Surprise

Film
Skool


A mother (Tess Harper) and son (Austin Fryberger) confess their secrets in Surprise, a short film by Leslie Bumgarner.


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Gothic Fantastico

Film
Skool


While groundbreaking director Mario Bava (Black Sunday, Black Sabbath) remains the most well-known purveyor of Italian Gothic horror, many other filmmakers tried their hand at the form throughout the 1960s as part of a hugely prolific and popular cycle. Gothic Fantastico presents four off-the-beaten path titles from this classic period, all of which demonstrate Italy’s ability to expand genre beyond the classic literary monsters that dominated elsewhere.

Gaslighting abounds in Massimo Pupillo’s Lady Morgan’s Vengeance – a delicate tale of romance and mystery, with a sprinkling of sadism and the supernatural – as newlywed Sir Harold Morgan (Paul Muller, Nightmare Castle) attempts to destroy his new bride (Barbara Nelli, Double Face) with help from his sinister maid (Erika Blanc, Kill, Baby… Kill!). Meanwhile, the perverse influence of Poe is used to great effect in Alberto De Martino’s The Blancheville Monster – a tale of family curses and madmen in the attic, as Emilie de Blancheville (Ombretta Colli, Gladiator of Rome) returns home to her brother Roderic (Gérard Tichy, Hatchet for the Honeymoon) and discovers her own family may be out for her blood. Mino Guerinni’s The Third Eye features not only a very early role for Italian cult film icon Franco Nero, but a plot that borrows several elements from Hitchcock, layered with a whiff of necrophilia. Finally, Damiano Damiani’s The Witch takes a more avant-garde approach, when a young historian (Richard Johnson, Zombie Flesh Eaters) is lured to work for an ageing woman, only to be held captive when he becomes obsessed with her beautiful daughter (Rosanna Schiaffino, The Killer Reserved Nine Seats).

Madness, obsession and messed up families are the order of the day in these four lesser-known monochrome gems from Italy’s peak Gothic period, now fully restored in 2K from their original camera negatives for the first time and presented alongside an array of in-depth extras.


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Satisfaction lies in the effort, not in the attainment

Mass in
Motion

Count Yorga

Film
Skool


By the end of the 1960s the boom in Old World gothic horror had begun to wane in the face of present day terrors like the Vietnam war. In response, American filmmakers brought horror out of the past and into the present, and the classic movie monsters packed their bags and headed for the New World.

Count Yorga, Vampire was among the first to successfully transpose the classic vampire, cloak and all, to a modern day setting as the Count played unforgettably by Robert Quarry arrives in the United States and settles in a Southern California mansion with his mysterious “brides”. A drive-in favourite from the moment it was released, a sequel soon followed. The Return of Count Yorga ups the ante and sees the sardonic Count on the streets of San Francisco, his sights set on an orphanage as a potential source of sustenance.

Director Bob Kelljan (Scream Blacula Scream) delivers a one-two punch of classic cult cinema mixing chills, thrills, style, and suspense with a knowing wit that revels in the genre trappings. Presented in all new restorations by Arrow Films from new scans of the original camera negative, The Count Yorga Collection is a full blooded feast to die for!


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Every worthwhile accomplishment, big or little, has its stages of drudgery and triumph: a beginning, a struggle, and a victory

Mass in
Motion

Rainer Werner Fassbinder

Film
Skool


Rainer Werner Fassbinder, the enfant terrible of the New German Cinema, wrote, directed, produced and starred in over 40 films in his short but prolific life, before passing away of a drugs overdose in 1982 aged just 37. Rainer Werner Fassbinder vol. 3 brings together a collection of his lesser seen works from various stages in his career, featuring high definition digital restorations prepared by the Rainer Werner Fassbinder Foundation.

Gods of the Plague portrays a newly released ex-con as he reacquaints himself with Munich’s criminal underworld to plan the robbery of a supermarket. In Rio Das Mortes, two feckless young friends, Michel and Günther, embark on a hare-brained scheme to look for lost treasure in Peru, against strong opposition from Michel’s fiancée.

