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CONTENTS Page 3 4-7

Editoral At Eternity’s Gate A look at the life of painter Vincent van Gogh during the time he lived in Arles and Auvers-sur-Oise, France.


The Aftermath Post World War II, a British colonel and his wife are assigned to live in Hamburg during the post-war reconstruction, but tensions arise with the German who previously owned the house.


Everybody Knows Laura, a Spanish woman living in Buenos Aires, returns to her hometown outside Madrid with her two children to attend her sister's wedding. However, the trip is upset by unexpected events that bring secrets into the open.


Arthouse Ambiance A close look at 8 of the Curzon Cinemas


BAFTA AWARDS The 2019 Bafta Awards results plus previous Best Film winners


ACADEMY AWARDS The 2019 Acadamy Awards results plus previous Best Film winners


Extras: DVDS of the Month A Star is Born


Extras: DVDS of the Month First Man


Poster. At Eternity’s Gate

PHOTO CREDITS: Curzon Artificial Eye: Fox Searchlight: Universal Pictures: Curzon Cinemas:

1,4,5,6,7,32 8,9,10,11 12,13,14,15 16,17,18,19,20,21,22,23

ACKNOWLEDGEMENTS: We like to thank the following: Jake Garriock @ Curzon Artificial Eye & Curzon Cinemas. Jill Reading @ BFI



EDITORIAL At BAFTA Awards this year, they gave an award for Outstanding British Contribution to Cinema, which was given to Curzon Cinemas. In this, our st 71 issue of Movies by Mills, we honour the award given to Curzon by highlighting some of its arthouse cinemas from its first, the Curzon Mayfair to its latest, the Curzon Kingston, which is scheduled to open in the autumn of this year. Regular readers of MbM will know that we advocate seeing films first and foremost in a cinema on the big screen and choosing one of the Curzon Cinemas would enhance that experience. Our cover feature review this month is the latest film on artist Vincent van Gogh “At Eternity’s Gate”. There are reviews too of “The Aftermath”, and “Everybody Knows”. We list all the winners of the Best Film at BAFTA and the Academy Awards, since their inauguration. For collectors and cinephiles there are 2 DVDs of the Month – “A Star is Born” and “First Man”.

Enjoy the read

Brian Mills

Paul Ridler

Magazine Editor

Magazine Designer



AT ETERNITY’S GATE Directed by Julian Schnabel Starring: Willem Dafoe, Rupert Friend, Oscar Isaac, Mads Mikkelsen, Mathieu Amalric. I’m a born painter - Vincent How do you know? - The Priest Because I can’t do anything else. Believe me, I’ve tried - Vincent The cinematic obsession with the artist Vincent van Gogh exceeds all expectations. This is the 14th version, the first being in 1948 with Alain Resnais’s “Van Gogh.” Eight years later Vincente Minnelli and George Cukor directed “Lust for Life” probably the most remembered of all the films on Van Gogh, its starred Kirk Douglas in the leading role, and Anthony Quinn as Paul Gauguin which gained him an Academy Award for Best Supporting actor. “Lust for Life” concentrated on the artist’s loneliness and his struggling attempt at friendship with fellow painter Gauguin. It was an admirable bio-pic. In 1990 the Japanese auteur Akira Kurosawa made “Yume” (“Akira Kurosawa’s Dreams). It was an omnibus film of the dreams of Kurosawa. In one of vignettes he enters the paintings of Van Gogh and meets the artist played by Martin Scorsese. 2017 saw the release of a 60 minutes documentary detailing the journey it took two passionate filmmakers to achieve their impossible dreams, creating the world’s first fully painted feature film: “Loving Vincent”. It won the Golden Globe for Best Motion Picture Animated and the BAFTA Best Animated Film. The life and controversial death of Vincent van Gogh as told by his paintings and by the characters that inhabit them. Beginning a year after his demise, the portrait of the artist is built via a series of interviews conducted by Armand Roulin (Douglas Booth), a regular model for the artist’s portraits- who becomes obsessed with Van Gogh’s death, caused by a bullet wound to the stomach. Was it an accident? Was it suicide?



