The screening on Saturday 9th December featured a special dance performance. Celebrating the intoxication of dancing feet, Barbican Theatre presented a new dance featuring Tap, Flamenco and Street dance – the footwork led the audience through the bar and into the cinema – toward the brilliance of Powell and Pressburgers’ Red Shoes.

Borrowing from the fairytale by Hans Christian Andersen, The Red Shoes turns away from its gothic (and gory) origins and transplants the story into the world of ballet. A theatre in Covent Garden is about to show a production from Ballet Lermontov, a company led by the enigmatic, world-weary Boris Lermontov (played by Anton Walbrook). Dance and music students, having queued for hours, eagerly pile into the cheap seats. Among them is composer Julian Craster (Marius Goring). As the students cheer on their music professor, who has written the score for Lermontov’s new ballet, Hearts on Fire, Julian realises that the music being played, is his. 

Powell and Pressburger are establishing plot and motive. The camera sears into the face of a young woman, watching the ballet intently. Socialite and ballerina Victoria Page (Moira Shearer) already dances professionally, but has her eye on the next rung of the ladder. At an after-party, she introduces herself to Lermontov and gets herself an invite to the next rehearsal. In a fit of rage, Craster hastily writes a letter to Lermontov regarding the music. The next day, he interrupts Lermontov’s breakfast to ask for the letter back. Instead, Craster is offered a job, coaching the orchestra. He takes it.

A great film about the precarious nature of showbusiness, The Red Shoes brutally illustrates Ballet Lermontov’s revolving-door policy, when the prima ballerina announces that she is engaged. Lermontov fires her on the spot. One cannot, in his view, commit to both art and love. Victoria and Julian meet with the impresario and his team. There is a new ballet on the books, a female principal is required, and the score needs work. Within moments, The Red Shoes intertwines the lives of Lermontov, Page and Craster. 

The Red Shoes takes us from backstage to the best seat in the house. As the company perform the new ballet, Powell and Pressburger play with scale and perspective: we move from a panoramic view of the stage, to intensely-lit close-ups. The mise-en-scene, exuberant in three-strip Technicolour, is styled along expressionist lines. The outline of the ballet is simple enough: an ambitious young girl is offered a pair of enchanted red ballet shoes. She will become, on wearing them, a great dancer. As Shearer’s character jumps into the shoes in that iconic moment, she realises, too late, that she is doomed to dance forever. The red shoes never get tired. 

The ballet – a show within a show – is a hallmark of Powell and Pressburger’s style. We follow Shearer through giddying changes of scenery, into a dream-like, kaleidoscopic state. Art forms collide: hand-painted screens interlink with super-imposed images of a crashing sea roaring over the floodlights, contrasting the tradition of theatre with the innovation of early cinema. As the fantasy becomes a nightmare, the dancer’s psychological torment is actualised by ghoulish creatures surrounding her. It is a nod to the roots of Hans Christian Andersen’s stories; a primal, indecipherable terror. The emotive, Oscar-winning score from Brian Easdale completes the concept Powell and Pressburger wanted to articulate as film-makers. The Red Shoes not only explores how cinema can represent psychology, but its drawing of female characters is a real step forward. The lure of fame, the sweat and toil that goes into making an ‘effortless’ performance, Shearer’s heroine does not evoke the genteel post-war world of high culture: she is unashamedly pushing herself to the very top. The jewelled coronet she wears to parties isn’t so much a declaration as a disguise. Page may have started the film as a society belle, but while she has elegance, she’s also got grit. As the film enters its final act, Page will have to decide between art and love. It is an impossible choice.

For all its pyrotechnics, The Red Shoes works so well as a dance film because of its authenticity. Shearer was already an experienced ballerina by the time she was cast as Page. The two male dancers who work with her also represent the best in the business. Leonide Massine (playing Grischa Ljubov) was a principal at the Ballets Russes by the time he was 19, and Robert Helpmann (Ivan Boleslawsky) also had a background in dance, but is best remembered for scaring generations of children as Chitty Chitty Bang Bang’s Child Catcher. It is this grounding, in technique and discipline, that makes the heightened emotional moments so disturbing. There are elements of horror and spectacle within this film, and much of The Red Shoes feels like a fever dream. But the organisation of ideas: a building sense of dread, the giddying highs and humiliating lows of success and failure in the arts, means that the film is more finely tuned to our waking thoughts. 

