the deepest depths of the Mariana Trench. Deploying a fleet of aquatic vehicles, Captain Barnacles, daredevil ex-pirate, Kwazii, medic Peso and the rest of the crew embark on missions around the globe before returning safely to their home base, the Octopod.
Episodes featured are: The Great Swamp Search, The Crawfish and The Flamingos.
An extraordinary account of how the Nazis looted the art of Europe and sought to eliminate works which contradicted Hitler’s Aryan vision. Works in the avant-garde styles - Cubism, Surrealism, Expressionism and other modernist genres -were deemed cosmopolitan and communist, and termed ‘degenerate’ art by the Third Reich. This documentary is based on three main sources: the exhibition ‘Degenerate Art’ which opened in Munich in July 1937, and was the Nazi regime’s own exhibition of what was considered despicable, low art; the history of the Paris gallery ‘21 rue La Boétie’, owned by Paul Rosenberg, a prominent Jewish art collector of ‘degenerate’ works; and the collection of Cornelius Gurlitt, which consisted of works of art plundered from Jewish families during the war. The result is a treasure-trove of sensational art works and a timely and compelling account of a regime obsessed with its own cultural identity and destruction.
This comedic masterpiece finds the iconic Little Tramp (Charlie Chaplin) employed at a state-of-the-art factory where the inescapable machinery completely overwhelms him, and where various mishaps keep getting him sent to prison.
In between his various jail stints, he meets and befriends an orphan girl (Paulette Goddard). Both together and apart, they try to contend with the difficulties of modern life.
This screening is part of the Comedy Genius season. Comedy Genius is a celebration of comedy on screen, led by BFI, the Independent Cinema Office and BFI Film Audience network, supported by funds from the National Lottery.
11.00Dementia-Friendly Screening: Open to all but especially for people with dementia and their family, friends and carers. Join us for free tea, coffee and biscuits and a chance to socialise for 30 minutes before the film. The film will start at the time stated.
Across the water on the island, four individuals experience the year in which their lives will end. Illness progresses, relationships gently shift, and we are witness to rarely seen and intensely private moments. One person shares their acceptance of death, whilst another is surrounded by a community in shock. We observe bedside care and the rhythm of breathing. In a pathology lab, microscopic biopsies in close-up show the interior of bodies, our biology. Like the ferries cyclically arriving and departing in this an enigmatic landscape, the film appears buoyant, afloat. Death is shown to be natural and everyday but also unspeakable and strange
From Chilean director Sebastián Lelio (A Fantastic Woman), Disobedience is a rare glimpse into prohibited love in a world of unremitting dedication to faith.
Estranged daughter Ronit (Weisz) returns home to north London and an Orthodox Jewish community, following the death of her elderly father, Rabbi Krushka. As soon as she steps foot inside the house of Dovid Kuperman (Nivola), her father's chosen disciple, it's clear her defiant nature doesn't go unjudged. But an attraction to a childhood friend, Esti (McAdams) – Dovid's wife – ignites a secret love affair that transgresses all boundaries and exposes the tight grasp faith holds on sexuality. Through charged silences and stolen glances, Ronit and Esti delve deeper into forbidden territory in search of their lesbian identity. A powerful love story based on Naomi Alderman’s novel.
18.00Discover Tuesdays: Discover stunning cinema. Whether it's a cult classic, an art-house gem or a riveting documentary, there will always be a chance to see something different and brilliant in our weekly slot.
Assassination Nation opens with a tongue-in-cheek trigger warning: this film will contain, amongst other things, scenes of “toxic masculinity, fragile male egos and the male gaze". What follows is a film that rollicks along at a pace that feels akin to the rapid rhythm of scrolling through social media.
The story follows four high school students, Lily, Bex, Em and Sarah, who live, illuminated by the perpetual glow of their iPhones, in a small suburban town called – of course – Salem. Practised as they may be in managing their online presence, even these girls have secrets they don’t want shared, and when an anonymous hacker doxes the town’s personal information, chaos quickly spreads. It’s not long until mob mentality prevails and public shaming turns into a bloody witch hunt. Lily and her friends are left literally fighting for their lives.
Writer-director Sam Levinson mimics internet teen-speak with ease, working closely with his lead actors on a bold script that crackles with the energy and rage of the #MeToo era.
12.50Silver Screen: Aged over 60? Join the Silver Screen Club for discounted tickets and a free tea or coffee at these shows. Usual ticket prices apply to non-Members.
The second chapter of the Fantastic Beasts franchise delves back into J. K. Rowling’s enchanting Wizarding World, swapping the hustle and bustle of 1920s New York for the moody streets of Paris a year on, where a slew of new characters and wonderful beasts await discovery.
The powerful dark wizard Gellert Grindelwald (a wildly white-haired Depp duded up in heinous style) has slipped the bars of custody and is out to purge the world of all non-magical beings. In a desperate bid to restore harmony, a young Albus Dumbledore (Law) calls upon the help of former Hogwarts student Newt Scamander (Redmayne) to stop Grindelwald and his growing army of pure-blood wizards in their tracks. But this only marks the start of a perilous quest into a world of dark magic.
11.40Silver Screen: Aged over 60? Join the Silver Screen Club for discounted tickets and a free tea or coffee at these shows. Usual ticket prices apply to non-Members.
Select:
14.40Silver Screen: Aged over 60? Join the Silver Screen Club for discounted tickets and a free tea or coffee at these shows. Usual ticket prices apply to non-Members.
How do you remake Suspiria, Dario Argento’s 1977 giallo classic, beloved by many a cinephile for its lurid colour palette, conspicuous dubbing and Italian prog score? The answer, in Luca Guadagnino’s (Call Me By Your Name) capable hands, is that you don’t; this slyly-feminist horror film is more of an homage to Argento’s original.
The story opens with young American Susie Bannion (here played by Dakota Johnson), traveling to Germany in order to audition for a renowned dance academy. She attracts the attention of school director and lead choreographer Madame Blanc (a luminescent Tilda Swinton), becoming the older woman’s protegee. Yet, as Susie begins her formal dance training, other students are whispering about a coven of witches who they believe control the school.
Whereas the 1977 version was drenched in vivid technicolour reds, blues and purples, Guadagnino re-enlisted the help of Call Me By Your Name cinematographer Sayombhu Mukdeeprom to give the film a distinctive look in a hushed range of earthy pastels. It’s a visual representation of the overall mode of Guadagnino’s vision - a subtle, disquieting, and masterful piece of cinema.
Guadagnino’s take plunges into the darkness swirling at the centre of a world-renowned dance company – one that will engulf the artistic director, an ambitious young dancer and a grieving psychotherapist. Some will succumb to the nightmare; others will finally wake up. Terrifying and magnetic in equal measure.
From Oscar-winning director Steve McQueen (12 Years A Slave) and co-writer Gillian Flynn (Gone Girl) comes a blistering heist thriller set against a backdrop of crime, passion and corruption. This contemporary reworking of the ’80s TV miniseries tells the story of four women with nothing in common except a debt left behind by their dead husbands’ criminal activities. In a time of turmoil, tensions build when Veronica (Davis), Linda (Rodriguez), Alice (Debicki) and Belle (Erivo) take their fate into their own hands and conspire to forge a future on their own terms. Colin Farrell, Daniel Kaluuya, Liam Neeson, Brian Tyree Henry and Robert Duvall round out the brilliant cast.
