Matchbox Cineclub
Screenings/Events
Cage-a-rama
KeanuCon
Weird Weekend
Gender expression in Rosa von Praunheim's cult musical City of Lost Souls
Three of the Apocalypse
Dead Mountaineer's Hotel
Accessibility for Film Screenings
A Basic Guide to Social Media for Film Screenings
Basic Tech Set-up for Film Screenings
A Guide To Glasgow Venues
A Basic Guide to Licences for Film Screenings
Fan Fan Fanatisch: Obsession in Der Fan
Death of the Mod Dream
The Funniest Film You've Never Seen: HERCULES RETURNS
Who is The Astrologer?
The Charliad
#WeirdHorror Countdown
Joe Dante's The Movie Orgy
The Crazy Family | Weird Weekend
Crime Wave | Weird Weekend
Five Films about Filmmaking
Five More Films about Filmmaking
COMIN' AT YA! 3D Films Through The Ages
Cowards Bend The Knee
Category: Matchbox Cineclub
Matchbox Cineclub vs Berlin
We're hosting a Slumber Party Massacre at Final Girls Berlin Film Festival 2020
Andree Honore, Debra De Liso and Michelle Michaels in The Slumber Party Massacre (Amy Holden Jones, 1982)
We're delighted to be debuting in Berlin with a special event at the Final Girls Berlin Film Festival 2020! FGBFF showcases horror cinema that's directed, written, or produced by women and non-binary filmmakers. They're committed to creating space for female voices and visions, whether monstrous, heroic or some messy combination of the two, in the horror genre. Late last year, we hosted the Best of Final Girls Berlin 2019, showcasing some of the incredible directed-by-women horror shorts featured at last year's festival.
In the Berlin 2020 programme, we'll be screening the triple F-Rated '80s slasher The Slumber Party Massacre (Amy Holden Jones, 1982) alongside Riot grrrl B-movie short I Was A Teenage Serial Killer (Sarah Jacobson, 1993) at City Kino Wedding on Saturday, 8th February 2020.
Slumber Party Massacre | When Trish (Michele Michaels) decides to invite her high school basketball teammates over for a slumber party, she has no idea the night is going to end with an unexpected guest crashing the party – an escaped power drill-wielding killer. Directed by Amy Holden Jones and written by Rita Mae Brown, Slumber Party Massacre was originally penned by Brown as a parody of the slasher genre. Rehashed by producers into a 'serious' slasher, Slumber Party Massacre retains its original intentions as a celebration and acknowledgement of the ridiculousness of the genre, offering up an inversion of the male gaze and lots of murders by power tools.
Before Slumber Party Massacre, Final Girls are screening Sarah Jacobson's classic short I Was A Teenage Serial Killer (1993), AGFA's recent preservation of which we debuted in Scotland at Weird Weekend 2019.
I Was A Teenage Serial Killer | Sarah Jacobson's punk-spirited DIY films from the 1990s combine B-movie aesthetics and riot grrrl feminism, standing as a testament to the vision, determination, and raw talent of the Queen of Underground Cinema. I Was A Teenage Serial Killer, a 27-minute short, is Slacker meets Valerie Solanas, as a 19-year-old woman responds to catcalls, condescension, and bad sex the only way she knows how: murder.
The Slumber Party Massacre screens at City Kino Wedding, Berlin, on Saturday 8th February, 2020. Tickets are on sale here.
View the full Final Girls Berlin Film Festival programme here.
Keep up-to-date with the Facebook event page here.
Author SMWPosted on January 18, 2020 January 18, 2020 Categories Matchbox CineclubTags Amy Holden Jones, Berlin, Directed By Women, F-rated, Film Festival, Final Girls Berlin, Final Girls Berlin Film Festival, Horror, I Was A Teenage Serial Killer, Matchbox Cineclub, Sarah Jacobson, Slasher, The Slumber Party MassacreLeave a comment on Matchbox Cineclub vs Berlin
KeanuCon, Captions and Co-screenings
Matchbox Cineclub's 2019 in pictures
In 2019, we produced three festivals (one of which gained international viral fame), screened 43 feature-length films and 31 short films, hosted 13 guests, 4 drag performers, 2 live bands, co-programmed 14 collaborative screenings, embraced the sliding scale ticketing system, started open-captioning all our screenings, launched a subtitling arm providing HOH subtitles for several festivals and other exhibitors and co-ordinated a month-long season of films across Glasgow and Scotland. Through it all, we had the best audiences and an amazing support network of colleagues, collaborators and peers. Particularly, the support and enthusiasm from our friends at Film Hub Scotland set us up to deliver what is beyond a doubt our busiest programme yet. Here's our ridiculous year in pictures, month-by-month.
Cage-a-rama 2: Cage Uncaged | We started the year with our second annual Nicolas Cage film festival, opening with Mandy and a Q&A with Cheddar Goblin creators Casper Kelly and Shane Morton. Mom & Dad director Brian Taylor joined us via Skype on Saturday evening and we closed the weekend with the UK premiere of the truly special Between Worlds, a still-unsung and underrated entry in the Cage canon. Despite being described in some quarters as "the new The Room", it was thoroughly enjoyable and a good time was had by all.
Phones aloft at Auld Lang Vine #RIPVine (Photo by Ingrid Mur)
Auld Lang Vine #RIPVine | In mourning of everyone's favourite six-second video platform, we hosted a fitting funeral, including drag homage by Puke, live music by Joyce Delaney and 500+ Vines curated by Pilot Light TV Festival. This was an event of firsts, including our first use of the sliding scale ticket price and our first ever spontaneous modern-day lighter waving. Part of the #BFIComedy season.
Director Jaqueline Wright introduces Two Weirds Is Too Weird (Photo by Ingrid Mur)
Two Weirds Is Too Weird @GSFF19 | In March, we joined forces with Glasgow Short Film Festival to curate a night of short films made by Alice Lowe & Jacqueline Wright under the Jackal Films banner, featuring feline erotica, courtly necrophilia and bird women. Jacqueline, who's now based in the US, very kindly recorded us a special introduction for the event. This was also our first collaboration with fantastic photographer Ingrid Mur, who documented our events for the rest of 2019.
Shogun Assassin with Venom Mob Film Club | This was Venom Mob Film Club's first screening, and the first of our 2019 co-screenings supported by Film Hub Scotland. Johnny and Chuck programmed one of our favourites and served it up with a special menu of vegan ramen. Venom Mob have since done a bunch more screenings themselves, and they've all been great.
