Tag: Natasha Lee (page 1 of 12)

A Nos Amours Presents Fellini – Satyricon @ Curzon Mayfair / Tuesday 10 September 2013


Screening 6.15pm

@ Curzon Mayfair
38 Curzon Street, W1J 7TY

Tickets from £17.50 – £25.00 

A Nos Amours’ is a collective founded by filmmakers Joanna Hogg and Adam Roberts dedicated to programming over-looked, under-exposed or especially potent cinema. This time ‘A Nos Amours’ presents a newly restored 35mm Cinemascope copy of Fellini-Satyricon by Federico Fellini (1969), as supervised by the film’s original cinematographer Giuseppe Rotunno at the Cineteca Nazionale in Rome with the contribution of Dolce & Gabbana, presented by Ka Studio and Edoardo Ponti.

A place that might be ancient Rome recreated and torn down over a couple of delirious hours by Federico Fellini. The Latin text that provides a spring board, a fragmentary account of debauchery, dissolution and sexual adventure during the reign of Nero, is shaken and poured out as the most intoxicating cinematic cocktail the world has ever seen. Bizarre, jarring, angular, operatic, sordid, stunningly beautiful. Superficially it is a historical pageant in full sail, but also a dream of the past, buffeted by modernist strategies.

DocDays: The Great Hip Hop Hoax/plus Q&A with Jeanie Finlay @ Curzon Soho / Wednesday 4th September 2013


Screening at 6.30pm followed by Q&A

@ Curzon Soho

Tickets £13.75

Californian hip-hop duo Silibil n’ Brains were going to be massive. What Sony didn’t know was that the pair were students from Scotland, with fake American accents and made-up identities. When Billy and his rap partner Gavin Bain’s promising Scottish rap act was laughed off the stage by hysterical A&R people who dubbed them “the rapping Proclaimers”, they dusted themselves down and reinvented themselves as West Coast Homeboys. Sony signed them for a record deal, and over a period of two years, they lived the dream – touring with D12, hanging backstage at the Brits, playing Brixton Academy, writing, recording and living up to the image of the loud-mouth rap stars they told everyone they were. No-one knew or even suspected that they were in fact just a couple of college boys from Dundee with accents they had learnt from MTV.

The Great Hip Hop Hoax is a film about truth, lies and the legacy of faking everything in the desperate pursuit of fame. The screening will be followed by a discussion with director Finlay.

The Work of Director Spike Jonze @ The Prince Charles Cinema / Friday 23rd August 2013


Screening at 6.30pm

@ The Prince Charles Cinema,
7 Leicester Place, WC2H 7BP

Tickets £7 / members £5

An evening dedicated to the music video work of Oscar-nominated Director Spike Jonze (Where The Wild Things Are, Being John Malkovich). A rare treat to see these influential promo clips on the big screen, this is not an event to be missed. The work features Beasties Boys, The Breeders, Dinosaur Jr., Weezer, Fatboy Slim and more.

The Kings of Summer Preview Screenings @ The Prince Charles Cinema / from Friday 23rd August 2013


Various days 4.15pm & 6.30pm

The Prince Charles Cinema,
7 Leicester Place, WC2H 7BP

Tickets £8 or £11 / members £4 or£8.50 dependent on time/date of screening

This is the UK release of the eagerly anticipated film The Kings of Summer, fresh from Sundance film festival where it was nominated for the Grand Jury Prize. With exclusive central London week-long screenings at The Prince Charles Cinema, book your tickets so you can be the first to see it!

Joe Toy, on the verge of adolescence, finds himself increasingly frustrated by his single father, Frank’s attempts to manage his life. Declaring his freedom once and for all, he escapes to a clearing in the woods with his best friend, Patrick, and a strange kid named Biaggio. He announces that they are going to build a house there, free from responsibility and parents. Once their makeshift abode is finished, the three young men find themselves masters of their own destiny, alone in the woods.

Short Sighted Cinema Launch Night @ Ritzy Picturehouse / Tuesday 20th August 2013


From 7.30pm

@ Ritzy Picturehouse
Brixton Oval, Coldharbour Lane, SW2 1JG


The first of a new monthly short film night at the Ritzy featuring london-based filmmakers and showcasing some picks from the Short Sighted Cinema online magazineShort Sighted Cinema is a pop-up film screening and network based in London. They aim to raise the profile of short film and create catalysts for future films.