15.20Silver Screen: Aged over 60? Join the Silver Screen Club for discounted tickets and a free tea or coffee at these shows. Usual ticket prices apply to non-Members.
Fourteen-year-old Joe (Oxenbould) is the only child of Jeanette (Mulligan) and Jerry (Gyllenhaal) – a housewife and a golf pro – in a small town in 1960s Montana. Nearby, an uncontrolled forest fire rages close to the Canadian border, and when Jerry loses his job – and his sense of purpose – he decides to join the cause of fighting the fire, leaving his wife and son to fend for themselves. Carey Mulligan is outstanding as the mother struggling to keep her head above water, while Ed Oxenbould shines as the teenage son who witnesses her gradual unravelling. Co-written by Zoe Kazan, Paul Dano’s directorial debut is an elegant and absorbing drama based on Richard Ford’s novel of the same name.
Contains moderate sex references and infrequent strong language.
13.15Silver Screen: Aged over 60? Join the Silver Screen Club for discounted tickets and a free tea or coffee at these shows. Usual ticket prices apply to non-Members.
On the centenary of the end of the First World War, Peter Jackson (The Lord Of The Rings trilogy) presents an extraordinary new work, revealing the Great War as you’ve never seen it. Using cutting-edge technology to transform images and audio captured a hundred years ago, Jackson’s passion project brings to life the people who can best tell the story: those who were there.
Using only the voices of the men involved, the film explores the reality of war on the front line; their attitudes to the conflict; how they ate, slept and formed friendships, and what their lives were like away from the trenches. Reaching through the fog of time, Jackson aims to give these men voices, investigate the hopes and fears of the veterans who survived to tell their stories, and detail the humility and humanity of those who represented a generation changed forever by a global war.
15.40Silver Screen: Aged over 60? Join the Silver Screen Club for discounted tickets and a free tea or coffee at these shows. Usual ticket prices apply to non-Members.
Assassination Nation opens with a tongue-in-cheek trigger warning: this film will contain, amongst other things, scenes of “toxic masculinity, fragile male egos and the male gaze". What follows is a film that rollicks along at a pace that feels akin to the rapid rhythm of scrolling through social media.
The story follows four high school students, Lily, Bex, Em and Sarah, who live, illuminated by the perpetual glow of their iPhones, in a small suburban town called – of course – Salem. Practised as they may be in managing their online presence, even these girls have secrets they don’t want shared, and when an anonymous hacker doxes the town’s personal information, chaos quickly spreads. It’s not long until mob mentality prevails and public shaming turns into a bloody witch hunt. Lily and her friends are left literally fighting for their lives.
Writer-director Sam Levinson mimics internet teen-speak with ease, working closely with his lead actors on a bold script that crackles with the energy and rage of the #MeToo era.
The second chapter of the Fantastic Beasts franchise delves back into J. K. Rowling’s enchanting Wizarding World, swapping the hustle and bustle of 1920s New York for the moody streets of Paris a year on, where a slew of new characters and wonderful beasts await discovery.
The powerful dark wizard Gellert Grindelwald (a wildly white-haired Depp duded up in heinous style) has slipped the bars of custody and is out to purge the world of all non-magical beings. In a desperate bid to restore harmony, a young Albus Dumbledore (Law) calls upon the help of former Hogwarts student Newt Scamander (Redmayne) to stop Grindelwald and his growing army of pure-blood wizards in their tracks. But this only marks the start of a perilous quest into a world of dark magic.
How do you remake Suspiria, Dario Argento’s 1977 giallo classic, beloved by many a cinephile for its lurid colour palette, conspicuous dubbing and Italian prog score? The answer, in Luca Guadagnino’s (Call Me By Your Name) capable hands, is that you don’t; this slyly-feminist horror film is more of an homage to Argento’s original.
The story opens with young American Susie Bannion (here played by Dakota Johnson), traveling to Germany in order to audition for a renowned dance academy. She attracts the attention of school director and lead choreographer Madame Blanc (a luminescent Tilda Swinton), becoming the older woman’s protegee. Yet, as Susie begins her formal dance training, other students are whispering about a coven of witches who they believe control the school.
Whereas the 1977 version was drenched in vivid technicolour reds, blues and purples, Guadagnino re-enlisted the help of Call Me By Your Name cinematographer Sayombhu Mukdeeprom to give the film a distinctive look in a hushed range of earthy pastels. It’s a visual representation of the overall mode of Guadagnino’s vision - a subtle, disquieting, and masterful piece of cinema.
Guadagnino’s take plunges into the darkness swirling at the centre of a world-renowned dance company – one that will engulf the artistic director, an ambitious young dancer and a grieving psychotherapist. Some will succumb to the nightmare; others will finally wake up. Terrifying and magnetic in equal measure.
From Oscar-winning director Steve McQueen (12 Years A Slave) and co-writer Gillian Flynn (Gone Girl) comes a blistering heist thriller set against a backdrop of crime, passion and corruption. This contemporary reworking of the ’80s TV miniseries tells the story of four women with nothing in common except a debt left behind by their dead husbands’ criminal activities. In a time of turmoil, tensions build when Veronica (Davis), Linda (Rodriguez), Alice (Debicki) and Belle (Erivo) take their fate into their own hands and conspire to forge a future on their own terms. Colin Farrell, Daniel Kaluuya, Liam Neeson, Brian Tyree Henry and Robert Duvall round out the brilliant cast.
Fourteen-year-old Joe (Oxenbould) is the only child of Jeanette (Mulligan) and Jerry (Gyllenhaal) – a housewife and a golf pro – in a small town in 1960s Montana. Nearby, an uncontrolled forest fire rages close to the Canadian border, and when Jerry loses his job – and his sense of purpose – he decides to join the cause of fighting the fire, leaving his wife and son to fend for themselves. Carey Mulligan is outstanding as the mother struggling to keep her head above water, while Ed Oxenbould shines as the teenage son who witnesses her gradual unravelling. Co-written by Zoe Kazan, Paul Dano’s directorial debut is an elegant and absorbing drama based on Richard Ford’s novel of the same name.
Contains moderate sex references and infrequent strong language.
On the centenary of the end of the First World War, Peter Jackson (The Lord Of The Rings trilogy) presents an extraordinary new work, revealing the Great War as you’ve never seen it. Using cutting-edge technology to transform images and audio captured a hundred years ago, Jackson’s passion project brings to life the people who can best tell the story: those who were there.
Using only the voices of the men involved, the film explores the reality of war on the front line; their attitudes to the conflict; how they ate, slept and formed friendships, and what their lives were like away from the trenches. Reaching through the fog of time, Jackson aims to give these men voices, investigate the hopes and fears of the veterans who survived to tell their stories, and detail the humility and humanity of those who represented a generation changed forever by a global war.
Director: Ken Loach.
Starring: Dave Johns, Hayley Squires. UK 2016. TBC mins
A searing indictment of the state of the British welfare system, this film is a passionate plea for social justice, bearing all the hallmarks of its thoughtful, highly political director.
Daniel (Johns) is a friendly 59-year-old joiner who is unable to work due to bad health. However the Department of Work and Pensions overrides the doctor’s report and refuses to award benefits. Daniel must be seen to look for a job although, on doctor’s orders, he cannot accept any work. It’s an absurd predicament that reaches Kafkaesque proportions as the hero becomes buried in red tape and jobsworth employees. As characters try to help each other despite their own troubles, Loach also offers humour and hope.
