#Albert Prosser

[greatmuldini]

Two decades before Stanley Kubrick murdered the very idea of innocence conveyed by the milk bar concept, all-night cafés, as they were also known, had already accumulated a shady reputation as the haunts of "crooks" and, well, murderers. Milk bars had come to Britain in the 1930s, and the first such establishment famously opened in London's Fleet Street in 1935.

Perhaps it was here in the exact same location that in May of 1952 a recently out-of-work actor and young father-to-be found employment as "part-time waiter." Working the nightshift at the café left him free to rehearse a new part during the day. The part in question was that of Albert Prosser, suitor to Alice Hobson in Hobson's Choice, a popular "folk" comedy the Arts Theatre Club had slated for their next revival. His experience as the ASM in charge of the prompt book on the Sheffield production of the play would have been the perfect preparation for the otherwise unheard-of talent.

Having ended his Sheffield engagement on 1 March 1952, the plan was for said talent to make his West End debut with a new comedy by a then-famous playwright, but alas the production never reached London after a brief tour to Edinburgh, Glasgow, and Liverpool. The delayed debut eventually took place on 4 June 1952 amid trying circumstances which included the arrival of a new-born daughter in a less than ideal domestic situation, and a work schedule worthy of the modern gig economy. The acting part was small and required little if any imagination but an impression was made, not least on the "spotters" from the Midland Theatre Company looking to cast their own presentation of the same play in the autumn.

If she's the woman that I take her for you'll get no pity. You'll get discipline.

Hobson's Choice celebrates the pride and resilience of a Lancashire family in the 1880s, complete with a cast of stock characters headed by the implacable, intransigent patriarch, who in the first act suffers the indignity of losing his three unpaid shop-assistant daughters to three outrageously lucrative husbands, before he learns his lesson, albeit grudgingly, in the third. It is the third act which offers the richest opportunities for the seniormale actor to shine in the cantankerous insistence on his paternal prerogatives before he is out-manoeuvred by his doctor, his handyman, his eldest daughter, and her husband. The couple agree to give up their own household and help with Hobson's shop - but there are strings attached: Hobson's Choice is, of course, no choice at all.

The limited run at the Arts Theatre Club ended on 6 July 1952, and within two months the actor and his family found themselves on the move again, destined for Coventry. Mirroring the physical, real-life journey in a magical, metaphorical transformation on stage, the fleeting character sketch of Albert Prosser becomes the mature character study of Horatio Hobson in the Midland Theatre Company's production on 15 September 1952. In the words of the newspaper review, the new arrival was soon at home in the role of Hobson, and his stature increased as the play progressed. He came right into his own in the altercations of the last act […].

The milk bar, meanwhile, with its uniquely wholesome and slave-driving business model has itself continued to evolve since the days its clientele comprised career criminals, youngsters on the verge of delinquency, or Fleet Street journalists after their midnight deadline. In my more nostalgic flights of fancy I would still like to imagine that the equivalent of my 2019 latte macchiato would in 1952 have provided at least some temporary, part-time nourishment - and not only in the form of ill-gotten gains or excess calories.

[galina-ulanova]

Laura Purkiss as Vickey Hobson, Mathias Dingman as Fred Beenstock, Lachlan Monaghan as Will Mossop, Samara Downs as Maggie Hobson, Rory Mackay as Albert Prosser, and Delia Mathews as Alice Hobon, in Hobson's Choice (Birmingham Royal Ballet, 2019)

[stainedglassgardens]

Favourite films watched in 2019

I arranged them into broad categories – other than that they’re in no particular order. 

Indie

Skate Kitchen (Crystal Moselle, 2018) 6 Balloons (Marja-Lewis Ryan, 2018) The Party’s Just Beginning (Karen Gillan, 2018) Thirteen (Catherine Hardwicke, 2003) Baise-moi (Virginie Despentes and Coralie Trinh Thi, 2000) Vazante (Daniela Thomas, 2017) Erasing Eden (Beth Dewey, 2016) The Seen and the Unseen (Sekala Niskala, Kamila Andini, 2017) Knock Down Ginger (Cleo Samoles-Little, 2016) The Garden (Sommerhaüser, Sonja Maria Kröner, 2017) Marlina the Murderer in Four Acts (Marlina Si Pembunuh dalam Empat Babak, Mouly Surya, 2017) Fish Tank (Andrea Arnold, 2009) Soldiers. Story From Ferentari (Soldații. Poveste din Ferentari, Ivana Mladenović, 2017)

