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POP UP CINEMA BRIGHTON
UPCOMING EVENTS
7.20PM THURSDAY OCTOBER 30TH
DON'T LOOK NOW + Q&A
4K RESTORATION
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This screening will be followed by an in-depth discussion with special guest author Justin John Doherty, who—following appearances at venues such as Cult Plex Manchester and BFI Southbank—will join us to discuss the film and his stunning new coffee table book, DON’T LOOK NOW AND THEN. Featuring hundreds of previously unpublished photographs and documents, the book offers a fresh and intimate glimpse into the making of Nicolas Roeg’s masterpiece. It also brings together historical writing and archival material from those involved in the film's original production, along with new contributions from the likes of Mark Jenkin, Reece Shearsmith, Carol Morley, and Stephen Woolley.
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Widely regarded as one of the greatest British films of all time—even among a remarkable run that includes Performance (1970), Walkabout (1971), and The Man Who Fell to Earth (1976)—Nicolas Roeg’s Don’t Look Now is often considered his crowning achievement.
Adapted from a short story by Daphne du Maurier, the film stars screen legends Julie Christie (Darling, Doctor Zhivago, McCabe & Mrs. Miller) and Donald Sutherland (M*A*S*H*, Klute, Invasion of the Body Snatchers, Ordinary People) as John and Laura Baxter, a couple grieving the recent death of their young daughter following a tragic accident. While in Venice, where John has been commissioned to restore one of the city’s churches, Laura encounters a pair of sisters who claim to have made contact with the couple's deceased child. But it’s only when John begins seeing strange and unsettling visions in the city’s labyrinthine streets that he starts to question the boundary between the living and the dead.
Considered by some a psychological horror and by others a supernatural thriller, Don’t Look Now is, at its heart, a profound meditation on grief—and one of the most exquisitely crafted, relentlessly unsettling films in all of cinema. Presented here in a stunning 4K restoration, experience Roeg’s haunting masterpiece on the big screen and then stay with us after the film for a special Q&A to gain deeper insight the film's production and enduring power.
6.55PM FRIDAY OCTOBER 31ST
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GUILLERMO DEL TORO'S
CRIMSON PEAK
4K REMASTER
10TH ANNIVERSARY
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Guillermo del Toro — the visionary behind Pan’s Labyrinth, the Best Picture Oscar-winning The Shape of Water, the stunning recent Pinocchio animation, and Netflix’s upcoming $120 million Frankenstein — flexes his gothic-romance muscles in this often-overlooked yet gorgeously crafted modern classic, celebrating its 10th anniversary this year.
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One of the most ornately designed gothic films ever made, Crimson Peak is a visual feast. Drawing on inspirations such as The Haunting, The Innocents & The Shining, Del Toro’s signature lavish production design and richly detailed aesthetic are on full display in this director-approved 4K transfer — a version that absolutely deserves to be experienced on the big screen. Within the film’s grand and hauntingly beautiful sets, flashes of grotesque horror and moments of genuine spookiness emerge, creating one of the most chilling and visually arresting pieces of cinema in recent memory.
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Set in the 1880s, the story follows aspiring writer Edith Cushing (Mia Wasikowska), who is haunted by the ghostly memory of her mother. When she falls for the enigmatic Sir Thomas Sharpe (Tom Hiddleston), he whisks her away from Buffalo, New York, to his ancestral home, Allerdale Hall — a crumbling Gothic mansion built atop blood-red clay in the remote English countryside. But the decaying estate seems to possess a sinister life of its own. As Edith tries to adjust to her unsettling new home, she soon suspects that Thomas and his cold, mysterious sister, Lady Lucille Sharpe (Oscar winner Jessica Chastain), may be hiding dark and terrible secrets.
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A true masterpiece of decadent design and gothic storytelling, Crimson Peak is unmissable this Halloween. Catch it in our special early evening screening — or make a night of it with a discounted joint ticket for our late-session showing of Dario Argento’s Deep Red, for a back-to-back Halloween double bill drenched in blood-red horror and scarlet-tinged spookiness.
10PM FRIDAY OCTOBER 31ST
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DARIO ARGENTO'S
DEEP RED
4K RESTORATION
50TH ANNIVERSARY
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Dario Argento — the wonderfully deranged Italian horror maestro behind genre-defining classics like Suspiria, Tenebrae, and The Bird with the Crystal Plumage — brings us what many fans consider his greatest work, and the ultimate giallo film: Deep Red. Celebrating its 50th anniversary, this special late-evening screening on Halloween night.
