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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No late admittance after 15 minutes
THE CHANGELING
(1980, Canada, Peter Medak)
After a tragic event happens, composer John Russell moves to Seattle to try to overcome it and build a new and peaceful life in a lonely big house that has been uninhabited for many years. But, soon after, the obscure history of such an old mansion and his own past begin to haunt him.
Medak’s elegantly paced ghost story entwines personal grief with a house whose emptiness seems to breathe. The film draws its power from atmosphere rather than spectacle: echoing corridors, the distant thump of a ball, and a protagonist whose mourning makes him porous to the past.
PART OF OUR GEORGE C. SCOTT DOUBLE FEATURE!
Doors 6pm
Film 6:30pm
(1980, Canada, Peter Medak)
After a tragic event happens, composer John Russell moves to Seattle to try to overcome it and build a new and peaceful life in a lonely big house that has been uninhabited for many years. But, soon after, the obscure history of such an old mansion and his own past begin to haunt him.
Medak’s elegantly paced ghost story entwines personal grief with a house whose emptiness seems to breathe. The film draws its power from atmosphere rather than spectacle: echoing corridors, the distant thump of a ball, and a protagonist whose mourning makes him porous to the past.
PART OF OUR GEORGE C. SCOTT DOUBLE FEATURE!
Doors 6pm
Film 6:30pm
THE EXORCIST III
(1990, USA, William Peter Blatty)
On the fifteenth anniversary of the exorcism that claimed Father Damien Karras’ life, Police Lieutenant Kinderman’s world is once again shattered when a boy is found decapitated and savagely crucified.
Blatty resurrects the philosophical and spiritual dread of the original Exorcist, not through spectacle but through mood, rhythm, and the grim patience of police procedural. The film slips between dream logic and grounded investigation as Kinderman confronts murders that echo a killer long dead.
PART OF OUR GEORGE C. SCOTT DOUBLE FEATURE!
Doors 8:15pm
Film 8:45pm
CUTTER’S WAY
(1981, USA, Ivan Passer)
Alex Cutter is a boozy, belligerent and deeply cynical Vietnam veteran whose encounter with a landmine during the war has left him minus an eye, a leg and an arm. When his drifter playboy friend Richard Bone is falsely accused of murder, Cutter sets out for revenge in his own inimitable style.
Cutter’s chaotic righteousness and Bone’s drifting moral inertia form a partnership as combustible as the conspiracy they half-stumble into. Atmospheric, bitterly funny, and emotionally precise, it stands among the most potent portraits of post-war American malaise.
Doors 6pm
Film 6:30pm
THE SILENT PARTNER
(1978, Canada, Daryl Duke)
Toronto, Canada. A few days before Christmas, Miles Cullen, a bored teller working at a bank branch located in a shopping mall, accidentally learns that the place is about to be robbed when he finds a disconcerting note on one of the counters.
A chilly, precision-tooled thriller that turns a shopping-mall bank counter into the site of a psychological duel. Duke transforms a simple robbery setup into a battle of wills, where a mild-mannered teller’s quiet cunning clashes with a robber whose calm hides a streak of genuine menace.
Doors 8:15pm
Film 8:45pm
REVELATIONS OF DIVINE LOVE
(2025, USA, Caroline Golum)
Between pandemics, people’s revolts and male institutions, this period film cheekily combines fantastic psychedelia and handmade sets. Inspired by the life story of Julian of Norwich, a 14th-century mystic and the first woman to write a book in English.
With director Caroline Golum in person from NYC!
Doors 6pm
Film 6:30pm
WAKE IN FRIGHT
(1971, Australia, Ted Kotcheff)
A young schoolteacher descends into personal moral degradation after finding himself stranded in a brutal, menacing town in outback Australia.
A descent into a uniquely Australian hell, Kotcheff’s outback nightmare traps its protagonist in a cycle of drink, violence, and ritualised masculinity. The film’s oppressive heat and unbroken tension evoke a place where social norms evaporate under the sun.
Doors 8pm
Film 8:30pm
BLACK CHRISTMAS
(1974, Canada, Bob Clark)
As the residents of the Pi Kappa Sigma sorority house prepare for the festive season, a stranger begins to harass them with a series of obscene phone calls.
Bob Clark’s pioneering slasher laces its yuletide setting with a creeping sense of domestic violation, turning the sorority house—supposed space of camaraderie—into an echo chamber of dread. Fragmented phone calls and unseen movements in the attic create an atmosphere where the familiar is forever on the verge of becoming grotesque.
Doors 6pm
Film 6:30pm
SILENT NIGHT DEADLY NIGHT
(1984, USA, Charles E. Sellier Jr.)
After witnessing his parents’ murder on Christmas Eve, a young boy is raised in a stern Catholic orphanage where punishment is confused with morality and fear becomes ritual. Years later, working in a small-town toy store during the holidays, his unresolved trauma resurfaces—triggering a violent descent that turns Santa’s red suit into an emblem of terror.