As The Red Shoes reaches its ambivalent conclusion, the uneasiness that lingers feels like it should belong to a more contemporary film. It is Powell and Pressburger’s refusal to make easily-defined films that has given their body of work such longevity. The Red Shoes escapes the confines of a traditionally-told story, and takes us into a psychological narrative of unresolved ambition and unnamed desire.

Reviewed by Helen Tope

Cinema Unbound: The Creative Worlds of Powell and Pressburger is a major UK-wide celebration of one of the greatest and most enduring filmmaking partnerships. Supported by National Lottery and BFI Film Audience Network. bfi.org.uk/powell-and-pressburger

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Tara (Mia KcKenna Bruce), Em (Enva Lewis) and Skye (Lara Peake) are smart and confident teenagers let loose for a week. They prove their mettle early on by wrangling a room upgrade at their resort, and putting down a chump who dares to chat them up. Underneath the bravado though, they are still children. They play football, eat cheesy chips, mess around, and at crucial moments, are faced with the impossibility of putting terrible events into words.

The film is a super-realistic depiction of their earnest quest to have sex, free from the constraints of home. The director also provides vivid material that would be suitable for a year 11 PSHE lesson on sexual consent.

The mood at the start of the film is wholesome and playful. The genre demands of a disaster movie are present too, and for the first third of the film you are waiting for the bad thing to happen. Stakes are raised when one character reveals she is still a virgin. It is hopefully not a spoiler to say that bad things do happen. The skill of the director is that she takes us right there in forensic detail when they do.

This is a technically accomplished piece of film making – moods are communicated clearly through shaky cameras, high energy music from dubstep star Jakwob, the claustrophobic setting of the resort, and the crowded hedonism of the night club scene. Mia McKenna Bruce (Tee Taylor, in Tracey Beaker Returns) gives an outstanding big screen performance as Tara. She demonstrates a great range of feeling from elation to mute trauma. I also liked Shaun Thomas (Gerry Roberts, in Emmerdale) as ‘sexy clown’ Badger. His character is warm, respectful, yet also conflicted over his allegiances. 

Much of the action is rinsed through with torrents of alcohol, and if you are a parent you may start to wish these girls a good night’s sleep and some green vegetables. 

How to Have Sex is a thoughtful and sympathetic film from a talented team of millennial actors and crew about what really goes on in the negotiations around sex – where it occasionally goes right, and where it can go very wrong. For one of the characters, the ending of the film feels really just the beginning of her problems. It was a wise decision to keep the BBFC classification to 15. This means the post-GCSE pupils it depicts can watch along and engage with the issues shown. A must-see for teenagers, their parents, and anyone in between who is troubled by the power imbalances that persist between the genders six years after #metoo.

Bad Sex Writing Workshop with Laura Horton

Following the matinee screening of How to Have Sex on Saturday 18th November, Plymouth playwright Laura Horton led a special “Bad Sex” writing workshop. Taking inspiration from the idea that creativity flourishes when offered permission not to be perfect, Laura led us on a series of prompts to produce short fictional passages of deliberately bad erotica. Mine involved a runny fried egg and a knee-trembler under a Formica café table! The workshop was funny and liberating. 

Laura, the former Plymouth Laureate of Words, runs a Bad Sex Writing podcast, and has written for Vogue magazine about the cathartic effects of writing humorously about sex. In her article she says, “Ultimately, this sort of camaraderie makes sex less intimating – and makes us all feel less alone.”

Plymouth Arts Cinema would like to thank Laura for a wonderful and playful afternoon.

Find out more about Bad Sex Writing on Instagram @badsexwriting

How To Have Sex is screening at Plymouth Arts Cinema from Friday 17 – Thursday 23 November.