Photo by Ingrid Mur
KeanuCon | Megan: Viral fame unexpectantly struck us this year as the internet caught wind of the world's first Keanu Reeves film festival (less than a week before the already sold-out festival), yet we remain humble.
Sean: (Broke).
Megan: The festival was wyld regardless of the coverage, we had contributions from Alex Winter, Bill & Ted writer Ed Solomon, Man of Tai Chi star Tiger Chen, authors Kitty Curran & Karissa Zageris and My Own Private Idaho aficianado Claire Biddles. The weekened climaxed with a live performance from Wyld Stallyns, a Glasgow supergroup who absolutely nailed it. And, of course, we had lots of Keanu films, 11 in total, including his first appearance on film, in a National Film Board of Canada short. The weekend was full of Keanu love and great energy from the audience, we can't wait to do it again in 2020!
Backseat Bingo's Casci Ritchie (Photo by Ingrid Mur)
Under the Cherry Moon with Backseat Bingo | Our next team-up of the year was with the brilliant Backseat Bingo, returning from a long absence. It was only fitting that programmer Casci Ritchie, who is also an academic expert on His Royal Badness, present this lesser known Prince classic on his birthday. Casci introduced the film with an illustrated talk on Prince's fashion, from erotic sportswear to the classic trench coat.
Poster illustration by Vero Navarro
Cage-a-rama 3D @ EIFF | What could be better than Cage? Cage in 3D! Senior programmer Niall Grieg Fulton invited us to collaborate on this special event at this year's Edinburgh International Film Festival. After Cage-a-rama 2 (and our 2018 pop-up, The World's Greatest 3D Film Club at Nice N Sleazy), Cage-a-rama 3D was the logical next step. EIFF's team sourced beautiful 3D prints and footed the bill for an incredible top-of-the-range 3D system (the glasses need re-charged after every screening). Drive Angry and Ghost Rider: Spirit of Vengeance have never looked better – and we got to commission another incredible illustration from Vero Navarro!
Der Fan with Sad Girl Cinema | As part of BFI's Film Feels: Obsession season, we co-programmed '80s thirsty cult slasher Der Fan, along with a topical panel on obsession, thirst and fandom, featuring Bethany Rose Lamont (Sad Girl Cinema), Liz Murphy (artist), Jamie Dunn (The Skinny) and chaired by Claire Biddles (Sad Girl Cinema).
#SubtitledCinema | This was the year we committed to switching on the subtitles for every screening we do. We believe in accessibility and inclusion and though there's lots of things we can't do because we don't have the budget or the time (there's still just the two of us running Matchox), we realised if we could do it, we should. The other side of the coin is that since we aim to screen films that you can't see elsewhere and often it's the first, the first in a very long time, or somehow the only time you'll be able to see these films, particularly on the big screen, we want to make sure as many people can see them as possible. Underpinning all that is the fact that we're also professional subtitlers, with over a decade experience in subtitling for D/deaf audiences, so this year we put two and two together and started a subtitling arm to Matchbox. Since we started, alongside our own programming, we've produced subtitle files for festivals (GSFF, GFF, Take One Action, Document), film industry events (Film Hub Scotland's EIFF Industry Days and This Way Up), new films (Super November, Her Century, Women Make Film) and creators (Ctrl Shift Face's ongoing series of deepfake clips).
Frans Gender performing to Kenny Loggins' Footloose. (Photo by Ingrid Mur)
Sing-along SAW with Pity Party Film Club | In 2018, we launched the Scalarama Scotland programme with Polyester in Odorama, a scratch 'n' sniff event that also featured live drag performers and a very special ring girl in Puke, who, in lieu of on-screen prompts, let everyone know when to rub 'n' snort the special Odorama cards. We wanted to top it this year, so we teamed up with our pals Pity Party Film Club to come up with Sing-along SAW – a screening of the classic modern horror, interpolated with live drag acts inspired by key scenes. Highlights included Billy circling the audience on a People Make Glasgow bike and Frans Gender's out-on-a-limb rendition of Kenny Loggins' Footloose.
Director Tom Schiller introduces Nothing Lasts Forever, complete with player piano and lunartini.
Nothing Lasts Forever on 35mm | Tom Schiller's Nothing Lasts Forever has been on our list since we started showing films. Never released on VHS, DVD, VOD or streaming, since its scarce first screenings, it's only been seen via TV broadcast once in a blue moon (not in the UK since Alex Cox introduced it on Moviedrome in 1994). When we realised Park Circus could authorise a 35mm screening, we knew we had to make it happen, and it was the perfect opening film for Weird Weekend. And though it was challenging (the only way to see the theatrical cut, and therefore prepare, is with the 35mm print), we even figured out how to screen it with subtitles.
Matchbox Maw Linda Dougherty and programmer Sean Welsh (Photo by Ingrid Mur)
Weird Weekend | One of our proudest moments this year, our second annual cult film festival was the first festival we've done with the sliding scale ticketing scheme, the first fully subtitled and we also had a 50/50 F-rated programme, meaning half the films were directed by women. Besides all of that, Weird Weekend represents our core programming: outcasts, orphans and outliers – the oddball and often lost classics that deserve to be better seen. Programming, producing, promoting and delivering it this year was thrilling and challenging and exhausting and rewarding. Highlights for us were hosting deepfake auteur Ctrl Shift Face (who came to take part in our Weird World of Deepfakes panel, debuted a brand-new clip and provided his back catalogue for a feature-length retrospective); screening Věra Chytilová's rarely-seen Vlci Bouda; bringing the mighty Vibrations to a Glasgow audience; and, of course, hosting a Skype Q&A with the one and only Joe Dante, who also allowed us to screen the workprint of The 'Burbs, complete with alternative ending, extended and missing scenes and even more Morricone needle drops. Subtitling/captioning most of the programme from scratch was another proud moment, if exhausting, and we can't wait to do it all bigger and better again in 2020.
Scalarama 2019 | This year, we took a new approach to coordinating the monthly Scalarama meetings leading up to the full DIY season in September. We wanted to make the meetings more practically useful for people looking to start screening films, as well as for people with a little more experience. Every month from March, we invited two guest speakers to present on different aspects of putting on films, and then make an opportunity for attendees to ask questions and share their own perspectives. When our programme was launched in August, we had our busiest ever programme in Glasgow, as well as more and more activity in Edinburgh, the Highlands and Islands and all across Scotland.
