Women Over 50 Film Festival heads to Hull

Nuala O'Sullivan and friend at This Way Up 2017

Nuala O’Sullivan and Marc David Jacobs from SQIFF at This Way Up 2017

This Way Up is an annual conference for exhibition professionals in the UK. This year it took place in Hull, and we helped support Nuala O’Sullivan from the Women Over Fifty Film Festival (WOFFF) to attend.

Attending THIS WAY UP via a Training and Travel bursary from Film Hub South East meant I could learn ways to improve my practice and pick up tips on how to improve what Women Over 50 Film Festival can be.

I connected with and learned from more experienced film festival organisers and film programmers like, David, from the best acronymed film festival out there – SQIFF (Scottish Queer International Film Festival), Ollie from the beautiful Hyde Park Picturehouse and Jen, the most northerly screener I met there, from Tiree.

Hull Truck

Hull Truck the venue for This Way Up 2017

Actively participating in sessions and Q&As meant that people approached me afterwards to follow up on what I had said and/or to find out more about WOFFF. Going to THIS WAY UP has helped put WOFFF much more firmly on the film festival map.

I was fully funded by Film Hub South East via the Training and Travel Bursary scheme to attend the 2017 conference and I’d really recommend THIS WAY UP to other film exhibitors.

Members Blog- Michael McDermott on attending ICO course- REACH

Michael McDermott (and Bill Murray)

Michael McDermott from The Old Market was awarded a Training and Travel Bursary to attend the ICO course- REACH

“What is your mission statement?”

This was one of the first questions posed to us during our time in Bristol, and it was a question that I never really bared much thought on, even though it’s quite an essential and integral part of establishing any start-up, organisation, or in this case, a monthly film club. I do know what our mission is and why Steve McNicholas (co-owner of The Old Market) and I started TOM’s Film Club, because we felt Hove needed a more regular film programme, as there hasn’t been a cinema in the area since the 1970s. Film screenings and pop-up events mainly seem to happen in Brighton where all the cinemas and arts venues are situated, which is a shame given that Hove played a big part in the history of film in the late 19th/ early 20th centuries with pioneers such as George Albert Smith and his Kinemacolor process or James Williamson’s innovative way of editing and creating a narrative through the logic of the shots.

With all that said, we wanted to bring something cinematic back to the Hove community, which is why we started showing films at the Old Market, but nowhere in our marketing do we mention this connection with wanting to show films in Hove (we don’t even have the address on the flyer, one of many oversights I found out about our branding during my time on the course), and it really ought to be, as it’s perhaps the key factor as to why the film club exists in the first place.

ICO REACH 2017 took place at Watershed in Bristol

This was just the start of the many obvious and intriguing things I learnt from my time in the ICO Reach: Audience Development Strategy course, which was attended by seventeen other programmers and exhibitors from many different parts of the country, some from major cinema chains and others like myself running a community film club. For three days in mid-September, we all congregated in the W2 Room of the Watershed in Bristol, my new favourite cinema and city.

On the first day we got to know each other by getting into groups and being constructive / critical of each other’s print materials; what we liked, what stood out and what could be improved, and it was amazing all the small but key details we missed on our own flyer. The most constructive advice was to make it double-sided with all the info and directions on the back so that we could make the images on the front much bigger and bolder (to appeal more to the eye of a potential filmgoer), but even little things like the doors opening before the film we forgot to include also. I couldn’t believe in hindsight all the small but important things we missed in our advertising and how it would speak volumes to our audience had it been included in the print.

Discussing audience data at ICO REACH course

From then on in, we were taught about film and cinema statistics and box office numbers, and I was surprised to learn that the average person in the UK visits the cinema only 2.6 times a year, and even more surprising was that this is increasing from previous years and that we were not that far off from the French cinema attendance which is currently at 3.1 films a year (but way off the heyday of 33 films a year in 1946!). We also learnt about Public Relations and how to get the press on your side and write the perfect press release with Clare Wilford, as well as how to use social media more effectively and not to spend too much time constructing a Tweet or Facebook post, to just keep it snappy and send it quick as it will soon get lost in the social media whirlpool.

