Featured
Winter 2020
This Projections season is one of discoveries, with the launch of six new films commissioned for the cinema alongside a series of events which look to the archives to reappraise marginalised or unknown histories. Artists in the Cinema launches on 28 February with new work by Karrabing Film Collective, Onyeka Igwe, Duncan Marquiss and Nicola Singh & Helen Collard. We also launch new films by Graduate Artist in Residence Siân Hutchings and, in partnership with MIMA, by artist Laura Harrington. Sophio Medoidze presents Sergei Parajanov’s The Legend of Suram Fortress, while Sisters of the Extreme shares radical work by US women filmmakers from 1960s to the present – and we present the first ever UK screening of the fantastic expanded cinema work of Klaus Lutz.
The Magnanimal World of Klaus Lutz
'For films so strange, so stultifying, seductive and sneaky, I feel like I’m limited even despite my considerable grasp of the English language in finding the right verbiage to relate them. ' —Herb Shellenberger on Klaus Lutz Read more...
Jackdaw-with-Machine
'Challenging the visual dominance of cinema, the opening scenes of Duncan Marquiss’ short film Mirror Test invite us to understand the world through other senses, beyond visuality, and to discover a cognitive experience that is led by hearing.' —Filipa Ramos on 'Mirror Test' Read more...
A new co-commission with MIMA by Laura Harrington, in the context of the exhibition ‘Fragile Earth: Seeds, Weeds, Plastic Crust.’ Read more…
Ancestral Spirits Calling
'Neither good indigenous subjects performing an authenticity that colonialism attempted to eradicate, yet which is nonetheless still expected of them, nor good indigenous activist filmmakers expected to use their filmmaking for militant advocacy, the Karrabing’s film work is more about existence-making for themselves.' —Maria Walsh on 'Lunch Run' Read more...
Recent
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Artist interviews
Dialogue: Harriet Plewis
'I’m just trying to find a way of watching films and sharing an experience that moves away from discomfort or alienation (a lot of gallery viewing experiences) and ableism (quite a few cinema spaces). It’s not that I want to dis cinemas, though, at all. Part of the reason I wanted to do it at Tyneside was that well nice thing of being able to be alone with films whilst in the company of others. That feeling of letting a sound system or projection seep into you. That indulgent focus. Cinemas are good for that, aren’t they?' Read more...