Reviewed by James Banyard

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Hidden Figures of Plymouth aims to share the untold stories of how people from the global majority contributed to the city. It takes the view that history – the stories we tell ourselves as a society about what happened in the past – is incomplete. There are a lot of rich, dead, white guys in the history books, mainly because history was written by rich, dead, white guys. Correcting this injustice is central to the Hidden Figures project. Work will be focused on raising awareness of around a dozen Plymothians forgotten or erased from our collective consciousness.

At a ceremony at Plymouth Arts Cinema, on a day where Wonderzoo staged a ‘take over’ of the building, including programming three films, putting up information panels, and inviting local dignitaries, Rachel Hawadi, the project lead said, ‘We will know we will have succeeded, if by the end people know who Bill Miller is. We have hidden figures in this city – we have our own Malcolm Xs and our own Martin Luthers. I am surprised more people don’t know who Jimmy Peters was. I cried when I heard about his story.’

Plymouth Arts Cinema is a wonderful venue to celebrate such an ambitious project. Anna Navas, director of the Cinema said, ‘It is a privilege to be part of this project. We wanted to celebrate black figures in cinema, and we tried to choose some films that touch different bases.’ Her vision for the cinema is of a place in the community that everyone can see themselves reflected in.

Deputy Lord Mayor, Kathy Watkin said, ‘Plymouth City Council welcomes diversity and supports events that celebrate inclusion. I hope this project will create a memorial for people of colour that made their name in Plymouth.’

So, who are Cecil Rogers, Bill Miller and Jimmy Peters? 

Cecil Rogers was Devon’s first black special constable. Of Jamaican heritage, Cecil, who lived at 8 Essex Street, was a Special Constable with the D sub-division of the Plymouth City Police. During the war he was part of the team that helped people in the city evacuate from German bombing.

Bill Miller was a colossus in the civic life of the city during the twentieth century. He served on many crucial committees with Plymouth City Council, including rehousing projects after the war. He turned down the offer of being Lord Mayor of Plymouth in 1947, since it would take his attention away from housing. He was awarded the British Empire Medal, the CBE and the OBE.

And Jimmy Peters? He was England’s first black rugby player. A great Plymouth and Devon fly-half, who played internationals against Scotland and France, it was discovered in 2014 that he was lying in an unmarked grave in Ford Park Cemetery. How a man of his considerable pioneering talent could end up in such an undignified place is one reason this project is so important. When I spoke to Rachel Hawadi after the ceremony, at the top of her wish list would be a statue in Central Park of Jimmy Peters.

After the ceremony I stayed to watch the Hollywood film Hidden Figures (2016). The story illuminates the lives of a group of women of colour employed at Nasa in 1961 who were responsible for calculating orbital trajectories for the nascent manned space flight programme. The world it presents – of segregated toilets, drinking fountains, bus seats, even coffee pots – is morally unpleasant. I kept reminding myself that 1961 was in living memory of many of us watching the film. In lots of ways we live in a more progressive society. But the fact that stories like this can be forgotten shows that history must continue to be mined for its hidden figures.

By James Banyard

Twitter/ X: @jamesbanyard2

www.jamesbanyardwriter.wordpress.com

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2023 was a season of mixed fortune weather-wise for Open Air Cinema at Tinside Lido, but we did manage a couple of beautiful balmy evenings by the sea. Here are some pictures taken by photographer Amber Amare (@amberfilms_) at the screening of Roman Holiday.

We are grateful for the support of our sponsors for our 2023 Open Air Cinema programme: Arts University Plymouth, Plymouth Gin, Chris Kallis, Summerskills, Sandford Orchards, 24/7 Event Crew, Plymouth Citybus, Navas Drinks, Service Design Solutions, Plymouth Marjon University.

We welcome sponsorship for our cinema throughout the year. If you are interested in sponsoring us, please take a look at this page.

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OAC is a complicated beast to tame. By my rough calculations PAC has run 74 open air screenings across 6 different sites*, over 12 summers and we have only ever had to cancel two screenings (and moved two indoors). It isn’t a bad strike rate really but why is it that the failures stick in the mind more than the successes?

Audiences, rightly, often have no idea about the amount of work and planning that goes into running events like this. It is our job to make sure of that. Our goal, as event producers, is for people to come along when everything has been set up, have a wonderful evening watching a brilliant film, under the stars, drink in hand, and to go home at the end with a renewed love of cinema and, in our case at Tinside Lido, a reconnection with the incredible place we are lucky to live in.

