La Grande Bouffe

 Politically potent unpleasant appetites 

Posted on Wed 19 Jun, 2019 by Tara Judah

The films belonging to Gluttony, Decadence & Resistance were all selected for their interest in asking us, as viewers, to think, feel and step outside of the safety of seeing films as entertainment, letting them instead activate us through an aesthetics and affect of excess that was designed to disgust and disrupt.

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 Encountering Nic Roeg's cinematic spell 

Eureka
Posted on Wed 19 June 2019 by Mark Cosgrove
Taking a chance on a double bill in a dodgy cinema on Jamaica Street in Glasgow as a teen, Cinema Rediscovered's founder and co-curator Mark Cosgrove reflects on his discovery of the unique and mesmeric cinematic world of Nicolas Roeg.

 Analogue Rules! Beginner's guide to reel film 

Out of Print
Posted on Tue 18 June 2019 by Tom Vincent
Today, if you go the cinema to watch a new movie, it is almost a certainty you will be watching a digitally projected moving image but at this year’s Cinema Rediscovered, you will have the chance to see some films on film. And, if you visit the Analogue Room, you will have the opportunity to handle 35mm film and try your hand at splicing and projecting, too, Aardman Archivist Tom Vincent writes.

 When We Were Kings: Hale County This Morning, This Evening and Hoop Dreams 

Hale County This Morning, This Evening
Posted on Tue 18 June 2019 by Adam Murray
Struck by how both films are able to tell sincere and compelling stories, seemingly revolving around the same themes and issues using the medium of ‘documentary-film', curator and critic Adam Murray reflects on the still staggeringly different approaches taken by two engaging films on the human condition; Hale County This Morning, This Evening and Hoop Dreams.
 Santa Sangre and Midnight Movies at the Scala 

Posted on Tue 18 June 2019 by Jane Giles

The only UK cinema to take on the American phenomenon of Midnight Movies, The Scala brought daylight hours, Alejandro Jodorowsky and the Cinema of the Bizarre together for the very first time. When Santa Sangre screened it was billed as "Outrageous and brilliant... Fellini meets Monty Python", former Scala programmer Jane Giles reflects.
 It's Alive: Larry Cohen and the all-nighter 

Posted on Tue 18 June 2019 by Jane Giles

Never one to shy away from a marginalised filmmaker whose work generally received more poor reviews than plaudits, the Scala’s allegiance to maverick B-movie auteur Larry Cohen (1936-2019) was consistent as his films ranged across the genres closest to the Scala’s heart: queer cinema, Blaxploitation, sci-fi and horror, former Scala programmer Jane Giles writes.
 Thinking outside of the box: cinema innovators at Cinema Rediscovered 

Posted on Mon 17 June 2019 by Rosie Taylor

Alice Guy-Blaché and Muriel Box were cinema innovators working in very different eras and yet, both women fought against the odds to take their ambition to the top and become prolific storytellers for the big screen, archivist and curator Rosie Taylor writes.
 The unnatural worlds of Mike Hodges 

Posted on Mon 17 June 2019 by James Harrison

The dark, unnatural worlds created by Bristol-born Mike Hodges in Black Rainbow and Croupier might not be so far removed from our own, South West Silents Co-founder James Harrison writes.
 'We applied to be hosts': Refugees at Home 

Posted on Mon 10 June 2019 by Frances Cox

Ahead of our run of Mahamat-Saleh Haroun's A Season in France and one-off screening of Sharon Walia's The Movement, as part of Bristol Refugee Week (June 17 - 23), we spoke with Frances Cox, who shares details of her experience as a host for Refugees at Home.
 The quiet power of women in Márta Mészáros’ Adoption 

Posted on Mon 10 June 2019 by Julia Ray

Celebrated as the first Berlinale Golden Bear awarded to a female director, Márta Mészáros’ Adoption is a powerful meditation on agency and womanhood in a world that waits to give permission, Julia Ray writes.
 From 'soylent steak' to Soylent Green 

Posted on Fri 7 June 2019 by Dr Peter Walsh

Soylent Green reveals social and environmental issues that continue to resonate today, perhaps even more troubling than ever before. Film historian Dr Peter Walsh looks at how the film challenges us to ask how far we have come and what we can do to stop the grim dystopia from becoming our reality.