The film received the Palme d’Or at the 2016 Cannes Film Festival and more awards seem certain for this compelling drama from a seminal director.
The multi-award winning and critically acclaimed Lincoln Center Theater' production of Rodgers and Hammerstein's The King And I comes to cinemas in this unmissable event recorded live from London's iconic Palladium. Reprising her Tony Award-winning role, 'Broadway musical's undisputed Queen' (The Sunday Times) Kelli O'Hara (Anna) takes to the stage alongside Tony and Oscar nominee Ken Watanabe (The King) in a 'powerhouse' (The Times) performance. Also returning to her Tony Award winning role as Lady Thiang is Ruthie Ann Miles. Set in 1860's Bangkok, the musical tells the story of the unconventional and tempestuous relationship that develops between the King of Siam and Anna, a British schoolteacher whom the modernist King, in an imperialistic world, brings to Siam to teach his many wives and children. With one of the finest scores ever written including; Whistle a Happy Tune, Getting to Know You, and Shall We Dance, and featuring a company of over 50 world-class performers, The King and I is a testament to the lavish heritage of gloriously romantic musical theatre – it is the greatest musical from the golden age of musicals.
Assassination Nation opens with a tongue-in-cheek trigger warning: this film will contain, amongst other things, scenes of “toxic masculinity, fragile male egos and the male gaze". What follows is a film that rollicks along at a pace that feels akin to the rapid rhythm of scrolling through social media.
The story follows four high school students, Lily, Bex, Em and Sarah, who live, illuminated by the perpetual glow of their iPhones, in a small suburban town called – of course – Salem. Practised as they may be in managing their online presence, even these girls have secrets they don’t want shared, and when an anonymous hacker doxes the town’s personal information, chaos quickly spreads. It’s not long until mob mentality prevails and public shaming turns into a bloody witch hunt. Lily and her friends are left literally fighting for their lives.
Writer-director Sam Levinson mimics internet teen-speak with ease, working closely with his lead actors on a bold script that crackles with the energy and rage of the #MeToo era.
The second chapter of the Fantastic Beasts franchise delves back into J. K. Rowling’s enchanting Wizarding World, swapping the hustle and bustle of 1920s New York for the moody streets of Paris a year on, where a slew of new characters and wonderful beasts await discovery.
The powerful dark wizard Gellert Grindelwald (a wildly white-haired Depp duded up in heinous style) has slipped the bars of custody and is out to purge the world of all non-magical beings. In a desperate bid to restore harmony, a young Albus Dumbledore (Law) calls upon the help of former Hogwarts student Newt Scamander (Redmayne) to stop Grindelwald and his growing army of pure-blood wizards in their tracks. But this only marks the start of a perilous quest into a world of dark magic.
How do you remake Suspiria, Dario Argento’s 1977 giallo classic, beloved by many a cinephile for its lurid colour palette, conspicuous dubbing and Italian prog score? The answer, in Luca Guadagnino’s (Call Me By Your Name) capable hands, is that you don’t; this slyly-feminist horror film is more of an homage to Argento’s original.
The story opens with young American Susie Bannion (here played by Dakota Johnson), traveling to Germany in order to audition for a renowned dance academy. She attracts the attention of school director and lead choreographer Madame Blanc (a luminescent Tilda Swinton), becoming the older woman’s protegee. Yet, as Susie begins her formal dance training, other students are whispering about a coven of witches who they believe control the school.
Whereas the 1977 version was drenched in vivid technicolour reds, blues and purples, Guadagnino re-enlisted the help of Call Me By Your Name cinematographer Sayombhu Mukdeeprom to give the film a distinctive look in a hushed range of earthy pastels. It’s a visual representation of the overall mode of Guadagnino’s vision - a subtle, disquieting, and masterful piece of cinema.
Guadagnino’s take plunges into the darkness swirling at the centre of a world-renowned dance company – one that will engulf the artistic director, an ambitious young dancer and a grieving psychotherapist. Some will succumb to the nightmare; others will finally wake up. Terrifying and magnetic in equal measure.
From Oscar-winning director Steve McQueen (12 Years A Slave) and co-writer Gillian Flynn (Gone Girl) comes a blistering heist thriller set against a backdrop of crime, passion and corruption. This contemporary reworking of the ’80s TV miniseries tells the story of four women with nothing in common except a debt left behind by their dead husbands’ criminal activities. In a time of turmoil, tensions build when Veronica (Davis), Linda (Rodriguez), Alice (Debicki) and Belle (Erivo) take their fate into their own hands and conspire to forge a future on their own terms. Colin Farrell, Daniel Kaluuya, Liam Neeson, Brian Tyree Henry and Robert Duvall round out the brilliant cast.
Fourteen-year-old Joe (Oxenbould) is the only child of Jeanette (Mulligan) and Jerry (Gyllenhaal) – a housewife and a golf pro – in a small town in 1960s Montana. Nearby, an uncontrolled forest fire rages close to the Canadian border, and when Jerry loses his job – and his sense of purpose – he decides to join the cause of fighting the fire, leaving his wife and son to fend for themselves. Carey Mulligan is outstanding as the mother struggling to keep her head above water, while Ed Oxenbould shines as the teenage son who witnesses her gradual unravelling. Co-written by Zoe Kazan, Paul Dano’s directorial debut is an elegant and absorbing drama based on Richard Ford’s novel of the same name.
Contains moderate sex references and infrequent strong language.
On the centenary of the end of the First World War, Peter Jackson (The Lord Of The Rings trilogy) presents an extraordinary new work, revealing the Great War as you’ve never seen it. Using cutting-edge technology to transform images and audio captured a hundred years ago, Jackson’s passion project brings to life the people who can best tell the story: those who were there.
Using only the voices of the men involved, the film explores the reality of war on the front line; their attitudes to the conflict; how they ate, slept and formed friendships, and what their lives were like away from the trenches. Reaching through the fog of time, Jackson aims to give these men voices, investigate the hopes and fears of the veterans who survived to tell their stories, and detail the humility and humanity of those who represented a generation changed forever by a global war.
Music: Léon Minkus
Choreography: Alexei Fadeyechev
Libretto: Marius Petipa after Miguel de Cervantes
Cast: Ekaterina Krysanova (Kitri), Semyon Chudin (Basilio), Alexei Loparevich (Don Quixote), Olga Smirnova (The Queen of Dryads), Anna Tikhomirova (A street dancer), Kristina Karasyova (Mercedes)
Inspired by heroic stories of brave knights, Don Quixote of La Mancha and his faithful servant Sancho Panza set out on an adventure to meet his ideal woman, Dulcinea. Cervantes’ hero comes to life in the Bolshoi's critically acclaimed staging of this exalting performance. With panache and sparkling technique, principal dancers Ekaterina Krysanova and Semyon Chudin lead the spectacular cast of toreadors, flamenco dancers, gypsies, and dryads in virtuosic dancing that is quintessential Bolshoi.
In 1940s Indiana, nine-year-old Ralphie dreams of his ideal Christmas gift: a genuine Red Ryder 200-shot Carbine Action Air Rifle. But when gruff dad and doting mum regularly respond with “You’ll shoot your eye out!” Ralphie mounts a full-scale, hint-dropping Santa-begging campaign.
13.0012 Days Of Christmas: A selection of festive favourites to spread the Christmas cheer
Vintage Sundays: Classic films back on the big screen where they belong.
