After 10 years of hosting film events all around Glasgow, we’re moving to Bristol
After ten years (and a particularly busy most recent five), Matchbox Cineclub is leaving Glasgow and relocating to Bristol.
For at least the next three years, we’re going to be based in Bristol. We’ll be back every so often (we have at least one Glasgow event planned in 2021), but mostly we’ll be in Bristol, and we don’t yet know what that’ll mean for any IRL events.
This weekend (3rd-6th September, 2020), we should’ve been hosting Weird Weekend III at CCA Glasgow. 2020, cursed year, should’ve seen our cult film festival level up to a much bigger festival. Our plans and even programming for it have been underway since before last year’s festival. Those plans had to be scrapped, rethought, redeveloped, revised and the scrapped again. We accounted for postponement, downscaling, hybrid approaches and completely online versions, but it just wasn’t meant to be this year.
We will be doing more online programming, like our Tales From Winnipeg online-only season, and Weird Weekend will certainly return in some form. But we also want to take some time to rest (we’ve also subtitled 250+ films in the last two months) and regroup, for the first time in several years.
We want to say a very big thank you to everyone who has supported us over the last 10(!) years in Glasgow, particularly CCA Glasgow, The Old Hairdressers, Film Hub Scotland, all our fellow exhibitors, to everyone that’s come to one of our events and, most of all, to those of you who’ve come to several.
It’s very strange to be planning to leave like this. We would’ve loved to host a farewell screening or just had some drinks in a big room, but none of that’s possible. Maybe, with no rooms to set, A/V to prep, bands to soundcheck, bookings to find, tickets to take, guests to entertain, merch to sell, last-minute social media to do, etc, etc, we’d have finally properly prepared an address for the audience, rather than busking some last-minute jibber-jabber. But then probably not. Hands up if you’ve already seen this one.
We love Glasgow and we’ll miss you very much.
Sean + Megan x
This website is full of stuff, interviews, articles, etc, and will become even more active now. You can find our archive of posters and event photographs on Flickr and our trailers and video content on Vimeo and YouTube. Zines, posters and merch are on sale in our shop, matchboxcineclub.bigcartel.com.
Janice Forsyth invited our producer Megan Mitchell to discusses the rise in popularity of subtitled films on BBC Radio Scotland’s Afternoon Show
Megan was invited on BBC Radio Scotland’s The Afternoon Show yesterday (16/12/2019) to discuss subtitling in films, with host Janice Forsyth and writer, academic and programmer Pasquale Iannone. If you’re in Britain, you can listen to the segment (for the next 29 days, at least) on the BBC’s website, here.
BBC doesn’t currently provide transcripts of its radio shows, so we’ve made one ourselves. Read it below, download a PDF here, or listen along with our subtitled clip.
Janice Forsyth: Now, until recently, subtitles and film and television were restricted to foreign language presentations, but now, well, I think a lot of us expect them as an option, thanks to streaming services like Netflix, Apple TV, BBC iPlayer, which offer so many shows fully captioned or subtitles. It’s great for world cinema and allows viewers to broaden their horizons from their living room but, apart from that, should we be captioning and subtitling everything anyway for reasons of inclusivity and have audiences become more adept at watching and reading at the same time? Well, here to help us explore how things are changing are two film buffs. In our Edinburgh studio, Afternoon Show regular and Italian cinema expert Pasquale Iannone. Ciao, Pasquale.
Pasquale Iannone: Ciao, Janice. Come va?
Janice: No bad.
Pasquale: No bad! “I’m awright.”
Janice: Awright, son! And with me in Glasgow is Megan Mitchell, producer with independent film exhibitor Matchbox Cineclub. She’s also co-founder – I love this – of the first film festivals anywhere in the world dedicated to Keanu Reeves… and Nicolas Cage. Megan, welcome.
Megan Mitchell: Thank you for having me on.
Janice: Great to have you here. So, tell us about Matchbox Cineclub. It’s such a brilliant title. What does it do?
Megan: So we are basically, as you said, independent film exhibitors which means, really simply, that we screen films across the UK, even though we’re based predominantly in Glasgow. We screen everything, as you said, from classic Keanu Reeves and some cagey Cage all the way through to experimental Japanese cinema, world cinema and everything in between. We’re really interested in cult films and cult audiences.
