Cambridge Arts Picturehouse is celebrating 50 years of filmmaking by the Czech surrealist Jan Švankmajer with a season of special screenings.
Physicist Mark Levinson and rocket scientist Manoug Manougian, both of whom screened films at CFF2013, talk about art, science and world peace.
The actual medical cause of physical ‘growing pains’ among children remain unknown, Wikipedia (reliably?) informs the curious reader: they are not thought to be directly linked to spurts in height. This mildly poetic physiological peculiarity seems relevant to the selection of short films at the Arts Picturehouse entitled GROWING PAIN– the five pieces chosen explore [...]
The THATCHER’S BRITAIN strand invites a look back to British culture in the 1980s and the modern cinema industry itself.
“Roland Klick is driven by the same manic fire that is recognisable in the dancing eyes of Herzog and Jodorowsky”. Meet him at CFF on the 25 September.
Hertzfeldt’s stories and animation style are simultaneously esoteric and full of mass appeal, writes Jon Toomey.
According to that other arch-provocateur, Werner Herzog, the films of Ulrich Seidl provide audiences ‘ein Blick in die Hoelle’ – a glimpse into hell.
Amanda Randall relates her experiences of running a community cinema, and why preserving the Arts Picturehouse this way could be impossible.
Ingrid Bergman and George Sanders are trapped in a lifeless marriage in Roberto Rossellini’s pre-New Wave classic, writes Gavin Midgley – a film all about death.
‘Everyone just pretend to be normal’. These words, yelled by Richard Hoover as his family veers from one disaster to another, are the essence of this 2006 road movie.
In STALKER Tarkovsky takes the notion of the journey and examines it, stretches it, makes it at once real and ethereal; reduced to its abstract components of space and time.
Alexander Payne’s oenophilic classic SIDEWAYS is one of the most wonderful road movies of the century, writes Arjun Sajip.
Released in 1970, Don Shebib’s first feature was the most influential English-Canadian film of its generation, and is still an impressive piece of realist cinema, writes Wyndham Wise.
Where we’re going, we don’t need roads. Do we? Anthony Davis introduces our latest run of themed features.
If BEFORE SUNRISE and BEFORE SUNSET are films about the beginnings of fire, BEFORE MIDNIGHT is about how to stoke a blaze, writes Ann Linden.