Together the films present an exciting and vibrant collection of stories exploring cultural heritage, historic curiosities, devoted communities, and ways individuals navigate modern life.

The Foundling by Leo Crane is an untold tale of abandonment and dreams. 144 Units by Ian Gouldstone was inspired by the inhabitants of the tower block in which he lives, and focuses on the mundane objects that make up daily living. Anushka Kishani Naanayakkara’s A Place to Think is a meditative film, inspired by the architecture and natural environment found at the Amaravati Buddhist Monastery. Sir John Lubbock’s Pet Wasp is by Osbert Parker and Laurie Hill and is one of their trademark ‘strange but true’ tales, inspired by turn of the century Victorian Sir John Lubbock’s story and his scientific writings on Ants, Bees & Wasps. The Stereoscopic Society from Kate Sullivan tells the story of the 3D enthusiast club of the same name.

The films will be launched on Instagram and Vimeo throughout November, shown in in the Anim18 newly commissioned VR Gallery at QUAD, Derby, from 1 November to 3 January 2019.

Anim18 is a UK-wide celebration of British animation, taking place from April to November 2018. Led by Film Hub Wales and Chapter (Cardiff) working with the BFI Film Audience Network and project partners, Anim18 showcases the best of British talent – past, present and future – through a programme of screenings, activities and events across the UK.

It was in 1890, whilst testing the viability of a tunnel under the Channel, that diggers at Shakespeare Cliffs near Dover, struck coal. Looking at maps, this made sense. If you were to draw a line between the coalfields of North Wales, Lancashire, the Black Country and mines in the north of France, Kent was right in line. It was estimated that here, in a corner in the south east of England, was ten billion tons of workable coal. Under the Chamberlain government, 18 pits were dug in the area, with it being announced in 1926 that Kent could be a new industrial black country, and one that was close to London, cutting the costs of fueling the capital.

But Kent had no history of mining, and so workers were recruited from Scotland, Nottingham, Lancashire, Wales, and other areas with a mining history. It’s these families that the film focuses on. The families of Aylesham, Betteshanger and Snowdown, villages that mining was at the centre of.

Mining always seems to have brought with it tensions and tussles. Earning more than the agricultural workers, a divide was created by the newcomers and locals right from the start. Those used to seeing green fields were worried that dirt and spoil heaps would tarnish the land. Of course, there are the strikes in the eighties, when coal towns became dark and desolate places to be, surviving only through the warmth and community that this film so brilliantly conveys existed. And the debate between the Betteshanger Pie and Snowdown Pasty, one of the biggest rivalries of all.

The film seamlessly links the history and heritage of the Kent mining towns with the development and regeneration in the county today. Villages that were almost wiped out when the collieries closed are being given funding and attention to help rebuild their communities. A Century of Coal aims to support that through raising money for the building of a mining museum, green hub and leisure space at the site of the old Betteshanger colliery. It’s not just a story about yesterday, but one that has relevance to today.

There was a certain demographic in the Marlowe Studio for The Century of Coal. Most of the audience were older and wiser than me, and as the post-screening questions revealed, had mining in their history and in their blood. I enjoyed learning more about a story I’m unfamiliar with, despite it taking place so close to home. It’s a part of history that I knew nothing of, and now feels relevant. The way of life might be gone, but the story lives on.

Charlotte Hatherley spoke about how the alien dystopian worlds of the films that she has been working on have influenced her own musical output. So much so that she embodies the feel, and will be dressing as an alien on stage for her forthcoming gigs. Soundtracks for her are the music she enjoys, offering an immersive way to switch off and enjoy the soundscape.

‘Music is my first love.’ said director Barry Adams. He  tells stories through music, with the visuals almost an afterthought. It’s not just music, but sound that creates the evocative landscapes and action of his thriller and action movies.

Summer Camp’s love of teen movies, came together in threads at the start of their career, with their first albums saturated with cinematic references in an almost band. manifesto. Elizabeth and Jeremy described their songs as ‘characters in our own little weird teen movies’ on albums that sounded like ‘chewed up VHS tapes.’ Both are currently working on film soundtracks, and expressed how inspiring movies continue to be, with there being a creative prompt to respond to an idea and visuals.

Geremy Jasper is another who loves music, and he finds that music and film are part of the feedback loop of life and art. In film it’s another language, and he uses music as a source of information to convey how characters would feel and viewers should feel. But that’s not always a conscious process. Stimulus goes in and is reimagined and conveyed in a cinematic sense.

