For Bleak Weak, Funeral Parade is proud to present In a Year of 13 Moons, Rainer Werner Fassbinder’s devastating portrait of a heartbroken trans woman’s inner turmoil.

Elvira Weishaupt (Volker Spengler) is a trans woman and former slaughterhouse worker living unhappily in Frankfurt. According to her best friend Rote (Ingrid Caven), Elvira only decided to undergo gender-affirming surgery in Casablanca in order to appease a man, Anton (Gottfried John), who just abandoned her anyway. Now Elvira is trying to trace the events of her life in order mend her fractured psyche – but is it too late for her? 

Bleak even for Fassbinder, In a Year of 13 Moons is not for the faint of heart. However, if you can stomach its visceral imagery and extreme pessimism, you will be rewarded with one of the most powerful and emotionally raw films of the 1970s.

With intro from film curator Sarah Cleary.

This widely acclaimed film from Soviet director Elem Klimov is a stunning, senses-shattering plunge into the dehumanizing horrors of war. As Nazi forces encroach on his small village in present-day Belarus, teenage Flyora (Aleksei Kravchenko, in one of the screen’s most searing depictions of anguish since Renée Falconetti’s Joan of Arc) eagerly joins the Soviet resistance. Rather than the adventure and glory he envisioned, what he finds is a waking nightmare of unimaginable carnage and cruelty—rendered with a feverish, otherworldly intensity by Klimov’s subjective camerawork and expressionistic sound design. Nearly suppressed by Soviet censors who took eight years to approve its script, Come and See is perhaps the most visceral, impossible-to-forget antiwar film ever made.

Itinerant Kurdish teachers, carrying blackboards on their backs, look for students in the hills and villages of Iran, near the Iraqi border during the Iran-Iraq war. Said falls in with a group of old men looking for their bombed-out village; he offers to guide them, and takes as his wife Halaleh, the clan's lone woman, a widow with a young son. Reeboir attaches himself to a dozen pre-teen boys weighed down by contraband they carry across the border; they're mules, always on the move. Said and Reeboir try to teach as their potential students keep walking. Danger is close; armed soldiers patrol the skies, the roads, and the border. Is there a role for a teacher? Is there hope?

This movie portrays the drug scene in Berlin in the 70s, following tape recordings of Christiane F. 14 years old Christiane lives with her mother and little sister in a typical multi-storey apartment building in Berlin. She's fascinated by the 'Sound', a new disco with most modern equipment. Although she's legally too young, she asks a friend to take her. There she meets Detlef, who's in a clique where everybody's on drugs. Step by step she gets drawn deeper into the scene.

In 1962 Hong Kong, neighbors Su Li-zhen (Mrs. Chan) and Chow Mo-wan (Mr. Chow) discover their spouses are having an affair. As they spend time together, they develop feelings for each other, but their relationship remains chaste and unspoken, reflecting societal constraints and their own moral compass.

A reforming ex-gangster tries to reconcile with his estranged policeman brother, but the ties to his former gang are difficult to break.

After the daughter of Wang Wei is kidnapped by a criminal network and he receives no help from the corrupt police, Wei sets out on a rampage to find her himself. His only ally is Navin – a relentless journalist whose wife has mysteriously disappeared. Fueled by a furious vengeance, the unlikely duo ruthlessly fights against the kidnappers in this explosive martial arts showdown.

The tale of an eccentric band of culinary ronin who guide the widow of a noodle-shop owner on her quest for the perfect recipe, this rapturous “ramen western” by Japanese director Juzo Itami is an entertaining, genre-bending adventure underpinned by a deft satire of the way social conventions distort the most natural of human urges—our appetites. Interspersing the efforts of Tampopo (Nobuko Miyamoto) and friends to make her café a success with the erotic exploits of a gastronome gangster and glimpses of food culture both high and low, the sweet, sexy, and surreal Tampopo is a lavishly inclusive paean to the sensual joys of nourishment, and one of the most mouthwatering examples of food on film ever made.

While the Civil War rages on between the Union and the Confederacy, three men – a quiet loner, a ruthless hitman, and a Mexican bandit – comb the American Southwest in search of a strongbox containing $200,000 in stolen gold.

Hatred breeds hatred...

24 hours in the lives of three young men in the French suburbs the day after a violent riot.

In this Japanese animation, cyborg federal agent Maj. Motoko Kusanagi (Mimi Woods) trails "The Puppet Master" (Abe Lasser), who illegally hacks into the computerized minds of cyborg-human hybrids. Her pursuit of a man who can modify the identity of strangers leaves Motoko pondering her own makeup and what life might be like if she had more human traits. With her partner (Richard George), she corners the hacker, but her curiosity about her identity sends the case in an unforeseen direction.

A psychologist is sent to a station orbiting a distant planet in order to discover what has caused the crew to go insane.

A neon-drenched trip through nocturnal Taipei, Millennium Mambo stars Shu Qi as Vicky, a bar hostess losing interest in her dull, garrulous boyfriend, and attracted to the mysterious, sensual gangster Jack. Built as a flashback from the future, she finds herself afloat amidst a world of ecstatic nights out and an undertow of nagging emptiness, torn between the two men.

Like Edward Yang (A Brighter Summer Day, Yi Yi), director Hou Hsiao-Hsien emerged as one the major figures of the Taiwanese New Wave, and even collaborated with Yang as a screenwriter on Taipei Story (1985).

Misunderstood at the time by critics and audiences as a misstep in Hou’s otherwise excellent track record, it’s now reclaimed as a vital cog in his filmography. Hou’s meditative style is front-and-centre in Millennium Mambo, aided by the presence of the sublime cinematographer Mark Lee Ping-bin, who at the time had just finished work on In the Mood for Love (2001).

