The Nickel Cinema
117-119 Clerkenwell Road
London, EC1R 5BY
A fully licensed grindhouse cinema, bar and video shop
Shop and bar are open 1hr prior to screenings.
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No late admittance after 15 minutes!
THE WICKER MAN
(1973, UK, Robin Hardy)
Police sergeant Neil Howie is called to an island village in search of a missing girl whom the locals claim never existed. Stranger still, however, are the rituals that take place there.
Doors 2:30pm
Film 3pm
PROFONDO ROSSO
(1975, Italy, Dario Argento)
After witnessing a brutal murder, a jazz musician becomes obsessed with uncovering the killer’s identity, spiralling into a labyrinth of paranoia, psychic visions, and baroque violence. Every clue leads him deeper into Argento’s world of mirrors, music, and madness.
A cornerstone of the giallo genre, Profondo Rosso (Deep Red) is Argento’s masterpiece of style and sensation—featuring Goblin’s iconic score, lush cinematography, and some of the most dazzlingly choreographed set pieces in horror history.
Doors 5pm
Film 5:30pm
THE LAST HORROR FILM
(1982, USA, David Winters)
A deranged New York taxi driver obsessed with a glamorous horror star follows her to the Cannes Film Festival, determined to make his own movie—by any means necessary. As the festival descends into chaos, fantasy and reality bleed together in a delirious swirl of blood, obsession, and cinephilia.
Shot guerrilla-style on location in Cannes, The Last Horror Film reunites Maniac stars Joe Spinell and Caroline Munro for a self-reflexive descent into celebrity worship and cinematic madness—a sleazy, satirical cousin to Peeping Tom and The King of Comedy.
Doors 8.15pm
Film 8.45pm
SUPERVIXENS
(1975, USA, Russ Meyer)
When an innocent gas station attendant is framed for his wife’s murder, he flees across the American desert—pursued by cops, killers, and a parade of ferocious, larger-than-life women. Every stop on the road leads to another explosion of sex, violence, and surreal Americana.
A delirious blend of cartoon excess and moral chaos, Supervixens is Russ Meyer’s wildest widescreen fantasy—equal parts satire, fever dream, and pop-art apocalypse.
SUNDAY SINNERS WEEKLY DOUBLE FEATURE!
Doors 5.30pm
Film 6pm
UP!
(1976, USA, Russ Meyer)
In a sun-scorched California desert town, a series of outrageous murders unfolds around a mysterious woman with a dark past and a killer body. Mixing Greek myth, political satire, and sex farce, Meyer unleashes a hyperactive collage of lust, revenge, and absurd Americana.
Narrated with manic glee by Meyer himself, Up! pushes his trademark formula of excess and energy to its breaking point—a bawdy, blood-soaked carnival of liberation and lunacy.
SUNDAY SINNERS WEEKLY DOUBLE FEATURE!
Doors 8pm
Film 8:30pm
THE MILLION GAME
(1970, Germany, Tom Toelle)
In a chillingly prescient TV spectacle, three contestants must survive 24 hours while being hunted through the streets by armed pursuers—all broadcast live for a bloodthirsty audience. Fame, money, and death become indistinguishable in this savage satire of entertainment culture.
A precursor to The Running Man and Battle Royale, The Million Game turns mass media into a weapon—sharp, cynical, and disturbingly prophetic about the future of reality television and public spectacle.
DEUTSCHE DYSTOPIA DOUBLE FEATURE!
Doors 6pm
Film 6:30pm
DECODER
(1984, Germany, Muscha)
In a grimy, neon-lit future, a fast-food worker discovers that Muzak is being used to pacify the population—and sets out to weaponise sound itself. As his sonic sabotage spreads, the city erupts into chaos, surveillance, and revolt.
A key work of industrial cinema, Decoder fuses Burroughs-inspired cut-up politics with punk aesthetics and cold-war paranoia. Featuring Genesis P-Orridge, Christiane F., and a cameo by William S. Burroughs himself, it’s a subversive transmission from the underground—part sci-fi prophecy, part noise manifesto.
DEUTSCHE DYSTOPIA DOUBLE FEATURE!
Doors 8:15pm
Film 8.45pm
THE MACK
(1973, USA, Michael Campus)
Fresh out of prison, Goldie returns to Oakland determined to rise to the top of the game. With style, smarts, and an unbreakable code, he builds an empire on the streets—until the system and the streets themselves close in.
