The Last Projectionist


In 1909, the Electric Cinema in Birmingham opened, and through the decades, wars, eras and films, took on different titles and roles within the film exhibition world, finally now remaining the longest running cinema in the UK. Tom Lawes’ THE LAST PROJECTIONIST is in essence the story of this cinema.

The Oak (Balanţa)


Romanian master Lucian Pintilie constructs a “Theatre of the Absurd” darker and more acerbic than any from Eugene Ionesco’s imagination.

The Show Must Go On


Set in an unspecified near future, Croatian director Nevio Marasovic’s THE SHOW MUST GO ON begins with a daunting play on the familiarity of a certain reality television show; a handful of contestants stuck in an enclosed space where their every move is exposed to both a variety of cameras and projected to thousands of baying voyeurs.



The Dutch entry for the Best Foreign Language Film at this year’s Academy Awards (though it didn’t make the final shortlist), TIRZA stars Gijs Scholten van Aschat as Jörgen Hofmeester, a weary, bemused man who is deemed superfluous both at work and at home, not least by his demanding ex-wife.

Under Control (Unter Kontrolle)


Attempting a somewhat strict dogmatic stance to the state, or lack there of, of nuclear power stations and their rigorous maintenance, Volker Sattel’s second documentary is a serene, sterile and stimulating assessment of such a hotly debated subject in modern society.

The City Below (Unter Dir Die Stadt)


Jim Ross reviews Christoph Hochhäusler’s THE CITY BELOW (UNTER DIR DIE STADT), an interesting film with some fine acting performances that falls slightly short due to its muddled approach to a serious but confused script.



Claire Henry reviews David Fincher’s ZODIAC (2007) which expands and extends on the 2005 feature about the Zodiac serial killer, THE ZODIAC.

Surprise Films


Every year at CFF we screen a surprise film. Nobody except Tony Jones knows what the film will be until the very last minute. We like to have a stab at writing up a preview anyway. That’s the way we roll.

White White World (Beli Beli Svet)


If the Serbian drama WHITE WHITE WORLD (BELI BELI SVET) deserves a subtitle it would be ‘The Great Depression’. Filmed mostly in a shaky hand camera perspective, the connected stories of several inhabitants of the Serbian mining town Bor are told.

Local Tastes


‘A promising taste of local talent’ says TAKE ONE writer Lillie Davidson of this collection of Cambridge shorts, screened at CFF2011



Ana Garcia’s Gibraltar sets out a journey into the complex history produced by the hate and love between England and Spain on this territory.

The Gerber Syndrome


Maxi Dejoie’s début picture THE GERBER SYNDROME exploits our fears of fatal pandemics on a personal, as well as national level; divides of society being ripped apart.

The Forest Prince and the Pigman/The Stranger


Hugh Paterson reviews Craig Constantine’s guide to hitchhiking, and Rodd Rathjen’s short THE STRANGER

Eggs for Later/Leap before you Look/Boffin & Boffin


Whilst technology has advanced dramatically, some problems (such as finding the right reproductive partner, and preparing for parenthood) remain universal and timeless.



DUSKA is a succinct distillation of Jos Stelling’s cinema, examining how, fundamentally, people communicate.