Previews

A Yorkshire Day Celebration

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Thank to all our members who took part in the recent vote for our Yorkshire Day screening. The winning film was Lad: A Yorkshire Story.

Two people, an older man and a young boy, are sitting and standing near a stone fence in a green rural field, conversing, both are holding mugs.


Eleven years on from its first release Lad has continued to defy expectations and reach new audiences around the world with its charming and heartfelt story of friendship and the landscape.

Documenting the story of a teenage boy, Tom, as he grapples with the heartache of grief until an unlikely friendship with a park ranger in the Yorkshire Dales offers an opportunity for healing.

Book your tickets now and join us in Screen 2 on Thursday 1st August at 6pm. If you come along early from 5:30pm there will be free hot drinks and some popcorn. Afterwards there will be an opportunity to share your feelings about Yorkshire and the film!

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If you’re unable to attend this screening you may be able to meet up on future ‘First Thursdays’ starting on September 5th when a group of Friends plan to see the early evening film and meet in the bar afterwards.

Green Border (2023)

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Screening Sat 20th, Sun 21st and Wed 24th July.

Agniezka Holland’s most recent film is a fictional story based on the real-life plight of refugees crossing the titular “green border”. This is the dangerous, wooded exclusion zone where refugees attempt to cross from Belarus into Poland. Holland’s political commentary is uncompromising, with humanitarian issues ever at the forefront of her work.

Green Border (2023 Polish release, 2024 UK release) focuses on both the natural dangers of the freezing swampland and the human dangers facing those caught within a political game. After opening on an airplane filled with travellers starting their journey, the film is split into several chapters. These follow a Syrian family, a Polish border guard, a group of humanitarian workers, and a therapist who has moved to the rural border.

The release of this work is timely. While it is made in the explicit context of Belarusian President Alexander Lukashenko allowing easy access to the EU, with the alleged aim of rebelling against sanctions and European governments, Holland acknowledged the wider scope by stating that “migration is the most important question in Europe and maybe in the world right now”. This question has received a large focus in the recent UK general election campaigns, which coincided with the local release of the film. However, rather than focusing on any government, the effects on ordinary people of all sides are what is highlighted.

Described as a harrowing, urgent, and furious drama, Holland humanises the statistics and headlines we read daily and encourages us to share her anger.

Toby Breeze

Kinds of Kindness (2024)

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Screening daily from Friday 28th June.

Yorgos Lanthimos’ most recent project comes only months after the award-winning Poor Things (2023), bringing over the familiar cast of Emma Stone, Willem Dafoe and Margaret Qualley. However, for Kinds of Kindness Lanthimos has shifted his focus from epic period pieces to the more simple expression of his absurdism seen in The Lobster (2015) and previous films.

The official synopsis suggests a ‘triptych fable’, comprising three separate stories featuring largely the same cast. These follow a man trying to take control of his life, an alarmed policeman when his missing wife returns, and a woman trying to find a person destined to be a spiritual leader.

Lanthimos noted the strengths of making an anthology, calling it “more complex and more engaging” because the audience can bring “whatever you’ve been thinking about from the first story into the next”. Unsurprisingly, he has found a new way to make his audience uncomfortable yet captivated. However, all of Lanthimos’ signature quirks are still apparent. Dark comedy, sex, death and dancing are ever-present.

Actor Jesse Plemons has received particular praise, winning the award for Best Actor at the Cannes Film Festival. Most recently appearing in Civil War (2024) and Killers of the Flower Moon (2023), The Hollywood Reporter’s David Rooney has described Plemons as “an actor with extraordinary range who’s the standout of a stellar ensemble”. This is especially impressive in a star-studded cast such as this.

With its disturbing yet humorous take on control, divinity and the absurdity of life, Lanthimos’ blunt and unsentimental style promises to provoke fans and newcomers alike.

