A fragmented collection of closed cinemas in London during lockdown, captured on Super 8mm film.
ABOUT
WHAT IS 'CINEMA NOW'?
To put it straightforwardly; Cinema Now is a short, observational documentary film (shot and presented in the contemporary 'Direct Cinema' style) depicting closed cinemas from the point of view of their exteriors in and amongst the London cityscape.
During the COVID-19 pandemic thus far, cinemas around the country (and indeed the world) have been closed and left (largely) without government funding or support - depriving audiences of their love for cinema. The film sets out to document cinemas in their current state and aims to provide a meditation on cinema(s) as they currently are - dormant, towering meccas of film that once served (and will again serve) strangers, families and communities.
To put it straightforwardly; Cinema Now is a short, observational documentary film (shot and presented in the contemporary 'Direct Cinema' style) depicting closed cinemas from the point of view of their exteriors in and amongst the London cityscape.
During the COVID-19 pandemic thus far, cinemas around the country (and indeed the world) have been closed and left (largely) without government funding or support - depriving audiences of their love for cinema. The film sets out to document cinemas in their current state and aims to provide a meditation on cinema(s) as they currently are - dormant, towering meccas of film that once served (and will again serve) strangers, families and communities.
HOW HAS 'CINEMA' BEEN APPROACHED?
This is a fundamental question that the filmmakers have asked themselves when developing and making the film. The most important aspect of the film, besides its intentions, is the choice of cinemas which appear in the film.
The filmmakers want to make it clear that, whilst the film should be perceived (and perform) as a sign of solidarity to all cinemas irrespective of their structure and beliefs - we want to highlight independent cinemas who have either been particularly:
Defining the framework in which the film operates within early on in the development phase led the film (and filmmakers) closer to the project's intentions.
As a result of analysing each cinema's cultural remit, context within London and more widely and listening to friends, creatives, activists and educators - a shortlist of the cinemas which (are currently being filmed and) will likely feature in the finished film has been defined. The full list of cinemas filmed can be found below by clicking on 'Featured Cinemas'.
The filmmakers want to make it clear that, whilst the film should be perceived (and perform) as a sign of solidarity to all cinemas irrespective of their structure and beliefs - we want to highlight independent cinemas who have either been particularly:
- unsupported - financially or otherwise,
- unrepresented - in/by the press, media or otherwise,
- face (or have faced) a very real threat of permanent closure,
- or a combination of these criteria
Defining the framework in which the film operates within early on in the development phase led the film (and filmmakers) closer to the project's intentions.
As a result of analysing each cinema's cultural remit, context within London and more widely and listening to friends, creatives, activists and educators - a shortlist of the cinemas which (are currently being filmed and) will likely feature in the finished film has been defined. The full list of cinemas filmed can be found below by clicking on 'Featured Cinemas'.
AESTHETIC(S) & REFERENCES
The film is particularly inspired by three moving image pieces which seem to operate on a level somewhere between documentary and fiction. This hybridised mode of filmmaking seems to evoke more truth and authenticity than with their constituent codes and conventions, with Cinema Now in mind.
Homo Sapiens (2016) - billed as ‘documentary’ - Directed by Nikolaus Geyrhalter - Trailer
Manifesto (2015) - billed as ‘experimental, drama’ - Directed by Julian Rosefeldt - Trailer
Last and First Men (2020) - billed as ‘fantasy, mystery’ - Directed by Johann Johannsson - Trailer
Whilst these three key references are all vastly different, they share a range of interesting stylistic and structural principals. The films show stunning images of forgotten places, buildings we constructed and then left. As a result there is a lingering sense of simultaneous melancholy and timelessness. In particular, both Homo Sapiens and Last and First Men offer imagery and sounds of dystopian-like landscapes and urban wastelands: part-consumed by humans and part-reclaimed by nature.
Manifesto, assesses and is directly addressed to the viewer, as a kind of call to arms - to act now. The film was selected as a reference as we would like the audience to feel a sense of shared responsibility towards the ongoing issues of cinema who remain (to date) insufficiently supported. Every cinema has a kind of manifesto and all the cinemas shown in our film operate within different frameworks (social, cultural, financial, political...)
