“Out of the Past” is an ongoing screening series foregrounding the history and prehistory of the film medium, historical genres (swashbucklers, slapstick, romance, etc), and cinema’s engagements with history, literature and theatre.
“Out of the Past” is an ongoing screening series foregrounding the history and prehistory of the film medium, historical genres (swashbucklers, slapstick, romance, etc), and cinema’s engagements with history, literature and theatre.
“Out of the Past” is an ongoing screening series foregrounding the history and prehistory of the film medium, historical genres (swashbucklers, slapstick, romance, etc), and cinema’s engagements with history, literature and theatre.
Keaton’s 1926 The General is deservedly well known. But his remarkable historical imagination first took flight in this charming and unexpected comedy, set during the very early (and visibly uncomfortable) years of the railroad. This short feature will be preceded by one of Keaton’s greatest short films, The Boat (1921) – another single location masterpiece. [Running time: 1h 14m]
Kent MOMI is pleased to announce a new eight-week programme of screenings at the museum. The screenings, collectively entitled CINEMA OF DESIRE will run every Friday evening from 16th August to 4th October. See below for the intoxicating details!
WEEK EIGHT Friday 4th October
Introduced by Natasha. Running time: 133 minutes.
A season of films about desire cannot do without Louise Brooks. Her iconic black bob and dancer's body epitomized the ideal of a modern woman and a style icon in the 1920s like no one else. As part of our eight weeks of screenings, we are showcasing Pandora's Box, a masterpiece of German silent cinema and the first of two films that the German director G.W.Pabst and Louise Brooks would make together.
Pabst's film was based on very popular at that time plays by Frank Wedekind, about a seductive young woman named Lulu, who is both immoral and waif-like innocent, and whose uninhibited nature brings ruin to herself and her many lovers. For this role, Pabst wanted an actress who was not acting but – the most challenging task! - could just be herself before the camera. He dreamt of casting Brooks – herself a free spirit and a real jazz girl - from the moment he saw her in Howard Hawks's A Girl in Every Port (1928).
The film faced wide criticism and censorship upon its initial release due to its bold exploration of sexuality and female desire. Despite this, Louise Brooks's subtle yet sexually charged portrayal remains one of the most modern performances of the silent era..
To reserve places, please hit the button, below, or email info@kentmomi.org
First come, first served with a limited capacity of 30 places.
Doors open 5.30, for drinks, nibbles & classic cocktails by Dr. Natasha.
Films commence 6.30pm sharp.
Screenings are FREE to Kent MOMI yearly ticket holders, but a £5 donation is suggested, to help us keep the lights on. Museum tickets can be bought at the door, and are valid for a year.
Kent MOMI is pleased to announce a new eight-week programme of screenings at the museum. The screenings, collectively entitled CINEMA OF DESIRE will run every Friday evening from 16th August to 4th October. See below for the intoxicating details!
WEEK SEVEN Friday 27th September
Introduced by Natasha. Running time: 93 minutes
Our next screening celebrates the 50th anniversary of what is probably Rainer Werner Fassbinder’s most influential work, an unconventional love story that combines sharp social analysis with emotional intensity: Fear Eats the Soul (1974).
One evening in Munich, an elderly cleaning lady named Emmi (Brigitte Mira) seeks shelter from a rainstorm in a bar frequented by immigrants. To her surprise, the jukebox plays a 1920s Schlager, and Ali, a handsome Moroccan migrant worker (El Hedi ben Salem), asks her to dance ... They unexpectedly fall in love and get married, to the shock of their families, friends and colleagues. However, this brave, tender and fragile romance soon faces the harsh realities of racism and ageism.
Around 1971, when he was already a cinephile and prolific filmmaker, Fassbinder discovered Douglas Sirk, a German émigré known for infusing classy Hollywood melodramas with hard-hitting criticism. Fear Eats the Soul harnesses the same emotional power to reveal the fascist thinking still underlying German culture: indeed, it was conceived as an interpretation of Sirk’s All That Heaven Allows (1955). The film also reflects Fassbinder’s tumultuous romantic relationship with the actor who plays Ali – El Hedi ben Salem, a Moroccan immigrant who met Fassbinder in 1971 at a gay swimming pool in Paris.