Planning for Open Air Cinema begins right after the last night of the previous summer’s screenings when we evaluate the things that went well, the mistakes we made and what we can improve for the next year. In January we start plotting dates and deciding how many weekends we can do and start conversations with the venue to work out any clashes with other city events that might be happening. Once the dates are set, we begin the programming conversations and continue the never-to-be-resolved and eternal debate about what films work best outdoors. There are the obvious crowd pleasers like Grease and Dirty Dancing, old-time classics like Roman Holiday, Some Like it Hot and (ahem) Singin’ In the Rain, cult classics like Blade Runner, Alien and basically anything by Wes Anderson. We always screen Jaws at Tinside Lido, it always sells out first and there are always a few cheeky boats mooring up alongside the Lido to try to watch it from the sea. As an independent cinema we also try to mix in some slightly left-field choices too:it feels vital to keep the spirit of PAC represented. We support local filmmakers at the start of their careers with short films playing before the main feature. One of the highlights for me was screening The Piano and Mark Jenkins’ Bait defied all expectations with a sell-out screening which we were definitely not expecting. This year we were really excited about screening his most recent film, Enys Men. It felt so perfect to have this sombre, atmospheric film playing at a venue looking out over the Sound to Drake’s Island and we even hoped for a little light drizzle to enhance the mood! Little did we know there would be torrential rain and wind gusts which would have sailed our gazebo across to France. 

When the programme is decided we have the licensing for the screenings and the event dates to organise, sponsors to ask, volunteers to organise, marketing and ticketing to work through and then what feels like a particularly evil circle of Hell which involves carrying 300 chairs from storage, to Tinside, down three flights of stairs (and back up again and down again for every screening). The screen has to go up on a scaffold, the ‘projection room’ and sound system and bar have to be built and broken down every night and we start praying to the weather gods in March in the hope they will hear us and give us a good summer. 

They were obviously busy at the time because this year, opening weekend weather was a shocker. First night on Friday went well and Grease was a roaring success with the audience singing and dancing along without a care in the world while my team and I spent the night anxiously scouring BBC Weather, the Met Office and the Windy App for the rest of the weekend forecast. Cancelling screenings is always, always a last resort. It is never what any of us want to do and there is never a right time to do it. If you cancel too early in the day and the weather improves, which it often does when you are at the coast, audiences could be very understandably disappointed. If you wait and wait to see if the wind drops and cancel too late, audiences can be annoyed that they may have started their journey and the decision feels too late. We try to balance it out but it’s a really tough call when you want a screening to go ahead but the first priority is always audience safety and ultimately that is the deciding factor. And that’s what we had to do this weekend. I know we made the right decision but it still feels like a failure – even though I know controlling the weather is slightly beyond even our organisational skills. 

We have one more weekend to go. Please send some good weather our way. 

*Tinside Lido, Royal William Yard Green and carpark, Mount Edgcumbe, The Box Piazza, Tamar Trails. 

Anna Navas

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From Cornwall Climate Care:

“Another brilliant evening and an absolutely fantastic audience for our double bill screening (‘Food for Thought and launch of ‘Hungry for Change’) at Plymouth Arts Cinema last night.

There was an animated discussion and Q&A after the film, with so many people saying they’re now determined to do more in their local areas – be that planting fruit trees, volunteering in community gardens, growing their own veg, helping with gleaning or just ordering a veg box from local growers. Bryony and Claire were busy behind the scenes while the films were playing, assembling the insect and plant-based canapes for the tasting session. Once again, nearly everybody was super keen to try to insects – and surprised at how tasty they were!

Thanks very much to Rebecca Hand from Cafe Abundance – Real Junk Food Project Torpoint & Rame and Linda Dunstone from Permaculture Kernow for joining us on the Q&A panel, Yum Bug for kindly supplying the insect ingredients and the lovely people at Plymouth Arts Cinema for being so incredibly helpful and supportive in laying on this event.”