These films address humanity and contemporary issues using near otherworldly material and objectives which the filmmakers are very fond of utilising; albeit differently - in Cinema Now.
To read more on the filmmakers' thoughts behind these references, click here.
The film is particularly inspired by three moving image pieces which seem to operate on a level somewhere between documentary and fiction. This hybridised mode of filmmaking seems to evoke more truth and authenticity than with their constituent codes and conventions, with Cinema Now in mind.
Homo Sapiens (2016) - billed as ‘documentary’ - Directed by Nikolaus Geyrhalter - Trailer
Manifesto (2015) - billed as ‘experimental, drama’ - Directed by Julian Rosefeldt - Trailer
Last and First Men (2020) - billed as ‘fantasy, mystery’ - Directed by Johann Johannsson - Trailer
Whilst these three key references are all vastly different, they share a range of interesting stylistic and structural principals. The films show stunning images of forgotten places, buildings we constructed and then left. As a result there is a lingering sense of simultaneous melancholy and timelessness. In particular, both Homo Sapiens and Last and First Men offer imagery and sounds of dystopian-like landscapes and urban wastelands: part-consumed by humans and part-reclaimed by nature.
Manifesto, assesses and is directly addressed to the viewer, as a kind of call to arms - to act now. The film was selected as a reference as we would like the audience to feel a sense of shared responsibility towards the ongoing issues of cinema who remain (to date) insufficiently supported. Every cinema has a kind of manifesto and all the cinemas shown in our film operate within different frameworks (social, cultural, financial, political...)
These films address humanity and contemporary issues using near otherworldly material and objectives which the filmmakers are very fond of utilising; albeit differently - in Cinema Now.
To read more on the filmmakers' thoughts behind these references, click here.
SHOOTING ON CELLULOID YOU SAY?
Cinema Now is shot entirely on (gloriously nostalgic and dream-like) Super 8mm KODAK Vision3 Motion Picture film stock. Shooting 'on film' is still as popular as it's ever been and not only do we want to be apart of helping raise awareness of cinemas but also the format (and importance) of film and it's beautifully imperfect, inherently organic qualities.
Furthermore, shooting on film will create a permanent record of the capital's cinemas during the pandemic. Understanding and overcoming this crisis (together) is crucial so by having this permanent record, we'll be able to reflect on this moment in time in the near and distant future.
Shooting and processing celluloid is a chemical process where patience is required in setting up and framing a shot. Each and every day we are entering into the unknown, and using celluloid as our film's format of choice, is a bit like that. We don't know how the footage will turn out until it's been sent off, processed and scanned at a film laboratory*
The unparalleled aesthetics of film combined with the excitement of (venturing into) the unknown and of what one has shot is ultimately what draws us to use this format.
* = what we can safely say for sure is our camera tests turned out fabulously so we're hoping all of our other film rolls will come out brilliantly.
Cinema Now is shot entirely on (gloriously nostalgic and dream-like) Super 8mm KODAK Vision3 Motion Picture film stock. Shooting 'on film' is still as popular as it's ever been and not only do we want to be apart of helping raise awareness of cinemas but also the format (and importance) of film and it's beautifully imperfect, inherently organic qualities.
Furthermore, shooting on film will create a permanent record of the capital's cinemas during the pandemic. Understanding and overcoming this crisis (together) is crucial so by having this permanent record, we'll be able to reflect on this moment in time in the near and distant future.
Shooting and processing celluloid is a chemical process where patience is required in setting up and framing a shot. Each and every day we are entering into the unknown, and using celluloid as our film's format of choice, is a bit like that. We don't know how the footage will turn out until it's been sent off, processed and scanned at a film laboratory*
The unparalleled aesthetics of film combined with the excitement of (venturing into) the unknown and of what one has shot is ultimately what draws us to use this format.
* = what we can safely say for sure is our camera tests turned out fabulously so we're hoping all of our other film rolls will come out brilliantly.