This direct and courageous love story was urgent and important in 1974 and remains so in 2024.
To reserve places, please hit the button, below, or email info@kentmomi.org
First come, first served with a limited capacity of 30 places.
Doors open 5.30, for drinks, nibbles & classic cocktails by Dr. Natasha.
Films commence 6.30pm sharp.
Screenings are FREE to Kent MOMI yearly ticket holders, but a £5 donation is suggested, to help us keep the lights on. Museum tickets can be bought at the door, and are valid for a year.
Kent MOMI is pleased to announce a new eight-week programme of screenings at the museum. The screenings, collectively entitled CINEMA OF DESIRE will run every Friday evening from 16th August to 4th October. See below for the intoxicating details!
WEEK SEVEN Friday 20th September
Introduced by Natasha. Running time: 122 minutes
Picture, for a second, Romy Schneider, Alain Delon, Jane Birkin, and Maurice Ronet in revealing swimwear, bronzed bodies basking in the lazy St. Tropez sun and reflected in the shimmering waters of a villa’s swimming pool … No, this isn't a daydream – it's La Piscine, by Jacques Deray, the fourth most popular movie at the French box office in 1969. The story revolves around a former ménage à trois that becomes a ménage à quatre, with deadly consequences.
La Piscine was resurrected from the depths of time, restored, and re-released in 2021. Critics have since praised it as an “icily erotic” and “superbly controlled thriller”, “a master class in the subgenre”.
The film reunited the 1960s on-and-off-screen “dream couple” Alain Delon and Romy Schneider after their dramatic break-up and Schneider’s marriage to German director Harry Meyen. Delon reportedly insisted that the filmmaker Jacques Deray cast Schneider in th efilm, and their troubled shared history and intense emotional connection give the film its raw authenticity. “I wanted constantly to go towards the gaze”, Deray confessed. “I was lucky to have Delon, Romy Schneider or Ronet in front of my lens”. Add dreamy music by Michel Legrand (and a film-themed summer cocktail by Dr. Natasha), and you get the Indian Summer night of your dreams!
To reserve places, please hit the button, below, or email info@kentmomi.org
First come, first served with a limited capacity of 30 places.
Doors open 5.30, for drinks, nibbles & classic cocktails by Dr. Natasha.
Films commence 6.30pm sharp.
Screenings are FREE to Kent MOMI yearly ticket holders, but a £5 donation is suggested, to help us keep the lights on. Museum tickets can be bought at the door, and are valid for a year.
Kent MOMI is pleased to announce a new eight-week programme of screenings at the museum. The screenings, collectively entitled CINEMA OF DESIRE will run every Friday evening from 16th August to 4th October. See below for the intoxicating details!
WEEK FIVE Friday 13th September
Introduced by Joss. Running time: 169 minutes
Julie Christie shot to fame as the amoral model at the centre of John Schlesinger’s Darling (1965), for which she won an Oscar, and she was, indeed, the darling of the 1960s. When Schlesinger came to adapt Thomas Hardy’s masterpiece, Far from the Madding Crowd, in 1967, there can have been no doubt as to who would play headstrong, independent, beautiful Bathsheba Everdene, one of the heroines (like Tess) in whom Hardy most invested his own deep-seated romantic yearnings and sensual feelings.
Bathsheba has three suitors – a good man, as the name implies, solid Gabriel Oak, who loves her with open eyes (Alan Bates, who won the Golden Globe for Best Actor); an older man who desires her to the point of obsession, farmer Boldwood (a stand-out, neurotic performance by Peter Finch); and red-coated Sergeant Troy (Terence Stamp at his sneering and handsome best), who dazzles and excites her while himself desiring another woman. Their intertwined and conflicting desires and fates play out in the lush and timeless landscape of rural Dorset, where the film was shot: nature itself is part of the film’s appeal to all our senses.
Watch out for the famous scene in which Troy performs his sword exercise around Bathsheba’s body – one of the original novel’s most charged and brilliant sequences, in which Hardy managed to write about sex without writing about sex, (much to the secret enjoyment of Victorian audiences), proving – like this film – that what is only half glimpsed is more erotic than what is openly flaunted.
To reserve places, please hit the button, below, or email info@kentmomi.org
First come, first served with a limited capacity of 30 places.