Among all the speakers we had, I felt that Sarah Boiling’s presentation at the end of the second day was of the most benefit to me, as she discussed in detail with the group the importance of an efficient and effective audience plan and how to go about putting one in place, and how it starts with your mission and how that communicates to a potential audience. Firstly, start by handing out questionnaires after all screenings (something I have neglected to do for the last half a year) and decide if you want a qualitative or quantitative sample, and to make these surveys as short and as accessible as possible. We also learnt about segmenting your audience so that you’re directly reaching your target market i.e. people in a certain area with certain tastes, and how our venue would cater for those tastes, which was summarised with the “four Ps: Product/Programme, Place, Price, Promotion.” With this information in mind, I plan on creating a quantitative questionnaire tailored to our visitors and to create a mailing list to send out for those that leave their email addresses, as well finding out more ways we can improve our film screenings while at the same time showing the films our audiences continue to request.

Sarah Boiling presenting on creating an audience strategy

I’ve now since finished my audience development plan and awaiting a tutor to guide me along the next few months to ensure it is successful so that we can start hitting our target market; we’re hoping to attract a younger audience in the 16-30 age-range (as also specified in the aims of the BFI FAN  – we plan to show The Prince of Nothingwood as part of their New Release Strategy sometime in the new year, so keep your eyes open), particularly students who rarely venture into Hove. How I plan to attract such an audience is through cinema+ activities and making the film screenings more of an event themselves, be it through collaboration, special guest speakers live music or a party after the screening. Essentially, for our audience we are striving to turn our film events into experiences, experiences they simply won’t get from watching the same film at home via online streaming sites.

And since leaving Bristol I have already started to implement much of what I have learnt into action regarding our most recent screening of Ex_Machina, in which we collaborated with the British Science Association to put artificial intelligence at the forefront of our screening. This included installing a couple of virtual reality experiences that gave the user an idea of how a robot would hallucinate (it was trippy to say the least) and a lecture from Dr. Ron Chrisley of the University of Sussex about how we could go about making the Turing Test more difficult for androids. From this, there was a definite increase in ticket sales once we added all these cinema+ activities, which I think was mainly down to targeting students at the University of Sussex with flyers and posters, as well as tapping into the BSA’s already established audience. In the end, it nearly sold out, whereas the weeks before we had only sold like six tickets.

TOMTech VR event connected to screening of Ex Machina run on 3 Oct 2017

I couldn’t recommend this course more highly enough – it’s for anyone who is looking to increase cinema attendance in their venues, diversify their audience or reach out to members of the community who aren’t as represented in their current numbers. It also made for a great opportunity to meet and network with fellow film programmers, many of whom I’m regularly in touch with, as well as the industry experts that were brought in from the ICO, who had so much great advice for us all that I ended up writing sixty-four pages of notes over the three; I don’t think I’ve spent so many hours in a cinema without seeing a single film, but nevertheless I feel enriched by what I’ve learnt so far and can’t wait to see the results in March when course officially concludes, but after that I’ll be using all these skills to take TOM’s Film Club further. My main hope is that people will once again watch films on the big screen in Hove like times’ past, and if we do tap into that elusive younger crowd, it would be wonderful for them to learn that much of what we know of film started in Hove.

Members Blog- James Tully on attending LFF 2017

James Tully from Worthing Theatres was awarded a Training and Travel Bursary to attend the London Film Festival 2017.

I was very privileged to be able to visit the London Film Festival under the South East Film Hubs Travel and Training Bursary. I am a film programmer working in the 2 screen Connaught Theatre in Worthing. We are a multi-arts venue with dance, theatre, comedy, music and of course film. Film has become increasingly important to the venue over the last couple of years as we have curated a different audience within the town and have slowly been playing more and more art-house fare as time has gone on.

I was eager to attend the festival to get advance word on the films playing through the awards season and judge their suitability for my venue. The awards corridor is hugely important and we make more revenue in this period than we would do during summer blockbuster season. I really went hell for leather and watched at least 4 movies a day, often 5. As part of the LFF delegate pass you gain access to an on-line hub where you can watch a lot of the smaller releases that struggle to get noticed during the festival. I saw the particularly excellent documentary A MOTHER BRINGS HER SON TO BE SHOT on there. This has already provided me with some great insight into the next few months calendar and I have made some bookings off the back of screenings already. Subsequently some films that are highly regarded didn’t quite connect with me and I have decided to wait until release to see if they take off.  We have already been posting images and sneak peeks to our customers of things that I saw.

