KT 104: 2025 Berlinale Film Festival Report
Digby took part in the festivities at Berlin and reports back so you didn't have to
Co-Founder and Leading Editor, Digby Houghton, proudly reports from the Berlinale International Film Festival, reporting on over 15 films including Kontinental ‘25, What Does That Nature Say to You, If I Had Legs I’d Kick You, Mickey 17 and more…an early guide of what’s to come in the year(s) ahead.
Words by Digby Houghton
As Todd Haynes so articulately phrased it, upon announcing the awards of his jury for the 2025 Berlinale International Film Festival, “Berlin is a city that has had to reinvent itself more radically than maybe any city in the world.” This comment felt particularly poignant given the rise of right-wing governments across the world. In fact, as I left Berlin on the final day of the festival, Germany was amidst a federal election providing the Christian Democratic Union with the most votes, and, shockingly the alt-right AfD (Alternative for Germany) party receiving the second most votes, epitomising the polarised world we are living through. The Berlinale is a festival of experimentation without quite the bells and whistles of its other lavish European film festival counterparts (Cannes and Venice), and this year's rendition did not disappoint, curated by new festival director Tricia Tuttle. What follows is a summation of everything I caught at the festival.
Between Gen Z and our Baby Boomer counterparts there are increasing misunderstandings socially and culturally. This sentiment was an important factor in Romanian auteur Radu Jude’s new film Kontinental ‘25 which pays homage to Roberto Rossellini’s 1952 film Europe ‘51, mimicking the film both in its title and plot line – a woman consumed by guilt, searching for redemption. However, instead of a magnificently permed Ingrid Bergman we follow the sullen Eszter Tompa who plays Orsolya, an over tired and overworked ex-law professor who is now working as a bailiff. When she removes the destitute and goofy Ion (Gabriel Spahiu) from his unkempt basement abode and he resorts to killing himself – an act that transpires gruesomely offscreen – Orsolya suddenly feels guilty for a crime she herself tells a friend “she’s not guilty for.” From here, the Jude’s familiar absurdities grip the audience including monologues about Hungarian nationalism in Transylvania; crass jokes about Stalin and the ongoing war in Ukraine; and a refreshing cinéma vérité style showing the gritty side of Romania, that sees parallels between his 2021 Golden Bear winning Bad Luck Banging or Loony Porn, which was largely shot on the streets of Bucharest. Jude is evidently an industrious filmmaker – winning the Silver Bear for Best Screenplay – shooting this film entirely on an iPhone without lighting or grip equipment. Like other great auteurs such as Jean-Luc Godard and Clint Eastwood he releases films with alarming speed and his refashioning of Dracula is set to release later this year.
If the unjustified guilt of killing someone plagued Jude’s new film, then film festival darling Hong Sang-soo’s new film What Does that Nature Say to You (Geu jayeoni nege mworago hani), deals with the acceptance of who one is. Donghwa (Ha Seong-guk) is a poet from the city who arrives at his girlfriend Junhee’s (Kang So-yi) parent’s house in the countryside, which is deceptively larger than he expected. When Junhee’s father Oryeong (Kwon Haehyo) greets the poet he begins to see it as an opportunity to impress his future in-laws. The customary politeness is shared between Junhee’s parents and Donghwa but it soon becomes apparent that he does not rise to the standards of Junhee’s parents. His lacklustre poetry isn’t particularly good either. Over the course of a day – and told in eight untitled chapters – we watch him eat Korean food with Junhee’s sister Neunghee (Park Miso), strum the guitar, drink fermented rice liquor with Oryeong and recount his uninspiring poems to Junhee’s mother Sunhee (Cho Yunhee) – who also happens to be a poet. Hong’s ability to churn films out rivals the frequency of Radu Jude with this film his 30th release in almost the same number of years. His films are undeniably suited to the festival circuit given how idiosyncratic and meditative the dialogue can be blending a mixture of both improvisation and scripted scenarios.
