Wednesday, 20 August 2014

Capital Celluloid 2014 - Day 266: Wed Sep 24

All the Colors of the Dark (Martino, 1972): The Horse Hospital, 7pm


This screening is part of the Scalarama season which runs throughout September. Full details here.
 

Here is the Horse Hospital introduction:
Hallucinatory satanists infest swinging London in this hard-to-find psychedelic Giallo from one of its boldest proponents, Sergio Martino (The Strange Vice of Mrs Wardh, Torso, Your Vice is a Locked Room and Only I have the Key). All the necessary ingredients are here, including giallo queen Edwige Fenech as the troubled victim of a psychopathic stalker, exotic West London locations and a psyched-out sitar heavy theme from Bruno Nicolai.

Here (and above) is the trailer. 

Capital Celluloid 2014 - Day 265: Tue Sep 23

The Last Impresario (Otto, 2013): BFI Southbank, NFT3, 8.40pm


This screening is part of the Scalarama season which runs throughout September. Full details here.

Here is the BFI introduction:
Director Gracie Otto pays a vibrant tribute to a fascinating entertainer – possibly the most famous person you’ve never heard of! Notorious London theatre and film impresario Michael White produced over 300 shows and movies over the last 50 years, including risqué productions of Oh! Calcutta!, The Rocky Horror Show and Monty Python’s The Holy Grail. This intimate documentary introduces us to this playboy, gambler, bon vivant and friend of the rich and famous via interviews with Naomi Watts, Kate Moss, John Waters, Barry Humphries and more.

Capital Celluloid 2014 - Day 264: Mon Sep 22

Le Grand Meaulnes (Albicocco, 1967): Cine Lumiere, 2pm


This screening, which is introduced by the novelist Julie Myerson, is part of the Scalarama season which runs throughout September. Full details here.

Time Out review:
A film made with vaseline and railway tracks, which takes some adjusting to; but you soon forget to read the subtitles, because you can understand all you need without them. It's based on the book Le Grand Meaulnes by Alain-Fournier, and explores a strange adolescence in provincial France at the end of the last century. In the film, Roger Corman meets Proust, Elvira Madigan rides again, and Renoir takes acid.
John Collis

Here (and above) is an extract.

Capital Celluloid 2014 - Day 263: Sun Sep 21

Kinetta (Lanthimos, 2005): Tate Modern, 5.20pm


This screening, which will be followed by a Q&A featuring the director, Yorgos Lanthimos, is part of the Scalarama season which runs throughout September. Full details here.

Here is the Scalarama introduction: Kinetta. A Greek defunct resort town, inhabited during the off-season by migrant workers. Lanthimos studies the cryptic activities of an inscrutable trio (a policeman, a photographer, and a hotel maid) who barely speak and who pass the time by staging reenactments of murders. The policeman with a passion for automobiles, tape recorders and Russian women, investigates a series of recent murders in the area. He enlists the help of a photo-store clerk, a loner who is a part-time videographer, and a young hotel maid, who will be performing the role of the female victims. This oddball trio engages in a succession of murder re-enactments, directed by the cop with exhaustive attention to detail but questionable scientific purpose… We know nothing more of these people. Not even their names. They will disappear in the first flood of summer vacationers…

Here (and above) is the trailer.

Tuesday, 19 August 2014

Capital Celluloid 2014 - Day 262: Sat Sep 20

AI: Artificial Intelligence (Spielberg, 2001): Albert & Victoria Museum, 7pm


Victoria & Albert Museum introduction:
Watch A.I. Artificial Intelligence and hear Professor Mark Bishop, a world authority on computer intelligence, introduce the dazzling sci-fi created by Stanley Kubrick and Steven Spielberg.
Tracing its genesis in Kubrick's 2001: A Space Odyssey and A Clockwork Orange, Professor Bishop discusses the movie's robot child with current developments in A.I. technology and philosophy.

This event is part of the London Design Festival at the V&A 2014

Chicago Reader review:
A collaboration between the living Steven Spielberg and the late Stanley Kubrick seems appropriate to a project that reflects profoundly on the differences between life and nonlife. Kubrick started this picture and came up with the idea that Spielberg should direct it, and after inheriting a 90-page treatment Kubrick had prepared with Ian Watson and 600 drawings he'd done with Chris Baker, Spielberg finished it in so much his own manner that it may be his most personal film, as well as his most thoughtful. It might make you cry; it's just as likely to give you the creeps—which is as it should be. This is a movie people will be arguing about for many years to come.
Jonathan Rosenabum

Here (and above) is the trailer.

Capital Celluloid 2014 - Day 261: Fri Sep 19

Planet of the Apes (Schaffner, 1968): Genesis Cinema


This Apes double-bill (the cinema are also screening Project Nim) is part of the Scalarama season which runs throughout September. Full details here.

Time out review:
Four sequels and a TV series bred contempt, but this first visit to Pierre Boulle's planet, bringing a welcome touch of wit to his rather humourlessly topsy-turvy theory of evolution, remains a minor sci-fi classic. The settings (courtesy of the National Parks of Utah and Arizona) are wonderfully outlandish, and Schaffner makes superb use of them as a long shot chillingly establishes the isolation of the crashed astronauts, as exploration brings alarming intimations of life (pelts staked out on the skyline like crucified scarecrows), and as discovery of a tribe of frightened humans is followed by an eruption of jackbooted apes on horseback. The enigma of the planet's history, juggled through Heston's humiliating experience of being studied as an interesting laboratory specimen by his ape captors, right down to his final startling rediscovery of civilisation, is quite beautifully sustained.
Tom Milne

Here (and above) is the trailer.

Saturday, 16 August 2014

Capital Celluloid 2014 - Day 260: Thu Sep 18

La Dolce Vita (Fellini, 1960): Genesis Cinema, 6pm


This Roma Bellazza doubl-bill (the cinema are also screening The Great Beauty) is part of the Scalarama season which runs throughout September. Full details here.

Time Out review:
The opening shot shows a helicopter lifting a statue of Christ into the skies and out of Rome. God departs and paves the way for Fellini's extraordinarily prophetic vision of a generation's spiritual and moral decay. The depravity is gauged against the exploits of Marcello (Mastroianni), a playboy hack who seeks out sensationalist stories by bedding socialites and going to parties. Marcello is both repelled by and drawn to the lifestyles he records: he becomes besotted with a fleshy, dimwit starlet (Ekberg), he joins in the media hysteria surrounding a child's alleged sighting of the Virgin Mary, yet he longs for the bohemian life of his intellectual friend Steiner (Cuny). There are perhaps a couple of party scenes too many, and the peripheral characters can be unconvincing, but the stylish cinematography and Fellini's bizarre, extravagant visuals are absolutely riveting.
Elaine Patterson

Here is an excerpt.