Doors open 5.30, for drinks, nibbles & classic cocktails by Dr. Natasha.
Films commence 6.30pm sharp.
Screenings are FREE to Kent MOMI yearly ticket holders, but a £5 donation is suggested, to help us keep the lights on. Museum tickets can be bought at the door, and are valid for a year.
Kent MOMI is pleased to announce a new eight-week programme of screenings at the museum. The screenings, collectively entitled CINEMA OF DESIRE will run every Friday evening from 16th August to 4th October. See below for the intoxicating details!
WEEK FOUR Friday 6th September
Introduced by Natasha. Running time: 102 minutes
She is Filumena, a resilient and somewhat naive Neapolitan prostitute in war-torn Italy; he is Domenico, a bourgeois business owner who does not take love affairs too seriously … Kent MOMI welcomes you to a night of Neapolitan heat, desire, laughter, and tears with Marriage Italian Style (1964), by Vittorio De Sica.
In 1964, De Sica returned to Naples to shoot a film adaptation of Eduardo De Filippo's Filumena Marturano, his most well-known work, which had been on stage worldwide. De Sica chose a catchy new title that was easy to translate for international distribution, re-shaped the three-act comedy into a series of flashbacks, added a dramatic soundtrack by Amando Trovajoli and dressed Sophia Loren in superbly revealing costumes. The result was a film that is still loved and watched across the world. Sophia Loren and Marcello Mastroianni, at the peak of their careers, solidified their reputation as one of the greatest on-screen duos in this timeless film, which starts as a bedroom farce but gradually evolves into something disarmingly moving. Mastroianni impeccably embodied the handsome scoundrel, while Loren delivered (in the opinion of many critics) her best performance, which earned her a second Oscar nomination, a David Di Donatello prize, and other international awards.
To reserve places, please hit the button, below, or email info@kentmomi.org
First come, first served with a limited capacity of 30 places.
Doors open 5.30, for drinks, nibbles & classic cocktails by Dr. Natasha.
Films commence 6.30pm sharp.
Screenings are FREE to Kent MOMI yearly ticket holders, but a £5 donation is suggested, to help us keep the lights on. Museum tickets can be bought at the door, and are valid for a year.
Kent MOMI is pleased to announce a new eight-week programme of screenings at the museum. The screenings, collectively entitled CINEMA OF DESIRE will run every Friday evening from 16th August to 4th October. See below for the intoxicating details!
WEEK THREE Friday 30th August
Introduced by David. Running time: 116 minutes)
There is more controversy about Max Ophuls’s subtle and visually ravishing last film, Lola Montès (1955), than almost any other film. Considered by the Nouvelle Vague critics to be among the10 greatest films of all time, it was pronounced a flop on first release, in Paris, in a 140 minute version, and immediately withdrawn from circulation. The 114-minute 2020 French version restoration we present this evening is the most complete version available to date. (The film was shot simultaneously in French and German, and exists also in an English dubbed version.) This was Ophuls’ only film in Technicolor and Cinemascope, processes that showed his innovative tracking shots to best advantage and allowed him to use saturated colours as an ingredient in storytelling.
The film is loosely based on the life of the famed 19th-century courtesan Lola Montes, who excited and shocked her contemporaries in equal measure. Ophuls, however, is not interested in historical drama: he wants to show that women are still commodities, manipulated by men, in 1955. He purposely concentrates on the end of Lola’s life, when she is both dangerously ill and still determined to be her own woman, intercutting her present life as a circus performer and her life as mistress of, amongst a multitude of others, Franz List and King Ludwig 1 of Bavaria, who lost his throne as a result of their relationship.
Faced with a leading lady he had not chosen, Martine Carol, Ophuls turned her limitations to advantage, indicating to the audience that it was Lola’s physical involvement with the rich and famous rather than her beauty or talent that made her famous – by paying to kiss her hand they become intimate, at one remove, with a world-famous composer and a monarch. However, audiences disliked seeing their new star treated in this way, and shunned the film. It is held together by a superb performance by Peter Ustinov as a money-grubbing ringmaster – both the narrator of her life and her last exploiter.
To reserve places, please hit the button, below, or email info@kentmomi.org
First come, first served with a limited capacity of 30 places.
Doors open 5.30, for drinks, nibbles & classic cocktails by Dr. Natasha.