Sergei Parajanov's celebrated masterpiece paints an astonishing portrait of the 18th century Armenian poet Sayat Nova, the 'King of Song'. Parajanov's aim was not a conventional biography but a cinematic expression of his work, resulting in an extraordinary visual poem. Key moments in his subject's life are illustrated through a series of exquisitely orchestrated tableaux filled with rich colour and stunning iconography, each scene a celluloid painting alive with stylised movement.

An angelically beautiful Catherine Deneuve was launched to stardom by this dazzling musical heart-tugger from Jacques Demy. She plays an umbrella-shop owner’s delicate daughter, glowing with first love for a handsome garage mechanic, played by Nino Castelnuovo. When the boy is shipped off to fight in Algeria, the two lovers must grow up quickly. Exquisitely designed in a kaleidoscope of colors, and told entirely through the lilting songs of the great composer Michel Legrand, The Umbrellas of Cherbourg is one of the most revered and unorthodox movie musicals of all time.

Godzilla is the roaring granddaddy of all monster movies. It’s also a remarkably humane and melancholy drama, made in Japan at a time when the country was reeling from nuclear attack and H-bomb testing in the Pacific. Its rampaging radioactive beast, the poignant embodiment of an entire population’s fears, became a beloved international icon of destruction, spawning almost thirty sequels.

In a small Castilian village in 1940, in the wake of Spain's devastating civil war, six-year-old Ana attends a traveling movie show of Frankenstein and becomes possessed by the memory of it. Produced as Franco's long regime was nearing its end and widely regarded as the greatest Spanish film of the 1970s, The Spirit of the Beehive is a bewitching portrait of a child's haunted inner life and one of the most visually arresting movies ever made.

23-year-old Amélie is lonely. After an isolating childhood, she moves to Paris and becomes a waitress at the Café des Deux Moulins, a bar restaurant filled with a colourful cast of diners and employees. One night, Amélie happens across a box of treasures hidden in her apartment, left by a little boy in the Fifties, that changes the course of her life. Henceforth, she dedicates herself to giving back to her community, tracking down the owner of these keepsakes, consoling a widowed neighbour and befriending a reclusive artist. When completing these good deeds, she crosses paths with Nino, a photobooth collagist who shares her oddball sensibilities. She quickly falls in love with him.  

On the planet Ygam, the Draags, extremely technologically and spiritually advanced blue humanoids, consider the tiny Oms, human beings descendants of Terra's inhabitants, as ignorant animals. Those who live in slavery are treated as simple pets and used to entertain Draag children; those who live hidden in the hostile wilderness of the planet are periodically hunted and ruthlessly slaughtered as if they were vermin.

Two teenagers share a profound, magical connection upon discovering they are swapping bodies. Things manage to become even more complicated when the boy and girl decide to meet in person.

A winner of awards across the world including Best Foreign Language Film Oscar, 5 BAFTA Awards including Best Actor, Original Screenplay and Score, the Grand Prize of the Jury at the Cannes Film Festival and many more.

Giuseppe Tornatore's loving homage to the cinema tells the story of Salvatore, a successful film director, returning home for the funeral of Alfredo, his old friend who was the projectionist at the local cinema throughout his childhood. Soon memories of his first love affair with the beautiful Elena and all the highs and lows that shaped his life come flooding back, as Salvatore reconnects with the community he left 30 years earlier.

EVANGELION: DEATH (TRUE)²: A recap of the first 24 episodes of Neon Genesis Evangelion. Fifteen years after the Second Impact, apathetic teen Shinji joins his father's group NERV to fight the Angels. But the truth may destroy them all.

THE END OF EVANGELION: Concurrent theatrical ending of the TV series Neon Genesis Evangelion (1995). Seele orders an all-out attack on NERV, aiming to destroy the Evas before Gendo can trigger Third Impact and Instrumentality under his control.

Set in feudal Japan, this film presents an intriguing tale of violent crime in the woods, told from the perspective of four different characters -- a bandit, a woman, her husband and a woodcutter. Only two things about the incident seem to be clear -- the woman was raped and her husband is now dead. However, the other elements radically differ as the four participants and/or witnesses relate their own stories (with the dead man, eerily enough, speaking through a medium). As each account is revealed, what seemed black-and-white turns to various hues of gray, leading to surprising -- and confounding -- revelations.

In 1986, Park (Song Kang-ho) and Cho (Kim Roi-ha) are two simple-minded detectives assigned to a double murder investigation in a South Korean province. But when the murderer strikes several more times with the same pattern, the detectives realize that they are chasing the country's first documented serial killer. Relying on only their basic skills and tools, Park and Jo attempt to piece together the clues and solve the case in this thriller based on true events.

On a dark, wet night a historic and regal Chinese cinema sees its final film. Together with a small handful of souls they bid "Goodbye, Dragon Inn".

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..

A lighthearted take on director Yasujiro Ozu's perennial theme of the challenges of inter­generational relationships, Good Morning tells the story of two young boys who stop speaking in protest after their parents refuse to buy a television set. Ozu weaves a wealth of subtle gags through a family portrait as rich as those of his dramatic films, mocking the foibles of the adult world through the eyes of his child protagonists. Shot in stunning color and set in a suburb of Tokyo where housewives gossip about the neighbors' new washing machine and unemployed husbands look for work as door-to-door salesmen, this charming comedy refashions Ozu's own silent classic I Was Born, But . . . to gently satirize consumerism in postwar Japan.

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.

A S.W.A.T. team becomes trapped in a tenement run by a ruthless mobster and his army of killers and thugs.

Hirayama is content with his life as a toilet cleaner in Tokyo. Outside of his structured routine, he cherishes music on cassette tapes, books, and taking photos of trees. Through unexpected encounters, he reflects on finding beauty in the world.

In an underwater city, a young girl takes care of a large egg she holds carefully in her arms. A boy with a gun arrives in search of a bird he saw in his dream. At first, it seems as if feelings of sympathy are developing between the two.