Where Hong’s cinema is rooted in Buddhist notions of repetition and rejuvenation, Ameer Fakher Eldin’s competition title Yunan explored the legacy of Islam in contemporary Germany. The film is the second in a trilogy known as the “Homeland” project, the first of which was The Stranger from 2021. The film opens with Munir, played by a grizzly-bearded Georges Khabbaz, as he meets a doctor who cannot diagnose any definitive issue but recommends that he rests. Munir dramatically takes this advice as an opportunity to kill himself wherein he travels to the remote and picturesque Hallig islands in the North of Germany. His evident differences, not just in skin colour but faith also, lead him to become othered by the local population in a Wake in Fright sensation of paranoia. This Loachian social-realism of the film was intensely evoked through soft focus, hand-held footage by cinematographer Ronald Plante. Some of the locals try to bridge the cultural gaps including Munir’s guesthouse owner Valeska (Hanna Schygulla) and her brawly son Karl (Tom Wlaschiha), forcing Munir to reconsider his ill-fated attempts at suicide and leading to a dramatic finale.
The trauma of the past also haunted British playwright and screenwriter Rebecca Lenkiewicz’s debut film Hot Milk, an adaptation of a Deborah Levy novel, of the same title, from 2016. The film stars Vicky Krieps as Ingrid and Emma Mackey as Sofia, the daughter of Rose (Fiona Shaw), who is confined to a wheelchair. Set during a summer in Spain, Rose visits Dr Gomez (Vincent Perez) to assist with her underlying psychosomatic condition whose causes remain unknown but are likely triggered by childhood trauma. Dr Gomez attempts to unearth the roots of this trauma but Rose’s lack of interest in therapy leads to tension between her and Sofia, who feels the burden of her mother. Shot in an elliptical, slow burn style, the film prioritises formal exploration over dialogue transforming it into a meditative yet, at times, tiring work. Krieps’ character as Ingrid serves as a sexual awakening for Sofia and her recognisable versatility as an actress adds to her diverse roles in other films like Empress Elisabeth of Austria in Corsage. The unnerving ambiguity of the film – established from the very start of the film – does not let up until the film's gruelling final climax.
Adaptations were a common theme of the Berlinale with Lucile Hadžihalilović’s latest film The Ice Tower – more sexily translated to La tour de glace in French – loosely based on Hans Christian Anderson’s fairy tale The Snow Queen. It follows a teenage orphan called Jeanne – the youthful Clara Picini – who escapes her orphanage and magically becomes an extra in a filmed adaptation of Anderson’s The Snow Queen. The Ice Tower sees Hadžihalilović return to collaborate with actress Marion Cotillard for the first time since her 2004 film Innocence, which traverses the similar terrain of adolescence and girlhood. Cotillard helms the set as the glamorous perfectionist Cristina who is also manipulative of her actors; at one stage a crow violently bites an uninspiring actresses hands, suspiciously caused by Cristina. Cristina and Jeanne enter into a toxic mentor-mentee relationship spurred on by Cristina’s own childhood trauma as an orphan and her desire to belong. The film’s meta narrative stylistically borrows from Michelangelo Antonioni’s fairy-tale film language (films like Blow-Up and La Notte spring to mind) and the choice of period setting in the 1970’s heightens Hadžihalilović’s painfully elaborate style. The artistic direction was flawless, including exquisite set design, costume design, hair and makeup; everything was very tight – it’s no surprise Hadžihalilović won the Silver Bear for Outstanding Artistic Contribution, an award she seemed dumbfounded to receive herself.
