The Crypt Gallery

Euston Rd, Bloomsbury, London NW1 2BA

Opening times: 12pm-6pm


Trieste: in-between states   (Tereza Stehlikova, UK, 2016, 19 mins)

Combining abstract images of Trieste with more documentary style interviews of its inhabitants, all shot in enchanting black and white, Trieste: in-between states is an evocative portrait of the city and its people. Abstract images of the city’s sky and sea accompany Deborah Levy’s voice, reading from her book Swallowing Geography and taking the form of an incantation reflecting on memory and one’s sense of place. In parallel, locals speak of their personal attachment to the city. These accounts touch upon the deeply rooted relationship of the city to stories of conflict, religion or literature. Trieste being a destination or a point of departure for exiles, these stories resonate with a wider sense of its geographical ambiguity and the traces this marked on its history.

Bridges-Go-Round  (Shirley Clarke, USA, 1958, 4 mins)

Dancer and filmmaker Shirley Clarke’s experimental film takes New York City’s landmark bridges as a motif for a dance of images, choreographed through editing and super-imposition techniques. With its euphoric rhythm, the film imitates the bursting activity and frenzied tempo of the city. Its movement, sounds and colours are assembled together and make for a palpitating cinematic work,  thrillingly enhanced by Teo Macero’s jazz score.

Points of Departure (Alia Syed, UK, 2014, 16 mins)

Looking to delve into memories of her childhood in Glasgow to explore notions of identity, Alia Syed uses a tablecloth retrieved from her father’s house as a way to reconnect with that time. Syed also looks through the BBC archive for images of the city as a means for these recollections to resurface, but this fails as no images of a multicultural Glasgow are to be found. It is an Urdu Ghazal poem from the archive, translated by the artist’s father, which better represents it. What ensues is a combination of views of the Glaswegian industrial landscape with voices emanating from a domestic space. This strange collision between sound and image, but also between personal and official, collective memory is put into motion, reaffirming the cultural diversity present in a seemingly homogeneous urban landscape.

Courtesy of LUX



The Constitution Pub

42 St Pancras Way, London NW1 0QT

30 people capacity, seats will be allocated on a first come first served basis


London  (Patrick Keiller, UK, 1994, 85 mins)


One of the most well-know psychogeographical films, London traces the long walks across the city taken by an unnamed character and his friend Robinson. The former recounts details of their journeys and their conversations, as well as Robinson’s views on the social and political changes taking place in the city in a voice-over narrated by Paul Scofield. This commentary is set against carefully edited and static shots of urban or natural landscapes in and around London. Observations include playful reflections on the histories of these places and the people who passed through their walls. Whether an intellectual game or a meditative testimony to late century British culture, London is at times a pleasant stroll or an epic chronicle.

All This Can Happen   (Siobhan Davies and David Hinton, UK, 2012, 50 mins)


Choreographer Siobhan Davies and filmmaker David Hinton perform Robert Walser’s novella The Walk by assembling together early century archive photographs and footage. While observing the incidents and surprising encounters occurring in the everyday rustle of the city, the walker also ruminates on more existential questions, his thoughts embracing whatever surrounds him at any given moment. The images collected mirror these fleeting impressions, and are choreographed together in a collage of frames using a variety of cinematic tricks – split frames, speed variations and inventive sound design. The tension between static and moving images sheds light on the details of a body’s gestures and motion in space. A myriad of (in)sights ensues, as records of life from that era unravel before us. Combinations are endless – and the film makes sure to experiment these possibilities with enchanting audacity, humour and vitality.



Torriano Meeting House

99 Torriano Avenue, Kentish Town, London NW5 2RX

35 people capacity, seats will be allocated on a first come first served basis


Cycling the Frame   (Cynthia Beatt, Germany, 1988, 27mins) and The Invisible Frame  (Cynthia Beatt, 60 mins, 2009, Germany)

2pm and 4.30pm

“You sit and travel in a direction, your head is free, you can take your time or speed along, and your thoughts flow with you.” – Cynthia Beatt

From quotidian to-do lists to philosophical ponderings about history and the influence of the Berlin wall on the city’s inhabitants, the thoughts that accompany Tilda Swinton on her cycle resemble the stream of consciousness that occurs as one contemplatively wanders through the city.

Cycling the Frame follows Tilda Swinton as she rides along the Berlin wall in 1988, one year before its fall and as Germany enters a phase of change and reunification. The Invisible Frame traces the same journey 22 years later, in a modernised Berlin where very few traces of the previously imposing monument still remain. Screened together, they represent a filmed testimony to the absurdity of such border building. Questions arise when an erasure of the past isn’t as invisible as it seems; which is more strongly felt, the presence of the wall or its subsequent absence?