Forty years after the film’s original release, Anime Limited is proud to present an all-new 4K restoration of the film, supervised by director Mamoru Oshii, in cinemas nationwide for the very first time.

The film is a creative collaboration between acclaimed director Mamoru Oshii (Ghost in the Shell), who wrote and directed the feature, and revered artist Yoshitaka Amano (Final Fantasy, Vampire Hunter D). The film beautifully intertwines Oshii’s thematic reflections on philosophy and theology with Amano’s distinctive ink painting style, culminating in an arrestingly beautiful hand-drawn allegorical fantasy.

Toshiro Mifune is unforgettable as Kingo Gondo, a wealthy industrialist whose family becomes the target of a cold-blooded kidnapper in High and Low (Tengoku to jigoku), the highly influential domestic drama and police procedural from director Akira Kurosawa. Adapting Ed McBain's detective novel King's Ransom, Kurosawa moves effortlessly from compelling race-against-time thriller to exacting social commentary, creating a diabolical treatise on contemporary Japanese society.

Down-on-his-luck veteran Tsugumo Hanshirō enters the courtyard of the prosperous House of Iyi. Unemployed, and with no family, he hopes to find a place to commit seppuku—and a worthy second to deliver the coup de grâce in his suicide ritual. The senior counselor for the Iyi clan questions the ronin's resolve and integrity, suspecting Hanshirō of seeking charity rather than an honorable end. What follows is a pair of interlocking stories which lay bare the difference between honor and respect, and promises to examine the legendary foundations of the Samurai code.

A bedridden patient in a hospital on the outskirts of 1920s Los Angeles befriends a fellow patient, and shares a fantastic tale of heroes, myths, and villains on a desert island with the little girl.

When a machine that allows therapists to enter their patients' dreams is stolen, all hell breaks loose. Only a young female therapist, Paprika, can stop it.

First of a trilogy of films. During the Second World War, a Japanese conscientious objector named Kaji works as a supervisor in a Manchurian prison camp. He hopes to avoid duty as a soldier, but he also hopes to be helpful to the welfare of his prisoners. An escape attempt by Chinese prisoners results in Kaji's arrest for collusion. He faces the possibility of transferral to combat--or worse.

The extraordinary, internationally embraced Yi Yi (A One and a Two . . .), directed by the late Taiwanese master Edward Yang, follows a middle-class family in Taipei over the course of one year, beginning with a wedding and ending with a funeral. Whether chronicling middle-age father NJ’s tentative flirtations with an old flame or precocious young son Yang-Yang’s attempts at capturing reality with his beloved camera, the filmmaker deftly imbues every gorgeous frame with a compassionate clarity. Warm, sprawling, and dazzling, this intimate epic is one of the undisputed masterworks of the new century.

4K digital restoration carried out by Pony Canyon Inc., with analog and digital processes provided by Imagica Entertainment Media Services, Inc.

The crowning triumph of a career cut tragically short, the final film from Larisa Shepitko won the Golden Bear at the 1977 Berlin Film Festival and went on to be hailed as one of the finest works of late Soviet cinema. In the darkest days of World War II, two partisans set out for supplies to sustain their beleaguered outfit, braving the blizzard-swept landscape of Nazi-occupied Belorussia. When they fall into the hands of German forces and come face-to-face with death, each must choose between martyrdom and betrayal, in a spiritual ordeal that lifts the film's earthy drama to the plane of religious allegory. With stark, visceral cinematography that pits blinding white snow against pitch-black despair, THE ASCENT finds poetry and transcendence in the harrowing trials of war.

In 1930s Korea, a swindler and a young woman pose as a Japanese count and a handmaiden to seduce a Japanese heiress and steal her fortune.

In an unnamed country at an unspecified time, there is a fiercely protected post-apocalyptic wasteland known as The Zone. An illegal guide (Aleksandr Kajdanovsky), whose mutant child suggests unspeakable horrors within The Zone, leads a writer (Anatoliy Solonitsyn) and a scientist (Nikolay Grinko) into the heart of the devastation in search of a mythical place known only as The Room. Anyone who enters The Room will supposedly have any of his earthly desires immediately fulfilled.

An entomologist misses the last bus home and spends the night sharing a young widow’s desert shack, only to find the next morning that he’s unable to leave. He soon becomes psychologically and erotically entangled in her strange existence, which includes a daily ritual of shovelling away endlessly drifting sand. 

Winner of a Special Jury Prize at Cannes in 1964 and nominated for two Academy Awards for Best Foreign Film and Best Director, the film combines an extremely erotic drama with a terrifically gripping thriller. Adapted from Kobe Abe’s novel by acclaimed director Hiroshi Teshigahara, the film also features startling high-contrast black and white photography from Hiroshi Segawa and a superb minimalist score by Toru Takemitsu.

A couple take a trip to Argentina but both men find their lives drifting apart in opposite directions.

Presented with a Live Score by Flautist + Modular artist Miya and percussionist Terry Day

Voted one of the ten best films ever made in the Sight & Sound 2012 poll, and the best documentary ever in a subsequent poll in 2014, Man With A Movie Camera (Chelovek s kinoapparatom) stands as one of cinema’s most essential documents – a dazzling exploration of the possibilities of image-making as related to the everyday world around us.

The culmination of a decade of experiments to render “the chaos of visual phenomena filling the universe”, Dziga Vertov’s masterwork uses a staggering array of cinematic devices to capture the city at work and at play, as well as the machines that power it.
 

ABOUT MIYA:
Miya is an augmented flute player who fuses acoustic instruments (flute, nōkan, ryūteki) with electronic music, creating an innovative musical world that bridges classical and contemporary traditions. With her  “modular flute”, she controls modular synthesisers through her breath, using the unique qualities of both Eastern and Western flutes to produce sacred sonic spaces where audience and environment interact.