More than just a blaxploitation classic, The Mack is a portrait of ambition and survival under pressure, powered by Max Julien’s magnetic performance and the cool menace of Richard Pryor. Set to Willie Hutch’s lush, funk-soaked score, it remains one of the definitive visions of 1970s Black cinema.
BLAXPLOITATION DOUBLE FEATURE!
Doors 6pm
Film 6:30pm
PETEY WHEATSTRAW
(1977, USA, Cliff Roquemore)
Comedian Rudy Ray Moore stars as Petey Wheatstraw, “the Devil’s son-in-law,” who’s offered a second chance at life in exchange for marrying Lucifer’s daughter. Armed with a magic pimp cane and a mouth full of rhymes, Petey takes on rival gangsters, demons, and destiny itself.
A delirious fusion of stand-up swagger, supernatural fantasy, and street-level absurdity, Petey Wheatstraw is pure Rudy Ray Moore—filthy, fearless, and ferociously funny.
BLAXPLOITATION DOUBLE FEATURE!
Doors 8:30pm
Film 9pm
FEMALE CONVICT SCORPION JAILHOUSE 41
(1972, Japan, Shunya Ito)
After a brutal escape from prison, Sasori and her fellow inmates embark on a hallucinatory journey through a landscape of violence, betrayal, and vengeance. Pursued by guards and ghosts alike, Sasori becomes less a woman than a symbol—of rage, endurance, and revolt.
A masterpiece of radical cinema, Jailhouse 41 transforms the women-in-prison genre into something mythic and avant-garde: a swirl of colour, cruelty, and poetic fury, anchored by Meiko Kaji’s iconic, wordless performance.
REVENGE DOUBLE FEATURE!
Doors 6pm
Film 6:30pm
BRING ME THE HEAD OF ALFREDO GARCIA
(1974, USA/Mexico, Sam Peckinpah)
When a Mexican crime boss puts a bounty on the man who impregnated his daughter, a down-on-his-luck bar pianist sees one last chance for fortune—and redemption. But what begins as a simple job descends into a grim, tequila-soaked odyssey through love, greed, and decay.
Bleak, beautiful, and unflinchingly personal, Bring Me the Head of Alfredo Garcia stands as Peckinpah’s most ferocious statement: a road movie from hell, drenched in dust, sweat, and doomed romance.
REVENGE DOUBLE FEATURE!
Doors 8.20pm
Film 8.45pm
ROAR
(1981, USA, Noel Marshall)
A family living among lions, tigers, and elephants in the African wilderness discovers that “no animals were harmed” doesn’t mean the humans were safe. What begins as an idealistic vision of coexistence descends into a chaotic, jaw-dropping spectacle of real danger and cinematic madness.
Starring Tippi Hedren, Melanie Griffith, and an entire menagerie of untrained big cats, Roar is unlike any film ever made—a surreal blend of nature documentary, disaster movie, and family project gone beautifully, terrifyingly wrong.
Doors 6pm
Film 6:30pm
MYSTERY MOVIE
?
Not for the easily offended, and strictly programmed for adult audiences only - our mystery films are eye-popping forays into the bold and bonkers world of psychotronic cinema. Expect the unacceptable.
Doors 8.15pm
Film 8.45pm
THE HEARTBREAK KID
(1972, USA, Elaine May)
On his honeymoon in Miami, an ambitious young man realises he’s married the wrong woman—then immediately falls for another. What follows is a painfully funny journey of self-deception and pursuit, where charm curdles into cruelty and romance into ego.
Directed with razor-sharp wit by Elaine May and written by Neil Simon, The Heartbreak Kid turns the American dream of love and success inside out. Charles Grodin, Cybill Shepherd, and Jeannie Berlin deliver performances of excruciating honesty in one of the great comedies of moral discomfort.
Doors 3:30pm
Film 4pm
THE APPLE
(1980, USA, Menahem Golan)
In the glittering future of 1994, a naïve folk duo is seduced into the world of corporate pop by a devilish record producer named Boogalow. As fame, fashion, and fascism collide, music becomes a weapon of control—and love the only act of rebellion.
A delirious disco-rock musical from Cannon Films, The Apple is a kaleidoscope of spandex, synths, and pure camp excess. Booed at its premiere, now beloved as a cult apocalypse of showbiz corruption and unfiltered 1980s delirium.
PSYCHOTRONIC MUSICAL DOUBLE FEATURE!
