Auld Lang Vine – Matchbox Cine

KeanuCon, Captions and Co-screenings

Matchbox Cineclub’s 2019 in pictures

In 2019, we produced three festivals (one of which gained international viral fame), screened 43 feature-length films and 31 short films, hosted 13 guests, 4 drag performers, 2 live bands, co-programmed 14 collaborative screenings, embraced the sliding scale ticketing system, started open-captioning all our screenings, launched a subtitling arm providing HOH subtitles for several festivals and other exhibitors and co-ordinated a month-long season of films across Glasgow and Scotland. Through it all, we had the best audiences and an amazing support network of colleagues, collaborators and peers. Particularly, the support and enthusiasm from our friends at Film Hub Scotland set us up to deliver what is beyond a doubt our busiest programme yet. Here’s our ridiculous year in pictures, month-by-month.

Cage-a-rama 2: Cage Uncaged | We started the year with our second annual Nicolas Cage film festival, opening with Mandy and a Q&A with Cheddar Goblin creators Casper Kelly and Shane Morton. Mom & Dad director Brian Taylor joined us via Skype on Saturday evening and we closed the weekend with the UK premiere of the truly special Between Worlds, a still-unsung and underrated entry in the Cage canon. Despite being described in some quarters as “the new The Room“, it was thoroughly enjoyable and a good time was had by all.

*Phones aloft at Auld Lang Vine #RIPVine (Photo by Ingrid Mur)*

Auld Lang Vine #RIPVine | In mourning of everyone’s favourite six-second video platform, we hosted a fitting funeral, including drag homage by Puke, live music by Joyce Delaney and 500+ Vines curated by Pilot Light TV Festival. This was an event of firsts, including our first use of the sliding scale ticket price and our first ever spontaneous modern-day lighter waving. Part of the #BFIComedy season.

Director Jaqueline Wright introduces Two Weirds Is Too Weird (Photo by Ingrid Mur)

Two Weirds Is Too Weird @GSFF19 | In March, we joined forces with Glasgow Short Film Festival to curate a night of short films made by Alice Lowe & Jacqueline Wright under the Jackal Films banner, featuring feline erotica, courtly necrophilia and bird women. Jacqueline, who’s now based in the US, very kindly recorded us a special introduction for the event. This was also our first collaboration with fantastic photographer Ingrid Mur, who documented our events for the rest of 2019.

Shogun Assassin with Venom Mob Film Club | This was Venom Mob Film Club’s first screening, and the first of our 2019 co-screenings supported by Film Hub Scotland. Johnny and Chuck programmed one of our favourites and served it up with a special menu of vegan ramen. Venom Mob have since done a bunch more screenings themselves, and they’ve all been great.

KeanuCon | Megan: Viral fame unexpectantly struck us this year as the internet caught wind of the world’s first Keanu Reeves film festival (less than a week before the already sold-out festival), yet we remain humble.

Sean: (Broke).

Megan: The festival was wyld regardless of the coverage, we had contributions from Alex Winter, Bill & Ted writer Ed Solomon, Man of Tai Chi star Tiger Chen, authors Kitty Curran & Karissa Zageris and My Own Private Idaho aficianado Claire Biddles. The weekened climaxed with a live performance from Wyld Stallyns, a Glasgow supergroup who absolutely nailed it. And, of course, we had lots of Keanu films, 11 in total, including his first appearance on film, in a National Film Board of Canada short. The weekend was full of Keanu love and great energy from the audience, we can’t wait to do it again in 2020!

Backseat Bingo’s Casci Ritchie (Photo by Ingrid Mur)

Under the Cherry Moon with Backseat Bingo | Our next team-up of the year was with the brilliant Backseat Bingo, returning from a long absence. It was only fitting that programmer Casci Ritchie, who is also an academic expert on His Royal Badness, present this lesser known Prince classic on his birthday. Casci introduced the film with an illustrated talk on Prince’s fashion, from erotic sportswear to the classic trench coat.

Cage-a-rama 3D @ EIFF | What could be better than Cage? Cage in 3D! Senior programmer Niall Grieg Fulton invited us to collaborate on this special event at this year’s Edinburgh International Film Festival. After Cage-a-rama 2 (and our 2018 pop-up, The World’s Greatest 3D Film Club at Nice N Sleazy), Cage-a-rama 3D was the logical next step. EIFF’s team sourced beautiful 3D prints and footed the bill for an incredible top-of-the-range 3D system (the glasses need re-charged after every screening). Drive Angry and Ghost Rider: Spirit of Vengeance have never looked better – and we got to commission another incredible illustration from Vero Navarro!