Films commence 6.30pm sharp.
Screenings are FREE to Kent MOMI yearly ticket holders, but a £5 donation is suggested, to help us keep the lights on. Museum tickets can be bought at the door, and are valid for a year.
Kent MOMI is pleased to announce a new eight-week programme of screenings at the museum. The screenings, collectively entitled CINEMA OF DESIRE will run every Friday evening from 16th August to 4th October. See below for the intoxicating details!
WEEK TWO Friday 23rd August
Introduced by Joss. Running time: 68 minutes
Rudolph Valentino died, from a ruptured ulcer, in 1926, mourners lined the streets of New York, weeping, in an uncanny presaging of the funeral of Princess Diana, in 1997.
What they mourned was the erotic promise and romantic possibility he opened up, on screen, for women and men, straight and queer, worldwide, through the uninhibited and fantasy-enabling medium of the silent film. He had broken open the closed codes of gender and desire that still constricted the “roaring” twenties. He was dangerous.
As classically beautiful as Garbo, an unlikely combination of gigolo and master, popular fetish and screen artist, Valentino danced the tango into fame as the Argentinian playboy, Julio, who is chastened by love in Rex Ingram’s smash hit The Four Horsemen of the Apocalypse (1924). His subsequent roles both showcased his masculine beauty – a rare and strange occurrence in 1920s America – and the price he would pay for his type of fame … which was death.
We introduce the outrageous and highly enjoyable romp, Son of the Sheik (1926), with a short original presentation (with clips and images) of Valentino’s career, image and meanings for the century after his death. In this, there is a surprise appearance by F. Scott Fitzgerald, literary architect of the “American Dream”. (Running time: 68 minutes film + 20 minutes introduction) JM
To reserve places, please hit the button, below, or email info@kentmomi.org
First come, first served with a limited capacity of 30 places.
Doors open 5.30, for drinks, nibbles & classic cocktails by Dr. Natasha.
Films commence 6.30pm sharp.
Screenings are FREE to Kent MOMI yearly ticket holders, but a £5 donation is suggested, to help us keep the lights on. Museum tickets can be bought at the door, and are valid for a year.
Kent MOMI is pleased to announce a new eight-week programme of screenings at the museum. The screenings, collectively entitled CINEMA OF DESIRE will run every Friday evening from 16th August to 4th October. See below for the intoxicating details!
WEEK ONE Friday 16th August
Introduced by Joss & David. Running time: 112 minutes.
Newcomer Garbo, in only her third Hollywood appearance, though still fresh from her European triumphs in Gosta Berling’s Saga (1924) and The Joyless Street (1925), shot to the front rank of stars in Flesh and the Devil, in which she was paired – momentously, for the first time – with the man who became one of her many lovers, John Gilbert, who inherited the crown as Hollywood’s handsomest leading man following the death of Rudolph Valentino (who we encounter next week). The film proves, if proof were needed, that dialogue can be a bar to intense screen emotion: its silence is truly golden.
Flesh and the Devil is also an intensely visual, almost luminous film – the perfect setting for a woman whose mathematically perfect and endlessly expressive face was (in the words of one contemporary) almost “a Platonic dream of beauty”. Clarence Brown’ s well-paced and inventive direction and his remarkable cameraman (Garbo’s favourite) William Daniels’ superlative use of light and shadow make Flesh and the Devil as compelling to the eye today as it was in 1926. (Watch for the perfect scene in a which a cigarette is lit.)
The friendship of Ulrich (Lars Hanson, star of the late silent classics The Scarlet Letter and The Wind) and Leo (Gilbert), is destroyed by a beautiful woman, Felicitas (Garbo), devoid of moral principles, who ultimately prefers wealth over passion. The result is two duels, one powerfully presented in silhouette. One almost applauds when Garbo meets her end in frozen waters, so successful is she at portraying an unprincipled vamp. But, luckily, film resurrected her and the dreams she made possible, in film after beautiful film.
To reserve places, please hit the button, below, or email info@kentmomi.org
First come, first served with a limited capacity of 30 places.
Doors open 5.30, for drinks, nibbles & classic cocktails by Dr. Natasha.
Films commence 6.30pm sharp.