“Loving Vincent” sets out to explore one of art’s great mysteries, a unique film created using over 65,000 hand painted frames and features music from the award-winning composer Clint Mansell (“The Fountain”, “Black Swan”). Winner of Best Animated Feature at the 2017 European Awards. And what was Willem Dafoe’s take on playing the role of Vincent van Gogh and what leeway did he have on improvising? The script was actually precise and it’s a combination of things taken from his letters and also invented things. Some things are based on historical fact, but the script was quite clear. There are huge sequences where we just go out to Nature and paint. There was terrific trust and love and a lot of care and I felt sometimes Julian was so generous. I was like his ‘doer’ in this. He taught me how to paint and the movie is very much about seeing things and how to paint and what painting is. So, when I was performing as this character, I felt an extension of Julian very much and also the cameras are a very subjective camera. It’s not a very conventional way of covering the scenes. It is a very fluid camera: a subjective camera. I think he (Van Gogh) was absolutely inspiring: he was lucid in what he talked about and I related to it very much. I think the difficulties come when he had this special vision and he couldn’t quite reconcile that with how to share it with people. And what was director, *Julian Schabel’s take on Van Gogh? A lot of the text came from his letters. I would say that he was absolutely lucid and was absolutely where he was in relationship to eternity. There was a moment when he is painting Doctor Gachet and the doctor asks: “Why do you paint? And he answers: “To stop thinking”. Prior to establishing himself his film career, Julian Schnabel made a name for himself throughout the 1980s as a “neo-expressionist” artist/painter. His work has been exhibited at art galleries around the world and has been known as the “self-proclaimed lion of the New York Art World”. His art works are in museums throughout the world, including the Metropolitan Museum of Art, the Whitney Museum od American Art, and The Centre Georges Pompidou in Paris. Of Vincent van Gogh, he said “I thought Vincent van Gogh was quite sane when he was painting. Those paintings are not paintings of madness. They’re paintings of sanity”.



Van Gogh (Willem Dafoe) in At Eternity’s Gate

Van Gogh (Willem Dafoe) in At Eternity’s Gate



Van Gogh (Willem Dafoe) in At Eternity’s Gate

Paul Gauguin (Oscar Isaac), Van Gogh (Willem Dafoe) in At Eernity’s Gate



THE AFTERMATH Directed by James Kent Starring: Keira Knightley, Alexander Skarsgard, Jason Clarke You didn’t tell me what I was walking into. This wasn’t how it was supposed to be. - Rachael Clarke Nothing is how it was supposed to be. - Lewis Morgan

Post-World War 2, a British colonel and his wife are assigned to live in Hamburg during the post-war reconstruction, and tensions arise with the German who previously owned the house. Postwar Germany is now a country severely damaged by the fallout of Hitler’s regime, and it is into this world that Rachael (Keira Knightley) arrives to be reunited with her husband, Lewis (Jason Clarke). He is helping to rebuild the decimated city of Hamburg, while she is left at home in an uncomfortable house which she has to share with a German widower named Stefan Lubert (Alexander Skarsgard) and his troublesome daughter Freda (Flora Thiemann). Troublesome in what way, this is an interesting thread of the narrative but one that is not explored, because Freda begins a knowingly forbidden romance with a member of Hitler’s underground army.

The major problem the film has is its focus on the main character of Rachael which is not strong enough to be convincing. The film is in safer hands with Stefan expertly played by Alexander Skarsgard. Director, James Kent, handles the doom-laden scenes well but struggles to rekindle the passion that lies beneath the surface of the leading characters. Knightley’s character is cold and freezes out any interest in her. As we see what is becoming yet another love triangle. As the film plods on, it loses its audience, and our attention is drawn to the nearest exist sign, a way-out, which we are fortunate enough to have in our sights, which is more than one can say of the narrative of this film.



However, this is not a criticism of the leading actors of the film, all of whom give outstanding performances worthy of their professional status. Let’s take a closer look at Keira. Keira Knightley was born in Richmond, Surrey to actress turned playwright Sharman Macdonald and actor Will Knightley. Raised as she was with both parents in the acting profession. It is not surprising that Keira was influenced to act. By the age of six, she had her own agent and performed in a TV film as ‘Little Girl’ Having appeared in a few TV series, she got the part of Angela in an episode of “Royal Celebration” After two years of the Thatcher administration, there is a recession and unrest, but the economic boom is just around the corner. Meanwhile, there’s the fairy tale wedding of Charles and Diana to celebrate. The episode in which Keira appeared was aired on 26th September 1993.