Der Fan with Sad Girl Cinema | As part of BFI’s Film Feels: Obsession season, we co-programmed ’80s thirsty cult slasher Der Fan, along with a topical panel on obsession, thirst and fandom, featuring Bethany Rose Lamont (Sad Girl Cinema), Liz Murphy (artist), Jamie Dunn (The Skinny) and chaired by Claire Biddles (Sad Girl Cinema).

#SubtitledCinema | This was the year we committed to switching on the subtitles for every screening we do. We believe in accessibility and inclusion and though there’s lots of things we can’t do because we don’t have the budget or the time (there’s still just the two of us running Matchox), we realised if we could do it, we should. The other side of the coin is that since we aim to screen films that you can’t see elsewhere and often it’s the first, the first in a very long time, or somehow the only time you’ll be able to see these films, particularly on the big screen, we want to make sure as many people can see them as possible. Underpinning all that is the fact that we’re also professional subtitlers, with over a decade experience in subtitling for D/deaf audiences, so this year we put two and two together and started a subtitling arm to Matchbox. Since we started, alongside our own programming, we’ve produced subtitle files for festivals (GSFF, GFF, Take One Action, Document), film industry events (Film Hub Scotland’s EIFF Industry Days and This Way Up), new films (Super November, Her Century, Women Make Film) and creators (Ctrl Shift Face’s ongoing series of deepfake clips).

Frans Gender performing to Kenny Loggins’ Footloose. (Photo by Ingrid Mur)

Sing-along SAW with Pity Party Film Club | In 2018, we launched the Scalarama Scotland programme with Polyester in Odorama, a scratch ‘n’ sniff event that also featured live drag performers and a very special ring girl in Puke, who, in lieu of on-screen prompts, let everyone know when to rub ‘n’ snort the special Odorama cards. We wanted to top it this year, so we teamed up with our pals Pity Party Film Club to come up with Sing-along SAW – a screening of the classic modern horror, interpolated with live drag acts inspired by key scenes. Highlights included Billy circling the audience on a People Make Glasgow bike and Frans Gender’s out-on-a-limb rendition of Kenny Loggins’ Footloose.

Director Tom Schiller introduces Nothing Lasts Forever, complete with player piano and lunartini.

Nothing Lasts Forever on 35mm | Tom Schiller’s Nothing Lasts Forever has been on our list since we started showing films. Never released on VHS, DVD, VOD or streaming, since its scarce first screenings, it’s only been seen via TV broadcast once in a blue moon (not in the UK since Alex Cox introduced it on Moviedrome in 1994). When we realised Park Circus could authorise a 35mm screening, we knew we had to make it happen, and it was the perfect opening film for Weird Weekend. And though it was challenging (the only way to see the theatrical cut, and therefore prepare, is with the 35mm print), we even figured out how to screen it with subtitles.

Matchbox Maw Linda Dougherty and programmer Sean Welsh (Photo by Ingrid Mur)

Weird Weekend | One of our proudest moments this year, our second annual cult film festival was the first festival we’ve done with the sliding scale ticketing scheme, the first fully subtitled and we also had a 50/50 F-rated programme, meaning half the films were directed by women. Besides all of that, Weird Weekend represents our core programming: outcasts, orphans and outliers – the oddball and often lost classics that deserve to be better seen. Programming, producing, promoting and delivering it this year was thrilling and challenging and exhausting and rewarding. Highlights for us were hosting deepfake auteur Ctrl Shift Face (who came to take part in our Weird World of Deepfakes panel, debuted a brand-new clip and provided his back catalogue for a feature-length retrospective); screening Věra Chytilová’s rarely-seen Vlci Bouda; bringing the mighty Vibrations to a Glasgow audience; and, of course, hosting a Skype Q&A with the one and only Joe Dante, who also allowed us to screen the workprint of The ‘Burbs, complete with alternative ending, extended and missing scenes and even more Morricone needle drops. Subtitling/captioning most of the programme from scratch was another proud moment, if exhausting, and we can’t wait to do it all bigger and better again in 2020.

Scalarama 2019 | This year, we took a new approach to coordinating the monthly Scalarama meetings leading up to the full DIY season in September. We wanted to make the meetings more practically useful for people looking to start screening films, as well as for people with a little more experience. Every month from March, we invited two guest speakers to present on different aspects of putting on films, and then make an opportunity for attendees to ask questions and share their own perspectives. When our programme was launched in August, we had our busiest ever programme in Glasgow, as well as more and more activity in Edinburgh, the Highlands and Islands and all across Scotland.

