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.

SOUL TO SOUL is a feature length documentary about a historical, once in a lifetime, concert which took place in Black Star Square in Accra on March 6th 1971 where some of the greatest Afro-American musicians of the time performed in front of 100,000 people as part of the 14th anniversary of the country's independence celebrations.  The original concert actually lasted for 14 hours - an hour for each year since Ghana had become the first African country to gain independence from Britain.  Thankfully, SOUL TO SOUL runs for approx 96 minutes.

The concert features Ike & Tina Turner, Wilson Picket, The Staples Singers, Les McCann and Eddie Harris, Santana and Voices Of East Harlem and local performers too creating some of the ground-breaking music that inspired Afro beat and Afrocentricism in America.

Also for those musicians, who were welcomed as royalty, this was cathartic experience - many visiting Africa for the first time.  The film follows them as they spend few days in Ghana, visiting local villages and places before they actually performed the concert - an eye-opening experience for Ike & Tina Turner as they visit a local village or hear the sorrow in Mavis Staples' voice when she visits an old slave castle.

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.

Oliver Laxe’s Cannes winner distils a cinematic reverence for the sacred through a landscape simultaneously scarred and sustained by sound.

Laxe’s hallucinatory journey drifts between road movie, political parable and ritual. Passing through ambiguous, borderless geographies, its hypnotic rhythm reorients our senses. Performances shine, from non-professional nomadic ravers to Sergi López’s grieving father. Both highly tactile and metaphysical, with meaning pulsating beneath its surface, Sirât invites us to trace our own path through the desert mirage.

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.

A lonely Frankenstein (Bale) travels to 1930s Chicago to ask groundbreaking scientist Dr. Euphronious (five-time Oscar nominee Annette Bening) to create a companion for him. The two revive a murdered young woman and The Bride (Buckley) is born. What ensues is beyond what either of them imagined: Murder! Possession! A wild and radical cultural movement! And outlaw lovers in a wild and combustible romance!

Also starring Penélope Cruz and Peter Sarsgaard.

Baz Luhrmann’s extraordinary documentary may be the most poignant account of Elvis Presley’s life and career to date, featuring long-lost footage from his epochal 1970s residency in Las Vegas.

Baz Luhrmann returns to the subject of his most audacious film — 2022’s Elvis — with the extraordinary EPiC: Elvis Presley in Concert. Free of contemporary interviews with experts, critics or other stakeholders, the film is propelled by recently discovered archival footage shot at the beginning of the famed performer’s Las Vegas residency. Originally intended to last a few weeks at the International Hotel, the 1969 engagement was shockingly lucrative, and stretched on for over seven years.

Brilliantly compiled with an aficionado’s enthusiasm and sensitivity, the film shifts skilfully between rehearsals, where Presley is cheerful, hard-working, even goofy, and live performances that vary from powerful and grandiose to rushed. There are moments where he can’t keep up with the breakneck arrangements and loses his breath. (He was booked to do at least two shows most days.) Among the standouts are “Polk Salad Annie” and “Burning Love,” a chart-topper he cut in early 1972. There are also cutaways to an army of excited celebrities attending the shows and a nod to Presley’s journey from scandalous hip-shaker to showbiz icon.

Luhrmann’s previous feature stressed Presley manager Colonel Tom Parker’s disastrous impact on his client’s artistic growth and ability to tour internationally. Here, the focus lands on Presley’s musicianship and his interactions with band members and singers. What’s revealed is his deep knowledge of gospel, blues, and country traditions, and his instinctive feel for finding the best arrangements and pace for his songs. This is perhaps the most poignant account of Presley to date.