Doors 6:15pm
Film 6:45pm
THE LEGEND OF THE STARDUST BROTHERS
(1985, Japan, Makoto Tezuka)
When two rival musicians are transformed into instant pop idols by a mysterious manager, their manufactured fame quickly curdles into nightmare. What follows is a psychedelic explosion of music, media satire, and glittering chaos—a Japanese pop opera caught between dream and dystopia.
Produced by Macoto Tezka (son of Osamu Tezuka) and featuring music by Haruo Chicada, The Legend of the Stardust Brothers is a lost cult marvel: a candy-coloured, anarchic time capsule of 1980s youth culture, equal parts Phantom of the Paradise and MTV fever dream.
PSYCHOTRONIC MUSICAL DOUBLE FEATURE!
Doors 8:45pm
Film 9:15pm
SINNER: THE SECRET DIARY OF A NYMPHOMANIAC
(1973, France, Jesus Franco)
Linda comes to the big city in search of fun and excitement. What she finds is exploitation and abuse at the hands of a succession of sleazy guys. Searching for love, she enters into a lesbian relationship with a beautiful countess, discovers drugs and swingers’ parties and starts acting in porno movies. She also begins to write a secret diary…
SUNDAY SINNERS WEEKLY DOUBLE FEATURE!
Doors 5.30pm
Film 6pm
NUDE FOR SATAN
(1974, Italy, Luigi Batzella)
Italian Gothic horror that tells the tale of a man who stops at a remote castle hoping to get medical help for an injured woman, only to find the inhabitants mirror the darker sides of the woman and himself.
SUNDAY SINNERS WEEKLY DOUBLE FEATURE!
Doors 7:40pm
Film 8.15pm
WOMEN AND COCAINE PRESENTS:
DIARY OF A LOST GIRL
(1929, Germany, G.W. Pabst)
Thymian Henning, an innocent young girl, is raped by the clerk of her father’s pharmacy. She becomes pregnant, is rejected by her family, and must fend for herself in a harsh, cruel world.
LOUISE BROOKS DOUBLE FEATURE!
Doors 5.30pm
Film 6pm
WOMEN AND COCAINE PRESENTS:
PANDORA’S BOX
(1929, Germany, G.W. Pabst)
Lulu is a young woman so beautiful and alluring that few can resist her siren charms. The men drawn into her web include respectable newspaper publisher Dr. Ludwig Schön, his musical producer son Alwa, circus performer Rodrigo Quast, and seedy old Schigolch. When Lulu’s charms inevitably lead to tragedy, the downward spiral encompasses them all.
LOUISE BROOKS DOUBLE FEATURE!
Doors 8pm
Film 8.30pm
PANDORA’S BOX
(1929, Germany, G.W. Pabst)
Lulu is a young woman so beautiful and alluring that few can resist her siren charms. The men drawn into her web include respectable newspaper publisher Dr. Ludwig Schön, his musical producer son Alwa, circus performer Rodrigo Quast, and seedy old Schigolch. When Lulu’s charms inevitably lead to tragedy, the downward spiral encompasses them all.
LOUISE BROOKS DOUBLE FEATURE!
Doors 8pm
Film 8.30pm
SHRIME TIME: A NIGHT OF BIZARRO UNDERSEEN ANIME
From radical student animation collectives to sun-bleached techno-dystopias and gore-drenched horror, Shrime Time shines where the sun daren’t: revealing the backside of seldom-seen Japanese visual culture.
Expect screenings from the 1960s to the present day, paired with special guests: musicians, artists, researchers and those obsessed with the outermost edges of Japan’s visual imagination.
So come. Sit still in the dark.
Let the rectacular eye stare deep into your curious soul.
The Shrime is watching.
NOTE: BOTH SCREENINGS CONTAIN THE SAME PROGRAMME
Doors 6pm
Film 6:30pm
and
Doors 8.15pm
Film 8.45pm
THE SHOUT
(1978, UK, Jerzy Skolimowski)
In the windswept Devon countryside, a mysterious stranger intrudes upon a composer’s quiet life, claiming to possess a supernatural “shout” capable of killing anyone who hears it. As the story unfolds, the boundary between sanity, myth, and manipulation begins to dissolve.
A haunting fusion of English folklore and surrealism, The Shout is one of Jerzy Skolimowski’s most unsettling works—an eerie meditation on power, sound, and the fragility of perception, anchored by chilling performances from Alan Bates and John Hurt.
Doors 6pm
Film 6:30pm
BASKET CASE
(1982, USA, Frank Henenlotter)
A young man carrying a big basket that contains his extremely deformed, formerly conjoined twin brother seeks vengeance on the doctors who separated them against their will.
