So, today we’re going to look at the history of drive-ins, as well as some of the drive-in cinema events coming to the UK. And asking if UK drive-ins will take off as they have in the US?

History

Drive-In Theatre history began when Richard Hollingshead came up with an idea to accommodate his mother, who couldn’t fit into normal cinema seats. He had the idea of allowing people to view movies from the comfort of their cars. He set up a screen between some trees to project movies onto, with a radio behind the screen. And in 1933 he opened the first official drive-in cinema in Camden, New Jersey advertising it as affordable family entertainment.

Subsequently, drive-ins sprang up across the US in the 1950s and 60s. Culminating in 1958 when over 4000 drive-ins operated across the US. The numbers slowly declined in the 70s and 80s due to high land values and competition from television forcing many theatres to close. But since the 90s the number of theatres still open has remained steady. Recently new theatres have even begun to open. During this time drive-ins also gained access to new Hollywood releases. And with evolving technology drive-ins have received a great boost in projection and sound quality. A far cry from the grubby exploitation roadshows of old.

Similarly, Australia also enjoyed a history of drive-in success, with several big drive-in screens still operating today. The UK however never cracked the drive-in market. There were several attempts. In 2012 Route 66 opened, hoping to be a permanent fixture of the UK cinema scene, though it has since closed. And there are around 20 drive-in theatres currently operating in the UK. But compared to the US and Australia, UK drive-ins don’t have the same affection needed to keep business going. However, in the age of social-distancing, UK drive-ins may finally have their time to shine.

Coming Soon To A Destination Near You

Several pop-up drive-in events are coming to the UK over the next few weeks. Among them, The Luna Cinema and At the Drive-in, which will be screening films across several different UK areas (Including London, Oxford, the Midlands, Leeds, Manchester, and more) throughout the coming months.

Both are showing a wide variety of films. From modern Oscar contenders like Joker, and A Star is Born, to perennial favourites like Back to the Future, Grease and much more. Both allow you to order food and drink directly to your car. And both offer state of the art sound (broadcast to your car radio or a speaker which will be provided) and visual technology to ensure viewers get the best experience possible. But does this mean Drive-Ins will become a British mainstay?

Drive-Ins – Here To Stay?

Since the beginning of the Covid-19 crisis, many have wondered how the cinema industry will survive. With many movies now being released directly to on-demand, some argue that cinemas are a thing of the past. On top of that, according to some commentators, because the UK isn’t a car-based society like the US and Australia, the drive-in experience may not hold as much appeal for us. And in a time of economic uncertainty, many may not want to pay to see old films in a big car park.

But equally, there are many who crave the cinema experience, and the last few months have seen a renewed interest in supporting the arts and creative industries. And with 31.7 million cars in the UK, Drive-Ins are a good way for many to watch films in a way that is communal, supportive, and safe. Will it succeed? Only time will tell.

What do you think? Are drive-ins the way forward? Will streaming ultimately win? Or are you waiting for regular cinemas to reopen? Let us know your thoughts.

Also Read: Amazon to Own Odeon Cinemas?

The post UK Drive-In Cinemas: Boom or Bust? appeared first on Big Picture Film Club.

The Government guidelines encourage people to work from home whenever possible, and when not possible, to maintain social distancing. While some select programmes have continued filming, such as the news and chat shows, albeit with no studio audience and most guest appearing via webcam. This has faced many of these shows to adapt. Saturday Night Takeaway transformed from a studio show to being a skype chat from the host’s living rooms, with old footage.

While this approach can work for programmes in post-production, like Netflix’s Umbrella Academy, as post-production can often be worked on at home, with actors even recording lines hiding in their cupboards. It is much more difficult to actually film new footage with the lockdown. With UK Government advice being to keep a distance of at least 2 meters between other people, filming would take much more time if not be impossible. This has resulted in some unique programming, as people have tried to adapt and entertain.

New Guidelines

The new information means that some industries can go back to work, including the film and TV industries, however, things have not completely back to normal. For instance, the 2-metre rule should still be followed wherever possible, including by actors. This means that scenes may have to be re-written and planned to ensure this. It also means actors should apply their own makeup, costumes and microphones whenever possible and floor markings to clarify the distance.

