Two of Britain’s greatest painters, J.M.W. Turner and John Constable were also the greatest of rivals. Born within a year of each other, both used landscape painting to reflect the changing world around them.

Tate Britain is bringing these two greats together for a groundbreaking exhibition, in London from November 2025 to April 2026, and Exhibition on Screen once again has exclusive and privileged access to bring their extraordinary art and remarkable stories to the big screen in March 2026 so that both can be enjoyed together. Don’t miss this opportunity to see these greats side-by-side, as they so often were in life, on the big screen for the first time.

Turner’s blazing sunsets and sublime scenes from his travels and Constable’s idealised depictions of beloved places from home whipped the public of the time into a frenzy of enthusiasm. Critics compared their starkly different styles to a clash of ‘fire and water’. Marking 250 years since their births, this unmissable new documentary explores Turner and Constable’s intertwined lives and legacies alongside the groundbreaking Tate exhibition. Discover unexpected sides to both artists with intimate views of sketchbooks and personal items and insights from leading experts. This is not to be missed.

Birmingham, 1940. Amidst the chaos of WWII, Tommy Shelby is driven back from a self-imposed exile to face his most destructive reckoning yet. With the future of the family and the country at stake, Tommy must face his own demons, and choose whether to confront his legacy, or burn it to the ground. By order of the Peaky Blinders…

Wasteman is a gritty British prison thriller about parolee Taylor (David Jonsson) whose chance at a fresh start is threatened by his volatile new cellmate Dee (Tom Blyth); as their bond deepens, a violent attack forces Taylor to choose between protecting Dee and jeopardizing his own freedom, exploring themes of toxic masculinity and survival inside a brutal system. Directed by Cal McMau, the film gained attention at Toronto and BFI London Film Festivals for its intense performances and unflinching look at prison life.

IT’S NEVER OVER: JEFF BUCKLEY, directed by Oscar-nominated filmmaker Amy Berg (DELIVER US FROM EVIL, JANIS: LITTLE GIRL BLUE, WEST OF MEMPHIS), covers the life of the rising young star with an otherworldly voice and boundary-pushing artistry, who left the '90s music world reeling when he died suddenly, at age 30, after the release of his critically acclaimed debut album “Grace.”

Told through never-before-seen footage from Buckley’s archives and intimate accounts from his mother Mary Guibert, former partners Rebecca Moore and Joan Wasser, Jeff’s former bandmates, including Michael Tighe and Parker Kindred, and luminaries like Ben Harper and Aimee Mann, IT’S NEVER OVER, JEFF BUCKLEY illuminates one of modern music’s most influential and enigmatic figures.

Screening as part of our continued Music Monthly strand kindly supported by Decoy Sound Studios, Sundowners DJ's, Old Jet Arts Centre, Stoddart Music, Whizzy Wallop Vinyl and Stephen "Foz" Foster.

A new British comedy-drama from the team behind Finding Your Feet and Fisherman’s Friends.

Directed by Nick Moorcroft, the film is set in a struggling local pub at the heart of a divided community that starts brewing its own beer and enters the Great British Beer Awards.

The cast includes Martin Clunes, Mark Addy, James Buckley, Miles Jupp, Josie Lawrence, Emily Lloyd-Saini, Jonno Davies, Gabriella Wilde, Luke Treadaway, Stephen Leask  and Karl Collins.

In this twisty, stylish crime thriller, Davis (Chris Hemsworth) is an elusive thief whose high-stakes heists have mystified police. He’s planning his biggest ever score — hoping it’ll be his last — when his path collides with Sharon (Halle Berry), a disillusioned insurance executive whom he’s forced to work with, and Orman (Barry Keoghan), a rival thief with far more disturbing methods than Davis's.

As the multi-million dollar heist approaches, relentless detective Lt. Lubesnik (Mark Ruffalo) closes in on the operation, raising the stakes even higher, and the line between hunter and hunted starts to blur. Each of them is soon forced to confront the cost of their respective choices — and the realisation that there's no turning back.