Review: Another Round (2020)

Mads Mikkelsen drinking from a bottle in front of a crowd of people.

First a little quiz:

  • At a party have you ever deliberately tried to knock back enough glasses of wine to bring you to the exact point of being neither drunk nor sober?
  • Have you taken part in the  “Otley Run”,  lurching from one Headingley pub to another? (Another Round features the “Lake Run”, a Danish counterpart)
  • Are you living through a mid-life crisis? Do you long to recover your zest for life?
  • Have you ever drunk so much that you pissed the bed?
  • Or do you despair of people who use alcohol to try and fill their inner emptiness?
  • Are you a Danish student of philosopher Søren Kierkegaard who asked “What is youth? A dream. What is love? The content of the dream”.

However you answered any of these questions, this film is sure to give you additional insights.

Another Round is an entertaining buddy movie about four teachers undertaking some pseudoscientific research. But it is a lot more than that. We learn some key things about their families and their emotional lives and maybe why they behave as they do. We see them drunk and sober (admittedly often quite drunk). We share their joys, grief and reckless abandon. The film does not glorify alcohol, but it does recognise its place in European culture.

Another Round won an Oscar for best international feature. Director Thomas Vinterberg (Festen, The Hunt) has brought together a great cast in this anarchic and life affirming film. Brilliant storytelling, excellent acting (a special shout out to Mads Mikkelsen) and engaging camerawork. The film is dedicated to Thomas Vinterberg’s daughter Ida whose 19 year old daughter died in a road accident just as production began.

I watched Another Round at the City Varieties as part of Hyde Park Picture House On the Road. The staff there were very helpful and have taken great care with social distancing arrangements. I’m sure that they will give us a warm welcome at our Yorkshire Day screening. Hope to see you there!


Bill Walton

Sundance Film Festival

Dr Andy Moore (@andymoore_), long-term Friend of the Picture House and Lecturer in Film, Exhibition and Curation at the University of Edinburgh, has just got back from a digital visit to Sundance Film Festival. Always one to champion the treasures which can be found when you have the opportunity to explore the festival circuit, Andy has been kind enough to write up a blog post for us on some of the films at this years’ festival which he’s most excited about.

One of the most exciting things about the film festival experience is the joy of the new discovery – that rush when you catch something really distinctive and original that feels fresh and new. For the Sundance Film Festival (which took place almost entirely online this year) this emphasis on discovery – and on distinctive, original voices – is baked into the very DNA of the festival itself.

Sundance, and its associated programs of filmmaking and talent development labs, has helped launch the careers of some of the most exciting and influential independent filmmakers of the past 30 years – from the Coen Brothers to Paul Thomas Anderson. And in championing fresh new voices, the festival has played host to the extraordinary debut features of filmmakers as varied as Marielle Heller, Kelly Reichardt, Ryan Coogler and Boots Riley (all unique voices whose work has graced the programme of the Hyde Park Picture House over the years).

Although audiences participating in this year’s fest swapped the freezing streets of Park City, Utah (and their snow boots and parkas) for slippers, dressing gowns and the comfort of their own living rooms, 2021’s virtual edition was no different on the new voices front: 39 out of the 73 features screening at this year’s festival were directorial debuts, providing plenty of opportunities to experience the joyful rush of discovery.

For me the first film to provide that dopamine hit was Summer of Soul (…Or When the Revolution Could Not Be Televised). The directorial debut from musician Ahmir “Questlove” Thompson is a pure unadulterated joy, and a discovery in more ways than one. The film, which picked up both the Grand Jury Prize and the Audience Award for U.S. Documentary, unearths astonishing footage (untouched and unseen for 50 years) of a series of summer concerts that took place in Harlem in 1969. Known as the Harlem Cultural Festival, the concerts featured an array of incredible performances from legendary black musicians including Stevie Wonder, Sly Stone, Mahalia Jackson and Mavis Staples. Thompson’s film skilfully weaves this extraordinary concert footage together with contemporary interviews to tell a vital, generation re-defining and life-affirming story about African American history, music, culture and fashion.

Another film that shines a light on history in a way that forces you to look at the present with fresh eyes is Shaka King’s electrifying sophomore feature, Judas and the Black Messiah. Starring Daniel Kaluuya and LaKeith Stanfield in two of the best performances of the festival, the film tells the story of Black Panther Party chairman and revolutionary activist Fred Hampton (Kaluuya), and the FBI informant (Stanfield) who infiltrated the party and ultimately provided the information that led to Hampton’s assassination at the hands of the Chicago police.

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Sapphire (1959) for #BlackHistoryMonth

The Hyde Park Picture House’s ‘On The Road’ programme has restarted this month, with daily screenings at the City Varieties attracting film audiences back to see films on the big screen.

However, as it’s still too soon for some people to return to cinemas, this weekend the Hyde Park Picture House team selected a film that can be watched at home as a #HydeParkPick and are sharing it as a way to mark this year’s Black History Month.

Poster for Sapphire with the tagline "The sensational story of a girl who didn't belong"

Sapphire is a British drama directed by Basil Dearden in 1959, it’s a fascinating film that reveals much about levels of prejudice in multi-cultural London just as it was on the cusp of a more permissive 1960s.