Doors 8.15pm
Film 8.40pm
Book here
EL TOPO
(1970, Mexico, Alejandro Jodorowsky)
Across an arid, hallucinatory desert, a black-clad gunslinger undertakes a brutal spiritual odyssey—duelling mystical masters, confronting his sins, and descending into a world of outcasts who worship him as a messiah.
A feverish collision of western, religious allegory, and psychedelic ritual, El Topo reshapes myth into a violent dreamscape. Jodorowsky’s vision is both sacred and profane—a cosmic fable of enlightenment through blood, sand, and transformation.
Doors 6pm
Film 6:30pm
Book here
(1970, Mexico, Alejandro Jodorowsky)
Across an arid, hallucinatory desert, a black-clad gunslinger undertakes a brutal spiritual odyssey—duelling mystical masters, confronting his sins, and descending into a world of outcasts who worship him as a messiah.
A feverish collision of western, religious allegory, and psychedelic ritual, El Topo reshapes myth into a violent dreamscape. Jodorowsky’s vision is both sacred and profane—a cosmic fable of enlightenment through blood, sand, and transformation.
Doors 6pm
Film 6:30pm
Book here
THE BEAVER TRILOGY
(1979–2001, USA, Trent Harris)
What begins as a chance encounter in a Utah parking lot becomes one of the strangest and most moving experiments in American independent cinema. Across three iterations—a documentary, and two dramatized remakes starring Sean Penn and Crispin Glover—Trent Harris revisits the same story of small-town dreams, identity, and performance.
Funny, unsettling, and deeply human, The Beaver Trilogy transforms obsession and empathy into art—a portrait of the outsider as both subject and mirror, where reality and reenactment blur beyond recognition.
Doors 8:45pm
Film 9:15pm
BABE: PIG IN THE CITY
(1998, Australia/USA, George Miller)
After a disastrous accident on the farm, Babe and Mrs. Hoggett travel to the city in search of help—only to stumble into a surreal urban underworld of talking animals, lost souls, and impossible kindness. What follows is a darkly luminous fable about resilience, community, and hope amid ruin.
A visionary sequel from George Miller (Mad Max), Babe: Pig in the City is a work of pure cinematic wonder—part children’s film, part dystopian dream, and one of the most daring studio releases of the 1990s.
Doors 2.30pm
Film 3pm
NIGHT OF THE JUGGLER
NEW DIGITAL RESTORATION
(1980, USA, Robert Butler)
A tough, New York City ex-cop relentlessly searches for his kidnapped teenage daughter, held by a deranged drifter who’s mistaken her for the child of a wealthy businessman. As the chase rages through the city’s derelict streets and subways, both men are pushed to the brink.
Restored at long last, this notorious cult thriller has been nearly impossible to see on any format except VHS for over four decades—a furious, grimy portrait of Manhattan at its wildest.
Doors 5pm
Film 5.30pm
MYSTERY MOVIE
?
Not for the easily offended, and strictly programmed for adult audiences only - our mystery films are eye-popping forays into the bold and bonkers world of psychotronic cinema. Expect the unacceptable.
Doors 7.30pm
Film 8pm
TALES OF ORDINARY MADNESS
(1981, Italy, Marco Ferreri)
Ben Gazzara stars as a hard-drinking poet drifting through Los Angeles in search of beauty, sex, and oblivion. When he meets a fragile young woman played by Ornella Muti, their affair becomes a brutal dance between tenderness and self-destruction.
Adapted from the writings of Charles Bukowski, Tales of Ordinary Madness is Marco Ferreri’s raw, hallucinatory portrait of artistic failure and human hunger—funny, despairing, and achingly alive.
SUNDAY SINNERS WEEKLY DOUBLE FEATURE!
Doors 5pm
Film 5.30pm
LA DERNIÈRE FEMME
(1976, France, Marco Ferreri)
When his wife leaves him, a young father played by Gérard Depardieu begins a volatile relationship with a new lover, clinging to intimacy as his sense of masculinity unravels. What follows is an unflinching examination of desire, alienation, and the male ego in crisis.
Controversial on release for its explicitness and emotional brutality, La Dernière Femme (The Last Woman) remains one of Marco Ferreri’s most provocative works—a bleak, tender, and confrontational study of the body and the end of love.
SUNDAY SINNERS WEEKLY DOUBLE FEATURE!
