Created by Big Picture Film Club with matchmaking service Introducing Two, Film & Flirt mixes speed-friending, themed games and casual conversation with an independent rom-com screening. The first event takes place at Genesis Cinema on Tuesday 14th April, with more dates planned through the summer.

The series is aimed at singles feeling the effects of “swipe fatigue.” Research cited by the organisers says 78% of dating app users feel burned out, but keep swiping because they don’t know where else to meet people.

“Many dating apps have left people exhausted and disconnected,” said Urvisha Patel, creator of Film & Flirt and co-founder of Big Picture Film Club. “We’re creating a space where you can meet someone face-to-face, over drinks, with no algorithms involved.”

The film screening for the first event will be the British romantic comedy Due Dating, a 90-minute feature that follows Cherry, a young woman determined not to let pregnancy derail her dating life, and Cole, a blogger trying to better understand modern relationships. With the tagline “Young, free…and pregnant,” the film explores love, timing and the unpredictable ways people connect.

By pairing social matchmaking with independent cinema, Film & Flirt aims to create a space where conversation and connection come first — while also introducing audiences to new films.

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The Kitchen features Top Boy star Kane Robinson (aka Kano) as the lead character Izi. The setting is a dark and futuristic version of London, which is quite fitting for a filmmaker who made his big breakthrough as an actor in Black Mirror. The story focuses on a ghetto occupied by people from the bottom of society. Leading actor Kano plays a desperate man who plans to make it out of the kitchen at all costs.

Daniel talked to GQ and expressed his thoughts about The Kitchen in detail. I liked his words about the dehumanisation of his people and how he intends for his movie to humanise them. The writer observed that in The Kitchen ‘there is no why, to the oppression and the violence that befalls the residents’. The essence of Daniel’s response is the why, is a privilege that these people don’t get. The people of The Kitchen don’t get to know why bad things are happening to them. They just have to deal with them.

“All the people I grew up with are gone, have left the estate that I grew up in. I was one of the last people that stayed”

– Daniel Kaluuya, GQ Interview

Casting Ian Wright was an interesting choice. Fans of his will be happy to see him play Lord Kitchener, the Pirate Radio broadcaster. This may lead to a whole new career for the ex-professional footballer. I found an interview with Wrighty, which delves deeper into his personal experience of The Kitchen.

Another good choice was bringing in Labyrinth to work on the soundtrack. The Radio Times interviewed The Kitchen’s Co-Director Kibwe Tavares about his sonic aesthetic. When you look at the track listing, some of the artists look like they come from a Kitchen version of London. I recall hearing the likes of Ruff Squad and Donae’o during the movie too. Lord Kitchener dropped some bangers for his residents. You can subscribe to Apple Music here and check out my playlist of songs from the movie.

The Kitchen’s themes include poverty, gentrification, police brutality, family, community and the underdog’s struggle for a brighter tomorrow. Legendary Grime artist Kano has become an accomplished actor and puts in a strong performance. I found the scenery to be very well put together and wondered where the directors may have drawn inspiration from. If you liked The Kitchen, you might enjoy what may have inspired it too.

Black Mirror

This long-running Netflix series is known for being a dark, violent and often futuristic critique on society. Daniel Kaluuya had a stand out role in a short film where he played Bing, a man who reaches the end of his tether. It’s no coincidence that the 15 Million Merits star has similar elements in his directorial debut.

Top Boy

There’s an obvious Top Boy connection in The Kitchen – Kano played a starring role in Top Boy as Mafia boss Sully. Some may also recognise another familiar face from that show. Hope Ipoku Jr played Aaron, an aspiring student who was the younger brother of a notorious gangster. In The Kitchen, Hope becomes Staples, the leader of a pack of brazen youths. Another connection that may not be so obvious involves a spoiler for those who haven’t seen the highly-rated Netflix show. I’ll spare you the details, but I couldn’t help thinking that the final season of Top Boy must have been a huge inspiration to Kaluuya. If you watch it, you’ll see what I mean.

