BFI Southbank today announces the programme for August 2023, including REBEL CINEMA: OUSMANE SEMBÈNE AT 100, a rare opportunity to explore the rich filmography of a giant of African cinema, on the occasion of his centenary. Titles will include Sembène’s feature debut BLACK GIRL (1966), the first film he was able to make in his native Wolof language MANDABI (1968), an adaptation of his own 1973 novel XALA (1975), historical epic CAMP DE THI AROYE (1988), biting satire GUELWAAR (1992), his final film MOOLADÉ (2004) and many more.
Also in August will be the conclusion of BFI Southbank’s major two-month season of screenings, talks, special events and singalongs to mark the centenary of The Walt Disney Company. MAKING MAGIC: 100 YEARS OF DISNEY ends this month with a selection of beloved literary adaptations including PINOCCHIO (1940), MARY POPPINS (1964), THE LITTLE MERMAID (1989) and BEACHES
(1988), animal adventures such as THE LION KING (1994) and RATATOUILLE (2007), recent Pixar favourites SOUL (2020), LUCA (2021) and TURNING RED (2022), and live action classics DICK TRACY (1990) and SISTER ACT (1992).
Inspired by an anarchist catchphrase, BE GAY, DO CRIME is a season of provocative and playful
films that explores the relationship between queerness and crime. Rather than condoning crime, this season seeks to explore it with films including BOUND (Lily and Lana Wachowski, 1996), a defining film of neo-noir and lesbian cinema, CHOCOLATE BABIES (Stephen Winter, 1996), an exuberant depiction of AIDS activists in New York, the pioneering and complex DOG DAY AFTERNOON (Sidney Lumet, 1975), and FEMALE TROUBLE (John Waters, 1974), one of the many iconic collaborations between King of Filth John Waters and Divine. Divided into the themes of Love, Money and Anarchy, the season celebrates queer films and directors you know, a few you don’t, and re-contextualises some that you may not have thought of as queer at all.
Special events in August will be include a preview on 15 August of SCRAPPER (2023), which is backed by the BFI Filmmaking Fund, awarding National Lottery funding. The debut feature of Charlotte Regan, best-known for her award-winning shorts and music videos, this Sundance 2023 Grand Jury winner follows Georgie, a dreamy 12-year-old girl, who lives happily alone in her London flat following the death of her mother, until suddenly her estranged father turns up and forces her to confront reality. The preview will be followed by a Q&A with director Charlotte Regan and actor Harris Dickinson, before playing on extended run from 25 August. There will also be a BFI Member Salon dedicated to the film on 29 August, where BFI Members and their guests have the opportunity to socialise and share thoughts on the latest releases.
Also screening will be Ira Sachs’s study of an unhappy love triangle PASSAGES (2023), which previews on 23 August, followed by a Q&A with the director. A sensation at this year’s Sundance Film Festival, PASSAGES stars Franz Rogowski, Ben Wishaw and Adèle Exarchopoulos, and follows a self-absorbed director who is looking to get wild at a party; his husband isn’t in the mood, which leaves him to seek fun in the arms of someone else. This month’s WOMAN WITH A MOVIE CAMERA screening celebrates the 15th anniversary of the iconic ANGUS, THONGS AND PERFECT SNOGGING (2008). The screening on 26 August will also include two panels: a discussion of reclaimed teenagedom, y2k nostalgia and Louise Rennison’s book series of the same name, and a Q&A with the film’s esteemed director Gurinder Chadha and co-writer Paul Mayeda Berges.
