The screening on 7 February will be introduced by UAL Stanley Kubrick Archivist Georgina Orgill.

Stanley Kubrick's controversial film triggered copycat violence on its initial release and as a result the director withdrew the film from circulation in Britain, keeping it suppressed right up to his death in 1999. The film follows sadistic punk Alex (Malcolm McDowell) as he takes his gang on a rape and murder spree, showing absolutely no mercy to any of his victims. When he is eventually captured, the authorities subject him to a series of experiments designed to rid him of his violent tendencies.

This film was proposed by our member Stephen Cahill, who writes: 'Another film that came and went in the blink of an eye… and I missed it! Another one of Andersson’s takes on life..'

About Endlessness is a reflection on human life in all its beauty and cruelty, its splendor and banality. We wander, dreamlike, gently guided by our Scheherazade-esque narrator. Inconsequential moments take on the same significance as historical events: a couple floats over a war-torn Cologne; on the way to a birthday party, a father stops to tie his daughter's shoelaces in the pouring rain; teenage girls dance outside a cafe; a defeated army marches to a prisoner-of-war camp. Simultaneously an ode and a lament, About Endlessness presents a kaleidoscope of all that is eternally human, an infinite story of the vulnerability of existence.

Please note, the screening on Tuesday 3 December is our Free Members' Screening. Booking for this will open on Thursday 28 November at 13:00. The screening on Tuesday 10 December is open to the general public.

Our screening on 16 January will be introduced by writer and filmmaker Adam Scovell, and will be followed by a post-film discussion in the cinema bar.

Based on Ronald Blythe’s much-loved oral history book, Akenfield traces three generations of one Suffolk family and their lives in the farming industry, with director Peter Hall – known for his theatre direction - using to great effect a cast non-professional actors drawn from the communities of several Suffolk villages.

With all three generations grandfather, father and son performed by the same actor (local farmer Garrow Shand), the film paints a compelling picture of a traditional way of life facing a period of great change, brought about by the industrialisation of the twentieth century. A profoundly romantic work of sublime poetic realism, Akenfield boasts a sweeping, rhapsodic orchestral score composed by Michael Tippett (Fantasia Concertante on a theme by Corelli) that resonates with the film’s beautiful Impressionistic cinematography, which captures seasonal changes as the film was shot on weekends only across nine months.

In the city, thoughtful Nurse Prabha’s routine is upset when she receives an unexpected gift from her estranged husband. Her younger, flightier and rebellious roommate, Anu, tries in vain to find a spot in the city to be intimate with her secret boyfriend. Their colleague Parvaty fights to stay in her home without any requisite paperwork left by her late husband. A trip to a beach town allows them each to find a space for their desires to manifest.

The Garden Cinema View:

Payal Kapadia’s hugely acclaimed fiction debut was the first Indian film to be selected in Official Competition at Cannes in three decades, where it received an eight minute standing ovation and was awarded the Grand Prix.

All We Imagine as Light is an excellent character study of three women from different generations facing distinct challenges. The gradual unfolding of their friendship bond is masterfully depicted. Equally prominent is the city of Mumbai, in all its chaotic and sensual energy. Though the film explores the city's class inequalities and aggressive gentrification, it never falls into kitchen-sink drama clichés, and retains a dreamlike, poetic quality. The excellent soundtrack by R&B Kolkata artist Topshe also amplifies the city's seductive atmosphere.

All We Imagine as Light is cinema at its best. Rather than heavily relying on one cinematic element, Kapadia skilfully combines image, sound, and performance to convey meaning beyond words. In this sense, this is the closest film to visual poetry we have seen recently.

Our screening on 20 February will be introduced by novelist and publisher Nicholas Royle, and will be followed by a post-film discussion in the cinema bar.

Bad Timing bookended a decade of extraordinary creativity for Nicolas Roeg that includes Performance, Walkabout, Don’t Look Now, and The Man Who Fell to Earth. In these films, Roeg experimented with montage and sound to explore aspects of identity, memory, trauma, sex and time. Bad Timing represents, perhaps, the purest exhibition of Roeg’s unique style, and thematic concerns.

The film is structured around two intercut timelines. The first unfolds in the present, and concerns the suicide attempt of a young women named Milena (Theresa Russell) and the subsequent investigation into her psychology teaching ex-boyfriend Alex (Art Garfunkel) by police Inspector Netusil (Harvey Keitel). The second timeline presents a series of roughly chronological scenes depicting the meeting between Milena and Alex, and the subsequent rise and fall of their relationship.

Decried (accurately) as 'a sick film made by sick people for sick people' by its own distributor, Rank, Bad Timing is an abrasive and pessimistic examination of sexuality; an erotic film that is curiously unsensual - in part due to Garfunkel's anti-charismatic performance. It is also, nonetheless, a stylistic tour de force, full of rich symbolic detail and playful combinations of sound/music and imagery.  

Content warning: contains a scene of graphic rape.

Join brave, independent Belle on the adventure of a lifetime as she sets out to rescue her father---and discovers the enchanted castle of a mysterious beast. Enjoy this timeless tale overflowing with unforgettable characters and music you'll never forget, universally acclaimed as one of Walt Disney Animation Studios' finest features.

Visually lavish and musically exuberant, the fairy-tale adaptation was one of the first Disney features to incorporate elements of computer-generated imagery with hand-drawn animation. An instant classic, it became the first animated film to garner an Oscar nomination for best picture, winning awards for best score and original song.

On Sunday mornings our Family Screenings are followed by a free activity for Children.

The screening is Pay What You Can, which means you’re free to pay as much or as little as you can afford. By paying for a ticket, you will enable us to keep offering Pay What You Can screenings to families struggling with the cost of living. Thank you

Bethlehem Cultural Festival X Films of Resistance: Love, Hopes and Dreams – A Night of Palestinian Shorts

Directed by Palestinian filmmakers on the ground in the last couple of years, these award-winning shorts tell moving stories of relationships, kinship and resilience. The selection of films reflects the experiences of generations living under occupation, drawing a loving portrait of Palestine through what are ultimately stories about life itself.

The shorts will be followed by a Q&A.

This screening will support fundraising efforts for Alrowwad Cultural Centre in Aida camp, Bethlehem.

Palestine Islands, 2023, Julien Menanteau & Nour Ben Salem, 22 mins.

After seeing her blind grandfather faint, 12 year-old Maha imagines a crazy project: to make him believe that the Wall of Separation has fallen, thereby making a return to his native land possible.

Bridging the Borders Award Winner - Palm Springs Shortfest

Palestine 87, 2022, Bilal Alkhatib, 14 mins.

A man fleeing the Israeli army during the First Palestinian Intifada is sheltered by two strangers who prevent his capture.

Golden Tanit Award Winner for Best Short Film - Carthage Film Festival

The Deer’s Tooth, 2024, Saif Hammash, 16 mins.

A young man in a refugee camp sets out on a perilous journey to fulfil his little brother's wish: to throw his baby tooth into the sea.

Official selection - Cannes Film Festival's La Cinef

Blood Like Water, 2023, Dima Hamdan, 15 mins.

Shadi embarks on a secret adventure, and accidentally drags his family into a trap where they only have two choices; either collaborate with the Israeli occupation, or be shamed and humiliated by their own people. Based on true stories.

Iris Prize Award Winner

Orange From Jaffa, 2024, Mohammed Almughanni, 27mins

Mohammed, a young Palestinian, is desperately looking for a taxi to take him through an Israeli checkpoint. The driver, Farouk, discovers that Mohammed has already failed to cross the checkpoint. Trouble begins.

Best International Film Award Winner - Clermont-Ferrand International Film Festival

Bethlehem Cultural Festival provides a platform to celebrate Palestine’s rich and diverse cultural scene through music, theatre, film, cookery, dance, architectural heritage and discussion.

Films of Resistance are a collective offering a decentralised screening and fundraising resource. All funds raised through their screenings are reinvested into Palestinian filmmaking and cultural centres in Palestine.

Al Pacino reunites with his Scarface director Brian De Palma for this tough-minded thriller about a gangster looking for salvation down the mean streets of 1970s New York City.

Carlito Brigante (Pacino) gets released early from prison thanks to the work of his lawyer, Kleinfeld (Sean Penn). Vowing to go straight, Carlito nonetheless finds dangers waiting for him in the outside world. As Carlito works toward redemption, Kleinfeld sinks into cocaine-fuelled corruption. When Kleinfeld crosses the mob, Carlito gets caught in the crossfire and has to face a hard choice: remain loyal to the friend who freed him or protect a new life with the woman he loves (Penelope Ann Miller). With enemies closing in from all sides, Carlito must find his way before it’s too late.

Also starring John Leguizamo, Luis Guzmán, and Viggo Mortensen, Carlito’s Way has come to be regarded as among De Palma’s most accomplished films. A hard-hitting gangster noir laced with romance and melancholy, powerful performances and nail-biting suspense.

Our last members' social of the year may very well be the most wonderful one of all.