Toshio Matsumoto's Atman (1975)
Kaleidoscopic Realms | Megan: This was probably my favourite screening of the year, if I'm allowed to say that? Our programme was a mix of Toshio Matsumoto and Nobuhiro Aihara shorts sourced from the Post War Japan Moving Image Archive and two shorts by Naoto Yamakawa, supplied us to by the director. This was a mini-time capsule of experimental shorts of the '70s & '80s, and just the beginning of our experimental Japanese programming, which you'll see more of in 2020.
Lydia Honeybone talks to Freddy McConnell after Seahorse (Photo by Ingrid Mur)
Seahorse with Freddy McConnell | Our first co-screening with Queer Classics brought Jeanie Finlay's then brand-new documentary Seahorse to Glasgow. Seahorse intimately explores Freddy McConnell's pregnancy journey as a trans man. Freddy even came along to chat with the audience about his experiences, and got confused when asked about his 'wean'!
Gregg Araki introduces our screening, from an LA burger joint
Gregg Araki's Teen Apocalypse Trilogy with Diet Soda Cineclub | For the first time ever, we didn't attend our own event, a co-screening triple bill of Totally Fucked Up, The Doom Generation and Nowhere. We had been invited to curate a panel on #SubtitledCinema at one of Independent Cinema Office's regular Screening Days events, so while we prepared well (including producing all-new subtitles for all three films), we had to be at Nottingham's Broadway Cinema when the event started in Glasgow. We left delivery of the event in the very capable hands of our co-programmer, Sarah Nisbet of Diet Soda Cineclub. Gregg Araki's specially recorded introduction (filmed during a burger joint reunion with the cast of Kaboom) arrived practically at the last second, but it was worth the wait.
Best of Final Girls Berlin | Ain't no horror like women-made horror, and Final Girls Berlin have the best of it. We brought the frights, anxiety and terror of FGBFF right to Glasgow with a showcase of the best short horror films from their festival, made by women from around the world. And if you liked this team-up, keep an eye out for their festival programme announcement in January 2020 😉
Sgàire Wood's introduction to City of Lost Souls (Photo by Ingrid Mur)
City of Lost Souls with Sgàire Wood | As part of BFI Musicals season, we brought a bit more of Berlin to Glasgow via '80s trans punk musical City of Lost Souls. As if this film didn't have it all already we also comissioned Sgàire Wood to produce a new performance to introduce the screening. We love this film, which challenges expected representation of queer communites, and is just a great odd-ball film all round.
Dial Code: Santa Claus & Secret Santa Party with Backseat Bingo | Our 43rd film of 2019, and our last, is another team up with Backseat Bingo. We wanted to celebrate Christmas with our audiences and our film exhibiton pals so what better than an '80s action horror featuring a 9-year-old with a mullet and a super creepy Santa? Plus Secret Santa in aid of Refuweegee, and an additional surprise festive screening to finish!
Keep up to date with our 2020 events by signing up to our mailing list, here, or find our events on Facebook here.
Cage-a-rama 2020 takes place 3rd, 4th and 4th January 2020 at the Centre for Contemporary Arts, Glasgow. Buy tickets here.
Author SMWPosted on December 20, 2019 December 29, 2019 Categories CCA, KeanuCon, Matchbox Cineclub, Scalarama, Weird WeekendTags Accessibility, Alice Lowe, Auld Lang Vine, Backseat Bingo, Best of 2019, Between Worlds, Brian Taylor, Cagearama, Cagearama 2, Cagearama 3D, Captions, Casper Kelly, City of Lost Souls, Ctrl Shift Face, Cult Audience, Cult Film, Deepfake, Descriptive Subtitles, Dial Code: Santa Claus, Diet Soda Cineclub, DIY Cinema, Edinburgh International Film Festival, EIFF, EIFF19, F-rated, Final Girls Berlin, Frans Gender, Glasgow, Gregg Araki, Inclusion, Independent Exhibition, Jackal Films, Jacqueline Wright, Jeanie Finlay, Joe Dante, Kaleidoscopic Realms, Keanu Reeves, KeanuCon, Mandy, Matchbox Cinesub, Mom & Dad, Naoto Yamakawa, Nicolas Cage, Nobuhiro Aihara, Nothing Lasts Forever, Nowhere, Pop-Up Screening, Puke, RIPVine, Rosa von Praunheim, SAW, Scalarama, Scotland, SDH, Seahorse, Sgàire Wood, Shane Morton, Shogun Assassin, SHREK666, Sing-along SAW, Subtitling, Teen Apocalypse Trilogy, The Doom Generation, Tom Schiller, Toshio Matsumoto, Totally Fucked Up, Under The Cherry Moon, Venom Mob Film Club, Vibrations, Vine, Vlčí bouda, Věra Chytilová, Weird Weekend, Year in ReviewLeave a comment on KeanuCon, Captions and Co-screenings
The Afternoon Show – Subtitling in films discussion
Janice Forsyth invited our producer Megan Mitchell to discusses the rise in popularity of subtitled films on BBC Radio Scotland's Afternoon Show
Megan was invited on BBC Radio Scotland's The Afternoon Show yesterday (16/12/2019) to discuss subtitling in films, with host Janice Forsyth and writer, academic and programmer Pasquale Iannone. If you're in Britain, you can listen to the segment (for the next 29 days, at least) on the BBC's website, here.
BBC doesn't currently provide transcripts of its radio shows, so we've made one ourselves. Read it below, download a PDF here, or listen along with our subtitled clip.
Janice Forsyth: Now, until recently, subtitles and film and television were restricted to foreign language presentations, but now, well, I think a lot of us expect them as an option, thanks to streaming services like Netflix, Apple TV, BBC iPlayer, which offer so many shows fully captioned or subtitles. It's great for world cinema and allows viewers to broaden their horizons from their living room but, apart from that, should we be captioning and subtitling everything anyway for reasons of inclusivity and have audiences become more adept at watching and reading at the same time? Well, here to help us explore how things are changing are two film buffs. In our Edinburgh studio, Afternoon Show regular and Italian cinema expert Pasquale Iannone. Ciao, Pasquale.
Pasquale Iannone: Ciao, Janice. Come va?
Janice: No bad.
Pasquale: No bad! "I'm awright."