With unprecedented access to pivotal artists and the white-hot market surrounding them, this film dives deep into the contemporary art world, holding a fun-house mirror up to our values and our times - where everything can be bought and sold.
18.00Discover Tuesdays: Discover stunning cinema. Whether it's a cult classic, an art-house gem or a riveting documentary, there will always be a chance to see something different and brilliant in our weekly slot.
Home Alone is the beloved family comedy about a young boy named Kevin (Macaulay Culkin) who is accidentally left behind when his family takes off for a vacation in France over the holiday season. Once he realises they've left him home alone, he learns to fend for himself and, eventually has to protect his house against two bumbling burglars (Joe Pesci, Daniel Stern) who are planning to rob every house in Kevin's suburban Chicago neighborhood.
20.3012 Days Of Christmas: A selection of festive favourites to spread the Christmas cheer
Culture Shock: Dedicated to bringing you the best in cult and genre films.
It’s 1786 and King George III is the most powerful man in the world. But he, increasingly, succumbs to fits of lunacy, and ambitious politicians and the scheming Prince of Wales threaten to undermine the power of the Crown, and expose the fine line between King and man. Written by one of Britain’s best-loved playwrights Alan Bennett (The History Boys, The Lady In The Van), this epic play was also adapted into a BAFTA Award-winning film following its premiere on stage in 1991. The cast of this new production which is screened from Nottingham Playhouse includes Mark Gatiss and Adrian Scarborough. Directed by Adam Penford.
Broadcast live from the National Theatre, Ralph Fiennes and Sophie Okonedo play Shakespeare’s famous fated couple in his great tragedy of politics, passion and power.
Caesar and his assassins are dead. General Mark Antony now rules alongside his fellow defenders of Rome. But at the fringes of a war-torn empire the Egyptian Queen Cleopatra and Mark Antony have fallen fiercely in love. In a tragic fight between devotion and duty, obsession becomes a catalyst for war.
Director Simon Godwin returns to National Theatre Live screens with this hotly anticipated production, following broadcasts of Twelfth Night, Man and Superman and The Beaux’ Stratagem.
DIE HARD is surely the ultimate alternative Christmas flick. New York City cop John McClane (Willis) travels to LA to spend Christmas with his estranged wife (Bedelia).
His first stop is the office Christmas party at Nakatomi Plaza, where his wife works. But terrorist Hans Gruber (an impeccable performance from Rickman) turns up with some hard-core mayhem in mind, leaving McClane alone in a vest, sans shoes, to save the day.
What follows is some of the best and most iconic action cinema ever to have come out of Hollywood, and will send you off into the night with a very unique Christmassy feeling. Yippee-ki-yay, Father Christmas!
20.3012 Days Of Christmas: A selection of festive favourites to spread the Christmas cheer
Culture Shock: Dedicated to bringing you the best in cult and genre films.
Brian Henson directs his late father's creations in the Charles Dickens classic, the best known (and most oft-filmed) Christmas story of all time. Michael Caine plays the old miser Scrooge with Kermit as his long-suffering but ever-hopeful employee Bob Cratchit, Miss Piggy as Cratchit's wife, and a host of Muppets (including the Great Gonzo as an unlikely Charles Dickens) taking other primary roles in this bright, playful adaptation of the sombre tale. Or at least it starts brightly enough--the anarchic humour soon settles into mirthful memories and a sense of melancholy as the ghosts of Christmas past, present, and future take Scrooge on a journey of his lonely, wasted life. Michael Caine makes a wonderful Scrooge, delightfully rediscovering the meaning of life as fantastic creations from Henson's Creature Shop (developed specially for this film) take the reins as the three ghosts. While the odd mix of offbeat humour and drama undercuts the power of Dickens's drama, this kid-friendly retelling makes an excellent family drama that adults and children alike can enjoy.
13.0012 Days Of Christmas: A selection of festive favourites to spread the Christmas cheer
Vintage Sundays: Classic films back on the big screen where they belong.
‘Who are those guys?’ Paul Newman is Butch Cassidy (possibly the most likeable outlaw in the West) and Robert Redford is his associate, the fabled Sundance Kid, in this true story of fast draws, wild rides, train and bank robberies, posse chases, a torrid love affair and a new lease of life outside the law in far away South America.
The multi-award winning and critically acclaimed Lincoln Center Theater' production of Rodgers and Hammerstein's The King And I comes to cinemas in this unmissable event recorded live from London's iconic Palladium. Reprising her Tony Award-winning role, 'Broadway musical's undisputed Queen' (The Sunday Times) Kelli O'Hara (Anna) takes to the stage alongside Tony and Oscar nominee Ken Watanabe (The King) in a 'powerhouse' (The Times) performance. Also returning to her Tony Award winning role as Lady Thiang is Ruthie Ann Miles. Set in 1860's Bangkok, the musical tells the story of the unconventional and tempestuous relationship that develops between the King of Siam and Anna, a British schoolteacher whom the modernist King, in an imperialistic world, brings to Siam to teach his many wives and children. With one of the finest scores ever written including; Whistle a Happy Tune, Getting to Know You, and Shall We Dance, and featuring a company of over 50 world-class performers, The King and I is a testament to the lavish heritage of gloriously romantic musical theatre – it is the greatest musical from the golden age of musicals.
FREE SOLO + Satellite Q&A with Alex Honnold and filmmakers
To celebrate International Mountain Day on 11 December, join us for a live event of FREE SOLO followed by Q&A with Alex Honnold and directors Elizabeth Chai Vasarhelyi & Jimmy Chin. The screening and Q&A will be broadcast live across the UK and Ireland via satellite.
From award-winning documentary filmmaker E. Chai Vasarhelyi and world-renowned photographer and mountaineer Jimmy Chin, the directors of MERU, comes FREE SOLO, a stunning, intimate and unflinching portrait of free soloist climber Alex Honnold,as he prepares to achieve his lifelong dream: climbing the face of the world’s most famous rock ... the 3,200-foot El Capitan in Yosemite National Park ... without a rope. Celebrated as one of the greatest athletic feats of any kind, Honnold’s climb set the ultimate standard: perfection or death. Succeeding in this challenge places his story in the annals of human achievement.
Based on Charles Dickens’s own performance adaptation, Simon Callow and director Tom Cairns have created a one-man theatrical extravaganza of festive storytelling that is both heart-warming and deeply moving. Following critically acclaimed, sold-out theatre seasons in 2011, 2012 and again in 2016, Simon Callow (Four Weddings and a Funeral, Shakespeare in Love) returns to wow audiences with this tour de force performance, reimagined especially for cinema. A Christmas must see!
FREE SOLO + Recorded Q&A with Alex Honnold and filmmakers .
From award-winning documentary filmmaker E. Chai Vasarhelyi and world-renowned photographer and mountaineer Jimmy Chin, the directors of MERU, comes FREE SOLO, a stunning, intimate and unflinching portrait of free soloist climber Alex Honnold,as he prepares to achieve his lifelong dream: climbing the face of the world’s most famous rock ... the 3,200-foot El Capitan in Yosemite National Park ... without a rope. Celebrated as one of the greatest athletic feats of any kind, Honnold’s climb set the ultimate standard: perfection or death. Succeeding in this challenge places his story in the annals of human achievement.
