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Rain Catcher

In rainy, nocturnal London, photographer Miles obsessively captures unforgiving, morbid portraits of oblivious strangers. When not selling them, he shares them online as 'Rain Catcher'. But soon he notices something unsettling: a mysterious woman watching him and photographing him—turning the lens back on Miles. As her gaze closes in, his world fractures—his work is sabotaged, his name defamed, his loved ones endangered. Consumed by paranoia, he spirals into a dark, delirious obsession to uncover the truth behind her motives. Based on the 2018 short film of the same name.

Rain Catcher

NR 2026
Clash

Commissioned by the BBC & BFI, CLASH is a short experimental documentary critiquing Britain's obsession with period dramas, and how they erase the diverse reality of Britain today. This film - part parody, part candid interview - is a response to Humphrey Jennings' 1942 'LISTEN TO BRITAIN', a documentary used to propel a myth of national unity. CLASH, through the perspectives of underrepresented queer people of colour, critiques the myths we still tell ourselves on screen. Through candid interviews and staged period-drama sequences with our subjects - involving a hobby horse race in East London - our film explores the issues surrounding nostalgic heritage cinema, and how it erases the diverse landscape of Britain today.

Clash

NR 2017
Dvořák:  Rusalka

Praised by critics as “magnificent”, “breathtakingly theatrical” and full of “zestful imagination”, Melly Still’s “spine-tingling” Rusalka is a Glyndebourne classic – a magical contemporary reimagining of a much-loved fairy tale. Light and darkness, beauty and danger come together in this passionate tale of love against the odds. At once evocative and unsettling, this production collides two contrasting worlds in Rae Smith’s elegant designs made of “brilliant stage-pictures”. Rusalka’s forest home is a dappled space of sunshine and shadows, full of strange woodland creatures, while the Prince’s court is a world of sleek modernity and sophistication – a world of man.

Dvořák: Rusalka

NR 2020
Die Fledermaus

Most opera houses ring in the New Year with Johann Strauss Jr.'s most popular operetta--the festiveness of which is appropriate for the occasion--and this December 31, 1983, Covent Garden performance follows suit. An exceptional cast--led by Hermann Prey and Kiri Te Kanawa as the couple whose marriage survives the comic indiscretions of three long acts--obviously has as much fun as the audience. Plácido Domingo leads the Orchestra of the Royal Opera House through its paces with panache. Prince Orlofsky's Act II party is always a splendid opportunity to pull out all the stops with surprise "guests," and this performance makes the most of its chance: entering the proceedings to sing one of his tailor-made chansons, "She," is French crooner Charles Aznavour, who is followed by dancers Merle Park and Wayne Eagling, their delightful pas de deux flashily choreographed by Sir Frederick Ashton.

Die Fledermaus

8.2 1984
Forest of the Gods

The story about one man - an artist and an intellectual - who was imprisoned by two brutal regimes, the Nazis and the Soviets. 'The Professor' is a man who lives by his own personal version of the Ten Commandments. After miraculously surviving imprisonment in a Nazi concentration camp through a bit of ironic fate, he writes a memoir of his life, which becomes the target of the Soviet censors. The so-called "freedom" of Communism becomes just as oppressive as the German concentration camp.

Forest of the Gods

8.1 2005
Déjà-Vu

A cinematic experience by Douglas Gordon - in which the film D.O.A. is screened simultaneously on three screens beside one another, but at slightly different speeds. The films quickly fall out of synch with one another. Déjà-vu uses footage from D.O.A. 1949-50, a Hollywood thriller directed by Rudolph Mateé. The film has been transferred to video and is projected simultaneously on three parallel screens at normal speed as well as slightly faster and slightly slower - 25, 24 and 23 frames per second (left to right). This has the effect of making the three identical narratives diverge increasingly over time, and inducing in the viewer an experience similar to déjà-vu.

Déjà-Vu

10.0 2000