Toby Breeze

Tiger Stripes (2023)

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Screening daily from Friday 24th May

In “Tiger Stripes,” Amanda Nell Eu takes us on a wild ride through the tumultuous world of puberty, friendship, and Malaysian folklore. The film, which premiered at Cannes Critics Week, has been making waves ever since, including at LIFF last November.

Set in a religious primary school, “Tiger Stripes” follows the story of Zaffan, a bold 12-year-old who finds herself at the mercy of both her changing body and the cruelty of her friends. When Zaffan starts menstruating, her life takes a terrifying turn as she begins to transform into a were-tiger, grappling with newfound urges and a growing sense of monstrosity.

What makes “Tiger Stripes” so captivating is its subversive take on genre and body horror, blending Malaysian folklore with a healthy dose of “Mean Girls” style teenage drama. Eu’s smart script turns Zaffan’s story into a parable about individuality and empowerment, exploring themes of shame, fear, and the freedom to express one’s true self.

With its strong casting and imaginative use of limited locations, “Tiger Stripes” is a testament to Eu’s talent as a director. From the lush green forests to the cramped confines of Zaffan’s home and school, Eu creates a world where the supernatural and the everyday collide, where girls can be both wild and innocent at the same time.

As Zaffan embraces her inner tiger and unleashes chaos on her unsuspecting community, “Tiger Stripes” becomes a thrilling exploration of power and freedom. With its exuberant energy and deliciously dark sense of humor, this is one Malaysian genre movie you won’t want to miss.

Chifae Maouelainine

The Afterlight (UK 2021)

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This is a compilation film of film fragments on a 35mm black and white and academy ratio print. There are hundreds of brief sequences: some repeated: some silent: some with sound: in fourteen or so different languages: mostly with English subtitles: and featuring stars and actors from nearly all the substantive cinemas. It runs 82 minutes. This is the only 35mm print, so it will gradually acquire the scars of projection; there are no other prints or alternative versions.

This is the idea of Charlie Shackleton, who researched, produced, directed and edited the film. His earlier titles include Beyond Clueless (2014) which features over 200 extracts from ‘teen movies’ and the extremely unusual Paint Drying (2023), a ten hour salvo at the BBFC. Robbie Ryan contributed on cinematography and Jeremy Warmsley provided a musical accompaniment. To date there have been 44 screenings. Nitrate and safety film stock have a shelf life of over a hundred years; far longer than more recent moving image formats. But the screenings have taken place in numerous and different venues. So the screening may have acquired some of the familiar features of older 35mm prints, such as scratches and other marks. But the print will retain the characteristics of the original format of the films featured.

The extracts in the film range across nearly all the territories of world cinema. They include familiar faces and rather rarer characters. All the extracts are from earlier than 1960, so all the visible participants are dead. The extracts are arranged by genres, themes and tropes.

Viewing the film is rather like a visit to a museum, perhaps a set of ghostly encounters, or an elegiac journey through cinema. Many of the extracts are recognisable but some will likely only be recognised by cinephiles with a extensive range of international film viewing. One can puzzle over the extracts, their order and their sources. One can watch the changing palettes with some extracts in pretty good condition and some showing the wear and tear of long screening journeys.

Whichever response this is a welcome and impressive selection. It is constantly of interest and pleasure and occasional mystery. Since the print will gradually  succumb to age and running through various projectors it is worth seeing at the earliest opportunity. Happily it screens at the Hyde Park Picture House on May 12th, with the director present.

La Chimera (2024)

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Arthur (Josh O'Conner) in a beige suit examining a classical sculpture

Screening daily from Friday 10th May

Get ready for a mesmerizing journey into the heart of Italy’s enchanting landscapes and buried secrets with Alice Rohrwacher’s captivating film, “La Chimera.”

Set in 1980s Tuscany, “La Chimera” follows the lovelorn Englishman Arthur, portrayed with tremendous depth by Josh O’Connor. A former archaeological scholar turned tomb raider, Arthur’s quest to reunite with his lost love, Beniamina, takes viewers on an adventurous journey between the living and the dead.

