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Hollywood vs The World - Film Discussion Club

Philosophies of Forewarning: Cold War Science Fiction
Sat 30 May, 2-5pm
£10 per session
In the shadow of mutually assured destruction, three filmmakers from three different worlds look into the possible futures and ask the same question: what have we become?

2001: A Space Odyssey (1968) Dir. Stanley Kubrick, USA.
It remains the defining vision of human ambition and its discontents. A film that traces our species from bone to spacecraft and finds something troubling at both ends of the journey. Where Hollywood saw the space race as triumph, Kubrick saw a mirror.

Solaris (1972) Dir. Andrei Tarkovsky, USSR.
Its Soviet counterpart and spiritual rebuke. Slower, more interior, more merciful. A psychologist sent to investigate a space station finds the ocean planet below manifesting his deepest memories and losses. Where Kubrick's cosmos is vast and indifferent, Tarkovsky's asks whether science can ever be an adequate language for grief.

Alphaville (1965) Dir. Jean-Luc Godard, France.
It arrived three years before 2001 with no budget, no sets, and no patience for spectacle. Shot on the streets of contemporary Paris, which Godard simply declared to be the future, it imagines a city governed by a computer that has outlawed poetry, irrationality and love. It remains perhaps the most economical apocalypse ever committed to film.

Together these three films form a conversation across the Iron Curtain and across cinema itself about reason, feeling, memory, and what we risk losing when we mistake technological progress for human advancement. In an era that again demands we think carefully about the machines we build and the systems we trust, their warnings feel less like history than current affairs.
 

Hollywood vs The World - Film Discussion Club
Wuthering Adaptations
Sat 27 Jun, 2-5pm
£10 per session

How do you film the unfilmable?
Emily Brontë wrote a novel about the soul. About a love so violent and absolute that it refuses to be contained by class, marriage, or even death. No wonder it has challenged almost every filmmaker who has ever tried to adapt it. "Whatever our souls are made of, his and mine are the same." This session of Hollywood vs The World places two radically different visions of Wuthering Heights side by side. A decade and a half apart, each film was made by a filmmaker certain they had found the key to the novel. The question is which, if either, comes closest to what Brontë actually wrote and intended. 

Wuthering Heights (2011) Dir. Andrea Arnold.
Rain-soaked, near-wordless, shot on the real Yorkshire moors with a hand-held camera and non-professional actors. Arnold strips the novel down to mud, skin, and wind. It’s a feral film that barely speaks, but speaks volumes.

Wuthering Heights (2026) Dir. Emerald Fennell.
Margot Robbie, Jacob Elordi, IMAX cinematography, Charli XCX on the soundtrack. Fennell leans into carnality and visual excess. A film that wants to recreate the feeling of reading the novel as a teenager, overwhelmed and undone. Can intention be true adaptation?

The Focus Scene
Brontë, Chapter 9: Cathy’s confession and Heathcliff’s flight. Cathy tells Nelly she will marry Edgar Linton, stating it would degrade her to marry Heathcliff. Heathcliff, listening unseen, leaves before she reaches the truth: that their souls are one and the same. His departure based on a half-heard lie is the emotional beat from which the whole novel bleeds. You will read the scene from the novel. Then you will watch how each film handles it. Prepare yourself for the ultimate Gothic Romance committed to film.

Come prepared with a notebook and pen.


Programmed in partnership with the Sir John Hurt Film Trust.

  • Release Date :
  • 31 Jan 2026
  • Certificate :
  • N/A
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