Her work has been highly acclaimed on stages both in Japan and abroad, with performances in live houses and art venues in London, Berlin, India, and Malaysia. In Japan, she has performed not only in live houses but also at major art events, including the Setouchi Triennale, BankART, and DOMMUNE. She has also contributed to commercial music and public events, emphasising interaction with space and audience in her multifaceted performances.

She is also an active recording artist, with releases including the jazz album Miya’s Book (2007), produced by Yosuke Yamashita, the live improvised conduction album Benedict/Miya＋7 Maestros (2018), and the modular flute–focused album Namkang (2025).

Since 2019, Miya has fully integrated electronic approaches into her practice, establishing a performance style in which her breath controls modular synthesisers. In 2024, inspired by her collaboration with the Switzerland-based extended flute performer MELO, she co-founded the Improvisers Machine Orchestra with Kōta Arai, incorporating interactive electronic elements into orchestral improvisation with conduction, and exploring sustainable methods of musical and artistic expression.

Going forward, Miya continues to explore the liminal spaces at the boundaries of things and worlds, creating sacred sonic environments through the breath of life and the augmentation of informational embodiment. Utilising both Eastern and Western flutes and electronic augmentation, she aims to keep transcending the boundaries of classical and contemporary, East and West, and to craft new musical realms.

ABOUT TERRY DAY:
Terry Day is a first-generation pioneer improviser from the 1960s: an improviser, multi-instrumentalist, lyricist, songwriter, visual artist and poet.

A self-taught musician in a family of musicians, he began improvising on the drums with his brother in 1955. In the early ‘60s, he formed the Hardy Holman Day trio, focusing on free improvisation. Later, he became part of the band Kilburn & the Highroads with Ian Dury. Sharing their interest in visual art and painting, they both studied at Walthamstow School of Art and later at the Royal College of Art, London. As an art student in the ‘60s, he was also a pioneer of free improvisation, free jazz & experimental music.

He formed a duo with guitarist Derek Bailey in the late ´60s and was a regular member of The Continuous Music Ensemble, The People Band and, later on, Alterations with David Toop, Steve Beresford & Peter Cusack.

Terry has collaborated with many musical luminaries, groups, dancers, painters, poets and performed in theatre. He now plays bamboo reed flutes, drums, recorders, balloons & improvises with his lyrics, prose and verse. Since 2000, he has been part of London Improvisers Orchestra. In recent years, he has toured twice in both Japan and Brazil, and has performed with improvising orchestras in Malaga, Tokyo and Madrid.

The elderly Shukishi and his wife, Tomi, take the long journey from their small seaside village to visit their adult children in Tokyo. Their elder son, a doctor, and their daughter, a hairdresser, don't have much time to spend with their aged parents, and so it falls to Noriko the widow of their younger son who was killed in the war, to keep her in-laws company.

An assassin goes through obstacles as he attempts to escape his violent lifestyle despite the opposition of his partner, who is secretly attracted to him.

Yuddy, a Hong Kong playboy known for breaking girls' hearts, tries to find solace and the truth after discovering the woman who raised him isn't his mother.

"THE COLOUR OF ILLUSION IS PERFECT BLUE"

A young Japanese singer is encouraged by her agent to quit singing and pursue an acting career, beginning with a role in a murder mystery TV show.

At the age of seventy, after years of consolidating his empire, the Great Lord Hidetora Ichimonji (Tatsuya Nakadai) decides to abdicate and divide his domain amongst his three sons. Taro (Akira Terao), the eldest, will rule. Jiro (Jinpachi Nezu), his second son, and Saburo (Daisuke Ryu) will take command of the Second and Third Castles but are expected to obey and support their elder brother. Saburo defies the pledge of obedience and is banished.

Juraj Herz's film The Cremator has been described in many ways - as surrealist-inspired horror, as expressionist fantasy, as a dark and disturbing tale of terror.

This brilliantly chilling film, a mix of Dr Strangelove and Repulsion, is set in Prague during the Nazi occupation. It tells the story of Karl Kopfrkingl (Rudolf Hrušínský), a professional cremator, for whom the political climate allows free rein to his increasingly deranged impulses for the 'salvation of the world'.

Winner of the Palme d’Or at the 1997 Cannes Film Festival, Iranian auteur Abbas Kiarostami’s _Taste of Cherry_ is an emotionally complex meditation on life and death. Middle-aged Mr. Badii (Homayoun Ershadi) drives through the hilly outskirts of Tehran—searching for someone to rescue or bury him.

By the time he made Ugetsu, Kenji Mizoguchi was already an elder statesman of Japanese cinema, fiercely revered by Akira Kurosawa and other directors of a younger generation. And with this exquisite ghost story, a fatalistic wartime tragedy derived from stories by Akinari Ueda and Guy de Maupassant, he created a touchstone of his art, his long takes and sweeping camera guiding the viewer through a delirious narrative about two villagers whose pursuit of fame and fortune leads them far astray from their loyal wives. Moving between the terrestrial and the otherworldly, Ugetsu reveals essential truths about the ravages of war, the plight of women, and the pride of men.

Famed stage actress Elisabeth Vogler (Liv Ullmann) suffers a moment of blankness during a performance and the next day lapses into total silence. Advised by her doctor to take time off to recover from what appears to be an emotional breakdown, Elisabeth goes to a beach house on the Baltic Sea with only Anna (Bibi Andersson), a nurse, as company. Over the next several weeks, as Anna struggles to reach her mute patient, the two women find themselves experiencing a strange emotional convergence.

On the verge of turning thirty, Julie is faced with a series of choices that force her to pursue new perspectives on her life in contemporary Oslo. Over the course of four years, she navigates love affairs and existential uncertainty as she starts deciding who she wants to become.

Baron Meier Link is of a dying race, but the vampire doesn't intend to remain lonely much longer. Abducting women in the night is common for his kind, so what's one more? But Charlotte's father has plenty of money, and there's no price he won't pay to get his daughter back. That's why he hires D.