Janice: Wow, that’s interesting. Park Circus films did something like that you know, years ago, it was like Park Circus, they were based in Park Circus, they’re based in Glasgow, and became huge as distributors. Have they been a kind of shining example to you of what can be done?
Megan: Yeah, and actually we’re really good pals with Park Circus. They’ve supplied quite a few of our titles, particularly some of the harder to get things. They’re a really good resource for us and any exhibitors across the UK, actually.
Janice: That’s great. All power to you. So, what about this, then, this phenomenon? I think many of us who do watch and maybe binge on box sets on the various streaming services, um… Well, I mean, let’s get out of the way the whole idea of actually sometimes it’s not to do with needing them because it’s a foreign language. For me, and sometimes other people, I mean, going way back to something like The Wire, I was so pleased when I discovered that there was a subtitling… there was access to subtitling so I could really understand the brilliant dialogue. Do you, Megan, see that there’s been a big increase in this, in proper, fully captioned, subtitled films?
Megan: Absolutely and I think that younger generations particularly are now expecting that subtitles are on cinema we’re seeing it across not just streaming platforms, particularly Netflix and MUBI, who are captioning 100% of their content, or subtitling 100% of their content but particularly on social media and, you know, with the use of phones, we’ve got captioned content on video content there because no-one’s, you know, turning off their music or putting on their earphones to listen to something when they’re out and about, so I think with the increase of that, that’s leaking through into cinema and what audiences are expecting and I think, as you rightly said, access is a massive part of that as well, that there’s this crossover with people who, you know, aren’t particularly deaf or, you know, recognising themselves as such but finding subtitles massively helpful in understanding what’s happening on-screen.
Janice: Yeah. Yeah. It is fascinating, isn’t it, Pasquale…
Janice: Because, obviously, you know, with Italian cinema, it’s no problem for you and presumably other languages as well, but it is terrific to have that option, but, for a long time, people, some people, would be a bit squeamish, “Oh, you know, “it’s a pain in the neck to have to read the subtitles as well.” Do you see a sea change now?
Pasquale: Yeah, I think so. I mean, there’s this idea that, you know, all non-English-language films are somehow art cinema, they’re art house films, they’re inaccessible, they’re complex, they’re…they’re cryptic, etc, and we know, obviously, that that’s not the case. I mean, granted, there are some of those titles but I mean there’s a huge variety of films of all different types of genres on all the streaming platforms, really. I mean, I was looking through Netflix, and there’s some incredible films. There’s an Indonesian action movie, The Raid, The Raid 1 & 2, incredible film, and of course it’s all, kind of, in Indonesian and it is not an arthouse film, the way we would think of it. And it’s this whole idea of subtitles versus dubbing, ’cause over here, obviously, we’re not really used to dubbing, as a culture, and it feels weird, I think, whereas some other cultures in Europe dubbing is very much the norm and… But, I think, yeah, I mean, it’s this idea of having the original.
Pasquale: And if it’s… If you have to have subtitles, then fine. I mean, there are actually some directors who say, “No, no, I’ve spent ages composing this image, “I don’t want text on it.”
Pasquale: There are very few of those.
Janice: I think most directors would surely prefer that than dubbing. I mean, I’m old enough to remember when we used to have foreign language export/import, or whatever it is, telly after school, so there would be Robinson Crusoe and Belle and Sebastian and it was it was all the dubbing but it was hilarious, because… Certainly, my brother and I just used to spend our time impersonating the very bad English-accented foreign voices. It was very, very funny. What about, Megan, mainstream cinemas? How many mainstream cinemas are regularly screening captioned or subtitled films?
Megan: I mean, I actually took a look at us this morning before I came in, because usually we’re sitting in the mid-teens for subtitled screenings in multiplexes across Glasgow for a whole week. This week, it’s took a massive upswing because of Star Wars. There are 26 subtitled screenings across Glasgow this week. That’s a choice of six films including one screening of Frozen 2. However, if you do not require subtitles or aren’t looking for something that’s subtitled, you can go to Glasgow’s biggest multiplex today and see 60 screenings across 12 films, so I think there’s a massive, still a massive gap in terms of film screening exhibition access. In Glasgow, we’re seeing a massive increase in terms of independent exhibitors actually taking up the mantle of access and doing 100% or trying to achieve increased captions so earlier this year, Matchbox actually took the choice to dedicate 100% of our programming to captioning so that all of the films we screen, regardless of whether they’re English or foreign language have captions and subtitles so that anyone can come along and enjoy the films.