Kaleidoscopic Realms | Megan: This was probably my favourite screening of the year, if I’m allowed to say that? Our programme was a mix of Toshio Matsumoto and Nobuhiro Aihara shorts sourced from the Post War Japan Moving Image Archive and two shorts by Naoto Yamakawa, supplied us to by the director. This was a mini-time capsule of experimental shorts of the ’70s & ’80s, and just the beginning of our experimental Japanese programming, which you’ll see more of in 2020.

Lydia Honeybone talks to Freddy McConnell after Seahorse (Photo by Ingrid Mur)

Seahorse with Freddy McConnell | Our first co-screening with Queer Classics brought Jeanie Finlay’s then brand-new documentary Seahorse to Glasgow. Seahorse intimately explores Freddy McConnell’s pregnancy journey as a trans man. Freddy even came along to chat with the audience about his experiences, and got confused when asked about his ‘wean’!

Gregg Araki introduces our screening, from an LA burger joint

Gregg Araki’s Teen Apocalypse Trilogy with Diet Soda Cineclub | For the first time ever, we didn’t attend our own event, a co-screening triple bill of Totally Fucked Up, The Doom Generation and Nowhere. We had been invited to curate a panel on #SubtitledCinema at one of Independent Cinema Office’s regular Screening Days events, so while we prepared well (including producing all-new subtitles for all three films), we had to be at Nottingham’s Broadway Cinema when the event started in Glasgow. We left delivery of the event in the very capable hands of our co-programmer, Sarah Nisbet of Diet Soda Cineclub. Gregg Araki’s specially recorded introduction (filmed during a burger joint reunion with the cast of Kaboom) arrived practically at the last second, but it was worth the wait.

Best of Final Girls Berlin | Ain’t no horror like women-made horror, and Final Girls Berlin have the best of it. We brought the frights, anxiety and terror of FGBFF right to Glasgow with a showcase of the best short horror films from their festival, made by women from around the world. And if you liked this team-up, keep an eye out for their festival programme announcement in January 2020 😉

Sgàire Wood’s introduction to City of Lost Souls (Photo by Ingrid Mur)

City of Lost Souls with Sgàire Wood | As part of BFI Musicals season, we brought a bit more of Berlin to Glasgow via ’80s trans punk musical City of Lost Souls. As if this film didn’t have it all already we also comissioned Sgàire Wood to produce a new performance to introduce the screening. We love this film, which challenges expected representation of queer communites, and is just a great odd-ball film all round.

Dial Code: Santa Claus & Secret Santa Party with Backseat Bingo | Our 43rd film of 2019, and our last, is another team up with Backseat Bingo. We wanted to celebrate Christmas with our audiences and our film exhibiton pals so what better than an ’80s action horror featuring a 9-year-old with a mullet and a super creepy Santa? Plus Secret Santa in aid of Refuweegee, and an additional surprise festive screening to finish!

Keep up to date with our 2020 events by signing up to our mailing list, here, or find our events on Facebook here.

Cage-a-rama 2020 takes place 3rd, 4th and 4th January 2020 at the Centre for Contemporary Arts, Glasgow. Buy tickets here.

Never Vine Again #RIPVine

At its best, it captured the hilarity and horror of human existence in six second intervals. With Auld Lang Vine, we mourned the passing of a short-form video hosting service.

gy8a4904_2853 — *Our Auld Lang Vine #RIPVine audience*

On Sunday 27th January, 2018, we gathered 150 mourners in the Centre for Contemporary Arts, Glasgow, to remember and celebrate Vine, “a short-form video hosting service where users could share six-second-long looping video clips.” As the audience filed in, every seat in CCA’s theatre was laid out with an order of service, and the screen displayed the classic DVD player screensaver. After local band Joyce Delaney, all decked out in Victorian mouring attire, struck up Chopin’s funeral march, Matchbox Cineclub offered a brief eulogy.

At its best, we suggested, Vine captured the hilarity and horror of human existence in six seconds. Its main tools were angry animals, children in jeopardy and basic human stupidity. Its primary modes were lip syncing, shade and screaming. After Vine, of course, you can still loop weird videos and share them. But Vine celebrated being weird, being creative and being funny. Most of all, it celebrated brevity, so perhaps it’s fitting that, in the end, its life was cut so short.

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After a six-second silence in honour of the passing of this legend, we introduced the first of two 45-minute compilations of the best Vines, originally curated by Pilot Light TV Festival, debuted in Manchester and also showcased at the BFI Southbank. The Glasgow audience spontaneously recited their favourite Vines, before holding their phone torches aloft for Puke’s interval rendition of Lady Gaga’s I’ll Never [Vine] Again.

