Fan Fan Fanatisch: Obsession in Der Fan

Guest writer Claire Biddles (Sad Girl Cinema) writes on female desire and fandom in German horror Der Fan ahead of our co-screening on July 21st. Beware spoilers!

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Désirée Nosbusch in Der Fan

“No letter today. I wrote to R. over three weeks ago, and still no answer. Maybe he never got my letter. Maybe some jealous secretary got her hands on it and decided not to give it to him. Because she could tell I love him more than she does. Really love him.”

Although written and directed by a man – prolific German filmmaker Eckhart Schmidt – 1982 cult horror Der Fan is one of the most convincing depictions of female fandom, obsession and desire in cinema. Its descent into cartoon excess represents the heightened fantasy end point of pop star adulation, but it is grounded in uncomfortable truths.

Der Fan follows German teenager Simone, who is disengaged and almost catatonic as she sleepwalks through the drudgery of her home and school life. She barely speaks, but through her narration we discover the reason for her vegetative state: her every waking moment is devoted to intense thoughts of R, a new-wave pop star who she adores above anything else. Her bedroom walls are covered in monochrome images of him, and she listens to his songs via an omnipresent cassette Walkman that separates her from the real world. She no longer pays attention to schoolwork: “What’s the use? I can’t think of anything except R and how much I need him.”

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Désirée Nosbusch in Der Fan

The signifiers of fandom are familiar, but the execution is unusual. Rather than a depiction of the (often communal) hysterical excitement of fangirls, Der Fan traces its solitary, destructive flipside. It’s telling that the film’s alternative English title is Trance: Simone’s desire is so all-encompassing that other people fail to register — her teachers, parents, more appropriate romantic suitors. Her unreciprocated obsession is so all-encompassing that it becomes destructive; cancelling out its mundane surroundings.

Simone’s desire has left her with a one-track mind in the centre of a void, wandering the streets in a fugue state. The film’s atmosphere is a dull ache: rain and suburban streets and municipal buildings. R’s music is the kind typically made by inhabitants of these post-industrial landscapes – the soundtrack by Düsseldorf group Rheingold recalls the driving empty urbanity of Joy Division or Bauhaus.

Simone has written R a letter to which he hasn’t responded. Every day she drags her feet to the post office in anticipation of his reply; a voiceover counting the days like a prison sentence. When she tires of waiting, she tracks him down outside a TV studio, and they finally meet. Simone is speechless — she collapses and he rescues her, taking her inside the studio to watch his performance being filmed.

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Désirée Nosbusch and Bodo Steiger in Der Fan

The link between the devotion of pop fandom and the manipulative power of political dictatorship is often made in films about charismatic pop stars – most recently in Brady Corbet’s twin films Childhood of a Leader and Vox Lux. The allusion is sometimes clunky: in Der Fan, images of mass-saluting crowds are interspersed with images of R in Simone’s bedroom; in the television performance that Simone watches, R wears a militaristic uniform surrounded by saluting mannequins. The sinister creep of R’s power is more subtly expressed in the similarity between R and Simone when they finally meet, both wearing almost identical outfits of white shirts and dark leather trousers. This could be read as a symbol of R’s control over Simone (and others – his secretary is also seen in a similar outfit) but also of Simone’s desire to possess him so much that she literally starts to become him: an under-reported but fundamental manifestation of fandom.

This desire is made explicit (and then some) in the film’s audacious final act. After their meeting at the television studio, R takes Simone to his friend’s empty apartment where they have sex. After this ultimate act of wish-fulfilment, R disappoints Simone with his aloofness – his desire for a simple one night stand not matching up to her overwhelming need for him. The film’s final twist sees her react with extreme and perverted violence.