In atmospheric 1950s New York, the titular Carol (Blanchett) is marooned in an unhappy marriage to rich businessman Harge Aird (Kyle Chandler, Zero Dark Thirty) when a chance meeting with dreamy shop assistant Therese (Mara, The Girl With The Dragon Tattoo) sparks a slow-burning romance between the two women.
This prompts much soul-searching and subterfuge on their part, and a bitter custody battle with Harge over Carol’s only child, Rindy (winning newcomer K. K. Heim).
Paired again with Todd Haynes, the maverick director of I’m Not There, Blanchett gives a devastating performance that should be an Oscar shoo-in, with Mara not far behind; their on-screen chemistry fully exploits Phyllis Nagy’s emotionally muscular, pitch-perfect adaptation of Patricia Highsmith’s landmark novel.
This winter, join in the fun and enjoy your favourite Christmas show in the cinema for the first time ever! The much anticipated annual CBeebies Christmas Show is coming to the big screen for a family-friendly cinema experience. The makers of Alice in Wonderland, A Christmas Carol and Snow Queen will delight audiences this year with the classic tale of Thumbelina.
This CBeebies Christmas Show recreates on the big screen the live Thumbelina performance and includes an exclusive, additional show made for cinema audiences only starring the much-loved Justin Fletcher (Something Special) in "Justin’s Countdown to Christmas". This holiday season, laugh and sing along with your favourite CBeebies Stars and be part of a fabulous interactive show for all the family.
New Met Music Director Yannick Nézet-Séguin launches his tenure by conducting Verdi’s timeless tragedy. Worldly courtesan Violetta, sung by soprano Diana Damrau, has grown tired of her dissolute life. When the pure-hearted Alfredo—tenor Juan Diego Flórez—declares his love for her, she leaves everything behind to live with him. But his family’s reputation is ruined by his association with her, and Violetta is torn between her feelings for Alfredo and her desire to protect him from scandal. Urged by the young man’s father, she tears herself away and returns to her old life. Alfredo, not knowing the real reason for her apparent betrayal, is heartbroken – and bent on revenge. Directed by Michael Mayer, this new production features a dazzling eighteenth-century setting that changes with the seasons.
A film about the love affair between Jamaican and British youth culture told through the prism of one of the most iconic labels in the history of black music, Trojan Records. Combining archive footage, interview and drama, Rudeboy tells the story of the label by placing it at the heart of a cultural revolution that unfolded in the council estates and dancefloors of late 60s and early 70s Britain, as immigration and innovation transformed popular music and culture. A cast of legendary artists including Lee “Scratch” Perry, Toots Hibbert, Ken Boothe, Neville Staple, Marcia Griffiths, Dave Barker, Dandy Livingstone, Lloyd Coxsone, Pauline Black, Derrick Morgan and more bring the sounds, stars and stories to life.
This special print features all the lyrics to the stunning soundtrack written by Academy Award and Tony Award winners Benj Pasek and Justin Paul (La La Land). Come in all your finery and sing along with your family and friends!
Curtains up, hit the lights – it’s showtime! Broadway veteran Hugh Jackman returns to his song-and-dance roots in a dazzling feel-good musical about taking risks and chasing your dreams. Inspired by the life of show-business pioneer P. T. Barnum, The Greatest Showman charts one man’s rise from nothing to create a circus spectacle that would become a worldwide sensation – ‘The Greatest Show On Earth’. Jackman stars as the down-on-his-luck Barnum, who gathers a motley troupe of extraordinary performers and changes the face of entertainment for ever. Strutting their stuff alongside him in this rags-to-riches tale are the likes of Michelle Williams, Zac Efron and singer Zendaya, performing catchy original music penned by La La Land duo Benj Pasek and Justin Paul.
Based on the critically acclaimed 2008 memoir Beautiful Boy: A Father’s Journey Through His Son’s Addiction by David Sheff, Beautiful Boy is a harrowing film about a father’s torment at witnessing his son’s downward spiral, succumbing to the effects of crystal meth and heroin. Actors Steve Carell and Timothée Chalamet excel in the roles of David and his son Nic, delivering a marvellously sensitive, largely quiet tour de force, as they take us on a journey of love, pain and hope, navigating through moments of happiness and of utter despair, moments of rehab and relapse. A truly inspiring story of survival and recovery as a family copes with addiction over many years.
When a tornado rips through Kansas, Dorothy (Judy Garland) and her dog, Toto, are whisked away in their house to the magical land of Oz. They follow the Yellow Brick Road toward the Emerald City to meet the Wizard, and en route they meet a Scarecrow (Ray Bolger) that needs a brain, a Tin Man (Jack Haley) missing a heart, and a Cowardly Lion (Bert Lahr) who wants courage. The wizard asks the group to bring him the broom of the Wicked Witch of the West (Margaret Hamilton) to earn his help.
11.00Dementia-Friendly Screening: Open to all but especially for people with dementia and their family, friends and carers. Join us for free tea, coffee and biscuits and a chance to socialise for 30 minutes before the film. The film will start at the time stated.
New Met Music Director Yannick Nézet-Séguin launches his tenure by conducting Verdi’s timeless tragedy. Worldly courtesan Violetta, sung by soprano Diana Damrau, has grown tired of her dissolute life. When the pure-hearted Alfredo—tenor Juan Diego Flórez—declares his love for her, she leaves everything behind to live with him. But his family’s reputation is ruined by his association with her, and Violetta is torn between her feelings for Alfredo and her desire to protect him from scandal. Urged by the young man’s father, she tears herself away and returns to her old life. Alfredo, not knowing the real reason for her apparent betrayal, is heartbroken – and bent on revenge. Directed by Michael Mayer, this new production features a dazzling eighteenth-century setting that changes with the seasons.
Can Christmas be saved? Bored with the same old scare-and-scream routine, Jack Skellington, the Pumpkin King of Halloween Town, longs to spread the joy of Christmas. But his merry mission puts Santa in jeopardy and creates a nightmare for good little boys and girls everywhere!
An encore screening of the live broadcast from the National Theatre, Ralph Fiennes and Sophie Okonedo play Shakespeare’s famous fated couple in his great tragedy of politics, passion and power.
Caesar and his assassins are dead. General Mark Antony now rules alongside his fellow defenders of Rome. But at the fringes of a war-torn empire the Egyptian Queen Cleopatra and Mark Antony have fallen fiercely in love. In a tragic fight between devotion and duty, obsession becomes a catalyst for war.
Director Simon Godwin returns to National Theatre Live screens with this hotly anticipated production, following broadcasts of Twelfth Night, Man and Superman and The Beaux’ Stratagem.
At the age of 84, U.S. Supreme Court Justice Ruth Bader Ginsburg has developed a breathtaking legal legacy while becoming an unexpected pop culture icon. But without a definitive Ginsburg biography, the unique personal journey of this diminutive, quiet warrior's rise to the nation's highest court has been largely unknown, even to some of her biggest fans – until now. RBG is a revelatory documentary exploring Ginsburg 's exceptional life and career from Betsy West and Julie Cohen, and co-produced by Storyville Films and CNN Films.
This screening starts with Laurel and Hardy’s classic short film The Music Box, which depicts the pair trying (and failing hilariously) to move a piano up a large flight of steps.
Steve Coogan and John C. Reilly are brilliant as legendary movie icons Laurel and Hardy in Stan & Ollie, the charming and touching story of what would become the triumphant swansong of Hollywood’s greatest comedy double act.