Doors 7:30pm
Film 8pm
COP
(1988, USA, James B. Harris)
A weary LA detective becomes obsessed with a sadistic killer—and with the idea that only he can stop him. What begins as a standard police procedural spirals into paranoia and self-destruction, as the line between justice and mania collapses.
Adapted from James Ellroy’s Blood on the Moon, Cop captures the seedy neon sprawl of late-’80s Los Angeles with grim precision. James Woods delivers one of his most volatile performances—a portrait of masculine fury and moral decay that feels as dangerous as the city it inhabits.
VHS SCREENING — CRAZY COP DOUBLE FEATURE!
Doors 6pm • Film 6:30pm
MANIAC COP
(1988, USA, William Lustig)
A series of brutal killings grips New York, and the only clue is more terrifying than the crimes themselves—the murderer might be one of the city’s own. As panic spreads, a disgraced officer hunts for the truth behind the badge that kills.
Maniac Cop turns the blue wall of silence into a nightmare, fusing slasher horror with Reagan-era paranoia. Directed by exploitation legend William Lustig (Vigilante, Maniac) and written by Larry Cohen, it’s a pulpy, nightmarish vision of urban decay—where justice walks the streets with a corpse’s grin.
CRAZY COP DOUBLE FEATURE!
Doors 8.30pm • Film 9pm
CRAZY THUNDER ROAD + 30 MIN MYSTERY SHORT
(1980, Japan, Sogo Ishii)
In a near-future Japan consumed by chaos, a violent biker gang wages war against society and itself. As rival factions clash and the streets burn, one rider’s rebellion mutates into an apocalyptic vision of youth without a future.
Shot on a shoestring by film students and later embraced by Toei Studios, Crazy Thunder Road is a roaring eruption of punk energy and nihilism—part biker epic, part political prophecy, and a vital link between Mad Max and the Japanese cyberpunk underground.
SOGO ISHII DOUBLE FEATURE!
Introduced by James Balmont
Doors 5.30pm
Film 6pm
THE CRAZY FAMILY
(1984, Japan, Sogo Ishii)
A picture-perfect middle-class family moves into their dream home in the suburbs—only to implode under the pressures of modern life. As consumer anxiety, career stress, and generational resentment mount, sanity gives way to slapstick apocalypse.
A delirious satire of Japan’s economic boom, The Crazy Family turns domestic comedy into anarchic horror. Ishii’s camera hurtles through walls, routines, and neuroses in a wild fusion of punk cinema and social critique—suburbia as madhouse, laughter as revolt.
SOGO ISHII DOUBLE FEATURE!
Introduced by James Balmont
Doors 8:20pm
Film 8:50pm
GOTHIC
(1986, Japan, Makoto Tezuka)
On a stormy night in 1816, Lord Byron, Percy Shelley, Mary Shelley, and their companions gather at a lakeside villa to tell ghost stories—unleashing visions that will give birth to Frankenstein itself. As opium and imagination take hold, the boundaries between nightmare and creation dissolve.
Ken Russell transforms literary history into feverish hallucination: Gothic is a delirious blend of horror, sex, and Romantic excess, illuminated by candlelight and madness. With Gabriel Byrne, Julian Sands, and Natasha Richardson in her first film role.
Doors 6pm
Film 6.30pm
THE EROTIC RITES OF FRANKENSTEIN
(1973, Spain/France, Jesús Franco)
In a swirl of silver flesh, black magic, and surrealist delirium, Franco transforms the Frankenstein myth into a gothic fever dream. When a mad scientist revives his monstrous creation, a coven of decadent occultists seeks to harness its power for their own twisted desires.
One of Franco’s most visually striking and dreamlike works—now restored in all its baroque, metallic splendour.
Doors 8.15pm
Film 8.45pm
SALÒ, OR THE 120 DAYS OF SODOM
50th Anniversary + Q&A
(1975, Italy, Pier Paolo Pasolini)
On the 50th anniversary of the premiere of Pier Paolo Pasolini’s still controversial masterpiece, Salò, or the 120 Days of Sodom, join us for a special hosted screening offering rare insights into the making of one of the most important and influential films in 20th century cinema.
Introduced by and followed with a Q&A from Rufo Quintavalle, actor, poet and son of Uberto Quintavalle who stars in the film. A non-professional actor, Quintavalle was asked by Pasolini to play His Excellency and wrote Giornate di Sodoma: the definitive behind-the-scenes account of working with Pasolini on his final film.