Keira’s first feature film was “Innocent Lies”. Set in September 1938, it concerned a British detective who goes to a small French coastal town in order to investigate the death of a colleague. The part of young Celia was played by Keira. These small steps in her career led to her biggest break in obtaining the starring role in Gurinder Chadha’s “Bend It Like Beckham” in 2002. The following year launched the first of the “Pirates of the Caribbean” franchise: “The Curse of the Black Pearl”, “Dead Man’s Chest”, “At World’s End”, “Dead Men Tell No Lies”; all starred Johnny Depp with Keira Knightley as Elizabeth Swann. Yet the one major arthouse film in Keira Knightley’s filmography came in 2013 with “Begin Again” which was a charming film as the narrative suggests: Gretta (Knightley) is seduced by dreams of making it big. She and her boyfriend Dave (Adam Levine) move to New York to pursue their passion for music. However, when Dave rejects her for the fame and fortune of a big solo contract, Gretta finds herself alone and far from home. Just when she’s given up hope, life begins to look up when struggling record producer Dan (Mark Ruffalo) stumbles upon her singing during an open mic night. He’s instantly captivated by her raw talent and inspiring authenticity and together they embark on an adventure, transforming the streets of New York in to their recording studio, giving love, life and music one final shot.

Compared to the rest of Keira Knightley’s film career this movie’s message really topped anything she has done. Though “The Aftermath” has its moments; they are few and far between and it does not muster enough vitality and interest to want you to see it again. On the horizon, future films that Keira has signed up for look quite intriguing and hopefully will encourage MbM to watch and recommend them to our readers. As for “The Aftermath”



Rachael(Keira Knightley), Lewis (Jason Clarke) in The Aftermath

Stefan (Alexander Skarsgard) Lewis (Jason Clarke) Rachael (Keira Knightley) in The Aftermath 10


Freda (Flora Thieman) Stefan (Alexander Skarsgard) Rachael (Keira Knightley) in The Aftermath

Rachael (Keira Knightley) Stefan (Alexander Skarsgard) in The Aftermath



EVERYBODY KNOWS Directed by Asghar Farhadi Starring: Penélope Cruz, Javier Bardem, Ricardo Darin. This is my daughter, let me decide what should be done! - Alejandro It is not a stranger who did this. - Paco You’re getting too involved.

- Laura This powerful kidnap drama which reunites Penélope Cruz with Javier Bardem offers much but fails to live up to Farhadi’s “A Separation” and “The Past”. Once again there are noticeably the influence of Michael Haneke and Michangelo Antonioni in the storyline of Farhadi’s latest film. Laura (Penélope Cruz) has returned to a small Spanish village for a big family wedding. Her husband Alejandro (Ricardo Darin)has stayed behind for work reasons in their new adopted home of Argentina, but Laura brings with her two children, one of which is Irene (Carla Campra) who to her mother’s disapproval is attracted to a boy there who tells her a secret that Irene’s mother was once in love with Paco (Javier Bardem) and broke his heart she left.

It’s no secret – everybody knows. But what else does everybody know? What lies are being told? Suddenly, in the middle of the wedding part – Irene disappears and in her bedroom, someone has left a newspaper cutting about a notorious kidnapping which took place in the same area four years previously. Soon mysterious and untraceable texts begin arriving demanding money, and threatening dire consequences if the police are called. So, who is behind the kidnapping? Could it even be Irene? Is she faking it so that she can run off with her lover, Paco. He is resented by Irene’s father for a dispute years ago: that Paco bought land belonging to him at a very cheap rate, taking advantage of his dire state brought on by heavy drinking and gambling, and turned it into a profitable vineyard. Could it be that Laura’s family have conspired to pressure and emotionally blackmail Paco for the ransom 12


money as payback? Or is Alejandro not as wealthy as everyone thinks? The abduction itself has left behind a self-fulfilling prophecy of dismay. The crime has not bought the family together, but instead old grudges have surfaced which were once controlled and manageable because Laura had chosen to live so far away from all of these people. There are loopholes in the plot such as why does no one ever talk about the kidnapping years before? Aside from this there are moments of creative serendipity such as the scene when Irene and her admirer sneak off during the ceremony and go up into the church belfry and start ringing the bells, which is a confident diversion.

However, the film’s weakest point is that the thriller doesn’t thrill. There are no edge-of-your-seat moments. One can only imagine what the film could have been if it had a Hitchcockian touch. Farhadi is undoubtedly a good director but here he tackles a narrative that just yearns for a ‘master’s touch’ and a mysterious thriller is evidently not his forte. However, let us get the director Asghar Farhadi to explain his method of working and the challenge he faced in working in a different language and culture to his own. It is obviously more difficult. What I did was to focus always on what is in common. It is difficult to transpose things.