Additionally, scenes set in open, outdoor spaces are to be prioritised, and the use of green screen is encouraged. This allows actors to film scenes without actually being on set. Senior actors, or ones with underlying health conditions, are to stay at home. Crews from local areas are to be prioritised, so as to reduce the spread of infection. Stunts and special effects sequences have even more planning and should consider demand on the NHS.

Is it too soon?

While these measures seem reasonable, they seem restrictive. Having to rewrite scenes so that characters are 2 metres apart in every scene could prove difficult. Especially in scenes between love interests or other emotional beats. There are very few natural reasons to not comfort someone in distress with a hug. Will every show now need to set an episode in the pandemic? While soaps and some other shows might be able to work with this premise, other’s won’t. The Walking Dead will be much less effective with all the Walkers social distancing.

While the effort to restart production is admirable, these measures do seem too restrictive. Although some programmes have still been filming, it clearly won’t work for everything. Even if only one person is on camera, there will be several behind it, unseen. With dozens of people on set, all trying to do a job, social distancing will be very hard. Things will likely take even longer on set, as everyone has to constantly stay apart, and do things on their own.

The reaction to these measures has understandably been mixed. While people are glad to get back to work and filming again, there are still concerns. Blackfish director Gabriela Cowperthwaite summed it up “There’s no quarantine-friendly version of making a film“. While writers rooms and pitch meetings can still happen via Zoom or Skype, not everything can. It is much harder to direct actors and crew without physically being in the space with them. Many also feel that the job isn’t worth risking people’s lives over.

While the impact of coronavirus will likely be felt for months to come, things are slowly returning to normal. While some are arguing it is too soon, precautions are being taken. Hopefully, it won’t be too much longer before our favourite shows are back to normal.

Also Read: Coronavirus: How It’s Affected The Film Industry

The post UK Government Allows Film & TV Productions To Restart Filming, But How Practical Are Their Guidelines? appeared first on Big Picture Film Club.

Watch the full interview below

You can support Dr Parvinder Shergill’s next film “Phantoms” via the film’s Indiegogo Campaign

Also Read: Almost 9 in 10 People in the Film & TV Industry Have Experienced A Mental Health Problem

The post Interview: Dr Parvinder Shergill Talks Mental Health & Movies appeared first on Big Picture Film Club.

The local Odeon, now transformed into a cultural hub in my hometown, was a place I longed to be. I craved its dusty theatre and shabby, rundown lobby. As a teenager, when loitering around the city centre, specifically outside McDonald’s, as was the social convention, waiting for someone to invite you to a party that night, I used to try and convince my friends that our money was best spent at the cinema. We could catch an afternoon screening and still be out in time to find out which of our friends older siblings might buy us booze for that night but, they didn’t take to it. 

I would have similar debates with my Dad, a man who thought of the cinema as an extravagance. To him, it was a place you go when it’s cold or raining, or as a special treat. He saw no sense in spending bright summer days cooped up inside a multiplex when the country parks and the great rivers of our nation were all free and readily available. We argued about it all the time. I begged to spend two hours in the dark instead of doing anything remotely ‘outdoorsy’, and he would not entertain it. I always lost this battle, if you could even call it that. I once wrote him a letter explaining, in ten bullet points, why we had to go to the cinema to see The Incredibles that weekend so I could complete a primary school homework assignment on reviewing. He wavered, unsure if it really was as necessary as my scribbled plea made out. That Saturday however, turned out to be one of those cold, rainy, days and so, mostly because of nature, he gave in. 

When semi-independence reared its head around sixteen, and I got my first job at a retail chain, I spent every weekend (and most of every payslip) at the cinema. Myself and three friends formed a small troop of cinemagoers who would forgo some of the adolescent evening festivities in favour of film. Our taste was, well, to be polite, mixed. We saw The Kingdom of the Crystal Skull on opening night, Revolutionary Road one blurry Sunday afternoon, The Strangers on a dark night that would make us terrified waiting for a ride home, Inception in a packed theatre, and Australia on an icy New Year’s Day. We saw whatever was new that week, with no real idea about reviews or aggregate websites. It was just the three of us, joined by the mutual love of cinematic escape. 

