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. 

In 1993, invited by David Lynch to come up with a low-budget genre movie, Michael Almereyda (Tesla, Experimenter, Hamlet) came up with a moody, postmodern reimagining of the Dracula myth which draws inspiration from Dracula’s Daughter (1936) and André Breton’s surrealist novel Nadja. 

The film follows estranged vampire twins Nadja (Elina Löwensohn) and Edgar (a young Jared Harris) as they reunite following their father’s death by the flamboyantly unhinged Dr. Van Helsing, played with relish by Peter Fonda. 

The film’s striking visuals combine high-contrast black-and-white 35mm cinematography with the hallucinatory grain of Pixelvision video, looking better than ever in this new 4K restoration of the director’s cut.

London Premiere of the New 4K restoration of the director’s cut c/o Arbelos Films and Radiance Films.

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.

During the presidential election of 1988, a teenager named Donnie Darko sleepwalks out of his house one night and sees a giant, demonic-looking rabbit named Frank, who tells him the world will end in 28 days. When Donnie returns home, he finds that a jet engine has crashed into his bedroom. Is Donnie living in a parallel universe, is he suffering from mental illness - or will the world really end?

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.

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..

Tom and Evelyn (Lewis Fiander and Prunella Ransome), a young couple from England, plan an idyllic getaway to a remote Spanish island, in anticipation of the birth of their third child.

When they arrive, they find their destination almost entirely deserted, with the exception of a number of children, all of whom are acting strangely.  When the couple begin to find evidence of a number of atrocities on the island, they quickly find themselves embroiled in a terrifying battle for survival, as well as being forced to confront a previously unthinkable question…

Directed by Narciso Ibáñez Serrador (El televisor, The House That Screamed), the legendary master of horror dubbed the ‘Spanish Hitchcock’, Who Can Kill A Child? is his undisputed masterpiece, an extreme and unbearably tense work that remains deeply shocking in its disregard for societal taboos. With a cult reputation that has continued to grow among genre aficionados since its release in 1976, Who Can Kill A Child? is now considered not just as a landmark work of Euro-horror, but as one of the greatest horror films ever made (Slant Magazine).

Content warning: Please be aware that this version of the film contains a restored eight-minute documentary prologue composed of real archival footage of children suffering in global conflicts including The Holocaust, The Vietnam War and the Nigerian Civil War. The filmmakers included it to underline how adults have historically used and harmed children as helpless victims of conflict, but the use of real-life tragedies has proved controversial and disturbing for audiences.

Presented from a brand-new 4K restoration of the film courtesy of Radiance Films.

Designer Isaac Mizrahi proved a force of nature on the road to his legendary fall 1994 collection, a career-defining triumph that was documented with an effervescent intimacy by Douglas Keeve, Mizrahi’s then-partner. Both a time capsule of the buoyant, raucous 1990s, when pop culture and high art became interchangeable, and a vérité-style, in-the-trenches report on the daily agonies and ecstasies of the creative process, this seminal artistic portrait—sumptuously shot by Ellen Kuras and Robert Leacock—transcends glitz and glamour to offer an extraordinary view of the charisma and force of will inherent to genius, as well as its personal costs.

Digitally restored by the Sundance Institute and UCLA Film & Television Archive. Funding provided by Isaac Mizrahi Entertainment. Laboratory services by Roundabout Entertainment, Inc. and Deluxe Media Audio Services.

When bratty 8-year-old Kevin McCallister (Macaulay Culkin) acts out the night before a family trip to Paris, his mother (Catherine O'Hara) makes him sleep in the attic. After the McCallisters mistakenly leave for the airport without Kevin, he awakens to an empty house and assumes his wish to have no family has come true. But his excitement sours when he realizes that two con men (Joe Pesci, Daniel Stern) plan to rob the McCallister residence, and that he alone must protect the family home.

New York City policeman John McClane (Bruce Willis) is visiting his estranged wife (Bonnie Bedelia) and two daughters on Christmas Eve. He joins her at a holiday party in the headquarters of the Japanese-owned business she works for. But the festivities are interrupted by a group of terrorists who take over the exclusive high-rise, and everyone in it. Very soon McClane realizes that there's no one to save the hostages -- but him.

Buddy (Will Ferrell) was accidentally transported to the North Pole as a toddler and raised to adulthood among Santa's elves. Unable to shake the feeling that he doesn't fit in, the adult Buddy travels to New York, in full elf uniform, in search of his real father. As it happens, this is Walter Hobbs (James Caan), a cynical businessman. After a DNA test proves this, Walter reluctantly attempts to start a relationship with the childlike Buddy with increasingly chaotic results.

Beset with personal and professional problems, George Bailey finds his previously happy life falling apart around him on Christmas Eve. Seeing no way out, George considers suicide from the edge of a bridge ­ but Clarence, his guardian angel, intervenes and shows George what his beloved hometown of Bedford Falls would be like without him. 
 

Science teacher Ryland Grace wakes up on a spaceship light years from home with no recollection of who he is or how he got there. As his memory returns, he begins to uncover his mission: solve the riddle of the mysterious substance causing the sun to die out. He must call on his scientific knowledge and unorthodox ideas to save everything on Earth from extinction.

Celebrating its 35th Anniversary. Raise the Red Lantern is about nineteen-year-old Songlian, a promising student whose family has been destroyed by her father’s death, is forced to abandon her studies and marry into wealth, becoming the fourth and newest concubine of the aging, unseen Master Chen. Inside his walled estate, she discovers a household ruled by a merciless ritual: each night, red lanterns are lit outside the chambers of whichever wife the master chooses to visit, granting her privilege and status while the others are cast into cold irrelevance. Songlian is drawn into the orbit of her rivals, each shaped by years of fighting for the same scraps of attention. Determined at first to rise above the games, Songlian is gradually worn down by isolation and humiliation until she strikes back, trading secrets and favours to secure her place in Master Chen’s hierarchy. As petty cruelty turns even more dire, Songlian is forced to confront what these desperate measures will cost her soul.

“As visually striking as it is dramatically effective,” Zhang Yimou’s Academy Award-nominated and BAFTA-winning Raise the Red Lantern sumptuously captures 1920s China while “subtly exploring the politics of power and control” (Janet Maslin, The New York Times). One of international cinema’s greatest stars of the era, Gong Li is “nuanced and understated” (Chicago Reader) as the stifled young woman forced into a repressive world of concubinage. Newly restored, the film stands as one of the defining works of Fifth Generation Chinese cinema and international film of the 1990s.

The 4K restoration of Raise the Red Lantern was carried out by the Udine Far East Film Festival on the occasion of its 26th edition. The original image and sound negatives were used under the supervision of Director Zhang Yimou. The vintage positive copy, presented at the 1991 Venice International Film Festival and preserved at the Venice Biennale’s Historical Archive of Contemporary Arts, was used for colour reference. The restoration was made in 2024 at L’Immagine Ritrovata (Hong Kong – Bologna)