To mark the BFI release of Bill Forsyth’s beloved coming-of-age film GREGORY’S GIRL (1980), coming to BFI Blu-ray and UHD disc in a new 4K restoration on 21 August, there will be a Relaxed Screening of the film at BFI Southbank, also on 21 August. The epitome of a gawky, awkward teen, Gregory desperately needs some help when he falls for the new, gifted member of the school football team. This relaxed screening, which is presented for those in the neurodiverse community, their assistants and carers, will be followed by a post screening discussion led by artist Sam Ahern from The Neurocultures Collective and the BFI’s Douglas Weir. Separately to the Relaxed Screening,
on 8 August BFI Southbank will also show Bill Forsyth’s adaptation of Marilynne Robinson’s Pulitzer Prize-nominated debut novel HOUSEKEEPING (1987) about two sisters in 1950s Idaho, who move in with their Aunt Sylvie following a family bereavement.
One of the very best American underground films, Bette Gordon’s groundbreaking, gloriously subversive neo-noir thriller VARIETY (1985) returns to the big screen with a 2K restoration, screening on extended run at BFI Southbank from 11 August. This gender-inversed portrait of voyeurism is a gripping trip of fantasy and obsession, which shakes up sexual roles, and challenges ideas around female desire and the erotic gaze. This new restoration from the original camera negative was overseen by Gordon, who will take part in a Q&A following a screening on the day of its re-release in the UK.
Described by Mick Jagger as ‘the best rock ’n’ roll TV show of all time’, READY STEADY GO! captured the immediacy and excitement of contemporary pop music. It did so during one of the most dazzling periods of pop music history, the mid-60s. Most of the key acts of the time performed on the show, including Dusty Springfield, The Rolling Stones, The Beatles, The Supremes, The Who and Otis Redding, to name just a few. In celebration of its 60th birthday BFI Southbank will, on 12-13 August, present a selection of rare and wonderful performances and moments from the show, drawn from material preserved by the BFI National Archive.
FURTHER PROGRAMME INFORMATION FOR AUGUST 2023
BFI SOUTHBANK SEASONS
REBEL CINEMA: OUSMANE SEMBÈNE AT 100
Taking place throughout August at BFI Southbank, REBEL CINEMA: OUSMANE SEMBÈNE AT 100 will celebrate one of the most important, influential and beloved African filmmakers of all time, coinciding with the centenary of his birth. Programmed by critic and curator Chrystel Oloukoï, the season is presented in partnership with Janus Films and Film Forum, and will offer a rare opportunity to explore a rich filmography that spans 40 years, from the 1960s when many African nations became independent, to Sembène’s final film before his death in 2007.
Kicking off the season on 1 August, will be a screening of Sembène’s feature debut BLACK GIRL (1966) with a pre-recorded introduction by season programmer Chrystel Oloukoï. A young Senegalese girl moves to France to work for a white married couple, only to find herself incarcerated in their apartment, silenced and subjected to harrowing racial abuse. Influenced by
the French New Wave and Italian Neorealism, BLACK GIRL is a powerful exploration of the immigrant experience and the psychic violence of antiblackness. Screening alongside it will be NIAYE (1964), an adaptation of one of Sembène’s own stories about the hypocrisy of a village faced with the pregnancy of a young girl abused by her father.
MANDABI (1968) marked a significant rupture in African cinema – it was the first feature Sembène was able to make in his native Wolof language. The film follows Ibrahim, an unemployed and tyrannical polygamous husband, as he tries to retrieve a money order his nephew has sent from Paris from the clutches of a Kafkaesque bureaucracy. MANDABI will screen alongside TAUW (1970), an impressive study of an unemployed man trying to make a living in Dakar. Adapted from one of Sembène’s short stories, TAUW makes experimental use of colour filters to express the dreams, fantasies and interior monologues of the protagonist.
Also screening with a pre-recorded introduction by Oloukoï on 26 August, EMITAÏ (1971) recounts the state-sanctioned massacre of members of the village of Diola, towards the end of the Second World War, who rebelled against colonial rule and the imposition of taxes. An epic political work, the film’s premiere was attended by Bissau-Guinean anti-colonialist and freedom fighter Amílcar Cabral. It prompted tax strikes in some Senegalese villages and was eventually banned for five years. An adaptation of his 1973 novel, XALA (1975) is an unflinching satire of post-independence Senegal and its parasitic bourgeoisie. It centres on the confrontation between an army of beggars and powerful businessman cursed with erectile dysfunction on the night of his third marriage. XALA will screen alongside BOROM SARRET (1963), considered one of the first African films made by a Black African director. Produced on a shoestring budget with a second-hand 16mm camera and donated stock, it follows an impoverished horse-drawn cart driver across the city of Dakar.