Janice: Is that an expensive business to do?
Megan: Funnily enough, my colleague at Matchbox, Sean Welsh, he is a professional subtitler, so he subtitles and captions for MUBI and freelance so we can do it in-house but we’ve also seen an increase in funding, so that other organisations can reach out to us or other subtitlers and get that. We’re seeing that, on the production side, in terms of distributors for films, they’re still not supplying or producing subtitles so it means that even if people are wanting to screen their films accessibly, they just can’t.
Janice: Yeah. It’s interesting this, isn’t it, Pasquale? I mean, also ’cause, you know, subtitled films you can totally imagine as an education resource for language students.
Pasquale: Totally, yeah, and it’s an incredibly useful tool, as is music, of course, but, I mean, especially with film and it’s something that, you know, when I was at school, when I were a lad, you know, going back to the mid to late ’90s, I mean, you didn’t have that. I mean, you didn’t have the… You had the old… You still had old VHS and DVD was coming in, but it was nowhere near this amount of accessibility that you have now and so a tool, like this language learning in Netflix, is superb. I mean, it just allows viewers to watch foreign language shows with subtitles both in the original language and the English and you can pause it to really kind of absorb what they’ve just seen. Obviously, there’s some series and TV programmes that are better suited for this kind of thing. I mean, I was thinking… I was thinking of some series that are given some flack for their sound, the way that actors mumble, the way that actors… apparently, the Director General of the BBC said, “Muttering is something we should have a look at.”
Pasquale: Back in 2013!
Janice: I love that. So W1A, isn’t it? Yeah! But there was an audibility project apparently in 2009, involving a 20,000 panel of viewers and listeners so this idea of sound and being able to catch every single thing but sometimes you don’t actually need to catch every single thing. It does really depend on the film, on the TV show. And how much is relayed through dialogue, and how much is relayed through the visual side.
Janice: Yeah. I’ve been thinking a lot about that recently because, Megan, I’ve been, you know, I was lucky enough to go to a BAFTA screening of The Irishman, so I saw it on the big screen. It wasn’t that big a screen, but it was a big screen And I was really glad I was able to do that. However, I have to admit, during it… I mean, I loved it, I really, really enjoyed it, but during it I was thinking, “Oh, I can’t quite catch what he said there,” and I was imagining that moment where I could pause and get the subtitles up. And I was just personifying exactly what Pasquale’s talking about. It was like, “Wait a minute, enjoy this master at work, “look at these visuals, just take in the whole thing, “maybe later…” Fortunately, it’s on Netflix, so I can look at the subtitles, but it’s interesting about how it maybe affects our experience of just sinking into the film.
Megan: Yeah, but I think in terms of the availability of the subtitles and captions, particularly when you do go to the cinema you might be able to sink into the film a wee bit easier if subtitles aren’t on the screen, but if someone needs subtitles, they can’t view the film.
Janice: That’s it.
Pasquale: Yeah. I think there’s a really interesting conversation around that, particularly with art house cinemas and the idea that they are maybe a wee bit hesitant to put captions on their English language content, even though they screen predominantly foreign language, but they’re not hesitant to put out their wheelchair ramp.
Megan: And it’s that type of same access that they’re providing, so I think that there’s a larger conversation around why we want subtitles on films, and it’s because of the idea that more people can go see these films and enjoy them.
Janice: Don’t you think, Pasquale, that because there’s been a sea change in people like me enjoying, for the small screen anyway, the ability, to do with the mumbling or whatever, to be able to, you know, actually see, read what they’re saying, don’t you think, because of that, there should be less hesitancy amongst arthouse cinemas or wherever to roll out the subtitles and the captions for English language films?
Pasquale: Yeah, I mean, I do think so. I mean, obviously it’s something that happens a lot in other countries but obviously it’s very different over here, so maybe there’s less of this pressure, perhaps, to put it on these screens, but it’s definitely something that happens in Italy in France, where you have cinemas playing all the big hitters, all the big films in dubbed versions, but also with, in original versions as well.
Janice: Yeah. Certainly, thinking about what you’re doing with Matchbox Cinema Club [sic], is there a lot of… I mean, do you go for a lot of foreign language films or is that not what your main thrust is when you’re thinking of programming?