European summers seemed to be a recurring trope of the festival and a particularly crucial plot point of Valentine Cadic’s docu-fictional coming of age romance Le rendez-vous de l'été (That Summer in Paris). Set during the 2024 Olympic games in Paris, the film follows uncoordinated thirty year old Blandine (Blandine Madec) as she arrives by train from Normandy to watch her swimming idol Béryl Gastaldello as she swims for Gold, before being knocked back, dumbfoundedly, by security for having a bag that is too big. This is the first in a series of unfortunate events that transpire over the space of a week leading Blandine to reconnect with her half-sister Julie (India Hair), her half-sister’s anarchist boyfriend and her niece Alma (Lou Deleuze). She also develops a relationship with one of the swimming pools security guards in a subplot that sees the couple overlooking the diving boards of a deserted Parisian pool one evening. I felt, as with a lot of contemporary French films, the satirical politics and trivialisation of Julie’s boyfriend made the film hard to take seriously. Blandine’s uncoordinated mannerisms and happy-go-lucky character also drew parallels with American indie actors like Lena Dunham and Greta Gerwig – particularly her role in Frances Ha.
Australian cinema was a factor of the festival with film festival regular Justin Kurzel screening the first two episodes of his mini-series adaptation of Richard Flanagan’s book The Narrow Road to the Deep North, to be released on Amazon Prime in Australia over the Easter long weekend. Jacob Elordi electrifies the screen as a young Dorrigo Evans, replete with his chiseled jaw and starry hazel eyes. Switching between three different time periods – before his assignment as a soldier in World War Two; his time as a POW working on the Thai-Burmese railway line; and as an adult working as a doctor – the TV show focuses, in an unusual turn for Kurzel, on adultery, as Dorrigo confronts infidelity in each era. This shift in focus comes as a marked change from the psycho killers that have dominated Kurzel’s previous films like Snowtown and Nitram. Elordi proves he is a truly versatile actor and whilst the film is shrouded in Kurzel’s recognisably brooding gothicism there is ample amount of light humour and hyper-masculine camaraderie to keep the audience excited for the final three episodes.
Another Australian film premiering at the festival was Sophie Somerville’s Fwends as part of the Forum strand, intended for showcasing innovative, experimental, and unconventional cinematic works. Fwends tells the story of Em (Emmanuelle Mattana) and Jessie (Melissa Gan) as they reconnect over the course of one day in Melbourne. Em has arrived from Sydney where she is a lawyer living her millennial yo-pro dream paying exorbitant rent but dealing with workplace discrimination including unwarranted groping, while Jessie is uncertain about her decisions in life. The dialogue is largely improvised providing striking resemblances to the meandering but more naturalistic monologues of Eric Rohmer's films. The parallels between Rohmer were evident in the film’s overarching cinéma vérité style – shot by producer and cinematographer Carter Looker, featuring lots of disconcerting zooms and some psychedelic super-8 footage – adhering to a deceptively accurate representation of Melbourne suggesting a Rohmerian realism and transforming the city into a character itself. We follow the two women as they meander through Bourke Street, Alexandra Gardens, Fitzroy and the CBD traversing topics about Australian masculinity, colonialism and friendship. Somerville’s debut is an intriguing oddity loaded with millennial angst and humour and hopefully we can expect a follow-up her soon.
As the biopic dominates our screens American indie romanticist and tour de force Richard Linklater chose the story of renowned American lyricist Lorenz Hart – played majestically by Ethan Hawke – as the subject matter for his new film Blue Moon. It is like a bottle episode (drawing parallels between his 2001 film Tape – set within a motel room), from within the confines of a restaurant, that unravels in real time following the premiere of Richard Rodgers and Oscar Hammerstein’s musical Oklahama! about a farm girl who must choose between two rival suitors. Hart seeks refuge at the bar where he is a known alcoholic (attempting to abstain, but failing miserably) engaging in conversation with jovial bartender Eddie (Bobby Cannavale) and essayist E.B White (Patrick Kennedy). The film's hyperreal story pays homage to Linklater’s other films like the Before Trilogy and his episodically filmed Boyhood but at times the formal restraint felt too constricting and Hart’s love interest in Elizabeth Weiland – played by an unrecognisably blonde Margaret Qualley, who nails the sophisticated Yale-educated accent – were tedious and unbelievable, given the presumption that he himself is homosexual.