The Last Man on Earth / Carlo Ortu
The Wizard / Tomas Guerrier
Fettle – Kate Lloyd / Daniel W J Mackenzie
Crumb Catchers / Katharine Rogers
Futility of War / Sam Baron
Wild Life / Kevin Kaynard
Is This Free? / Adele Kirby Niche
In the Market / Rod Main
Dream Girl / Alice Seabright

We serve fresh events daily.
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Advance Tickets: The Horror Show TV launch + White of the Eye 35mm Screening @ The Prince Charles Cinema / Thursday 13th June 2013


Doors 7pm, introduction from 7.15pm

@ The Prince Charles Cinema,
7 Leicester Place, WC2H 7BY

Tickets £15 / members £12 here
Advance booking highly recommended: Tickets are limited

To launch THE HORROR SHOW, the first video-on-demand streaming service specialising in horror content, the Prince Charles Cinema is hosting the ultimate evening in horror. Esteemed horror writer and keeper of Empire Magazine’s horror vault, Kim Newman, will introduce his selected film, WHITE OF THE EYE. This 1987 horror classic  will be a rare 35mm presentation.

HIM INDOORS, introduced by writer/director Paul Davis, will be the evening’s short film accompaniment to highlight The Horror Show’s “Short Stack” feature – 10 short films for 99p! The evening also includes horror-themed stand-up comedy from Perfect Movie host Richard Sandling (winner of So You Think You’re Funny in 2007), as well as competitions to win signed posters and other horror merchandise, plus even more surprises! Drinks will be available throughout the event.

Tickets are limited, with only 100 going on sale to the public. This is not one to miss, horror fans! Explore The Horror Show here to find out what you’re in store for.

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Bill Viola: Frustrated Actions and Futile Gestures @ Blain Southern Gallery / until 27th July 2013


Monday – Friday 10am-6pm
Saturday 10am-5pm

@ Blain Southern Gallery
4 Hanover Square, W1S 1BP


The Directors of Blain|Southern present Frustrated Actions and Futile Gestures, a museum-scale exhibition of nine new works by the internationally renowned video artist Bill Viola.

Created between 2012 and 2013, both on location and in the artist’s studio in Southern California, the exhibition presents three distinct bodies of works; the Frustrated Actions, the Mirage and the Water Portraits series. Through these works, Viola engages with complex aspects of human experience, including mortality, transience and our persistent, yet ultimately futile attempts to truly and objectively understand ourselves and the meaning of our brief lives.

Viola’s work focuses on the ideas behind fundamental human experiences such as birth and death, and different aspects of consciousness. Absolutely one of the most interesting video artists of our time, we recommend seeing his highly affecting work first hand, especially as Viola’s most recent London exhibition was back in 2006.

The Rep Screening plus Panel Discussion @ The Prince Charles Cinema / Tuesday 4th June 2013


Screening 6.15pm

@ The Prince Charles Cinema
7 Leicester Place, WC2H 7BP

Tickets £7.50 / members £2.50 or at the box office

EUROPEAN PREMIERE: THE REP reveals that the passion for a cinematic experience is still alive. The question is, will a greater audience recognise their cultural value before it’s too late?

Absolutely fittingly, THE REP will be having its European Premiere at The Prince Charles Cinema, central London’s only independent cinema and one of the best repertory houses around. The documentary follows the struggles of three uber film geeks who have taken up the worthy cause of running a one-screen repertory cinema in Toronto, dealing with strong competition from multiplexes, home video and the general decline in cinema attendance.

Whilst also taking a broader look at repertory cinema in North America, the film visits the Film Forum in NYC, The Alamo Drafthouse in Austin, and Quentin Tarantino’s own The New Beverly Cinema in L.A.. The Rep’s director, Morgan White, says, “Repertory cinema is an ever-shrinking but ever-passionate world of film lovers trying to keep the experience of cinema alive.”

The Prince Charles Cinema have sweetened the deal by arranging a post-film panel discussion and Q&A with some influential London-based film programmers, including their own rep programmer Paul Vickery, Cigarette Burns Cinema‘s Josh Saco, and Film4 FrightFest‘s Ian Rattray, Kate Taylor from the Independent Cinema Office, as well as Kris Kadas, who is featured in the film as special events programmer of the Toronto Underground Cinema. They will be talking about repertory cinema and other fun stuff.

In one heart-warmingly generous gesture, the film’s director has allowed any indie cinemas screening THE REP to keep 100% of the box office profits. So please come on down, and you’ll also be giving your support to the unique and progressive Prince Charles Cinema! For members of the PCC, it’s a steal at £2.50 a ticket.

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An Interview with Director Morgan White / The Rep @ The Prince Charles Cinema / Tuesday 4th June 2013

This coming Tuesday 4th June, THE REP will be having it’s European Premiere at London’s finest independent repertory house, The Prince Charles Cinema.

The documentary highlights the dwindling industry of indie and rep cinema in a time of home video and sweeping multiplexes, through the highs and lows of the first years of business at The Toronto Underground Cinema. For a film and cinema-lover, it is a heart-wrenching and inspiring glimpse into the state of independent cinema at the moment. THE REP director, Morgan White, very kindly took some time to talk about making the film, explaining the controversy over 35mm, and indulging in his ultimate revival double-bill.

