Every day, Cop 223 (Takeshi Kaneshiro) buys a can of pineapple with an expiration date of May 1, symbolizing the day he'll get over his lost love. He's also got his eye on a mysterious woman in a blond wig (Brigitte Lin), oblivious of the fact she's a drug dealer. Cop 663 (Tony Leung Chiu Wai) is distraught with heartbreak over a breakup. But when his ex drops a spare set of his keys at a local cafe, a waitress (Faye Wong) lets herself into his apartment and spruces up his life.

Censored for over half a century, Ken Russell’s film returns in a landmark director’s cut reconstruction that reveals the full power of his original vision. 

Inspired by the true story of 17th-century priest Urbain Grandier, accused of bewitching a convent of nuns, The Devils lays bare the collusion of church and state through a searing vision of religious persecution, collective hysteria and institutional corruption. The restoration many believed would never happen reaffirms Russell’s incendiary masterpiece as among the most overwhelming and uncompromising achievements in British cinema.

Assembled from original camera negative, this 4k restoration is Ken Russell’s 2004 preferred edit. Picture and sound restoration by Warner Bros. Post Production Creative Services, Water Tower Color and Warner Bros. Sound.

Iconic and game-changing, AKIRA is the definitive anime masterpiece! Katsuhiro Otomo's landmark cyberpunk classic obliterated the boundaries of Japanese animation and forced the world to look into the future. AKIRA's arrival shattered traditional thinking, creating space for future generations of ground-breaking movies.

July, 1988 - World War III breaks loose. Then, in 2019, in megalopolis Tokyo...As the leader of a group of young robust delinquents, Kaneda spent his nights tearing through the urban wastes, racing his motorbike against rival groups. One night while riding with his gang, his friend Tetsuo suddenly encounters a strange boy - the product of human experimentation and is injured in the ensuing crash. Shortly thereafter, a military squadron appears on the scene to take the boy and Tetsuo away to an army research facility. Determined to free Tetsuo from capture, Kaneda sneaks into the army research lab. However, a regimen of extreme experimental procedures has awakened a new power in his friend, and now he is consumed by madness..

It is 1929 in New York and the city is divided by gang warfare. On one side, Dandy Dan's mob terrorise the district, taking out those they turn against with their new splurge guns. On the other side, Dandy Dan's rival, Fat Sam, runs his successful Grand Slam Speakeasy.

Kurt Russell plays hard-boiled truck driver Jack Burton, who gets caught in a bizarre conflict within, and underneath, San Francisco's Chinatown. An ancient Chinese prince and Chinatown crime lord has kidnapped a beautiful green-eyed woman, who is the fiancee to Jack's best friend. Jack must help his friend rescue the girl before the evil Lo Pan uses her to break the ancient curse that keeps him a fleshless and immortal spirit.

A multi-storied, fish-eyed look at the human condition against the backdrop of contemporary middle-class LA. Twenty two characters intersect, profoundly and fleetingly, through each other’s lives. It runs the emotional gamut from disturbing to humorous.

Don't miss a rare opportunity to see Robert Altman's sprawling epic, showing from an original 35mm print as part of our SHORT CUTS 35mm Roadshow Tour. The 35mm Roadshow Tour will begin at the Prince Charles Cinema, before heading to other sites across the UK in a limited run this November. Special thanks to David Levy for helping us make this happen, and to Curzon for giving us and participating sites access to their print.

A retired criminal profiler (William Petersen) reluctantly returns to the FBI to help track down a serial killer of families and is forced to consult an expert—the imprisoned Dr. Hannibal Lecktor (Brian Cox in a subtly chilling performance). The third feature written and directed by Michael Mann is a gripping adaptation of the first of Thomas Harris’s four novels featuring the iconic murderer, and benefits from the filmmaker’s typically striking visuals as well as a top-notch supporting cast, including Tom Noonan as the hunted killer, and three-time Oscar nominee Joan Allen (The Contender, 2000) as his blind love interest. 

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This new 4K Final Cut, overseen by Mann, enhances the film’s depth, visual clarity and sound, offering audiences the ultimate immersive version. Shot in 1985, MANHUNTER was on a frontier in both its subject matter and film form, initiating an impressive list of subsequent films and series.  

“40 years ago – though armed with Thomas Harris’ excellent novel, “Red Dragon” – its subject matter, the profiling of serial killers, as well as being shocking and raw, was unknown. When adapting, I wanted to make its storytelling deliver audiences into a certain state of threat and emotional engagement. Integral to that was the visualization and use of music with lyrics sometimes working like a libretto. We have carefully remastered the film to try to evoke that mood and intensity, heightened with audio sourced from the original 5.1 35mm analog masters. This latest iteration is that version of the film with which I’m most satisfied.” said director Michael Mann.  

Under the guidance of Mann, this 4K scan of the original 35mm negative – with a few shots from an interpositive - was conformed and digitally restored at L’Immagine Ritrovata in Bologna. Both the theatrical version and the UHD HDR & SDR video color gradings were performed by Stefan Sonnenfeld at Company 3 in Los Angeles with the director. Sound restoration was done at Audio Mechanics from an original 35mm magnetic 6-track printmaster to release a new 5.1 mix by Luke Schwartzweller at Fox. Technical coordination and deliveries were managed by L’Immagine Ritrovata. This project was supervised by Becca Mann and STUDIOCANAL team, Jean-Pierre Boiget and Delphine Roussel.  

For Michael Mann, the process is about renewing the film’s immediacy for contemporary audiences: “If the picture was left the way it was, it would be interesting, but you’d feel some distance …you’d be observing it somewhat.  I’m more interested in its original intent impacting you the same way it may have in 1986…that is, to bring you into it again in the original way.” 

As a film distinguished by its striking visual style, including Colleen Attwood’s costume design, Academy Award- winner Mel Bourne’s art direction, Dante Spinotti’s lighting, Mann worked with his long-time collaborator, Stefan Sonnenfeld (Company 3), to develop a new color grade for ‘The Final Cut’ that engages a contemporary audience while honoring the film’s lasting legacy. 

“A good example is the use of primaries and secondaries in combinations that don’t occur in nature for an unsettling ambiance or the use of blue for night-time imagery. We’ve changed values subtly sometimes, but significantly, to enhance the impact without changing the dramatic intent of the film,” said Stefan Sonnenfeld. 

He adds: “Michael… wants you to understand the story and the mood and the environment… and then asks you to interpret that in colour… He also tells you what emotion he’s trying to evoke from the scene.” 

The new version also introduces an HDR presentation, offering an intensified new experience. “So that nobody’s ever seen the movie like that,” noted Sonnenfeld.