Is the future…arthouse cinema?

We talk to two people about how they developed their taste.

The UK Cinema Association held its annual conference in March 2024 and asked a panel from the charity Into Film to discuss their cinema and film habits. Into Film is a UK charity that uses film and cinema to create learning experiences. There weren’t any expectations about what the panel would talk about, but it took an untypical direction, as all the panellists started talking about the films and cinemas they liked.  They were all unexpectedly indie, and maybe even… dare we suggest… arthouse.  Alongside evidence of under 30s watching more challenging films in cinemas, we were intrigued and invited two of the original guests, Noa Friesen and Thomas Deakin, for a more in-depth conversation. 

Noa is from St Albans and is studying French, Spanish and English Literature A Level. Her favourite cinema is her local, the Odyssey in St Albans, where they show rep cinema, and she goes to the cinema monthly. 

Thomas is in 6th form at Cambridge and studies English Literature, German and History. He goes to the cinema 1-2 times a month and usually goes to the Cambridge Arts Picture House or BFI Southbank.

Mustard: What was the last film you saw at the cinema, and who did you go with? Was it good?

N - Mine was completely unplanned. I was in Liverpool for Easter, and it was raining non-stop, windy non-stop. So we went to the cinema with my younger sisters (age 12 + 8) and my mum, and we went to see Kung Fu Panda 4.  It was pretty good but I’d say the second one is my favourite. I usually go to the cinema with my dad, he is a cinephile, as my sisters and mum aren’t super super into film. We usually go on a Wednesday evening. It was my dad that took me to see my first foreign language film in a cinema environment. It was La Haine which was showing at the Odyssey. That kicked off my passion, and it's now one of my favourite movies. I definitely trust my parent’s recommendations. My dad also showed me The Big Lebowski, (the ultimate dad movie), hilarious, classic, timeless. It's bonding. 

T - Mine was Civil War. I went by myself to celebrate finishing my first A-level. The film was alright, but it was a good experience; the screen was big. I almost always go by myself or with my parents. I occasionally go with friends. They like films, but they don’t like like films the way I do. Actually I’ve been recommending films to my dad, as my taste grows. For example, he thinks The Good, the Bad and the Ugly is one of Sergio Leone’s worst and I think it's one of the best. I’ve also introduced him to Celine and Julie Go Boating, he was expressionless for most of it, but at the end, he turned to me and said it was excellent. But my mum introduced me to Studio Ghibli, I recently rewatched My Neighbour Totoro and I think it's one of the best kids' movies that is equally important for adults. It's about imagination and the whimsy of being a child. 

Not your typical combo.

Mustard: On the panel, you were asked how you choose what you watch. I was struck that you said trailers and bus sides, which are all pretty typical for any generation. I was expecting more peer-to-peer on TikTok, for example. How much does social media play into film choice?

T - I don’t have TikTok or use reels. I think I’m a little old-fashioned. If I use social media, I’ll use it as an aide. I think you need external advertising to help with visibility. But I like how MUBI use social media; their campaign for Priscilla, for example, was great.

N - I’m the exact opposite of Thomas. I use social media all the time. I’ve actually had to remove TikTok from my phone. I follow about 2,000 people and use it for everything. If someone I’m following recommends a film, I’ll add it to Letterboxd. I follow cinemonica and Hideo Kojima (the video game designer who created Metal Gear); if he talks about a film, I’ll make a note because although he’s not a film critic, I trust his judgement. 

Mustard: How long is your Letterboxd list?

T - 3,000

N - 300

Mustard: Does that give either of you any anxiety?

T - No! It gives us hope. 

Q: On the panel there was a cri de couer for more adventurous programming from cinema operators. There are lots of world and rep cinema screenings that don’t get wide audiences, what could we do to improve visibility and access from your perspective?

T - Just integrate rep into the standard programme more, like The Light Cinema is doing and how Prince Charles has been doing it, treating films as if they are new. (The Light Cinemas has introduced strands of rep cinema into their monthly programmes)

N - You need to advertise it as a new modern film. It makes rep cinema more accessible and popular. When I saw the trailer for After Hours, it immediately made me want to see the film. There’s not so much knowledge about rep cinema because all the current films get all the attention, so it's about seeing it more on social media and talking about it more. It needs developing on social channels.