Did the conversion from web series to feature doc come naturally? It seems like it makes a lot of sense for The Rep to be in this format, because you’re now able to release it theatrically.
The whole idea behind the web-series was to create small behind-the-scenes look at events the theatre was having, while having fun with it. They were never meant to be serious at all. After about a month of filming I realised I had so much other interesting footage that wouldn’t really fit in the web version. Footage that showed the realities of what it means to run a cinema, the stresses the guys were feeling, and the nature of the cinematic experience of The Underground. I liked all of that stuff, and in fact found it far more interesting, so I decided that I’d do a feature. It was never a very conscious decision, but one that happened naturally out of the story that was unfolding. I saw an opportunity, and I went for it.

So, was it always the plan to offer the film to independent cinemas for free
That was a decision that I had been mulling over in my head for a while. Ultimately it stemmed from the fact that the film is about the preservation of these theatres, and I felt wrong asking a theatre for a license fee (all films are rented based on a license fee). I thought that it would be better to just offer it up for free. It’s my small way of giving back, and it’s really worked well.

Obviously the film stems from your personal passion for a true cinema experience and love for film (which you share with Alex, Nigel and Charlie), as well as others who will go and see the film without much persuasion. Do you think that a wider audience can appreciate the struggles of repertory and independent cinemas?
That’s tough to say. When I was in New York interviewing Bruce Goldstein, who runs Film Forum, and he asked me the same question. “Do you think anyone’s gonna care?” My only response was, “I certainly hope so, or else what’s the point?” That was well over a year ago, and now that the film is finished and out there I’ve gotten emails from folks who have gone out to see The Rep in their town, and their responses have been great. Most people have no clue what happens behind the scenes of a rep house, or any cinema for that matter, so it’s an eye opener for film fans to see what it really means to run a cinema. Many of them have told me that they will frequent their local indie theatres more, and that’s the greatest response I could ever hope to get! I think ultimately everyone is attracted to passion, and that’s what the film, its characters, and all of these cinemas represent, so with that I think people will appreciate it. I see the film as a bit of a call to arms, and so it’s really up to the audience to decide if they want to cast a vote and support their local cinema!

What is, or where was, your most memorable rep cinema experience?
I wasn’t lucky enough to grow up in a town that had a rep cinema, or even an independent cinema. When I moved to Toronto for College I heard about a screening of George A. Romero’s Land of the Dead happening at The Bloor (a cinema here in TO), and that they would be screening the director’s cut. I had never heard of something like that before, as I was used to the multiplex experience. I remember showing up, having never been to The Bloor, and siting in the old theatre with about 300 other crazy zombie fans, and loving every single moment of it! People were talking at the screen, laughing, and cheering when a new kill happened that wasn’t in the previous version. It was electrifying! From then on I was a regular at The Bloor, which funny enough was being managed by Nigel and Alex of The Underground. I didn’t know them at that time, and had no idea that our paths would one day cross.

What’s your ultimate repertory double-bill?
That may be the hardest questions I’ve ever had to answer! Curating a double bill is a very tough thing, and it’s a very personal thing too. I have an affinity for films that I loved as a kid but never got to see on the big screen. As a kid I would devour films from my local video store, and I do understand the irony in this statement, but it was like my rep house growing up. Two very influential films that I’d love to screen back to back, but more so for my self than anyone else, would be The Goonies and Star Wars. The Goonies was the first film I was allowed to stay up past my bedtime to watch on TV, and Star Wars should speak for itself. I’ve seen The Goonies once on 35mm, and it was like watching it for the first time. I was transported back to being a 10 year old. As for Star Wars, I’ve seen it once on the big screen, but in it’s inferior 1997 version. I’d love to see an IB Tech print from 1977. IB Tech prints were made in England, and used a special type of dye that doesn’t fade, so the prints looks as good now as they did back in 1977. There are only a handful of them in the world, mostly in the hands of private collectors, so the chances of me getting that chance is slim, but one I really hope to experience some day.

A lot of filmmakers talk about the pivotal moment when they knew they wanted to make films – do you have one or has it slowly crept up on you through years of movie-watching?
When I was a kid I wanted to be an archeologist. I was obsessed with ancient things, and ate it all up. I wanted to be Indiana Jones. I think that’s really where it all came from. I was the kid that would spend hours watching movies, consuming anything I could get my hands on, so the language of cinema is a part of me. When I was 16 I got my first summer job, and I spent all of my money from that summer on a camera, as I had a notion it would be fun to have one. I would make silly little shorts with my friends, and I think that’s really where I realised I could do this as a job. From there I went to college for film, and now I work for a TV production company. Film has always been – and will always be – a huge part of my life. It changed me, and formed me in to the person I am today, and I couldn’t imagine not being involved in it.