I have already worked abroad and continued doing this in the future and contrary to what the media say, human beings are not different in another culture when it comes to feelings. We are all basically the same. We are very similar of hatred, anger; feelings they you find in all four corners of the world. It is just the modes of expression that change. And what was it like working with him? Here is how Penélope Cruz, who plays Laura in the film described it at Cannes, where the film premiered: We spent so much time with him in those five years. We would see each other on and off. He would tell us the story. We got a treatment, then three weeks later, we got a script. Another year, another script. So, we saw the time that he takes. Over two years ago he moved to Spain. He had a Spanish teacher every day with him. He was living the culture. It was a most different way to the way that most people work. So, we really saw how…it was like a sponge; people leave, people talk. People ask how can he identify on the set. If you make a mistake on one line, how can he identify when he doesn’t have that control over the language, but because he doesn’t sleep so much, that during the night he was memorising all our dialogues. So, you can never trick him, fool him. He knows everything. So, if you change something, you have to go to him and explain why. He is open to discussion And the end result of the film, how does the whole film hold up? Undoubtedly watchable, but not a memorable experience.



Irene (Carla Campra) Laura (Penélope Cruz) in Everybody Knows

Laura (Penélope Cruz) in Everybody Knows 14


Laura (PenĂŠlope Cruz) Alejandro (Ricardo Darin) in Everybody Knows

Bea (Barbara Lennie) Paco (Javier Bardem) in Everybody Knows



CURZON MAYFAIR On the 6th March 1934, the first Curzon Cinema opened on Curzon Street, Mayfair with a screening of Unfinished Symphony, a biopic of Schubert. It was directed by Willi Forst and Anthony Asquith. It starred Martha Eggerth, Helen Chandler and Hans Levy. Franz Schubert is broke and unhappy but gets stroke of luck, when a rich friend gets him an invitation to a command performance in front of a Princess of the Royal Family. Schubert performs version of his new work “Symphony in B Minor” for the princess, but a misunderstanding result in Schubert storming out of the concert in a rage. The building was built by the Marquese di Casa Maury and designed by architect Francis Lome in a European style, the brick façade was low-rise and the only relief was a vertical white stone feature that had the name ‘Curzon’ mounted on it in green neon script, Inside, the 492-seat auditorium was provided on one level with a raised section containing luxury ‘club’ seats. In contrast to the picture palaces of the era, the Curzon Cinema had an austere interior, but with luxurious blue carpets and velveted armchairs. It was during this time that Harold Wingate acquired the lease and the cinema has remained in the family ever since. Mayfair has a rich cinematic history having played host to numerous star-studded premieres. Due to property prices increasing and the cinema sitting on a prime site, it was demolished in 1964 to make way for an office block which would include a cinema on the first floor. The new Curzon opened in April 1966 with Viva Maria, Starring Brigitte Bardot and Jeanne Moreau. The cinema now boasted a larger 530-seat auditorium, a huge 43-foot by 20-foot screen and two Royal Boxes. In 2002,the rear stalls were converted into a second screen, offering a wider selection of films.



CURZON BLOOMSBURY Curzon Cinemas’ second cinema opened in January 1972 with Michael Cacoyanis’ The Trojan Women, starring: Katharine Hepburn, Vanessa Redgrave, and Genevieve Bujold. The cinema consisted of a single screen with 490 pedestal-style seats, located in a basement in the newly-built Brunswick Square development. In May 1974 it was taken over by EMI and reopened as the ABC Bloomsbury and eventually renamed the EMI International Film Theatre in January 1977, with programming policy of off-beat foreign films. After only a year, the cinema was rented to Barbara and David Stone’s Cinegate which operated the Gate Cinema in Notting Hill Gate. Renamed the Gate 2, it opened in February 1978 with Derek Jarman’s Jubilee. Shortly after, the auditorium was split down the middle to create two mirror-image screens seating 266 each, called Gate Bloomsbury 1 and 2 respectively. After a short period of closure and a refurbishment by architects Burrell Foley Associates, it re-opened under the management of Artificial Eye, and on Friday 9, May 1986, it was renamed the Renoir Cinema. On the opening day, Agnes Varda’s Vagabond played in Screen One, whilst Peter Smith’s No Surrender filled the other. Showing first runs of Artificial Eye’s titles, the cinema became a solid success. Following the impressive development of the surrounding Brunswick Centre in 2006 followed by the union with Curzon Cinema, Renoir has been given a new lease of life. Following a special screening of Jean Renoir’s Bondu Saved from Drowning on 1 June 2014, the Renoir closed for refurbishment. In March 2015 it reopened its doors as a six-screen venue named Curzon Bloomsbury with a special festival celebrating Auteur cinema. In its first few months of operation Curzon Bloomsbury showcased films by Olivier Assays, Edgar Reitz and Carol Morley, and the first Q&A in the relaunched cinema with Roy Andersson for the release of A Pigeon Sat on a Branch Reflecting on Existence.