Sembène’s second period film, CEDDO (1977) (outsiders or non-Muslims in Wolof) takes place in a pre-colonial 18th century. It interweaves oral memory and speculation to portray indigenous cultural resistance against the slave trade and the onslaught of the monotheistic religions of Islam and Christianity. Featuring a gorgeous musical score by Manu Dibango, the film was initially banned in Senegal but is now regarded as a landmark of West African Cinema. Initially banned in France and Senegal for Sembène’s drawing of parallels between fascism and colonialism, the historical epic CAMP DE THIAROYE (1988) depicts a hidden massacre perpetrated by the French against West African colonial troops during the Second World War. Having returned home after fighting the Nazis, the troops, confined in a transit-camp, rebel against unjust and racist treatment only to face even more harrowing violence.
In GUELWAAR (1992) Sembène continues to probe the theme of religious intolerance alongside a critique of neocolonial aid. Through biting satire, the filmmaker draws a rich and textured portrait of a community fractured between Muslims and Christians, through the tale of a Christian’s body mistakenly buried according to Muslim rites. A refreshing, feminist portrait of a Black single mother in contemporary Dakar, FAAT KINÉ (2001) is light and comedic in tone, unabashedly depicting middle-aged women’s sexuality, autonomy and aspirations. Sembène’s last film, MOOLADÉ (2004), set in the Bambara village of Djerrisso in Burkina Faso, exemplifies the filmmaker’s militant and feminist preoccupations. A brave woman ignites a rebellion against the practice of genital mutilation by sheltering four girls behind a mooladé, a spell that confers protection.
Also screening in the season in partnership with BFI AFRICAN ODYSSEYS on 5 August will be SEMBÈNE! (Samba Gadjigo, Jason Silverman, 2015), a perfect introduction to the extraordinary life and work of Ousmane Sembène. This documentary brings together rare archive footage and exclusive materials, alongside interviews, animated sequences and film extracts to depict the life of a man who used his creative powers to educate people, challenge power and speak on behalf of the marginalised. Following the screening, Desta Haile, Director of Film Africa, will chair a discussion with writers and creatives, who will respond to the film and the Sembène season.
A curated exhibition of rarely seen materials drawn from the collections of the BFI Reuben Library will explore Ousmane Sembène’s far-reaching legacy and the impact he had on African cinema; the collections focus will be on display at the BFI Reuben Library throughout August, while on 21 August there will be a unique opportunity for BFI Members to explore this collection further through a special talk.
Sembène belonged to the first generation of African filmmakers to engage with the medium. Prior to 1960, the Laval Decree prevented the colonised from filming. Sembène saw cinema as an engine of transformation – a ‘night school’ for the exploited masses. His militant films were a mordant critique of neo-colonialism and the complicity of African middle classes. Merging influences from Soviet cinema, Italian neorealism and African oral traditions, he created visual feasts characterised by non-professional actors, epic elements and an exquisite use of satire.
MAKING MAGIC: 100 YEARS OF DISNEY
The second part of BFI Southbank’s expansive Disney season focuses on the importance of literary adaptations and the extraordinary array of animated creatures that Disney has created. Programmed by the BFI’s Justin Johnson, this month’s programme is divided into four distinct strands – with all the features screening paired alongside short films from throughout Disney’s
history. Special events during the final month of MAKING MAGIC will include THE FIENDISHLY DIFFICULT DISNEY QUIZ on 13 August and a programme of DISNEY’S SILENT SHORTS on 6 August. BFI Southbank also invites children and families to A DISNEY DAY FOR YOUNG AUDIENCES on 12 August, which will include a screening of PINOCCHIO (1940) with an extended introduction, followed by an afternoon of talks and discussions explore various aspects of the Disney world alongside a conversation with an animator focusing on the craft of animation.