Screenings are FREE to Kent MOMI yearly ticket holders, but a £5 donation is suggested, to help us keep the lights on. Museum tickets can be bought at the door, and are valid for a year.
Kent MOMI is pleased to announce its new season of Friday evening screenings with a six-week programme exploring Production Design, ahead of our next major exhibition, the films included as voted for by our visitors and ourselves.
On Friday 12th April we present Ivan the Terrible: Part 1 (Sergei Eisenstein, 1944; 1 hr. 39 mins). By 1944, the widespread experimentalism that had characterised the Soviet arts of the 1920s was a distant, long-suppressed memory. Evacuated to Alma Ata (Kazakhstan) - where the entire production was shot at Mosfilm's substantial production facility, as Axis forces advanced on Moscow in WWII, Eisenstein envisaged making a film about Tsar Ivan IV, aka Ivan the Terrible, whom Joseph Stalin admired as the same kind of brilliant, decisive, successful leader that he considered himself to be. Ivan the Terrible’s medievalist aura and Eduard Tisse’s peerless cinematography captivate, combining elements of both high and low art at every turn with its tortured angles and Wagnerian sense of melodrama.
Introduced by Dr. Natasha with a discussion afterwards.
To reserve places, please hit the button, below, or email info@kentmomi.org
First come, first served with a limited capacity of 30 places.
Doors open 5.30, for drinks, nibbles & classic cocktails by Dr. Natasha.
Films commence 6.30pm sharp.
Screenings are FREE to Kent MOMI yearly ticket holders, but a £5 donation is suggested, to help us keep the lights on. Museum tickets can be bought at the door, and are valid for a year.
Kent MOMI is pleased to announce its new season of Friday evening screenings with a six-week programme exploring Production Design, ahead of our next major exhibition, the films included as voted for by our visitors and ourselves.
On Friday 5th April we screen 2001: A Space Odyssey (Stanley Kubrick, 1968; 2 hr. 19 mins). Kubrick was determined to avoid the fanciful portrayals of space found in standard popular science fiction, to which end illustrators Chesley Bonestell, Roy Carnon, and Richard McKenna were hired to produce concept drawings, sketches, and paintings of the space technology seen in the film. Epic scale and cutting edge technology dominate every aspect of the film’s creation. For example, the spacecraft interior shots: Ostensibly containing a giant centrifuge that produces artificial gravity, Kubrick had a 27 ton rotating "ferris wheel" built by Vickers-Armstrong Engineering Group at a cost of $750,000 (equivalent to $6,300,000 today). Various scenes in the Discovery centrifuge were shot by securing set pieces within the wheel, then rotating it while the actor walked or ran in sync with its motion, keeping him at the bottom of the wheel as it turned.
Introduced by Dr. Joss with a discussion afterwards.
To reserve places, please hit the button, below, or email info@kentmomi.org
First come, first served with a limited capacity of 30 places.
Doors open 5.30, for drinks, nibbles & classic cocktails by Dr. Natasha.
Films commence 6.30pm sharp.
Screenings are FREE to Kent MOMI yearly ticket holders, but a £5 donation is suggested, to help us keep the lights on. Museum tickets can be bought at the door, and are valid for a year.
Kent MOMI is pleased to announce its new season of Friday evening screenings with a six-week programme exploring Production Design, the films included as voted for by our visitors and ourselves.
On Friday 29th March we present Oliver! (Carol Reed, 1968; 2 hr. 33 mins). Nominated for 11 Academy Awards, Oliver! took home an astonishing 5 Awards including Best Picture and Best Art Direction for John Box and Terence Marsh.
Oliver! was filmed entirely on stage sets, there are no locations. The ‘London’ streets – even the steam railway – were built on six soundstages; Shepperton Studio’s expansive backlot overflowing with exterior sets for numbers such as 'Consider Yourself' and 'Who Will Buy?' Despite appearing permanent and solid, the ingenious sets were flexible enough to be reconfigured overnight to allow for the multiple different setups required. The chase after Bill Sikes (Oliver Read) through the sewers of London and across the rooftops– takes on an almost operatic quality. Here is some splendid camera work, chilling vertical shots and a degree of terror rare in a ‘children’s film’.
Introduced by Dr. Joss with a discussion afterwards.