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While committing this strange violence, Simone is single-minded and determined, her demeanour as trance-like as when she was yearning for R at the start of the film. She’s detached and withdrawn, an empty vessel. If obsession destroys everything around the object of desire, it’s no surprise that it will eventually start to erode the self, too. So much of Simone’s sense of self is constructed around her desire for R, and her desire for R is constructed around a fiction of her own creation. Like so many relationships between fan and fan-object, Simone projects her ownbase needs onto the empty vessel of a pop star. He can be anything she needs him to be. Even his single-letter name is ripe for projection – a hyper-concentrated version of the iconic mononymous pop star. Nobody knows what the ‘R’ stands for, so it could stand for anything. His post-punk voice is monotonous and anonymous, but Simone fills it with subjective meaning: “He always sings with that same voice, but to me it sounds different every time.” This projection is disrupted once Simone meets the ‘real’ R. When the fan-object disintegrates into nothing, the fan’s whole sense of self is in flux.

Although it presents an extreme manifestation of fandom and obsession, Der Fan’s depiction of desire as a nihilistic force is rooted in truth. It can also be argued as a subtly feminist film: its moral could be that female desire is deadly and destructive, something for men to be afraid of — but also that desire for men is destructive for women too. So many narratives around fandom are rooted in pop stars’ potential to ‘save’ their fans, but Der Fan suggests they can just as easily destroy them — or help them to destroy themselves.

Claire Biddles


Der Fan screens on Sunday 22/06 at Centre for Contemporary Arts, Glasgow, followed by a panel discussion on obsession, fandom and thirst, moderated by Claire Biddles.

Tickets are on sale via Matchbox Cineclub’s online shop here, and are priced on a sliding scale, according to your means.

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

Co-screening Open Call

Want to be a film programmer? Want to work with us? If you have a great idea for a screening, we’re looking for you…

Matchbox Cineclub are looking for collaborators for an upcoming screening or film event! We want to help encourage more pop-up/independent screenings in Glasgow and Film Hub Scotland have supported us to organise co-screenings this year. We have a small budget that will go towards film licences, venue considerations and marketing.

So far this year, we’ve teamed up with Venom Mob Film Club (Shogun Assassin), Backseat Bingo (Under The Cherry Moon) and Sad Girl Cinema (watch this space!). We’re now opening the doors to any and all pitches for a one-off event.

Anyone is welcome to pitch. However, we will prioritise the following*:

  • Start-up film clubs/series (or otherwise dormant ones)
  • Young programmers (18-25)
  • Programmers/groups from BAME backgrounds
  • Films and/or events that fit our general focus on cult film, not-on-DVD/Blu-Ray/VoD/Streaming/General Release and/or recently screened locally (and yet dead good)
  • Films and/or events with a compelling extra element

What’s in it for you? Apart from covering costs, you’ll get the benefit of Matchbox’s reach/platform/design etc to hopefully launch your own screening series, as well as any advice, expertise and connections we can pass on.

If you have an idea, we’re looking for a short paragraph of no more than 100 words explaining your pitch, with reference to film title(s), guests or other elements, and why your screening is worthwhile. NB “X is an awesome film” probably won’t get too far.

All pitches to info@matchboxcineclub.com, with the subject line “Pitch”. Any queries likewise.

PLEASE NOTE: 

  • Closing date for entries is Friday 14th June.
  • The screening will likely but not necessarily take place in September, as part of the Scalarama programme. Date and venue TBC/up for discussion.
  • Any ticket sales will be managed through our online shop. Proceeds from the screenings will be split equally between Matchbox Cineclub and the successful pitchers.
  • Please don’t pitch us on film festivals à la KeanuCon, Cage-a-rama or Weird Weekend, or any related screenings.
  • We’re not responsible in the unlikely event that you randomly pitch us on a screening or an event that we already have lined up but haven’t yet announced. We’d never, ever steal an idea, but coincidences do happen.
  • For the avoidance of doubt, we already have a very long list of films and events we’d like to programme.
  • If you have an idea that’s just too good to share, please feel free to get in touch separately for advice on how to set up your own screening.
  • We will do our best to respond and give feedback (if requested) on all pitches, but we can’t guarantee it.
  • If you’re an established organisation looking to work with us, best just email us separately – we’re always open to collaboration.