Once Upon a Time will feature a selection of both animated and live action films that draw inspiration from a rich array of stories and literature. PINOCCHIO (1940), based on Carlo Collodi’s book, is possibly the greatest of Disney’s animated features and plays alongside 101 DALMATIANS (1961), adapted from Dodie Smith’s popular novel, THE JUNGLE BOOK (1967), the last picture that Walt Disney worked on in his lifetime, and two beloved films which bookend Disney’s fabled 90s Renaissance, THE LITTLE MERMAID (1989) and TARZAN (1999).
Live action titles also playing include 20,000 LEAGUES UNDER THE SEA (1954), the Walt Disney produced adaptation of Jules Verne’s tale, Oscar-winner THE PARENT TRAP (1961), fast-paced comic adventure THE LOVE BUG (1968), perennial favourites MARY POPPINS (1964) and BEDKNOBS AND BROOMSTICKS (1971), which seamlessly mix live-action with animation, FREAKY FRIDAY (1976), Mary Rodger’s adaptation of her own novel, and Bette Midler fan favourite BEACHES (1988).
Disney has always led the field in bringing animals to life, as demonstrated by our Animal Tales strand. Whether they’re in their natural habitat or a fictional environment, few studios have ever created such wildly imaginative worlds as these. BAMBI (1942) has rightly remained one of the most memorable and beloved of the studio’s features. It plays at BFI Southbank alongside other Disney Animation adventures including crime caper THE RESCUERS (1977), monumental hit THE LION KING (1994), Oscar-winning ZOOTROPOLIS (2014), and Pixar classics FINDING NEMO (2003) and RATATOUILLE (2007).
Unseen on the Big Screen will offer audiences the chance to catch three recent Pixar hits in the cinema for the first time. SOUL (2020), LUCA (2021) and TURNING RED (2022) which all initially released on Disney+ will be screened in a theatrical setting. And Finally… features some further gems from the Disney archives, including the visionary DICK TRACY (Warren Beatty, 1990), Touchstone’s commercial hit SISTER ACT (Emile Ardolino, 1992), in which Whoopi Goldberg shines, and Pixar’s colourful Best Picture nominee UP (Pete Doctor, 2009).
BE GAY, DO CRIME
Inspired by an anarchist catchphrase, this season of provocative and playful films explores the relationship between queerness and crime. BE GAY, DO CRIME is a phrase that can seem intimidating to the uninitiated. While commonly known as an anarchist slogan to be shouted at protests or spray-painted on buildings, these four words have in recent years become associated with the works of cult directors such as John Waters and Gregg Araki, who posit crime and anarchy as a form of resistance for queer characters. Rather than condoning crime, this season, curated by BFI London Film Festival programmer Grace Barber-Plentie, seeks to explore it. Why is crime so often queer people’s only choice for survival? Should we criminalise or celebrate the Robin Hoods of queer cinema? Divided into the themes of Love, Money and Anarchy, Be Gay Do Crime celebrates queer films and directors you know, a few you don’t, and re-contextualises some that you may not have thought of as queer at all.
The season begins with LOVE, MONEY AND ANARCHY: BE GAY, DO CRIME IN CONTEXT, an illustrated talk by season programmer Grace Barber-Plentie on 3 August followed by a panel discussion with writers So Mayer, Yara Rodrigues Fowler, and film programmer Rico Johnson- Sinclair to discuss queer capers, homosexual heists, lawless lesbians and much more.