Eager to reignite their film careers, they embark on a gruelling variety hall tour of Britain and Ireland. With the support of their wives Lucille (Henderson) and Ida (Arianda) – a formidable double act in their own right – the duo reaffirm their love of performing, and for each other, as they secure their place in the hearts of the adoring public.
20.3012 Days Of Christmas: A selection of festive favourites to spread the Christmas cheer
Preview: We're pleased to present exclusive previews of this film at Picturehouse Cinemas, prior to its general release.
Music: Pyotr Ilyich Tchaikovsky
Choreography: Yuri Grigorovich
Libretto: Yuri Grigorovich
Cast: The Bolshoi Principals, Soloists and Corps de Ballet
On Christmas Eve, Marie’s Nutcracker doll magically transforms into a prince and their wonderful adventure begins. The holiday classic returns to the majestic Bolshoi stage for a live broadcast of a timeless story, The Nutcracker, taking audiences of all ages on a magical journey through a world of enchantment complete with dancing snowflakes and dolls that have come to life, accompanied by Tchaikovsky’s beloved score.
One of the most popular and enduring films ever made, Frank Capra's IT'S A WONDERFUL LIFE is a gloriously sentimental testament to homely small-town moral values.
Masterfully crafted, the film opens with angels discussing George Bailey (James Stewart), a man so beset with problems that he contemplates a Christmas-time suicide. As George prepares to jump from a bridge his guardian angel Clarence Oddbody intervenes and shows him how badly Bedford Falls would have turned out without his good deeds. Filled with a renewed joy of life George returns to his family for Christmas.
James Stewart gives one of his finest, most affecting performances and the film looks better than ever in its new restoration.
Recent winner of the top prize at Toronto International Film Festival, Green Book is the uplifting true story of an unlikely friendship that transcended race and class.
Set in 1962, Italian-American Tony Lip (Viggo Mortensen) is hired to chauffeur African-American pianist Dr. Don Shirley (Mahershala Ali) on a concert tour through the Deep South. Don is aware of the troubles that he might face in different locations due to the colour of his skin and requires someone to act as both driver and bouncer. They must rely on The Green Book, a guide to the few establishments that are safe for African-Americans and embark on a journey that will change both of their lives.
With strong performances from Ali (following his Oscar-winning turn in Moonlight) and Mortensen (A History of Violence), there is also a great chemistry between the leads. Director Peter Farrelly, best known for his crowd-pleasing comedies Dumb and Dumber and There’s Something About Mary, succeeds brilliantly in making the vital subject of racial division in the 1960s America into a smart and charming film.
The conductor of this New Year’s Eve concert is Daniel Barenboim, one of the Berliner Philharmoniker’s oldest friends. He also takes on the role of soloist in Mozart’s Piano Concerto No. 26 – a work of sparkling beauty and nuanced expression. There are also four famous works by Maurice Ravel, which create an impressive synthesis of elegance and originality. The final highlight is the Boléro, perhaps the most stunning crescendo in music history.
One of Event Cinema's biggest names, Andre Rieu, returns with a major new production this New Year's 2019! The King of Waltz Andre Rieu will bring to millions of fans across the world, his New Year's concert recorded live in Sydney, Australia. The first full production from leading Event Cinema distributor Piece of Magic Entertainment, Andre Rieu will present a festive concert like never before, recorded live in Sydney's iconic Town Hall. Join the Maestro, Andre Rieu, for a magical evening of music and dance featuring his world class sopranos, The Platin Tenors and plenty of surprises. With show tunes, classical music and plenty of festive fun it promises to be a great way to start the new year! Take a front row seat and experience this spectacular musical event on the big screen. Enjoy backstage access, interviews with Andre and his special guests, musical favourites and much, much more, exclusive to cinema. The evening will be hosted by ITV's Charlotte Hawkins, a familiar face for all those who continue to enjoy Andre's annual Maastricht concert each July.
At the age of 84, U.S. Supreme Court Justice Ruth Bader Ginsburg has developed a breathtaking legal legacy while becoming an unexpected pop culture icon. But without a definitive Ginsburg biography, the unique personal journey of this diminutive, quiet warrior's rise to the nation's highest court has been largely unknown, even to some of her biggest fans – until now. RBG is a revelatory documentary exploring Ginsburg 's exceptional life and career from Betsy West and Julie Cohen, and co-produced by Storyville Films and CNN Films.
For the first time at the Met, soprano Anna Netrebko sings the role of Adriana Lecouvreur, the eighteenth-century actress whose real-life intrigues inspired Cilea’s tragic opera. Adriana is adored by many but loves only Maurizio, sung by tenor (Piotr Beczała), who adores her in return. Maurizio desperately tries to extricate himself from his previous lover, the Princess deof Bouillon— mezzo-soprano (Anita Rachvelishvili). When the princess discovers that Adriana is her rival, she takes desperate measures of her own. In this new production directed by Sir David McVicar, the action is partially set in a working replica of a baroque theatre. Gianandrea Noseda conducts the riveting score.
A tale of heads of state falling from power, opportunists, powerbrokers and propagandists. Shakespeare’s Richard II is a monarch ordained by God to lead his people. But he is also a man and a weak one at that. His reckless policies include burdening his citizens with taxes, and confiscating the land and wealth of noblemen. His vanity threatens to divide the great houses of England and drag his people into a dynastic civil war that will last 100 years, while he paves the way for his own deposition by Henry Bolingbroke. This visceral new production, staged at the Almeida Theatre, London, stars Simon Russell Beale as Shakespeare’s narcissistic, arbitrary king. The play is subversively reimagined and directed by Joe Hill-Gibbins (Little Revolution, Absolute Hell). With designs by ULTZ.
For the first time at the Met, soprano Anna Netrebko sings the role of Adriana Lecouvreur, the eighteenth-century actress whose real-life intrigues inspired Cilea’s tragic opera. Adriana is adored by many but loves only Maurizio, sung by tenor (Piotr Beczała), who adores her in return. Maurizio desperately tries to extricate himself from his previous lover, the Princess deof Bouillon— mezzo-soprano (Anita Rachvelishvili). When the princess discovers that Adriana is her rival, she takes desperate measures of her own. In this new production directed by Sir David McVicar, the action is partially set in a working replica of a baroque theatre. Gianandrea Noseda conducts the riveting score.
Music: Léon Minkus
Choreography: Yuri Grigorovich
Libretto after Marius Petipa and Sergei Khudekov
Cast: The Bolshoi Principals, Soloists and Corps de Ballet
The temple dancer Nikiya and the warrior Solor fall deeply in love, giving way to heated passions, and murderous intrigues when the Rajah and his daughter Gamzatti discover their forbidden love. La Bayadere is one of the greatest works classical ballet history – a story of love, death and vengeful judgement set in India. Dazzling sets, costumes, and one of the most iconic scenes in ballet, the “Kingdom of the Shades,” illuminate the tragic tale of the temple dancer Nikiya’s doomed love for the warrior Solor, and their ulimate redemption. A must-see!
I’m Not Running is an explosive new play by David Hare, premiering at the National Theatre and broadcast live to cinemas.
Pauline Gibson has spent her life as a doctor, the inspiring leader of a local health campaign. When she crosses paths with her old boyfriend, a stalwart loyalist in Labour Party politics, she’s faced with an agonising decision.
What’s involved in sacrificing your private life and your piece of mind for something more than a single issue? Does she dare?
Hare was recently described by The Washington Post as ‘the premiere political dramatist writing in English’. His other work includes Pravda and Skylight, broadcast by National Theatre Live in 2014.