Comedy

Dick (Andrew Fleming, 1999) The Breaker Upperers (Madeleine Sami and Jackie Van Beek, 2018) It Stains the Sands Red (Colin Minihan, 2016) Satanic Panic (Chelsea Stardust, 2019)

Classics

Wanda (Barbara Loden, 1970) House of Wax (Andre DeToth, 1953) Eve's Bayou (Kasi Lemmons, 1997) Germany Pale Mother (Deutschland bleiche Mutter, Helma Sanders-Brahms, 1980)

Horror

April and the Devil (Jake Hammond, 2018) Blackwood (Andrew Montague, 2019) The Crescent (Seth A Smith, 2017) Us (Jordan Peele, 2019) American Mary (Jen and Sylvia Soska, 2012) Midsommar (Ari Aster, 2019) Black Christmas (Bob Clark, 1974) The Devil's Passenger (Dave Bundtzen, 2018)

Science fiction

Born in Flames (Lizzie Borden, 1983) Evolution (Lucile Hadžihalilović, 2015) In Full Bloom (Maegan Houang, 2019)

Action

Destroyer (Karyn Kusama, 2018) Under the Silver Lake (David Robert Mitchell, 2018) Snatch (Guy Ritchie, 2000) Holiday (Isabella Eklöf, 2018)

Documentary

Our Daily Bread (Unser täglich Brot, Nikolaus Geyrhalter, 2005) Abducted in Plain Sight (Skye Borgman, 2017) Jane Fonda in Five Acts (Susan Lacy, 2018) Stories We Tell (Sarah Polley, 2012) The Decline of Western Civilization series (Penelope Spheeris, 1981, 1988 and 1998)

Full list of 273 films watched in 2018 under the cut!

January

Like Father  (Lauren Miller Rogen, 2018)

Upgrade  (Leigh Whannell, 2018)

Skate Kitchen (Crystal Moselle, 2018)

Never Been Kissed (Raja Gosnell, 1999)

Anomalisa (Charlie Kaufman and Duke Johnson, 2015)

Dick (Andrew Fleming, 1999)

The Black Balloon  (Elissa Down, 2008)

Under the Silver Lake (David Robert Mitchell, 2018)

6 Balloons (Marja-Lewis Ryan, 2018)

Rosy (Jess Bond, 2018)

The Party’s Just Beginning (Karen Gillan, 2018)

The Rider (Chloé Zhao, 2017)

Snowpiercer (Bong Joon-ho, 2013)

Touch of Evil (Orson Welles, 1958)

Thirteen (Catherine Hardwicke, 2003)

Sadie (Megan Griffiths, 2018)

The Miseducation of Cameron Post  (Desiree Akhavan, 2018)

Frida (Julie Taymor, 2002)

Fyre: The Greatest Pary That Never Happened (Chris Smith, 2019)

Time Share (Tiempo Compartido, Sebastián Hofmann, 2018)

The Stranger (Orson Welles, 1946)

Abducted in Plain Sight (Skye Borgman, 2017)

King of Thieves (James Marsh, 2018)

Malevolent (Olaf de Fleur, 2018)

Serena (Susanne Bier, 2014)

Baise-moi (Virginie Despentes and Coralie Trinh Thi, 2000)

And Breathe Normally (Andið Eðlilega, Ísold Uggadóttir, 2018)

Catwalk: Tales from the Cat Show Circuit  (Aaron Hancox and Michael McNamara, 2018)

Santoalla (Andrew Becker and Daniel Mehrer, 2016)

Jane Fonda in Five Acts (Susan Lacy, 2018)

Mademoiselle Paradis (Licht, Barbara Albert, 2017)

The B-Side: Elsa Dorfman’s Portrait Photography (Errol Morris, 2016)

February

Matangi/Maya/M.I.A (Steve Loveridge, 2018)

Pride & Prejudice (Joe Wright, 2005)T

The Brain Hack (Joseph White, 2014)

Vazante (Daniela Thomas, 2017)

Tanglewood (Jordan Prosser, 2016)

Outfall (Suzi Ewing, 2018)

Pigskin (Jake Hammond, 2015)

The Funspot (Jake Hammond, 2015)