A flashpoint in 1980s moral-panic culture, Silent Night, Deadly Night filters slasher conventions through the anxieties of Reagan-era Americana: the collision of family values, religious discipline, and the commodified cheer of the holiday season. Lean, grubby, and unexpectedly sad beneath its notoriety, the film stands as a snapshot of an era when horror’s transgressions clashed loudly with its audience’s ideals.
Doors 8:15pm
Film 8:45pm
PSYCHOTRONIC XMAS MARATHON
An all-day plunge into the delirious, the deranged, and the seasonally inappropriate. Curated from the outer reaches of exploitation and yuletide oddities, this Christmas tradition embraces everything unwholesome about festive cinema.
Expect deep cuts, tonal whiplash, and the peculiar warmth that comes from sharing truly questionable films with strangers - plus a few other festive surprises.
Four movies plus shorts and extras.
3PM - 12AM
DON’T OPEN TILL CHRISTMAS
(1984, UK, Edmund Purdom/Alan Birkinshaw)
It’s just days before Christmas in London, but not everyone is full of good cheer - as a maniac with a pathological hatred of Santa Claus stalks the streets, butchering any man that’s unlucky enough to be wandering around dressed as Old Saint Nick.
A sleazy, oddly mournful London slasher that turns the city’s winter streets into a theatre of anti-festive carnage. The film’s patchwork production only adds to its charm: jagged edits, lurid lighting, and an atmosphere of grubby melancholy evoke a capital where goodwill has long curdled.
Doors 3pm
Film 3:30pm
DIAL CODE: SANTA CLAUS
(1989, France, Rene Manzor)
Thomas de Frémont, a precocious child obsessed with action films, sets himself up for a terrifying Christmas Eve after he unwittingly makes contact with a deranged psychopath who claims he’s Santa Claus.
Inventive, visually exuberant, and threaded with a dark fairy-tale logic, Dial Code: Santa Claus stands as one of the most striking European holiday thrillers of its era—a precursor to Home Alone with sharper teeth.
Doors 5pm
Film 5:30pm
CHRISTMAS EVIL
(1980, USA, Lewis Jackson)
Haunted since childhood by a traumatic glimpse of Santa Claus as something unsettlingly human, a lonely toy-factory worker drifts through adulthood with an almost devotional obsession for the holiday. As he grows increasingly disillusioned with corporate cynicism and everyday cruelty, his fixation hardens into a mission—first moral, then violent—as he attempts to enforce his own vision of Christmas “purity.”
More character study than conventional slasher, Christmas Evil blends urban melancholy with a gently surreal tone, capturing a New York caught between festivity and decay. Lewis Jackson’s film treats its protagonist less as a monster than as a product of isolation and fantasy, turning seasonal iconography into a portrait of fragile idealism buckling under social pressure. The result is a distinctive entry in holiday horror: mournful, odd, and quietly incisive about the myths we try—and fail—to live by.
Doors 7:30pm
Film 8pm
(1980, USA, Lewis Jackson)
Haunted since childhood by a traumatic glimpse of Santa Claus as something unsettlingly human, a lonely toy-factory worker drifts through adulthood with an almost devotional obsession for the holiday. As he grows increasingly disillusioned with corporate cynicism and everyday cruelty, his fixation hardens into a mission—first moral, then violent—as he attempts to enforce his own vision of Christmas “purity.”
More character study than conventional slasher, Christmas Evil blends urban melancholy with a gently surreal tone, capturing a New York caught between festivity and decay. Lewis Jackson’s film treats its protagonist less as a monster than as a product of isolation and fantasy, turning seasonal iconography into a portrait of fragile idealism buckling under social pressure. The result is a distinctive entry in holiday horror: mournful, odd, and quietly incisive about the myths we try—and fail—to live by.
Doors 7:30pm
Film 8pm
DIAL CODE: SANTA CLAUS
(1989, France, Rene Manzor)
Thomas de Frémont, a precocious child obsessed with action films, sets himself up for a terrifying Christmas Eve after he unwittingly makes contact with a deranged psychopath who claims he’s Santa Claus.
Inventive, visually exuberant, and threaded with a dark fairy-tale logic, Dial Code: Santa Claus stands as one of the most striking European holiday thrillers of its era—a precursor to Home Alone with sharper teeth.
Doors 5pm
Film 5:30pm
SILENT NIGHT DEADLY NIGHT
(1984, USA, Charles E. Sellier Jr.)
After witnessing his parents’ murder on Christmas Eve, a young boy is raised in a stern Catholic orphanage where punishment is confused with morality and fear becomes ritual. Years later, working in a small-town toy store during the holidays, his unresolved trauma resurfaces—triggering a violent descent that turns Santa’s red suit into an emblem of terror.