Blade Runner

Alien director Ridley Scott made another epic sci-fi movie which will be remembered as one of the greatest in Its genre. Blade Runner was originally released in 1982, then brought back to life with an awesome sequel decades later in 2017. I would recommend watching both. There had to be a Blade Runner comparison even if it is a bit of a reach. It’s a tale of people struggling to survive who are being pursued by law enforcement. For me, this firmly puts The Kitchen in Blade Runner territory. Especially when you look at Blade Runner’s gritty futuristic backdrop. A lot of other movies were inspired by that too.

Alita: Battle Angel / Gunnm

A classic Manga and Japanese animation published in 1993. The story is an emotional one centred around a surrogate father and child relationship. A bit like the relationship between Izi and Benji in The Kitchen. It’s another futuristic setting where the struggling protagonists fight for a better tomorrow. The 2019 live-action version is an excellent adaptation. Written by James Cameron, directed by Robert Rodriguez, staring Christopher Waltz and Mahershala Ali. With credits like that, Alita: Battle Angel was always going to be good.

Also Read: Retro Review: Blade Runner at 40

The post If You Enjoyed “The Kitchen” You Might Enjoy These Too appeared first on Big Picture Film Club.

Friends of BPFC, director Tim Porter and actor Kadeem Boyce give us the lowdown on holding down jobs whilst manoeuvring through the film industry, Haven – Tim’s film screened at one of our earlier screenings, and the issue of mental health within the entertainment industry.

Listen on our Soundcloud channel and don’t forget to like, follow and share!

Episode 004 ft Tim Porter & Kadeem Boyce

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Listen on our Soundcloud channel and don’t forget to like, follow and share!

Episode 003 ft Ani Laurie & Annika Allen

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In Episode 2 of The Big Picture Film Club Podcast, host Presh Williams speaks with Johnny Sachon & Katie Goldfinch. Discussions issues such as sexism, the creative filmmaking process, networking, and the future of short films.

Listen on our Soundcloud channel and don’t forget to like, follow and share!

Episode 003 ft Johnny Sachon & Katie Goldfinch

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Episode 1 featuring film makers Damien Swaby and Graham Higgins, discussing all things film including tech, funding and distribution.
Hosted by Presh Williams.

Listen on our Soundcloud channel and don’t forget to like, follow and share!

Episode 003 ft Damien Swaby & Graham Higgins

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Big Picture Film Club took a trip to one of the most talked about art exhibitions this summer: Daydreaming With Stanley Kubrick, held at London’s Somerset House. The exhibition featured a variety of paintings, installations, videos, and sculptures inspired by the late cinematic genius Stanley Kubrick. Much like Quentin Tarantino, George Lucas & Ridley Scott after him, Stanley Kubrick’s impressive body of work has given him a cult-like following, particularly after his death in 1999.

Curator, James Lavelle, has done an excellent job in putting together this mix-media exhibition. The 45 works on display flow effortlessly together and make for a seamless and captivating experience. While there were many great pieces of work on display, in no particular order here are some of our favourites from the exhibition:

1) Life, by Dexter Navy

This piece was distinct, in that it references current social commentary of civil unrest, as opposed to directly taking from Kubrick’s films. However, the intricate use of colour in this piece was inspired by the work of Kubrick.

2) Various Works, by Philip Castle

Airbrush artist, Castle, who designed the original poster’s for Kubrick’s A Clockwork Orange & Full Metal Jacket, gave the iconic posters a contemporary redesign, and showcasing a never used alternative design for Full Metal Jacket.

3) Camera A, Scene 136, Take 1, by Thomas Bangalter

Bangalter, one half of electronic duo Daft Punk, exemplifies what Kubric’s work is about with his simple, yet powerful video piece. The slow-mo clip features a person walking calmly through a pitch darkness engulfed in flames – the fire providing the only source of light, illuminating the ground below.

4) In Consolus – Full of Hope and Full of Fear, by James Lavelle & John Isaacs ft Azzi Glasser

Immediately the senses are treated to an overload of sight, sound and smell. The clearly recognisable, Lolita inspired giant teddy bears gives a sense of fun and playfulness whilst the darkness of the room and the juxtaposed neon love sign hints at sinister undertones. Empty pantry boxes reference The Shining, 2001: A Space Odyssey inspired scent from perfume designer Glasser fills the room, whilst the soundtrack comes courtesy of: Detroit techno pioneer Carl Craig, Italian dance ensemble Planet Funk – Domenico “GG” Canu and Marco Barani, spoken word artist and designer Michele Lamy, and UNKLE collaborator Elliott Power.

