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.
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!
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.
For those on the pulse of recent indies, defiant and hopeful films about trans people as well as films set in Turkey are on the rise. “Crossing” crosses both of those together.
The narrative is set in motion when Lia, a retired teacher, embarks to Istanbul to find her long lost transgender niece- Tekla- when her neighbour Achi speaks of where she could be. Achi joins Lia on this search as an interpreter- after all they don’t speak Georgian in Turkey. Lia hopes to bring back this missing piece of her family whereas Achi, who’s only in his twenties, seeks to kick-start his life there. In Istanbul, they meet Ervin, a trans lawyer and activist. A pair of impoverished children who hustle to make some money are also a frequent presence.
In the journey of finding lost family, found family emerges along the way as Lia learns to connect with the people around her. I mention all these characters as they all struggle to make ends meet and, more importantly, all are haunted by the absence of a family member. This is a celebration of breaking down barriers and being empathetic towards other people, even if they aren’t family.
It would be easy to focus on the difficulties and discrimination faced on being trans in Georgia and Turkey but with the inclusion of Ervin, it gives hope and demonstrates that a lot more is possible than sex work for trans runaways like Tekla.
Levan Atkin previously made an acclaimed film titled “And Then We Danced” (which is admittedly all I know about that but that should soon change). I love a film with a great dance scene, and this has three which provide opportunity to bask in the roaring culture in Istanbul and also to provide emotional release for both the characters and the audience.
The performances are excellent all around but the one which particularly impressed me was Mzia Arabuli. Lia is a stoic character- one in a state of guilt, obligation and fatigue as she searches for her niece. This near-mourning attitude is signified by the black coat she always wears. She is quite a cold presence, at least at first, but we see her emotion through subtle but effective facial expressions where we can tell how she fees deep down. It’s a quiet performance so layered that it helps immerse you in the character of Lia.
It’s a beautiful film to look at, capturing Istanbul’s grand scale and also capturing the subtle intricacies of its characters. The score is also great, especially when it comes to the dancing.
In summary, “Crossing” treats its dark subject matter of estranged and missing families and societal and financial struggles sadly more so for the marginalised with significant empathy and ultimately hope in a vibrant and compelling drama deserving to be seen.
Yorgos Lanthimos has always made divisive films and Kinds of Kindness is no different. Here are two reviews by volunteers at the Picture House offering different takes. What did you think of the film? Let us know in the comments.
Review by Suman
Despite its optimistic title, perhaps a cruel prank on those that enjoy going to the cinema with no knowledge of the movie they are seeing, Yorgos Lanthimos returns to his sinister roots with “Kinds of Kindness”. Those that may only know Lanthimos for “Poor Things” or “The Favourite” may be taken aback, as he swaps his recent embellished aesthetics for the liminal and uneasy settings of hospitals and empty homes seen in earlier films such as “The Killing of a Sacred Deer” – nevertheless, beautifully directed, but with little to distract you from the explicit monstrosities that are to come.
“Kinds of Kindness” tells three separate stories, each depicting an individual’s blind, relentless dedication to another. Some may argue such blind devotion is far from kindness, however, once again, the aim of a Lanthimos piece is not necessarily to entertain or allow the audience to relate and empathise, but for the viewer to question the limits of the human psyche, with the bassy introduction of Eurhythmics’ “Sweet Dreams” setting the tone for the hedonistic thriller that is brewing beneath the surface.
Despite being quite the Lanthimos fan, and both the trailer and bass boosted introduction promising an enthralling watch, sadly I was rather disappointed by “Kinds of Kindness”. Lanthimos’ signature style did not do the slow-moving plot any favours, with the second act often proving to be the tipping point for many viewers. Actors that I have otherwise seen deliver exceptional performances were reduced to inanimate, emotionless planks, which did not leave me invested in story or character; instead, wondering how many yawns I had left in me before my eyelids were drawn too heavy.
Nonetheless, I am happy to have persevered, as the final story showed the most promise. Slightly more fleshed out characters, exotic settings, and haunting rituals and tradition kept this story afloat, as actors that had given rather 2D performances thus far truly began to benefit from Lanthimos doing what he does best – creating unsettling moments in familiar settings.
Unfortunately, as slow-moving as Lanthimos can be with great success, this simply was not one of those occasions. I was left looking forward to the grotesque and shocking scenes, simply because I knew that these were the only points I was in any way affected or entertained.
With a few films coming up, I am left wondering which way Lanthimos will swing with his next offering.
Review by Harry Denton
This summer will and already has come with so many blockbusters, some of which will save and some of which will spell doom for cinemas or such hyperbolic nonsense. The film I most anticipated is Yorgos Lanthimos’s latest- “Kinds of Kindness” and safe to say it did not disappoint.
Billed as a triptych fable, in English this is a collection of three wild Lanthimos stories which each feature the same cast playing different characters. An anthology can either be told one story at a time or in the style of “Cloud Atlas” where each story occurs simultaneously. As these stories don’t intertwine, the former option of allowing each story to naturally play out and have room to breathe works far better.