To reserve places, please hit the button, below, or email info@kentmomi.org
First come, first served with a limited capacity of 30 places.
Doors open 5.30, for drinks, nibbles & classic cocktails by Dr. Natasha.
Films commence 6.30pm sharp.
Screenings are FREE to Kent MOMI yearly ticket holders, but a £5 donation is suggested, to help us keep the lights on. Museum tickets can be bought at the door, and are valid for a year.
Kent MOMI is pleased to announce its new season of Friday evening screenings with a six-week programme exploring Production Design, ahead of our next major exhibition, the films included as voted for by our visitors and ourselves.
On Friday 22nd March we present The Red Shoes (Powell & Pressburger, 1948, 2 hr. 13 mins). The Red Shoes’ production designers Hein Heckroth and Arthur Lawson won an Academy Award for their art direction, making dozens of bold concept illustrations inspired by German Expressionism that created the aesthetic of this genre-defying film. The film also won an Oscar for its score. Music, art, light and dance magically combine to transport us, in Powell’s words, “inside the heads of two people who were falling in love”.
Creating some critical consternation upon its release, The Red Shoes nonetheless proved to be a huge hit beyond expectations, and is generally regarded as the best work of Powell and Pressburger's partnership and one of the greatest films of all time: In 1999 It was voted the ninth greatest British film of all time by the British Film Institute.
Introduced by David with a discussion afterwards.
To reserve places, please hit the button, below, or email info@kentmomi.org
First come, first served with a limited capacity of 30 places.
Doors open 5.30, for drinks, nibbles & classic cocktails by Dr. Natasha.
Films commence 6.30pm sharp.
Screenings are FREE to Kent MOMI yearly ticket holders, but a £5 donation is suggested, to help us keep the lights on. Museum tickets can be bought at the door, and are valid for a year.
Kent MOMI is pleased to announce its new season of Friday evening screenings with a six-week programme exploring Production Design, ahead of our next major exhibition, the films included as voted for by our visitors and ourselves.
On Friday 15th March we present Faust (F.W. Murnau, 1926, 1 hr. 46 mins), "one of the most astonishing visual experiences the silent cinema has to offer" (NY Times).
F. W. Murnau was one of the boldest and most imaginative artists working during the silent period of German Expressionism. Along with his horror classic Nosferatu, his creation of Faust is considered one of the greatest of all supernatural fantasies. In Faust, Murnau offered a new kind of visual aesthetic, in which the atmospheric play of light and shadow is uniquely combined with the expressive and dramatic use of smoke, fog, mists and clouds. These manifestations of the normally invisible element of the air are dramatically associated in Murnau’s film with supernatural presence, pestilence, terror, moral drama, and human tragedy.
Introduced by Dr. Natasha, with a short discussion afterwards.
To reserve places, please hit the button, below, or email info@kentmomi.org
First come, first served with a limited capacity of 30 places.
Doors open 5.30, for drinks, nibbles & classic cocktails by Dr. Natasha.
Films commence 6.30pm sharp.
Screenings are FREE to Kent MOMI yearly ticket holders, but a £5 donation is suggested, to help us keep the lights on. Museum tickets can be bought at the door, and are valid for a year.
Kent MOMI is pleased to announce its new season of Friday evening screenings with a six-week programme exploring Production Design, ahead of our next major exhibition, the films included as voted for by our visitors and ourselves.
We begin with The Grand Budapest Hotel (Wes Anderson, 2014, 1 hr. 40 mins). Exploring themes of fascism, nostalgia, friendship, and loyalty, Anderson associate Adam Stockhausen was responsible for The Grand Budapest Hotel's production design. Stockhausen researched the Library of Congress's photochrom print collection of alpine resorts to source ideas for the film's visual palette. These images showcased little of recognizable Europe, instead cataloguing obscure historical landmarks, a disassociating approach complemented by the cinematography which employed three framing devices, helping to evoke the aesthetic of the corresponding periods. The filmmakers relied on matte paintings and miniature effect techniques to play on perspective for elaborate scenes, creating the illusion of size and grandeur. Under the leadership of Simon Weisse, three major miniature models: the 1⁄8-scale forest set, the 1⁄12-scale observatory, and the 1⁄18-scale Grand Budapest Hotel set, were constructed, based on art director Carl Sprague's conceptual renderings. The Grand Budapest Hotel set comprised the hotel building atop a wooded ledge with a funicular, bound by a Friedrichian landscape painting superimposed with green-screen technology. Designers sculpted the 3-meter-high (9.8 ft) hotel with silicone resin molds and etched brass embellishment. Photos of the Warenhaus set were then glued in boxes installed to each window to convey the illusion of light.
