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FILM PROGRAMME

19 January 2017: That Cold Day in the Park


That Cold Day in the Park marks a critical turning point for Altman as his earliest feature film to expressively and naturalistically convey the sociopsychological themes that would recur throughout his career. Sandy Dennis' lonely, wealthy, repressed Frances is the first of many Altman women who are imprisoned within cryptically prismatic emotional confines.
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Showing This Week

20 January 2017: The Long Goodbye

20 January 2017: The Long Goodbye

Echoing as much of Raymond Chandler’s novel as it does the author’s life, The Long Goodbye is perhaps Altman’s funniest valentine to Hollywood. From the blithely ingenious soundtrack to the casting of characters partially playing themselves, Altman wryly and improvisationally toys with the mythos of Hollywood as it intersects with the reality of 70s Los Angeles.
21 January 2017: Nashville

21 January 2017: Nashville

Following dozens of characters around the title city in the days before a political rally featuring country music performers, Nashville brought its already-celebrated director to the pinnacle of acclaim. It is quintessential Altman in its loose narrative structure and large ensemble cast – Altman is said to have ordered screenwriter Joan Tewkesbury to up the number of characters in her script from sixteen to twenty-four. At the same time, it finds this most idiosyncratic of filmmakers engaged with the national mood to an unusual extent.
22 January 2017: 3 Women

22 January 2017: 3 Women

One of Altman's most hallucinatory creations was actually conceived from a dream he had of Shelley Duvall and Sissy Spacek in the desert, starring in a film about "personality-theft." Every frame tinged by an ineffable eeriness and a subtly stylized aesthetic, the film opens onto a disturbing space of reflected and imperfect doubling, of disempowered projection onto unstable surfaces.
22 January 2017: M*A*S*H

22 January 2017: M*A*S*H

M*A*S*H remains a landmark of Hollywood's attempt to reach out to the counterculture. The tale of US Army medics near the front lines during the Korean War eschewed the action of the battlefield for the black-and-blue humor of the medical corps assigned to try to patch up those casualties still alive.

Coming Soon

23 January 2017: The Delinquents

23 January 2017: The Delinquents

Shot on the cheap in his hometown of Kansas City, Altman’s feature debut has all the surface components of a go-for-broke American independent film. A snapshot of the fractious cross-sections of suburban Middle America: the pampered pretty boys, the bad seeds from across the tracks, and the adults who are all-too-oblivious to their children’s changing social habits.
28 January 2017: Shoah: Holocaust Memorial Day

28 January 2017: Shoah: Holocaust Memorial Day

To mark Holocaust Memorial Day we present a commemorative screening of Claude Lanzmann's nine-hour opus Shoah. Using no archival footage, Lanzmann instead focuses on first-person testimonies, employing a circular, free-associative method in assembling them. The intellectual yet emotionally overwhelming Shoah is not a film about excavating the past but an intensive portrait of the ways in which the past is always present.
29 January 2017: Mania Akbari: One.Two.One / 10+4

29 January 2017: Mania Akbari: One.Two.One / 10+4

Close-Up and Sharna Pax present two films by Mania Akbari – guest curated and moderated by artist and filmmaker Andrea Luka Zimmerman. Following each screening, Sophie Mayer and Zimmerman will be in conversation with Akbari about her role and working process as a woman filmmaker particularly in the context of Iran, and how her films consider the body, life and death.