What does a Film Programmer do? I talk to James McEvoy to find out what programming the Warwick Arts Centre cinema, a three screens-cinema, based on a university campus but also serving a local and regional audience, involves. Who is the audience and how to build new ones is part of the conversation. We touch on Flatpack, the MAC, the Mockingbird, Square-Eye TV, Lock Studios, Steven Knight, the Forward Film Festival. James tells me about licenses and knowing who holds the rights to a film, which is sometimes confusing while underlining he is uninterested in gate-keeping, actively seeking collaborations and stressing the importance of getting the word out
We spend a considerable time discussing the exciting new programme: there will be live opera and theatre projections; BFI funded seasons; the opportunity of seeing films financed by Netflix on a big screen. Programmes to look out for are the Silent Cinema screenings with live accompaniment, the melodrama season, Richard Dyer speaking on Brief Encounter, and more.
Each year there’s an over-arching theme across the whole of the Arts Centre. This year the focus is on care. The film programme component is called is ‘Handle with Car,’ with a substrand on Cozy Classics, which will involve screening a classic film once a month. There will be tea and biscuits – feel free to BYOB (Blanket not Booze) -- an opportunity for people to get together and see things on a big screen. The Arts Centre will also be bringing its 35mm projector back into action for November screening of Cinema Paradiso. Part of another strand of the Care programme is ‘Care Behind the Scenes,’ co-programmed with Dr. Alice Pember and Dr. Julie Lobalzo-Wright, which will also have workshops as well as screenings (e.g. intimacy co-ordination’).
The Programme will include Accessible and Inclusive screenings as well as Audio-Description (for first time at the Art Centre) and there will be some workshops attached to this strand as well.
James stresses that the programming also takes on board an exploration of the local and the national with focus on independent and locally made cinema and with filmmakers holding Q&A’s when possible.
It all looks very exciting.
Check out the programme here:
https://www.warwickartscentre.co.uk/whats-on/cinema/
José Arroyo
All content for First Impressions: Thinking Aloud About Film is the property of Jose Arroyo & Richard Layne and is served directly from their servers
with no modification, redirects, or rehosting. The podcast is not affiliated with or endorsed by Podjoint in any way.
What does a Film Programmer do? I talk to James McEvoy to find out what programming the Warwick Arts Centre cinema, a three screens-cinema, based on a university campus but also serving a local and regional audience, involves. Who is the audience and how to build new ones is part of the conversation. We touch on Flatpack, the MAC, the Mockingbird, Square-Eye TV, Lock Studios, Steven Knight, the Forward Film Festival. James tells me about licenses and knowing who holds the rights to a film, which is sometimes confusing while underlining he is uninterested in gate-keeping, actively seeking collaborations and stressing the importance of getting the word out
We spend a considerable time discussing the exciting new programme: there will be live opera and theatre projections; BFI funded seasons; the opportunity of seeing films financed by Netflix on a big screen. Programmes to look out for are the Silent Cinema screenings with live accompaniment, the melodrama season, Richard Dyer speaking on Brief Encounter, and more.
Each year there’s an over-arching theme across the whole of the Arts Centre. This year the focus is on care. The film programme component is called is ‘Handle with Car,’ with a substrand on Cozy Classics, which will involve screening a classic film once a month. There will be tea and biscuits – feel free to BYOB (Blanket not Booze) -- an opportunity for people to get together and see things on a big screen. The Arts Centre will also be bringing its 35mm projector back into action for November screening of Cinema Paradiso. Part of another strand of the Care programme is ‘Care Behind the Scenes,’ co-programmed with Dr. Alice Pember and Dr. Julie Lobalzo-Wright, which will also have workshops as well as screenings (e.g. intimacy co-ordination’).
The Programme will include Accessible and Inclusive screenings as well as Audio-Description (for first time at the Art Centre) and there will be some workshops attached to this strand as well.
