Programme Notes

BFI Southbank

Days and Nights in the Forest

Days and Nights in the Forest… the very title rings with enchantment, and the old Ray magic is soon at work again. This time the spell is a rug spread out in the sun, a picnic by the river, a charm...

3 Faces

We are screening this film and There Is No Evil (Sheytan vojud nadarad) in solidarity with Jafar Panahi, Mohammad Rasoulof and Mostafa Aleahmad. The BFI strongly condemns their prison sentence and...

The Frog

Introduced by Vic Pratt, Producer, BFI Video Publishing Edgar Wallace’s 1925 novel The Fellowship of the Frog centres on the investigation by two Scotland Yard policemen, Captain Richard Gordon an...

The Feast

+ Q&A with director Lee Haven Jones, producer-screenwriter Roger Williams and actor Annes Elwy In a modern, luxurious house situated in remote Welsh mountains, a wealthy family prepare for an ...

There Is No Evil

We are screening this film and 3 Faces (Se rokh) in solidarity with Jafar Panahi, Mohammad Rasoulof and Mostafa Aleahmad. The BFI strongly condemns their prison sentence and the oppression of artis...

My Old School

+ Q&A with director Jono McLeod and actors Alan Cumming, Clare Grogan and Lulu Director’s Statement My Old School is a documentary which finally reveals the truth behind one of the most incred...

Bigger than Life

Nicholas Ray’s Bigger than Life is among the most radical examples of what may be the most radical genre in American cinema: the small-town melodrama. Though long considered unworthy of serious att...

Notorious

ALICIA: My car is outside. DEVLIN: Naturally. ALICIA: Wanna go for a ride? DEVLIN: Very much. Seven decades after its premiere in New York on 15 August 1946, it’s impossible to shake the feeling t...

The Night of the Hunter

In my film-watching experience, The Night of the Hunter is the closest a director has come to capturing the hypnotic, compelling potency of the kind of nightmares we have when we are children. Init...

The White Ribbon

Michael Haneke on ‘The White Ribbon” Did you always envisage having a narrator? Right from the start. As in my other films, I wanted to nourish a certain sense of distrust regarding the veracity ...

Kes

SPOILER WARNING The following notes give away some of the plot. Kes was Ken Loach’s second feature film, and marks his move away from the self-conscious experimentalism of his earlier work. As be...

Kanchenjunga

SPOILER WARNING The following notes give away the film’s ending. In Satyajit Ray’s view, Kanchenjunga differs from all his previous work: the story being his own, ‘the difference is between interp...

Being Blacker

+ Q&A with Molly Dineen, Blacker Dread and Naptali, hosted by the renowned DJ and remixer, Radio 1Xtra’s Seani B After a ten-year absence, BAFTA award-winning filmmaker Molly Dineen returned w...

Kinuyo Tanaka
Film Pioneer

Join us for this richly illustrated talk exploring the career of Kinuyo Tanaka, which guides you through our film selection. This season introduction event will trace how Tanaka came to be consider...

Teen Kanya

To mark Tagore’s centenary year, Ray adapted three short stories by the writer. In The Postmaster, a young man from Calcutta arrives as postmaster of a small village and soon forms a bond with an o...

Citizen Kane

Andrew Sarris on the 50th anniversary of the opening of ‘Citizen Kane’ Citizen Kane erupted on to the screen, at least as a long-lived figure of speech, on 1 May 1941 at New York’s Palace Theater. ...

Raging Bull

Sitting in a movie theatre as the credits rolled on The Death Collector (1975), Raging Bull’s casting director Cis Corman felt they could have found their Joey LaMotta. The film hadn’t made much of...

La Haine

Mathieu Kassovitz on ‘La Haine’ La Haine is 25 years old. Since Mathieu Kassovitz’s debut first screened there’s arguably not been another French film that has had as significant an impact. In the...

Devi + Pikoo

+ pre-recorded intro by Sangeeta Datta SPOILER WARNING The following notes give away some of the plot. Contemporary reviews On a first glance you might see Devi as no more than a film with a thes...

Persona

What is emotionally darkest in Bergman's film is connected particularly with asub-theme of the main theme of doubling: the contrast between hiding or concealing and showing forth. The Latin word pe...