Introduced by Ms. Rosanne with a discussion afterwards.
To reserve places, please hit the button, below, or email info@kentmomi.org
First come, first served with a limited capacity of 30 places.
Doors open 5.30, for drinks, nibbles & classic cocktails by Dr. Natasha.
Films commence 6.30pm sharp.
Screenings are FREE to Kent MOMI yearly ticket holders, but a £5 donation is suggested, to help us keep the lights on. Museum tickets can be bought at the door, and are valid for a year.
On Friday 16th February, as part of our celebration of the greats of Silent Comedy, we screen a set of shorts under the header 'Rival Clowns and Other Chaplins'.
Rescheduled from December, the evening will feature the Chaplin impersonators of 1916-18, collaborators, cartoon rivals, and inheritors, like the gentle and sometimes great Harry Langdon, in his Chaplinesque but very different Three’s a Crowd (1927).
The films will be briefly introduced by our curators, Joss & David. In previous lives, David co-wrote the ground-breaking study Chaplin: Genesis of a Clown (1977); Joss followed up (independently) with a landmark study of Chaplin's Dickens obsession, "The Tramp, the Jew, and The Kid" and a course on "Chaplin & Modern Culture" for Indiana University (which produced the funniest and most brilliant student essays of her career).
To reserve places, please email the curator info@kentmomi.org
First come, first served with a limited capacity of 30 places.
Doors open at 5.30pm for drinks & nibbles, including classic cocktails by Dr. Natasha.
The screenings will last around 1 hour 50 minutes, commencing 6.30pm sharp.
Screenings are FREE to Kent MOMI yearly ticket holders, but a £5 donation is suggested, to help us keep the lights on. Museum tickets can be bought at the door, and are valid for a year.
In celebration of Kent MOMI’s new Buster Keaton mural, and the season of celebration, we present ‘Winter Warmers’ , Five Weeks of Silent Comedy delights.
On Friday 15th December we present The Genius of Buster Keaton featuring shorts, including One Week (1920), the brilliant but less-known Seven Chances (1925), as well as some lesser-known but stunning one-reelers and a short feature (tbc)
The screenings will average 1 hour 50 minutes. Treats to round off the feast will include mulled wine and hot punches, classic cocktails by Dr. Natasha, and small seasonal hot pastries. Wine, beer and soft drinks are also available. Doors open at 5:30pm and the programme commences at 6:30pm sharp.
Online booking available on this web page from Saturday 11th November.
Screenings are FREE to Kent MOMI yearly ticket holders, but a £5 donation is suggested, to help us keep the lights on. Seating is limited to 30. Museum tickets can be bought at the door, and are valid for a year.
In celebration of Kent MOMI’s new Buster Keaton mural, and the season of celebration, we present ‘Winter Warmers’ - Five Weeks of Silent Comedy delights.
On Friday 8th December we present Harold Lloyd: American Everyman. He found the spectacles, then found the character: short film(s) trace the arc of “the boy”’s career through to his most daring high-wire act, Safety Last! (1923).
The screenings will average 1 hour 50 minutes. Treats to round off the feast will include mulled wine and hot punches, classic cocktails by Dr. Natasha, and small seasonal hot pastries. Wine, beer and soft drinks are also available. Doors open at 5:30pm and the programme commences at 6:30pm sharp.
Online booking available on this web page from Saturday 11th November.
Screenings are FREE to Kent MOMI yearly ticket holders, but a £5 donation is suggested, to help us keep the lights on. Seating is limited to 30. Museum tickets can be bought at the door, and are valid for a year.
In celebration of Kent MOMI’s new Buster Keaton mural, and the season of celebration, we present ‘Winter Warmers’ - Five Weeks of Silent Comedy delights.
In week two on Friday 24th November, we present three more films under the heading Chaplin: Triumph of the Tramp.