D is a Dunpeal, a breed rarer than that of the vampires - after all, he's half of one. When it comes to hunting those with fangs like his own, he's the best in the business. But that doesn't mean he's the only game in town. The Markus Brothers are on the vampire's trail as well, and they're not about to lose. It's a race, not only between the rival Hunters, but for the vampire and his bride-to-be. But it might be more than just a job to D. Is Charlotte really a captive? Or will another Dunpeal be born to this world?

Mob assassin Jeffrey is no ordinary hired gun; the best in his business, he views his chosen profession as a calling rather than simply a job. So, when beautiful nightclub chanteuse Jennie is blinded in the crossfire of his most recent hit, Jeffrey chooses to retire after one last job to pay for his unintended victim's sight-restoring operation. But when Jeffrey is double-crossed, he reluctantly joins forces with a rogue policeman to make things right.

A cop who loses his partner in a shoot-out with gun smugglers goes on a mission to catch them. In order to get closer to the leaders of the ring he joins forces with an undercover cop who's working as a gangster hitman. They use all means of excessive force to find them.

Please Note: We plan to have the 35mm print of Hard Boiled on site in the New Year to check on its quality, and if we find it is unsuitable for screening, we will switch to the new 4K restoration courtesy of Arrow Films!

Lilya (Oksana Akinshina) lives in poverty and dreams of a better life. Her mother moves to the United States and abandons her to her aunt (Liliya Shinkaryova), who neglects her. Lilya hangs out with her friends, Natasha (Elina Benenson) and Volodya (Artiom Bogucharski), who is suicidal. Desperate for money, she starts working as a prostitute, and later meets Andrei (Pavel Ponomaryov). He offers her a good job in Sweden, but when Lilya arrives her life quickly enters a downward spiral.

Second part of a trilogy. Conscientious objector Kaji, now forced to serve in the Japanese army during the Second World War, helps a friend defect to the Russians and nearly goes with him. But despite his opposition to war, Kaji does his best to serve as help and guide to the men in his charge, most of whom are doomed to fall to the relentless attack of Russian armored divisions.

Paratrooper commander Colonel Mathieu, a former French Resistance fighter during World War II, is sent to Algeria to reinforce efforts to squelch the uprisings of the Algerian War. There he faces Ali la Pointe, a former petty criminal who, as the leader of the Algerian Front de Liberation Nationale, directs terror strategies against the colonial French government occupation. As each side resorts to ever-increasing brutality, no violent act is too unthinkable.

During World War II era, a young woman, Wang Jiazhi, gets swept up in a dangerous game of emotional intrigue with a powerful political figure, Mr. Yee.

An intoxicating, time-bending experience bathed in the golden glow of oil lamps and wreathed in an opium haze, this gorgeous period reverie by Hou Hsiao-hsien traces the romantic intrigue, jealousies, and tensions swirling around four late-nineteenth-century Shanghai “flower houses,” where courtesans live confined to a gilded cage, ensconced in opulent splendor but forced to work to buy back their freedom. Among the regular clients is the taciturn Master Wang (Tony Leung Chiu-wai), whose relationship with his longtime mistress (Michiko Hada) is roiled by a perceived act of betrayal. Composed in a languorous procession of entrancing long takes, Flowers of Shanghai evokes a vanished world of decadence and cruelty, an insular universe where much of the dramatic action remains tantalizingly offscreen—even as its emotional fallout registers with quiet devastation.

In a seaside village of Japan during the 1920s, married professor Aochi (Fujita Toshiya) meets up with old friend Nakasono (Yoshio Harada), who's now a drifter accused of murder. Aochi manages to fight off the suspicion surrounding his buddy, but complications arise when they meet bereaved geisha Koine (Naoko Otani). Nakasono is immediately smitten. Aochi is attracted, but wants to stay faithful to his wife. Yet, over time, the mind games between all three escalate in a violently sexual way.

A detective starts spiraling out of control when a wave of gruesome murders with seemingly similar bizarre circumstances are sweeping Tokyo.

In a corrupt, greed-fueled world, a powerful alchemist leads a messianic character and seven materialistic figures to the Holy Mountain, where they hope to achieve enlightenment.

For kids around the world, music is often the only salvation when the pain and anxiety of teenage life becomes too much to bear. Yuichi (Hayato Ichihara) is in the 8th grade and he worships Lily Chou-Chou, a Bjork-like chanteuse whose epic music is lush and transcendent. Yuichi only lives for Lily Chou-Chou's big Tokyo concert, where the lies and violence can be washed away by the presence of his goddess and her powerful music. But fate has yet another obstacle in store for Lily's devoted fan.

Before beginning a new job, Gaspard (Melvil Poupaud) goes to a beach town to relax for a few weeks. He waits for Lena (Aurelia Nolin), a girl he has been casually dating for some time. When she does not arrive, he strikes up a friendship with waitress Margot (Amanda Langlet). Through her, Gaspard also meets Solene (Gwenaëlle Simon), a free spirit open to a physical relationship if he agrees to be faithful. As Gaspard spends time with each, he finds his feelings even further conflicted.

Akerman’s ambiguous triptych was based on her experiences hitchhiking from Paris to Brussels. A woman (played by the filmmaker) holes up in a room, obsessively eating sugar and rearranging furniture. Then we follow her hunt for love and connection – first with a truck driver, then an ex-lover. With its uninterrupted erotic-free ten-minute lesbian sex scene, this is one of the most radical and assured sequences in any feature debut from the 1970s.

China was once divided into seven kingdoms that warred with each other constantly. It took one man to conquer all the kingdoms and create China. A nameless man (Jet Li) is brought to meet the king of Qin (Daoming Chen) in his palace. Nameless is being honoured for killing three assassins from the kingdom of Zhao. 