*Because we want to, not because it’s a condition of the funding. NB complaining about this is a useful way to disqualify yourself and your pitch 🙂

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A Basic Guide to Licences for Film Screenings

Ever wanted to screen a film? Our straightforward guide will tell you what licences you need to screen films in Scotland, how to get them and how to get started

When we started screening films we knew there was stuff we didn’t know, or assumed was probably wrong – whether through wilful ignorance or plausible deniability, we definitely didn’t do things correctly straight out the gate. This is true of a lot of film events, and usually in good faith. Briefly, we figured out what we needed to know and that one problem is that there aren’t necessarily straightforward/simple answers to some basic questions. Licensing for film screenings can be like traversing shifting sands from one event to the next.

However, there are basics and we learnt them and this, here, is the skeleton of a presentation we gave in March 2019 as part of Scalarama Glasgow’s Programming and Licensing event at Glasgow Short Film Festival. You can download it as a two-page PDF here.

Why confirm licences?

  • Legally, you have to (¯\_(ツ)_/¯)
  • Threat of fines (and your venue can be classed as a “contributory infringer”)
  • The greater good (exhibitors, film makers, distributors and everyone in between depend on each other to sustain the film industry)
  • Access to funding and other support to help keep doing what you’re doing

These are the licences venues need to screen films anywhere in Scotland:

  • Cinema Licence (from your local council)
  • Entertainment Licence (from your local council)
  • Performing Rights Licence (PRS) (from PPL/PRS)

Depending whether or not you want to plan your screening (e.g. if you want to advertise your screening anywhere outside your venue or online), you will also need one of two kinds of licence:

  • Single Title Screening Licence (STSL, for planned screenings, free or not)
  • Public Video Screening Licence (PVSL, an umbrella licence for unplanned and/or “ambient”, free screenings and/or members-only orgs)
  • NB Filmbank’s Licence Wizard is a handy way to figure out which you need

You can confirm most licences from ‘gateway’ distribution companies who manage large libraries on behalf of major studios, for example:

 Or sometimes licences are held by individual distributors, for example:

Some tips for finding elusive licence holders:

Useful + more detailed guides: 


F.A.Q.

Q: How much is a film licence?

A: Depending on the context and source, it can be anywhere from £60 + VAT to several hundred pounds. Some distributors demand a percentage (often 35%) of final box take versus a minimum guarantee (MG), meaning you pay whatever is more.

Q: Can I haggle/negotiate?

A: You can try. Haggling is more commonplace in Europe and North America than in the UK. And some distributors, e.g. Filmbank, operate an online portal that doesn’t allow for it.

Q: Who will know if I don’t get a licence?

A: Distributors, especially the bigger ones, do keep an eye on screening activity and if they’re made aware of unlicenced screenings of their films, they will investigate. Most commonly, they’ll simply chase you to book it in. Other local exhibitors, including cinemas, will likely notice screenings that seem to be unlicenced too => side-eye and/or bad blood.

Q: Do I need a licence if my screening is free or for charity?

A: Yes. Although on rare occasions you may be granted a licence for free, you still have to confirm permission to screen with the licence holder.

Q: Do I need a licence if the director/star is coming?

A: Most likely. Unless the director is also the licence holder and/or the film doesn’t have distribution, they probably won’t manage the screening rights for their own film.

Q: If I own the DVD, can I screen it?

A: Not without a licence. However, the licence fee most likely will not cover screening materials (i.e. DVD, Blu Ray), which you usually must provide yourself.

Q: If someone released the DVD/Blu Ray, can they grant a screening licence?

A: Sometimes, but not always. The rights to distribute a film for home entertainment and the rights to distribute a film theatrically or non-theatrically are not essentially the same.

Q: What do I do if I’ve exhausted every avenue and explored all possibilities of finding a licence holder?