6) Das Problem der Befahrung des Weltraums, by Norbet Shoerner

Norbet created a 360° virtual reality recreation of the Discovery One space. Breath taking in its redesign, fans of 2001: A Space Odyssey will feel as if they have been dropped right into the movie. Definitely one of the key highlights of the exhibition!

7) History Painting, by Marc Quinn

Quinn draws from media reportage of social unrest, amplifying the sense of violence and unease with the contrasting use of colour.

8) The Shining Carpet, by Adam Broomberg and Oliver Chanarin

Immediately recognisable, no Kubrick exhibition would be complete without the iconic print carpet from the Overlook Hotel. The print continues to inspire artists of all mediums.

9) Clockwork Britain, by Paul Insect

Famous for his street art, Insect alludes to violence and the alienated youth in A Clockwork Orange by fusing 60s pop art and contemporary street art with the use of bold colours and the Union Jack motif.

10) Metanoia, by Polly Morgan

Morgan explicitly exhibits the implicit sexual imagery we see from Alex and his Droogs in A Clockwork Orange. The downward pointing triangle is traditionally referred to as the chalice, symbolising the flow of water, the grace of heaven, and the womb – an ancient symbol of female divinity. Seeing this stuffed uncomfortably with a serpent, provokes very real feelings of disturbance just as when we watched those awful scenes in the film itself.

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Big Picture Film Club is back! Our next event, Love & The Abstract, is an exploration of relationships, love, and the difficulties they have to overcome. We have curated a list of 5 short films, from an array of talented filmmakers, each tackling a unique perspective on love and relationships. Check out our film list below:

Signs Of Silence (Director, R.M. Moses) – Born into a world of silence, Eli finds himself not able to communicate well with people. Mainly because not everyone understands sign language. This has impacted his self-esteem and confidence. This is Eli’s story of how difficult life can be when you aren’t being heard.

Anchor (Director, Dan Horrigan) – Devotion is an exploration of grief, and love gone dark. It’s a story about the human shadow, how it can overwhelm us if we don’t learn to live with it.

Love Me Tinder (Director, Sami Abusamra) – Love Me Tinder is a dark comedy about an encounter between two lonely strangers. A man spends an awkward evening with an older woman after they match on a dating app. Meeting each other is easy, but as their night progresses connecting proves to be much more difficult.

Populace (Director, Dan Horrigan) – Set in 2097 it follows a day in the life of John, a clone who works for the Tyrannical, Orwellian “Populace” corporation. His world is turned upside down when he is forced to choose between the woman he loves and the reason he was created.

Tickets: http://loveandtheabstract.eventbrite.co.uk

Click here for the Facebook Event Link.

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Big Picture Film Club held a screening of psychological-thriller, Mile End , earlier this month. We had a brief Q&A with the film’s writer, director and creative architect, Graham Higgins.

Big Picture Film Club: What inspired you to create MILE END?

Graham Higgins: The idea for MILE END was inspired by real events when a jogger tried to high five me in the street and it started me thinking, what could have happened if I’d got to know him? I go running by the river in Limehouse, in east London where I live. I find that running is very liberating. It frees up your subconscious. So as I was running, this story which is very psychological would just come to me, and I would rush home and write it all down.

BPFC: Not to give too much of the plot away, but MILE END plays on the duality of the main character – what inspired this direction?

Graham: That’s the main question at the heart of the film – the enigma about the parallel lives of the two main characters. These two unemployed guys meet by chance while they’re out running and they become running mates. And they develop a bond, which is quite strange.

Many of us will have experienced that uncanny feeling when someone says something, the same thing we have just been thinking ourselves, and it’s curious how people can have the same thoughts at the same time. You could say it’s coincidence, but perhaps there is something else going on – something spiritual or an affinity between us that we don’t really understand.

During the story, three people are killed in strange circumstances and the film poses the enigma: what happened to them? The answer lies somewhere in the psychology of these two guys, and it’s up to the audience to decide what has happened.

BPFC: What aspect of the film do you think would surprise anyone who sees it?