Doors 5pm
Film 5:30pm
and
Doors 8.15pm
Film 8.45pm
THE AVENGERS: “MAN-EATER OF SURREY GREEN”
(1965, UK, Sidney Hayers)
“I’m a herbicidal maniac, didn’t you know?”
A monstrous plant from outer space with telepathic powers takes root in the English countryside, drawing in victims and spreading its sinister influence… just another strange assignment for John Steed (Patrick Macnee) and Emma Peel (Diana Rigg) in this classic episode that is part sci-fi and part eco-horror.
This stylish episode from Season 4 also features sharp three-piece suits, an unforgettably hairy cardigan and iconic 60s outfits by John Bates of Jean Varon.
Introduced by curator Ranjit S. Ruprai and film critic Phuong Le. Followed by discussion with fashion editor and writer Dal Chodha.
Part of SUPAKINO PRESENTS: THEY ATE! CARNIVOROUS PLANTS AND FASHIONABLE HUMANS with introductions and discussions
Doors 4.30pm
Film 5pm
(1965, UK, Sidney Hayers)
“I’m a herbicidal maniac, didn’t you know?”
A monstrous plant from outer space with telepathic powers takes root in the English countryside, drawing in victims and spreading its sinister influence… just another strange assignment for John Steed (Patrick Macnee) and Emma Peel (Diana Rigg) in this classic episode that is part sci-fi and part eco-horror.
This stylish episode from Season 4 also features sharp three-piece suits, an unforgettably hairy cardigan and iconic 60s outfits by John Bates of Jean Varon.
Introduced by curator Ranjit S. Ruprai and film critic Phuong Le. Followed by discussion with fashion editor and writer Dal Chodha.
Part of SUPAKINO PRESENTS: THEY ATE! CARNIVOROUS PLANTS AND FASHIONABLE HUMANS with introductions and discussions
Doors 4.30pm
Film 5pm
ADELA HAS NOT HAD SUPPER YET
(1978, Czechoslovakia, Oldřich Lipský)
Nick Carter, America’s Greatest Detective, is called to Prague at the turn of the century to investigate the case of a missing dog. Instead, he uncovers a wacky plot by his old nemesis The Gardener involving a carnivorous plant that gets very hungry when it hears Mozart.
This cult comedy by Oldřich Lipský is a beloved classic of Czech cinema. Written by animator Jiří Brdečka and featuring stop-motion effects by Jan Švankmajer, cartoon antics and comic strip adventures are vividly parodied in live action. Packed with ingenious steampunk gadgets and beautiful fin-de-siècle costumes, this film is also a treat for your eyes.
Introduced by curator Ranjit S. Ruprai of SUPAKINO and art historian Marketa Uhlirova of Fashion In Film Festival.
Part of SUPAKINO PRESENTS: THEY ATE! CARNIVOROUS PLANTS AND FASHIONABLE HUMANS with introductions and discussions
Doors 6.15pm
Film 6.45pm
PLEASE DON’T EAT MY MOTHER!
(1973, USA, Carl Monson)
Henry Fudd, a meek middle-aged virgin, buys a strange little gurgling plant and brings it home to his suburban home, hiding it away from his kvetching mother. The plant seduces Fudd with her sexy voice and persuades him to divert his attention from pervy peeping and instead feed her ever-growing appetite for all things soft and fleshy.
Buck Kartalian (better known for Planet Of The Apes) stars in this utterly sleazy and trashy 70s version of Corman’s The Little Shop Of Horrors. Grotesque yet goofy, this is exploitation cinema at its hungriest.
Introduced by curator Ranjit S. Ruprai of SUPAKINO and Richard Clark aka Token Homo.
Part of SUPAKINO PRESENTS: THEY ATE! CARNIVOROUS PLANTS AND FASHIONABLE HUMANS with introductions and discussions
Doors 8.45pm
Film 9.15pm
THE SEDUCERS AKA TOP SECRET
(1969, Italy/West Germany, Ottavio Alessi)
A sun-drenched island, a lonely woman, and two young travellers caught in a web of seduction and deceit. What begins as a sensual holiday drifts into a nightmare of jealousy, voyeurism, and moral collapse.
Featuring Rosalba Neri and Edwige Fenech, this intoxicating mix of eroticism and intrigue captures the decadent mood of late ’60s Euro cinema—part jet-set fantasy, part psychological trap.
SUNDAY SINNERS WEEKLY DOUBLE FEATURE!