When I lived in London in my early twenties, that escape became crucial, a tool to wield against the loneliness that comes with large cities. As long languid winter nights passed by, as taxi cabs waited, and bike messengers whizzed past, gliding through puddles made of endless rain, I would want to be anywhere other than in the city. The two hours I was able to spend in a different life kept me sane, kept me from giving in to the crushing isolation that felt so heavy. I would leave reality and enter into strange the German humour of Toni Erdmann, the escapist pleasure of La La Land, the close tension of Personal Shopper, the dark, sexy magic of God’s Own Country, and the beautiful calm power of Moonlight. 

Yes, my love affair with the cinema has been a long one, and it is, and likely always will be, my favourite place to be. So, during this period of lockdown, it’s been hard to focus, to find any kind of experience to replicate this absent one. So far, the only thing I’ve taken solace in is that the last film I saw in the cinema pre-lockdown was Portrait of a Lady on Fire and, with its French restraint and love blooming in relative isolation, it feels like a fitting final film. 

Of course, it’s not possible to recreate that cinematic experience at home. It’s too light out, the cat walks in and out of the room having a sneezing fit, and my housemates check their phones, send texts, or scroll on twitter while we watch. I am not innocent of this either, distraction happens so easily when not communally frowned upon. Last week, we made some microwavable popcorn and gobbled some store-bought sweets while watching a new release, available via streaming, but it couldn’t quite live up to the classic cinema experience. Still, it added a little zest to watching a new film at home and new releases are still coming, though at a slower pace. 

Maybe this pandemic will alter how we think about film distribution, now that it’s somewhat levelling in terms of access. I find it hard-pressed to imagine any of the chain cinemas near me, who favour larger blockbuster fair near exclusively, would screen Eliza Hittman’s starkly subtle polemic Never Rarely Sometimes Always, yet it’ll be available to rent from May 13th. The same goes for BFI Flare’s ‘online festival’, making up for the cancelled event, including Sam Feder’s essential documentary Disclosure or Liza Xi Xiang’s regulated and mesmerising A Dog Barking at the Moon. These were all films that would likely have required considerable travel and money, on my part, to see. That’s if they screened near me at all. 

There are cinephiles, the urban city types, who love to talk about male auteur filmmaking, who consider the likes of Netflix to be the ‘death of the cinema’. Even prominent name directors like Steven Spielberg find the streaming sites to be a real thorn in their arty sides. Except they don’t look at the reality; most people don’t have access to arthouse films on their doorstep. Leveller’s like Mubi, Curzon Home Cinema, BFI Player, and others have made it a great deal easier for most people but is ease even the issue? What it comes down to for most people is money. So many people are priced out of the cinema-going experience, with tickets well over £12 these days and travel to be considered too. If you can rent a film at home, for £15.99 and three or four of you can sit down together, snug on the sofa, at watch together for around £3.99 each, who’s to say that isn’t the best option? 

Sure, I love the cinema. I love it more than eating a good meal, more than getting the weekend papers and reading them in bed. I love it more than fish and chips on the beach in some seaside town as the sun sets, more than napping, more than finding a tenner you didn’t know you had in your jeans pocket. Hell, I love it more than sex. I would even go as far as to say I love it more than good sex, than mid-blowing sex. It’s a vital part of my identity, of my routine, and, like so many other things right now, it’s not available to me. 

It’s a great privilege to be able to go to the cinema regularly, as is the ability to miss it. People who are worried about job losses, financial hardship, or the vulnerable groups who are most susceptible to this virus have more substantial things to worry about during this pandemic. That this is one of my more significant issues with lockdown is a symbol that, really, I’m not all that affected. 

When lockdown is lifted, and businesses reopen will I be heading to my local cinema with bells on? Yes, I will but maybe the way I approach it has changed. Last week, my housemates and I split the cost to rent the new Juliette Binoche thriller, Who You Think I Am and the South African military drama Moffie (both on Curzon Home Cinema). We’ve never done that before but liked both films and paid around £3 each to watch them. So, I couldn’t help but wonder*, maybe it really is time for us to reassess our viewing habits? 

*Sorry, it’s the first column, and I couldn’t resist. 

Also Read: The Problem with the role of ‘The Wife’ in movies like ‘Dark Waters’

The post How Film Changed Me: On Survival Without the Cinema appeared first on Big Picture Film Club.

