Open to the public and NFTS students alike, our programme of screenings at the BFI Southbank, London, is brought to you by the NFTS.
There's a screening most Monday evenings, and occasional Tuesday evenings and you can find out what's showing month by month by viewing the schedule below. Designed to give a continuous and comprehensive overview of every facet of cinema, from its beginnings to the present day, the programme showcases key films from the classic, mainstream and avant-garde of European, American and world cinema, mixing the familiar with the experimental and rediscovering forgotten gems. Guest speakers introduce each programme and there's often a lively discussion in the café after the film. For current ticket prices, reservations and further information, call the BFI Southbank box office on Tel 020 7928 3232 or visit the BFI website - www.bfi.org.uk. BFI Southbank: Belvedere Road, South Bank, London SE1 8XT.
Spring 2014 Programme
Tell Me Lies - The Other Side of Love
For our spring 2014 season, we take up a subject – romantic love, and its supporting institutions – that has preoccupied cinema (as it has literature) more than any other. We take it up from a somewhat disillusioned perspective, or at least from the point of view of films where love doesn’t exist apart from the lies, doubt, corruption and betrayal from which it has to be disentangled. This is love looked at askance, sometimes mockingly, sometimes with just a wry acknowledgment of human weakness. At the darker end of the spectrum, where the romantic is tied in with the themes of Romantic art, where Eros mates with Thanatos, we have Bertolucci’s Last Tango in Paris, Nicolas Roeg’s Bad Timing and Powell and Pressburger’s study of spirituality versus erotic obsession, Black Narcissus. In different registers of realism, modern relationships are given a going-over in Journey to Italy, Antonioni’s L’Eclisse and Claude Chabrol’s Les Biches. Movie realism brings out the anguish of theatrical melodrama in Who’s Afraid of Virginia Woolf? and it all begins with the distinctively curdled romanticism of Erich von Stroheim’s silent The Wedding March. Richard Combs