Love is a wild bird… Don’t miss this revival of Sir Richard Eyre’s dynamic production. Mezzo-soprano Clémentine Margaine plays opera’s ultimate seductress, while Roberto Alagna returns to the role of Don José, the good-hearted soldier with whom she unleashes an uncontrollable passion. Don José breaks the law, goes to prison, deserts the army and loses everything to be with Carmen. But the capricious Carmen gypsy soon tires of him and takes up instead with the bullfighter Escamillo—bass (Alexander Vinogradov). She has ruined his life, but still, Don José adores her, with a fierceness that can only lead to catastrophe. Composer Bizet died just three months after Carmen’s disastrous premiere, never knowing that his creation would become one of the most popular operas of all time.
Love is a wild bird… Don’t miss this revival of Sir Richard Eyre’s dynamic production. Mezzo-soprano Clémentine Margaine plays opera’s ultimate seductress, while Roberto Alagna returns to the role of Don José, the good-hearted soldier with whom she unleashes an uncontrollable passion. Don José breaks the law, goes to prison, deserts the army and loses everything to be with Carmen. But the capricious Carmen gypsy soon tires of him and takes up instead with the bullfighter Escamillo—bass (Alexander Vinogradov). She has ruined his life, but still, Don José adores her, with a fierceness that can only lead to catastrophe. Composer Bizet died just three months after Carmen’s disastrous premiere, never knowing that his creation would become one of the most popular operas of all time.
A tale of heads of state falling from power, opportunists, powerbrokers and propagandists. Shakespeare’s Richard II is a monarch ordained by God to lead his people. But he is also a man and a weak one at that. His reckless policies include burdening his citizens with taxes, and confiscating the land and wealth of noblemen. His vanity threatens to divide the great houses of England and drag his people into a dynastic civil war that will last 100 years, while he paves the way for his own deposition by Henry Bolingbroke. This visceral new production, staged at the Almeida Theatre, London, stars Simon Russell Beale as Shakespeare’s narcissistic, arbitrary king. The play is subversively reimagined and directed by Joe Hill-Gibbins (Little Revolution, Absolute Hell). With designs by ULTZ.
Pablo Picasso is one of the greatest artists of all time - and right up until his death in 1973 he was the most prolific of artists. Many films have dealt with these later years - the art, the affairs and the wide circle of friends. But where did this all begin? What made Picasso in the first place? Too long ignored, it is time to look at the early years of Picasso; the upbringing and the learning that led to his extraordinary achievements.
Three cities play a key role: Malaga, Barcelona and Paris. Young Picasso visits each and explores their influence on Picasso, focusing on specific artworks from these early years. The film thus explains how this young artist acquired his craft. Looking carefully at two key early periods - the so-called Blue Period and Rose Period - the film takes us all the way to 1907 and the creation of a critical painting in the history of art - Les Demoiselles d'Avignon. It was a painting that shocked the art world but changed it irrevocably. Picasso was only 25 years old. Working closely with all three Picasso Museums in Malaga, Barcelona and Paris this film explains how he rose to great heights.
I’m Not Running is an explosive new play by David Hare, premiering at the National Theatre and broadcast live to cinemas.
Pauline Gibson has spent her life as a doctor, the inspiring leader of a local health campaign. When she crosses paths with her old boyfriend, a stalwart loyalist in Labour Party politics, she’s faced with an agonising decision.
What’s involved in sacrificing your private life and your piece of mind for something more than a single issue? Does she dare?
Hare was recently described by The Washington Post as ‘the premiere political dramatist writing in English’. His other work includes Pravda and Skylight, broadcast by National Theatre Live in 2014.
Full of wit and invention, Donizetti’s comic opera is a delight. The famous aria “Ah, Mes Amis,” with its nine high Cs, is known as the Mount Everest for tenors one of opera’s most show-stopping numbers. Bel canto stars Pretty Yende and Javier Camarena takes on the challenging vocal fireworks in this revival, a co-production with London’s Royal Opera House and the Wiener StaatsoperLaurent Pelly’s hilarious staging. Orphaned as a small child and raised by an entire army regiment, the spirited Marie has grown up as the regiment’s ‘daughter’, raising morale and spreading joy. Tonio, a local man, falls in love with her and even joins the army for her sake. But a chance encounter with a noblewoman sparks a sudden revelation, and a tale unfolds of secret identities, long-lost family, and murky pasts.
Full of wit and invention, Donizetti’s comic opera is a delight. The famous aria “Ah, Mes Amis,” with its nine high Cs, is known as the Mount Everest for tenors one of opera’s most show-stopping numbers. Bel canto stars Pretty Yende and Javier Camarena takes on the challenging vocal fireworks in this revival, a co-production with London’s Royal Opera House and the Wiener StaatsoperLaurent Pelly’s hilarious staging. Orphaned as a small child and raised by an entire army regiment, the spirited Marie has grown up as the regiment’s ‘daughter’, raising morale and spreading joy. Tonio, a local man, falls in love with her and even joins the army for her sake. But a chance encounter with a noblewoman sparks a sudden revelation, and a tale unfolds of secret identities, long-lost family, and murky pasts.
Music: Pyotr Ilyich Tchaikovsky
Choreography: Yuri Grigorovich
Libretto after Ivan Vsevolojski and Marius Petipa
Cast: Olga Smirnova (Princess Aurora), Semyon Chudin (Prince Désiré), Alexei Loparevich (The Evil Fairy Carabosse), Yulia Stepanova (The Lilac Fairy), Vitaly Biktimirov (Catalabutte), Artemy Belyakov (Bluebird), Anastasia Denisova (Princess Florine)
The Princess Aurora falls under the curse of the Evil Fairy Carabosse on her sixtenth birthday, falling into a deep slumber of one hundred years. Only the kiss of a prince could break the spell. A resplendent fairytale ballet perfomed by the Bolshoi, The Sleeping Beauty features scores of magical characters including fairies, the Little Red Riding Hood, Puss in Boots, and a beautiful young Princess Aurora performed by Olga Smirnova, a “truly extraordinary talent” (The Telegraph). This is classical ballet at its finest.
Captured live on Jan. 22, 2017
Four crazy 80s and 90s cult classics playing through the small hours of one unforgettable night! Featuring Runaway Train, Showgirls, RoboCop & Pieces - with all movies screening from vintage 35mm prints!
Featuring some of the most glorious music ever written—including, of course, the Ride of the Valkyries —Die Walküre is the second of the four operas that comprise Wagner’s Ring cycle, a story of monsters, gods, and humans on a superhuman scale. When twins Siegmund and Sieglinde find each other at last, Siegmund promises to release Sieglinde from her forced marriage by killing her husband, Hunding. The god Wotan instructs Valkyrie warrior Brünnhilde to defend Hunding. But, moved by the twins’ mutual devotion, Brünnhilde refuses to obey, forging an alliance with Sieglinde that has far-reaching consequences for them both. Soprano Christine Goerke sings Brünnhilde, tenor Stuart Skelton and soprano Eva-Maria Westbroek are the love-struck twins, and Ring cycle veteran Philippe Jordan conducts.