Love and crime go hand in hand in a selection of films depicting queer couples and friends embracing and escaping from criminal lifestyles. DOG DAY AFTERNOON (Sidney Lumet, 1975) is celebrated for Lumet’s gritty direction and a bravura performance from Pacino. But the film is also a pioneering, complex (and perhaps a little dated) depiction of a queer relationship perfectly illustrating the link between queerness and crime. ON GUARD (Susan Lambert, 1984) is a heist thriller like no other, in which a group of women attempt to sabotage a reproductive engineering company. Focusing on women’s – especially queer women’s – reproductive rights, it is timelier than ever. In BOUND (Lily Wachowski and Lana Wachowski, 1996), gangster’s moll Violet and ex-con Corky team up in business and pleasure to steal $2 million of mafia money and start anew. Fresh, leather-clad and very sexy, it’s a defining film of neo-noir and lesbian cinema. Unlike the other films in this season, MY BROTHER THE DEVIL (Sally El Hosaini, 2012) asks be gay, or do crime? This is the choice facing Rash in this arresting debut. Should he – can he – escape from a life of organised crime, and how does he stop his younger brother from following in his footsteps?
Money. Some have it, some want it, and some are reduced to desperate measures to get it in our second strand of films in the season. Rio’s crime underworld is ruled with an iron fist in THE DEVIL QUEEN (Antonio Carlos da Fontoura, 1974). But when a plan to frame newcomer Bereco for a drug deal goes awry, the Queen must fight to maintain her empire. MADAME SATÃ (Karim Aïnouz, 2002), a gritty and glittery debut, is a different take on João and finds him fending for his chosen family as a hustler while dreaming of becoming a drag queen. But João has a reckless streak, one
that constantly gets him into trouble with the law. BY HOOK OR BY CROOK (Silas Howard, 2001) is a lo-fi gem which follows hustler Shy, who no sooner arrives in San Francisco than he encounters the charming but troubled Valentine. Teaming up to commit a series of petty crimes, the two forge an unlikely friendship outside of the law and gender binaries. THE BLOODETTES (Jean-Pierre Bekolo, 2005) is a riotously inventive romp through dystopian Cameroon. After accidentally murdering a powerful politician during sex, best friends Majolie and Chouchou try to rise through society using their wits, wiles and the ancient feminine rites of Mevoungou.
Sometimes in order to fight back against the establishment, you have to take things into your own hands, as demonstrated in BE GAY DO CRIME’S most lawless strand – Anarchy. In the dystopian FRESH KILL (Shu Lea Cheang, 1994), a lesbian couple enter into the world of hacktivism to expose a sinister corporation. Coupling cyberpunk aesthetics with ideas as relevant now as they were in 1994, this is a daring and experimental vision of how ‘crime’ can be used as activism. CHOCOLATE BABIES (Stephen Winter, 1996) is an exuberant depiction of AIDS activists in New York which sees an HIV-positive brother and sister, two drag queens and a young Asian-American newcomer fight back against politicians with queer terrorism. Laugh-out-loud shady one-liners play off against honest conversations about sexuality and race. THE LIVING END (Gregg Araki, 1992) is boisterous, uncompromising filmmaking from a pioneer of New Queer Cinema. It follows a queer odd couple diagnosed with HIV who, following an act of violence, take to the road with the motto ‘f–k everything’. Finally, this season would be nothing without the King of Filth. But when so many of John Waters’ films fit the brief, which to choose? Ultimately, it had to be the good-girl-gone-bad tale of cha-cha-heel-desiring Dawn Davenport, FEMALE TROUBLE (John Waters, 1974), one of the many iconic collaborations between Waters and Divine. Now, who’s ready to die for art?
NEW AND RE-RELEASES AT BFI SOUTHBANK AND BFI IMAX
New releases screening on extended run at BFI Southbank in August will include KOKOMO CITY (D. Smith, 2022), a bold first feature about Black trans sex workers that buzzes with passion, energy and intelligence and premiered at BFI Flare in 2023. D. Smith knows what it means to come out as a Black trans woman and lose everything. After a successful career in the music industry ended, she turned to filmmaking and, in the face of considerable odds, shot this punchy debut that looks into the lives of four sex workers. KOKOMO CITY, which plays on extended run from 4 August, is a deeply compassionate, at times sobering, and often witty examination of race, capitalism and gender from those living at the sharpest end of society.