The screenings will average 1 hour 50 minutes. Treats to round off the feast will include mulled wine and hot punches, classic cocktails by Dr. Natasha, and small seasonal hot pastries. Wine, beer and soft drinks are also available. Doors open at 5:30pm and the programme commences at 6:30pm sharp.
Online booking available on this web page from Saturday 11th November.
Screenings are FREE to Kent MOMI yearly ticket holders, but a £5 donation is suggested, to help us keep the lights on. Seating is limited to 30. Museum tickets can be bought at the door, and are valid for a year.
In celebration of Kent MOMI’s new Buster Keaton mural, and the season of celebration, we present ‘Winter Warmers’ - Five Weeks of Silent Comedy delights.
The season begins on Friday 17th November with Chaplin: Before and Becoming the Tramp, featuring shorts by the Frenchman Max Linder (Chaplin’s “Professor”), Mack Sennett and the Keystone Corp., “Fatty” Arbuckle, and Charlie Chaplin – up to and including the “birth” of the Tramp, in 1914.
The screenings will average 1 hour 50 minutes. Treats to round off the feast will include mulled wine and hot punches, classic cocktails by Dr. Natasha, and small seasonal hot pastries. Wine, beer and soft drinks are also available. Doors open at 5:30pm and the programme commences at 6:30pm sharp.
Online booking available on this web page from Saturday 11th November.
Screenings are FREE to Kent MOMI yearly ticket holders, but a £5 donation is suggested, to help us keep the lights on. Seating is limited to 30. Museum tickets can be bought at the door, and are valid for a year.
Last but not the least: Pedro Almodovar’s Mujeres al borde de un ataque de “nervios” [Women on the Verge of a Nervous Breakdown] (1988, Spain, 89mins). Watch for the scene with the blender and the prescription drugs, if nothing else.
Penultimately, a gem of the “golden eighties”: A Fish Called Wanda (1988, UK/USA, 108mins), a by-blow of Monty Python and Fawlty Towers, co-written by John Cleese, and directed by veteran Charles Crichton. This delightful film has a strong claim to be considered Ealing Studios’ last comedy. (See our Ealing exhibition: up for one last year.)
Vittorio De Sica’s Ieri, Oggi, Domani [Yesterday, Today, Tomorrow] (1963, Italy, 120mins), a splendid Technicolor triptych concerning three resplendent women (all played by Sophia Loren).
Menschen am Sonntag [People on Sunday] (1930, Germany, silent, 73mins), a wonderful début collaboration by a group of friends who later became major filmmakers in Hollywood: noirmasters Robert Siodmak and Edgar G. Ulmer, and future Oscar winners Billy Wilder and Fred Zinnemann.
Our first Italian comic masterpiece of the 1960s: Dino Risi’s Il Sorpasso [The Easy Life] (I1962, Italy, 105mins), a rediscovered gem, and perhaps the ultimate road trip film.
Frank Capra’s It Happened One Night (1934, USA, 105mins), the first film to win the “Big Five” Academy Awards (Best Picture, Best Director, Best Actor, Best Actress and Best Writing [adaptation]), the grandest of all romantic comedies, despite its Depression-era setting.
Jacques Demy’s stunning début feature Lola (1961, France, 90mins) – pure cinephile’s delight filled with romantic longing, lyricism and summer wanderlust … and a touch of mystery and magic.
Our opening feature is Billy Wilder’s naughty-but-nice take on one hot summer in Manhattan – and one man’s mid-life crisis: The Seven Year Itch (1955, USA, 105mins).
![Cinema of Desire: Angst essen Seele auf [Ali: Fear Eats the Soul] (Germany, Rainer Werner Fassbinder, 1973), with Brigitte Mira](https://images.squarespace-cdn.com/content/v1/5afbfb11fcf7fdcb8003aa58/1721907006558-2XLNR9CMEE449FE0DZWF/angst+1.jpg)
![Cinema of Desire: Matrimonio all'Italiana [Marriage Italian Style] (Italy, Vittorio de Sica, 1964) with Sofia Loren and Marcello Mastroianni](https://images.squarespace-cdn.com/content/v1/5afbfb11fcf7fdcb8003aa58/1721905696543-2LNL3PYSAXT8LXQ5K7T2/marriage_foyer.jpg)