On Sunday 15 December, join us to mingle with fellow film fans over a warming mulled wine or oat hot chocolate in The Garden Bar. While you're sipping away, you'll get to enjoy the first (and possibly last!) ever performance by the Garden Cinema Christmas Collective; our fantastically talented Front of House team, featuring many familiar faces, are joining forces to bring you some festive musical delights - think jazzy Christmas, rather than classic caroling.

Our friends & neighbours at The Delaunay are generously providing some delicious sweet treats to be enjoyed alongside the mulled wine or oat hot chocolate. Just a few minutes walk from the cinema, they offer all-day brasserie and relaxed counter dining, inspired by the grand, artistic salons of central Europe. A perfect place to grab a bite before or after a screening!

After the social, we'll sink into our cosy seats for The Apartment, a film which has been proposed by a plethora of members over the years;

Barbara: 'This 62 yo, gorgeous, sweet , funny, romantic, often dark, though beautifully acted Christmas film deservedly won 5 Oscars (nominated for 10?) – including Best Picture. It would be such a treat to watch this festive masterpiece on ‘the big screen’ in December, in which ultimately love triumphs over loneliness and sadness – and fills human hearts with hope and joy. This is a truly great film.'

Jacqueline: 'The Apartment is a brilliantly written, melancholy film set at Christmas time with the two lead actors at the top of their game. I never tire of watching it and this is the perfect time of year to do so.'

Giselle: 'The Apartment (1960) with Jack Lemon and Shirley MacLaine. Was surprised to see it’s set at Christmas time, I’d love to see it again, it’s been such an age. And what better place than at the Garden Cinema!'

Tickets for the social and screening of The Apartment are £16.50 each, and restricted to 2 per member, meaning you can bring a friend along for the occasion. A complimentary oat hot chocolate or mulled wine is included in the ticket, as well as an unallocated seat for the film.

Event timings:

15:30  Members' social with live music performances (exact timings TBC)

17:00  Screening of The Apartment

19:10  Expected finish

There is an additional £5 matinee screening of The Apartment on Tuesday 31 December at 15:00. You can buy tickets for this here.

At an international boarding school, the unassuming, yet rigorous, Miss Novak (Mia Wasikowska) joins the teaching staff to instruct a new class on 'conscious eating.' Her impressionable teenage students each have their own reasons for joining the class - to improve fitness, reduce their carbon footprint, or get extra credit. Although early lectures focus on mindful consumption, Miss Novak's discussions soon become increasingly disordered and extreme. A suspicious headmistress, concerned parents and the failing health of her students lead everyone to question the inscrutable Miss Novak's motivations for teaching the class. As a few devoted pupils fall deeper under her cult-like tutelage, they are given a new, even more sinister goal to aspire to - joining the ominous 'Club Zero.'

The Garden Cinema View:

Jessica Hausner's latest satirical enigma is sure to fascinate and enrage in equal measures and has already been divisive with audiences and reviewers alike.

Club Zero highlights the problems arising from the health craze culture with alarming accuracy: the obsessive pursuit of health, the manipulative wellness jargon, as well as how genuine concerns like the environmental crisis can be coopted for coercive purposes. Like her previous work (Lourdes, Hotel, and Little Joe), the film acerbically critiques sacrosanct dogmas, while remaining stubbornly ambiguous about its aim. Hausner’s characters are equally morally ambiguous and difficult to pin down, further adding to the unsettling quality.

There are echoes of Haneke and early Lanthimos in the deadpan performances, composed cinematography, and exploration of human malice. Yet Hausner is a highly original filmmaker with a singular vision that exposes the complex structures of hierarchical systems in unexpected ways.

Conclave follows one of the world’s most secretive and ancient events - selecting the new Pope. Cardinal Lawrence (Ralph Fiennes) is tasked with running this covert process after the unexpected death of the beloved Pope. Once the Catholic Church’s most powerful leaders have gathered from around the world and are locked together in the Vatican halls, Lawrence uncovers a trail of deep secrets left in the dead Pope’s wake, secrets which could shake the foundations of the Church.

The Garden Cinema View:

This cinematic offering serves up the dependable acting talents of Fiennes, Tucci, Rossellini, and Lithgow. Additionally, the muscular direction of Edward Berger, and tension ratcheting score from All Quiet on the Western Front composer Volker Bertelmann, help this tale of Vatican intrigue (adapted from a pulpy Robert Harris thriller) resonate with a multitude of recent high stakes elections around the globe. This is as slick as filmmaking gets in the year of our lord 2024, with twists and betrayals rattling along on well-oiled rails. Whether the political allegories, or the attempts at a transcendent ending, elevate Conclave is an ecumenical matter. Maybe, however, being a very satisfying thriller is ultimately the holiest of outcomes.

A small town singer, Ali (Christina Aguilera), moves to the big city for her chance at stardom where she is enchanted by Burlesque, a glamorous nightclub packed with dancers, sizzling music, and an owner (Cher) in need of a star. This very campy musical was mostly panned by critics but struck a chord with audiences who felt its feelgood factor, songs, and spirit to overcome its flaws and turn it into a fun, guilty-pleasure viewing experience.

This Divas Do Film screening will be followed by a panel hosted by curator Rōgan Graham in conversation with members of Friends of the Joiners Arms and the writers behind upcoming book Sweat Ceilings to discuss the future of music venues and the destruction of London nightlife by greedy landlords.

Friends of the Joiners Arms is a Community Benefit Society campaigning to open an accessible, not-for-profit, community-run queer space in London

Sweaty Ceilings is a book by Sophie Mo and Tash Cutts  which celebrates London's landmark independent music venues, focusing on the history and untold stories behind each one.

We encourage the audience to sing along to the film's tunes!

The first-ever feature documentary on acclaimed London-born artist Chris Gollon (1953 - 2017), Life in Paint explores his pioneering use of music to create new imagery; from lyrics by Bob Dylan, Neil Young or Talk Talk, to direct collaborations with musicians such as Yi Yao, Eleanor McEvoy and Thurston Moore, who has hailed Gollon’s “creative and modest genius”.

A sensitive and innovative painter of women, Gollon also expressed a powerful common humanity via his androgynous figures, and there has been a surge of interest in his work since his untimely death just seven years ago. Via found footage and BBC clips, the film shows Gollon disarmingly revealing his creative process and innovative techniques. Moving montages of Gollon’s images, combined with music by artists including The Skids, Gavin Bryars, Sleaford Mods, Yi Yao and Eleanor McEvoy, provide insights into how Gollon fused the two art forms, and how each energised and changed the other.

The film will be followed by a Q&A with the film's director Mark Calderbank.

Don't Look Now screens in our British Cinema, 1971-1980 season as it was originally exhibited in 1973, as part of a double bill with The Wicker Man. With an introduction from Iain Smith (KCL). 

Donald Sutherland and Julie Christie mesmerise as a British married couple on an extended trip to Venice following a family tragedy. While in that elegantly decaying city, they have a series of inexplicable, terrifying, and increasingly dangerous experiences. A masterpiece from Nicolas Roeg, Don’t Look Now, adapted from a story by Daphne du Maurier, is a brilliantly disturbing tale of the supernatural, as renowned for its innovative editing and haunting cinematography as for its naturalistic eroticism and its unforgettable climax and denouement.

Tickets for Don't Look Now and The Wicker Man may be purchased separately. Alternatively, a £5 discount applies for those wishing to get the full 1970s double-programme experience. Add tickets for both screenings and proceed to checkout where the discount will be automatically applied.  

Cinema Mentiré present a selection of shorts from the BOMBA  Animada Collective in Bolivia. The shorts are in Spanish with English subtitles.

A collection of shorts by BOMBA Animada, a Bolivian animation studio showcasing female animators’ work. Created in 2023 to make their work visible, BOMBA seeks to develop alliances inside and outside Bolivia to strengthen the voices of both individuals and as part of a united group. Their diverse techniques range from stop motion and drawing to pixelling and digital animation. Their films often reflect their cultural identity, folk stories, and imaginative storytelling. Their members organise workshops, talks, and screenings, also offering fundraising guidance and financial support. They share their experience to inspire and demonstrate to Bolivian women that making a career in animation in the country is possible.

This screening is part of Cinema Mentiré's season of recent Bolivian films in partnership with The Garden Cinema - Echoes and Horizons: Contemporary Bolivian Cinema.

On Sunday mornings our Family Screenings are followed by a free activity for Children.

The screening is Pay What You Can, which means you’re free to pay as much or as little as you can afford. By paying for a ticket, you will enable us to keep offering Pay What You Can screenings to families struggling with the cost of living. Thank you

Films:

AJLLA UMILLA, dir. Alexandra Ramirez, 2min.

DUBICEL, dir. Yashira Jordán, 12min.

THE JIPIJAPA WEAVERS | LAS TEJEDORAS DE JIPIJAPA, dir. Clara Chacón, 4min.

GRAVITY | GRAVEDAD, dir. Matisse Gonzalez, 10min.

CHILLINA, dir. Andy Garnica, 2min.

PASKAY, dir. Andrea Estéfany Caballero, 14min.

THE TUNNEL AND THE COB | EL TÚNEL Y LA MAZORCA, dir. Alexandra Ramirez, 2min.