April and the Devil (Jake Hammond, 2018)

Smithereens (Susan Seidelman, 1982)

Can You Ever Forgive Me? (Marielle Heller, 2018)

Bus Stop (Joshua Logan, 1956)

Pink Plastic Flamingos (Colin West, 2017)

The Breaker Upperers (Madeleine Sami and Jackie Van Beek, 2018)

Amanda Knox  (Rod Blackhurst and Brian McGinn, 2016)

Holy Hell (Will Allen, 2016)

Shoplifters (Manbiki Kazoku, Hirokazu Kore-eda, 2018)

Skin (Jordana Spiro, 2015)

A Night at the Garden (Marshall Curry, 2017)

Give Up the Ghost (Nathan Sam Long, 2018)

Last One Screaming (Matt Devino, 2017)

The Katy Universe (Patrick Muhlberger, 2018)

Roma (Alfonso Cuarón, 2018)

Did You Hear About the Morgans? (Marc Lawrence, 2009)

End Game (Rob Epstein and Jeffrey Friedman, 2018)

Behind the Curve  (Daniel J. Clark, 2018)

Our Daily Bread (Unser täglich Brot, Nikolaus Geyrhalter, 2005)

92MARS  (Ricardo Bernardini, 2018)

Construct (Kevin Margo, 2018)

Invaders (Daniel Prince, 2018)

March

Three Identical Strangers (Tim Wardle, 2018)

Dirty John: The Dirty Truth (Sara Mast, 2019)

Blackwood (Andrew Montague, 2019)

One (Luke Bradford, 2019)

God's Kingdom (Guy Soulsby, 2018)

Holiday (Isabella Eklöf, 2018)

Frigid (Joe Kicak, 2016)

Girl of the Sky (Ariel Martin, 2017)

Monitor (Matt Black and Ryan Polly, 2018)

Donoma (Evan Spencer Brace, 2018)

Perfect Blue (パーフェクトブル, Pāfekuto Burū, Satoshi Kon, 1997)

The Sermon (Dean Puckett, 2018)

Layer Cake (Matthew Vaughn, 2004)

Easy A (Will Gluck, 2010)

Generation Wealth (Lauren Greenfield, 2018)

The Rachel Divide (Laura Brownson, 2018)

The Place Beyond the Pines (Derek Cianfrance, 2012)

Burden (Timothy Marrinan and Richard Dewey, 2016)

What Will People Say (Hva vil folk si, Iram Haq, 2017)

Close Encounters of the Third Kind (Steven Spielberg, 1977)

Dear Zachary: A Letter to a Son About His Father (Kurt Kuenne, 2008)

Animal (Fabrice Le Nézet and Jules Janaud, 2017)

Capturing the Friedmans (Andrew Karecki, 2003)

The Fog of War: Eleven Lessons from the Life of Robert S. McNamara (Errol Morris, 2003)

April

Erasing Eden (Beth Dewey, 2016)

Destroyer (Karyn Kusama, 2018)

Unicorn Store (Brie Larson, 2019)

May the Devil Take You (Sebelum iblis menjemput, Timo Tjahjanto, 2018)

People in Cars (Daniel Lundh, 2017)

Presentation (Danielle Kampf, 2017)

Ink (Jamin Winans, 2009)

Hedgehog (Lindsey Copeland, 2016)

Koyaanisqatsi (Godfrey Reggio, 1982)

Wanda (Barbara Loden, 1970)

The Silence (John R. Leonetti, 2019)

24 Davids (Céline Baril, 2017)

The Frame (Jamin Winans, 2014)

The Talented Mr. Ripley (Anthony Minghella, 1999)

Baraka (Ron Fricke, 1992)

Wayne’s World (Penelope Spheeris, 1992)

Stories We Tell (Sarah Polley, 2012)

Born in Flames (Lizzie Borden, 1983)

Jesse’s Girl (M. Keegan Uhl, 2018)

I Walked With a Zombie (Jacques Tourneur, 1943)

Mary Goes Round (Molly McGlynn, 2017)

The Green Fog (Guy Maddin, Evan Johnson, and Galen Johnson, 2017)

Psycho (Alfred Hitchcock, 1960)

Someone Great (Jennifer Kaytin Robinson, 2019)

May

Ekaj (Cati Gonzalez, 2015)

Capernaum (Nadine Labaki, 2018)

