When young Nami is framed and falsely imprisoned, she must find a way to escape and exact revenge upon the man who betrayed her. Meiko Kaji (LADY SNOWBLOOD) leads the 1st ferocious film in director Shun'ya Itô's stylish must-see FEMALE PRISONER SCORPION saga. Contains strong language, violence and gore.

An 1867 painting by Jean-Francois Millet inspired septuagenarian documentarian Agnes Varda to cross the French countryside to videotape people who scavenge. Taking everything from surplus in the fields, to rubbish in trashcans, to oysters washed up after a storm, the "gleaners" range from those sadly in need to those hoping to recreate the community activity of centuries past, and still others who use whatever they find to cobble together a rough art. Highlighted by Varda's amusing narration.

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.

After being used and betrayed by the detective she had fallen in love with, young Matsu is sent to a female prison full of sadistic guards and disobedient prisoners.

An unforgettable mixture of bubblegum teen melodrama and grisly phantasmagoria, Obayashi’s deranged fairy tale House is one of Japanese cinema’s wildest supernatural ventures and a truly startling debut feature.

Distressed by her widowed father’s plans to remarry, Angel sets off with six of her schoolgirl friends in tow for a summer getaway in her aunt’s isolated mansion. But all is not well – in this house of dormant secrets, long-held emotional traumas have terrifyingly physical embodiments and the girls will have to use all their individual talents if any are to survive.

A rollercoaster ride without brakes, House is by turns sinister, hilarious and curiously touching, with ceaseless cinematic invention and a satirical, full-blooded approach to the horror genre.

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.

Following her successful prison break, Scorpion begins this third episode in the series hiding out in a brothel. Her prostitute friend tries to keep her identity secret, but the brothel's madam discovers that Scorpion is the ex-girlfriend of the vice officer who killed her lover.

Michael Haneke's 2013 Oscar- and Palme d'Or-winning drama ‘Amour' follows an elderly couple facing their greatest challenge yet. A police unit breaks into a Paris apartment and discover the body of an elderly woman (Emmanuelle Riva). Her husband (Jean-Louis Trintignant) is nowhere to be found. We then jump back in time to one of their last outings together before Anne becomes incapacitated as a result of an illness. What we witness is the cost of love – not the romance of cinema, but the day-to- day activity of caring for another person, no matter the physical or emotional cost.Michael Haneke's most sensitive film refuses to pull any punches in his depiction of the ageing process, but avoids sensation in favour of empathy. This is deeply humane, profoundly moving cinema.

After Anna (Isabelle Adjani) reveals to her husband, Mark (Sam Neill), that she is having an affair, she leaves him and their son. Mark is devastated, and seeks out Heinrich (Heinz Bennent), the man who cuckolded him, only to receive a beating. After a series of violent confrontations between Mark and Anna, Mark hires a private investigator to follow her. Anna descends into madness, and it's soon clear that she is hiding a much bigger secret -- one that is both inexplicable and shocking.

Nami is once again on the run from the law but is saved by an old classmate who works at a strip club. Through a subsequent conversation they discover they both have a score to settle with a particular crooked cop. However, Nami has doubts about ever trusting a man.

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.

This disturbing Japanese thriller follows Aoyama (Ryo Ishibashi), a widower who decides to start dating again. Aided by a film-producer friend (Miyuki Matsuda), Aoyama uses auditions for a fake production to function as a dating service. When Aoyama becomes intrigued by the withdrawn, gorgeous Asami (Eihi Shiina), they begin a relationship. However, he begins to realise that Asami isn't as reserved as she appears to be, leading to gradually increased tension and a harrowing climax.

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.

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.

One of the most influential cyberpunk films of all time, Tetsuo The Iron Man chronicles a salaryman's (Tomorowo Taguchi) transformation from man to metal after himself and his girlfriend (Kei Fujiwara) accidentally run down a metal fetishist (Shin’ya Tsukamoto) with their car. Soundtracked by pulsating punk, Tetsuo The Iron Man remains one of the most explosive films.