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Then, after a second 45-minute compilation passed in the blink of an eye, Joyce Delaney once more took the stage for a short but typically wonderful set, unfortunately curtailed by a broken guitar string (please do check them out at the earliest available opportunity).

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Matchbox Cineclub would like to say a solemn thank you to Greg Walker and Pilot Light TV Festival, Live Cinema UK, BFI, Film Hub Midlands, CCA, Joyce Delaney, Puke, the ever estimable John Pooley and our stalwart volunteers (who couldn’t make it). Most of all, we’d like to say thank you to the audience and all the Vine fans who made the event so very special. 🙏

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ONE LAST THING! We’d like to note tickets for this event were sold on a sliding scale, which we would recommend to anyone with a similar screening or event. We believe in full accessibility in principle and always try to keep tickets as low as possible (or free, when we can) but the support of BFI emboldened us to try the sliding scale for the first time. Normally we’d fret about that since, as an independent exhibitor with no institutional support (barring CCA’s in-kind venue support), we have to cover costs. Making a profit, however small, allows us to keep programming films and producing events, while losing money clearly jeopardises that. However, this event proved a sliding scale approach can also be economically viable, even without support, since the uptake on £6 and £8 tickets covered any potential loss from the cheaper tickets. It won’t always be possible for us to employ a sliding scale for ticket sales, but whenever we can, we will. If you have any questions about it, please get in touch: info@matchboxcineclub.com.

Sliding-Scale

Cage, Cake and the Orgy

Matchbox Cineclub’s 2018 in pictures

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!

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Or get in touch directly: info@matchboxcineclub.com

Auld Lang Vine | #RIPVine

Matchbox Cineclub present a funeral tribute to Vine, the dearly departed platform for 6-second comedy genius

Dearly beloved, join us to mourn the passing of the 6-second wonder that was Vine. Expect a funeral-turned-party featuring over 500 of the greatest Vines and a very special eulogy. Full guest line-up to be announced soon (follow our Facebook event page here for announcements and up-to-date details)

Auld Lang Vine is a tribute to the 6-second icons that have given so much joy to millions the world over. The event centres around two big-screen compilations of the all-time greatest Vine loops, curated by our friends at Pilot Light TV Festival.

Join us as we celebrate the life of one of the biggest comedy phenomenons of recent times and move along to the final stage of grief: acceptance.

Vine-poster_bleed_web

Tickets, on sale in our shop here, are priced on a sliding scale, based on your circumstances. These are in three tiers: Free/£2, £4/£6 and £8. Read our PDF guide on what to pay here (with thanks to Scottish Queer International Film Festival), or in text here:

Sliding Scale: What Should I Pay?

FREE or £2
• I frequently stress about meeting basic* needs and don’t always achieve them.
• I have debt and it sometimes prohibits me from meeting my basic needs.
• I rent lower-end properties or have unstable housing.
• I sometimes can’t afford public or private transport. If I own a car/have access to a car, I am not always able to afford petrol.
• I am unemployed or underemployed.
• I qualify for government and/or voluntary assistance including: food banks and benefits.
• I have no access to savings.
• I have no or very limited expendable** income.
• I rarely buy new items because I am unable to afford them.
• I cannot afford a holiday or have the ability to take time off without financial burden.

£4 or £6
• I may stress about meeting my basic needs but still regularly achieve them.
• I may have some debt but it does not prohibit attainment of basic needs.
• I can afford public transport and often private transport. If I have a car/access to a car I can afford petrol.
• I am employed.
• I have access to health care.
• I might have access to financial savings.
• I have some expendable income.
• I am able to buy some new items and I buy others second hand.
• I can take a holiday annually or every few years without financial burden.

£8
• I am comfortably able to meet all of my basic needs.
• I may have some debt but it does not prohibit attainment of basic needs.
• I own my home or property or I rent a higher end property.
• I can afford public and private transport. If I have a car/access to a car I can afford petrol. • I have regular access to healthcare.
• I have access to financial savings.
• I have an expendable** income.
• I can always buy new items.
• I can afford an annual holiday or take time off.

*BASIC NEEDS include food, housing, clothing and transportation.

**EXPENDABLE INCOME might mean you are able to buy coffee or tea at a shop, go to the cinema or a concert, buy new clothes, books and similar items each month, etc.

Tickets are on sale from our online shop here.

Keep up-to-date with our Facebook event page here.

This programme is part of Comedy Genius – a nationwide celebration of comedy on screen, led by BFI, the Independent Cinema Office and BFI Film Audience network, supported by funds from The National Lottery. For more screenings go to bficomedy.co.uk.