Porcupine Lake (Ingrid Veninger, 2017)

The Decline of Western Civilization (Penelope Spheeris, 1981)

The Decline of Western Civilization Part II: The Metal Years (Penelope Spheeris, 1988)

The Decline of Western Civilization III (Penelope Spheeris, 1998)

Revolver (Guy Ritchie, 2005)

Pokémon: Detective Pikachu (Rob Letterman, 2019)

RocknRolla (Guy Ritchie, 2008)

Snatch (Guy Ritchie, 2000)

Lock, Stock and Two Smoking Barrels (Guy Ritchie, 1998)

The Seen and the Unseen (Sekala Niskala, Kamila Andini, 2017)

Nkosi Coiffure (Frederike Migom, 2015)

Speak Your Truth (Kris Erickson, 2018)

Incendies (Denis Villeneuve, 2010)

A.I. Rising (Lazar Bodrosa, 2018)

The Crescent (Seth A Smith, 2017)

Ring (リング, Ringu, Hideo Nakata, 1998)

Absences (Carole Laganière, 2013)

The Uninvited (Lewis Allen, 1944)

In Color (José Andrés Cardona, 2019)

Winners (Dan Bulla, 2018)

Jess (Daniel Hurwitz, 2018)

My First Time (Asaf Livni, 2018)

Murmur (Aurora Fearnley, 2018)

Pulsar (Aurora Fearnley, 2017)

Struck (Aurora Fearnley, 2017)

Samira (Lainey Richardson, 2018)

Despite Everything (A pesar de todo, Gabriela Tagliavini, 2019)

It Stains the Sands Red (Colin Minihan, 2016)

Satain Said Dance (Szatan kazał tańczyć, Katarzyna Rosłaniec, 2016)

Knock Down Ginger (Cleo Samoles-Little, 2016)

Gold (Cleo Samoles-Little, 2015)

Jane's Life (Cleo Samoles-Little, 2012)

4/4 (Kyle Sawyer, 2016)

Sugar Land (Lorenzo Lanzillotti, 2018)

The Idea of North (Albert Choi, 2018)

A Quiet Place (John Krasinski, 2018)

Dark Water (仄暗い水の底から, Honogurai Mizu no soko kara, Hideo Nakata, 2002)

Sound of My Voice (Zal Batmanglij, 2011)

Us (Jordan Peele, 2019)

The Perfection (Richard Shepard, 2018)

House of Wax (Andre DeToth, 1953)

June

We Have Always Lived in the Castle (Stacie Passon, 2018)

Always Be My Maybe (Nahnatchka Khan, 2019)

Gente que viene y bah (Patricia Font, 2019)

Period. End of Sentence. (Rayka Zehtabchi, 2018)

American Mary (Jen and Sylvia Soska, 2012)

The Boss (Ben Falcone, 2016)

Extremis (Dan Krauss, 2016)

E il cibo va (Food on the Go, Mercedes Cordova, 2017)

Last Night (Massy Tadjedin, 2010)

Murder Mystery (Kyle Newacheck, 2019)

Bead Game (Ishu Patel, 1977)

The Ceiling (Katto, Teppo Airaksinen, 2017)

Elisa & Marcela (Elisa y Marcela, Isabel Coixet, 2019)

Marlina the Murderer in Four Acts (Marlina Si Pembunuh dalam Empat Babak, Mouly Surya, 2017)

The Garden (Sommerhaüser, Sonja Maria Kröner, 2017)

Fast Color (Julia Hart, 2018)

The Tale of Iya (Iya Monogatari: Oku no Hito, Tetsuichiro Tsuta, 2013)

Chico and Rita (Chico y Rita, Tono Errando, Fernando Trueba and Javier

Mariscal, 2010)

Rafiki (Wanuri Kahiu, 2018)

Floating! (Das Floß!, Julia C. Kaiser, 2015)

The Quiet American (Phillip Noyce, 2002)

July

Keepers of the Magic (Vic Sarin, 2016)

Evolution (Lucile Hadžihalilović, 2015)

Mr. Holmes (Bill Condon, 2015)

The Long Dumb Road (Hannah Fidell, 2018)

Toni Erdmann (Maren Ade, 2016)

Life Overtakes Me (John Haptas and Kristine Samuelson, 2019)

The Milk System (Andreas Pilcher, 2017)

A Streetcar Named Desire (Elia Kazan, 1951)