WATERSHED TALES | CUENTOS DE LA CUENCA, dir. Andy Garnica, 7min.

Cinema Mentiré presents the UK premiere of Chaco.

Set in 1934, during the Chaco War fought between Bolivia and Paraguay, this spare historical drama follows a small regiment made up of Aymara and Quechua Indigenous soldiers commanded by a retired, gruff German officer fighting for the Bolivian Army. The troop is in a limbo, looking fruitlessly for the enemy, and wandering through the hostile, semi-arid lowlands in extreme weather. Isolation, despair and hunger grow with every day, every hellish march and hastily erected camp. Pitched somewhere between the bone-dry absurdism of Lucrecia Martel’s Zama and the minimalist drone of Lisandro Alonso’s Los muertos, and inspired by the experiences of his grandfather, director Diego Mondaca’s debut feature is a powerful meditation on the futility and absurdity of war.

The screening will be introduced by the Cinema Mentiré team.

This film is part of Cinema Mentiré's season of recent Bolivian films in partnership with The Garden Cinema - Echoes and Horizons: Contemporary Bolivian Cinema.

Cinema Mentiré presents the UK premiere of Puerto Escondido.

In 1879, Bolivia lost its access to the sea in a war. When the director Gabriela Paz was a child, she did not understand how Bolivia had lost the sea – she thought the Chileans had taken it in buckets, but at the end of the day, they felt lazy and left a piece, which is nowadays Lake Titicaca. Puerto Escondido is a travel itinerary towards interior landscapes, myths, characters and contradictions in a country that every day remembers this loss. It is also a kind of letter to a sibling country, offering a current perspective on the aftermath of the Pacific War and how it was experienced in private and public spaces, mixing family archives and official sources. In this film, many extraordinary, peculiar stories will not go unnoticed and reflect Bolivia’s insatiable thirst for the sea.

The screening will be introduced by film researcher Laís Lorenço (University of Campinas - UNICAMP, Brazil & University College London - UCL, UK).

This film is part of Cinema Mentiré's season of recent Bolivian films in partnership with The Garden Cinema - Echoes and Horizons: Contemporary Bolivian Cinema.

Echoes and Horizons: Contemporary Bolivian Cinema will open with The Visitor.

After recently being released from prison, Humberto makes a modest living by singing at wakes. His greatest desire is to rebuild his relationship with his estranged daughter and provide her with a decent life, but the child’s grandparents – wealthy Evangelical pastors – are not willing to give up custody of their only granddaughter. Bullied into a corner financially and ideologically, Humberto is forced to face his own demons while simultaneously fighting a powerful ecclesiastical institution to which he once belonged. Set in the central Bolivian city of Cochabamba, The Visitor is a sombre meditation on class, family relationships, and the increasing power of Evangelism in Latin America, reflecting on the region’s persisting legacies of colonialism and the new forms of ideological dependence guiding Bolivian society.

This film is part of Cinema Mentiré's season of recent Bolivian films in partnership with The Garden Cinema. The screening will be introduced by the Cinema Mentiré team.

One Christmas Eve a long time ago, a baby crawled into Santa's bag of toys... Raised as an elf, Buddy (Will Ferrell) grows into an adult three times larger than the biggest elf--and realizes that he will never truly fit in at the North Pole. This holiday season, Buddy goes looking for his true place in the world--in New York City. Buddy finds his workaholic father (James Caan)--who's on Santa's "naughty" list, a new mother (Mary Steenburgen) and a 10-year-old brother who doesn't believe in Santa Claus or elves. Here, now, Buddy discovers his destiny--to save Christmas for New York and the world!​

On Sunday mornings our Family Screenings are followed by a free activity for Children.

The screening is Pay What You Can, which means you’re free to pay as much or as little as you can afford. By paying for a ticket, you will enable us to keep offering Pay What You Can screenings to families struggling with the cost of living. Thank you

Elf was suggested by our member Christine Tait because it's 'Just good silly fun for all.'

The Fashion Film Club in collaboration with Doc'n Roll Film Festival are delighted to present a screening of Pauline Black: A 2 Tone Story, followed by a Q&A with Pauline and director Jane Mingay.

Pauline Black, lead singer of 2-Tone hit band The Selecter, tells her extraordinary life story in the same frank manner that helped shape her as an iconic, era-defining female musician. Pauline had a difficult upbringing and joining the 2-Tone music movement in 1979 was the perfect catalyst; enabling her to explore and express all sides of herself.

Looking back at her own ground-breaking experience in this feature documentary, Pauline traces how her legacy came about and how it is relevant to the world today, especially where society pushes the boundaries of gender, politics, race and identity.

Pauline, of mixed Nigerian and Jewish heritage, was adopted into a white family in Essex in the 50’s. Her upbringing was defined by casual racism from within her own family. Pauline went on to find her own identity in the Coventry 2-Tone music scene and The Selecter was a reflection of working-class life in Thatcher's Britain, their music as social reportage and with an ethos of anti-racism and anti-sexism.

This is a cinematic and visceral documentary mixing intimate actuality, archive and interviews and a storming soundtrack. Contributors include Arthur ‘Gaps’ Hendrickson, Don Letts, Skin, Damon Albarn, Rhoda Dakar, Lynval Golding, Mykaell Riley, Sonia Boyce and Jools Holland.

Hailed as one of the greatest achievements in Filipino cinema, Manila in the Claws of Light sets a haunting love story against the searing tensions of 1970s Philippines under martial law, pairing unflinching compositions with starkly artful cinematography

A provincial man arrives in the heaving capital, Manila, in search of his lost love, only to become ensnared in the city’s corrupting, cacophonous chaos. Directed by visionary Filipino neorealist Lino Brocka, the film pulses with raw reality and humanistic depth.

Filum Film Club screens neglected cinema from all over the world.

From executive producer Lupita Nyong’o, Goodbye Julia tells the story of Mona (Eiman Yousif) and her maid Julia (Siran Rick). As political tensions mount in Khartoum, Julia finds herself torn between the truth of what happened to her missing husband, the possibility of new love with activist Majier and how she can care for her son.  

Set around South Sudan’s succession from Sudan in 2011, Goodbye Julia tells a neglected but crucial historical story in exceptionally personal terms. Poignant, tender and beautifully shot, it is part of a wave of excellent films from Sudan including Talking About Trees and You Will Die at Twenty.

Goodbye Julia world premiered at the 2023 Cannes Film Festival’s Un Certain Regard, where it was the first Sudanese director and film to participate in the history of the festival. It went on to win the festival’s Freedom Prize and was later Sudan’s official submission to the Academy Awards for Best International Feature Film.

Proceeds from this screening will be shared with Hadhreen, a grassroots charity in Sudan offering community kitchens to Sudan's displaced people, facing humanitarian crisis.

Our screening on Monday 9 December will be followed by a q&a with producer Julia Ton and actor Mark Oosterveen.

January 2021. The UK is in its 3rd lockdown and all entertainment venues remain closed. For theatre actors Sam and Mark, the future looks bleak. As the pandemic drags on, Mark - single and childless - is increasingly socially isolated, while Sam panics about how he is going to support his young family.

They spend their days in the online digital world of Grand Theft Auto and when they stumble across a theatre, they suddenly have an idea to stage a full production of Hamlet within the game. This film charts their ridiculous, hilarious and moving adventure as they battle violent griefers and discover surprising truths about life, friendship, and the enduring power of Shakespeare.

Now nominated for four BIFA awards.

All screenings are subtitled.

The Garden Cinema View:

Quite a unique film, which visually has more in common with artist moving image practitioners such as Jon Rafman or Ed Atkins, but is narratively closer to therapy-through-drama films like Sing Sing. Rising above any antecedent, is the surreal hilarity of pitting Shakespeare against the violent and nihilistic world of GTA, resulting in a kind of hyper-slapstick where the actors may die by unusual methods at any given moment. There are sequences that are surely scripted, or restaged, for dramatic impact. Although the very unreality of the mode of filmmaking makes concerns around authenticity feel quite inconsequential.  

The ultimate performance is shown in truncated form, suggesting that the end result of the production is of less value than the sense of community, and empowering nature of performance and practice, at a time when so many people were extremely anxious and isolated.

A thematic counterpart to acclaimed writer-director Shao Yihui's 2021 hit B for Busy, Her Story continues her thought-provoking style, offering a fresh lens on modern womanhood through the intertwined lives of three characters: two adult women and a precocious schoolgirl.

Single mother Wang Tiemei relocates with her young daughter, Molly, seeking a fresh start. In her new neighborhood, she forms an unexpected bond with Xiao Ye, a hopeless romantic with a contrasting worldview. Despite their differences, the two women discover comfort and strength in their friendship, helping each other heal from past wounds and navigate present challenges.

‘M’, driven by the desire for a multimillion-dollar inheritance, puts aside his dreams as a gamer to care for his terminally ill grandmother. However, winning Grandma's favor is no easy feat. She proves to be a tough nut to crack - demanding, exacting, and exceedingly difficult to please. To add to the drama, he's not the only one gunning for the inheritance. M finds himself embroiled in a gripping competition, where he must go to great lengths to become the apple of Grandma's eye before time runs out, all in pursuit of a life-changing, multimillion-dollar inheritance.