MBM’s ARTHOUSE CINEMA RATING www.moviesbymills.com


CURZON RICHMOND Steeped in film history reaching back to 1914, Curzon Richmond is medium-sized neighbourhood cinema which quietly competes with local multiplexes by showing the best in world and independent film. Located in a cobblestone street on the banks of the River Thames, away from the bustle of the High Street, Curzon Richmond has an elegant character and relaxed atmosphere. The theatre-style draped and pillared auditorium seats over one hundred and offers a warm yet exclusive venue for screenings. Curzon Richmond won the LBC London Living Award for Best Neighbourhood cinema. The smallest member of Curzon family of cinemas is also one whose roots extend the furthest back built as it was on the site of a larger cinema originally called the New Royalty Kinema which opened in December 1914. It was operated by the Joseph Mears chain, and the frontage and foyer of the building was originally a Georgian town house, with the cinema auditorium built at the rear. Seating in the New Royalty was provided for 900 in the stalls and 120 in the circle, whilst the decoration was carried out in a French Classical style. There was an illuminated dome in the centre of the ceiling towards the front of the auditorium, and a sliding roof over the circle seating area was used on hot summer days. In 1922, a Hill Norman & Beard organ was installed. In June 1929, it was renamed Royalty Kinema. Closed in October 1940, due to the war, it reopened in May 1942. The Royalty Kinema was taken over by Oscar Deutsch’s Odeon chain from January 1944 and as they merged with the Gaumont British Theatres chain, the name was changed to Gaumont from November 1949. The Gaumont was closed by the Rank Organisation on 25 October 1980 and the auditorium was demolished. Due to a covenant on the site, stating that ‘cinema use must be retained’, in the late 1980s, owner Philip Knatchbull enlisted the help of the Twickenham Film Studios, Richard Attenborough and David Putnam tothprovide local filmgoers with an independent arthouse cinema and on 15 June 1990, the Richmond Filmhouse was born. Joining with Curzon Cinemas in 2006, the Filmhouse was renamed Curzon Richmond in November 2008 and now, boasting a digital projector alongside a still operational 35mm projector, the cinema shows a more varied programme of films. In June 2015, the cinema celebrated its 25th anniversary with a birthday party and a packed special preview of Mr Holmes, starring Ian McKellen.



CURZON SOHO A legendary arthouse and independent film venue on Shaftesbury Avenue, a three-screen cinema with a rich history which has seen it all, from film premieres and festivals to Q&As and special events. It has two busy bars and atmospheric underground lounge, Curzon Soho is much more just a cinema: it’s a place where filmmakers meet and make movie magic. The building was refurbished by interior designers Rockett St George, the lounge includes a comfortable private alcove that houses a collection of historic posters and images from the Curzon archive. Curzon’s flagship venue has established itself as the country’s busiest arthouse cinema. Building on the site of the bombed Shaftesbury. Eventually the cinema was leased to Columbia Pictures and in 1959, the Columbia Cinema opened with Gigi. Equipped to show 70mm, the cinema was sunk into the basement of a large office block. A generous foyer led down to toilets, cloakrooms and a kiosk, and then it was down another level to the 734-seat screen. A lack of product from the studio and increased local competition led to Cannon Classic taking over the lease in 1982. Dolby stereo was installed but their time was short lived when in 1984 the cinema became an arthouse venue under the guise of the Premiere Cinema, opening with John Cassavetes’ Love Streams. It then fell into the open arms of Roger Wingate, who completed his father’s vision by partnering it with the Curzon in Mayfair. In 1985, the Curzon West End was born. In 1998, the cinema was divided into a three-screen complex and renamed Curzon Soho. With a fully licensed bar on the mezzanine level, the venue has proved hugely successful and was voted London’s Number One cinema by Time Out readers. It would seem that this excellent cinema will remain Curzon’s Flagship Supreme, but unfortunately there is another serious problem to the cinema’s survival which is Crossrail which would run underneath the building. Curzon would need to soundproof the cinema at an exorbitant cost. So, currently, the Curzon Soho’s future is uncertain.