Megan: So, our main, core programme is about films you can’t see anywhere else, so that’s predominantly archive and world cinema, so foreign language. We also have our tent pole, larger weekend festivals, that are a wee bit more mainstream films, but they’re all captioned as well. And, for us, a lot of that is that we’re able to produce those captions in-house but we’re also, you know, able to bring in people – you can see Con Air, maybe on Netflix, but you can’t see it, you know, captioned on the big screen elsewhere.
Janice: Yeah. Just finally, what you were saying there, Pasquale, you were talking about a brilliant Indonesian action film.
Janice: That’s the thing, there’s such a richness out there and I’m as guilty as anybody else of not exploring, you know, the rest of the world’s cinema ’cause there’s so much else to catch up with and somebody like Mark Cousins always makes me feel guilty ’cause he plunges into it all the time, but there’s so much brilliant film-making going on, right around the globe. Yeah, and actually, talk about Mark Cousins, I mean, Moviedrome was a real formative moment for me in terms of film education, that great series back in the ’90s and with Mark Cousins and Alex Cox, but, yeah, I mean, just one look at Netflix, and I was just having a look at the international titles that they have and on their front page, the lead page is The Pianist, the Roman Polanski film.
Pasquale: But I was just looking at some others that they’ve got. They’ve got this terrific film called The Guilty, which is a film, a Danish film. One actor, just one actor in the film, so a bit like that film Locke, with Tom Hardy.
Pasquale: This is about an emergency police dispatcher who takes a call from a kidnapped woman. Very, very spare locations. Very, very suspenseful 90 minutes, less than 90 minutes and you’re done. And it’s a terrific film!
Janice: I’m writing it down. Guilty. Thank you very much indeed. Do you know what? We’ve talked so much, I can only play a little bit of the final song now, but I thought that was fascinating. Thank you very much indeed, Pasquale Iannone and Megan Mitchell. Cheers.
Megan: Thank you.
Pasquale: Thank you.
Janice: And, Megan, yeah, Cage-a-rama 2020 taking place from the 3rd to 5th of January at the CCA in Glasgow, for all your Nicolas Cage needs, hosted by Megan and her team. Thank you very much indeed.
All of Matchbox Cineclub’s programmed is subtitled for the deaf and hard of hearing. Keep up to date with our events by signing up to our mailing list, here, or find our events on Facebook here. For more information on our subtitling service, read our dedicated page here.
Cage-a-rama 2020 takes place 3rd, 4th and 4th January 2020 at the Centre for Contemporary Arts, Glasgow. Buy tickets here.
Matchbox Cineclub are pleased to announce Marco Kyris, Nicolas Cage’s official stand-in for over ten years, will attend our third annual Cage-a-rama film festival at Glasgow’s Centre for Contemporary Arts on 3rd, 4th & 5th January 2020 and afterwards embark on a UK-wide Cage-a-rama: Uncaged tour.
Marco, who worked with Cage on almost 20 films between 1994-2005, will join Lindsay Gibb, Toronto-based author of National Treasure: Nicolas Cage and world-leading Nicolas Cage expert, for an in-conversation event and a screening of Uncaged: A Stand-in Story at CCA Glasgow on Saturday 4th January. Kyris will also introduce several of Cage-a-rama 2020’s films across the festival weekend: Leaving Las Vegas (for which Cage won an Academy Award® for Best Actor), the first of the fan-favourite National Treasure films, and Martin Scorsese’s urban horror Bringing Out the Dead, the latter of which he will introduce alongside journalist Josh Slater-Williams (Sight & Sound, Little White Lies).
Kyris has also guest-programmed a special opening night screening of one of his favourite collaborations with Cage, Brian De Palma’s Snake Eyes, followed by a Q&A. Throughout the festival, Marco will be open to any questions about his “Cage Wage” years, and share genuine call-sheets and other Cage memorabilia from his archive – and might be persuaded to part with them if audience members pose good enough questions. Cage-a-rama’s opening night is sponsored by Drygate.
Directors Mike Figgis (Leaving Las Vegas) and Stephen Campanelli (Grand Isle) will introduce their films via specially recorded videos. Joining them are Nicolas Cage aficionados from across the globe, including Timon Singh of Bristol Bad Film Club, Torïo Garcia of the Spanish NicCagepedia, and Mike Manzi & Joey Lewandowski, the New Jersey-based hosts of the much-loved #CageClub: The Nicolas Cage Podcast.