Interacting on Social Media and YouTube

Sometimes the best motivation to give something a watch is knowing that others will be watching the same thing. Well over the past few weeks various social media sites and platforms like YouTube have presented opportunities for you to give a film a watch and interact with the wider community.

Several big names have encouraged the world to check out certain titles on Twitter. Jared Leto started his own tweet along cinema club with Ferris Bueller’s Day Off. And director James Gunn recently joined in with a #QuarantineWatchParty of Guardians of the Galaxy. Meanwhile, on Facebook, groups like Celluloid Screams have used the Watch Party function to host their own movie marathons. Here the festival programmers provided intros for several horror films encouraging people to binge-watch all of them in a single day.

Also, platforms like YouTube have proven a great place for watch parties to be hosted. Actor Riz Ahmed recently hosted a live stream on the platform where he provided commentary on the film Four Lions along with the films other actors Kayvan Novak & Nigel Lindsay.

The appeal of these online events comes from knowing that you are watching these titles along with others. And that you are able to engage and interact with them. So keep an eye open for similar events coming up on these platforms. Or why not host your own?

3^rd Party Applications and Add Ons

There are also several applications and add ons you can use to interact with others while watching films. Video and voice chat applications like Skype, Messenger Video Call and Discord allow you to connect with friends and chat along together while watching something.

But there are also apps that allow simultaneous viewing of films with your friends. For example the Netflix Party application for Google Chrome. This app allows you and several friends to watch and text chat over the same show/movie on Netflix at the same time. However, it’s currently only available on Chrome. Other resources like Metastream also offer similar services. Finally, there are services like Kast. This application works on Windows and Mac; it allows you to connect with several other people and stream your computer screen to them. Allowing you all to sit back and watch a movie on your platform of choice.

These apps and add ons provide a great way to Netflix and chill with your friends while in lockdown.

Festivals

Finally, because many film festivals have had to cancel physical screenings, several festivals including the upcoming SXSW festival in America and Visions du Réel 2020 in Switzerland have opted to showcase their films and other content on the internet. Releasing films through subscription services or websites, hosting interviews and performing masterclasses online. Which when coupled with the social media and connective opportunities mentioned above will allow the public to remain in touch with film culture. So be sure to keep an eye out for more opportunities like this in the future.

Conclusion

With all these options provided by 3^rd party companies and online platforms, we have ample opportunity to connect together and still enjoy a social media experience during the lockdown.

With many filmmakers and stars providing opportunities for socialization the community has a great opportunity to interact with each other as well as creatives in the industry. Allowing us to gain extra insight into films and perhaps giving us some inspiration to make something for ourselves. And while it may not be the same as the cinematic experience, these apps and events will help us stay in touch. As well as allowing us to continue experiencing great movie moments with others.

Also Read: The Most Important Cinema In The World (To Me)

The post Share the Love in Lockdown appeared first on Big Picture Film Club.

Breaking Social Distancing

These days wanting to spend time with friends and family means that you have to come up with an enormous creative way of communicating. Whether it’s setting up a Zoom meet up with ten friends, a Whatsapp video call with your parents or a Messenger call with brothers and sisters, technology has never come handier then now. Friends Michelle (Lauren Compton) and Jason (Joe Daru) decided to go old school and to make a regular phone call. One that doesn’t only end with them reconnecting over the phone but also in real-life. What follows is an evening that can hopefully only happen during a lockdown.

Axia wasn’t only the director of this movie but also the cameraman, director of photography, editor, etc. He did a marvellous job as this short film oozes that typical Hollywood vibe: Colourful, witty, funny and over-the-top. The colours might seem a little bit too fabricated but for some reason, they fit perfectly with the storyline. A story that’s becoming more fun thanks to the entertaining performance of Daru and the uplifting acting of Compton.

Left Behind

Saying goodbye is never easy but when you’re surrounded by the people you love, it might be a little bit easier. Sadly, that latest isn’t possible due to the virus. However, that didn’t stop Diogo Caramujo to speak his boy and his wife one more time. In the short sci-fi film Left Behind, we hear his final goodbye. After sacrificing himself so that his loved ones could go to a non-contagious place, he’s speaking to his family and the public. He hopes that his sacrifices will be for nothing. The most important lesson we can get from this short film is without a doubt that we can’t take this planet for granted. Surely that’s something we all realize by now.