Another notable American independent director who premiered in competition at Berlin was actress and writer-director Mary Bronstein. If I Had Legs I’d Kick You is her second film since the 2008 mumblecore film Yeast, which sees her return to New York with a pulsating thriller that was the standout of the festival. Following the overworked and overtired social worker Linda played by Rose Byrne in a rare lead dramatic role (and awarded the Silver Bear for Best Leading Performance), whose daughter is suffering from an eating disorder – a character we only hear off-screen but never see. Not only does Linda consult an array of clients she also reports to one of the practising psychiatrists at her work, in a strong, albeit unrecognisable role, from Conan O’Brien. In a Polanski-esque act of supernaturalism Linda’s ceiling is flooded one night and she and her daughter must take refuge in a motel. Linda’s daughter is attached to her like an umbilical cord through a radio set. Her health begins to deteriorate mimicking the frolicking chaos of the Safdie Brothers’ films like Good Times and Uncut Gems, of which Bronstein’s husband Ronald co-wrote the latter. The film’s overwhelming bisexual lighting and cataclysmic plot transform it into an anxiety-inducing rollercoaster ride that pays homage to the style of the Safdie brothers but remains deeply original.
Hollywood was also a focal point of the festival and South Korean maestro Bong Joon Ho’s new film Mickey 17 received its world premiere in Berlin. Mickey, played by a goofy Robert Pattison, considered fleeing planet Earth when he and his friend Timo (Steven Yeun) loaned money to start a macaron business. When the duo cannot repay the loan shark, they resort to traveling to outer space in a government spacecraft. The loud and autocratic leader Kenneth Marshall (Mark Ruffalo) helms the spaceship to colonize the planet of Niflheim, crawling with gargantuan but deceptively harmless “creepers.” Mickey opts to become what the crew refer to as an expendable, allowing himself to be reprinted with his organs and memories kept intact – allowing him to perform menial but dangerous tasks for the ship like checking if Niflheim contains an ebola-like virus. Kenneth’s parallels between Donald Trump are strong but hopefully we can expect more nuanced representations in the future. Bong’s exploration of class antagonism returns to his previous form of his other films like Snowpiercer – about a train divided between the elite and the poor who are attempting to survive an ecocide on Earth. If late-stage capitalism seeks to atomize citizens further, Mickey is living proof that its mission has been devastatingly successful. Not only does he hold no autonomy within the grand scheme of the rocket’s hierarchy, but nobody particularly cares whether he lives or dies.
Trump and the prevalence of neoconservativism in America were the focal point of docu-essayist Lee Anne Schmitt’s film Evidence which traces the American chemical and munitions manufacturer “Olin Corporation”, and its subsidiary — the John M. Olin Foundation. The foundation strongly influenced the recent repeal of the anti-abortion act Roe v Wade through its sponsorship of books like Manliness by Harvey Mansfield and has received strong support from presidents like Ronald Reagan. Schmitt initially discusses the foundation because her father worked as head of international for the Olin corporation and illustrates this history with a James Benning-like patience using grainy 16 millimetre footage and archival footage from televisions shows. There’s a deft frankness to Schmitt’s voiceover which exposes the infiltration and ultimate success of the conservative right in contemporary America, leading to the current unravelling of the Pax Americana under the Trump administration.
Restorations are also a huge component of the film festival circuit and the Berlinale did not disappoint. I was able to see three restorations including Solo Sunny, which won Renate Krößner the Berlinale Silver Bear for best actress in 1980. This evocative film captures East German life through the character of Sunny (Renate Krößner), a fledgling singer in a band. With a chic and underground feeling it reminded me of later music dramas like Wayne’s World and This is Spinal Tap. The film dramatically captures East Germany during winter – a city ravaged by snow – through meandering long shots and point of view shots from rattling U-bahns. The tumultuous world that Sunny navigates including misogyny and male desire as a lead singer was particularly challenging. The film also had an early Jarmusch nitty gritty feel to it such as films like Permanent Vacation and Stranger Than Paradise, where the apartments smell like dank caves.