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Running from 29th June to 9th July across the country, a plethora of films and documentaries were shown, highlighting both the beauty and the turmoil in the past, present and future of the Arab speaking world. Each year has a specific theme which the selected films centre around, and this year’s was ‘A Journey through Space and Time’. There are several sub-topics that are highlighted in this year’s festival, as it is the 75th anniversary of the Palestinian Nakba, where the forced deportation of Palestinian nationals began following the formation of the State of Israel. There is also a country focus on Morocco, as well, as several UK premieres. Partnered with many Q&As and talks by everyone from directors to local CICs who work with these communities, this rich festival was a definite hit. 

At Plymouth Arts Cinema, the journey started with Tunisian film Ashkal, which you can find a review of on the PAC blog. 

On 6th July, there was an evening celebrating food and defiance. It began with a 2006 short film by Larissa Sansour, entitled Soup Over Bethlehem. As the name suggests, the entire nine minutes are of a conversation between Sansour’s family whilst eating various traditional Palestinian dishes on their rooftop overlooking Bethlehem. They begin by discussing the food itself and how to cook it, but the conversation turns quickly to the general unease in the country. This was filmed as the West Bank Barrier is being finished, which had an inordinate negative impact on the movements and freedoms of Palestinians. The film is in grayscale, apart from the food, a technique used by Sansour to ensure her audience focus on what she wants them to. 

This was followed by the feature length Foragers, which focuses on Palestinians who forage essential cooking plants for themselves and their loved ones, despite the bans put upon them by the Israeli State. Although plants and herbs such as za’atar have been harvested in the wild by Palestinians for centuries, Israel has made them a protected species, meaning that those who do pick them face hefty fines if they are caught by the authorities. In the film, we see a forager being given a fine of 700 shekels for a first offence (around £140), which is clearly an inflated figure for the severity of the crime. In some archival news footage from the 1970s, we hear Israeli businessmen discussing how they are going to phase out wild za’atar, and make the market exist solely of cultivated za’atar, therefore forcing Palestinians to pay them in order to obtain a food that grows wild on their land. Nevertheless, foraging is still common, showing the pride and determination of the Palestinian people, who often become ‘dealers’ of these precious ingredients. 

This was accompanied with a talk by Cathi Pawson, co-founder of Zaytoun (meaning olives), a CIC which supports Palestinian farmers in distributing their produce in shops such as Oxfam. 100% of their profits are reinvested into helping achieve this fairtrade mission. They also organise annual trips to help their farmers bring in their harvests and sell their produce. She spoke about the ever-increasing issues for their trips in going out to Palestine, but also of the joy in helping this cause. There were also some sampling plates of bread, olive oil and za’atar for the audience to taste, all from Zaytoun, which was a lovely end to an informative evening.

Rounding out the SAFAR films in Plymouth was a love story of both love and lust. Set in the coastal Moroccan city of Salé, The Blue Caftan is the tale of Mina and Halim, who own a caftan boutique in the city’s medina. Due to the small size of their workforce, they are forced to take on an apprentice to keep up with orders. Halim is adamant that he will not use a machine, and this dedication to a craft is something subtly peppered throughout the film. Although Halim is confident their apprentice Youssef will stay on with them and become a caftan craftsman, Mina is less confident. She argues with Halim that the craft is dying out, and that there is nothing he can do about it. 

However, this is mainly a film about love in all its forms. It is clear from the moment Youssef enters the shop that there is some tension between him and Halim, although the latter tries to suppress his desires. His sole outlet for his homosexuality is in the individual booths at the public baths. However, it is still clear that he deeply loves Mina, as well as being attracted to Youssef. As Mina becomes more and more ill throughout the film, he shows his love to her by constantly caring for her, to the detriment of customers. 

I am sure this film will have resonated with those who have ever cared for a loved one, and those who have ever needed to hide a part of themselves, whether for religious, cultural, or political reasons. 