Unseen between its first television broadcast in 1970 and its rediscovery in 2002, The Niklashausen Journey chronicles the journey of a young peasant in the 15th century and his quest to overcome social injustice, in Fassbinder’s allegorical critique of the student movement. The American Soldier sees Fassbinder continue to pursue the cinephilic homage to classic Hollywood crime films of his feature debut, Love is Colder than Death, in a tale of a German-American Vietnam vet turned small-time hoodlum who finds himself on the wrong side of the law in Munich, where he grew up.

Mother Kusters Goes to Heaven stars Brigitte Mira (Fear Eats the Soul) as a middle-aged housewife who is roused into revolutionary activity after her blue-collar husband runs amok at his workplace. Based on a story by Asta Scheib, Fear of Fear features Fassbinder favourite Margit Carstensen (The Bitter Tears of Petra von Kant) as the young mother plagued with feelings of anxiety and depression as she is left to spend her hours alone surrounded by her judgemental in-laws while her husband spends his days at work. Satan’s Brew sees Fassbinder foray into riotous comedy, with Kurt Raab starring as a once famous poet stricken with writer’s block who inadvertently assumes the persona of the prewar symbolist Stefan George.


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If I have the belief that I can do it, I shall surely acquire the capacity to do it even if I may not have it at the beginning

Mass in
Motion

Kidd Kenn

Beats,
Rhymes
& Life


Do Dat At, new music from Kidd Kenn.


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Nomad

Beats,
Rhymes
& Life


Soufree, new music from Nomad.


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It's easy to stand in the crowd but it takes courage to stand alone

Mass in
Motion

Tommy Boi

Beats,
Rhymes
& Life


Personal, new music from Tommy Boi.


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Ricky Martin

Beats,
Rhymes
& Life


Ácido Sabor, new music from Ricky Martin.


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In a gentle way you can shake the world

Mass in
Motion

Nakhane

Beats,
Rhymes
& Life


Tell Me Your Politik, new music from Nakhane.


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Honest differences are often a healthy sign of progress

Mass in
Motion

Kidd Kenn

Beats,
Rhymes
& Life


Want Not A Need, new music from Kidd Kenn.


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There is no such thing as "too insane" unless others turn up dead due to your actions

Mass in
Motion

Oliver Sim

Beats,
Rhymes
& Life


GMT, new music from Oliver Sim.


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Mary, Queen of Scots

Film
Skool


Watch Mary Stuart (Vanessa Redgrave) and Elizabeth I (Glenda Jackson) go head-to-head in this clip from the BFI's forthcoming blu-ray edition of Mary, Queen of Scots.

Mary, Queen of Scots, a film by Charles Jarrott


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The greatness of humanity is not in being human, but in being humane

Mass in
Motion

The Appointment

Film
Skool


An evil and enigmatic entity throws a family into turmoil in Lindsey C. Vickers' much sought-after cult horror.

Unable to attend his daughter’s violin recital, suburban father Ian – played by Edward Woodward (The Wicker Man) – is haunted by a series of prophetic nightmares that seem to foresee a looming tragedy. Are dark forces gathering to be unleashed upon him?

An unsettling journey into the world of the supernatural guaranteed to give you sleepless nights, The Appointment is this latest addition to the popular BFI Flipside collection. It is with the director’s blessing (and extensive involvement) that the BFI have decided to make this much requested title available, using the best materials as yet discovered.

BFI Flipside is dedicated to rediscovering the margins of British film, reclaiming a space for forgotten movies and filmmakers who would otherwise be in danger of disappearing from our screens forever. It is a home for UK cinematic oddities, offering everything from exploitation documentaries to B-movies, countercultural curios and obscure classics, if it's weird, British and forgotten, then it's Flipside.

The Appointment, a film by Lindsey C. Vickers


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