It was interesting to hear how the musicians used film, and the directors were more interested in music, proving how creativity and art can not be confined to specific boxes.

Directed and choreographed by Craig Revel Horwood, the singing and dancing is generally understated, with sporadic and overt set jokes put in place. A highlight was the slow motion battle between gangster and nuns in one of the final sequences, clever lighting slowing it down and heightening the comedic effect.The lit church arches of the stage are evocative (Matthew Wright, Set Designer and Richard G Jones, Light Designer) and even more so once Sister Mary Clarence has brought glitter and disco to the cloisters.

The cast of sisters (Karen Mann as Mother Superior, Susanna Van Der Berg as Sister Mary Patrick and Alice Stokoe playing Sister Mary Robert in particular) are charismatic and lively, working best as a collective rather than stereotyped individuals. But there’s little emotion in the audience, and it’s unclear whether this is impacted by or impacting on a lacklustre performance. Alongside some of the dated jokes is a lovely sense of sisterly solidarity and the beauty of compassion and friendship that can overcome anything.

Although overall a little average, and with some dated jokes, Sister Act is a lovely sense of sisterly solidarity and the beauty of compassion and friendship that can overcome anything. A story of music, friendship and the uplifting power of soul in all its forms.

Everyone loves a secret,to be part of a club. A chance to play and absorb yourself in a world removed from reality. Reinvention and the dawn of a new story are alluring concepts. It’s this has fuelled the success of Secret Cinema, and has meant that for each run thousands of people part with plenty of pounds and devote days of preparation to, essentially, watch a film they have probably seen many times before. This latest instalment of the immersive cinema experience is their 21st, and it’s something of a chic celebration. The experience starts as soon as you book. Dress code instructions are provided (1920s this time), and printed props provided. We’re encouraged to read manifestos from the ‘politicians’ from the world we will be entering, although on arrival it is clear who really runs the ‘town.’ Everyone is given an identity, necessary to vote on the day. It’s a world of illicit rendezvous and shady dealings, where from the moment you arrive everyone is in on the secret.

We are shepherded into the underworld. There are around three hours of ‘free time’ before the film, which is three hours to wander and explore the myriad of rooms given over to sets and scenes. Standing chatting to my friend we are suddenly whisked away into a whirlwind of drama as a ‘gun’ fires and a car whizzes into the midst of the crowd. We then wander up stairs and down stairs, and in every corner, as much as we seek proof that this is a modern building and we are in 2014, there seems to be no detail not covered, from posters to letters to drinks to window dressing. Attention to detail is exquisite, and is one of the reasons why more time is spent on the set than watching the film.

It can be tough. Actors play their characters constantly, and audiences are encouraged to be the same, making even simple questions such as ‘what time does the film start?’ impossible. This was my second Secret Cinema and was more of an experience than a great night out like the first, and at times we were a little unsure what to do with ourselves. The abrupt personas of the actors started to grate a little at times.

But this is why you have to leave the ‘real world’ outside (although where that real world and this fantasy one sit becomes increasingly blurred, as even windows down the street are done out in 1920s style).  There’s liberation in giving yourself over to this adventurous and unpredictable world. Secret Cinema describe their fuel to be ‘a desire for serendipity, experiences and beautiful random happenings.’

Secret Cinema 21 is running until May 25th. Tell everyone.

be available.

Secret Cinema believes passionately in building a more romantic, adventurous and unpredictable world. We are fuelled by a desire for serendipity, experiences and beautiful random happenings.

Musicians and creative artists from across the region came together to record the 45 min programme at North East Recording studios based at The Garage, South Shields.

Inspire by the 1980s TV show The Tube, produced in Newcastle for Channel 4 by Tyne Tees Television and presented by Jools Holland and Paula Yates, the project was started by Chay Blyth, and has been produced entirely by volunteers, who recognise the value of supporting their local music scene.
Colin Simpson, cameraman for the show says that ‘It’s nigh on impossible to get heard if you’re from anywhere north of Manchester, which is a shame because there’s hundreds of really hard working bands round here that are just as good, if not better, than what’s being mass-marketed nationally and internationally, they just haven’t had a national platform until now.’
Come Autumn the show will be aired on Sky TV, but until then, catch the first episodes here, or have a look at the trailer for episode five below…
[youtube http://www.youtube.com/watch?v=vS5W15d_zsM]