The Garden Cinema View:

A surprising mega hit in East and South East Asia, How to Make Millions Before Grandma Dies is a lowkey family drama with rather sentimental flourishes that nonetheless achieves a wrenching emotional state (for your humble Garden Cinema programmer at least). The quiet, suburban Bangkok setting of trains, cemeteries, and cluttered houses lend a peaceful backdrop that recalls something of Hirokazu Koreeda’s work. The intergenerational relationship is authentically played, and might be compared to the likes of Sweet Bean or The Farewell, and there’s enough sharpness in the dialogue to avoid excessive syrup. Just be sure not to leave your own elders with too many leftovers in their fridge after Christmas.  

This film was proposed by two cinema members. Joel writes: 'If it’s not too early (for the festive spirit), I’d love to feel good about being bad this Christmas', while Ela suggested the film 'because it depicts, rather than tells, remorse, hope, and potential redemption taking place in the spirit and setting of Christmas, and because it’s simply a great film'.

This screening will be preceded by a members' wine & cheese tasting, which already includes a seat for the film in the ticket. If you'd like to attend both the tasting and the screening, please book your tickets here instead.

About the film:

When hitmen Ray and Ken (Farrell and Gleeson) are ordered to murder a priest in London, and the job goes wrong, they are told by their boss Harry (Fiennes) to lay low for a couple of weeks in the quaint city of Bruges, Belgium. However, Ray finds himself very much outside his comfort zone and his contrary ways lead him into increasingly dangerous situations with locals, tourists and a film crew. While Ken does his best to reign in Ray's behaviour, word reaches Harry that they have not been keeping their heads down as instructed and he decides to travel to Bruges himself to deal with the wayward pair.

As The Garden Cinema members community is not just made up of cinema enthusiasts, but also covers a large range of film creatives, we like to help connect our members working across all departments of the industry.

For our regular industry panels, we invite knowledgeable speakers to discuss their specific branch of the industry, leaving plenty of time for asking questions. After the discussion, we all head into the Garden Bar, to network with fellow members.

On Thursday 12 December we will be joined by screenwriter - directors Daniel Kokotajlo (Starve Acre, Apostasy) and Luna Carmoon (Hoard). They will discuss their respective careers and approaches to screenwriting, and how they subsequently directed their features.

Tickets are restricted to 1 per member, and available for just £5, which includes a token for a complimentary house wine, beer or soft/hot drink.

About the speakers:

Daniel Kokotajlo

Daniel’s latest film Starve Acre — a psychological horror starring Matt Smith and Morfydd Clark for BBC Films and House Productions — had its world premiere in competition at London Film Festival 2023 and was released theatrically this year. Daniel’s first feature Apostasy — about a young mother’s struggle to leave the Jehovah’s Witnesses — was nominated for a string of awards (6 BIFAS, and a BAFTA for Outstanding Debut Film 2019), and won the London Film Festival IWC Bursary for Outstanding First Feature in 2019. Apostasy was made on the micro-budget scheme for IFeatures, and was subsequently released by Artificial Eye — where it went on to gross $500,000 at the UK box office — and was bought by Amazon for the US. Daniel is developing a few original feature projects in the UK. He has been selected as both a Screen Star of Tomorrow and by BAFTA as a Breakthrough Brit.

Luna Carmoon

Luna Carmoon is a self-taught writer/director born and bred in South East London. An original, provocative voice, her writing is subversive, distinctly dissecting the absurd with the mundane rooted in womenhood, working-class culture, and the mythology of memory. Conjuring oddness out of the familiar, her work is peppered from her own experiences and inspired greatly by 60’s and 70’s British cinema. Her feature debut Hoard was released this year and screened here at the Garden Cinema.

Check out our Youtube channel for videos of our previous industry panels, which have included:

Casting, with Rebecca Wright (Chuck Chuck Baby) and Lucy Jordan (Kinds of Kindness, Poor Things)

Animation, with Michaël Dudok de Wit (The Red Turtle) and Alexandra Sasha Balan (The Boy, the Mole, the Fox and the Horse)

Cinematography, with Evelin van Rei (Passenger), Bebe Dierken (Midas Man) and Nanu Segal (Hoard)

Costume, with Joanna Johnston (Lincoln) and Charlotte Finlay (Barbie)

Documentary, with Edward Lovelace (Name Me Lawand) and Tom Howson (Dogwoof)

Film festivals, with Christina Papasotiriou (Raindance Film Festival) and Philip Ilson (London Short Film Festival)

Film journalism, with Jacob Stolworthy (The Independent) and Jack Shepherd (Total Film)

Production, with Georgia Goggin (Pretty Red Dress) and Susan Simnett (Fadia's Tree)

Tickets to our fundraiser screening on 21 December are available here.

Beset with personal and professional problems, George Bailey (James Stewart) finds his previously happy life falling apart around him on Christmas Eve. Seeing no way out, George considers suicide from the edge of a bridge - but Clarence (Henry Travers), his guardian angel, intervenes and shows George what his beloved hometown of Bedford Falls would be like without him.

Shocked by what he sees and at the unforeseen circumstances of his absence, George reconsiders and begs Clarence to return him to the problems of the present and the loving community he has fostered throughout his life.

It's a Wonderful Life was suggested by our members Freddie Fordham - 'It’s one of my favourite films of all time, I watch it every year with my family and it just reminds me what life is all about' - and Nina Loncar - 'It's a wonderful film!'

Our screening on 13 February is introduced by BFI artist's moving image Curator William Fowler, and will be followed by a post-film discussion group in the cinema bar.

When Queen Elizabeth I asks her court alchemist to show her England in the future, she’s transported 400 years to a post-apocalyptic wasteland of roving girl gangs, an all-powerful media mogul, fascistic police, scattered filth, and twisted sex. With Jubilee, legendary British filmmaker Derek Jarman channeled political dissent and artistic daring into a revolutionary blend of history and fantasy, musical and cinematic experimentation, satire and anger, fashion and philosophy. With its uninhibited punk petulance and sloganeering, Jubilee brings together many cultural and musical icons of the time, including Jordan, Toyah Willcox, Little Nell, Wayne County, Adam Ant, and Brian Eno (with his first original film score), to create a genuinely unique, unforgettable vision. Ahead of its time and often frighteningly accurate in its predictions, it is a fascinating historical document and a gorgeous work of film art.

“You have been my friend. That in itself is a tremendous thing.” – E.B White, Charlotte’s Web

Friends can come in many forms; both real and imaginary. Some are there to help us in a moment of need, some live alongside us, some are very small, and some are there to simply bring us a can of soda.

Whimsical hand-drawn animation, stop-motion, live-action and magical adventures await in our now-annual selection of short films for younger film fans. A loyal pet, an inquisitive creature in the forest, and a very large frog are all here to make your acquaintance in a programme that explores the different ways that we find and make friends; in the park, sharing a packed lunch, or as part of an experimental study into new and inventive ways to communicate with one another.

Suitable for children aged 7+ and their parents/guardians.

Films

Rice Ball, dir. Kristina Pringle, UK 2023, 1min

Wider Than The Sky, dir. Philip Taylor, UK 2023, 11min

Lose voice toolkit, dir. Adele Dipasquale, Netherlands 2024, 19min

Finding Play, dir. Dan Castro, UK 2024, 3min

Amy and Frog, dir. Paul Williams, China 2023, 11min

The Night Boots, dir. Pierre-Luc Granjon, France 2024, 12min

Cold Soda, dir. Huayi Yu, USA 2024, 3min

tenderfold, dir. Jun Chen, UK 2023, 3min

Mû, dir. Malin Neumann, Germany 2023, 6min

Image credit: Lose voice toolkit, dir. Adele Dipasquale

One of the John Boorman's least known and rarely screened works - and yet the title that secured him the Best Director Prize at Cannes in 1970 - Leo the Last is a cult film in waiting, a genuinely radical, anti-authoritarian counter-cultural satire of hierarchy, property, class, and gentrification avant la lettre. Marking the first English-language performance by Italian icon Marcello Mastroianni, and adapted from a play by George Tabori, it's a fabular tale of the deposed heir to an imaginary European throne, who returns to his late father's grand house among the then run down Notting Hill terraces. Deeply melancholic and reclusive, observing his poorer neighbours through a telescope, he is slowly but steadily drawn into solidarity with them, taking revolutionary action on behalf of their struggles. An almost Brechtian take on social relations allows Boorman to both critique and dramatically immerse himself in the richly entertaining and compelling developments. Shot by the great Peter Suschitzky and with a lively ensemble of British actors, this is also one of the great 'London' films. To this day never released in the UK on DVD, it's almost as lost as the streets it was filmed in, long since demolished, and close to Grenfell Tower, the fate of which the film points to with an unsettling prescience.