Christian Petzold has earned a strong reputation at the Berlinale as one of its prized possessions – every two or three years he has a new film in competition. However, this year there was a restored screening of his 2007 film Yella. It is a fantastic portrait of the titular woman played evocatively by a red lip-stick tinged Nina Hoss, as she develops her skills in finance after moving from East Germany and fleeing an abusive relationship with her ex-husband Ben (Hinnerk Schönemann). One day in a restaurant she meets the careerist accountant Philipp (Devid Striesow) and becomes an assistant for him. The restoration was superb and turned quite a monochromatic film – every scene was grey, sepia, or deep blue with a tinge of red courtesy of Petzold’s long-time cinematographer Hans Fromm – into a crisp rendition. The story line was engaging, if not overly Germanic, with its drab, unembellished plot line and concluded with an ambiguity reminiscent of Vertigo.
Lastly, the restoration of Don Siegell’s 1971 film Dirty Harry was possibly the standout of the restorations. The print was restored from an 8K scan and rendered into a 4K print allowing all the cracks and colours to burst seamlessly across the screen. The deconstruction of the studio system occurring during the 1970s paved the way for greater representation for African-Americans, Latinos and female characters although the locations like San Francisco, portrayed here, are shown as gritty wastelands overwrought by trash. Clint Eastwood plays such a recognisable character as the cop Dirty Harry – hunting the Zodiac killer, who is blackmailing the government – that it almost feels like we are watching an old friend. The film’s extensive chase scenes are riveting and it was pure action cinema. All the textured grain of the print seeped into the restoration accompanied by Argentine composer Lalo Schifrin’s jazzy but haunting score.
Honourable mentions:
How to be Normal and The Oddness of The Other World
Florian Pochlatko, 2025
I thought a film about a central character dealing with psychosis would be more nuanced but this film followed the usual Fight Club-esque cliches and was far too over-dramatic, although I did like the ending.
El Diablo Fuma (y guarda las cabezas de los cerillos quemados en la misma caja)
The Devil Smokes (And Saves The Burnt Matches In The Same Box)
Ernesto Martínez Bucio, 2025
This was a neat little Mexican film following in the footsteps of fellow compatriot Lila Avilés 2023 film Tótem, centred around a young group of children who have to fend for themselves as their grandmother disappears and their father searches for her. The film was the winner of Berlin's inaugural Perspectives competition which new festival director Tricia Tuttle has implemented – a strand intended for debut film directors. It was beautifully shot and scripted but it felt a little over dramatic and too much magical realism for me to appreciate it entirely.
Listings | Thursday 6 March - Wednesday 12 March
Notable Screenings
My Darling in Stirling
Bill Mousoulis, 2024
Screening Tuesday 11 March (8:35pm)
Dahomey
Mati Diop, 2024
Any sessions at Cinema Nova
New Films in Release
Hard Truths
Mike Leigh, 2024
Screening at most art houses
Mickey 17
Bong Joon Ho, 2025
Screening at arthouse and multiplexes
The Fall (Restoration Re-Release)
Tarsem Singh, 2008
Screening at select arthouse screens
ACMI
Focus on Andrea Arnold
Bird
Andrea Arnold, 2024
Screening Fri
Red Road
Andrea Arnold, 2006
Screening Fri
Wuthering Heights
Andrea Arnold, 2011
Screening Sat
Cow
Andrea Arnold, 2019
Screening Sat
American Honey
Andrea Arnold, 2016
Screening Sun
Fish Tank
Andrea Arnold, 2009
Screening Mon
Focus on David Lynch
Wild at Heart
David Lynch, 1990
Screening Sat 8 Mar
Blue Velvet
David Lynch, 1986
Screening Sun 9 Mar
Mulholland Drive
David Lynch, 2001
Screening Mon 10 Mar
Matinees
Queer
Luca Guadagnino, 2024
Screening Fri, Sat, Sun
Memories of Murder
Bong Joon Ho, 2003
Screening Wednesday 12 Mar
No screening this week
The Fall (Restoration Re-Release)
Tarsem Singh, 2008
Screening Daily
Midnight
Mitchell Leisen, 1939
Screening Sun and Mon
The Big Lebowski
Joel and Ethan Coen, 1998
+
O Brother, Where Art Thou?