Having honed their craft on YouTube, Australian filmmaking brothers Danny and Michael Philippou’s feature film debut TALK TO ME (2022) nods to their background as viral-video
sensations. Screening from 28 July, TALK TO ME is a smart spin on teens looking for an adrenaline rush. On the anniversary of her mother’s death, and looking for a distraction, 17-year-old Mia persuades her best friend to take her to a party where their school mates are apparently conjuring spirits. Realistic videos of teenagers convulsing, clutching an embalmed hand, while supposedly possessed by demons are circulating on social media, and Mia wants to give it a try.
Following a terrorist attack on a restaurant in Paris, eyewitness Mia struggles to cope with her memory loss, in PARIS MEMORIES (Alice Winocour, 2022), an emotionally rich drama that will screen from 4 August. With echoes of the 2015 Bataclan terrorist attack, Alice Winocour’s heartfelt journey follows Mia (an outstanding Virginie Efira) from her initial confusion and distress to her attempts at piecing her past together as she moves towards a place of healing. Paris features prominently throughout; initially as the beloved, vibrant metropolis and then as a wounded city, having to recover alongside the survivors of the attack.
A mesmerising Penélope Cruz proves once again that she is among the finest actors of her generation in the deeply personal coming-of-age drama L’IMMENSITÀ (Emanuele Crialese, 2022), screening from 11 August. A vibrant and sun-drenched 1970s Rome belies the quiet desperation simmering inside Clara (Cruz), a woman trying to keep things upbeat for her children while trapped in an abusive marriage. Her eldest child idolises their fun-loving mother but also feels trapped, albeit in the wrong body. All the while, director Emanuele Crialese movingly employs nostalgic Italian songs and joyous fantasy sequences as a contrast to the harrowing reality of a woman on the verge of a nervous breakdown.
Sidney Lumet’s classic police procedural SERPICO (1973) features Al Pacino as an honest cop trying to make a difference in the midst of corruption within the NYPD. Presented as part of Cinema Rediscovered on Tour (which is supported by the BFI, awarding funds from the National Lottery) from 18 August, Lumet’s film follows a straightforward, no-nonsense career cop who struggles to deliver clean, community policing in New York. The widespread and systematic corruption throughout the NYPD finds him wrestling with his conscience; does he keep quiet and accept the situation, or turn ‘whistleblower’ and place his life in danger from the very people he works with?
Screening at BFI IMAX this month will be OPPENHEIMER (2023), the latest opus from Christopher Nolan is arguably his most daring yet. Robert Oppenheimer was the ‘father of the Atomic Bomb’. Seen as a hero to many, within a few years Oppenheimer would be vilified as a turncoat and a threat to his country. Based on the Pulitzer Prize-winning biography, Nolan’s film stars Cillian Murphy, in his sixth collaboration and first leading role with the filmmaker, alongside an
extraordinary cast. This is the first IMAX film to be shot in colour and black-and-white and will screen at BFI IMAX from an impeccable 70mm print.
REGULAR BFI SOUTHBANK PROGRAMME STRANDS
BFI Southbank’s regular programme strands have something for everyone – whether audiences are looking for silent treasures, experimental works or archive rarities. Screening in this month’s ART IN THE MAKING strand will be GROVE MUSIC (Henry Martin, Steve Shaw, 1981), a groundbreaking and rare account of the 1980 Notting Hill Carnival. In it, the filmmakers weave together a range of performances from reggae acts and intersperse them with interviews with the artists about their work, and conversations with audience members about their lives and experiences. It will screen alongside GROVE CARNIVAL (Henry Martin, Steve Shaw, 1981), in which the same filmmakers turn their lens to the vivid and kaleidoscopic preparations for the 1980 Carnival.