Many anthology films can feel like several different films just stitched together. Not this one. On paper, they may sound disparate. To briefly introduce these stories, the first follows a man trying to escape the control of his boss; the second follows a man suspecting his wife is not the same after she is rescued from a desert island and the third follows a woman searching for someone who can resurrect the dead. Those descriptions only scrape the surface of what these stories contain.
The song “Sweet Dreams” was heavily featured in the ad campaign in its trailers that gave little away but certainly gave you a flavour of what to expect. The song only plays right at the opening here and it feels like a strong way for Lanthimos to set the stage in a song where it’s lyrics are in tune with the writing. First of all, these dreams are anything but sweet but follow a kind of dream logic in their absurdism and how they all end when something terrible occurs.
And to really establish the film’s themes- there are the lyrics:
“Some of them want to abuse you. Some of them want to be abused”.
This is a film full of relationships which demonstrate a kind of kindness that is anything but kind. This is the core theme which pulls all these stories together as through these abusive relationships characters are often set with a task they really don’t want to do but long for validation. Their strings are being pulled but they do have some control and ability to rebel against them.
It’s disturbing subject matter makes for many suitably uncomfortable moments but the cruelty is so bizarre that it can often be darkly comedic as a result, part of which due to the return of co-writer Efthimis Filippou, who was an essential part of Lanthimos’s earlier films before “The Favourite”. That dead-pan dialogue is wonderful.
The structure of each story playing out in such a long runtime may seem exhausting but in practice is anything but with plenty of motifs through each story where in the last part, it feels like the motifs and ideas from the first two parts are all coming together giving it a great sense of momentum.
A lot of Lanthimos’s regulars return from “Poor Things” like Willem Dafoe, Margaret Qualley and of course, Emma Stone who thrillingly becomes more prevalent as the film progresses. New to his films are Hong Chau, Mamoudou Athie and Jesse Plemmons, who stars alongside Emma Stone. Stone is brilliant here giving some more wonderful dance moves and exploring similar themes of fighting against misogyny to “Poor Things”. Jesse Plemmons won Best Actor at Cannes for his performance and rightfully so, where so much emotion can be seen under Lanthimos’s style of monotone speaking.
The trailers could get away with basically just showing some shots of the movie because this looks stunning with such clever use of colour and lighting in each story. Make sure to see this on the biggest screen you can. The score uses pianos and choirs for such compelling dramatic effect.
“Kinds of Kindness” is a showcase of Lanthimos’s many talents as he examines abusive relationships through a surreal lens making for a film thrillingly original and a must see.
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.
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.
Monday 24th June 7:30pm – Hyde Park Picture House Community Space
Unfortunately at our recent Annual General Meeting we didn’t have the minimum number of members constitutionally needed to make any formal decisions. We decided to go through the agenda as planned but all the votes were advisory and will be ratified at a Special General Meeting this Monday 24th June at 7:30pm in the community space on the upper floor of the Picture House. An early draft of the minutes from the Annual General Meeting are now available here on the website.
We hope to keep this SGM brief to approve the 2023 minutes, accounts and election of trustees which can be found on the AGM 2024 page of the website.
Following the meeting we’d like to use the time to have an open discussion about some of the things the Friends should be doing, including the work on the mural which was discussed at the AGM. Or you might be interested in the new typeface for our logo, or in choosing a film for future Friends’ screenings. If you would like to get more involved this would be a great way to start.
It will also be a chance for us to start building on the social side of the Friends and give members a chance to get to know each other and discuss any films they have seen recently which is something we’d like to do more of in the future.
Our Annual General Meeting covering the financial year from April 2023-24 will be taking place in Screen 2 at the Picture House on Sunday 9th June. The AGM will begin promptly at 2pm but doors will be open from around 1:15pm to allow members to talk to each other and the committee whilst enjoying some complimentary refreshments. After the meeting has concluded we will also be showing a short film.
We would be glad to see as many of you as possible there but you will need to be signed up to our Pay What You Decide membership scheme in order to attend. For full details please see the AGM Page of our website which includes the agenda and relevant documents for review.
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.
The next film and food session at Heart is Bride and Prejudice directed by the award winning Gurinder Kaur Chadha.
An update of Jane Austen’s classic tale, in which Mrs. Bakshi is eager to find suitable husbands for her four unmarried daughters. When the rich single gentlemen Balraj and Darcy come to visit, the Bakshis have high hopes, though circumstance and boorish opinions threaten to get in the way of romance…
6.30pm: Food: delicious vegan Indian food from the HEART Assembly Bar and Kitchen
7.15pm: Introduction: Gurj Kang
7.30pm: Film: BRIDE and PREJUDICE
Tickets £12 available from HEART reception and online (includes food and film).
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.
Friends of Hyde Park Picture House 