There’s been a lot of talk recently about 35mm film studio archiving and saving this analogue format, like Julia Marchese of The New Beverly with her forthcoming film, Out of Print, and her Save 35mm petition. How do you feel about 35mm?
The love of 35mm is a really hard thing to someone who doesn’t get it. To me it adds a warmth, and a sense of presentation to the screening. Also, I feel like if the film was shot on film then that’s how it should be projected. There is something vastly different about light passing through a 35mm frame, than the light projected off of a digital sensor, but ultimately does it matter? The film is still being shown. The digital convergence makes perfect sense from a business standpoint, with studios saving 1 billion dollars a year by not striking and shipping prints. What is troubling is that theatres are being forced into the conversion to digital without any aid, and many will not be able to come up with the money to do it. That, to me, is heartbreaking. I love 35mm, collect 35mm, and seek out 35mm screenings, but sadly I’m in the minority. Thankfully there are collectors and cinematheques who will keep prints on hand so that the experience of 35mm won’t entirely die out.

What’s next for you, are you working on anything at the moment or just concentrating on getting The Rep out there?
I have a couple of projects I’m mulling over in my head, but my real focus is getting The Rep out there. It’s become a second job just getting the film out there and shipping screening packages off and such, not that I’m complaining!

Finally, The Rep will be having it’s European premiere at The Prince Charles Cinema here in London! How did this come about and how do you feel about holding it there?
I’m honoured to have The Rep make its European premiere at The Prince Charles. When I was working on the film I wanted so badly to go to London and film there, but my budget sadly didn’t allow me to. The Prince Charles is one of the last great bastions of repertory cinema in the world, and I’m grateful that they exist. The programming they do is phenomenal, and the fact that they’ve decided to programme The Rep is both humbling and exciting.

THE REP will be screening at The Prince Charles Cinema on Tuesday 4thJune, followed by a panel discussion and Q&A with some influential London-based film programmers. Tickets are £7 or a super-bargain at £2.50 for members, available here. Spread the word! Support independent cinema!

Film4 Summer Screen @ Somerset House / Ticket Release / 10am Friday 24th May 2013


Thursday 8th August – Wednesday 21st August 2013

Somerset House,
The Strand, WC2R 1LA

Doors open 6.30pm, DJs from 7pm, Film starts 9pm.

Single Bills: £14.50
Double/Triple Bills: £18.50 

Premieres: £22.50

All ticket prices are subject to booking fees

Tickets are available from 10am FRIDAY 18TH MAY here
or by calling Ticketmaster on 0844 847 1715

Film4 Summer Screen at Somerset House makes its annual return this summer with a varied programme including one world premiere (About Time) and two UK premieres (The Way Way Back, Prince Avalanche), double and triple bills, iconic classics and contemporary greats. All films are presented in the spectacular setting of the Somerset House 18th century courtyard on a giant 17 x 8 metre screen with full surround sound, with early evening DJ sessions, food and drink, and special live introductions to selected films.

Tickets go on general release at 10am this coming Friday 24th May and often sell out quickly so book in advance to avoid disappointment!

Friday 9 August | Whatever Happened to Baby Jane?
Saturday 10 August | TRIPLE BILL: Mean Girls & Carrie & The Loved Ones
Sunday 11 August | The Untouchables
Monday 12 August | Guys and Dolls
Tuesday 13 August | UK PREMIERE/CENTREPIECE FILM: The Way Way Back
Wednesday 14 August | Kes
Thursday 15 August | Throne of Blood
Friday 16 August | DOUBLE BILL: Predator & Gremlins 2
Saturday 17 August | DOUBLE BILL: Badlands & Raising Arizona
Sunday 18 August | Crazy Stupid Love
Monday 19 August | The Red Shoes
Tuesday 20 August | Butch Cassidy and the Sundance Kid
Wednesday 21 August | UK PREMIERE/CLOSING NIGHT FILM: Prince Avalanche

For synopsis and information on the films please click here. Some films will be projected from 35mm and some are digital screenings, so please check in advance if you’d like to know.


To coincide with this year’s screenings, Somerset House and Film4 have teamed up with Dalston studios Print Club London to curate a one-off poster exhibition in the newly opened West Wing Galleries. Working with some of the biggest and best illustrators from the UK and USA, they will design and produce 17 new, original silk screen prints inspired by the roster of films screened at Film4 Summer Screen with American Express this year. Participating artists include Kate Gibb, Anthony Burrill, Hattie Stewart and Hvas & Hannibal. The prints will be editions of 200, each signed by the artist and for sale at £40.

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