Waiting for the curtains to part at the London FIlm Festival

The festival itself is a well oiled machine with so much going on, it could be daunting but the communication is very clear as to available screenings. I also attended many networking events where I got to talk to distributors about their release plans for certain films including print counts and marketing, which was very useful. I made a lot of contacts while I was there and always enjoyed chatting to people at events – a multitude of bookers, journalists, reviewers, exhibitors and distributors.

I am extremely grateful to the South East Film Hub for enabling this to happen. It will benefit my venue greatly.

Members Blog- Katherine Higham on attending LFF 2017

Katherine Higham

Katherine Higham from Haslemere Hall was awarded a Training and Travel Bursary to attend the London Film Festival 2017. 

I attended the Film Hub London Exhibitors Breakfast during the London Film Festival. Every speaker delivered a distinct, relevant and inspiring case study, one that I could implement within our screening space and put into place. I was particularly interested in the statistics regarding under 25 year-olds via Broadway Cinema and that giving them a subsidised ticket would in the long run encourage the younger audience members to attend the cinema. Their marketing campaign was extremely successful. It did give me a push to brainstorm new ideas regarding programming for our venue and to relay that passion to other staff.

Katherine’s red carpet snap-star of A Fantastic Woman, Daniela Vega at LFF

The organisations Cinema For All and Into Film addressed the seminar and are completely relevant to our venue and I will be contacting them soon.

I also attended the networking drinks in the evening where I was able to discuss issues both sides of the screen. I was also lucky enough to attend screenings during this time and saw A Fantastic Woman amongst others…a film which hopefully we will be showing at our venue in the future.

Tim Brown’s Cannes lowdown

Brighton CineCity Festival’s director takes you through his picks from Cannes 2017.

Tim Brown

Tim Brown of CineCity Festival

As ever many of the gems and real pleasures of the festival were to be found outside of the main competition, in the Un Certain Regard, Directors’ Fortnight and Out of Competition strands.

Faces Places

An excellent and engaging documentary – screening out of the main Cannes competition streams – is Faces Places (Visages Villages), which follows legendary Agnès Varda, now 89, and French photographer JR as they travel through rural France pasting up JR’s massive photographs on buildings.

As the pair form an unlikely friendship, their interactions with each other and the ordinary working people they encounter are immensely uplifting. Varda – awarded an honorary Palme d’Or in 2015, the same year she came to Brighton to present her films in person – is now suffering from failing eyesight and unable to make films on her own, but this was an absolute delight.

The Prince of Nothingwood
(Directors’ Fortnight).

Nothingwood is Afghanistan’s version of Nollywood, Bollywood or Hollywood. Sonia Kronlund makes her feature debut with this documentary profile of Salim Shaheen, the most prolific and popular actor-director-producer in Afghanistan who has made more than 100 films in the past 30 years in his war-torn country.

This is a highly entertaining celebration of cinema and a fascinating character study of a one-man industry. Vertigo is planning to release in the UK in late 2017.

I Am Not A Witch

(Directors’ Fortnight). This highly original feature debut from Zambian born, Wales- based filmmaker Rungano Nyoni and set in a world of contemporary witchcraft, is an intriguing mix of satire and fairytale.

Nine year old Shula (a wonderful central performance from Margaret Mulubwa) is banished from her village and sent to a travelling witch-camp where she is told that if she tries to escape she will be transformed into a goat. Cut through with moments of humour and surrealism, I Am Not a Witch is wonderfully shot and also features a striking soundtrack. Curzon Artificial Eye has picked it up for UK distribution.

The Rider

(Winner of Art Cinema award, Directors’ Fortnight). Two years after her debut feature, Songs My Brothers Taught Me, which Cinecity was delighted to screen in 2015, Chloé Zhao’s follow-up focuses on a former rodeo star, played by real-life cowboy Brady Jandreau, who must rebuild his life after his skull is crushed in a riding accident.

Brady Jandreau in The Rider, with horse

Brady Jandreau in The Rider

The film is not at all what one might surmise from a brief synopsis. The ‘masculinity in crisis’ tale is subtle and nuanced and expertly handled throughout with a balancing tenderness, especially in Brady’s relationship with his sister who has learning disabilities. Sumptuous cinematography from Joshua James Richards (he also shot God’s Own Country coming out in September, and which screens at our Hub member event on 18th July) superbly captures the vistas of South Dakota. Chloé Zhao’s first feature Songs did not get a UK release but Altitude has thankfully bought The Rider for UK distribution.