The subsequent Cage-a-rama 2020 UK Tour will feature a 35mm screening of Con Air at the Genesis Cinema in London on Thursday 9th January, and a 20th-anniversary screening of Gone in 60 Seconds in collaboration with Bristol Bad Film Club at Bristol Improv Theatre on Saturday 11th January. Both screenings will be accompanied by Marco Kyris’s short film, Uncaged: A Stand-In Story, and a post-screening Q&A.
Cage-a-rama 2020 highlights Cage’s relationship with directors: from big guns to young guns, from huge budgets to low ones, from his career’s early days to now. The festival features 10 films over three days, closing with the UK premiere of brand-new Nicolas Cage film Primal (2019), to be released by Lionsgate in February 2020. Sunday 5th January also sees the UK premiere of Grand Isle, which pairs Cage with Kelsey Grammer, set to be released by 101 Films. The rest of the programme features Cage classics from some of his earliest roles, in Francis Ford Coppola’s Peggy Sue Got Married and Top Gun “homage” Fire Birds, to blockbuster sequel National Treasure: Book of Secrets and a midnight screening of Zandalee, his erotic thriller co-starring Judge Reinhold.
Cage-a-rama 2020 Weekend and Day Passes and individual tickets are on sale via Matchbox Cineclub’s online shop. Tickets for Con Air in London are available via Genesis Cinema’s website (genesiscinema.co.uk) and tickets for Gone in 60 Seconds can be purchased via Bristol Improv Theatre (improvtheatre.co.uk).
For the first time, the entire Glasgow Cage-a-rama programme will be open-captioned for D/deaf audiences, and tickets for each film are priced on a sliding scale, £0-8, with reference to our three-tiered guide, so audience members decide what to pay.
2018 was the year Matchbox Cineclub stopped doing monthly screenings and ended up screening twice as many films. We launched three film festivals (even if one was postponed till 2019) and our online shop, coordinated Scalarama events across Scotland and organised a six-date tour of the UK. We hosted a world premiere, several Scottish premieres and a bunch of lovely guests, while a project we originated continued on to the Scottish Borders and Spain.
It hasn’t always been easy but we’re proud of what we accomplished this year, working with some incredible venues and a lot of our best bright and brilliant pals. We’re hoping 2019 will be our best year yet, but it’ll definitely be hard to beat 2018. The biggest thanks, as always, to everyone who came out for a Matchbox Cineclub event – you’re the ones who make it worthwhile. We always love to hear from you, so if you have any thoughts on the past year, or the next, please let us know. In the meantime, here’s our 2018 in pictures…
Cage-a-rama | After years of standalone pop-ups and our monthly residencies, this was our first time trying a new format, the micro-festival: six films over three days and as much bonus content as we could cram in. Selling it out in the early days of January gave us the encouragement to keep going. Which is a bigger deal than it maybe sounds. We couldn’t have done it without the Centre for Contemporary Arts and Park Circus supporting what we do, and of course all the Cage fans, who came from across the UK and as far afield as Dresden, Germany. We’re very much looking forward to Cage-a-rama 2: Cage Uncaged in January 2019.
Team Matchbox win the Glasgow Film Festival 2018 Quiz | Technically, Team GFF won, but since there were 18 of them and they had the inside scoop on their own programme, they were disqualified. We credit our victory to our ace in the hole, cine-savant Josh Slater-Williams. Also to the Nicolas Cage round. Thanks to the lovely Tony Harris (of Team GFF) for the photo!
Turkish Star Wars 2K world premiere | A while back, our pal Ed Glaser came into possession of the only remaining 35mm print of Dünyayı Kurtaran Adam, AKA Turkish Star Wars. Once it was all cleaned up and newly translated subtitles added, we had the chance to host the world premiere of the 2K restoration (simultaneously with our pals Remakesploitation film club in London). The May 4th screening was sold out but free entry. To cover our technician Pat’s wages, we took donations (and as usual spent way too much time on special graphics for the occasion).
Ela Orleans takes Cowards Bend the Knee to Alchemy | Our musical hero and good pal Ela Orleans took her live score for Guy Maddin’s Cowards Bend The Knee to the Alchemy Film and Moving Image Festival in May. We originally commissioned Ela to write and perform her incredible new score during Scalarama 2017. Of course, 100% of the glory for the performances (Ela also later took Cowards to the Festival Periferia in Huesta, Spain), goes to Ela herself, but we’re very proud of the small part we have to play in the ongoing project. And, if you look very closely, you can see our logo in Alchemy’s Programme Partners on the screen behind Ela!