MbM’s ARTHOUSE CINEMA RATING www.moviesbymills.com


CURZON VICTORIA Curzon Victoria opened on 2nd May 2014 with an eclectic range of titles from The Amazing Spiderman 2, indie thriller Blue Ruin, world cinema gems Calvary and In Bloom, a special preview of Frank, plus a Free Film Festival showcasing classic Artificial Eye titles including audience favourite The Great Beauty, directed by Paolo Sorrentino and starring Toni Servillo. In winter 2014 Curzon Victoria was voted Best New Cinema in London by Time Out magazine readers. The cinema was built to the highest design standards and state of art technology. The interior was designed by the award-winning Afroditi Krassa and all the screens offer pin-sharp viewing with the latest Sony Digital Projection. The Curzon heritage is reflected through its commitment to high quality programming, showing the finest in world-cinema to the best Hollywood titles as well as a programme of ballet, opera, theatre and live events. With five boutique screening rooms seating 26-69 people, lush scarlet -clad reclining seats, double height ceilings, two plus delicious antipasti boards for lunch or supper, Curzon Victoria is a place to meet, eat, drink as well as being entertained. The result is a fusion of timeless elegance and cutting edge technology that is perfectly at home in the new Victoria, an area of London that has been transformed to a vibrant place to live and work with new shops, bars, restaurants and homes. Relax in the lounge and explore the extensive range of new and classic titles or even watch a selection of back catalogue films, released by Curzon’s own label Artificial Eye free of charge in the mezzanine area. Screen Capacities & Access. Screen 1. 40 pullman seats + 1 permanent wheelchair space (front row) Screen 2. 69 seats + 1 permanent wheelchair space (front row) Screen 3. 29 pullman seats + 1 permanent wheelchair space (front row) Screen 4. 53 seats + 1 permanent wheelchair space (front row) Screen 5. 40 pullman seats + 1 permanent wheelchair space (front row) Screen 5 40 pullman seats + 1 permanent wheelchair space (front row) Audio description and hearing assist headsets available on request. Cinema auditoria accessible by lift.



CURZON SHEFFIELD Curzon Sheffield brings Curzon’s unique Film and Events programming to the Grade 2 Listed Building, previously occupied by the Sheffield Banking Company. The cinema has three screens with Sony 4k projectors and various bars including a rooftop terrace. The cinema opens 15 minutes before the first film of the day. Typically, this will be approximately 1200pm9.15pm and 10.15am -9.15pm on Saturdays. Screen Capacities & Access. Screen 1. 62 seats + 2 permanent wheelchair spaces (front row)

Screen 2. 55 seats + 4 which are removable for 2 wheelchair spaces (front row). Screen 3. 37 seats, 4 which are removable for 2 wheelchair spaces (front row). Cinema Auditoria accessible by lift. All three screens are fitted a Sony EAs two-channel RF system for hearing assist and audio description. Audio Description and Hearing assist headsets are available on request. Curzon Cinemas have developed Hard of Hearing Offering and will be screening two subtitled screenings per week at all their cinemas, where possible. Curzon Cinemas will show one weekday matinee and one weekday early evening screening with subtitles for the hearing impaired.

