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Current News. 17 Mar 2. Beauty and the Beast - new releases from PG members. In this week's feature film releases from PG members, Disney revisits a tale as old as time when a bright, beautiful and independent young woman is taken prisoner by a beast in his castle in the classic Beauty and The Beast. Also on release is Olivier Assay's Personal Shopper, a suspense thriller seen through the lens of quaterlife lonliness. Continuing in television is SS- GB and Broadchurch. Ltd - Production Office, Art Department and Location Copiers. Media Insurance Brokers - arranged the insurances.
VICEROY'S HOUSEPath. This extensive retrospective will feature most of the great auteur’s huge body of work, with 4. TV series, from gangster movies to melodramas, social satires to queer dramas. Fassbinder is perhaps one of the most prolific filmmakers of the 2. A fearless artist who knew no taboos, Fassbinder combined scathing social criticism with profound psychological insight. A highlight of the season will be a special screening of The Marriage of Maria Braun (1.
Wednesday 2. 9 March; the film was the greatest critical and commercial success of Fassbinder’s career, and the . We will welcome the film’s star Hanna Schygulla and Editor Juliane Lorenz, who is also President of the Rainer Werner Fassbinder Foundation, with whom the BFI has partnered with for the season, to discuss working with post- war Germany’s most prominent and controversial filmmaker. Another highlight of the month will be a UK- wide re- release of Fear Eats the Soul (1. Friday 3. 1 March; playing on extended run during the season, this bold reworking of Douglas Sirk’s All That Heaven Allows was Fassbinder’s international breakthrough. The season will include an introductory talk Rainer Werner Fassbinder: Wunderkind, Iconoclast, Star by Martin Brady (King’s College London, GSSN), a Fassbinderian Politics Study Day and The Bitter Tears of.
Fassbinder’s Women: A Symposium. There will also be a Fassbinder collection available on BFI Player+ from 3. March, comprised of 1. Fear Eats the Soul (1. The Bitter Tears of Petra von Kant(1.
Fox and His Friends (1. BFI and Arrow Films, who will be distributing the re- release of Fear Eats the Soul, have also worked together to make a number of the films available across the UK in new DCPs. Fassbinder drew inspiration from the French New Wave and, later, from the Hollywood melodramas of Douglas Sirk and others. Alongside the season, BFI Southbank’s regular Big Screen Classics series will showcase some of these films; Fassbinder’s Favourites will include Sirk melodramas All That Heaven Allows (1.
Imitation of Life (1. French New Wave films Vivre sa vie (Jean- Luc Godard, 1.
Le Signe du lion (Eric Rohmer, 1. Hollywood classics such as All About Eve (Joseph L Mankiewicz, 1. Gentlemen Prefer Blondes (Howard Hawks, 1. After having failed to get into film school Fassbinder decided to turn to the theatre where in 1. Ursula Straetz, Peer Raben, Harry Baer and Hans Hirschm.
A charismatic presence in many of his own films, Fassbinder stars in his debut feature Love is Colder than Death (1. This will screen alongside The City Tramp (1. Fassbinder’s earliest surviving film, inspired by Eric Rohmer’s Le Signe du lion, and The Little Chaos (1. Fassbinder’s first film in colour Why Does Herr R.
Fassbinder’s fifth feature in only 1. Rio das Mortes (1. Whity (1. 97. 0), an idiosyncratic western set in the American South of the 1. Following the defeat of the German student movement in 1. Fassbinder considers whether revolutions are inevitably doomed to failure The Niklashausen Journey (1. Beware of a Holy Whore (1.
Peer Raben, Donizetti and Elvis and is a gorgeous ode to filmmaking, warts and all. The glorious re- working of Hollywood noir The American Soldier (1. German- American Vietnam veteran and soon- to- be contract killer, to the Munich of his youth. Fassbinder was much inspired by Marieluise Fleisser, a prot.
Wonderfully written, acted and directed, The Merchant of Four Seasons (1. Fassbinder’s first venture into popular melodrama; it was followed by the intensely autobiographical The Bitter Tears of Petra von Kant (1. Margit Carstensen and Hanna Schygulla. Thanks to a new restoration which premiered at this year’s Berlinale, Fassbinder’s controversial five- part TV series Eight Hours Don’t Make a Day (1.
Aimed at a mass audience, this entertaining soap opera of working- class life revolves around an extended family of three generations who struggle to balance the demands of the workplace with the pressures of family life. Now splendidly restored, the two- part sci- fi series World on a Wire (1. Fassbinder’s one foray into sci- fi anticipates Blade Runner and The Matrix, foreshadowing current anxieties around AI and VR. The epic TV series Berlin Alexanderplatz (1. Fassbinder’s lifelong obsession with Alfred D.