DIRECTOR BIO
Louis Holder (BFIFA, BFE) (Editor, Cinematographer, Director)
A graduate from the world-renowned Film BA (Hons) course at University of Westminster, Louis is an RTS-Award Winning Filmmaker, whose work has featured at numerous film festivals including BFI Future Film Festival, London Short Film Festival (LSFF), Raindance and UCL Festival of the Moving Image (FoMI). He is now studying on the MA Editing & Post-Production Course at London South Bank University and is a new Assistant Editor entrant within Film. Additionally, he is working towards realising his feature-length documentary debut; Old Suffolk Boy and experimental short doc Cinema Now - both due for release in 2022.
Recent Post-Production Credits include: The Long Sleep of Men, Gabriela, Chook Awook, Midnight Insight, Voyager, Oh Me Lads and I Love You.
Louis Holder (BFIFA, BFE) (Editor, Cinematographer, Director)
A graduate from the world-renowned Film BA (Hons) course at University of Westminster, Louis is an RTS-Award Winning Filmmaker, whose work has featured at numerous film festivals including BFI Future Film Festival, London Short Film Festival (LSFF), Raindance and UCL Festival of the Moving Image (FoMI). He is now studying on the MA Editing & Post-Production Course at London South Bank University and is a new Assistant Editor entrant within Film. Additionally, he is working towards realising his feature-length documentary debut; Old Suffolk Boy and experimental short doc Cinema Now - both due for release in 2022.
Recent Post-Production Credits include: The Long Sleep of Men, Gabriela, Chook Awook, Midnight Insight, Voyager, Oh Me Lads and I Love You.
CAST & CREW
Director / Cinematographer / Editor - Louis Holder
Producers - Adriana Kytkova, Louis Holder
Executive Producers - Gaye Lockwood, John Holder, Hannah Holder
Sound Designer - Rob Szeliga
Production Assistant - Sandra Tomalka
Technical Advisor - Mario A. L.
Digital Intermediate (DI) - Kevin Timmins
Film Lab / Processing & 4K Scan Services - Gauge Film Ltd.
Special Thanks - Izzy Palmer, Alexandra Larion, Adriana Kytkova, Ben Holt, Ralph Sansum, Ben Douglass, Rob Szeliga, Caroline Jupp, Lucy Rogers, Caroline Chu, Claudia Giancola, Ivan Lo Conte
Producers - Adriana Kytkova, Louis Holder
Executive Producers - Gaye Lockwood, John Holder, Hannah Holder
Sound Designer - Rob Szeliga
Production Assistant - Sandra Tomalka
Technical Advisor - Mario A. L.
Digital Intermediate (DI) - Kevin Timmins
Film Lab / Processing & 4K Scan Services - Gauge Film Ltd.
Special Thanks - Izzy Palmer, Alexandra Larion, Adriana Kytkova, Ben Holt, Ralph Sansum, Ben Douglass, Rob Szeliga, Caroline Jupp, Lucy Rogers, Caroline Chu, Claudia Giancola, Ivan Lo Conte
FESTIVALS & AWARDS
To Be Determined
PRESS & REVIEWS
To Be Determined
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TECHNICAL SPECIFICATIONS
Running Time: Estimated: 12 minutes
Screening Format(s): DCP, QuickTime ProRes (422HQ), Online Screener Negative Format / Camera: Super 8mm Resolution: 4K | Aspect Ratio: 4:3 Sound Mix: 5.1 Theatrical Mix Film Gauge: Super 8mm Film Cameras: Bell & Howell 1239 XL + Braun Nizo S801 Film Stock Suppliers: Gauge Film Ltd / Frame24 Film Stocks Used: KODAK Vision3 50D/7203, 200T/7213, 500T/7219 Film Lab Scanner - Custom FilmFabriek Muller HDS+ Scanner Offline Edit - Avid Media Composer Ultimate 2021 Online Edit - DaVinci Resolve Studio 17 Sound Edit & Mix - ProTools HD |
RESOURCES
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FOLLOW THE FILM ON SOCIAL MEDIA
Instagram / Twitter | Official Website | Facebook Page
Instagram / Twitter | Official Website | Facebook Page
Louis Holder :: FILM EDITOR & COLOURIST |