April’s Daughter

Mexican director Michel Franco (Daniel and Ana, After Lucia, Chronic) has produced another assured and unsettling drama, which won the Un Certain Regard Jury Prize. 17 year-old Valeria (Ana Valeria Becceril) is pregnant by her teenage boyfriend but doesn’t want her absent mother, April (Emma Suárez, last seen as Almodovar’s Julieta) to know. When her sister Clara (Joanna Larequi) goes behind her back and calls April, their mother arrives all ready to help. However, once the baby is born, it soon becomes all too clear why Valeria wanted to keep April as far away as possible.

A number of reviews refer to Franco’s cool, detached style as sometimes reminiscent of Michael Haneke but somehow at odds with a melodramatic storyline that pushes believability. But Franco is powerfully adept at skewering family dysfunction and April, brilliantly portrayed by Suárez, is a fascinating case study.

Tim’s personal highlights

As for the main competition, extensively covered elsewhere, my personal highlights were:

Loveless, directed by Andrey Zvyagintsev (Leviathan, The Return), winner of the Jury prize. It is a masterful examination of the emptiness at the heart of contemporary Russia as a divorcing couple, in the process of selling their apartment and preparing to move on with their new lives, neglect their 12-year-old son Alyosha and barely notice when he disappears. Somehow combining elements of a police procedural with a state of the nation dissection, it confirms Zvyagintsev as one of contemporary cinema’s most accomplished film-makers. It is due for release by Altitude on Nov 10.


Loveless: Unforgettable

120 Beats Per Minute
Winner of the Grand Prix, Franco-Moroccan director Robin Campillo’s third feature follows  gay activists in 1990s Paris amid the rise of the AIDS epidemic and their battle with the medical establishment and pharmaceutical companies. With a tender love story set against a detailed backdrop of ACT UP Paris weekly meetings, 120 Beats Per Minute brilliantly links the personal and political and features an excellent ensemble cast. It is due to be released by Curzon Artificial Eye on Oct 20.

You Were Never Really Here
Lynne Ramsay’s first feature since 2011’s We Need to Talk About Kevin won joint best screenplay award and a best actor for Joaquin Phoenix’s contract killer (Joe) trying to rescue a politician’s kidnapped daughter from the sex trade. Joe has the physical, and – revealed through flashbacks – mental scars of time spent in the FBI and Marines but partly what makes the film so utterly compelling is the way familiar tropes are thoroughly re-invigorated and elevated by a director at the very top of her game.

There are scenes of graphic violence (the film has been described elsewhere as a 21st century Taxi Driver) but everything revealed is so finely judged and precise. The film also features a great score from Radiohead‘s Jonny Greenwood.


Film Hub staff swim the Serpentine for MediCinema

Still from the film The Life Aquatic with Steve Zissou

Film Hub staff gracefully accept Bill Murray onto Team SwimFAN


A collection of colleagues from across the BFI Film Audience Network are busy donning their wetsuits and swimming caps, in training for this year’s Swim Serpentine event in London’s Hyde Park.

On Saturday 16 September, five members of staff from various Film Hubs around the UK have joined forces to help raise funds for a charity close to their hearts, MediCinema. It runs permanent cinemas in hospitals to help patients and their carers escape the isolation of their wards and illness, and enjoy a few hours of normality.

Why we’re taking on the challenge

Image of Lis Spencer

Lis is feeling brave

“Cinema gives us a sense of wonder and an opportunity to escape our normal lives, which is especially important when your normal life is spent in a hospital bed. I hope we can raise as much money as possible to enable MediCinema bring the wonder of film to loads more people. Just got to get to brave the cold water now!”
– Lis Spencer, Strategic Development Manager, Film Hub South East.

“I completed Swim Serpentine last year, raising more than £500 for MediCinema. I hope our collective Team SwimFAN efforts this year can push us over the £2000 mark. Research has shown that the distraction of watching a film in a dedicated cinema setting can significantly reduce people’s perception of pain, so we want to help MediCinema expand its cinemas into more hospitals across the country to reach more people, and provide them with memorable cinema experiences.”

Annie Mannion swimhat

Annie at last year’s event

– Annie Mannion, Coordinator, Film Hub South East.

Film Hub staff in Team SwimFAN:

  • Paul Bowman, Film London
  • Annabel Grundy, Film Hub North
  • Tiffany Holmes, Film Hub South West / West Midlands
  • Annie Mannion, Film Hub South East
  • Lis Spencer, Film Hub South East

Please sponsor us!

