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Hey we saw you from across the tennis court and really dig your vibe, do you want to engage in a biblical level throuple over multiple decades
There is no sport more intimate or erotic than tennis. It is one of the few major sports where two players agree to partake, for hours, in a duel of body, mind, and soul. Naturally, to engage with anyone that intensely, an inescapable relationship is forged— one that intensifies with every stroke, every bead of sweat, every grunt. It may not be as fleshy as boxing, but arguably the lack of contact is what makes tennis more arousing— is not…
To celebrate pride this year, we're bringing you 3 brilliant LGBTQIA+ films!
We explore the convincing cinematic power of Luca Guadagnino’s filmography and the thrilling tease of his newest film Challengers.
2014 marked a memorable year in cinema, brimming with iconic films that defied traditional genres. Yet, amidst these well-celebrated works, films like Enemy and Under the Skin left audiences pondering with their enigmatic narratives, while Locke and Frank offered unique cinematic experiences. Meanwhile, The Skeleton Twins and The Rover provided deep emotional journeys and gritty realism, respectively. As we reflect on the films that captivated audiences, it’s evident that numerous powerful works did not receive their due recognition. In tribute to these hidden treasures.
Humane, Caitlin Cronenberg's directorial debut, is an entertaining, dark satire set in a world grappling with environmental collapse.
About Dry Grasses, nestled away in wintry East Anatolia, public-school art teacher Samet (Deniz Celiloğlu) yearns to leave the sleepy village for cosmopolitan Istanbul. Further disenchanted when he and Kenan (Musab Ekici), a colleague, come under public scrutiny, Samet fears circumstances will keep him in Anatolia and his dreams of a new life permanently out of reach. A silver lining is a budding relationship with Nuray (Merve Dizdar), a fellow teacher and firebrand who develops connections with both Samet and…
Our Columbia Pictures Centennial Retrospective continues this weekend with screenings of Otto Preminger's ANATOMY OF A MURDER on Sunday, April 28 and Wednesday, May 1. Washington City Paper writer Noah Gittell examines how the film pushed the boundaries of Hollywood's production code and set the template for courtroom dramas for decades to come.
“South Africa from a Black perspective… it’s about time.” - Spike Lee
It is with great sorrow that LaCinetek pays tribute to Laurent Cantet, who passed away yesterday, Thursday 25 April, at the age of 63. Audiences have lost a great filmmaker, LaCinetek one of its founders and, above all, a very dear friend.
Fresh Takes is a space for the latest generation of film lovers to share their views and opinions on some of the great films we are showing at Picturehouse cinemas.
Against red, blue, purple, a piercing neon green, she wears: a gold and black panelled top, ballooned sleeves and flowing trousers; a bikini; a red jumpsuit; a feathered top; and, a black leather trouser suit, punctuated with a kick and a gunshot. ‘She’s super bad,’ repeats the sweet, climbing tenor of Willie Hutch. The opening credits of Jack Hill’s Foxy Brown (1974) announces Foxy (Pam Grier) as a true force within the numerous, shifting spaces she occupies, while declaring her…