Weird Weekend | After Cage-a-rama was a success, we wanted to do something similar in the format but with Matchbox’s more typical programming – the outcasts, orphans and outliers of cinema. So, Weird Weekend was born and Scotland’s first festival dedicated to cult cinema took place at CCA in June. Over two days, we mixed cult favourites with lost classics and brand-new films and welcomed guests like The Secret Adventures of Tom Thumb cinematographer Frank Passingham, Crime Wave star Eva Kovacs and Top Knot Detective co-directors Dominic Pearce and Aaron McCann. We also programmed a retrospective of our favourite local filmmaker Bryan M Ferguson’s shorts, and Bryan joined us for a post-screening Q&A. See Bryan’s latest work, including his celebrated music video for Ladytron, here: bryanmferguson.co.uk.
Alex Winter Q&A | The one and only Bill of Bill & Ted fame joined us via Skype after we screened his directorial debut Freaked at Weird Weekend. It was a fantastic screening and Q&A, all of it a mildly surreal high point. The whole thing was made totally normal, though, by the coolness of Alex and his team, who were also incredibly gracious in supporting our event with a bunch of press interviews. Of course, Alex is about to make Bill & Ted Face The Music, but these days he’s a pretty deadly documentary maker. See what he’s up to now: alexwinter.com.
Our founder returns | Matchbox Cineclub founder (lately of Paradise and Moriarty Explorers Club and, most recently, Trasho Biblio) Tommy McCormick returned for a cameo at Weird Weekend. Screening Soho Ishii’s The Crazy Family was a long-held ambition for Tommy, so when we managed to confirm a screening for Weird Weekend, he returned to pass on Ishii’s special message for the audience.
The Astrologer | We closed Weird Weekend with the Scottish premiere (and only the second UK screening) of Craig Denney’s The Astrologer (1976), such a deep cut that it can only be seen at screenings – no DVD, no VHS, no streaming, no torrent and very little chance it can ever be released. Bringing the DCP over from the States would have been 100% worth it anyway, before an unexpected onscreen mention for Glasgow melted everyone’s minds. Before all that, though, we got carried away with researching the mysterious and largely unreported story behind it and ending up writing the definitive 4,000-word article on it. Read it here!
CCA Closure | KeanuCon postponed! After Cage-a-rama, we polled the audience to see which icon we might celebrate next – Merylpalooza had a good run but Keanu was the clear winner. We debuted our trailer at a GFT late night classic screening of Speed in March and scheduled KeanuCon for the opening weekend of Scalarama in September. Unfortunately, the GSA fire meant the nearby CCA was forced to remain closed indefinitely and, try as we might, we couldn’t find a suitable alternative venue for the dates. On the bright side, our Keanu Reeves film festival will finally arrive in April 2019. And it was all almost worth it for our Sad KeanuCon image.
The World’s Greatest 3D Film Club | In July, our pals at Nice N Sleazy invited us to programme something there at the last minute. Their only specifications were for it to be something vaguely summery and fun. We had a bunch of red-blue anaglyph 3D glasses left over from when we screened Comin’ At Ya at The Old Hairdressers a couple of years ago, so we decided to screen Jaws 3D. When Sleazies had other free dates to fill, we later showed Friday 13th Part III and 1961 Canadian horror The Mask.
Scalarama | We took a lead role in coordinating Scalarama activity across Scotland again this September. KeanuCon was meant to open activities in Glasgow, but luckily Pity Party Film Club were able to fill the void with an incredible Hedwig and the Angry Inch event. We also hosted a sold-out screening of B-movie documentary Images of Apartheid at Kinning Park Complex, teamed-up with Video Namaste for another Video Bacchanal, this time at The Old Hairdressers, and screened Joe Dante’s epic The Movie Orgy (see below). Before all that, though, we hosted the Scalarama Scotland 2018 programme launch in August at the Seamore Neighbourhood Cinema in Maryhill, with a special Odorama screening of John Waters Polyester. Our pal Puke (pictured) volunteered as a Francine Fishpaw ring girl to cue the scratch and sniff action.