The film has been chosen and is introduced by Gareth Evans. It is followed by a conversation with writer Edward Platt (author of Leadville, a history of the A40) about the film and the social history of its locations, a subject explored in his new limited-edition publication: As Kingfishers Catch Fire (pub. Texte und Töne, NYC). It is hoped that several members of the cast and crew will also be in attendance.

Cine Brazil and London Film Week present a preview screening of Pictures of Ghosts.

Pictures of Ghosts is a journey through time, the architecture of Recife, and the history of cinema. Both a witness and participant, Kleber Mendonça Filho (Bacurau, Aquarius) films his way through the alleyways of his home city. He observes the changes to its city life, accelerated by economic difficulties, and celebrates the otherworldly ability of cinema to give us a glimpse into eternity.

Picture of Ghosts was Brazil’s official entry for Best International Feature Film at the 2024 Academy Awards and in Official Selection at the Cannes Film Festival.

This screening will open with a short film:

Black Spring (Primavera Preta) - directed by Antonio Santos - 10 min

The neglected Historic Center of Recife, the beauty of the outskirts of Olinda, and the struggles and anxieties of Black youth intertwine in search of a supposedly promised future.

(Screening in partnership with the International University Film Festival MOV)

London Film Week presents a Preview screening ahead of the UK release in March 2025, don’t miss out!

New York’s hospitality industry—and that of many other big cities—relies heavily on the labour of undocumented migrants who face constant threats of deportation on top of the pressures of their work. Director Alonso Ruizpalacios highlights this tense reality in La Cocina, skillfully adapting Arnold Wesker’s 1957 play The Kitchen into a powerful critique of exploitative labour practices. With Rooney Mara and a breakout performance from Raúl Briones, the film dives into the high-stress environment of a restaurant kitchen to explore the lives behind it.

This screening will open with a short film:  

Do Not Resuscitate - directed by Kumyl Saied - 12 min

A withdrawn caregiver meets a boisterous artist and must make a decision, pursue romance, or remain anchored by his duty of care.

London Premiere: Loosely based on fact, Magnus van Horn’s fictionalised true crime nightmare will leave you with a shiver of pure fear. The film was screened in competition at this year’s Cannes Film Festival and will be released on January 10, 2025 in the UK.

Karoline, a young factory worker, finds herself abandoned and pregnant while striving to climb out of poverty in post WW1 Copenhagen. Amidst her struggles, she meets Dagmar, a charismatic woman running a hidden adoption agency within a candy store, helping poor mothers in finding foster homes for their unwanted children. To escape poverty, Karoline takes on the role of a wet-nurse. A strong connection is formed between the two women, yet Karoline’s world shatters as she stumbles upon the dreadful revelation of the nightmarish fate she unknowingly embraces. The Girl with the Needle is a fairytale about a horrible truth.

The screening will open with the short film:

33 - directed by Maximilian Uriarte - 5 min

A man and his young clone journey through space on a generational ship on an unknown mission into the void.

London Film Week - Preview Screening: Continuing the observational nonfiction saga that began with Youth (Spring), Wang Bing returns to the Chinese district of Zhili, where more than 300,000 migrant workers from rural provinces are employed in clothing workshops.

In this enveloping second part of the Youth trilogy, shot between 2015 and 2019, Wang deepens his vérité portrait of a generation struggling to survive on meagre wages amidst a nation’s economic expansion, emphasising the distrustful, increasingly combative relationship between workers and management.

Wang’s epic documentary is a singular rendering of young people who have become so focused on “making a living” that they have no time for joy or rest. Says one of the film’s many subjects: “You have no rights, so what’s the use of having money?” Despite these grim realities, Wang’s film provides hope in its depiction of workers who may find their collective voice.

The final part of the trilogy, Youth (Homecoming), also screens in this year’s London Film Week.

London Film Week - Preview Screening: Wang Bing concludes his monumental Youth trilogy in expansive fashion, giving ever wider scope to the lives of migrant workers in Zhili’s textile factories, which the filmmaker recorded over the course of five years.

Centred around New Year’s break, when the workers are planning to visit their families in remote hometowns to celebrate the festivities, Homecoming functions as a sweeping portrait of contemporary rural China, incorporating images of tightly packed trains and buses climbing treacherous mountainside roads, and joyous interludes, including wedding celebrations for workers Shi Wei and Fang Lingping, into its scenes of factory life. Wang’s cyclical account of young people caught in constant survival mode comes to a poignant close here, giving definitive shape and meaning to his enormous act of observation.

The middle part of the trilogy, Youth (Hard Times), also screens in this year’s London Film Week.

Merchant Ivory is the first definitive feature documentary to lend new and compelling perspectives on the partnership, both professional and personal, of director James Ivory, producer Ismail Merchant and their primary associates, writer Ruth Prawer Jhabvala and composer Richard Robbins. Footage from more than fifty interviews, clips, and archival material gives voice to the family of actors and technicians who helped define Merchant Ivory’s Academy Award-winning work of consummate quality and intelligence. With six Oscar winners among the notable artists participating, these close and often long-term collaborators intimately detail the transformational cinematic creativity and personal and professional drama of the wandering company that left an indelible impact on film culture.

Basel Adra, a young Palestinian activist from Masafer Yatta, has been fighting his community's mass expulsion by the Israeli occupation since childhood. Basel documents the gradual erasure of Masafer Yatta, as soldiers destroy the homes of families - the largest single act of forced transfer ever carried out in the occupied West Bank. He crosses paths with Yuval, an Israeli journalist who joins his struggle, and for over half a decade they fight against the expulsion while growing closer. Their complex bond is haunted by the extreme inequality between them: Basel, living under a brutal military occupation, and Yuval, unrestricted and free.

This film, by a Palestinian-Israeli collective of four young activists, was co-created during the darkest, most terrifying times in the region, as an act of creative resistance to Apartheid and a search for a path towards equality and justice.

Nominated for Best International Independent Film at the British Independent Film Awards 2024.

Berlinale Documentary Award and Panorama Audience Award for Best Documentary Film

The Garden Cinema View:

No Other Land follows frontline occupation/conflict documentaries such as For Sama, City of Ghosts, and 20 Days in Mariupol, in that it confronts us with the desperate immediacy of the situation in Gaza, whilst showcasing the extraordinary bravery of the filmmakers and journalists who record these atrocities. The footage is upsetting, and produces feelings of helplessness, and deep frustration and anger, as well as exhaustion. The efforts of Palestinian activist Basel Adra and Israeli journalist Yuval Abraham in telling this story are themselves commendable, and they show a collaborative pathway that might lead to a better future. That is until the terrifying coda that Basel filmed after the official end of the shoot, just after the recent escalation of Israel’s war with Hamas in October 2023.  

This screening will be introduced by John Wischmeyer (City Lit).

Nothing and nobody is spared from Lindsay Anderson and writer David Sherwin’s caustic gaze in their inexhaustibly inventive and sometimes horrifying satire, the second in their ‘state of the nation’ trilogy. Sparked by an idea proposed by star Malcolm McDowell, it follows the continuing adventures of the Mick Travis character, now an ambitious coffee salesman, as he travels around a Britain of Kafka-esque bureaucracy and absurdity, his exploits commented on throughout by Alan Price’s musical interludes.

Content warning: Contains scenes of blackface and racist stereotyping.

Our screening on Saturday 7 December will be followed by a Q&A with director Rungano Nyoni and lead actor Susan Chardy.

The new film from acclaimed, BAFTA-winning director Rungano Nyoni (I Am Not a Witch), On Becoming a Guinea Fowl is a compelling drama about community and sisterhood.

Driving home from a party one night, Shula seems unfazed by the sight of her uncle's dead body on the deserted road. While preparations are made for his funeral, she finds herself plunged into the hidden secrets of her family. As tensions rise, Shula and her cousin Nsansa join forces to reconcile the past for a more hopeful future.

A fierce and darkly funny portrait of one woman’s strength in the face of crisis, Nyoni’s award-winning second feature proves her to be a distinctive filmmaker blazing a unique trail.

Winner Best Director - Cannes Film Festival - Un Certain Regard 2024.

Nominated for Best British Independent Film at the British Independent Film Awards 2024.

The Garden Cinema View:

Rungano Nyoni’s (now very) long awaited follow-up to the marvellous I Am Not a Witch once again uses animal metaphor, uneasy humour, and strains of surrealism to critique patriarchal Zambian society. Starting extremely strongly with a beguiling and semi-unreal opening sequence, On Becoming a Guinea Fowl settles into a satire of bickering customs and manners during preparations for a funeral. But a swivel towards a deeply upsetting family history of sexual abuse drags us into a register of grief and troubling collective suppression.

As with her previous feature, narrative resolutions and meaning drift into realms of allegory and even magic. However, such flights of fantasy, dream, and memory remain grounded by cinematographer David Gallago’s (Embrace of the Serpent) studied framings, and the frequent flashes of humour that puncture the heavy atmosphere.

Paddington in Peru brings Paddington's story to Peru as he returns to visit his beloved Aunt Lucy, who now resides at the Home for Retired Bears. With the Brown Family in tow, a thrilling adventure ensues when a mystery plunges them into an unexpected journey through the Amazon rainforest and up to the mountain peaks of Peru.