A: In the very unlikely chance you have (see Sophie Brown’s Point Break saga), there is the option to self-indemnify, meaning you make a record of your attempts to source the licence, reserve the box office take and prepare for the licence holder to eventually come forward. No-one recommends you do this.

Q: Which films are in the public domain?

A: There isn’t a definitive answer or resource for this. Websites that claim to be definitive are not and in any case are often based in the US, which is a different distribution territory that also has different copyright laws. On top of this, the legal status of films often changes over time. All you can do is research.


Scalarama Glasgow is running monthly meetings in the lead-up to September’s season of DIY film programming. They’re aimed at helping exhibitors brand-new and experienced alike to put on films, and each month has two invited experts on different aspects of film exhibition. They’re free and open to all, full details here.

If you have any more questions or could use some advice, get in touch with us here: info@matchboxcineclub.com

 

 

Destination Wedding UK Premiere

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Keanu Reeves and Winona Ryder in Destination Wedding

We’re excited to announce that we’re closing KeanuCon 2019 with the UK premiere of Destination WeddingKeanu Reeves stars alongside Winona Ryder in Victor Levin’s romantic comedy. KeanuCon, Europe’s first Keanu Reeves film festival, takes place at CCA, Glasgow, on Saturday 27th and Sunday 28th April, 2019.

Frank and Lindsay have a lot in common: they both hate the bride, the groom, the wedding, themselves, and most especially each other. For 72 hours, they are trespassers in paradise.  But the weekend’s relentless events continually force them together, and if you fight with someone long enough, anything can happen. When the instinct to love proves very difficult to kill, they must decide which is stronger: their hearts or their common sense.

Destination Wedding is Keanu and Winona’s fourth onscreen coupling since filming 1992’s Bram Stoker’s Dracula – during which Ryder insists the two were married for real (director Francis Ford Coppola confirms the wedding scene he filmed could be legally binding).

Of his character, Keanu says, “I liked his wit and his suffering. You root for Frank. I root for Frank. He’s trying to overcome his past when he meets Lindsay and finds himself attracted to her.” But, on the other hand, “Love is good for other people, but he knows it will just end in disaster for him. So, why bother? Save yourself the pain.”

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Keanu Reeves and Winona Ryder in Destination Wedding

Producer Lyon says, “Keanu has a natural sense of timing and delivery. He is a hilariously funny person with a dry sense of humour and just a pleasure to work with. I think it was fun for him to demonstrate a side that hasn’t been seen before and allows him to show a piece of who he is as a person.”

However, while we’re happy that KeanuCon will end well, we’re not sure Destination Wedding will, especially if we take into account this poster capitalising on Keanu’s recent John Wick success, which purports to be for the Thai release of the film…

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Matchbox Cineclub’s KeanuCon features ten and a half films over two days, including My Own Private Idaho, Speed, The Matrix, Constantine, Keanu’s directorial debut, Man of Tai Chi, and John Wick. There will be a rare screening of Keanu’s first lead role in a Hollywood feature, Permanent Record, accompanied by an even rarer outing for his film debut in the National Film Board of Canada short, One Step Away.

Day two closes with a double bill of Bill & Ted’s Excellent Adventure and Bill & Ted’s Bogus Journey, followed by a live performance from Wyld Stallyns, before KeanuCon 2019 closes with the UK premiere of Destination Wedding.


Weekend Passes for KeanuCon are sold out; very limited single tickets are on sale via our online shop.

Death of the Mod Dream

The £250, semi-psychedelic musical made in Amsterdam, London and Knockentiber

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In 2012, I had been asked to contribute a chapter to the book World Film Locations: Glasgow on underground filmmaking in the city, of which whatever there was was not particularly well documented. Luckily, Billy Samson, who died last week, had just co-directed, with Gavin Mitchell, Death Of The Mod Dream. In the book, I likened their film to “a Scottish no-wave film directed by Roy Andersson,” but really there’s not much like it.