See what Team SwimFAN will take on:


“MediCinema enables patients and their families to feel better with film. We do this by building, installing and running cinemas in hospitals and other healthcare facilities throughout the UK. These cinemas are custom-built using the latest technology so they look and feel just like a mainstream cinema. The only difference is they’re specially designed for a healthcare setting so whether a patient is in a wheelchair, attached to a drip or even unable to leave their bed, there is a place for them.”

– Statement from MediCinema

MediCinema’s star supporters

Celebrities who support MediCinema charity include Kate Winslet, Ewan McGregor, Thandie Newton, Damien Lewis, Mike Leigh OBE, Daniel Day-Lewis, Nick Frost and many more stars of the screen, including Kevin Spacey:

“As a Patron of MediCinema, I know how important it is for patients in hospital to be able to change the way they look at their world – and what better way to do this, than through the magic of film.”

For further information and images, please email:
Annie Mannion, Coordinator, Film Hub South East

Download your Quick Marketing Guidelines

Victoria here at Cobb PR!

Victoria ArcherCobb has recently been working with Film Hub South East on a few initiatives to help build cinema audiences in the South East.

As part of our work together, we’ve created some tailored Basic Marketing Guidelines [PDF],  specifically aimed you, the lovely members of Film Hub South East.

Included in the download are some handy tips for engaging with the right audiences, making your email newsletters stand out from the crowd and some hints on making your social media work harder for you. We also look at building relationships with journalists, tackling the media landscape and audience demographics.

The document is split into three sections:

  • PR
  • Social Media
  • Email Marketing

We hope you’ll find it useful but if you’ve got any questions then you can get in touch with me on 01273 208913. Please let us know what you think.

Watch upcoming film releases online

Film Hub Wales is offering all BFI Film Audience Network members, which includes Film Hub South East members, an opportunity to watch upcoming features and short films online.

Prevenge film still

Alice Lowe in Prevenge, available online now

To watch the films, all you have to do is sign-up to the Film Hub Wales website and follow the registration walk-through [PDF].

Once registered, you can watch a number of Welsh features, and see BFI FAN New Releases and shorts packages in full. You can also easily contact distributors to book them for your venue/organisation.

See films including:

  • Prevenge
  • Don’t Knock Twice
  • Love Is Thicker Than Water
  • A Dark Song
  • Moon Dogs
  • Mustang
  • Sonita
  • The Pearl Button
  • Best of Iris Prize
  • BFI Net.Work Shorts

We hope you enjoy the films and book them for your audiences, if you haven’t already!

(NB – All registrations are verified/approved by Film Hub Wales.)

Boost your programme with some free short films

DepicT film competition poster

Screening a short film alongside a main feature is an appealing added extra that could make all the difference between someone choosing your screening or heading to a rival cinema.

Watershed, Bristol, invites you to take advantage of the option to screen ‘DepicT! 2016’ – free of charge shorts available on DCP (or DVD). DepicT! is Watershed’s international short film competition as part of Encounters Short Film & Animation Festival (19 – 24 Sept 2017), challenging filmmakers from all over the globe to create tiny shorts of 90 secs or less.

The shorts in the DepicT! 2016 bundle are now BBFC certificated; screen them either in front of a feature film run or as you see fit. Watershed just asks that you report back with how many people attend, and let audiences know that the 2017 DepicT! call for entries is now officially open on depict.org  (entry deadline 3rd July).

  • LIVING U Dir: Ben Mankin | UK | 2016 1min 44 seconds Winner of The RPS Cinematography Award | WATCH the film
    In a run-down doctor’s waiting room… What lies beneath?
  • IMPACTS U Dir: Petra Balekic | Croatia | 2016 | 1 min 44 seconds Winner of Main DepicT! Award & Random Acts Special Mention |  WATCH the film
    What happens norms are broken by individuals?
  • PIG DREAM 15 Dir: Lee Charlish | UK | 2016 | 1 min 45 seconds DepicT! British Special Mention | WATCH the film
    Monsters don’t live under your bed; they live inside your head.
  • RUN BOY PG Dir: Meg Bagadion | Philippines | 2016 | 1 min 44 seconds  Winner of The DepicT! Audience Award | WATCH the film
    A missing toy throws a boy into a tantrum that changes his life.

How to book the free short films

To book the films, fill in this (very) short online form. For those of you that organise short film nights, note that the full 2016 shortlist and Best of DepicT! is available for bookings on DVD.