On Sunday mornings our Family Screenings are followed by a free activity for Children.

The screening is Pay What You Can, which means you’re free to pay as much or as little as you can afford. By paying for a ticket, you will enable us to keep offering Pay What You Can screenings to families struggling with the cost of living. Thank you

This screening will be introduced by interdisciplinary artist, writer, and academic Evie Salmon, and is followed by a post-film discussion group in the cinema bar.

Screening 50 years after its pioneering first broadcast as part of BBC TV's hugely influential stand-alone drama series 'Play for Today', and directed by the fiercely committed film-maker Alan Clarke, Penda's Fen fuses a multi-layered interrogation of social, political, familial and religious forces with a queer, pagan and radically subversive understanding of place, culture and history, to chart a singular rite of passage into adulthood for its protagonist Stephen. Recognised at once for its visionary imagination, and an enduring influence on generations of writers and artists who witnessed that original transmission, dramatist David Rudkin's remarkable work has become one of the most enduring and rewarding touchstones of post-war British culture.

1950. William Lee, an American expat in Mexico City, spends his days almost entirely alone, except for a few contacts with other members of the small American community. His encounter with Eugene Allerton, an expat former soldier, new to the city, shows him, for the first time, that it might be finally possible to establish an intimate connection with somebody.

The Garden Cinema View:

Luca Guadagnino’s second feature of 2024 works from another script from Challengers writer Justin Kuritzkes, but the resulting film is quite different from their propulsive tennis throupling. True to the spirit of William S. Burroughs, Queer presents a frank look at addiction, albeit within a seductive and somewhat fantastical milieu, and dabbles in surreal imagery before diving headfirst down the rabbit hole.

Daniel Craig is impressive as Burroughs surrogate William Lee. With a face as crumpled as his stained linen suit, his performance comes over as a seedy riff on elements of both Benoit Blanc and his iteration of Bond. Not a ‘safe’ hero for the audience, he nevertheless carries the first acts of Queer, hunting for booze and young men amongst an oddly artificial and anachronistic vision of 1950 Mexico City. This is a world of power games and construction, set into relief against the (naked) truth of several intimate scenes, shot erotically and tenderly by Guadagnino and Apichatpong Weerasethakul regular collaborator Sayombhu Mukdeeprom.

Whether audiences have the patience for Lee’s self-destructive antics, or the film’s later digressions into fantasy will, as with Burroughs’ work itself, be highly subjective. Like the notorious author, Guadagnino continues to plough his own furrow, and Queer is, if anything else, an idiosyncratic work.

Our screening on Thursday 30 January will be introduced by writer and filmmaker Adam Scovell, and will be followed by a post-film discussion in the cinema bar.

Directed by John Mackenzie (The Long Good Friday), this acclaimed and long-unseen BBC TV Play for Today from 1978 is adapted by Alan Garner from his own complex and enthralling sci-fi fantasy novel.

Red Shift takes the viewer on a beguiling voyage through English history, spanning three distinct time periods: Roman Britain, the English Civil War and 1970s modern day. Garner’s play tells the story of three troubled young men, Tom, Thomas and Macey, who occupy these different eras and are haunted by shared visions. They are connected through a shared location (Mow Cop in south Cheshire) and by the discovery of mystical talisman: an ancient axe-head.

Exploring themes of mysticism, folklore and geography that are common in Alan Garner’s fantasy novels, Red Shift is a uniquely compelling Play for Today from the golden age of BBC drama.

Contains scenes of implied rape.

The screening on Sunday 8 December will be introduced by writer, editor and founder of Girlhood Studies Claire Marie Healy, who will also join us for an informal post-film discussion in The Garden Cinema Bar.

This digital restoration of Joyce Chopra’s Sundance Grand Jury Prize winning film features a breakout performance from Laura Dern as Connie, the fifteen-year-old familial black sheep whose summertime idyll of beach trips, mall hangouts and innocent flirtations is shattered by an encounter with a mysterious stranger. Adapted from a short story by Joyce Carol Oates, Chopra fills the gaps of Oates’ sparse story with a dream-like visual palette that evokes Connie’s increasingly nightmarish passage from girl to woman.

Timings:

15:00  Introduction (Claire Marie Healy)

15:15  Screening

16:50  Comfort break

17:00  Discussion (Garden Bar)

18:00  Expected finish

Claire Marie Healy’s writing and curated projects explore film, art, fashion, and the internet. Formerly the editor of Dazed, she has since edited books on roller discos, dancefloors and SFX makeup for places like IDEA and A24. Her ongoing research project, Girlhood Studies, explores how visual culture shapes the experiences of young women, and has encompassed a column, film screenings and an essay-book with the Tate.

Set on the eve of a new millennium, Kathryn Bigelow’s cyberpunk sci-fi imagines a near-future Los Angeles equally marked by the 1992 Rodney King riots and its history as point of origin for the noir genre. The film follows Lenny Nero (Ralph Fiennes), an ex-cop turned entrepreneur who illegally sells virtual-reality recordings of first-person memories, accessed directly via the cerebral cortex. Angela Bassett stars as his far more capable limousine driver, Mace. After the murder of hip-hop activist Jeriko One (Glenn Plummer), Lenny and Mace have to figure out who is using the technology to terrorise innocent civilians (making them watch their own murders from the killer’s perspective.

This film was suggested by our member Ryan Gilbey, who will also introduce 'Christmas in bright, discombobulating LA sunshine' on Wednesday 18 December.

Sean Baker’s (Anora) critically acclaimed Sundance smash hit Tangerine charts a Christmas Eve in the life of Sin-Dee and her best friend Alexandra, two trans women.

After hearing that Sin-Dee’s boyfriend/pimp cheated on her while she was in jail they set out on a rampage through Tinseltown to find him and teach him and his new lover a lesson. Famously shot on iPhones with prototype anamorphic lenses, this decidedly modern holiday tale bursts off the screen with energy and style, defying expectations at every turn.

Please note, the screening on Wednesday 18 December is our Free Members' Screening, and booking for this will open on Thursday 12 December at 13:00. The screening on Monday 23 December is a general public screening, and booking for this is open now.

Following the popular and critical success of his gender-bending farce Some Like It Hot (1959), Wilder reteamed with screenwriter I. A. L. Diamond for this darker comedy set in the world of nine-to-five corporate New York. Jack Lemmon was again on hand, this time as lonely office bottom-runger C.C. Baxter, who goes after promotion by allowing his seniors the use of his apartment for their extramarital liaisons. Meanwhile, he hopes to catch the eye of the sassy elevator girl, Fran Kubelik (Shirley Maclaine).

Deliriously funny, The Apartment is also shot through with Wilder’s customary wit and cynicism, creating a bleak vision of estrangement in the modern working city. Celebrated art director Alexander Trauner designed the cavernous open-plan office. The film won five Academy Awards, including best picture and best director.

The Apartment has been proposed by several members over the past few years:

Barbara: 'This 64 year old, gorgeous, sweet , funny, romantic, often dark, though beautifully acted Christmas film deservedly won 5 oscars - including best picture. It would be such a treat to watch this festive masterpiece on the big screen in December, in which ultimately love triumphs over loneliness and sadness – and fills human hearts with hope and joy. This is a truly great film.'

Jacqueline: 'The Apartment is a brilliantly written, melancholy film set at Christmas time with the two lead actors at the top of their game. I never tire of watching it and this is the perfect time of year to do so.

Giselle: 'The Apartment with Jack Lemon and Shirley MacLaine. Was surprised to see it’s set at Christmas time, I’d love to see it again, it’s been such an age. And what better place than at the Garden Cinema!'

Please note, screenings of The Bibi Files will be preceded by Solly & Salim, a short film written, directed, and produced by Garden Cinema owner Michael Chambers. The film is 29 minutes long, and will replace our usual 10 minute trailer package.

The Bibi Files is an urgent journalistic exposé based on unseen leaked footage of police interrogations of the politician Benjamin Netanyahu, as well as his wife Sara and son Yair. The film explores the corruption cases that resulted in Israeli Prime Minister Benjamin Netanyahu's indictment on breach of trust, bribery, and fraud in 2019. Many Israelis believe that Netanyahu's attempts to delay his trial are key to understanding his current policies regarding war and the return of Israeli hostages.

Our screening on 9 January is introduced by BFI artist's moving image Curator William Fowler and followed by a post-film discussion group in the cinema bar.

In seventeenth century France, Father Urbain Grandier (Oliver Reed), uses his powers to protect the city of Loudun from destruction at the hands of the establishment. Soon, he stands accused of the demonic possession of Sister Jeanne (Vanessa Redgrave), whose erotic obsession with him fuels the hysterical fervour that sweeps through the convent.

With its bold and brilliant direction, magnificent performances, exquisite Derek Jarman sets and sublimely dissonant score by Sir Peter Maxwell Davies, The Devils stands as a profound and sincere commentary on religious hysteria, political persecution and the corrupt marriage of church and state.

Original UK theatrical version.