Janice: Awright, son! And with me in Glasgow is Megan Mitchell, producer with independent film exhibitor Matchbox Cineclub. She's also co-founder – I love this – of the first film festivals anywhere in the world dedicated to Keanu Reeves… and Nicolas Cage. Megan, welcome.
Megan Mitchell: Thank you for having me on.
Janice: Great to have you here. So, tell us about Matchbox Cineclub. It's such a brilliant title. What does it do?
Megan: So we are basically, as you said, independent film exhibitors which means, really simply, that we screen films across the UK, even though we're based predominantly in Glasgow. We screen everything, as you said, from classic Keanu Reeves and some cagey Cage all the way through to experimental Japanese cinema, world cinema and everything in between. We're really interested in cult films and cult audiences.
Matchbox Cineclub's annual festival line-up
Janice: Wow, that's interesting. Park Circus films did something like that you know, years ago, it was like Park Circus, they were based in Park Circus, they're based in Glasgow, and became huge as distributors. Have they been a kind of shining example to you of what can be done?
Megan: Yeah, and actually we're really good pals with Park Circus. They've supplied quite a few of our titles, particularly some of the harder to get things. They're a really good resource for us and any exhibitors across the UK, actually.
Janice: That's great. All power to you. So, what about this, then, this phenomenon? I think many of us who do watch and maybe binge on box sets on the various streaming services, um… Well, I mean, let's get out of the way the whole idea of actually sometimes it's not to do with needing them because it's a foreign language. For me, and sometimes other people, I mean, going way back to something like The Wire, I was so pleased when I discovered that there was a subtitling… there was access to subtitling so I could really understand the brilliant dialogue. Do you, Megan, see that there's been a big increase in this, in proper, fully captioned, subtitled films?
Megan: Absolutely and I think that younger generations particularly are now expecting that subtitles are on cinema we're seeing it across not just streaming platforms, particularly Netflix and MUBI, who are captioning 100% of their content, or subtitling 100% of their content but particularly on social media and, you know, with the use of phones, we've got captioned content on video content there because no-one's, you know, turning off their music or putting on their earphones to listen to something when they're out and about, so I think with the increase of that, that's leaking through into cinema and what audiences are expecting and I think, as you rightly said, access is a massive part of that as well, that there's this crossover with people who, you know, aren't particularly deaf or, you know, recognising themselves as such but finding subtitles massively helpful in understanding what's happening on-screen.
Janice: Yeah. Yeah. It is fascinating, isn't it, Pasquale…
Pasquale: Yeah.
Janice: Because, obviously, you know, with Italian cinema, it's no problem for you and presumably other languages as well, but it is terrific to have that option, but, for a long time, people, some people, would be a bit squeamish, "Oh, you know, "it's a pain in the neck to have to read the subtitles as well." Do you see a sea change now?
Pasquale: Yeah, I think so. I mean, there's this idea that, you know, all non-English-language films are somehow art cinema, they're art house films, they're inaccessible, they're complex, they're…they're cryptic, etc, and we know, obviously, that that's not the case. I mean, granted, there are some of those titles but I mean there's a huge variety of films of all different types of genres on all the streaming platforms, really. I mean, I was looking through Netflix, and there's some incredible films. There's an Indonesian action movie, The Raid, The Raid 1 & 2, incredible film, and of course it's all, kind of, in Indonesian and it is not an arthouse film, the way we would think of it. And it's this whole idea of subtitles versus dubbing, 'cause over here, obviously, we're not really used to dubbing, as a culture, and it feels weird, I think, whereas some other cultures in Europe dubbing is very much the norm and… But, I think, yeah, I mean, it's this idea of having the original.
Janice: Yeah.
Pasquale: And if it's… If you have to have subtitles, then fine. I mean, there are actually some directors who say, "No, no, I've spent ages composing this image, "I don't want text on it."
Janice: Yes.
Pasquale: There are very few of those.
Janice: I think most directors would surely prefer that than dubbing. I mean, I'm old enough to remember when we used to have foreign language export/import, or whatever it is, telly after school, so there would be Robinson Crusoe and Belle and Sebastian and it was it was all the dubbing but it was hilarious, because… Certainly, my brother and I just used to spend our time impersonating the very bad English-accented foreign voices. It was very, very funny. What about, Megan, mainstream cinemas? How many mainstream cinemas are regularly screening captioned or subtitled films?
Megan: I mean, I actually took a look at us this morning before I came in, because usually we're sitting in the mid-teens for subtitled screenings in multiplexes across Glasgow for a whole week. This week, it's took a massive upswing because of Star Wars. There are 26 subtitled screenings across Glasgow this week. That's a choice of six films including one screening of Frozen 2. However, if you do not require subtitles or aren't looking for something that's subtitled, you can go to Glasgow's biggest multiplex today and see 60 screenings across 12 films, so I think there's a massive, still a massive gap in terms of film screening exhibition access. In Glasgow, we're seeing a massive increase in terms of independent exhibitors actually taking up the mantle of access and doing 100% or trying to achieve increased captions so earlier this year, Matchbox actually took the choice to dedicate 100% of our programming to captioning so that all of the films we screen, regardless of whether they're English or foreign language have captions and subtitles so that anyone can come along and enjoy the films.
Janice: Is that an expensive business to do?
Megan: Funnily enough, my colleague at Matchbox, Sean Welsh, he is a professional subtitler, so he subtitles and captions for MUBI and freelance so we can do it in-house but we've also seen an increase in funding, so that other organisations can reach out to us or other subtitlers and get that. We're seeing that, on the production side, in terms of distributors for films, they're still not supplying or producing subtitles so it means that even if people are wanting to screen their films accessibly, they just can't.
Janice: Yeah. It's interesting this, isn't it, Pasquale? I mean, also 'cause, you know, subtitled films you can totally imagine as an education resource for language students.
Pasquale: Totally, yeah, and it's an incredibly useful tool, as is music, of course, but, I mean, especially with film and it's something that, you know, when I was at school, when I were a lad, you know, going back to the mid to late '90s, I mean, you didn't have that. I mean, you didn't have the… You had the old… You still had old VHS and DVD was coming in, but it was nowhere near this amount of accessibility that you have now and so a tool, like this language learning in Netflix, is superb. I mean, it just allows viewers to watch foreign language shows with subtitles both in the original language and the English and you can pause it to really kind of absorb what they've just seen. Obviously, there's some series and TV programmes that are better suited for this kind of thing. I mean, I was thinking… I was thinking of some series that are given some flack for their sound, the way that actors mumble, the way that actors… apparently, the Director General of the BBC said, "Muttering is something we should have a look at."