“it’s not normal people vs. cinephiles” Noa

Mustard: How do you feel about marketers grouping generational behaviour? I.e ‘this is a Gen Z film, etc’.

T - I can understand why it happens, but it oversimplifies taste and is reductionist. It doesn’t actually develop film taste, and advertising should be more inclusive. 

N - When advertising is targeted specifically at only one type, then it cuts you off from wanting to explore other kinds of film types and genres. It shouldn’t be normal people vs cinephiles. It's a mixture. 

Mustard: Recently, industry reports have discussed the rise of audiences under 25 finding arthouse cinema. Does that chime with your experiences?

T - Everything, Everywhere All at Once was an example of that. It's not even my kind of film, but the acclaim it got and the awards really showed how it could connect. I talk about Arthouse Revolution, for me, the pandemic was a catalyst for discovering cinema. I set a target of watching 100 animated films in a year and did it in five months. The pandemic was good because it helped people discover and refine their cinema tastes. It's good to see arthouse companies doing so well. 

N - There is also a shift in thinking that film is not just for entertainment but spreads some really important social messages, and in analysing film, giving it the same attention that we do with art or literature.  I was really surprised with the success of Past Lives; it's a quiet film, and you’re not spoon-fed information. It makes me happy there are these types of films in my generation, and there will be more of them. 

T- It only received 2 Academy nominations, which shows that the Academy still doesn’t recognise these titles. However, it was no.3 on the Sight + Sound List of the Year. 

N - During the pandemic, I started a film scrapbook with reviews and drawings and also discovered I really liked anime. 

(What follows is a wide-ranging conversation about anime and animated films about a mixture of films, including My Life as a Courgette (N: ‘It almost broke me’); Watership Down (T: That is not a kids film) and Princess Mononoke, a clever allegory of the environment.

Watership Down. Not a kids film.

Mustard: Do you think streaming services are a threat to cinema?

N - I’d be sorry if streaming means fewer cinemagoers, but it isn’t the same experience. You can’t equate the two - it's not a day out.

T -Yes, I think it is. Streaming can be positive, but I don’t want it to diminish the cinema. I hope that streaming and cinema can have a peaceful coexistence. 

Mustard: What is a good ticket price? 

N - £5-£6. 

T - I’d say under £10. 

Mustard: if we want to know one thing you think is vital to your cinema habits, what would it be?

T - Make it a mixture of advertising different films

N - Ticket prices. Teenagers are paying for tickets themselves, not like kids when their parents pay. 

Mustard: Who are your go-to directors?

Said in mutual agreement and adoration: ‘Celine Sciamma’ 

Then:

T - Nolan, but he has probably peaked at Oppenheimer (it's unlikely he will ever read this, so we’re keeping it in); Prediction - Yorgos Lanthamos will win best picture, Sofia Coppola - best director currently, like her style. Celine Song, Daniels, Jane Campion, overdue a massive success… Bong Joon-ho

N - I’m obsessed with Emma Seligman, I watched her short Shiva Baby and then the feature. I found it very relatable. And then Bottoms. And I love Ayo Edebiri, she has a great Letterboxd account. (Thomas nods vigorously in agreement). Sean Baker also has a great account.

T - Can I also just say, Damien Chazelle and that Babylon was not that bad. (also unlikely that he will ever read this, so keeping it in too).

Honourable mentions also go to Rachel Senna, Jayne Sherenburg, Elliot Page, and Hunter Schafer, and more visibility in trans actors.

Mustard: What about British filmmakers?

N - Molly Manning Walker. I saw How to Have Sex and would watch anything she does. 

T - He recently died, but you can see his film Passing Time on YouTube - Terence Davies. 

Mustard: And finally, what will you see at the cinema next?

T - Dune 2 (Noa gasps: ‘You must watch this at the cinema’), Kinds of Kindness and, with some luck, the restoration of Abel Gance’s Napoleon by The Cinematheque Francaise in Paris. 

N - Love Lies Bleeding, Driveaway Dolls

Thanks to Noa and Thomas for their time and for being such great guests. 

April 2024