If not, then director Diogo Caramujo (yep, that name sounds familiar, right?) will make you aware of it with this captivating and intriguing “Left Behind”. For some of us, our lives feel like a sci-fi story right now but let’s hope we will never become as estranged and isolated as the man in this movie.

Corona Movie

Being stuck in a crowded elevator is never pleasant. There’s always the fear, uncertainty, and anger. If you add Coronavirus to that, you don’t only get an even more agitated situation but also the latest film from writer/director/producer Mostafa Keshvari. His Corona Movie tells the story of six people stepping into the same elevator, that gets stuck. At first, there’s the disbelief and slight panic and when coughing comes in and the word ‘Corona’ is mentioned, things are getting worse. What started as a normal elevator ride will turn into something else. In what? Well, that’s for you to discover in this gripping and extraordinary film. The fact that this film was shot in one take brings that tense and heated element to life.

End of the world?

It was announced that air pollution declined massively because of the Coronavirus. It seems that the virus is the cure to the sickness of the Earth, right? Well, according to Dushyant Kapoor and his latest short film, that’s the case. In End of the World?, he shows us two extremely eye-opening instances in which it’s clear that humans might be indeed the reasons why nature suffers and how that (indirect) affects future generations. Whether it’s not having access to basic needs or monumental buildings being torn apart by the force of nature, the people aren’t entirely as innocent as we seem.

Coronavirus: The Movie

Last but not least, there’s Coronavirus: The Movie, a short film by director Blake Ridder. We follow the story of Steven Ping, a man living in the UK who travelled to Wuhan to celebrate Chinese New Year. Sadly, for him, there wasn’t a cause for celebration when he got back. What started with him having a fever ended in getting the confirmation that no one wanted to hear: He tested positive for COVID-19. Will he be able to beat the disease or will he become one of the terrible statistics? If there’s one film that might make you even more paranoid, anxious or panicky about the virus, then it’s this one, especially because of all the coughing.

Also Read: Coronavirus: How It Has Affected The Film Industry

The post COVID-19 In Movies: Five Films About The Virus That Shook The Earth appeared first on Big Picture Film Club.

No Films means no work

As people self isolate and socially distance themselves, many “non-essential” industries have completely shut down for the time being. With no one having a good estimate of how long this situation will last, this has left many people out of work indefinitely. The people hit hardest by this decision are the ones at the bottom. Many Crew, Freelancers, and cinema staff have themselves without a job, it’s hard to make a film from home!

While many people working in pre and post-production are able to at least do some work from home, actors, camera, lighting, sound crews are all having to fend for themselves. Much of the industry revolves around freelance work, with individuals often going from one job to another and few jobs being permanent. Fortunately, some companies, like Netflix, have set up hardship funds, as have the BFI.

The main issue is the amount of freelancers, as they are self-employed, if a job is cancelled they have no support, although the UK Government has stepped in. In Hollywood, it’s estimated around 120,000 people are out of work, while in the UK the number is closer to 50,000. This situation is different for everyone, as some freelancers will have worked more than others and be in better conditions to take a hit. As the pandemic has spread across the globe, many shoots have been delayed before lockdowns began. This has caused concern, as many of the measures only apply to workers affected by having work cancelled from March, while many jobs have been cancelled well before then. Additionally, as most of these are freelancers, there is no furlough option.

However the longer this goes on the more difficult it will be for freelancers to survive. When “normality” finally does return, the job hunt will likely be even more competitive than it already is, as everyone looks to secure work. It is an incredibly difficult industry to get in with very little long term employment. With the whole industry looking for work at the same time, it will likely be very difficult for less established workers to find work.

