🚨 job alert 🚨 Head of Cinema, Barbican barbican.org.uk/our-story/our-…

edgarwright BFI I have seen and vouch for - This Happy Breed (1944) **** The Seventh Veil (1945) **** Yield to the Night (1956) **** Uncle Silas (1947) **** (love it so much I own production art and I believe it to be in the top 3 Gothic Romance films) The Pumpkin Eater (1964) **** The

It’s been great to work on this @bfi season of some of Martin Scorsese’s British favourites with edgarwright. A majority of the films screen on 35mm prints taken from the #BFINationalArchive - including a rare original nitrate print of Went the Day Well?

Job alert! Nice new job at BFI - Cultural Partnerships Manager. Deadline for applics: Wed 28 August bfijobsandopportunities.bfi.org.uk/tlive_webrecru…

This season goes on-sale to the general public today! Endless treasures within… Enjoy!

Kenneth Griffith made such a great villain in The Shop at Sly Corner that George King cast him in Forbidden, a post-war noir set in Blackpool funfair. This month's #ProjectingtheArchive BFI Southbank 22 Aug 6.15 - now in NFT1 due to popular demand! Image #BFINationalArchive

Want to work with UK and international cinemas and film festivals? Great at building new partnerships? A dab hand at writing and editing newsletters/blogs etc? You have until Wed 28 Aug to apply for the new role of Cultural Partnerships Manager BFI. bfijobsandopportunities.bfi.org.uk/tlive_webrecru…

A highlight of the Martin Scorsese and edgarwright British cinema season @bfi Southbank will be the very rare screening of the #BFINationalArchive’s original 1940s nitrate print of Went the Day Well? Here are some sneak peek snaps from the test screening

Ahead of the BFI ‘Martin Scorsese Selects: Hidden Gems of British Cinema’ season, I spoke to Scorsese and edgarwright about the films in the programme, and about the influence of British cinema on Scorsese’s work. For Sight and Sound magazine buff.ly/4dDOmEA

Read our interview for Sight and Sound magazine where discuss these sometimes neglected classics and the defining influence they have had on his 60-year career in film. bfi.org.uk/sight-and-soun…

Went to see Shooting Stars (1928) at the BFI this morning, which just blew me away. Starts as a lushly photographed satire contrasting reality and filmic fantasy, builds into something else entirely. Sensational climax, gorgeous coda, @NeilKBrand at the piano.

Been trying to get this commissioned for years - so am very pleased that the BFI season based on the edgarwright-Martin Scorsese list finally gave it something to tie into. I find it so strange that Dearden's been so overlooked. bfi.org.uk/features/where…

Here’s a fun new thing. Jake Cunningham and I pitched the #LFF the idea of having a mini book festival right in the middle of the film festival, and here it is: Film in Print!

What Kim Sheehan said! We just received the 35mm print from the US, it's a rare screening and one not to miss, this Saturday in NFT1 BFI

Terence Fisher Double Bill To the Public Danger UK 1948. Director Terence Fisher. With Dermot Walsh, Susan Shaw, Barry Letts, Roy Plomley. 43min. 35mm. A BFI National Archive print. U + Stolen Face UK 1952. Director Terence Fisher. With Paul Henried, Lizabeth Scott, André

And read our interview for Sight and Sound magazine where we discuss these sometimes neglected classics and the defining influence they have had on his 60-year career in film. bfi.org.uk/sight-and-soun…