Joel and Ethan Coen, 2000
Double feature screening on Tues March 4 from 7pm
BBBC CINEMA (GALLERYGALLERY BRUNSWICK)
Closed until further notice
No screening this week
CHINATOWN CINEMA
Ne Zha 2
Yang Yu, 2025
Screening Daily
Legends of the Condor Heroes: The Gallants
Tsui Hark, 2025
Screening Daily
Caught by the Tides
Jia Zhangke, 2024
Screening most days
Coming back in some variety soon
No screening this week
Events / Previews
Flow
Gints Zilbalodis, 2024
Screening Fri, Sat, Sun & Mon
New Release
Mickey 17
Bong Joon Ho, 2025
Screening Daily
Hard Truths
Mike Leigh, 2024
Screening Daily
Spit
Jonathan Teplitzky, 2025
Werekend Previews
Dahomey
Mati Diop, 2024
Screening Daily
Inside
Charles Williams, 2024
Screening Daily
The Seed of the Sacred Fig
Mohammad Rasoulof, 2024
Screening Daily
I’m Still Here
Walter Salles, 2024
Screening Daily
The Last Journey
Filip Hammar, Fredrik Wikingsson, 2024
Screening Daily
The Porcelain War
Slava Leontyev, Brendan Bellomo, 2024
Screening Daily
Bird
Andrea Arnold, 2024
Screening Daily
The Last Showgirl
Gia Coppola, 2024
Screening Daily
Soundtrack to a Coup D ‘État
Johan Grimonprez, 2024
Screening Daily
Black Box Diaries
Shiori Ito, 2024
Screening Daily
Grand Tour
Miguel Gomes, 2024
Screening Daily
Queer
Luca Guadanigno, 2024
Screening Daily
Babygirl
Halina Reijn, 2024
Screening Daily
A Complete Unknown
James Mangold, 2024
Screening Daily
The Brutalist
Brady Corbet, 2024
Screening Daily
Maria
Pablo Larraín, 2025
Screening Daily
Presence
Steven Soderbergh, 2025
Screening Daily
Becoming Led Zeppelin
Bernard MacMahon, 2025
Screening Daily
Conclave
Edward Berger, 2024
Screening Daily
September 5
Tim Fehlbaum, 2025
Screening Daily
Nosferatu
David Eggers, 2024
Screening Daily
Anora
Sean Baker, 2024
Screening Daily
Sing Sing
Greg Kwedar, 2025
Screening Daily
Emilia Perez
Jacques Audiard, 2025
Screening Daily
Better Man
Michael Gracey, 2024
Screening Daily
Wicked
John M. Chu, 2024
Screening Thurs, Sun-Wed
The Substance
Coralie Fargeat, 2024
Screening Daily
DOGMILK DEGUSTATIONS: @ Miscellania
No screening this week
No screening this week
GAY24 (Bar Flippy’s)
No screening this week
HITLIST (9 Gertrude St, Fitzroy)
No screening this week
LIDO / CLASSIC / CAMEO
Events
Europa! Europa! Film Festival
Lido and Classic Cinemas
Program here
General Release
Mickey 17
Bong Joon Ho, 2025
Screening Daily
Inside
Charles Williams, 2024
Screening Daily
The Seed of the Sacred Fig
Mohammad Rasoulof, 2024
Screening Daily
I’m Still Here
Walter Salles, 2024
Screening Daily
The Last Journey
Filip Hammar, Fredrik Wikingsson, 2024
Screening Daily
Bird
Andrea Arnold, 2024