Beautifully crafted and acted, Frank Capra's festive favourite is considered one of the most charming Christmas films of all time. George Bailey (James Stewart) has spent his life supporting the community of Bedford Falls. Overwhelmed with professional and personal problems, he finds his previously happy life falling apart on Christmas Eve. Struggling to see a way out, George is visited by his guardian angel and shown what life would be like if he'd never been born.

All proceeds from this screening will be donated to The Food Chain

The Food Chain exists to ensure people living with HIV in London can access the nutrition they need to get well, stay well and lead healthy, independent lives. People living with HIV often struggle to access the food they need to stay well because of ill health, poverty, isolation and a lack of motivation to eat well, or limited skills or knowledge. We deliver meals and groceries, offer cookery and nutrition classes and communal eating opportunities to people living with HIV in London and their dependents.

Every Christmas Day we run a group lunch for around 60 of our most isolated Service Users, folk who would otherwise be spending the day alone. It's a very joyful day full of food and games and merriment, and after the festivities are done we send everyone home with a card, present and some bags of groceries.

With no public funding for our services, we rely on trust and grant-giving foundations, community fundraising events and the generosity of individual donors. Your support will make our Christmas possible! Thank you.

'Thank you from the bottom of my heart for the Excellent Special Christmas - from the fantastic environment as usual, the support, the xmas quiz, the exceptionally special food and drinks, the happiness, laughter and fun, you name it, all were fabulous & brilliant. Indeed whenever I attend Food Chain, l always feel so well connected to my peers too and also receive well tailored help and support which continues to give me HOPE for the future.' - Food Chain Christmas guest, 2022.

Tickets for our regular screening of It's a Wonderful Life on 23 December are available here.

The screening on 14 December will be introduced by film historian and Coppola expert Jon Lewis, author of the BFI Film Classics on The Godfather and The Godfather, Part II.

Sequels had not yet become the Hollywood norm when Francis Ford Coppola signed up for a continuation to his hugely successful 1972 adaptation of Mario Puzo’s novel The Godfather, but this second film set a high standard for follow-ups in the way that it enriches and deepens the Corleone family narrative.

Ranging over multiple locations, Coppola’s film ambitiously intertwines two time periods: the story of Michael Corleone (Al Pacino) becoming increasingly consumed and isolated by his new power as head of the family, and flashbacks to his father Vito Corleone’s (Robert De Niro) arrival as an immigrant in New York, and his gradual ascent to power.

The project’s ambition did not go unrecognised: like the first film, it won best picture at the 1974 Academy Awards.

When the winter break arrives in December 1970, Paul Hunham, a teacher at a prestigious New England boarding school, is forced to remain on campus to babysit a ragtag group of students who have nowhere else to go. Twenty years after Sideways, Alexander Payne reunites with Paul Giamatti for this perfect, bittersweet coming of age comedy-drama. Giamatti is delightful as the curmudgeonly Professor Hunham, while Da’Vine Joy Randolph steals scenes and hearts as the school’s stoic Head Cook, Mary. Brilliantly written and beautifully shot, Payne delivers a magnificently rich 1970s time capsule, a nostalgic, warm embrace of a film, and undoubtedly a new festive classic.

The Holdovers was suggested by our members Honor Wilson-Fletcher, Ann Jones, and Melanie Shaw.

Executive produced by Steven Spielberg and George Lucas, The Land Before Time, follows an orphaned brontosaurus named Littlefoot. After a devastating earthquake Littlefoot teams up with other young dinosaurs in order to reunite with their families in The Great Valley.

The screening will be preceded by the children's short film Discord (6 min, Directed by Jen Lim, supported by Kino Short Film). Tensions rise at a young girl’s first lesson with her new piano teacher leading to an unexpected twist.

The Sunday screening is a Special Fundraiser with all proceeds to benefit SoHo Parish Primary School.

On Sunday mornings our Family Screenings are followed by a free activity for Children.

The screening is Pay What You Can, which means you’re free to pay as much or as little as you can afford. By paying for a ticket, you will enable us to keep offering Pay What You Can screenings to families struggling with the cost of living. Thank you

The Muppets perform the classic Dickens holiday tale, with Kermit the Frog playing Bob Cratchit, the put-upon clerk of stingy Ebenezer Scrooge (Michael Caine). Other Muppets -- Miss Piggy, Gonzo, Fozzie Bear and Sam the Eagle -- weave in and out of the story, while Scrooge receives visits from spirits of three Christmases -- past, present and future. They show him the error of his self-serving ways. Michael Caine makes a wonderful Scrooge, delightfully rediscovering the meaning of life alongisde fantastic creations from Jim Henson's Creature Shop (developed specially for this film).

On Sunday mornings our Family Screenings are followed by a free activity for Children.

The screening is Pay What You Can, which means you’re free to pay as much or as little as you can afford. By paying for a ticket, you will enable us to keep offering Pay What You Can screenings to families struggling with the cost of living. Thank you

The Muppet Christmas Carol was suggested by our members Mark Brisenden, Beth O'Rafferty, and Naomi Kilby.

Henry Selick (Coraline, James and The Giant Peach) delivers a delightful stop-motion vision of Tim Burton’s Halloween-meets-Christmas tale.

Enter an extraordinary world filled with magic and wonder, where every holiday has its own special land. This is the heartfelt tale of Jack Skellington, the Pumpkin King of Halloween Town. Bored with the same old tricks and treats, he yearns for something more, and soon stumbles upon the glorious magic of Christmas Town. He enters into the world of Christmas, and is so overwhelmed by the fun and goodwill that he decides to embark on a plan to kidnap Santa and do Christmas himself, Halloween Town style!

Into Film recommended age: 7+

On Sunday mornings our Family Screenings are followed by a free activity for Children.

The screening is Pay What You Can, which means you’re free to pay as much or as little as you can afford. By paying for a ticket, you will enable us to keep offering Pay What You Can screenings to families struggling with the cost of living. Thank you

All Aboard! To celebrate it's 20th anniversay, join us for a festive screening of The Polar Express.

Late on Christmas Eve, a boy sits in bed doubting the existence of Santa Claus and waiting to hear the sound of sleigh bells. Instead, a magical steam engine roars outside his window and he begins an extraordinary journey towards the North Pole and beyond his imagination.

Tom Hanks takes on various roles as he teams up with his Forrest Gump and Cast Away director Robert Zemeckis, who employs state-of-the art motion capture to create what was, on the film’s first release, a radical new kind of animation.

On Sunday mornings our Family Screenings are followed by a free activity for Children.

The screening is Pay What You Can, which means you’re free to pay as much or as little as you can afford. By paying for a ticket, you will enable us to keep offering Pay What You Can screenings to families struggling with the cost of living. Thank you

Miles Cullen, an eccentric bank teller played by Elliott Gould, notices something strange about a man dressed as Santa in the building where he works. Correctly predicting he is planning a robbery, Miles devises a scheme to keep part of the loot for himself. Things quickly get out of hand when the perp (a genuinely frightening Christopher Plummer) realises who has the cash.

The Silent Partner was suggested for our Christmas season by our member Adrian Zak.

Mr. Jeremy Fisher, Mrs. Tiggy-winkle, Jemima Puddle-duck, Squirrel Nutkin, Pigling Bland – indeed all the delightful and famous Beatrix Potter characters – come to life in this colourful and imaginative musical interpretation of her tales, choreographed by Sir Frederick Ashton, composted and scored by John Lanchbery, and danced by members of the Royal Ballet. Five of the famed Victorian author’s most well-known stories – with guest appearances of characters from other themes – have been linked to present an enchanting story-line that will thrill adults and children alike.

On Sunday mornings our Family Screenings are followed by a free activity for Children.

The screening is Pay What You Can, which means you’re free to pay as much or as little as you can afford. By paying for a ticket, you will enable us to keep offering Pay What You Can screenings to families struggling with the cost of living. Thank you

The Wicker Man screens in our British Cinema, 1971-1980 season as it was originally exhibited in 1973, as part of a double bill with Don't Look Now. With an introduction from filmmaker and actor Tim Plester.   

They do things differently on Summerisle. They teach of Christianity in passing, but their own beliefs are more ancient... the strange, mysterious customs and rituals of distant places and bygone half forgotten days. But Summerisle is no distant South Pacific atoll - it is a small, remote, privately owned, twentieth-century island off the western coast of Scotland. To Summerisle comes Sergeant Howie of the Western Highland Police, investigating the alleged disappearance of twelve-year-old Rowan Morrison. What starts as a routine enquiry becomes a terrifying nightmare for this devout churchgoer.

Tickets for The Wicker Man and Don't Look Now may be purchased separately. Alternatively, a £5 discount applies for those wishing to get the full 1970s double-programme experience. Add tickets for both screenings and proceed to checkout where the discount will be automatically applied.  

From the co-director of How to Train Your Dragon comes an incredible journey of survival, love and selflessness, featuring gorgeous animation and stunning voice performances

Sentient robot Roz is marooned on an island and must learn from its animal inhabitants how to survive. When outside forces threaten the island’s ecosystem, she will do anything to protect her adopted environment and Brightbill, the young goose she has nurtured since birth. Funny, sweet and subtle in its messaging, this adaptation of Peter Brown’s book series is a treat for the whole family.