Wong Kar Wai’s loose sequel to In the Mood for Love combines that film’s languorous air of romantic longing with a dizzying time-hopping structure and avant-sci-fi twist. Tony Leung Chiu Wai reprises his role as writer Chow Mo-Wan, whose numerous failed relationships with women who drift in and out of his life (and the one who goes in and out of room 2046, down the hall from his apartment) inspire the delirious futuristic love story he pens. 2046’s dazzling fantasy sequences give Wong and two of his key collaborators—cinematographer Christopher Doyle and editor/costume designer/production designer William Chang Suk Ping—license to let their imaginations run wild, propelling the sumptuous visuals and operatic emotions skyward toward the sublime.

Andrei Tarkovsky’s extraordinarily accomplished debut feature ‘Ivan’s Childhood’ is a powerful and moving tale of a 12-year-old boy who vows to avenge his family’s death at the hands of the Nazis.

Striking up a friendship with three sympathetic Soviet officers, young Ivan becomes a spy on the eastern front.

The film was awarded the Golden Lion at Venice Film Festival in 1962 and brought the Russian director international acclaim. A haunting and poetic depiction of a childhood ravaged by war.

★★★★★ “It is one of the great coups de cinéma. Unmissable” - Peter Bradshaw, The Guardian

Ricky is a defiant young city kid who finds himself on the run with his cantankerous foster uncle in the wild New Zealand bush. A national manhunt ensues, and the two are forced to put aside their differences and work together to survive.

Part three of a trilogy. After the Japanese defeat to the Russians in the last episode, Kaji, the Japanese soldier and humanistic protagonist, leads the last remaining men through Manchuria. Intent on returning to his dear wife and his old life, Kaji faces great odds in a variety of different harrowing circumstances as he and his fellow men sneak behind enemy lines.

Jacques Demy's crystalline debut gave birth to the fictional universe in which so many of his characters would live, play, and love. It's among his most profoundly felt films, a tale of crisscrossing lives in Nantes (Demy's hometown) that floats on waves of longing and desire. Heading the film's ensemble is the enchanting Anouk Aimée as the title character, a cabaret chanteuse who's awaiting the return of a long-lost lover and unwilling to entertain the adoration of another love-struck soul, the wanderer Roland (Marc Michel). Humane, wistful, and witty, Lola is a testament to the resilience of the heartbroken.

Tracing the life of a renowned icon painter, the second feature by Andrei Tarkovsky vividly conjures the murky world of medieval Russia. This dreamlike and remarkably tactile film follows Andrei Rublev as he passes through a series of poetically linked scenes—snow falls inside an unfinished church, naked pagans stream through a thicket during a torchlit ritual, a boy oversees the clearing away of muddy earth for the forging of a gigantic bell—gradually emerging as a man struggling mightily to preserve his creative and religious integrity. Appearing here in the director's preferred 183-minute cut as well as the version that was originally suppressed by Soviet authorities, the masterwork Andrei Rublev is one of Tarkovsky's most revered films, an arresting meditation on art, faith, and endurance.

Clumsy Monsieur Hulot (Jacques Tati) finds himself perplexed by the intimidating complexity of a gadget-filled Paris. He attempts to meet with a business contact but soon becomes lost. His roundabout journey parallels that of an American tourist (Barbara Dennek), and as they weave through the inventive urban environment, they intermittently meet, developing an interest in one another. They eventually get together at a chaotic restaurant, along with several other quirky characters.

A woman's lover and her ex-boyfriend take justice into their own hands after she becomes the victim of a rapist. Because some acts can't be undone. Because man is an animal. Because the desire for vengeance is a natural impulse. Because most crimes remain unpunished.

Edward Yang's penultimate film is an acerbic, sprawling tragicomedy, a poison love letter to Taipei as a rising cosmopolis of big money, big dreams, and big cons. Once more focusing on directionless youth, Yang depicts the four immature toughs who share the same apartment and, frequently, the same women. Led by the amoral Red Fish (Tang Tsung-sheng), the crew implements a slate of swindles and illicit business deals aimed at naive foreigners—including French teenager Marthe (Virginie Ledoyen), who is looking to reconnect with her older English lover (Nick Erickson)—and superstitious gold diggers (Carrie Ng). But when mobsters seek to collect on a debt owed by Red Fish's ex-criminal father (Chang Kuo-chu), they accidentally abduct translator Luen-Luen (Lawrence Ko), the only crew member with scruples and, seemingly, an ounce of compassion. In several intertwined tales of greed, violence, and shattered principles, Mahjong examines how a city can grow in power and wealth while abandoning its heart and soul.

The legendary midnight movie sensation that firmly embedded samurai mythology within American pop culture consciousness, this English-dubbed reedit of the first two films in the classic Japanese chanbaraseries Lone Wolf and Cub is a giddily entertaining, mesmerizingly gory classic of East-meets-West grindhouse mayhem. Following the murder of his wife at the hands of an evil shogun, an avenging ronin (Tomisaburo Wakayama) roams the countryside with his young son—and the boy's sword-shooting baby carriage—in tow, dispatching ninja assassins with steely resolve in operatically stylized flurries of hallucinatory violence. With its pulsing synth soundtrack (cowritten by Mark Lindsay of Paul Revere & the Raiders) and delirious action set pieces—kinetically edited whirlwinds of flashing blades, spurting blood, and severed limbs—Shogun Assassin proved an instant cult favorite that has bubbled its way up from the underground to the mainstream thanks to its influence on artists ranging from the Wu-Tang Clan to Quentin Tarantino.