MbM’s ARTHOUSE CINEMA RATING www.moviesbymills.com


CURZON OXFORD Over two floors incorporating five screens, a café-bar with a light bites menu and pizza, as well as a night-time bar with lounge areas to enjoy a drink before and after your film. Curzon Oxford offers the finest cinematic experience in Oxford with spacious, comfortable screens showing the latest in Hollywood entertainment mixed with independent and international films, live opera, ballet and theatre, and a selection of events – from DJ nights in the bar to Q&As and panel discussions in the screens. Alongside the latest digital technology, the new cinema has one 35mm projector, so you can experience the arresting beauty and pure magic of analogue film – flicker, whirr and all. There is also a designed Virtual Reality area, so you can participate in a totally immersive experience. THE PROGRAMME Film is Curzon’s DNA: our HQ team and staff members are each passionate about different films and filmmakers, and we are constantly discovering new talent and converting each other to our long-time favourites. The five-screen boutique cinema and sophisticated rooftop bars and dining are located in the Westgate Shopping Centre. Screen Capacities Screen 1.-144 seat, 4 of which are removable for 2 wheelchair spaces (front row) Screen 2. – 172 seats. Single seats 112/Double seats 60. Equipped for 35mm. Screen 3. – 134 seats. Single seats 84/Double seats 50. Equipped for 3D. Screen 4 – 82 seats. Single seats 48/Double seats 34 Screen 5 – 82 seats. Single sears 48/Double seats 34 All screens are equipped with 7.1 surround sound. All screens have Barco projectors. Screen 2 also has a 35mm projector (Cinemeccanica Victoria 5) Screens 1,2 & 3 have motorised side masking. Screens 3 & 4 have top and bottom masking. Reclining cinema seats are by Skeie.



CURZON KINGSTON Philip Knatchbull, chief executive of Curzon, said “When deciding where to open new cinemas, Kingston was a priority destination with the Bentall Centre and its central location an obvious choice for us. Our approach to modern cinema is to create amazing destination venues and the unforgettable customer experience we provide aligns perfectly with the consumer experience strategy The Bentall Centre is developing and delivering.” Simon Green, director at Aviva Investors Real Estate, leasing agent of the Bentall Centre, said: “This letting to Curzon Cinema is a major coup for The Bentall Centre and Kingston in general.” The four-screen arthouse cinema is scheduled to open this autumn. The technicalities of the Curzon Kingston will be announced once they are available and the date of the Grand Opening. Meanwhile, rest assured that the cinema will meet the high standards of Curzon Cinemas and epitomise the honour awarded to them at this year’s BAFTA Awards.

MbM’s ARTHOUSE CINEMA RATING www.moviesbymills.com









ANIMATED FILM Spider Man: Into the Spider-Verse



PREVIOUS BEST FILM WINNERS 1947 1948 1949 1950 1951 1952 1953 1954 1955 1956 1957 1958 1959 1960 1961 1962 1963 1964

The Best Years of Our Lives Hamlet Bicycle Thieves All About Eve La Ronde The Sound Barrier Forbidden Games The Wages of Fear Richard III Gervaise The Bridge on the River Kwai Room at the Top Ben Hur The Apartment The Ballad of a Soldier & The Hustler Lawrence of Arabia Tom Jones Dr Strangelove, or How I Learned to Stop Worrying and Love the Bomb

1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985

My Fair Lady Who’s Afraid of Virginia Woolf? A Man for All Seasons The Graduate Midnight Cowboy Butch Cassidy & the Sundance Kid Sunday Bloody Sunday Cabaret Day for Night Lacombe Lucien Alice Doesn’t Live Here Anymore One Flew Over the Cuckoo’s Nest Annie Hall Julia Manhattan The Elephant Man Chariots of Fire Gandhi Educating Rita The Killing Fields The Purple Rose of Cairo



1986 1987 1988

A Room with a View Jean de Florette The Last Emperor

1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001

Dead Poet’s Society Goodfellas The Commitments Howard’s End Schindler’s List Four Weddings & A Funeral Sense and Sensibility The English Patient The Full Monty Shakespeare in Love American Beauty Gladiator The Lord of the Rings – The Fellowship of the Ring The Pianist The Lord of the Rings – The Return of the King The Aviator Brokeback Mountain The Queen Atonement Slumdog Millionaire The Hurt Locker The King’s Speech The Artist Argo 12 Years A Slave Boyhood The Revenant La La Land Three Billboards Outside Ebbing, Missouri Roma

2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018





(Bohemian Rhapsody)

(A Star is Born)

BEST ACTRESS Olivia Colman


(The Favourite)

BEST DIRECTOR Alfonso Cuaron (Roma)

BEST SUPPORTING ACTOR Mahershala Ali (Green Book)

BEST SUPPORTING ACTRESS Regina King (If Beale Street Could Talk)


Into The Spider-Verse




LIST OF ALL PREVIOUS BEST PICTURE WINNERS 1928/1929 1929/1930 1930/1931 1931/1932 1932/1933 1933/1934 1935 1936 1937 1938 1939 1940 1941 1942 1943 1944 1945 1946 1947 1948 1949 1950 1951 1952 1953 1954 1955 1956 1957 1958 1959 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 28