Tetsuo The Iron Man opens the season Tetsuo And Beyond, presented with the National Film and Television School’s Film Studies, Programming and Curation MA.

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

When social worker Rika is sent to check on a traumatized old lady whose family have moved in at the site of the notorious Saeki family murder case, she unwittingly unleashes a cycle of terror that is transmitted via its victims further and further from its original source.

Taking its title from an archaic Japanese word meaning "ghost story," this anthology adapts four folk tales. A penniless samurai marries for money with tragic results. A man stranded in a blizzard is saved by Yuki the Snow Maiden, but his rescue comes at a cost. Blind musician Hoichi is forced to perform for an audience of ghosts. An author relates the story of a samurai who sees another warrior's reflection in his teacup.

Hatred breeds hatred...

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

A disheveled man who wanders out of the desert, Travis Henderson (Harry Dean Stanton) seems to have no idea who he is. When a stranger manages to contact his brother, Walt (Dean Stockwell), Travis is awkwardly reunited with his sibling. Travis has been missing for years, and his presence unsettles Walt and his family, which also includes Travis's own son, Hunter (Hunter Carson). Soon Travis must confront his wife, Jane (Nastassja Kinski), and try to put his life back together.

While her son, Kichi, is away at war, a woman and her daughter-in-law survive by killing samurai who stray into their swamp, then selling whatever valuables they find. Both are devastated when they learn that Kichi has died, but his wife soon begins an affair with a neighbor who survived the war, Hachi. The mother disapproves and, when she can't steal Hachi for herself, tries to scare her daughter-in-law with a mysterious mask from a dead samurai.

"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.

This provocative Palme D’or winner is equal parts horrifying and hilarious. Titane follows one person (Agathe Rousselle) along a journey seeking love and acceptance. As a child they were in a horrific car accident, and as a result have a metal plate in the side of their head alongside a lifelong obsession with vehicles. This obsession mutates in increasingly grisly ways, as their life starts to unravel around them.

Titane is playing as part of the Tetsuo And Beyond season presented with the National Film and Television School’s Film Studies, Programming and Curation MA.

Scientist Shane Brown (Vincent Gallo) neglects his new bride (Tricia Vessey), instead spending their honeymoon searching for an old colleague who disappeared after a research paper he had written was discredited by the medical community. It turns out that Dr. Semeneau is living in obscurity in order to protect his wife (Béatrice Dalle), whom he keeps prisoner in a room with boards nailed across the doorway. The narrative unfolds the dark secret that drives each party.

Dae-Su is an obnoxious drunk bailed from the police station yet again by a friend. However, he's abducted from the street and wakes up in a cell, where he remains for the next 15 years, drugged unconscious when human contact is unavoidable, otherwise with only the television as company. And then, suddenly released, he is invited to track down his jailor with a denouement that is simply stunning.

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

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.

42 9th graders are sent to a deserted island. They are given a map, food, and various weapons. An explosive collar is fitted around their neck. If they break a rule, the collar explodes. Their mission: kill each other and be the last one standing. The last survivor is allowed to leave the island. If there is more than one survivor, the collars explode and kill them all.

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.

Ko Chow is an undercover cop who is under pressure from all sides. His boss, Inspector Lau, wants him to infiltrate a gang of ruthless jewel thieves; his girlfriend wants him to commit to marriage or she will leave Hong Kong with another lover; and he is being pursued by other cops who are unaware that he is a colleague. Chow would rather quit the force, feeling guilty about betraying gang members who have become his friends.

Brand new Restoration courtesy of our friends at Arrow Films.

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.

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.

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.

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

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.

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 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.

Middle-aged alcoholic Gin, teenage runaway Miyuki and former drag queen Hana are a trio of homeless people surviving as a makeshift family on the streets of Tokyo. While rummaging in the trash for food on Christmas Eve, they stumble upon an abandoned newborn baby in a trash bin. With only a handful of clues to the baby's identity, the three misfits search the streets of Tokyo for help in returning the baby to its parents.