Pasquale: Back in 2013!
Janice: I love that. So W1A, isn't it? Yeah! But there was an audibility project apparently in 2009, involving a 20,000 panel of viewers and listeners so this idea of sound and being able to catch every single thing but sometimes you don't actually need to catch every single thing. It does really depend on the film, on the TV show. And how much is relayed through dialogue, and how much is relayed through the visual side.
Janice: Yeah. I've been thinking a lot about that recently because, Megan, I've been, you know, I was lucky enough to go to a BAFTA screening of The Irishman, so I saw it on the big screen. It wasn't that big a screen, but it was a big screen And I was really glad I was able to do that. However, I have to admit, during it… I mean, I loved it, I really, really enjoyed it, but during it I was thinking, "Oh, I can't quite catch what he said there," and I was imagining that moment where I could pause and get the subtitles up. And I was just personifying exactly what Pasquale's talking about. It was like, "Wait a minute, enjoy this master at work, "look at these visuals, just take in the whole thing, "maybe later…" Fortunately, it's on Netflix, so I can look at the subtitles, but it's interesting about how it maybe affects our experience of just sinking into the film.
Megan: Yeah, but I think in terms of the availability of the subtitles and captions, particularly when you do go to the cinema you might be able to sink into the film a wee bit easier if subtitles aren't on the screen, but if someone needs subtitles, they can't view the film.
Janice: That's it.
Pasquale: Yeah. I think there's a really interesting conversation around that, particularly with art house cinemas and the idea that they are maybe a wee bit hesitant to put captions on their English language content, even though they screen predominantly foreign language, but they're not hesitant to put out their wheelchair ramp.
Megan: And it's that type of same access that they're providing, so I think that there's a larger conversation around why we want subtitles on films, and it's because of the idea that more people can go see these films and enjoy them.
Janice: Don't you think, Pasquale, that because there's been a sea change in people like me enjoying, for the small screen anyway, the ability, to do with the mumbling or whatever, to be able to, you know, actually see, read what they're saying, don't you think, because of that, there should be less hesitancy amongst arthouse cinemas or wherever to roll out the subtitles and the captions for English language films?
Pasquale: Yeah, I mean, I do think so. I mean, obviously it's something that happens a lot in other countries but obviously it's very different over here, so maybe there's less of this pressure, perhaps, to put it on these screens, but it's definitely something that happens in Italy in France, where you have cinemas playing all the big hitters, all the big films in dubbed versions, but also with, in original versions as well.
Janice: Yeah. Certainly, thinking about what you're doing with Matchbox Cinema Club [sic], is there a lot of… I mean, do you go for a lot of foreign language films or is that not what your main thrust is when you're thinking of programming?
Megan: So, our main, core programme is about films you can't see anywhere else, so that's predominantly archive and world cinema, so foreign language. We also have our tent pole, larger weekend festivals, that are a wee bit more mainstream films, but they're all captioned as well. And, for us, a lot of that is that we're able to produce those captions in-house but we're also, you know, able to bring in people – you can see Con Air, maybe on Netflix, but you can't see it, you know, captioned on the big screen elsewhere.
Janice: Yeah. Just finally, what you were saying there, Pasquale, you were talking about a brilliant Indonesian action film.
Janice: That's the thing, there's such a richness out there and I'm as guilty as anybody else of not exploring, you know, the rest of the world's cinema 'cause there's so much else to catch up with and somebody like Mark Cousins always makes me feel guilty 'cause he plunges into it all the time, but there's so much brilliant film-making going on, right around the globe. Yeah, and actually, talk about Mark Cousins, I mean, Moviedrome was a real formative moment for me in terms of film education, that great series back in the '90s and with Mark Cousins and Alex Cox, but, yeah, I mean, just one look at Netflix, and I was just having a look at the international titles that they have and on their front page, the lead page is The Pianist, the Roman Polanski film.
Pasquale: But I was just looking at some others that they've got. They've got this terrific film called The Guilty, which is a film, a Danish film. One actor, just one actor in the film, so a bit like that film Locke, with Tom Hardy.
Pasquale: This is about an emergency police dispatcher who takes a call from a kidnapped woman. Very, very spare locations. Very, very suspenseful 90 minutes, less than 90 minutes and you're done. And it's a terrific film!
Janice: I'm writing it down. Guilty. Thank you very much indeed. Do you know what? We've talked so much, I can only play a little bit of the final song now, but I thought that was fascinating. Thank you very much indeed, Pasquale Iannone and Megan Mitchell. Cheers.
Megan: Thank you.
Pasquale: Thank you.
Janice: And, Megan, yeah, Cage-a-rama 2020 taking place from the 3rd to 5th of January at the CCA in Glasgow, for all your Nicolas Cage needs, hosted by Megan and her team. Thank you very much indeed.
All of Matchbox Cineclub's programmed is subtitled for the deaf and hard of hearing. Keep up to date with our events by signing up to our mailing list, here, or find our events on Facebook here. For more information on our subtitling service, read our dedicated page here.
Author SMWPosted on December 17, 2019 December 17, 2019 Categories Cagearama, CCA, KeanuCon, Matchbox Cineclub, Weird WeekendTags Access, Accessibility, Captions, CCA, Descriptive Subtitles, HOH, Matchbox Cineclub, Matchbox Cinesub, SDH, SubtitledCinema, SubtitlesLeave a comment on The Afternoon Show – Subtitling in films discussion
Cage-a-rama 2020 Guests + UK Tour
Nicolas Cage and Marco Kyris on set
Matchbox Cineclub are pleased to announce Marco Kyris, Nicolas Cage's official stand-in for over ten years, will attend our third annual Cage-a-rama film festival at Glasgow's Centre for Contemporary Arts on 3rd, 4th & 5th January 2020 and afterwards embark on a UK-wide Cage-a-rama: Uncaged tour.
Marco, who worked with Cage on almost 20 films between 1994-2005, will join Lindsay Gibb, Toronto-based author of National Treasure: Nicolas Cage and world-leading Nicolas Cage expert, for an in-conversation event and a screening of Uncaged: A Stand-in Story at CCA Glasgow on Saturday 4th January. Kyris will also introduce several of Cage-a-rama 2020's films across the festival weekend: Leaving Las Vegas (for which Cage won an Academy Award® for Best Actor), the first of the fan-favourite National Treasure films, and Martin Scorsese's urban horror Bringing Out the Dead, the latter of which he will introduce alongside journalist Josh Slater-Williams (Sight & Sound, Little White Lies).