Doors 5.30pm
Film 6pm
SEXWORLD
(1977, USA, Anthony Spinelli)
A busload of strangers arrives at an exclusive retreat promising to fulfil their most forbidden fantasies. But as inhibitions dissolve and desires surface, pleasure and therapy blur in ways no one expects.
A bold fusion of sci-fi and sexuality, SexWorld reimagines Westworld as a utopia of erotic self-discovery—elevated by lush cinematography, an original score, and unexpectedly sincere performances. One of the most ambitious adult films of the 1970s.
SUNDAY SINNERS WEEKLY DOUBLE FEATURE!
Doors 8pm
Film 8.30pm
MERMAID LEGEND
(1984, Japan, Toshiharu Ikeda)
When a fisherman murders a woman to steal her land, her spirit returns from the sea to exact vengeance on the corrupt men who destroyed her life. What follows is a surreal blend of political thriller, ghost story, and feminist revenge tale.
Bathed in crimson light and ocean mist, Mermaid Legend channels the fury of Lady Snowblood through the dreamlike lens of the Japanese New Wave—a haunting, operatic vision of retribution and rebirth.
ECO-REVENGE DOUBLE FEATURE
Doors 6pm
Film 6:30pm
CLEARCUT
(1991, Canada, Ryszard Bugajski)
In the wake of a failed protest against a logging company, a lawyer finds himself drawn into a violent confrontation led by an enigmatic Indigenous man who takes the fight far beyond the courtroom.
Shot in the forests of northern Ontario, Clearcut burns with moral ambiguity and environmental rage—part psychological thriller, part political parable. Graham Greene delivers a mesmerising, unsettling performance in this overlooked Canadian masterpiece.
ECO-REVENGE DOUBLE FEATURE
Doors 8.30pm
Film 9pm
VARIETY + MYSTERY SHORT (1961, 16 min)
(1983, USA, Bette Gordon)
A young woman takes a job selling tickets at a Times Square porn cinema and becomes fixated on one of its mysterious patrons. As her curiosity deepens into obsession, the boundaries between spectator and participant, fantasy and reality, begin to erode.
Co-written by Kathy Acker and shot in the decaying glow of early ’80s New York, Variety is a landmark of feminist independent cinema—part noir, part psychosexual study, and part urban dreamscape, alive with desire, danger, and unanswered questions.
THE GAZE GOES BOTH WAYS: Introduced with accompanying zine by Agnė Qami
Doors 5.30pm
Film 6pm
and
Doors 8pm
Film 8.35pm
RATBOY
(1986, USA, Sondra Locke)
Discovered living feral in the wilderness, a half-human, half-rat boy becomes an instant media sensation as exploiters and opportunists swarm to control his story. What begins as a tabloid curiosity evolves into a strangely tender, tragic fable about loneliness, fame, and otherness in Reagan’s America.
The directorial debut of Sondra Locke, Ratboy is a forgotten oddity of 1980s Hollywood—part creature feature, part social satire, and wholly unlike anything else to crawl out of the studio system.
SONDRA LOCKE DOUBLE FEATURE!
Introduced and programmed by Charlie Evans-Flagg
Doors 6pm
Film 6:30pm
(1986, USA, Sondra Locke)
Discovered living feral in the wilderness, a half-human, half-rat boy becomes an instant media sensation as exploiters and opportunists swarm to control his story. What begins as a tabloid curiosity evolves into a strangely tender, tragic fable about loneliness, fame, and otherness in Reagan’s America.
The directorial debut of Sondra Locke, Ratboy is a forgotten oddity of 1980s Hollywood—part creature feature, part social satire, and wholly unlike anything else to crawl out of the studio system.
SONDRA LOCKE DOUBLE FEATURE!
Introduced and programmed by Charlie Evans-Flagg
Doors 6pm
Film 6:30pm
DEATH GAME
(1977, USA, Peter S. Traynor)
A rainy night, a knock at the door, and two stranded young women seeking shelter. What seems like a harmless act of kindness soon spirals into a sadistic game of seduction and psychological torment.
A razor-edged chamber piece simmering with paranoia and sexual menace, Death Game turns domestic space into a battleground of guilt and desire. Long overshadowed by Eli Roth’s remake Knock Knock, this is the original—nastier, stranger, and far more dangerous.
SONDRA LOCKE DOUBLE FEATURE!
Introduced and programmed by Charlie Evans-Flagg
Doors 8.30pm
Film 9pm
THE SHOUT
(1978, UK, Jerzy Skolimowski)
In the windswept Devon countryside, a mysterious stranger intrudes upon a composer’s quiet life, claiming to have learned a supernatural “shout” capable of killing anyone who hears it. As the tale unfolds, the line between sanity and myth begins to blur.