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.

All Nighter Rules & FAQ re: Etiquette, Food, Alcohol etc

Please Note: We will have a late licence on the night, and the bar will close at 2am.

THE ALL-NIGHTER IS DUE TO END APPROX 09:00am.

AS TEARS GO BY (1988): A low-level triad "big brother" has a hot-tempered "little brother" who can't keep out of trouble, and consequently is in constant need of being bailed out by his protector. The "big brother" is super cool, but lacks the ambition to rise in the ranks of the triad societies - and once he meets his cousin frm Kowloon and falls in love with her, he even thinks about leaving "the life"

CHUNGKING EXPRESS (1994): The whiplash, double-pronged "Chungking Express" is one of the defining works of nineties cinema and the film that made Hong Kong filmmaker Wong Kar Wai an instant icon. Two heartsick Hong Kong cops (Takeshi Kaneshiro and Tony Leung), both jilted by ex-lovers, cross paths at the Midnight Express take-out restaurant stand, where the ethereal pixie waitress Faye (Faye Wong) works. Anything goes in Wong’s gloriously shot and utterly unexpected charmer, which cemented the sex appeal of its gorgeous stars and forever turned canned pineapple and the Mamas and the Papas’ “California Dreamin’” into tokens of romantic longing.

FALLEN ANGELS (1997): Lost souls reach out for human connection amidst the glimmering night world of Hong Kong in Wong Kar Wai’s hallucinatory, neon-soaked nocturne. Originally conceived as a segment of Chungking Express only to spin off on its own woozy axis, this hyper-cool head rush plays like the dark, moody flip side to Wong’s breakout feature as it charts the subtly interlacing fates of a handful of urban loners, including a coolly detached hitman (Leon Lai) looking to go straight, his business partner (Michelle Reis) who secretly yearns for him, and a mute delinquent (Takeshi Kaneshiro) who wreaks mischief by night. Swinging between hardboiled noir and slapstick lunacy with giddy abandon, Fallen Angels is both a dizzying, dazzling city symphony and a poignant meditation on love, loss, and longing in a metropolis that never sleeps.

DAYS OF BEING WILD (1990): Wong Kar Wai’s breakthrough sophomore feature represents the first full flowering of his swooning signature style. The first film in a loosely connected, ongoing cycle that includes In the Mood for Love and 2046, this ravishing existential reverie is a dreamlike drift through the Hong Kong of the 1960s in which a band of wayward twenty-somethings—including a disaffected playboy (Leslie Cheung) searching for his birth mother, a lovelorn woman (Maggie Cheung) hopelessly enamored with him, and a policeman (Andy Lau) caught in the middle of their turbulent relationship—pull together and push apart in a cycle of frustrated desire. The director’s inaugural collaboration with both cinematographer Christopher Doyle, who lends the film its gorgeously gauzy, hallucinatory texture, and actor Tony Leung, who appears briefly in a tantalizing teaser for a never-realized sequel, Days of Being Wild is an exhilarating first expression of Wong’s trademark themes of time, longing, dislocation, and the restless search for human connection.

IN THE MOOD FOR LOVE (2000): Hong Kong, 1962: Chow Mo-wan (Tony Leung Chiu-wai) and Su Li-zhen (Maggie Cheung Man-yuk) move into neighboring apartments on the same day. Their encounters are formal and polite—until a discovery about their spouses creates an intimate bond between them. At once delicately mannered and visually extravagant, Wong Kar Wai’s In the Mood for Love is a masterful evocation of romantic longing and fleeting moments. With its aching musical soundtrack and exquisitely abstract cinematography by Christopher Doyle and Mark Lee Ping-bin, this film has been a major stylistic influence on the past decade of cinema, and is a milestone in Wong’s redoubtable career.

-------------------------------------------------------------------------

NO ALCOHOL PURCHASED FROM OUTSIDE IS PERMITTED IN THE BUILDING!

AGE RESTRICTIONS : This event is strictly 18+