Graham: MILE END is unique in that it’s my very personal take on what I call the ‘stranger danger’ thriller. People will be familiar with the genre from movies like ‘Single White Female’ where an innocent person meets a dubious stranger. But I’ve given it my own slant, which is to create a story that is deliberately ambiguous. People do find it refreshing that the film keeps them guessing and enjoy trying to figure out what has happened.

It’s also a very different take on the East End of London. There are no gangsters. It’s about an office worker who lives on the fringes of London’s banking zones, the City and Canary Wharf. He loses his job in the recession and goes running while he’s trying to get back into work.

The cinematography by Anna Valdez Hanks really captures the unique beauty of that washed out London light by the Thames, and also the ominous presence of the banking district of Canary Wharf which looms over east London. The music by Ed Scolding is very clever, you don’t feel like you’ve heard it before. One of the reviewers described the film as “beautiful and unsettling” and audiences have found it surprising that a film can have both those qualities at the same time.

BPFC: What are your plans for MILE END moving forward?

Graham: We’re currently submitting to international festivals, talking to distributors. The film premiered at Raindance where it was nominated for Best UK Feature, which was a great experience, so we’re looking forward to more festival screenings. We plan to have a limited theatrical release in independent cinemas next year and then digital release after that.

BPFC: Do you have any projects in mind for the future?

Graham: I have two other feature scripts I’ve written, set in east London. So the three films will be a loose ‘Limehouse’ trilogy. I’d like to make those over the next few years. I also have a drawer full of ideas for other features and a few books I’d like to adapt.

BPFC: How was the feedback from the film?

Graham: Amazing. Reviews have been really positive, picking up on the financial crisis theme, and also saying how “absorbing” and “compelling” the film is. The central performances by Alex Humes and Mark Arnold have rightly had a lot of praise.

One audience member described the film as “full of charm and darkness”, and I think audiences have really found it intriguing and gripping. It’s what I would call a European-style psychological thriller, and people have definitely come out feeling very affected by it. The suspense really ramps up as you go deeper into the story and you do notice audiences going very quiet as they’re drawn in.

Big Picture Film Club would like to thank Graham Higgins , and the entire cast and crew of Mile End. Look out for future screenings!

Follow Mile End on Twitter: @mileendmovie

Follow Big Picture Film Club on Twitter: @BigPicFilmClub

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Following a successful screening of Night Bus, at the launch of the Big Picture Film Club, we caught up with Simon Baker, director & producer of the independent feature-length film.

BPFC: What first got you into video production / directing?

Simon: I first started playing around with video cameras when I was about 16. I went to film school in the 90’s, and got a job a runner when I left, I worked as an editor for a few years before getting a break as music video director and went on to commercials/ short form content.

BPFC: What was the inspiration behind Night Bus and how difficult was the production process?

Simon: The inspiration was two-fold – firstly I had a few experiences on Night Buses that I always thought would be good material for a drama, and secondly, as an (aspiring) indie filmmaker, I needed a simple idea, preferably a single location idea – when the two came together it seemed perfect.

BPFC: Which one of your projects has been the most fun to work on?

Simon: I have to say Night Bus as it’s the only time I have been able to do whatever I wanted.

BPFC: What is your favourite British Independent film (and why)?

Simon: Too many to say – and also these days it’s unclear what exactly defines “Independent”. I’ve always been a huge fan of British realism, from Mike Leigh to Ken Loach, Shane Meadows. One of my favourite films has always been Mike Leigh’s “Naked”, but there is so much more.

BPFC: What is the best piece of advice that you could give to people interested in becoming a filmmaker?

Simon: Get stuck in – film can be quite daunting, as it relies on so many other elements and people, rather than other creative mediums which are more self-sufficient. But don’t let that put you off, pick up a camera, get out there and shoot something – these days cheap cameras are incredibly good, and you can edit/finish at home – something you could never do when I was young. The more you practise and experiment the better you will become. Don’t just sit around talking about it – do it.

BPFC: What projects do you have lined up for the future?

Simon: I am working on the follow up to Night Bus – it’s called “90 Minutes” and is set on Hackney Marshes, a film about football that’s not about the football. I’ve written the script and am exploring production options right now.

Big Picture Film Club would like to thank Simon Baker and everyone involved in the making of Night Bus.

Follow Simon Baker on twitter: @elcardinale

Follow Big Picture Film Club on Twitter: @BigPicFilmClub

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