* ON SALE 3rd AUG *

Among the boldest accomplishments of Hong Kong cinema’s golden age, this uniquely visceral martial-arts movie puts a gritty new spin on the story of the one-armed swordsman, an iconic figure from the moment he was introduced by the Shaw Brothers studio in 1967. Composed in a whirlwind of immersive close-ups and fractured editing, The Blade follows the young sword-maker Ding On (Vincent Zhao), who, after losing an arm in an ambush, transforms himself into a furious avenger. With its intentionally disorienting stylization and starkly brutal tone, The Blade was a rare commercial disappointment for Tsui Hark, but it has since been reclaimed as one of the director’s most radical visions—a tour de force of action expressionism, and a scathing reappraisal of the wuxia genre’s code of masculinity, that achieves a feverish intensity.

Farmers from a village exploited by bandits hire a veteran samurai for protection, who gathers six other samurai to join him.

Featuring indelible performances from Raul Julia and an Academy Award–winning William Hurt, Kiss of the Spider Woman is a work of radical compassion that boldly expands notions of love, gender, and revolution. In the film—directed by Héctor Babenco following his international breakthrough with Pixote, and adapted from the novel by the iconoclastic writer Manuel Puig—Julia and Hurt play Valentin and Molina, a militant leftist activist and a queer, cinema-obsessed window dresser, imprisoned together under a repressive military dictatorship. The two gradually forge a bond that transforms the way they both understand politics, sexuality, and masculinity. Blending raw realism with Molina's imaginative escapes into sumptuous movie fantasy, this searing human drama offers a powerful vision of personal liberation embedded within broader political struggle.

This precisely wrought, emotionally penetrating romantic drama from Jacques Demy, set largely in the casinos of Nice, is a visually lovely but darkly realistic investigation into love and obsession. A bottle-blonde Jeanne Moreau is at her blithe best as a gorgeous gambling addict, and Claude Mann is the bank clerk drawn into her risky world. Featuring a mesmerising score by Michel Legrand, Bay of Angels is among Demy's most sombre works.

With Masculin féminin, ruthless stylist and iconoclast Jean-Luc Godard introduces the world to “the children of Marx and Coca-Cola,” through a gang of restless youths engaged in hopeless love affairs with music, revolution, and one another. French New Wave icon Jean-Pierre Léaud stars as Paul, an idealistic would-be intellectual struggling to forge a relationship with the adorable pop star Madeleine (real-life yé-yé girl Chantal Goya). Through their tempestuous affair, Godard fashions a candid and wildly funny free-form examination of youth culture in pulsating 1960s Paris, mixing satire and tragedy as only Godard can.

David Locke is a world-weary American journalist who has been sent to cover a conflict in northern Africa, but he makes little progress with the story. When he discovers the body of a stranger who looks similar to him, Locke assumes the dead man's identity. However, he soon finds out that the man was an arms dealer, leading Locke into dangerous situations. Aided by a beautiful woman, Locke attempts to avoid both the police and criminals out to get him.

Crotchety retired doctor Isak Borg (Victor Sjöström) travels from Stockholm to Lund, Sweden, with his pregnant and unhappy daughter-in-law, Marianne (Ingrid Thulin), in order to receive an honorary degree from his alma mater. Along the way, they encounter a series of hitchhikers, each of whom causes the elderly doctor to muse upon the pleasures and failures of his own life. These include the vivacious young Sara (Bibi Andersson), a dead ringer for the doctor's own first love.

A 1920s playwright meets a beautiful woman who may be the ghost of his patron's deceased wife.

It's death, Japanese style, in the rollicking and wistful first feature from maverick writer-director Juzo Itami. In the wake of her lascivious father's sudden passing, a successful actor (Itami's wife and frequent collaborator, Nobuko Miyamoto) and her husband (Tsutomu Yamazaki) leave Tokyo and return to their family house to oversee a traditional funeral. Over the course of three days of mourning that bring illicit escapades in the woods, a surprisingly materialistic priest (Yasujiro Ozu regular Chishu Ryu), and cinema's most epic sandwich handoff, the tensions between public propriety and private hypocrisy are laid bare. Deftly weaving dark comedy with poignant family drama, The Funeral is a fearless satire of the clash between old and new in Japanese society in which nothing, not even the finality of death, is off-limits.

In 19th century Qing Dynasty China, a warrior (Chow Yun-Fat) gives his sword, Green Destiny, to his lover (Michelle Yeoh) to deliver to safe keeping, but it is stolen, and the chase is on to find it. The search leads to the House of Yu where the story takes on a whole different level.

A future society, where humans and robots co-exist. Amidst the chaos created by anti-robot factions, detective Shunsaku Ban and his sidekick Ken-ichi are searching for rebel scientist Dr. Laughton, to arrest him and seize his latest creation, a beautiful young girl named Tima. When they locate them, Shunsaku soon realizes that the eccentric scientist is protected by a powerful man and his fierce desire to reclaim a tragic figure from his past and therefore is beyond their reach.

The activities of rampaging, indiscriminate serial killer Ben are recorded by a willingly complicit documentary team, who eventually become his accomplices and active participants. Ben provides casual commentary on the nature of his work and arbitrary musings on topics of interest to him, such as music or the conditions of low-income housing, and even goes so far as to introduce the documentary crew to his family. But their reckless indulgences soon get the better of them.

This imaginative Japanese production presents a series of short films by lauded director Akira Kurosawa. In one chapter, a young boy spies on foxes that are holding a wedding ceremony; the following installment features another youth, who witnesses a magical moment in an orchard. In the segment "Crows," an aspiring artist enters the world of a painting and encounters Vincent van Gogh (Martin Scorsese). Many of the films in this inventive movie are tied together by an environmental theme.

A quintessential entryway into the highly stylized, tightly choreographed wuxia genre of martial arts cinema, Dragon Inn was a global breakthrough for the form’s greatest practitioner, King Hu. Its influence remains incalculable, from its annihilation of traditional expectations of what kind of role an actress should inhabit (also chipped away at by Hu’s previous masterpiece Come Drink with Me), to the formation of many of the genre’s archetypes – such as the Eunuch, the Swordswoman, and the Family of Murdered Loyal Officials – that are still recognizable in the martial arts films of today.