Kyris has also guest-programmed a special opening night screening of one of his favourite collaborations with Cage, Brian De Palma's Snake Eyes, followed by a Q&A. Throughout the festival, Marco will be open to any questions about his "Cage Wage" years, and share genuine call-sheets and other Cage memorabilia from his archive – and might be persuaded to part with them if audience members pose good enough questions. Cage-a-rama's opening night is sponsored by Drygate.
Directors Mike Figgis (Leaving Las Vegas) and Stephen Campanelli (Grand Isle) will introduce their films via specially recorded videos. Joining them are Nicolas Cage aficionados from across the globe, including Timon Singh of Bristol Bad Film Club, Torïo Garcia of the Spanish NicCagepedia, and Mike Manzi & Joey Lewandowski, the New Jersey-based hosts of the much-loved #CageClub: The Nicolas Cage Podcast.
Marco Kyris, on the sets of The Rock, Face/Off and Con Air
The subsequent Cage-a-rama 2020 UK Tour will feature a 35mm screening of Con Air at the Genesis Cinema in London on Thursday 9th January, and a 20th-anniversary screening of Gone in 60 Seconds in collaboration with Bristol Bad Film Club at Bristol Improv Theatre on Saturday 11th January. Both screenings will be accompanied by Marco Kyris's short film, Uncaged: A Stand-In Story, and a post-screening Q&A.
Cage-a-rama 2020 highlights Cage's relationship with directors: from big guns to young guns, from huge budgets to low ones, from his career's early days to now. The festival features 10 films over three days, closing with the UK premiere of brand-new Nicolas Cage film Primal (2019), to be released by Lionsgate in February 2020. Sunday 5th January also sees the UK premiere of Grand Isle, which pairs Cage with Kelsey Grammer, set to be released by 101 Films. The rest of the programme features Cage classics from some of his earliest roles, in Francis Ford Coppola's Peggy Sue Got Married and Top Gun "homage" Fire Birds, to blockbuster sequel National Treasure: Book of Secrets and a midnight screening of Zandalee, his erotic thriller co-starring Judge Reinhold.
The Cage-a-rama 2020 film line-up
Cage-a-rama 2020 Weekend and Day Passes and individual tickets are on sale via Matchbox Cineclub's online shop. Tickets for Con Air in London are available via Genesis Cinema's website (genesiscinema.co.uk) and tickets for Gone in 60 Seconds can be purchased via Bristol Improv Theatre (improvtheatre.co.uk).
For the first time, the entire Glasgow Cage-a-rama programme will be open-captioned for D/deaf audiences, and tickets for each film are priced on a sliding scale, £0-8, with reference to our three-tiered guide, so audience members decide what to pay.
Keep up-to-date via the Cage-a-rama 2020 Facebook event
Illustration by Vero Navarro
Author SMWPosted on December 4, 2019 December 3, 2019 Categories Cagearama, CCA, Matchbox CineclubTags Bringing Out The Dead, Cage-a-rama, Cagearama, Cult Film, Film, Film Festival, Fire Birds, Glasgow, Grand Isle, Leaving Las Vegas, Marco Kyris, Matchbox Cineclub, National Treasure, Nic Cage, Nicolas Cage, Peggy Sue Got Married, Primal, Snake Eyes, Uncaged, Uncaged: A Stand-in Story, Vero Navarro, ZandaleeLeave a comment on Cage-a-rama 2020 Guests + UK Tour
Queer Classics' Lydia Honeybone on queer kinship in 1980s Berlin counterculture
Growing up in the 1990s, some of my favourite films featured queer characters and, coming out as a teenager, they became my idols. I learnt about queer culture from the drag queens played by Guy Pearce, Hugo Weaving and Terence Stamp in The Adventures of Priscilla, Queen of the Desert (1994), Robin Williams in The Bird Cage (1996), and Ewan McGregor, Jonathan Rhys Meyers and Christian Bale in Velvet Goldmine (1998). But, surprisingly, these roles were all played by straight actors – not a single one of them openly identifies as queer.
I began this blog post thinking I'd write a critical text on issues raised by straight actors playing queer roles and, while I still believe there is a necessary conversation to be held about appropriation, and the need for affirmative action within casting, on re-watching City of Lost Souls (Stadt Der Verlorenen Seelen, Rosa von Praunheim, 1983), and looking back at queer/drag on-screen representation, another question arose: how have we arrived at this moment in cinematic history, where we 'homonormatise' our on-screen queers?
While it's commendable that queer characters have moved from supporting roles to centre stage, from the gay sidekick BFF (see Rupert Everett in My Best Friend's Wedding (1997)), to more fully realised characters (such as Simon in Love, Simon (2018)), these more prominent roles seem to have been made more palatable for a wider audience, a kind of glossing-over. It seems that in the process of moving centre stage, queer on-screen representation has had to be cleaned up and diluted for a wider audience.
Viewing City of Lost Souls, we soon discover there is no attempt to gloss-over or dilute queer experience. This is apparent in the choice of characters themselves, including Angie Stardust, a black trans lesbian woman and Tara O'Hara, a trans sex worker. Then there is Lila, played by Jayne Country, a trans actress/punk musician of the era. Arguably the campest and most fabulous character in the film – as well as the most confusing – I only realised she was playing a cis woman when the character becomes pregnant! City of Lost Souls intentionally fucks with you. It's challenging, camp, and slapstick.
Between the cabaret numbers and outlandish punk performances, there are few moments that could be described as 'tender', but there is one that stands out. In this scene Angie Stardust and Tara O'Hara are getting ready for a night out, reminiscent of the Werk Room on RuPaul's Drag Race, or the dressing rooms of Paris is Burning (1990), but during this moment, they discuss their gender identities and differing attitudes to gender across their respective generations.
Angie and Tara have a complex exchange about their own gender expressions. Angie is seeking gender-realignment surgery, and is adamant that, in the narrator's words, she "won't become an old man". Tara, of a younger generation, self-identifies as "transvestite", and "third sex", not feeling the need for surgery. Identifying as a woman with the anatomy she was born with, Tara accuses Angie of being old-school in her mindset.
