Cinema has the ability to bring together all those kindred souls who share an unwavering love for the silver screen, impeccable style, and all things fashion. If you've ever found yourself lost in endless discussions about the tiniest cinematic details, then you've discovered the ultimate destination for unique and captivating cinematic experiences in the UK - the Rebel Reel Cine Club.
Curated by Chris McGill, a connoisseur of counter culture, fashion, and cutting-edge cinema, at the Rebel Reel Cine Club the spotlight shines on films that defy conventions, challenge societal norms, and ignite our imagination.
So far the Rebel Reel Cine Club has screened timeless classics like David Lean’s "Great Expectations", inspiring masterpieces that ignite the creative spark in fashion designers, such as Albert and David Maysles' documentary "Grey Gardens" and William Klein's "Qui êtes-vous, Polly Maggoo?" and cult films from Bruce Robinson's "Withnail and I" to "Faster, Pussycat! Kill! Kill!" by Russ Meyer.
This week, prepare to be whisked away on a dazzling journey as we venture into the realm of Roger Vadim's "Barbarella" with its imaginary sci-fi world where sensual costumes seamlessly weave into the tapestry of storytelling.
Each film screening is a visual feast, presented by artists, poets, actors, directors, and alternative thinkers who add their unique flair to the experience, with DJs providing a captivating musical backdrop.
Last but not least, the Rebel Reel Cine Club is much more than a series of screenings. It's a vibrant community hub, where kindred spirits gather to celebrate the unconventional and embrace the avant-garde. It offers immersive experiences that transport audiences to new dimensions, whether through open-air screenings or within the architectural splendor of Art Deco cinemas.
What inspired you to start the Rebel Reel Cine Club?
Chris McGill: The idea of screening films has always been a passion of mine, so back in 2015, I decided to bring that dream to life by purchasing a projector. During that period, I had a particular fascination with denim, and had a denim screen made for screenings (painting a white rectangle on it). However, I soon realized that denim was not the most practical choice for this purpose as it created a hall of mirrors effect making wobbly people and scenes. The denim screen revolution is no good for televising!
How did you go about selecting the films?
Chris McGill: I found myself drawn to certain spaces that resonated with each film. Around 2015, I found myself drawn to certain spaces that resonated with me. It all began with a screening of "The Small World of Sammy Lee", a captivating film set in the vibrant Soho of the 1960s, starring Anthony Newley. In this film, The Blue Posts on Berwick Street in London makes an appearance, and I was inspired to venture into the pub and rent out the room upstairs. It was an intimate gathering with 11 invited guests, and one of them happened to be John Pearse, a former tailor at Granny Takes a Trip. Pearse's clients experiences included working with legendary people like Fellini, and he told me that he’d seen The Rolling Stones rehearsing in the insalubrious room I'd rented! This initial success spurred me to explore different venues for possible screenings. For instance, I hosted a showing of "The Samurai" in the basement of the Aesop Lamb shop on Conduit Street, in London, as the atmosphere there evoked the unique ambiance of the bedroom in the film. This initial success spurred me to explore different venues for our screenings. For instance, I hosted a showing of Jean Pierre Melville's Le Samurai in the basement of the Aesop Lamb shop on Conduit Street, as the atmosphere there evoked the unique ambiance of the bedroom portrayed in the film.
The Covid pandemic had an impact on cinemas all over the world, how was it for you?
Chris McGill: Lockdown brought about significant challenges, as all of my day job in the theatre and gallery scene abruptly came to a halt. However, this unexpected turn of events provided me with a unique opportunity to develop Rebel Reel Cine Club. I organised online screenings and collaborated with a local burger joint in Hackney to offer meal kits sent out nationally, ensuring that our audience could enjoy an enhanced cinematic experience – I cooked online, had artist and composer Jimmy Galvin play and other creatives run drawing classes, choreography and more. As soon as restrictions began to ease, I actively sought out alternative venues to continue our screenings. One place that captured my imagination was the motorcycle shop Bolt, in Stoke Newington. While a screening couldn't be arranged there, we hopped on our scooters and ventured across London, to organize screenings. Acquiring the rights for "Faster, Pussycat! Kill! Kill!!" we popped up in Silvertown, underneath the Docklands Light Railway. The event attracted around 140 passionate bikers.
The Rebel Reel Cine Club screenings are usually accompanied by unique introductions, can you tell us more about them?
Chris McGill: For William Klein's "Qui êtes-vous, Polly Maggoo?" we had illustrator and artist Julie Verhoeven introducing the film. She's a fan of the movie and, when we screened the film at the Rio in London, she did a performance with her collaborator, Joshua Beaty. She stood on a table wearing a monumental dress she had made out of terry towelling dressing gowns, holding an usherette's light in her mouth with a variety of actions. Behind her we screened a short film she had made as a non-verbal introduction with a soundtrack of "Who Are You" by The Who. For that film we also collaborated with Lomography: they provided us with one of their instant William Klein camera as a giveaway prize. Besides, John Waters did an introduction on Zoom for his film "Polyester", while, when I screened "A Clockwork Orange" at a special Midnight show at the Rio, I got Martin Green to DJ on a Transcriptors turntable provided by partners Audio Gold – the turntables that Alex has in his bedroom in the film. In June for the screening of "Mona Lisa" at Kings Cross we have Richard Cabut reading his poetry, and we will screen a short by Cathy Tyson, who's in the film and who'll also introduce "Mona Lisa".