A flashpoint in 1980s moral-panic culture, Silent Night, Deadly Night filters slasher conventions through the anxieties of Reagan-era Americana: the collision of family values, religious discipline, and the commodified cheer of the holiday season. Lean, grubby, and unexpectedly sad beneath its notoriety, the film stands as a snapshot of an era when horror’s transgressions clashed loudly with its audience’s ideals.
Doors 8:15pm
Film 8:45pm
THE GREAT SILENCE
(1968, Italy, Sergio Corbucci)
In the snowbound wilderness of Utah, a mute gunslinger known only as Silence drifts into a community terrorised by bounty hunters who exploit harsh winter lawlessness for profit. When a young widow seeks justice for her murdered husband, Silence’s intervention pits him against the glacial brutality of a legendary killer—and the indifferent authority that enables him.
One of the bleakest and most politically charged of all spaghetti westerns, The Great Silence transforms frontier myth into a study of economic predation and moral impotence. Corbucci’s stark compositions and Ennio Morricone’s mournful score frame a landscape where survival favours the ruthless and heroism is swallowed by the snow. The film’s uncompromising conclusion remains a landmark of the genre’s willingness to strip away illusion and confront the cost of violence with unflinching clarity.
Doors 5.30pm
Film 6pm
WAKE IN FRIGHT
(1971, Australia, Ted Kotcheff)
A young schoolteacher descends into personal moral degradation after finding himself stranded in a brutal, menacing town in outback Australia.
A descent into a uniquely Australian hell, Kotcheff’s outback nightmare traps its protagonist in a cycle of drink, violence, and ritualised masculinity. The film’s oppressive heat and unbroken tension evoke a place where social norms evaporate under the sun.
Doors 8pm
Film 8:30pm
THE CHANGELING
(1980, Canada, Peter Medak)
After a tragic event happens, composer John Russell moves to Seattle to try to overcome it and build a new and peaceful life in a lonely big house that has been uninhabited for many years. But, soon after, the obscure history of such an old mansion and his own past begin to haunt him.
Medak’s elegantly paced ghost story entwines personal grief with a house whose emptiness seems to breathe. The film draws its power from atmosphere rather than spectacle: echoing corridors, the distant thump of a ball, and a protagonist whose mourning makes him porous to the past.
Doors 4:30pm
Film 5pm
DIAL CODE: SANTA CLAUS
(1989, France, Rene Manzor)
Thomas de Frémont, a precocious child obsessed with action films, sets himself up for a terrifying Christmas Eve after he unwittingly makes contact with a deranged psychopath who claims he’s Santa Claus.
Inventive, visually exuberant, and threaded with a dark fairy-tale logic, Dial Code: Santa Claus stands as one of the most striking European holiday thrillers of its era—a precursor to Home Alone with sharper teeth.
Doors 7:30pm
Film 8pm
DAY OF THE BEAST
(1995, Spain, Álex de la Iglesia)
The story revolves around a Basque Roman Catholic priest dedicated to committing as many sins as possible, a death metal salesman from Carabanchel, and the Italian host of a TV show on the occult. These go on a literal “trip” through Christmas-time Madrid to hunt for and prevent the reincarnation of the Antichrist.
De la Iglesia’s apocalyptic Christmas black comedy spins chaos from the collision of faith, pop-culture detritus, and late-’90s Madrid nightlife. Frenetic and darkly hilarious, the film frames its doomsday plot as a critique of media spectacle and religious paranoia.
Doors 5:30pm
Film 6pm
STRANGE DAYS
(1995, USA, Kathryn Bigelow)
Former policeman Lenny Nero has moved into a more lucrative trade: the illegal sale of virtual reality-like recordings that allow users to experience the emotions and past experiences of others. While they typically contain tawdry incidents, Nero is shocked when he receives one showing a murder.
Sleek, urgent, and morally tangled, Strange Days fuses cyberpunk aesthetics with deeply human concerns, capturing a society teetering between collapse and reinvention as the century turns.
Doors 8pm
Film 8:30pm
(1995, USA, Kathryn Bigelow)
Former policeman Lenny Nero has moved into a more lucrative trade: the illegal sale of virtual reality-like recordings that allow users to experience the emotions and past experiences of others. While they typically contain tawdry incidents, Nero is shocked when he receives one showing a murder.
Sleek, urgent, and morally tangled, Strange Days fuses cyberpunk aesthetics with deeply human concerns, capturing a society teetering between collapse and reinvention as the century turns.
Doors 8pm
Film 8:30pm
THE NICKEL NYE BASEMENT BASH
8PM - 4AM!
8PM:
MYSTERY MOVIE (first 37 seated)
9.30PM - 4AM
DJs and KARAOKE IN THE BASEMENT BAR
PSYCHOTRONIC VISUALS ON THE BIG SCREEN ALL NIGHT
Only £15
117-119 Clerkenwell Road
London, EC1R 5BY
A fully licensed grindhouse cinema, bar and video shop
Shop + bar are open
during doors
Listings ︎︎︎
About ︎︎︎
Hire ︎︎︎
Mailing list ︎︎︎
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