City of Lost Souls (Rosa von Praunheim, 1983)
Had she not been murdered in a homophobic attack in 1983, how would Tara O'Hara feel about her gender expression? Would she have found kinship in the ballrooms of 1990s New York, in Paris is Burning, and the legendary mother Pepper LaBejia of the House of LaBejia? Schooling the children, she famously said "having the vagina, that doesn't mean that you're gonna have a fabulous life".
Angie is a fierce character throughout, bursting onto the screen in the opening song, telling the staff of the Hamburger Queen to stop messing around and get back to work. In her scene with Tara, this anger is channelled into educating her young prodigy on the struggles the trans community faced, ultimately allowing her to be free in her gender expression. This sensitive and nuanced exchange between these two very different women, is a rare gem of political debate in an otherwise brash, bombastic queer musical!
The reason this otherwise inconsequential scene stands out for me, is a shocking indication of how little progress we, as queer people, have made when it comes to the wider recognition of gender diversity. I'm left questioning how queer culture has failed to make the gains we looked set to achieve in 1994, when we celebrated Terence Stamp's portrait of Bernadette, a trans woman who performed 'womanhood' in her job as a drag queen in Priscilla, Queen of the Desert.
It is problematic to hold up RuPaul's Drag Race as the benchmark by which we judge all representations of queerness on-screen, but with viewer numbers through the roof, 13 Emmys and a growing international fanbase, Mama Ru has reached audiences previously unimaginable to drag queens. For many people RuPaul's Drag Race is queer culture. But, with their questionable stance on trans inclusivity and homogenised beauty standards, is Drag Race partly responsible for the 'homonormativity' we find across queer popular culture today? How have we strayed so far from the '80s/'90s queer representation that was so gender fluid and wholly inclusive?
This is what makes revisiting City of Lost Souls so exciting and utterly pertinent. It is a chance to enter into an absurd world of queer kinship, where a trans woman plays the role of a woman assigned female at birth, a drag queen self identifies as "the third sex" and her best friend is a black, trans, lesbian who reigns over their household as a fierce matriarch. The rules of gender are broken and rebuilt in our viewing of this bizarre, queer extravaganza, about love, rejection, violence and self-expression.
City of Lost Souls never achieved the box-office success of Priscilla, or even the cult status of Paris is Burning, but it is an incredible reflection of the Berlin underground in the 1980s. Indeed, perhaps its relative obscurity allowed it to be so subversive.
Tangerine (Sean Baker, 2015)
Ultimately, I hope Hollywood casting directors will realise that they need to do better and start casting queer people in queer roles (like the brilliantly-cast Tangerine (2015)). Until then, maybe we will need to keep looking to the margins to find our contemporary queer idols.
Lydia Honeybone
Matchbox Cineclub and Queer Classics present City Of Lost Souls at Centre for Contemporary Arts, Glasgow on Monday 18th November, as part of BFI Musicals! The Greatest Show on Screen, a UK-wide film season supported by National Lottery, BFI Film Audience Network and ICO. bfimusicals.co.uk
Tickets are priced on a sliding scale £0-8, and are available exclusively here.
Author SMWPosted on November 2, 2019 Categories Matchbox CineclubTags BFIMusicals, City of Lost Souls, Matchbox Cineclub, Queer Classics, Rosa von Praunheim, Stadt Der Verlorenen SeelenLeave a comment on Gender expression in Rosa von Praunheim's cult musical City of Lost Souls
Reptilian aliens, shoegaze and the end of the world. Diet Soda Cineclub's Teri Williams sets up our upcoming co-screening of Gregg Araki's Teen Apocalypse Trilogy
Is Gregg Araki the patron saint of the alienated teen? His work, which now spans over three decades, has helmed a wave of new queer cinema that began with radical low budget films like The Living End and is now cutting through the abundant noise of shiny teen TV drama with the excellent Now Apocalypse, a hark to the trilogy that arguably started this whole beautiful mess: the Teen Apocalypse Trilogy. So pucker up, light up, and read on to find out more about how the godfather of rebellious youth framed a generation in neon rainbow colours that remains ever so relevant in this strange, doom-laden landscape we're living in right now.
Totally Fucked Up, The Doom Generation and Nowhere were made and released in the mid-90s, when tie-dye and inflatable furniture was in, and Gen Z queer icons Amandla Stenberg, Chloe Grace Moretz and Hunter Schafer were mere twinkles in their parents' eyes. It's arguable to say that these three films, and Gregg's subsequent features like Mysterious Skin and Kaboom! paved the way for a plethora of queer and teen-centric media today. He's even had a guest director spot on a few episodes of 13 Reasons Why, one of the most talked about teen TV shows of recent times.
The Teen Apocalypse Trilogy was never seen as a critical success. Maybe because most of the film reviewers assessing them at the time were deliberately far removed from the worlds shown on screen – there's nothing a middle-aged white man hates more than teen disenchantment, disengagement, disaffection. Not to mention all of that ambiguous sexuality, questions of gender identity and complete disregard for populist politics and society. Gregg's films depict utter doom in the purest sense, where teens find themselves facing alienation and actual aliens, out to pull them free from the crazy world they're struggling to fit into.
The first film in the trilogy, aptly titled Totally Fucked Up, stars Araki-darling James Duval, who we see throughout a large number of Gregg's work. His inky black eyes, pouty mouth and Keanu-hair make him an instant pin up in the franchise, but what makes James stand out is his flat, carefree valleyboy accent, often used as narration, particularly in his starring role in Nowhere. He is part of a group of six young gay teenagers who have come together as a family of misfits. Largely filmed with a handheld video camera, the movie has a grainy, homemade quality to it reminiscent to the early work of the great John Waters, and as intimate as the talking head portions of modern reality TV.
The Doom Generation, which is a roadtrip movie, stars Rose McGowan and her iconic Mia Wallace haircut, hurtling through the desolate landscape of nighttime LA with boyfriend Jordan (James Duval) and new arrival X (Jonathon Schaech). Their blossoming triage-ship is wrought with jealousy, confusion, and terrifying encounters throughout the way,
The third film, Nowhere, showcases Gregg's obsession with alienation in a comically literal sense. Its bisexual hero, again played by James Duval, is on a manic search for the alien race who is taking over his community and friends, stalking him as he navigates his failing relationship with girlfriend Mel and falling for new town arrival Montgomery.