What's the typical audience of a Rebel Reel Cine Club evening like?
Chris McGill: The audience is wonderfully eclectic, reflecting the unique nature of our cinema club. We welcome talented artists, musicians, fashion students and obviously people seeking an immersive cinematic experience on their own. As I mentioned earlier, we pay meticulous attention to details, ensuring that every aspect of the evening is carefully curated. For instance, I create personalized badges for each screening, as I believe it embodies a sense of counterculture and camaraderie. On special occasions, we witness the transformative power of cinema as our attendees truly embrace the spirit of the films: I recall a remarkable instance during our screening of John Waters' "Polyester" when attendees arrived dressed in character. For that occasion we also had handmade placards, and people playfully protested outside the cinema on Kingsland Road. The allure of our club extends beyond individuals deeply connected to the film industry. Renowned figures such as Sara Varga, the singer, and The Primal Scream’s Bobby Gillespie come to our events, but also craftsmen duo Whitaker & Malem. We create a welcoming community ambiance, where everyone feels included and embraced. The vibrant atmosphere is enhanced by the presence of talented DJs who curate music sets, setting the tone and fostering a sense of collective belonging.
In the film programme you curate, there is a noticeable emphasis on fashion that goes beyond mere aesthetics. In which ways does fashion intertwine with the narratives and themes explored in these films, and what impact does it have on the overall cinematic experience?
Chris McGill: Fashion undeniably holds a significant place in the films I select, but also the sets. The costumes and sartorial choices within these films are not mere afterthoughts but rather integral to the narratives themselves. Think about Bernardo Bertolucci's "The Conformist" that enthralls viewers with its scenes, like the one featuring the two women dancing in their exquisite dresses. These moments are nothing short of extraordinary, evoking a heightened aesthetic experience. There is an undeniable allure when costumes perfectly align with the essence of a film. Whether it's the hyper-stylized world of "A Clockwork Orange" or the contrasting sartorial elegance of "Get Carter", where a London man stands out in his tailored suit amidst the less refined Newcastle crowd, costumes hold the power to shape the dynamics and power play within a narrative. It is this deliberate fusion of storytelling and fashion that interests me and aligns with the countercultural spirit I embrace. One remarkable example from our repertoire is the screening of "Grey Gardens", a film that has long served as a wellspring of inspiration for fashion designers in its own peculiar way. The way the characters playfully experiment with their attire in the film, combined with the innate elegance of both Big Edie and Little Edie, is truly brilliant. This film manages to touch our hearts while also celebrating the artistry of fashion.
Which films from the Rebel Reel Cine Club repertoire do you feel resonated in particular with the fashion-conscious?
Chris McGill: Probably "Withnail and I", a film that can be interpreted as a stylistic lookbook for a British interpretation of the Ivy League aesthetic. Richard E. Grant's wardrobe in the film presents intriguing elements worth noting. From his shirt tails reminiscent of the ones found in Budd at Piccadilly Arcade, evoking a Beau Brummel-esque aesthetic, to the way Withnail wears his clothes with a touch of Lucian Freud's unconventional style - think of the long scarf or the coat. Certain aspects of his elegantly wasted look remain timeless, including the boots; Grenson continues to produce the Balmoral boot originally crafted for Richard E. Grant's character. But there were other films, such as "Qui êtes-vous, Polly Maggoo?" that nods at avant-garde fashionwith Ducasse's parody of Paco Rabanne's creations, while in "Barbarella" Jane Fonda stuns in Rabanne's chain mail cropped top, pants, cape, and the iconic green ensemble adorned with plastic elements.
You mentioned "Barbarella", a film that will be screened this week, in your opinion, what's intriguing about Jane Fonda's wardrobe in this film?
Chris McGill: The allure of a tease can be more captivating than explicit nudity, and the film follows this rule. Barbarella is indeed clad in body stockings, creating an illusion of full coverage while leaving a tantalizing hint of what lies beneath. Throughout the film, there exists a constant tension between attempting to undress the protagonist - think about the scene with the dolls - and the costumes themselves that, though alluring and provocative, possess an armor-like quality.
Why should people come to see "Barbarella" this Friday at London's Garden Cinema?
Chris McGill: "Barbarella" is a cinematic spectacle not to be missed, especially for those with a keen eye for exquisite costumes. The renowned duo Whitaker & Malem, makers of the Batsuit, of Wonder Woman's armour and of erotic sculptures for Allen Jones, will do a pre-screening talk and provide insights into their creative process. When they worked on Wonder Woman's armour they insisted on adding a navel on the costume, and if you check out Barbarella's costumes, you'll realise they have a navel, so you have a connection there! Additionally, DJ Martin Green will play an "electronic spaced out set". The slightly surreal nature of the film is further amplified by the setting itself - the Garden Cinema, an architectural gem in the Art Deco style. So, attending this event goes beyond simply watching a film.
"Barbarella" by Roger Vadim, introduced by Whitaker & Malem, is at The Garden Cinema, Covent Garden, London, on Friday 19th May 2023.
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