Future of Cinema

Likwise cinema staff cannot work from home, although audiences can still watch films at home. Even before countries were placed on lockdown, many cinemas pre-emptively closed due to advice to avoid large gatherings, in the UK. Several of these cinemas let these staff go without pay, a move that was understandbly controversial. This decision has since been reversed due to Government relief in the UK, however this is not the case in the US. With no support in place, AMC Theaters are “paying staff for as long as they can” potentially risking huge losses. While the large chain cinemas are clearly struggling, many smaller independent cinemas may not survive without help

As an added worry, a new study suggests that audiences may be less inclined to go back to the cinema after the pandemic subsides. With cleanliness and proximity to other people on audience’s minds, as well as a lack of summer blockbusters, it could be a while. Another factor to consider is streaming, which has been a concern to cinemas for several years. Some studios, like Universal are releasing some films straight to streaming, while still in theaters. It remains to be seen if this will remain in place once they do reopen

While cinemas are struggling, this whole situation is obviously good news for streaming services. Disney + launched in the UK, with it’s sign-ups tripling as more and more people are stuck indoors, and has even released films such as Frozen 2 and Star Wars: The Rise of Skywalker months earlier than advertised. Meanwhile Netlfix may have to reduce the quality of it’s streaming in order to keep up with demand

These are certainly worrying times for everyone, whether in the film industry or not. But this period of uncertainty will help us appreciate the magic of cinema even more.

Also Read: Coronavirus: How It’s Affected The Film Industry

The post Coronavirus: How It’s Affected The Film Industry (Part Two) appeared first on Big Picture Film Club.

With the struggle against Coronavirus still going strong, I wanted to take some time to recommend five films currently streaming on BBC iPlayer that will help get you feeling more positive. These are all listed in order of when they leave the service, so be sure to hurry and check them out.

Lucky Jim (Leaves 7th April)

An old school treat. With his contract coming to an end history teacher Jim Dixon (Ian Carmichael) must do whatever he can to please his head of department (Hugh Griffith) to keep his job. But as the annoyances (the arrival of his boss’s son (Terry-Thomas), his involvement with a self-centered colleague and having to deliver a boring lecture on Merrie England) and distractions (His growing affection for Christine Callaghan (Sharon Acker)) mount up, Jim must consider if this job is really what he wants to do. Lucky Jim is a hilarious mixture of sarcasm, slapstick, and satire. With a pointed message about the pompousness of old establishments and fantastic deadpan delivery from the entire cast. If you’ve ever been stuck in a boring job that made you want to scream, this film will leave you in stitches.

Mindhorn (Leaves 20th April)

When a killer on the Isle of Man asks to speak detective Mindhorn (a fictional character from an 80s TV show) the police enlist the show’s star, washed-up actor Richard Thorncroft (Julian Barratt), to help them catch the killer. But Thorncroft seems more interested in reigniting his career than helping. Few people can do undeservedly pompous like Julian Barratt. Watching him trying to play a big shot actor come unwitting action hero is hilarious. And when backed up by some of Britain’s best comedy talent (Including Russell Tovey, Simon Farnaby, Steve Coogan, Simon Callow, and Kenneth Branagh) and a plot that continually gets more preposterous as it goes on, Mindhorn proves that sometimes laughter really is the best medicine.

Made in Dagenham (Leaves 20th April)

In 1968 Rita O’Grady (Sally Hawkins) leads the Ford Sewing Machinists in a strike. Demanding the female workforce receive the same pay as the male workers. But can the ladies achieve their goals when faced with fierce opposition from Ford, the unions, the government, and even their own families? Despite dealing with serious subjects Made in Dagenham is an incredibly positive experience. With beautiful presentation, an incredibly witty script delivered with gusto by the likes of Sally Hawkins, Andrea Riseborough, Bob Hoskins and many more and because of the darker moments, the characters experience bereavement, abuse and lack of funds, the sense of accomplishment when the girls finally achieve their goal is all the more satisfying. By the end, you will feel much more appreciative of the world we live in now.

Lara Croft: Tomb Raider (Leaves in 7 months)

Lara Croft (Angelina Jolie) goes up against Manfred Powell (Iain Glen) a man hired by the Illuminati to find the pieces of an ancient item known as “the Triangle”. Which when combined allow the wielder to control time. But the pieces must be combined before the end of the planetary alignment. Can Lara beat the bad guys before they get hold of this powerful weapon? While this film is flawed it makes up for it by being incredibly fun. The cast are all fantastic and are definitely having fun with their roles. The plot moves at a good pace so it never gets boring. The action is frantic but inventive, the mansion fight being a glorious highlight. And it has a very good dry sense of humor about itself. Sometimes cheese is the best cure for the blues.