BFI Southbank’s ongoing EXPERIMENTA strand will feature big sounds and big films on 16 August, with an experimental film and television programme – METAL MACHINE MOVIES – which fuses new forms of music from Einstürzende Neubauten, the Bow Gamelan Ensemble, The Mutoid Waste Company and more, with experimental films by Sogo Ishii, Morgan Quaintance and others. These works are forged in the fiery crucibles of punk and industrial music culture, presenting transgressive acts of DIY creativity. Image quality is occasionally compromised in this special one-off programme, but the huge sounds, ideas and energies still punch with incredible force.
This month’s PROJECTING THE ARCHIVE strand, which celebrates British archive gems, will feature, on 22 August, FACE THE MUSIC (Terence Fisher, 1953), screening in a 35mm print from the BFI National Archive. In this jazz-fuelled Hammer B-picture, a trumpet player finds himself caught up in a murder investigation after a chance encounter with a nightclub singer. This is one of many Hammer crime dramas in the filmography of continuity girl Renée Glynne, who died last year. One of the most prolific women in British cinema, this is a fitting commemoration of her life and work.
BFI Southbank’s regular free screenings and events for SENIORS, will this month include a free matinee of the sensual and evocative romantic drama HEAT AND DUST (James Ivory, 1983). The screening on 7 August will include an intro and Q&A with film historian Adrian Garvey. Adapted by Ruth Prawer Jhabvala from her eponymous prize-winning novel, HEAT AND DUST is one of the highlights of Merchant Ivory’s impressive body of films. Also screening in the SENIORS’ strand on 7 August will be the fascinating semi-autobiographical documentary ANGWAL EMBRACE (2023), which finds director Lalit Mohan Joshi returning to his birthplace in the Himalayas to explore the tradition of Kumaoni poetry, from the time of British occupation through to the present. Combining
spoken word and music, the film, which will also be followed by a Q&A, captures the deep philosophical worldview of the poets, in the face of a society undergoing profound change. Both events are presented in collaboration with SACF’s Heritage Lottery-funded Indo-British Film Collaboration project (Merchant-Ivory 1966-2007).
For children and young people looking to learn more about filmmaking this summer, BFI Southbank will host workshops aimed at 8-11-year-olds and 12-16-year-olds. For the younger age group, workshops will explore what characteristics belong to a holiday-themed film, and how to translate feelings and experiences related to holidays into film; and a workshop will explore how we can use film to create stories about ghosts and ghouls. For teenagers, workshops will explore horror and suspense, learning techniques to create mystery and suspense in order to thrill their audience; and a film development and editing surgery, which will provide an opportunity for young filmmakers to meet likeminded peers, get feedback from filmmakers and film tutors on their scripts or concepts, and spend time developing their idea or film at BFI Southbank.
BIG SCREEN CLASSICS
In August BFI Southbank’s ongoing BIG SCREEN CLASSICS series, where we screen essential titles on a daily basis for just £9, will screen films that feature narratives in which loyalty and betrayal, conscience and carelessness, right and wrong – and all points in-between – are important, sometimes even fateful elements. FRIENDSHIP, CHARACTER, ETHICS… will feature screenings of titles including MILLER’S CROSSING (Joel Coen, 1990), THE NIGHT OF THE HUNTER (Charles Laughton, 1955), THE BIGAMIST (Ida Lupino, 1953), 3 WOMEN (Robert Altman, (1977), IN THE MOOD FOR LOVE (Wong Kar-wai, 2000), CHARULATA (Satyajit Ray, 1964), MERRILY WE GO TO HELL (Dorothy Arzner, 1932), BLUE VELVET (David Lynch, 1986) and many more. In addition to our £9 ticket offer for BIG SCREEN CLASSICS, audience members aged 25 and under are able to buy tickets for BFI Southbank screenings (in advance or on the day) and special events and previews (on the day only), for just £3, through our ongoing ticket scheme for young audiences.
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