James stresses that the programming also takes on board an exploration of the local and the national with focus on independent and locally made cinema and with filmmakers holding Q&A’s when possible.
It all looks very exciting.
Check out the programme here:
https://www.warwickartscentre.co.uk/whats-on/cinema/
José Arroyo
Thinking Aloud About Film: DELITTO D’AMORE (Luigi Comencini, 1974).
First Impressions: Thinking Aloud About Film
29 minutes 39 seconds
3 months ago
Thinking Aloud About Film: DELITTO D’AMORE (Luigi Comencini, 1974).
https://notesonfilm1.com/2025/07/16/thinking-aloud-about-film-delitto-damore-luigi-comencini-1974/
DELITTO D’AMORE (Luigi Comencini, 1974), also known as CRIME OF LOVE or SOMEWHERE BEYOND LOVE in English, is along with VOLTATI EUGENIO (1980), my favourite of the Comencini films shown at this year’s Ritrovato in Bologna. Two factory workers fall in love. He’s from a family of Anarchists from the North. She’s an immigrant from South. They both live with their families but she’s a woman so all her movements are monitored. They split up because she needs to be married in a Church whilst he can only consider City Hall. Factories spewing smoke is a constant background to the development of their romance. In the accompanying podcast Richard and I discuss: how it is a MARXIST romance in which two factory workers fall in love even as the factory spews poison all over them (one of the titles considered for the film was LOVE AND POISON); how rare it is for a political film to deploy such a delicate tone, a mixture of humour/romance/enchantment; the relative rarity of having working class workers depicted so lovingly and glamorously (by Guliano Gemma and Stefania Sandrelli). The film’s been compared to LOVE STORY (Arthur Hiller, 1970) and also ALI, FEAR EATS THE SOUL (Fassbinder, 1974). We bring up Visconti’s ROCCO E I SUOI FRATELLI (1960). None of the comparisons convey the humour, the romance, the enchantment that this very political film evokes. We hope we do in the podcast that follows:
First Impressions: Thinking Aloud About Film
What does a Film Programmer do? I talk to James McEvoy to find out what programming the Warwick Arts Centre cinema, a three screens-cinema, based on a university campus but also serving a local and regional audience, involves. Who is the audience and how to build new ones is part of the conversation. We touch on Flatpack, the MAC, the Mockingbird, Square-Eye TV, Lock Studios, Steven Knight, the Forward Film Festival. James tells me about licenses and knowing who holds the rights to a film, which is sometimes confusing while underlining he is uninterested in gate-keeping, actively seeking collaborations and stressing the importance of getting the word out
We spend a considerable time discussing the exciting new programme: there will be live opera and theatre projections; BFI funded seasons; the opportunity of seeing films financed by Netflix on a big screen. Programmes to look out for are the Silent Cinema screenings with live accompaniment, the melodrama season, Richard Dyer speaking on Brief Encounter, and more.
Each year there’s an over-arching theme across the whole of the Arts Centre. This year the focus is on care. The film programme component is called is ‘Handle with Car,’ with a substrand on Cozy Classics, which will involve screening a classic film once a month. There will be tea and biscuits – feel free to BYOB (Blanket not Booze) -- an opportunity for people to get together and see things on a big screen. The Arts Centre will also be bringing its 35mm projector back into action for November screening of Cinema Paradiso. Part of another strand of the Care programme is ‘Care Behind the Scenes,’ co-programmed with Dr. Alice Pember and Dr. Julie Lobalzo-Wright, which will also have workshops as well as screenings (e.g. intimacy co-ordination’).
The Programme will include Accessible and Inclusive screenings as well as Audio-Description (for first time at the Art Centre) and there will be some workshops attached to this strand as well.
James stresses that the programming also takes on board an exploration of the local and the national with focus on independent and locally made cinema and with filmmakers holding Q&A’s when possible.
It all looks very exciting.
Check out the programme here:
https://www.warwickartscentre.co.uk/whats-on/cinema/
José Arroyo