A haunting collision of the pastoral and the surreal, The Shout channels English folklore through Skolimowski’s elliptical, dreamlike style—anchored by eerie sound design and unforgettable performances from Alan Bates, John Hurt, and Susannah York.
Doors 6pm
Film 6:30pm
MYSTERY MOVIE
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Not for the easily offended, and strictly programmed for adult audiences only - our mystery films are eye-popping forays into the bold and bonkers world of psychotronic cinema. Expect the unacceptable.
Doors 8:10pm
Film 8.45pm
BRING ME THE HEAD OF ALFREDO GARCIA
(1974, USA/Mexico, Sam Peckinpah)
When a Mexican crime boss puts a bounty on the man who impregnated his daughter, a down-on-his-luck bar pianist sees one last chance for fortune—and redemption. But what begins as a simple job descends into a grim, tequila-soaked odyssey through love, greed, and decay.
Bleak, beautiful, and unflinchingly personal, Bring Me the Head of Alfredo Garcia stands as Peckinpah’s most ferocious statement: a road movie from hell, drenched in dust, sweat, and doomed romance.
Doors 2.30pm
Film 3:15pm
(1974, USA/Mexico, Sam Peckinpah)
When a Mexican crime boss puts a bounty on the man who impregnated his daughter, a down-on-his-luck bar pianist sees one last chance for fortune—and redemption. But what begins as a simple job descends into a grim, tequila-soaked odyssey through love, greed, and decay.
Bleak, beautiful, and unflinchingly personal, Bring Me the Head of Alfredo Garcia stands as Peckinpah’s most ferocious statement: a road movie from hell, drenched in dust, sweat, and doomed romance.
Doors 2.30pm
Film 3:15pm
SYMPATHY FOR THE UNDERDOG
(1971, Japan, Kinji Fukasaku)
After ten years in prison, a yakuza boss returns to a changed Japan—his turf taken, his men scattered, his honour outdated. Determined to reclaim his dignity, he leads his ragtag crew to Okinawa for one final stand against the new corporate order of organised crime.
Shot with Fukasaku’s trademark verve and fatalism, Sympathy for the Underdog is a melancholy gangster elegy—part outlaw saga, part requiem for a disappearing code of honour.
Doors 5.15pm
Film 5.45pm
THE NIGHT OF THE JUGGLER
(1980, USA, Robert Butler)
A tough, New York City ex-cop relentlessly searches for his kidnapped teenage daughter, held by a deranged drifter who’s mistaken her for the child of a wealthy businessman. As the chase rages through the city’s derelict streets and subways, both men are pushed to the brink.
Restored at long last, this notorious cult thriller has been nearly impossible to see on any format except VHS for over four decades—a furious, grimy portrait of Manhattan at its wildest.
Doors 8.30pm
Film 9pm
CULTPIX PRESENTS: MAID IN SWEDEN
(1971, Sweden/USA, Dan Wolman)
A naïve young woman travels from her rural village to visit her sophisticated sister in Stockholm, only to find herself adrift in a world of desire, deception, and disillusion. What begins as a coming-of-age story unfolds into a quietly haunting portrait of innocence lost in the city’s cold light.
With its languid pace and melancholy tone, Maid in Sweden stands apart from the era’s sexploitation wave—an erotic drama steeped in alienation, longing, and the uneasy promise of liberation.
SUNDAY SINNERS WEEKLY DOUBLE FEATURE!
Doors 5.30pm
Film 6pm
CULTPIX PRESENTS: EXPOSED aka EXPONERAD
(1971, Sweden, Gustav Wiklund)
Christina Lindberg stars as Lena, a young woman who leaves her small town for Stockholm in search of independence and excitement—only to be drawn into a shadowy world of manipulation and control. Torn between erotic freedom and exploitation, Lena’s story unfolds as a cool, disquieting study of vulnerability and voyeurism.
Stylish, icy, and unsettling, Exposed captures the contradictions of early ’70s Swedish erotica—its promises of liberation undercut by loneliness and surveillance. Lindberg’s magnetic presence anchors one of her most haunting performances.
SUNDAY SINNERS WEEKLY DOUBLE FEATURE!
Doors 7.30pm
Film 8pm
117-119 Clerkenwell Road
London, EC1R 5BY
A fully licensed grindhouse cinema, bar and video shop
Shop + bar are open
during doors
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