It’s the middle of the Ming Dynasty. The powerful eunuch Cao (Pai Ying) has killed the Loyal Minister Yu, and Yu’s children are exiled to the border, whereupon Cao undertakes efforts to massacre the remnants of the family. As Yu’s children take refuge in the Dragon Gate Inn, Xiao the righteous swordsman (Shih Jun) and the surviving loyalists of Minister Yu engage in a series of battles to the death against the forces of the blood thirsty eunuch.

Using a nonlinear structure interlaced with dreams and flashbacks, director Andrei Tarkovsky creates a stream-of-consciousness meditation on war, memory and time that draws heavily on events from his own life.

Zhang Yimou combines breathless wuxia action and rapturous romance into a dazzling visual spectacle. The year is 859 AD, and China's once-flourishing Tang Dynasty is in decline. Unrest is raging throughout the land, and the corrupt government is locked in battle with rebel armies that are forming in protest. The largest and most prestigious of these is the House of Flying Daggers, which is growing ever more powerful. Ordered to capture the faction's mysterious new leader, two police deputies, Leo (Andy Lau) and Jin (Takeshi Kaneshiro), hatch an elaborate plan. Jin will pretend to be a lone warrior called Wind and rescue the beautiful, blind revolutionary Mei (Ziyi Zhang) from prison, earning her trust and escorting her to the secret headquarters of the House of Flying Daggers. The plan works, but to their surprise, Jin and Mei fall deeply in love on their long, perilous journey.

Out 1 is a 13-hour film by Jacques Rivette. Yes, 773 minutes. The film is structurally indebted to early silent serials, such as Louis Feuillade’s Les Vampires, and is thus divided into eight distinctive episodes of around 90 – 100 minutes each. There are several independent narratives and sub-plots, with many of the characters loosely connected to each other.

Loosely inspired by Honoré de Balzac’s La Comédie humaine, Out 1: Noli me tangere is an absorbing, multi-stranded epic involving a quest to uncover a secret society in post-May 1968 Paris, with an enormous cast made up of French heavyweights like Jean-Pierre Léaud, Juliet Berto and Bernadette Lafont, not to mention cameos from directors like Eric Rohmer and Barbet Schroeder.

Constructed as eight feature-length episodes which run over almost thirteen hours, it was originally screened just once in its original cut in 1971, with rare subsequent screenings in the ‘90s and ‘00s becoming the stuff of legend in cinema circles.

We last screened OUT 1 over two days in 2015, in collaboration with The Badlands Collective and A Nos Amours. Now, we are doing the unthinkable – presenting the entire 13-hour film in one sitting on Bank Holiday Monday 31st August!

The eight episodes of the film will be shown over 4 parts with two episodes per part, and a 15-20 minute break between each part. 

Running Times:
09:00 - Episodes 1 & 2 (191 mins)
12:40 - Episodes 3 & 4 (205 mins)
16:25 - Episodes 5 & 6 (183 mins)
19:45 - Episodes 7 & 8 (194 mins)
ends approximately 22:59

Tickets are £42.50 Members / £45 Non-Members.

Why is the ticket price higher than usual?
Events like this are very rare and occupy several regular programme slots. As it runs in 8 episodes across 4 usual programme slots (2 episodes per programme slot), the ticket price is set to cover our operational costs. At £45, this works out at approximately £5.63 per episode. When we last ran this event in 2015, tickets were £40 for non-members. Increasing the price to £45 over more than a decade is well below the rate of inflation, meaning the event is actually cheaper in real terms than it was in 2015.

Delphine (Catherine Deneuve) and Solange (Françoise Dorléac) are twin sisters who each want to find romance and leave their small seaside town of Rochefort, France. Soon they befriend a couple of visiting carnival workers who frequent their lonely mother's (George Chakiris) café and hire the girls to sing in the carnival. Wanting a career as a songwriter, Solange falls for an American musician, Andy (Jacques Perrin), while Delphine dumps her beau and searches Rochefort for her ideal man.

Following the life of Japanese artist and poet Yumeji Takehisa through the imagining of an encounter with a beautiful widow with a dark past.

French vineyard owner Isabelle (Marie Rivière) loves her craft and finds support in her friendships, but she hasn't been in a serious relationship since her husband died. Magali (Béatrice Romand), one of her oldest and dearest friends, decides to secretly put out a personal ad for Isabelle, which yields charming bachelor Gerald (Alain Libolt). However, Magali initially poses as Isabelle in order to meet Gerald and ensure he's the right man, which leads to multiple misunderstandings.

World Premiere of New 4K Restoration, courtesy of Third Window Films

Five bizarre stories with no apparent connection to one another eventually become intertwined, resulting in surreal circumstances.

A salaryman wins tickets to the latest stage sensation, the hypnosis show VIVA FRIENDS!

In the middle of the act, an assassin shows up and kills the hypnotist, leaving the salaryman stranded and convinced he is a bird!

A gang of burglars roam the suburbs while simultaneously dealing with their budding lust for one another!

Meanwhile, a man kills and buries his wife, only to have her claw her way out of the grave and go after him with missile arms and fire breath, over and over again.

Acclaimed commercial director Gen Sekiguchi pulls all these strands together into a movie that is thrillingly original. Survive Style 5+ jettisons traditional movie tricks and aims for something more, a movie where love means never having to kill your wife more than five or six times.

Felicie and Charles have a whirlwind holiday romance. Due to a mix-up on addresses they lose contact, and five years later at Christmas-time Felicie is living with her mother in a cold Paris with a daughter as a reminder of that long-ago summer. For male companionship she oscillates between hairdresser Maxence and the intellectual Loic, but seems unable to commit to either as the memory of Charles and what might have been hangs over everything.