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Late one evening, while wandering the streets of Rome, English jazz pianist Marcus Daly (David Hemmings — Blow-Up, Gladiator) witnesses a brutal axe murder through the window of a high-rise apartment. Rushing to the scene in an attempt to catch the killer, Marcus finds he’s already too late… or is he? What unfolds is a deliciously twisted mystery that draws both Marcus and eccentric journalist Gianna Brezzi (Daria Nicolodi) into a surreal web of murder, memory, and misdirection.
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Deep Red is a hyper-stylised noir drenched in Argento’s signature aesthetic — with arguably the most dazzling cinematography of his entire career, all underscored by a pulsing, prog-rock soundtrack from his legendary collaborators, Goblin. Released at the height of Italy’s giallo craze — a movement defined by stylish, violent murder mysteries — Deep Red features some of the most inventive and shocking set-pieces in all of horror cinema. While Suspiria (made directly after this) may be Argento’s most famous film, Deep Red presented here in a gorgeous new 4K restoration of it's full length original cut, is widely considered his crowning achievement, where his cinematic trademarks are at their most refined and ferociously imaginative.
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Join us for this terrifying late-night screening — or make a full night of it with a joint discounted ticket for our earlier showing of Guillermo del Toro’s Crimson Peak, for a Halloween double bill soaked in blood-red horror and lavish, scarlet-tinged spookiness.
7.30PM TUESDAY NOVEMBER 11TH
ROBOT DREAMS
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With a thoroughly deserved 98% on Rotten Tomatoes, Pablo Berger's Oscar-nominated Robot Dreams is, without a doubt, one of the most tender and touching films in recent memory. Unlike any animated film you've ever seen, its beautifully crafted, pop-coloured world and deceptively simple storytelling unfold into a masterful, gorgeously wistful tale of love, friendship, loss, and hope — one we truly can't recommend enough for big screen viewing.
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Set in 1980s Manhattan, the story follows Dog, a solitary figure navigating life in the big city. One day, after seeing a television advert, he orders and assembles a robotic companion. What follows is the blossoming of a beautiful friendship, as Dog introduces Robot to the wonders of New York. They become inseparable — until one fateful summer evening, a malfunction forces Dog to make an impossible decision. Will they ever find their way back to each other?
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This bittersweet tragi-comedy is an ode to loneliness and the quiet resilience needed to overcome it. It's a poetic meditation on connection, memory, and hope. Eschewing the usual tropes of exploring 'evil AI' or ironic humour that plague so many animated features, Robot Dreams offers instead a profoundly human story — one that earns its place among the most affecting pieces of cinema ever made.
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At once achingly melancholic and radiantly hopeful, it's a film that will stay with you long after the credits roll — and you'll never hear Earth, Wind & Fire’s “September” the same way again.
7PM SATURDAY NOVEMBER 15TH
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ALFRED HITCHOCK'S
TO CATCH A THIEF
4K REMASTER
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This past year has seen the return of one of cinema’s most exciting formats, with The Brutalist, One Battle After Another, the new Emma Stone / Yorgos Lanthimos collaboration Bugonia, the upcoming Tom Cruise / Alejandro G. Iñárritu project, the latest Margot Robbie / Jacob Elordi / Emerald Fennell film, and new works from both M. Night Shyamalan and Greta Gerwig — all utilising the classic Paramount VistaVision process.
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But what is it that is proving so irresistible to modern filmmakers, it has prompted a widespread revival of a format that lay dormant for over sixty years? The answer lies in the magic of the select group of films produced during VistaVision’s original heyday. Over this very special VistaVision Weekend, we present two of the most significant titles from that extraordinary list.
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The very first Hitchcock film to employ VistaVision (he would go on to make four more), To Catch a Thief stands as easily the director’s most glamorous work and comfortably sits among the upper echelons of his remarkable filmography. Pairing Cary Grant with Grace Kelly — fresh from her Best Actress Oscar win — Hitchcock transports us to the glittering French Riviera for a sun-soaked romance between Kelly’s daring socialite Frances Stevens and Grant’s retired cat burglar John Robie. When a new jewel thief threatens Robie’s now reformed reputation, he must uncover the imposter’s identity to prove his innocence.