Fassbinder embraced television as a medium and a platform, from ambitious series to TV- movie melodramas; the talk Fassbinder: Television Pioneer will explore how he exploited TV’s artistic potential, how the funding it offered made his career possible (he would surely be making Netflix series today), and how he seized upon TV as a way of communicating provocative ideas to a mass audience. One of Fassbinder’s lesser- known masterpieces Martha (1. Sirk, while Effi Briest (1. Theodor Fontane’s great novel of 1. Way ahead of its time, Fox and His Friends (1.
With echoes of Rosemary’s Baby and The Stepford Wives, Fear of Fear (1. I Only Want You to Love Me (1. Satan’s Brew (1. 97.
Fassbinder’s first international co- production Chinese Roulette (1. Philosophical Screens: Repression and Release in Fassbinder’s Chinese Roulette in which we consider Fassbinder’s spiky, provocative critique of German bourgeois values through a philosophical lens. Bolwieser (aka The Stationmaster’s Wife) (1. Oskar Maria Graf which evokes the hypocritical atmosphere of a small Bavarian town where Nazism is on the rise. Fassbinder’s first film in English Despair (1.
Tom Stoppard from Vladimir Nabokov’s novel set in 1. Berlin and starred an exquisite Dirk Bogarde. The portmanteau film Germany in Autumn (1. German filmmakers to the dramatic terrorist crisis of autumn 1. In The Third Generation (1. West Berlin, a group of bourgeois activists style themselves as terrorists, although they lack any real political motivation; while very much of its time, this colourful, cacophonous farce speaks urgently to ours.
In a Year with 1. Moons (1. 97. 8) is a devastating elegy for doomed love is dedicated to Fassbinder’s lover Armin Meier, who had recently committed suicide while Lili Marleen (1. Fassbinder’s only film set in the Third Reich and chronicles the career of a recording star who wows the troops with her famous hit song while secretly pining for her Jewish lover. The Marriage of Maria Braun (which in addition to the special screening on March 2. May) was the first of three superbly crafted chronicles of the 1.
Lola(1. 98. 1)and Veronika Voss (1. Lola is a brilliant updating of Von Sternberg’s The Blue Angel which captures the sleazy vulgarity and sheer vitality of late 1. West Germany, while Veronika Voss centres on the relationship between a young sports journalist and an ageing movie star who cannot accept that her career is over. Fassbinder’s documentary about the 1. World Theatre Festival in Cologne Theatre in Trance (1. Fassbinder’s final film Querelle (1.
Jean Genet’s homoerotic novel about a beautiful, opium- dealing sailor on shore leave. Completing the season are three documentaries looking at the life and work of Fassbinder. I Don’t Just Want You to Love Me – The Filmmaker Rainer Werner Fassbinder (Hans G. Commissioned by the Rainer Werner Fassbinder Foundation to mark what would have been the director’s 7. Fassbinder (Annekatrin Hendel, 2.
Fassbinder to a new generation. Fassbinder: To Love without Demands (2. Danish filmmaker Christian Braad Thomsen, one of the most perceptive commentators on Fassbinder’s work who enjoyed an enduring friendship with the filmmaker, is an intimate portrait suffused with tenderness towards its subject. Neither a polemicist nor an ideologue, Fassbinder remains an extraordinary artist whose passion for truth- telling is now more important than ever.
Back to Top. 17 Mar 2. London's Sense of an Ending. The Sense of an Ending asks us to re- think – among many things – the way we treat one another. And how did the London- based production treat its Indian director Ritesh Batra?
He told The Washington Post, “It took me a while to understand British reserve. I was used to being in Bombay, or New York or Mexico City, where people talk more directly. During pre- production, I would tell the crew, 'I would like you to do this,' and they would answer, 'That will be slightly difficult.' If it’s only slightly difficult, then let’s do it. I come back a week later, and it’s not done.
Well, it turns out that slightly difficult means that it’s impossible. You’d hear them saying, 'The director is a real a- -- -- -.' Once you get to understand British reserve, it’s endearing.”more > Filmed across London’s Lambeth, Southwark, Islington, Camden and Haringey in August and September 2. The film opens in the UK on March 2. Critical scenes were filmed in Lambeth where Jim Broadbent as the main character Tony lives.
At one point, he is struck in a traffic jam along Newburn Street. Reversing and heading up Orsett Street, he finds a woman driving the wrong way down the one way street, so Tony mounts the pavement to get past her. The production made a donation by way of thanks to the local Vauxhall Gardens Estate Residents and Tenants Association which represents 3,0. At that time Jean Barker chaired the association. She says, “The tenants and residents association runs the community centre, with classes like drumming and dancing – even wool spinning from local city farm fleeces.
They run a lot of social events for residents and have planted a communal garden – so there’s always something to spend film donations on.