Pink Narcissus on 35mm at BFI Southbank, The Encampments at Picturehouse Central, and Cinema-ye Azad at the ICA…
James Bidgood’s Pink Narcissus screens on 35mm at the BFI Southbank on Wednesday.
Monday, Garden Cinema has a screening of “the definitive film noir,” Out of the Past introduced by City Lit’s John Wischmeyer. The BFI’s Barbara Loden season continues with Kazan’s Wild River in NFT3; The White Ribbon screens as part of Complicit: The Films of Michael Haneke. Rebel Without a Cause is The Regent Street Cinema’s Monday Matinee. After Hours is at The Prince Charles Cinema on 35mm.
Tuesday, Wanda screens on a 35mm BFI National Archive print, introduced by Wanda and Beyond curator Elena Gorfinkel. Funeral Parade returns to present The Times of Harvey Milk at The Prince Charles Cinema. The Castle Cinema celebrates Pride Month with Weekend, followed by an afterparty. Play Jankunú Play is at Atlas Cinema. Tarkovsky’s Mirror is at Close-Up.
Wednesday, guest-curated by Misha Zakharov, Atlas Cinema hosts We Are Above the Law: Queer Imaginings in Central Asia — a double bill of Come On, Scumbags and Pearlshower Ceremonial Event followed by a discussion with queer persons from Central Asia. Pink Narcissus is at NFT2 on 35mm, with an introduction by Goldsmiths’ Andrew Woodyatt. There’s a matinee screening of A Good Marriage as part of The Prince Charles Cinema’s Summertime Eric Rohmer season.
Thursday, Liberty and SOAS Liberated Zone for Gaza present a screening of The Encampments at Picturehouse Central, a documentary about the 2024 solidarity encampments at Columbia and other universities around the US, followed by a panel discussion featuring director Michael T. Workman. The Feminist Moment: Non-fiction and Experimental Shorts, a programme of works that “critique women’s shared social oppressions,” screens at BFI Southbank as part of its Barbara Loden season. Pink Palace presents the director’s cut of Mark Christopher’s 54 — the queer yin to The Last Days of Disco’s hetro-WASPy yang — at the Rio. Mozambique’s first feature-length production, O Tempo dos Leopardos, the story of two childhood friends on opposite sides of the country’s war for independence, is at SOAS’s DLT lecture theatre. Institut Français has Rozier’s under-seen Adieu Philippine. Welles’ Chimes At Midnight is at The Prince Charles. Close-Up’s satellite Haneke season has Amour.
Friday, the ICA’s latest Off-Circuit offering, When The Phone Rang gets its London premiere in Cinema 1, followed by a Q&A with director Iva Radivojević. The Nickel screens Roger Corman’s The Man with X-Ray Eyes. BIMI has a screening of James Scott’s essayistic films on figures of the Pop Art scene, featuring a Q&A with the director. Buffalo ’66 is on 35mm at Prince Charles. Varda’s Vagabond is at BFI Southbank.
Saturday, Cinema-ye Azad, a double bill of works from the Iranian underground film movement is at the ICA, followed by an online Q&A with researcher and film archivist Hadi Alipanah. The Barbara Loden Symposium sets up shop in NFT3 for the day, with contributions from Elena Gorfinkel, Alice Blackhurst and Ben Rivers. Picturehouse Central hosts the 4th edition of The World’s Biggest All Nighter featuring strands curated by Animus Magazine and Token Homo. Deeper Into Movies presents Ralph Bakshi’s 60s satire Fritz the Cat at Farr’s Dalston.
Sunday, Elia Kazan’s Splendor in the Grass screens in NFT1 as part of its Loden season. Celluloid Sunday returns to the ICA, screening Improper Conduct. A Colour Box, a programme of early and pre-Technicolor science films, travelogues and animations is at The Barbican. Nosferatu (1922) is at Prince Charles, accompanied by a live score performed by Hugo Max. Close-Up has 71 Fragments of a Chronology of Chance. The Cinema Museum has Melville’s swansong, Un Flic introduced by Jon Davies, as part of its French Sundaes strand.