Featuring some of the most glorious music ever written—including, of course, the Ride of the Valkyries —Die Walküre is the second of the four operas that comprise Wagner’s Ring cycle, a story of monsters, gods, and humans on a superhuman scale. When twins Siegmund and Sieglinde find each other at last, Siegmund promises to release Sieglinde from her forced marriage by killing her husband, Hunding. The god Wotan instructs Valkyrie warrior Brünnhilde to defend Hunding. But, moved by the twins’ mutual devotion, Brünnhilde refuses to obey, forging an alliance with Sieglinde that has far-reaching consequences for them both. Soprano Christine Goerke sings Brünnhilde, tenor Stuart Skelton and soprano Eva-Maria Westbroek are the love-struck twins, and Ring cycle veteran Philippe Jordan conducts.
Music: Dmitri Shostakovich
Choreography: Yuri Grigorovich
Libretto Yuri Grigorovich and Isaak Glikman
Cast: Nina Kaptsova (Rita), Ruslan Skvortsov (Boris), Mikhail Lobukhin (Yashka) and Ekaterina Krysanova (Lyuska)
In the 1920’s, The Golden Age cabaret is a favorite nightly haunt. The young fisherman Boris falls in love with Rita. He follows her to the cabaret and realizes that she is the beautiful dancer “Mademoiselle Margot,”, but also the love interest of the local gangster Yashka… With its jazzy score by Shostakovich and its music-hall atmosphere featuring beautiful tangos, The Golden Age is a refreshing and colorful dive into the roaring 20’s. A historic ballet that can be seen only at the Bolshoi!
From the National Gallery, London and Rijksmuseum, Amsterdam
Every Rembrandt exhibition is eagerly anticipated but this major show hosted by London’s National Gallery and Amsterdam’s Rijksmuseum was an event like no other. Given privileged access to both galleries the film documents this landmark exhibition, whilst interweaving Rembrandt’s life story, with behind-the-scenes preparations at these world famous institutions. Exploring many of the exhibition’s key works, through contributions from specially invited guests including curators and leading art historians, this Exhibition on Screen favourite makes a welcome return to the big screen marking the 350th anniversary of Rembrandt's death. For many, Rembrandt is the greatest artist that ever lived and this deeply moving film seeks to explore the truth about the man behind the legend.
Come into the forest; dare to change your state of mind.
Rosalind is banished, wrestling with her heart and her head. With her cousin by her side, she journeys to a world of exile where barriers are broken down and all can discover their deeper selves.
Kimberley Sykes (Dido, Queen of Carthage) directs a riotous, exhilarating version of Shakespeare's romantic comedy.
Met Music Director Yannick Nézet-Séguin leads Poulenc’s masterpiece. As the French Revolution begins, shy Blanche, sung by mezzo-soprano Isabel Leonard, becomes a novice nun under an elderly prioress—Met legend Karita Mattila. Blanche’s aristocratic family flees the Terror, but she remains behind, struggling between her fear of the guillotine and her duty to the convent. When the nuns are expelled from the convent and threatened with death, Blanche must make an agonising decision. In the shattering final scene, the nuns walk towards the guillotine singing Salve Regina: Their voices are cut off, one by one, with each stroke of the blade, until all are silenced. Poulenc’s devastating portrayal of faith and martyrdom is live in HD for the first time.
Met Music Director Yannick Nézet-Séguin leads Poulenc’s masterpiece. As the French Revolution begins, shy Blanche, sung by mezzo-soprano Isabel Leonard, becomes a novice nun under an elderly prioress—Met legend Karita Mattila. Blanche’s aristocratic family flees the Terror, but she remains behind, struggling between her fear of the guillotine and her duty to the convent. When the nuns are expelled from the convent and threatened with death, Blanche must make an agonising decision. In the shattering final scene, the nuns walk towards the guillotine singing Salve Regina: Their voices are cut off, one by one, with each stroke of the blade, until all are silenced. Poulenc’s devastating portrayal of faith and martyrdom is live in HD for the first time.
Carmen Suite
Music: Georges Bizet and Rodion Shchedrin
Choreography: Alberto Alonso
Libretto Alberto Alonso after Carmen de Prosper Mérimée
Petrushka
Music: Igor Stravinsky
Choreography: Edward Clug
Cast: The Bolshoi Principals, Soloists and Corps de Ballet
Carmen is as passionate and free-spirited as ever as she finds herself caught in a love triangle. The passionate one act ballet by Cuban choreographer Alberto Alonso originally conceived for legendary Bolshoi prima ballerina Maya Plisetskaya will captivate audiences alongside Petrushka, a new creation for the Bolshoi by contemporary choreographer Edward Clug, in an evening encapsulating the soul of Russian Ballet
In a reimagined 1590, England is a matriarchy.
Baptista Minola is seeking to sell off her son Katherine to the highest bidder. Cue an explosive battle of the sexes in this electrically charged love story.
Justin Audibert (Snow in Midsummer, The Jew of Malta) turns Shakespeare's fierce, energetic comedy of gender and materialism on its head to offer a fresh perspective on its portrayal of hierarchy and power.
"I envy the Japanese" Van Gogh wrote to his brother Theo. In the exhibition on which this film is based - VAN GOGH & JAPAN at the Van Gogh Museum in Amsterdam - one can see why. Though Vincent van Gogh never visited Japan it is the country that had the most profound influence on him and his art. One cannot understand Van Gogh without understanding how Japanese art arrived in Paris in the middle of the 19th century and the profound impact it had on artists like Monet, Degas and, above all, Van Gogh.
Visiting the new galleries of Japanese art in Paris and then creating his own image of Japan – through in-depth research, print collecting and detailed discussions with other artists – Van Gogh’s encounter with Japanese artworks gave his work a new and exciting direction. After leaving Paris for the south of France – to what he thought of as near to a kind of Japan as he could find - the productive and yet troubled years that followed must all be seen in the context of Van Gogh bending Japanese influences to his will and defining himself as a modern artist with clear Asian precursors. In this little known story of Van Gogh’s art we see just how important his study of Japan was. The film travels not only to France and the Netherlands but also to Japan to further explore the remarkable heritage that so affected Van Gogh and made him the artist we know of today.
"I envy the Japanese" Van Gogh wrote to his brother Theo. In the exhibition on which this film is based - VAN GOGH & JAPAN at the Van Gogh Museum in Amsterdam - one can see why. Though Vincent van Gogh never visited Japan it is the country that had the most profound influence on him and his art. One cannot understand Van Gogh without understanding how Japanese art arrived in Paris in the middle of the 19th century and the profound impact it had on artists like Monet, Degas and, above all, Van Gogh.
Visiting the new galleries of Japanese art in Paris and then creating his own image of Japan – through in-depth research, print collecting and detailed discussions with other artists – Van Gogh’s encounter with Japanese artworks gave his work a new and exciting direction. After leaving Paris for the south of France – to what he thought of as near to a kind of Japan as he could find - the productive and yet troubled years that followed must all be seen in the context of Van Gogh bending Japanese influences to his will and defining himself as a modern artist with clear Asian precursors. In this little known story of Van Gogh’s art we see just how important his study of Japan was. The film travels not only to France and the Netherlands but also to Japan to further explore the remarkable heritage that so affected Van Gogh and made him the artist we know of today.
'To whom should I complain?'
When a young novice nun is compromised by a corrupt official, who offers to save her brother from execution in return for sex, she has no idea where to turn for help. When she threatens to expose him, he tells her that no one would believe her.
Shakespeare wrote this play in the early 1600s, yet it remains astonishingly resonant today. Artistic Director Gregory Doran directs this new production.