On Sunday mornings our Family Screenings are followed by a free activity for Children.

The screening is Pay What You Can, which means you’re free to pay as much or as little as you can afford. By paying for a ticket, you will enable us to keep offering Pay What You Can screenings to families struggling with the cost of living. Thank you

In modern-day Tokyo, three homeless people's lives are changed forever when they discover a baby girl at a garbage dump on Christmas Eve. As the New Year fast approaches these three forgotten members of society band together to solve the mystery of the abandoned child and the fate of her parents. Along the way, encounters with the seemingly unrelated events and people force them to confront their own haunted pasts, as they learn to face their future, together.

Heartbreaking, hilarious and highly original, Tokyo Godfathers is a humanist masterpiece from legendary director Satoshi Kon (Paprika, Perfect Blue) and a tale of hope and redemption in the face of seemingly insurmountable odds.

Tokyo Godfathers was suggested by our members Matt Davies - 'one of the most underrated Christmas films ever from one of the all-time greats' - and Adam Vrijland (supported by Ella Hassett) - 'I absolutely love this film and would relish seeing it on the big screen.'

This Christmas, Video Bazaar is proud to present the most terrifying stocking filler imaginable from the depths of 52nd Street, Andy Milligan's festive family get-together from hell, Seeds. The screening will also feature a special video introduction by Andy Milligan expert and supervisor on the Blu-Ray restoration of Seeds, Alex DiSanto.

Set during a volatile family reunion, Seeds captures Milligan’s unflinching vision of human cruelty, blending horror with melodrama as family grudges become unwrapped over Christmas. Known for its low-budget grit, claustrophobic energy, and Milligan's misanthropic look at family dynamics, Seeds is a bitter exploration of isolation, anger, and family conflict.

At the heart of this reunion is the family matriarch, Claris, a domineering and cruel woman whose influence has left her children emotionally scarred. The children, each struggling with their own secrets, grudges, and traumas, are coerced into joining the holiday gathering, setting the stage for Milligan's spiteful polemic on family pathology.

Milligan, a polarizing figure in 1960s and 70s cinema, is celebrated for his unorthodox and DIY approach to filmmaking. Often shooting on 16mm with minimal resources, he used raw performances and visceral subject matter to inflict his bitter world view onto audiences. Despised and revered in equal measure, Milligan’s films often confront taboos, with Seeds standing as one of his most intense works, a Christmas cult classic for those fascinated by the darker side of the festive period.

This screening is presented by the cult film collective, Video Bazaar, who are proud to show this rarely screened film and are dedicated to bringing the weird and the obscure to London audiences at The Garden Cinema. Please note this event will feature an intro and carefully curated pre-show material.

As part of the landmark season at the Garden Cinema, Visions in Ruins: British Cinema 1970-1980, Video Bazaar is proud to present Jerzy Skolimowski’s legendary and mystifying piece of Folkloric esoterica, The Shout, starring John Hurt and Alan Bates. This screening will also feature a pre-recorded video introduction from Paul Duane, director of All You Need is Death.

Released in 1978, and adapted from a short story by Robert Graves, The Shout is a deeply unsettling exploration of power, madness, and mysticism. Crossley (Bates), a mysterious drifter, intrudes upon the quiet rural life of Anthony Fielding (Hurt), an experimental composer who lives on the North Devon coast. Claiming mastery of an ancient Aboriginal 'death shout', Crossley begins to exert a sinister influence on Anthony and his wife, Rachel (Susannah York).

Emerging at a time of national upheaval and cultural experimentation, The Shout is a haunting film that evokes arcane knowledge and non-Western philosophies. Crossley’s invocation of Aboriginal shamanic practices reflects this fascination while raising unsettling questions about cultural exploitation and control. Set against the bleak Devon countryside, the film also taps into the eerie isolation of rural Britain, underscoring a growing disconnection from the modern world, and creating a timeless, otherworldly atmosphere.

With its ethereal cinematography and an experimental score crafted by Tony Banks of Genesis, The Shout is as much an auditory experience as a visual one. The rich layers of ambiguity and surrealism establish it as one of the most unique cinematic experiences in British film history, with every metaphor unravelling a new secret.

This screening is presented by the cult film collective, Video Bazaar, who are proud to show this rarely screened film, and are dedicated to bringing the weird and the obscure to London audiences at The Garden Cinema.

In the lead-up to Christmas, join us on Saturday 14 December for a brand new members' wine tasting, followed by an atypical festive film.

Our friend Maxwell Delaney from Moreno Wines will take us through the carefully curated winter wine selection, giving you a chance to try the new wines that will be added to our bar offerings soon - including those that are normally only available by the full bottle. He'll also introduce us to a surprise wine, which may or may not be added to our menu, pending your review!

We're also partnering up with local favourite Soho Dairy again, whose stall can be found over on Berwick Street Market (W1F 0PH). They are not only fiercely independent and community-orientated, but operate by hand, foot and cargo bike, making them virtually zero carbon. Alongside the wines, you will be able to try some of their excellent assortment of prize-winning cheeses, straight from independent UK dairy producers - just in time for your Christmas shopping!

After the tasting, we'll head into the screen for an unconventional Christmas feature, which was proposed by cinema members Joel and Ela: In Bruges. As Joel writes: 'I’d love to feel good about being bad this Christmas'!

The tasting will last approx. 2 hours and will include 6 servings of wine, as well as some delectable cheeses and other nibbles. If you have any dietary restrictions, please notify us by emailing membership@thegardencinema.co.uk at least 72 hours in advance, so we can take them into account.

Tickets for the wine & cheese tasting automatically include access to the screening, and are available for £35 each. They are restricted to 2 per member, making it the perfect opportunity to introduce a friend to the cinema. There's no need to book a separate ticket for the film - we will reserve a seat for all ticketholders of the tasting.

Timings:

19:00  Wine & cheese tasting

21:00  Screening of In Bruges

23:00  Expected finish

About the film:

When hitmen Ray and Ken (Farrell and Gleeson) are ordered to murder a priest in London, and the job goes wrong, they are told by their boss Harry (Fiennes) to lay low for a couple of weeks in the quaint city of Bruges, Belgium. However, Ray finds himself very much outside his comfort zone and his contrary ways lead him into increasingly dangerous situations with locals, tourists and a film crew. While Ken does his best to reign in Ray's behaviour, word reaches Harry that they have not been keeping their heads down as instructed and he decides to travel to Bruges himself to deal with the wayward pair.

If you'd like to see the film without attending the wine & cheese tasting, you can book a separate ticket for this here.

Kind member folk, please head over to Summerisle on Saturday 11 January for your appointment with the Wicker Man. We’re celebrating our latest season - Visions in Ruins: British Cinema 1970-1980 - with a special winter festival, to ensure a bountiful harvest (of films) for the year to come. Don your favourite mask, colourful ribbons, or flower garland, and join us for an abundance of frolicking, chanting, and more..

We will provide lashings of ale, a traditional folk performance by Glass Eel, and of course, a screening of our member cult’s classic The Wicker Man.

Tickets are £18.50 each and restricted to 2 per member, meaning you can bring a live offering to be inducted into the Garden Cinema community. Your ticket will include an unallocated seat for the music performance & screening, as well as a complimentary beer of your choice, with non-alcoholic alternatives available for any puritans.  

Event timings:

19:00  Merriment, ales & sacrifice(?)

20:30  Screen doors open

20:40  Live music performance by Glass Eel

21:00  Screening of The Wicker Man (1973)

22:40  Expected finish

About Glass Eel:

Glass Eel is the latest project from Alice Western, a folk musician and songwriter. Drawing on her work with the English Folk Dance and Song Society, Alice combines the storytelling heart of traditional music with bold, original compositions. Their debut single 'The Line' is set for release this January. Produced by Seth Evans and Margo Broom at RAK Studios, the track introduces Glass Eel’s raw, contemporary sound. A 16mm black-and-white music video, created by band member and filmmaker Hannah McLoughlin, will accompany the release.

Based on the extraordinary character at the center of Roald Dahl’s 'Charlie and the Chocolate Factory', Wonka tells the wondrous story of how the world’s greatest inventor, magician and chocolate-maker became the beloved Willy Wonka we know today.

From Paul King, writer/director of the Paddington films, and David Heyman, producer of Harry Potter, comes an intoxicating mix of magic and music. Starring Timothée Chalamet in the title role, this irresistible big screen spectacle will introduce audiences to a young Willy Wonka, chock-full of ideas and determined to change the world one delectable bite at a time—proving that the best things in life begin with a dream, and if you’re lucky enough to meet Willy Wonka, anything is possible.

On Sunday mornings our Family Screenings are followed by a free activity for Children.

The screening is Pay What You Can, which means you’re free to pay as much or as little as you can afford. By paying for a ticket, you will enable us to keep offering Pay What You Can screenings to families struggling with the cost of living. Thank you