Joe Dante’s The Movie Orgy | We’d wanted to host this for a really long time and it took a lot of leg work, including a last-minute zoom to Edinburgh International Film Festival, to finally make happen. But it did! And, incredibly, Joe Dante himself recorded us an intro (pictured), after EIFF’s iconic Niall Greig Fulton introduced us to him in June and we got the OK to screen it. With CCA still closed, we had the opportunity to return to our old home, The Old Hairdressers, for this five-hour, sold-out screening. The film editor of the Skinny called it “Scotland’s movie event of the year”, which is daft but also we’ll take it.
#WeirdHorror with Kate Dickie | We started off the Halloween season doing a 31 days of #WeirdHorror countdown, then when CCA’s oft-postponed opening was finally confirmed, we offered to do some last-minute screenings. The idea was to celebrate CCA reopening and maybe help spread the word – which, it was super busy anyway but it was a great opportunity to team up with our pals Pity Party Film Club and She’s En Scene for some co-screenings. The four-night pop-up series had an amazing climax with legendary local hero Kate Dickie very graciously joining us for The Witch and an in-depth Q&A afterwards.
Matchbox Birthday Cake | Finally, this was just a very nice birthday surprise. Coming up in 2019, though, we have a LOT of surprises in store. First up, Cage-a-rama 2, Auld Lang Vine and KeanuCon. See you there!
Tara Judah and Ti Singh bring their sell-out show to Cage-a-rama 2019
We are beyond thrilled to bring Going Full Cage, the extremely popular, sell-out event from Bristol’s Watershed, to Glasgow for Cage-a-rama 2: Cage Uncaged. In January, two of the UK’s foremost film experts will explore the phenomenon of Nicolas Cage and debate the case for and against the best/worst actor of our times.
Nicolas Cage has been nominated for more Razzies than he has Oscars (The Golden Raspberry Awards recognise the worst in film), and yet he remains an Academy Award winning actor, thanks to his outstanding performance in Leaving Las Vegas. But just how can one man be recognised by both the industry’s most esteemed and most mocking award ceremonies? As fascinating as he is baffling, who is this enigmatic man? Is he utterly brilliant – in on the joke – or is he an overrated actor taking whatever pay check comes his way?
Whatever your opinion, we can say for sure that this member of the Coppola clan has worked with both the best and the worst in the business. From the Coen Brothers to the Kaufmans, with David Lynch and Neil LaBute, Nic Cage has entertained cinema audiences for almost forty years. Famous for his outlandish purchases, including oddities as wide-ranging as a castle in Bath (where he used to live!) and an illegal dinosaur skull, it’s no wonder he’s earned a reputation for eccentricity.
Nic Cage super fans Tara Judah (Watershed Cinema Producer) and Timon Singh (Bristol Bad Film Club Founder), will be diving deep into the bottomless abyss of the enigma. Presenting their cases for and against his brilliance in back to back presentations with clips, quotes and context, before discussing and debating their findings. Join us on Saturday 5th January as Tara and Ti dare to go Full Cage.
Whether you’ve seen the best or the worst of his career, this session will equip you with the tools, anecdotes and arguments to understand the curious career and big screen allure of one of Hollywood’s most unconventional A-listers.
Tara Judah is Cinema Producer at Watershed in Bristol, and has worked in programming and editorial for the cinema’s archive, classic and repertory film festival, Cinema Rediscovered since its inception in 2016. Tara is also a freelance film critic and has contributed to Senses of Cinema, Desist Film, Monocle and Sight & Sound. Tara is a director on the board of trustees at one of the UK’s longest continuously operating cinemas, Curzon Cinema Clevedon. Tara’s favourite Nic Cage movie is Wild at Heart and her least favourite is City of Angels. (WHYYYY?) She especially loves it when Nic Cage sings.
Timon Singh is Campaign Managers for Film Hub South West and also runs Bristol Bad Film Club and Bristol Sunset Cinema in… well, Bristol. He has previously written for Den Of Geek UK and Cineworld Magazine and his first book Born To Be Bad: Talking to the greatest villains in action cinema is out now. Timon is also the writer/producer on the upcoming documentary film In Search of the Last Action Heroes. His favourite Nicolas Cage film is Wings of the Apache. His worst is the first Ghost Rider. At the least the sequel had the decency to go Full Cage…
Going Full Cage, Saturday 5th January 2019, CCA Glasgow, part of Cage-a-rama 2: Cage Uncaged. All tickets on sale via our online store, here.