We’re presenting this choice with an exclusive new essay written for us by author and film scholar Josiah Howard.

Josiah is a specialist in film and cultural studies who has written four books, including Blaxploitation Cinema: The essential reference guide in 2008. He is a senior contributor at Furious Cinema and his writing credits include articles for The American Library of Congress, The New York Times and Reader’s Digest.     


 The 1959 release in Britain of Basil Dearden’s Sapphire and the same year’s release of Douglas Sirk’s Imitation of Life in America, marked the cinema’s return to the controversial topic of black people passing for white—be they British or American. Subterfuge, “misrepresentation” and the fluid nature or racial identity made good copy: it reinforced the notion that you can’t trust anyone and that things were often not what they seemed.

Released in a world devoid of the internet, cell-phones, home video and digital entertainment, cinematic depictions of passing had a proven and lucrative pedigree: they were titillating, headline-grabbing attractions that appealed to the prurient; the curious visitor who wanted to know about the netherworld but also wanted to remain at a safe and respectable distance.

Elia Kazan’s Pinky and Alfred L. Werker’s Lost Boundaries (both 1949), George Sidney’s Showboat (1951; made three times over the years), and Fred M. Wilcox’s I Passed for White (1960) captivated audiences and did what film studios and distributors wanted: they made money—Pinky even garnered three Academy Award nominations.

Sapphire, under referenced and generally underseen remains a watershed: a bold, audacious, modern tale (itself occasionally insensitive and racist) that dealt with the challenges of immigration, class, culture, the youth generation, identity, and the power of costume, charade, sexual attraction and fetishism. That was a large plate for prolific director Basil Dearden, best-known for his fast-moving procedurals, but he and everyone else involved delivered the salacious goods in fine fashion.

A beautiful conservatively dressed, white girl (whose lacy undergarments are deemed incongruous and “flashy”) is found stabbed to death in a park. But is she white? And what does “white” mean? That’s the essential question that Sapphire explores and it’s a compelling one, especially as Britain’s racial discomfiture was, for the most part, generally unfamiliar outside of Europe. America was the place where there was racial strife and division that was firmly on record. The long-established history of slavery, segregation and, of course, the Civil War were part of America’s dark past: a stark truth that everyone could point to.

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The Watermelon Woman (1997)

Throughout lockdown and beyond, you may have noticed the daily #HydeParkPick service that the staff of the Hyde Park Picture House have organised. Our favourite cinema screen may be dark for now, but films still go on, only for now they’re being watched and talked about online.

This activity has been greatly enriched through the partnerships the cinema has with people and organisations who, under different circumstances, would have contributed events, panels and discussions to the various programme strands at the cinema.

Between 17th and 24th August, the LGBT+ staff community at the University of Leeds, Leeds Beckett University and Leeds Arts University are promoting a ‘Digital Pride’ programme. This is a series of online events and resources that they have put together to mark Pride 2020, a celebration in the city which, which like pretty much everything else this year, has had to be redesigned for a safe and socially distanced world.

We wrote about three films that we’d have liked to have screened this month. One of them, The Watermelon Woman, is a particular favourite of another of our valued collaborators, So Mayer, who has written this excellent article about this important and groundbreaking film.

So Mayer writes about The Watermelon Woman

So Mayer: film scholar, author and researcher

In the 1996 film The Watermelon Woman, filmmaker and film buff Cheryl (played by filmmaker Cheryl Dunye) sets out to learn more about a beguiling Hollywood-era performer credited as ‘The Watermelon Woman.’

‘Is the Watermelon Woman her first name? Her last name?’ Cheryl asks her video camera. With almost nothing to go on bar reductive racist credits, Cheryl finds a way to recover Fae Richards’ story – using every means necessary. She consults the main library in Philadelphia, where she’s turned away by a snooty clerk – so she turns to a grassroots archive, CLIT (Center for Lesbian Information and Technology), where she has to deal with both chaos and an over-protective volunteer. She watches Richards’ Hollywood films that are available on VHS, and finds out her other cinematic career, in ‘race’ films, from film historians and viewers. She asks her mom and aunt, who remember Richards as a sultry singer. And finally, she meets Richards’ longterm lover, who shares stories and ephemera that challenge Cheryl’s perceptions of Richards’ career – and of film history.

Fae Richards, 1930s film actress, with director Martha Page

Unlike the Watermelon Woman, The Watermelon Woman is out there, especially since the restoration in 2017 for its 20th anniversary. It’s been written about brilliantly by scholars such as Kara Keeling, in her books The Witch’s Flight and Queer Times, Black Futures, paying respect to its visionary significance for Black queer feminist cinema. One of the reasons that the film remains so thrilling is that, like Richards’ long career across different kinds of performance, The Watermelon Woman brings together, spins off from and continues to inspire multiple modes of Black queer feminist cultural production. Whether you’re looking for your next viewing or reading after watching the film, or want new ways to approach its multi-layered excellence… inspired by Cheryl’s search, here’s a few routes to try:

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