2020

 

 

 

 


January

11 January

Cabinet of Dr Caligari (Dir. Robert Wiene, 1920) (Screening format – not known,  77 mins) In the village of Holstenwall, fairground hypnotist Dr Caligari (Werner Krauss) puts on show a somnambulist called Cesare (Conrad Veidt) who has been asleep for twenty three years.  At night, Cesare walks the streets murdering people on the doctor’s orders.  A student (Friedrich Feher) suspects Caligari after a friend is found dead and it transpires that the doctor is the director of a lunatic asylum.  Fueled by the pessimism and gloom of post-war Germany, the sets by Hermann Warm stand unequaled as a shining example of Expressionist design.  Find out more at  wikipedia.org.  With live musical accompaniment by Minima.  Contemporary, Nottingham Link

February

 

March

12 March

Man With a Movie Camera (Dir. Dziga Vertov, USSR, 1929) (Screening format – not known, 68mins) “An experiment in the creative communication of visible events without the aid of inter-titles, a scenario or theatre “aiming at creating a truly international absolute language of cinema,” is how the inter-titles describe what is about to be seen. Bold claims indeed, but in its awesome sophistication The Man with a Movie Camera does live up to them, making it one of the most contemporary of silent movies. The subject, the life of a city from dawn to dusk, was not original even for 1928, but its treatment was–the cameraman as voyeur, social commentator and prankster, exploiting every trick permissible with the technology of the day (slow motion, dissolves, split screens, freeze frames, stop motion animation, etc). A young woman stirs in her bed, apparently fighting a nightmare in which a cameraman is about to be crushed by an oncoming train. She wakes up, and the sequence is revealed to be a simple trick shot. As she blinks her weary eyes, the shutters of her window mimic her viewpoint, and the iris of the camera spins open. Self-reflexive wit like this abounds here–there’s even a delicious counterpoint made between the splicing of film and the painting of a woman’s nails.  Find out more at openculture.com .  With recorded score.  Screened as part of the Explore Film programme and accompanied by a lecture from film academic Ellen Cheshire.  Depot Cinema, Lewes Link