So there you have it. Three films – a portrait movie, a roadtrip movie, and a sci-fi fantasy – each exploring themes of existential doom and teenage heartbreak that, each with their own rad, acidic soundtrack and palette of blindingly neon colours, paved the way for a multitude of queer cinema that celebrates the weird and subversive, an aloof middle finger to the mainstream. And maybe that's what we need to celebrate right now.
Teri Williams
Gregg Araki's Teen Apocalypse Trilogy screens at the CCA Glasgow as part of Scalamara Glasgow on Thursday 26th September, 2019. Buy tickets here.
Author SMWPosted on September 7, 2019 September 16, 2019 Categories CCA, Matchbox Cineclub, ScalaramaTags Diet Soda Cineclub, Gregg Araki, James Duval, lly Fucked Up, Matchbox Cineclub, New Queer Cinema, Nowhere, Rose McGowan, Scalarama, Scalarama Glasgow, Scalarama Scotland, The Doom GenerationLeave a comment on Three of the Apocalypse
It's the best Soviet-era Estonian sci-fi detective story you've never seen – The Reptile House on why you should book some time at "Hukkunud Alpinisti" hotell
There was a time when aliens weren't cult.
Before the greatest show on earth (The X-Files), aliens were a personal invasion of mortal safety. They signified everything wrong with the universe we inhabited and implicated a mortal terror of the unknown we barely perceived as anything other than an "it's fine, we'll be fine" sipped through denied lips. As metaphors, sure, as physical entities, no fucking thanks.
Estonian folklore leans a lot into the idea of host-taking and shapeshifting. The Kratt for instance, is a creature borne of hay and tools, brought to life by blood to work for its master. A Sentient used to dig, run chores, exist as a slave. Imitating human life, but being only a homunculus to the will of whoever would deal with the devil to will it into existence. Pitchforks and sinew, trowels and skulls, bread and ladder. A hollow being desperate to work, pretending its existence isn't an abomination of magic, thirsty for work or else it would turn on its owner. For some, the Kratt was a helper, turned into a nightmare. Given tasks so dangerous that the owner would actively seek to give it work that would knowingly kill it to save themselves the agony of its hand in death. A bite too much of Satan's hand.
Original theatrical poster for Dead Mountaineer's Hotel by Ülo Emmus
Dead Mountaineer's Hotel ("Hukkunud Alpinisti" hotell, Grigori Kromanov, 1979) leans hard into its native folklore stories of host-taking but gives it a newly found sci-fi bent, mimicking Soviet-era ideas of internal invasion, gender non-conformity and country (if not world) changing ideas of appropriation and accidental exposure to life beyond comprehension.
In the snow-capped high-altitude nowheresville of mountainous Europe, Inspector Glebsky (Uldis Pūcītis) is anonymously called in to investigate a murder pertaining to a mountaineer and his dog. His location is that of a gorgeously nestled wooden hotel on what feels like the crown of earth and its inhabitants. They're odd, one sentence sideways, unhelpful and too helpful. As labyrinthine as the hotel itself, which is itself questionable in its intent. An oblique, neo-noir Bauhaus building left to percolate and evolve on its own, becoming puzzling and obsidian. An impenetrable tableau for a mystery that the physical world can't comprehend: aliens exist.
As an audience, we're given the exact same amount of work that the inspector is given but with extra detail once he's left the room. Making us more equipped to exact ourselves on what's happening but also, somehow, feeling even more confused with what's happening and who these people are. Why were we shown that extra eyeline? Who is whispering? What is GOING on in these mountains?
The soviet "alien" and "robots" idea is less hammy western ideals of spooky wee guys from beyond but more ideas of assimilation and folklore-bred notions of humans not as humans. Robots aren't mechanic techno-menaces but rather fleshy familiar. The aliens are shapeshifters making us feel accidentally comfortable while they find safe passage. Their gender and sexuality are fluid, almost androgynous, to the point that their misunderstanding of the concept of biology and sexuality are critiquing our own confusingly rigid viewpoints on both.
In the hotel, it feels like tenants are both arguing with each other and harmoniously disrupting your work at decoding, so that when the reveal hits, you feel astounded at its meaning. Especially with how the film chooses to frame its core end message: if aliens exist on earth, what would it mean to the integrity of human life? And if you kill one, what kind of corruption would that cause to the human soul knowing you killed possibly the greatest discovery of Man's existence? Is it duty of fear?
It's extremely hard to spoil Dead Mountaineer's Hotel, because almost everything in its filmmaking relies on your experience of its atmosphere and pace. Glacial, soothing, weird, quixotic. The first time I ever watched it, I knew it was my favourite foreign film. How could I not? Written by the legendary sci-fi math-brains Strugatsky brothers who (in the same year) had their novel Roadside Picnic turned into cult classic Stalker by Andrei Tarkovsky and later Hard To Be A God adapted twice into messianic epics, Grigori Kromanov-directed Dead Mountaineer's Hotel has their heady, huge themes built into it, but it's minimalistic and restrained. Enjoying every second, it teases you into each gentle unzip. Don't ask, don't tell, just watch.
There's a weird essence about the whole thing that feels like it was a sci-fi noir film made for aliens BY aliens and their secret existence on Earth, but we just accidentally found it. A true, bonafide classic.
Findlay (@antibloom)
Dead Mountaineer's Hotel screens in association with The Reptile House at Matchbox Cineclub's Weird Weekend on Sunday, 01/09/2019 at CCA, Glasgow
The Reptile House is a cult movie/music/art/weerd/oddball zine full of articles, film comparisons, poems, short stories and other lost and found miscellaneous junk. Everyone is welcome, because everyone belongs. Its print it out on shitty work printers at 6am when no one is in because I want it to be affordable for everyone! Any money made goes directly to local charities. Please do not tap the glass.
Author SMWPosted on August 26, 2019 Categories CCA, Matchbox Cineclub, Weird WeekendTags 1979, Cult Film, Cult Film Festival, Dead Mountaineer's Hotel, Detective, Estonia, Glasgow, Grigori Kromanov, Science Fiction, Soviet, Strugatsky brothers, The Reptile House, Weird WeekendLeave a comment on Dead Mountaineer's Hotel
Matchbox Cineclub is an independent exhibitor of cineoutcasts, orphans and outliers. Based in Glasgow, Scotland, we programme, curate and promote cult film events across the UK, including the festivals Cage-a-rama, KeanuCon and Weird Weekend.
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