Matchbox Cineclub present the UK premiere of Nicolas Cage’s newest film, Between Worlds, with director Maria Pulera in attendance
Between Worlds is the film where Nicolas Cage makes love to women while reading aloud from a book entitled “Memories by Nicolas Cage”. That’s to say, it’s the perfect closing film for Cage-a-rama 2: Cage Uncaged, our second annual Nicolas Cage film festival. We’re delighted to welcome writer-director-producer Maria Pulera to present her film at Centre for Contemporary Art, Glasgow, on Sunday 6th January, 2019.
Nicolas Cage is Joe, a man obsessed by the death of his wife and daughter. At a way station on a lonely highway, Joe meets Julie (Franka Potente), a spiritually gifted woman who enlists him in a desperate attempt to recover the lost soul of her comatose daughter, Billie (Penelope Mitchell).
The full Cage-a-rama 2: Cage Uncaged film programme features Mandy, Army of One, Bad Lieutenant: Port of Call New Orleans, The Wicker Man, Mom and Dad, Zandalee, Vampire’s Kiss, Wild At Heartand Between Worlds.
Confirmed guests/contributors include: Maria Conchita Alonso (actor, Vampire’s Kiss, The Running Man, Predator 2), Skype Q&A; Lindsay Gibb (author, National Treasure: Nicolas Cage), video essay premiere; Barry Gifford (author, Wild At Heart, screenwriter, Lost Highway, Hotel Room), pre-recorded interview; Tara Judah (Bristol’s Watershed) and Ti Singh (Bristol Bad Film Club), Going Full Cage; Casper Kelly (Too Many Cooks) and Shane Morton (Your Pretty Face Is Going To Hell), creators of Mandy‘s Cheddar Goblin sequence, Skype Q&A; Maria Pulera (director, Between Worlds), live Q&A; Brian Taylor (director, Mom and Dad, Ghost Rider: Spirit of Vengeance, Crank), Skype Q&A.
Film experts Tara Judah and Ti Singh bring their sell-out Going Full Cage live event from Bristol’s Watershed on Saturday 5th January. Canadian Cage academician Lindsay Gibb will also premiere a brand-new and exclusive video essay at the festival.
With 11 Nicolas Cage films and events over three days, a counter-Cage cool-off area will be provided for those who need a break – this VHS “Hanks-a-rama” station will loop the reassuring presence of America’s Dad Tom Hanks throughout the festival weekend.
Local brewers Innis and Gunn sponsor Cage-a-rama for the first time this year. The annual Nicolas Cage Birthday Quiz will run on Sunday 6th, with prizes provided by Arrow Video and a huge pile of Cage merchandise up for grabs. A wide range of Cage-related publications and merchandise will also be on sale in the festival pop-up shop.
Cage-a-rama weekend pass holders get a personalised Blockbuster-style membership card. All tickets are on sale via our online store: matchboxcineclub.bigcartel.com.
Europe’s longest-running Nicolas Cage Film Festival returns to Glasgow
Matchbox Cineclub present Cage-a-rama 2: Cage Uncaged, a two-day film festival celebrating the wild, weird world of Nicolas Cage. Europe’s longest running Nic Cage film festival returns on Saturday 5th and Sunday 6th of January 2019, to the Centre of Contemporary Arts, Glasgow.
Cage-a-rama 2: Cage Uncaged fully unleashes the wild side of Cage with eightfilms, classic and brand-new, featuring the Oscar-winner’s most iconic meltdowns, freak-outs and outbursts. The festival also features a range of bonus content, including Cage’s 55th Birthday Brunch + Quiz and Going Full Cage, a live event hosted by Tara Judah (Watershed Cinema producer) and Ti Singh (Bristol Bad Film Club founder and author).
The full programme will be announced on Wednesday 24/10.
Programmer Sean Welsh says, “People flew in from across Europe to attend the first, sell-out Cage-a-rama in January 2018. We wanted to raise the stakes with this sequel, so Cage-a-rama 2: Cage Uncaged is going to be an even more intense experience for fans. Last year, our campaign to #BringCage2Glasgow netted his official stand-in, Marco Kyris, so this year we’re upping our game to get him.”
Weekend passes for Cage-a-rama 2: Cage Uncaged are on sale now in our online shop. Limited day passes and single tickets will be on sale Friday 26/10.
Sign up to Matchbox Cineclub’s mailing list to get updates on Cage-a-rama and more: eepurl.com/duX1R9.