Dig into the archive and contact Clare Leczycki at Watershed if you’d like a specific selection of short films to screen.

Our top picks from Berlinale 2017

Look, there we are – red carpet at last!

Film Hub South East gang at Berlin Film Festival

Fighting off the paparazzi (From L-R: Beth Wilson, Annie Mannion, Malisa Sledmere, Lis Spencer, Rebecca Marshall, Emily Kyriakides)

We met up with some Film Hub South East member venues at #Berlinale2017. Together we’ve collated our tips for navigating your way around a major film festival, plus suggestions for forthcoming films you might want to programme at your cinema.

Beth Wilson, Film Hub South East: My top three films

  1. God’s Own Country (UK, Francis Lee)
    Beautiful, visceral and ultimately heart-warming; what more could you ask for from a rural romance?
  2. Vazante (Brazil, Daniela Thomas)
    This black and white, period piece set on a struggling diamond mine in 1820s Brazil is breathtaking to look at and watch. While the explicit acts of violence are largely off-screen, a terrible sense of unease accompanies this tragic tale from Brazil’s colonial past. Check out this review from BFI.

    On Body and Soul film

    On Body and Soul’s main characters

  3. On Body and Soul (Hungary, Ildikó Enyedi)
    This quirky love story set in an abattoir, proved to be a festival favourite amongst the jury and audiences alike. The unconventional leads are so appealing and although I was sure as to how the film was going to end, the journey along the way was joyfully unpredictable.

Other titles to look out for: Félicité , Requiem for Mrs J, Werewolf and Spoor

Roger Gibson, Chichester New Park Cinema: My top three films

  1. Spoor (Polish/Czech A.Holland)
  2. The Other Side of Hope (Finland/Kaurismaki -35mm!)
  3. The Party (UK/Sally Potter)

Emily Kyriakides, Lighthouse (and member of FHSE Management Board):

A major highlight was watching God’s Own Country by Francis Lee, which I loved! Having followed his shorts over a number of years, it was wonderful to see this very accomplished debut feature on the big screen, beautifully telling a powerful, but tender gay love-story set in a tough, no-nonsense farming community in Yorkshire. Highly recommended viewing when it is released by Picturehouse!

See a clip from God’s Own Country:

God’s Own Country also features some archive farming-in-action footage from Screen Archive South East – worth knowing for connecting a forthcoming screening of the film with related archive content.

Annie Mannion, Film Hub South East: Programming picks

One for Almodóvar fans: Pieles (Skins) (Spain, Casanova) A series of vignettes interweaving the stories of a handful of social misfits, including a lot of lilac, a mermaid fetish, and some truly unforgettable characters – one in particular, which still makes me chuckle!

Pieles stands out from the crowd thanks to its radical aesthetic and bold themes. The characters are lovable and the chapters range from the comically absurd to the morosely heart-wrenching,” – The Upcoming.co.uk

Newton cast

Newton’s main cast and director at Berlinale

For a series of Indian, comedy or political films: Newton (Germany, Masurkar)
This refreshing, gentle comedy about a government clerk on election duty in the conflict ridden jungle of Central India won the Art Cinema award for the Forum section at Berlinale. The great thing about seeing Newton at the festival was the opportunity to hear directly from the director and cast themselves after the screening during a Q&A about their experiences making the film, and the meticulous planning involved.

For a season on unusual romances and/or autism: Don’t let the brutal slaughterhouse surroundings distract from the poetic and tender love story that plays out in On Body and Soul. If you’re programming about diversity issues, then it might be useful to know that one of the couple displays many autistic tendencies, some of which help inform the direction of the plot, and some with amusing consequences.

Malisa Sledmere, No6 Cinema, Portsmouth

“Although it is hard to decide which films to choose at the beginning, the buzz about which films are the best and worth seeing soon starts to get around. I usually asked other queuers what they had seen and what they recommended and by this process the list of films to ‘must see’ gets tighter and better as time goes on.”

“For me seeing some of the festival films was very useful. At No6 we have for a long time wanted to screen a more diverse range of films than the ones that are available through the regular distributors, but I would never dare to screen a festival film just from a trailer. I would definitely want to see it in its entirety before deciding to take a chance on it and being at the festival would enable us to make the best  choices.”

More Berlinale picks from the Film Hub network

Watershed Cinema Curator Mark Cosgrove picks his four to watch out for from Berlinale 2017, plus a full run down of the In Competition films.