As Arthur explores Italy’s ancient culture, viewers are treated to a charming fantasy-comedy filled with lively characters, funny moments, and a heartfelt look at love and longing. Rohrwacher’s unique style brings Italy’s past to life, blending ancient greatness with modern-day desires.

With its vibrant setting and compelling storyline, “La Chimera” promises to be a film teeming with life. From the bustling streets of Riparbella to the squalid shantytowns hidden in the hills, audiences will be drawn into a world of eccentric characters and playful chaos.

Featuring stellar performances from a talented cast, including Isabella Rossellini and Carol Duarte, “La Chimera” is a testament to Rohrwacher’s skill as a filmmaker. With its whimsical, fable-like sense of enchantment, this film invites viewers to explore the depths of love, loss, and the timeless pursuit of buried treasures.

Don’t miss your chance to embark on this unforgettable cinematic journey. Screening from 10th May at Hyde Park Picture House, “La Chimera” is a film you won’t want to miss.

Chifae Maouelainine

Love Lies Bleeding (2024)

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A Steamy, Brutal Thriller Bringing us Back to 1989 America

Two women (Katy O'Brian and Kristen Steward) in athletic gear talking intently in a gym with motivational banners in the background.

Screening daily from Friday 3rd May
Limited seats for a preview screening Wednesday 1st May

Rose Glass, the mastermind behind the socially in-depth thriller Saint Maud (also screening in Screen 2 at 6pm on Wednesday 1st and Thursday 2nd May), returns with her second feature film, Love Lies Bleeding. The film, which had its world premiere at the Sundance Film Festival, promises to be a thrilling and nostalgic journey taking us back to 1989 America.

Set in a remote desert town in New Mexico, the film follows the tumultuous relationship between Lou, a reclusive gym manager with ties to a crime family, and Jackie, an ambitious bodybuilder with dreams of making it big in Las Vegas. Played by Kristen Stewart and Katy O’Brian, respectively, the two women find themselves drawn into a world of violence and deception as they navigate the dangerous web of Lou’s criminal family.

Directed by Rose Glass and co-written with Weronika Tofilska (director on Netflix’s Baby Reindeer), it promises to be a steamy and brutal thriller that explores the dark side of love and ambition. With an ensemble cast that includes Jena Malone, Anna Baryshnikov, Dave Franco, and Ed Harris, the film is sure to keep audiences on the edge of their seats.

Love Lies Bleeding has already gained strong reviews, with critics praising Glass’s uncompromising vision and the film’s electrifying performances. While some may find the frenetic final act to be a bit overwhelming, there’s no denying that this is a bold and ambitious piece of filmmaking that confirms Glass as a major talent to watch.

Chifae Maouelainine

Io Capitano (2023)

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Multiple screenings until Thursday 18th April

This is a joint co-production from Italy, France and Belgium. Starting in Africa it follows the trail taken by African migrants attempting to reach Europe and the ‘better life’ it seems to offer. It was written and directed by Matteo Garrone. His previous movies include Gomorrah (2008) and Dogman (2018). Both these dramas were set in Italy and presented powerful but often violent stories. For this new project Garrone worked with several scriptwriters: utilised stories by African writers: and accounts of Africans who had made the journey across the Mediterranean.

The movie opens in Dakar in Senegal where two teenage boys, Seydou (Seydou Sarr) and Moussa (Moustapha Fall), still officially at school, secretly plan to attempt this odyssey. More than one critic has described the cinematic journey as ‘Homeric’. Obtaining forged passports they travel though Mali, Niger, across the Sahara and into Libya. They are exploited by the smugglers and border military. They are violently abused both by criminal gangs and the soldiers. What little help they receive comes from fellow travelers on the illegal trail.

Once in Libya they have to find a way across the Mediterranean sea. This is is an old dilapidated vessel, crammed with would-be migrants: with no proper crew or engineers: and the sole aid a mobile device with GPS and a telephone number to ring: the latter apparently that of some refugee or migrant aid organisation. The Italian title translates literally as ‘Me Captain’.