Time & Again (Leaves in 10 months)

Former lovers Eleanor (Siân Phillips) and Isabelle (Brigit Forsyth) meet up after years apart in a nursing home and reminisce on why they separated all those years ago. But now they are together again can they put aside the past to be happy now? Time & Again is only 27 minutes long but it’s more impactful than films triple that length. With a biting but hilarious turn from Phillips and Forsyth’s sweet emotional performance playing beautifully against each other, Time & Again immediately hooks you and takes you on a rollercoaster of emotions. One minute you’ll be angry as you learn the couple’s history and then you’ll be laughing at their crabby banter. Ultimately the film leaves you, like the characters, optimistic for what will come. Time & Again is a short sweet love letter to what the future holds.

And so ends our list of titles on BBC iPlayer that will put a smile on your face. Please let us know what you thought of our selections. And be sure to check out our suggestions for feel-good movies to watch on Netflix. Stay safe and stay happy everyone.

BBC iPlayer is available for free in the UK, check all the films here.

Also Read: 5 Feel Good Films To Watch On Netflix

The post 5 Movies on BBC iPlayer That Will Make You Smile appeared first on Big Picture Film Club.

Releases Delayed

In an effort to stop the spread of the virus, people were advised against attending large gatherings, such as concerts and weddings, with many being cancelled or postponed until a later date.

The 007 Franchise is one of the biggest, with the latest instalment carrying lots of positive behind the scenes buzz. In addition, it will also be the swansong for Daniel Craig’s version of James Bond. Originally scheduled to release on April 2nd, and at the height of marketing, with the title theme released and press tour about to begin. It will now release in November, a whole eight months later, in light of the Coronavirus situation.

Bond was arguably the biggest release of the summer, but it was shortly followed by several others, including Mulan, Peter Rabbit 2, A Quiet Place 2, Black Widow and ironically Fast 9, as well as some smaller releases.

Perhaps one of the biggest casualties is The New Mutants, which has now been delayed four times, from its original date of April 13th, 2018. Currently, there is no release date, like most of the delayed films, although it could still happen this year.

Productions Stopped

In addition to completed films having their releases delayed, films and many tv shows, are halting production, films like Matt Reeves’ “The Batman”, “Mission Impossible 7” “Jurassic World: Dominion” “The Matrix 4” and the third instalment in the Harry Potter prequel “Fantastic Beasts” series have all suspended production..This is all done for the health of cast and crew as well as an effort to stop the spread of the virus.

While these delays are understandable, they will likely have knock-on effects. While many of these films are not due for release until next year at the earliest, depending on how long this situation goes on for, this could result in some of, if not all, these films being delayed due to the new timetable.

Film release windows are a delicate science, with studios needing to consider potential competition, as well as the target audience and other factors when releasing a film, so some of these films could have severe delays, such as Fast 9 being delayed by a full year.

Festivals Cancelled

As part of cancelling large gatherings, many film festivals have been cancelled, including SXSW. This is a major blow to countless independent and smaller budget films that count on the exposure gained from these festivals to get distribution. Cannes is working on a backup plan, a “virtual marketplace” where films can be screened, and presentations from filmmakers. It would also allow for video meetings, for deals to be hashed out and more.

New Releases Streaming

With most cinemas closed, the few films that are releasing aren’t bringing in big numbers at the box office. As a result, several studios, like Universal, have released their films online, with some on the same day as they are released in theatres. Frozen 2 and (soon) Onward can also be found on Disney+. While this is a simple and effective solution to the current isolation measures put in place, it does bring into question the future of cinemas and new releases. Traditionally there is a gap of several months between a theatrical release and a film being available on demand. With these extenuating circumstances, this “rule” no longer applies. Christopher Nolan recently wrote a letter in defence of cinemas.

It remains to be seen what kind of effect this will have on digital releases in the future. Jason Blum predicts that there will be a change after the pandemic has subsided, with fewer films being given theatrical releases or having shorter runs in theatres. Netflix has encountered this problem, giving The Irishman a short stint in cinemas upon its release in order to qualify for Oscar nominations. This could give streaming another leg up over cinema, if people can watch a new release at home or go to the cinema, which would they choose?

Hopefully, cinemas will still be around for a long time yet after this crisis is over, even if we might have to wait a little longer for some of this year’s big releases.

Also Read: The Simpsons’ Obsession With Films

More: Coronavirus: How It’s Affected the Film Industry (Part 2)

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