Reviewed by Imogen Parkin

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Kelman’s journey into film distribution is an unlikely one: he started his career as an English, Drama and Media Studies teacher, before realising his dreams of being an actor in London, subsequently branching into directing. Somewhere in these years a tradition was formed: travelling to Cannes to experience the festival annually, sharing the same apartment (Room 606 – where the company name came from) with the same people each year. In 2018, during one of these trips, he watched Touch Me Not, a Romanian arthouse film/documentary, to which he had “an emotional response unlike any other film at the Festival”. After recommending the film to everyone he met, he was encouraged by friend and eventual 606 Distribution partner to approach a sales agent to bring the film to a wider audience. Although he ended up missing out on this film, this set in motion the foundations for the company, which has brought out a wide range of films, almost all focusing on a subject that is not normally portrayed on screen, due to taboo or a traditional distaste for difficult subjects in cinema.

In 2019, 606 brought out System Crasher, which concerned a 9-year-old German girl with uncontrollable anger caused by childhood trauma, who seems to be unable to be cared for my anyone. Although its release was not explosive (it overlapped with the COVID-19 lockdown), it did launch the international career of main actress Helena Zengel, who went on to work with Tom Hanks in News of the World (2020). In a similar vein, 2022’s Love According to Dalva concerned a 12-year-old French girl making sense of her removal from her home due to her father’s abuse. As I mentioned before, these are, along with The Old Man Movie: Lactopalyse, dealing with subjects that are not usually brought to screen, meaning that they would have been likely to slip through the cracks without being seen by a wider audience, if not for 606’s help. Kelman has stated that he only bids on films that he has an emotional reaction to, meaning that he is more likely to bring more difficult subjects to cinemas. 

Another notable addition that 606 Distribution have made to the film industry was coordinating the screening of Olga, a Swiss film concerning an exiled Ukrainian gymnast, in over 400 UK and Irish cinemas in order to fundraise for Ukraine. As it came out around the same time as the invasion, Kelman did not feel comfortable monetising this for his own gain, so, with the help of the BFI, it became a huge fundraising event.

Made in 2019, but only released in the UK this year by 606 Distribution, The Old Man Movie: Lactopalyse is a mind-bending journey to Estonia, which envelopes the viewer into a delightfully silly world of animal fun. 

Set in a rural village in Estonia, it centres on three siblings who are left with their grandfather for the summer, a trip neither party are particularly happy about. Although there is some enthusiasm from the youngest child, Mart, the older two are unimpressed with their new schedule of shovelling the pig pen. Aghast at their granddad’s treatment of his prize milking cow, they untie the cow from its tight collar, and accidentally let it out into the rich forest that surrounds the farm. What follows is a mad chase to find the cow to avoid the ‘lactopalyse’ of the title, where a cow’s udder explodes due to not being milked. This journey encompasses a hippy festival, bears and mystic trees, via a lot of jokes about bodily fluids. Although some of the humour is crude, and in some scenes this feels misplaced, this is not the overarching theme. Additionally, because the humour is so physical, the language barrier does not hinder the message of the film. However, there is also clear references to Estonian culture, with proverbs and rock stars patriotically representing it accordingly. 

There are some definite echoes of Aardman animations in this film, with the countryside setting and use of plasticine. One thing I found interesting though was that only the heads were moulded from plasticine, presumably to allow for a greater range of expression, whereas the rest of the bodies were made from soft fabric. There is also at times a feeling of old Soviet educational films, especially with the rural idealist setting and the importance of teamwork being highlighted. Directors Mikk Mägi and Oskar Lehemaa, two friends and animation graduates from the prestigious Estonian Academy of Arts have been honing these characters over many years, through their university projects and short films. They also voice many of the characters between them, making it clear that this is a real passion project for both.

Running at 88 mins, this is a whirlwind film, which although being very silly on the outside, there are more serious undertones. One of the main underlying themes to this is that, although the growth in plant-based eating is and will continue to be helpful in the fight against climate change, this movement is mostly focused on cities and developed countries and there are still many communities around the world that have no choice but to rely on animal products. There are also more subtle references to rural unemployment, which bring more of a multi-faceted edge to the film.

Overall, I would say this is a film for those wanting a completely unique take on the environmental crisis, who also like a film that doesn’t take itself too seriously.

Lactopalypse: The Old Man Movie is playing at Plymouth Arts Cinema from Friday 16th  – Thursday 22nd June.

Reviewed by Imogen Parkin

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