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This wonderfully enjoyable romp sees its two radiant stars rivalled only by the luminous VistaVision photography of the Riviera itself. Bubbling with humour, spice, and sparkling dialogue, To Catch a Thief delivers romantic suspense in the classic Hitchcock mould — all the while (and deliberately) never ruffling Grace Kelly’s exquisite Edith Head costumes or disturbing Cary Grant’s debonair disposition.
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Charm and chemistry flow through every frame of this the most picturesque of all Hitchcock’s classics, a film that exemplifies VistaVision’s power as a vehicle for cinematic visual artistry by a master director but also as a conduit for pure, easy-going glamourous entertainment on the big screen.
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You can buy tickets for this screening only or take advantage of our discount ticket for both nights of the VistaVision weekend to see One Eyed Jacks also.
6.10PM SUNDAY NOVEMBER 16TH
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MARLON BRANDO'S
ONE EYED JACKS
4K REMASTER
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This past year has seen the return of one of cinema’s most exciting formats, with The Brutalist, One Battle After Another, the upcoming Emma Stone / Yorgos Lanthimos collaboration Bugonia, the new Tom Cruise / Alejandro G. Iñárritu project, the latest Margot Robbie / Jacob Elordi / Emerald Fennell film, and new works from both M. Night Shyamalan and Greta Gerwig — all utilising the classic Paramount VistaVision process.
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But what is it that is proving so irresistible to modern filmmakers, it has prompted a widespread revival of a format that lay dormant for over sixty years? The answer lies in the magic of the select group of films produced during VistaVision’s original heyday. Over this very special VistaVision Weekend, we present two of the most significant titles from that extraordinary list.
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The last film ever shot in VistaVision until The Brutalist (2024) revived the format some 63 years later, One-Eyed Jacks has a history as dramatic as the film itself. Originally penned by legendary director Sam Peckinpah (The Wild Bunch), production was first set to be helmed by Stanley Kubrick, who departed just days before shooting began. In an extraordinary twist, Marlon Brando—already hailed as the greatest actor of his generation—stepped in to direct, creating what would become his only film as a director.
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What followed was the actor of actors directing as only a truly great actor could. Brando’s characteristic passion, perfectionism, and intensity pour from every frame. Working with master cinematographer Charles Lang (Some Like It Hot, The Magnificent Seven), Brando crafts strikingly composed images and draws out a series of extraordinary performances from his cast—most notably from Pina Pellicer and Katy Jurado (High Noon), as well as his longtime collaborator and friend Karl Malden, with whom he had previously worked on A Streetcar Named Desire and On the Waterfront.
Brando himself, now calling the shots both in front of and behind the camera, accepts no limits on his power as an artist—delivering one of the finest, most emotionally charged performances of his career.
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The story begins with a botched bank robbery. Rio (Brando) is betrayed by his partner in crime, “Dad” Longworth (Malden). Burning for revenge, Rio bides his time, waiting years for the perfect moment to strike. By the time he rides back into town, “Dad” has reinvented himself as a respected lawman, married Maria (Jurado), and adopted her daughter Louisa (Pellicer). When Rio finally returns, the past collides violently with the present—and the sparks truly begin to fly.
A Western set by the sea, One-Eyed Jacks is a deeply unorthodox take on the genre. At times it almost forgets it’s a Western at all, turning instead toward an intimate study of character, desire, and betrayal. Its performances brim with intensity and beauty, and its unusually sophisticated social undercurrents make it a singular artifact of American cinema—now, at last, receiving its critical due.
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Long considered a legendary but somewhat lost film, One-Eyed Jacks has been painstakingly restored by two of its most devoted admirers, Steven Spielberg and Martin Scorsese. Its influence reaches far beyond them, inspiring filmmakers like Francis Ford Coppola, Quentin Tarantino, and David Lynch, who has repeatedly referenced the film throughout his work—including naming the brothel in Twin Peaks after it.
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A meditation on friendship, betrayal, and revenge, this romantic anti-Western stands as a one-of-a-kind work from one of cinema’s greatest and most enigmatic talents.
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You can buy tickets for this screening only or take advantage of our discount ticket for both nights of the VistaVision weekend to see To Catch a Thief also.
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