“Wings” “The Broadway Melody” “All Quiet on the Western Front” “Cimarron” “Grand Hotel” “Cavalcade” “It Happened One Night” “Mutiny on the Bounty” “The Great Ziegfeld” “The Life of Emile Zola” “YOU Can’t Take It with You” “Gone with the Wind” “Rebecca” “How Green Was My Valley” “Mrs Miniver” “Casablanca” “Going My Way” “The Lost Weekend” “The Best Years of Our Lives” “The Gentleman’s Agreement” “Hamlet” “All the Kings Men” “All About Eve” “An American in Paris” “The Greatest Show on Earth” “From Here to Eternity” “On the Waterfront” “Marty” “Around the World in 80 Days” “The Bridge on the River Kwai” “Gigi” “Ben-Hur” “The Apartment” “West Side Story” “Lawrence of Arabia” “Tom Jones” “My Fair Lady” “The Sound of Music” “A Man for All Seasons” “In the Heat of the Night” “Oliver!” “Midnight Cowboy” “Patton” “The French Connection” “The Godfather”


1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019

“The Sting” “The Godfather Part 2” “One Flew over the Cuckoo’s Nest” “Rocky” “Annie Hall” “The Deer Hunter” “Kramer vs. Kramer” “Ordinary People” “Chariots of Fire” “Gandhi” “Terms of Endearment” “Amadeus” “Out of Africa” “Platoon” “The Last Emperor” “Rain Man” “Driving Miss Daisy” “Dances with Wolves” “The Silence of the Lambs” “Unforgiven” “Schindler’s List” “Forrest Gump” “Braveheart” “The English Patient” “Titanic” “Shakespeare in Love” “American Beauty” “Gladiator” “A Beautiful Mind” “Chicago” “The Lord of the Rings: The Return of the King” “Million Dollar Baby” “Crash” “The Departed” “No Country for Old Men” “Slumdog Millionaire” “The Hurt Locker” “The King’s Speech” “The Artist” “Argo” “12 Years A Slave” “Birdman” “Spotlight” “Moonlight” “The Shape of Water” “Green Book”




A STAR IS BORN Directed by Bradley Cooper Starring: Lady Gaga, Bradley Cooper, Sam Elliott In this new take on the tragic love story, Jackson Maine (Bradley Cooper) is a seasoned musician who discovers – and falls in love with – struggling artist Ally (Lady Gaga). She has just given up on her dream to make it big as a singer…until Jack coaxes her into the spotlight. But even as Ally’s career takes off, the personal side of their relationship is breaking down, as Jackson fights an ongoing battle with his own internal demons.

SPECIAL FEATURES *Musical Videos Shallow by Lady Gaga & Bradley Cooper Always Remember by Lady Gaga *Musical Moments Black Eyes La Vie en Rose Maybe It’s Time Shallow (dialogue) Alibi Shallow Plus: Lady Gaga performing I’ll Never Love Again 30



FIRST MAN Directed by Damien Chazelle Starring: Ryan Gosling, Clare Foy, Jason Clarke, Kyle Chandler. Oscar-winning director Damien Chazelle and star Ryan Gosling reteam for the riveting story behind the first manned mission to the moon, focusing on Neil Armstrong and the decade leading to the historic Apollo 2 flight. A visceral, intimate account told from Armstrong’s perspective and based on the book by James R Hansen, the film explores the triumphs and the cost on Armstrong, his family, his colleagues, and the nation itself for one of the most dangerous missions in history.

SPECIAL FEATURES *Deleted Scenes *Shooting for the Moon *Preparing to Launch *Giant Leap in One Small Step *Mission Gone Wrong *Putting You in the Story *Recreating the Moon Landing *Shooting at NASA *Astronaut Training *Feature Commentary with Director Damien Chazelle, Screenwriter Josh Singer, Editor Tom Cross.



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Movies by Mills (March 2019)  

A Magazine for Discerning Cinemagoers and Filmmakers. Reviews: At Eternity’s Gate The Aftermath Everybody Knows Arthouse Ambiance: A close...

Movies by Mills (March 2019)  

A Magazine for Discerning Cinemagoers and Filmmakers. Reviews: At Eternity’s Gate The Aftermath Everybody Knows Arthouse Ambiance: A close...

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