Screening Daily
The Last Showgirl
Gia Coppola, 2024
Screening Daily
Bridget Jones: Mad About the Boy
Michael Morris, 2025
Screening Daily
A Complete Unknown
James Mangold, 2024
Screening Daily
Queer
Luca Guadanigno, 2024
Screening Daily
Babygirl
Halina Reijn, 2024
Screening Daily
Grand Tour
Miguel Gomes, 2024
Screening Daily
Widow Clicquot
Paul Verhoeven, 2023
Screening Daily
Conclave
Edward Berger, 2024
Screening Daily
The Brutalist
Brady Corbet, 2024
Screening Daily
Nosferatu
David Eggers, 2024
Screening Daily
Anora
Sean Baker, 2024
Screening Daily
We Live in Time
John Crowley, 2024
Screening Daily
A Real Pain
Jesse Eisenberg, 2024
Screening Daily
Emilia Perez
Jacques Audiard, 2025
Screening Daily
OVA CLUB
No screening this week
No screening this week — we will report back ASAP
THE MELBOURNE CINÉMATHÈQUE (ACMI)
Joan of Arc at the Stake
Roberto Rossellini, 1954
Screening from 7pm
+
Un Pilota Ritorna
Roberto Rossellini, 1942
Screening from 9.00pm
MELBOURNE UNIVERSITY: SCREENING IDEAS
No screening this week
PALACE BALWYN / BRIGHTON / COMO / KINO / PENTRIDGE / MOONEE PONDS / WESTGARTH
Events / Previews
Alliance Française French Film Festival
Program and tickets available here
General Release
Flow
Gints Zilbalodis, 2024
Screening Daily
Mickey 17
Bong Joon Ho, 2025
Screening Daily
Inside
Charles Williams, 2024
Screening Daily
The Seed of the Sacred Fig
Mohammad Rasoulof, 2024
Screening Daily
I’m Still Here
Walter Salles, 2024
Screening Daily
The Last Journey
Filip Hammar, Fredrik Wikingsson, 2024
Screening Daily
Bird
Andrea Arnold, 2024
Screening Daily
The Last Showgirl
Gia Coppola, 2024
Screening Daily
Bridget Jones: Mad About the Boy
Michael Morris, 2025
Screening Daily
A Complete Unknown
James Mangold, 2024
Screening Daily
Queer
Luca Guadanigno, 2024
Screening Daily
Babygirl
Halina Reijn, 2024
Screening Daily
Widow Clicquot
Paul Verhoeven, 2023
Screening Daily
Presence
Steven Soderbergh, 2025
Screening Daily
Conclave
Edward Berger, 2024
Screening Daily
Nosferatu
David Eggers, 2024
Screening Daily
Anora
Sean Baker, 2024
Screening Daily
Wicked
John M. Chu, 2024
Screening Daily
No screening this week
Mickey 17
Bong Joon Ho, 2025
Screening Daily
The Seed of the Sacred Fig
Mohammad Rasoulof, 2024
Screening Fri, Sat, Sun and Wed
The Last Showgirl
Gia Coppola, 2024
Screening Wed
The Fall (Restoration Re-Release)
Tarsem Singh, 2008
Screening Mon
I’m Still here
Walter Salles, 2024
Screening Sat, Tues
A Complete Unknown
James Mangold, 2024
Screening Sun
UNKNOWN PLEASURES @ Thornbury Picture House
My Darling in Stirling
Bill Mousoulis, 2024
Screening Tuesday 11 March (8:35pm)