Purportedly based on a 1980 novella – Death Of The Mod Dream, by Edna Barnstaple – Billy and Gavin’s film concerns “a young man out of time who considers himself to be the last Mod on Earth. He lives in the City Of Scotland, a depressed, paranoid, curfew-controlled community with his mother and sister, who all fail to understand each other.” The synopsis continues:

“One day, this humdrum existence is disrupted when he uncovers what he has been led to believe is a mysterious ‘Mod time capsule’ buried on the beach. He takes it home, hoping for at best a wallow through a glorious mythical past he never knew. Little does he know the contents of the capsule are not what they seem and his reality is about to be turned upside down…”

Anyone will tell you making a feature-length film is a very particular achievement, requiring equal measures of talent, inspiration and determination. To make an episodic, blackly comic, semi-psychedelic musical in Scotland, for £250, also takes admirable perversity. Death Of The Mod Dream, like Billy, is a little extraordinary.

The questions I asked Billy in 2012, via Facebook message, were mostly for background research. This interview is published here for the first time, unedited. RIP Billy x


How much and what was shot in Glasgow/where?

All of the indoor scenes at the mod’s house were shot between 2 friends’ flats in Glasgow. The indoor parts of the dream/horror sequences were shot in Glasgow or Knockentiber, depending on where the actor lived, with black bin-liners/green screens taped to the ceiling to give it continuity. The beginning and climactic scenes at the beach were filmed between Irvine beach and an embankment in Crosshouse (for the scooter plummet). The cop sequences were done in a pub in Kilmarnock that was halfway through being redecorated. Extra bits were filmed by ourselves and others in Edinburgh, London and Amsterdam. All the special effects/animation sequences were done at home.

How did you go about picking the locations and did you have any problem getting permission to film/did you even have to ask?

Just had to ask to use people’s houses, which was handiest for all concerned so they all agreed to it. The beach stuff we just turned up and filmed. Only minor problem was concealing the camera so passers-by didn’t keep jumping in front of it.

Can you give me some technical details – budget, casting, equipment used, how long the production took?

Budget worked out at around £250 (probably), which mostly went towards transport costs and endless AA batteries swallowed up by the camera. All actors and contributors gave their services for free, on the condition they’d get something out if it in the event it went global 😉. The bulk of the film was shot on a 1st generation Flip camera a friend ‘borrowed’ from her work. When that had to be discreetly returned, the last few bits were filmed on actors’ own cameras. Casting was straightforward- Adam Smith was such an obvious choice to play the main character we barely had to think about it! Most roles were like that, didn’t have the time or budget to train up ‘proper’ actors (and didn’t it want to seem ‘stagey’) so just used friends for their obvious attributes that would suit the role. Although we did chop and change between cast and crew- some actors were originally to be soundtrackers/effects people and vice versa. Filming started early June and the final edit was around early October. The editing + effects (and waiting for other parties’ contributions) took substantially longer than the live-action filming.

Did you have any support or advice from institutions/individuals or funding at all?

We never approached anyone for funding, mostly through not knowing how to go about it, but also because we thought it probably wouldn’t be necessary (and a worry it may involve compromises to get access to that funding) considering it would always be low-budget (we had no intention of casting any megastars, or real actors come to that). Various people advised us on certain effects, for example my dad suggested filming a glass of Resolve in close-up for the underwater sequences. Ended up using it for blood cells and cloudy wispiness in the horror + dream sequences (by utilising different filters) too.

What was the inspiration to make the film and do you see it as part of any kind of continuum in Scottish/contemporary filmmaking?