The movie is well served by the locations [mainly in Morocco]: the cinematography: the editing: and a fine music track. Whilst predominately realist it also contains two sequences more like magical realism. The cast, including actual migrants, and the two leads who are non-professional, are excellent. The movie is in standard widescreen and colour and the dialogue is in Wolof / French / Arabic / English and with English subtitles. The only characters we see are Africans. Europeans are absent apart from a voice on the telephone; otherwise they only appear on the small screen of a mobile device with the images of the ‘better life’: behind the exteriors of oil rigs: inside an overhead helicopter.

This dramatic movie has received widespread critical acclaim and a standing ovation at the Venice Film Festival. It presents that part of the migrant experience that is little seen on the European screens. There are still several opportunities to catch screenings at the Picture House. At times harrowing it is still impressive drama to view; running just over two hours.

Another movie worth watching is Michael Winterbottom’s In this World (2005) which follows the journey of two even younger Afghan boys attempting to travel from their home territory to Britain. This is currently available on the BBC iPlayer.

The Damned (1969)

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A Pervert Pictures Presentation on Sunday March 17th, 2pm

A man in a suit holds the hand of a reclining woman on a chaise longue,

As author Sara Shepard observed “Those who forget the past are doomed to repeat it”.

In “The Damned” director Luchino Visconti takes us back in his portrayal of Nazi Germany in the 1930s. This is a disturbing film of beauty and decay, a heady mixture of sex, violence and intrigue, with a dysfunctional family enriched by arms sales at its core. Something for everyone!

We are so fortunate that the Hyde Park Picture House has worked with Pervert Pictures to bring this powerful tale of decadence to the big screen which will being with a short introduction.

Pervert Pictures is a Leeds-based film club for lovers of the erotic, the disturbing and the provocative, which aims to create a safe and social environment for the viewing of explicit and challenging films.

Herbert Thaliman (Umberto Orsini) says in the film “It does no good to raise one’s voice when it’s too late, not even to save your soul”. A vital lesson for our times? Agree? Disagree? Loved it? Hated it? Let us know. Leave a comment below, contact us with a review or join us in the cafe area after the film for a chat.

Two Scandinavian Films on 35mm

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Sunday 10th December at 12 & 5pm

Girl with Hyacinths / Flicka och hyacinter
(Sweden, 1950, black and white, 99 minutes)

The film is an investigation of the suicide of a young woman, she of the title. The investigation is pursued by a neighbour played by Ulf Palme, who later appeared in the very fine Miss Julie (1951). The film relies on an interesting use of flashbacks. The cinematographer, Göran Strindberg, also worked on Miss Julie, directed by director Alf Sjöberg. Dialogue in Swedish.

The director Hasse Ekman worked as a writer and film-maker from the 1940s to the start of the 1960s; he was a contemporary and overshadowed by Ingmar Bergman. However, he was a successful and popular film-maker in Sweden.

Cross of Love / Rakkauden risti
(Finland, 1946, black and white, 89 minutes)

The film is based on a story by Alexander Pushkin. A young woman runs away to the city where she suffers exploitation before becoming a painter’s model., There are some relatively explicit scenes which, apparently, were censored in a Swedish language version.

Teuvo Tulio was a director who worked from the late 1930s through to the 1960s. His films are both very melodramatic and have an intensity of emotion that can sometime seem over the top. He often uses expressionist techniques. He is also reckoned to be an influence of the contemporary director Aki Kaurismaki. The leading player Regina Linnanheimo was a popular actress who worked on a number of occasions with Tulio and at times contributed to the script. The film dialogue includes Finnish, English and Russian.

Both films are screening from 35 mm archive prints, in the academy ratio and with English subtitles. So two ‘reel’ films on the same day is a treat. Unfortunately there is a three hours break between the screenings. Maybe visit the Hyde Park Book Club or Oxfam book shop?