It arose from a drunken night with Gav, the co-creator. We imagined a film billed as the ultimate mod sci-fi experience, but with loads of Phil Daniels/Leslie Ash types storming out the cinema when they discovered all it involved was 3 boring hours of a guy playing My Generation at every speed on his record player then jumping off his bed. But other ideas arose, and gradually we realised the story had a deeper resonance which we could flesh out. Once we took it seriously, it rapidly began writing itself. While of course, remaining faithful to Edna Barnstaple’s original novel 😉. I’m not sure where it fits in, historically. I liked the idea of an ambiguous story which the viewer could interpret as merely having been a figment of the central character’s warped imagination, like Once Upon A Time In America or JG Ballards’ Unlimited Dream Company (the Keith Moon/Rolls Royce/fish tank sequence was subconsciously inspired by the cover of my edition of that book). Plus of course it’s a musical where no-one literally bursts into song, like Dirty Dancing!

Have you heard about any similar projects taking place? I.e. other independent or DIY features getting made?

Heard about quite a few short films, which friends and friends-of-friends have been involved in. I read something about a feature length film in Scotland recently, looking to attract some big names, but I can’t remember much about it.

What’s the plan for releasing and distributing it?

I honestly don’t have much of a clue! There’ll be a premiere at the Old Hairdressers on 3rd Feb, and it’ll probably be made available online at some point. Still to work out how one goes about having it on iTunes and suchlike. Promotion will probably be just the usual haphazard spammy way I plug any records I’ve been involved with!

Will you do another and what if any are your plans?

No plans as such, I never consciously set out to be a director of feature-length films, this one just kind of ‘demanded’ to be made. Particularly once we recruited Adam in the lead role, he insisted we should start ASAP and it rapidly grew legs from there, interrupting a Paraffins promo video I’d half-filmed and have still to resume! But who knows, I’ve had plenty other addled conversations with friends about imaginary films, so there’s every chance another one might demand to be made 🙂.

Sean Welsh


Buy or rent Death Of The Mod Dream on Amazon here (or watch it on YouTube below)

Brothers In Arms Scotland offer support to men in Scotland, of any age, who are down or in crisis and empower them to ask for help when they need it, without feeling a failure if they do.

KeanuCon film programme announced!

Matchbox Cineclub follow up the sold out Cage-a-rama 2 with KeanuCon…the world’s first Keanu Reeves film festival?

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KeanuCon illustration by Vero Navarro

On Saturday 27th and Sunday 28th April, we’re bringing 9.5 Keanu Reeves classics to Centre for Contemporary Arts, Glasgow for the inaugural KeanuCon. Our broad theme is following Keanu’s career from babe to baba yaga, and we have an eclectic programme that takes us from his earliest Canadian roles to his latest world-smashing franchise.

Along the way, we have cult classic My Own Private Idaho, the “criminally underappreciated” Permanent Record and an extremely rare screening of Keanu’s first film role, the National Film Board of Canada short One Step Away. We have his action classics Speed, The Matrix, John Wick and his directorial debut, Man of Tai Chi. We have Constantine, where Keanu is weirdly suited to playing a Liverpudlian occult detective originally modeled on Sting. And – best till last? – a most non-heinous double of Bill & Ted’s Excellent Adventure and Bill & Ted’s Bogus Journey, followed by a very special Keanu-themed closing party.

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Guests and other bonus content will be announced at a later date, but suffice to say we’re working very hard to make this inaugural KeanuCon as stellar as humanly possible. We have weekend passes, day passes and a Bill & Ted double bill ticket, as well as limited single tickets – all on sale via our online shop, here.

The film schedule is as follows:

Saturday 27th April

Permanent Record (screening with One Step Away)
My Own Private Idaho
Speed
The Matrix
John Wick

Sunday 28th April

Man of Tai Chi
Constantine
Bill & Ted’s Excellent Adventure
Bill & Ted’s Bogus Journey

Keep up to date with our Facebook event page here, or join our mailing list here.

 

Cage, Cake and the Orgy

Matchbox Cineclub’s 2018 in pictures

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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…

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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.

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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!

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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).

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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!

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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.

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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.

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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.

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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!

Sad CCA

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.

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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.

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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 Movie Orgy

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.

Kate Dickie Q&A2

#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.

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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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