The Texture of Falling (Maria Allred, 2019)

Family (Laura Steinel, 2018)

Sudden Fear (David Miller, 1952)

Identity Thief (Seth Gordon, 2013)

August

Point Break (Kathryn Bigelow, 1991)

In Full Bloom (Maegan Houang, 2019)

Blue Steel (Kathryn Bigelow, 1990)

The Eagles are a Country Music Band (Cody Wagner, 2018)

The Fifth Element (Luc Besson, 1997)

Hobbs & Shaw (David Leitch, 2019)

Coco (Lee Unkrich, 2017)

Bubba Ho-Tep (Don Coscarelli, 2002)

John Wick (Chad Stahelski, 2014)

Eve's Bayou (Kasi Lemmons, 1997)

I Don’t Protest, I Just Dance In My Shadow (Jessica Ashman, 2017)

My Cousin Rachel (Henry Koster, 1952)

Lifeline (Harry Jackson, 2018)

FOMI (Fear of Missing In) (Norbert Fodor, 2019)

Body at Brighton Rock (Roxanne Benjamin, 2019)

Koreatown (Grant Hyun, 2018)

A Report of Connected Events (Mischa Rozema, 2018)

Sundays (Mischa Rozema, 2015)

A King's Betrayal (David Bornstein, 2014)

Perception (Ilana Rein, 2018)

Germany Pale Mother (Deutschland bleiche Mutter, Helma Sanders-Brahms, 1980)

Men in Black International (F. Gary Gray, 2019)

Captive State (Rupert Wyatt, 2019)

Little Forest (리틀 포레스트, Liteul Poleseuteu, Yim Soon-rye, 2018)

September

What Keeps You Alive (Colin Minihan, 2018)

Grave Encounters (The Vicious Brothers, 2011)

Terrified (Aterrados, Demián Rugna, 2017)

Blade Runner (Ridley Scott, 1982)

Helen (Sandra Nettelbeck, 2009)

Colossal (Nacho Vigalondo, 2016)

Out of Blue (Carol Morley, 2018)

Taxi (تاکسی‎, Jafar Panahi, 2015)

Dear Ex (誰先愛上他的, Mag Hsu and Hsu Chih-yen, 2018)

Marguerite (Marianne Farley, 2019)

Birders (Otilia Portillo Padua, 2019)

Midsommar (Ari Aster, 2019)

Mansfield Park (Patricia Rozema, 1999)

Long Term Delivery (Jake Honig, 2018)

Game (Joy Webster, 2017)

Fish Tank (Andrea Arnold, 2009)

Foxfire (Annette Haywood-Carter, 1996)

October

Zombieland (Ruben Fleischer, 2009)

Under the Shadow ( زیر سایه, Babak Anvari, 2015)

Ghostbusters (Ivan Reitman, 1984)

Scream (Wes Craven, 1996)

Ghostbusters (Paul Feig, 2016)

Jaws (Steven Spielberg, 1975)

Rabid (David Cronenberg, 1977)

Rabid (The Soska Sisters, 2019)

In the Shadow of the Moon (Jim Mickle, 2019)

Benny Loves Killing (Ben Woodiwiss, 2018)

The Golem (Yoav & Doron Paz, 2018)

Eli (Ciarán Foy, 2019)

The Adversary (L’Adversaire, Nicole Garcia, 2002)

Satanic Panic (Chelsea Stardust, 2019)

The Devil and Father Amorth (William Friedkin, 2017)

Wounds (Babak Anvari, 2019)

Silent Hill (Christophe Gans, 2006)

Sleeping Beauty (Julia Leigh, 2011)

Black Christmas (Bob Clark, 1974)

The Shift (Francesco Calabrese, 2014)

The Baby (Kamran Chahkar, Lei Jim, 2012)

Intrusion (Jack Michel, 2013)

The Devil's Passenger (Dave Bundtzen, 2018)

Halloween (John Carpenter, 1978)

November

A Hijacking (Kapringen, Tobias Lindholm, 2012)

The Kitchen (Andrea Berloff, 2019)

The Hole in the Ground (Lee Cronin, 2019)

Assassination Nation (Sam Levinson, 2018)

Amy (Asif Kapadia, 2015)

Tell Me Who I Am (Ed Perkins, 2019)

Possessed (Curtis Bernhardt, 1947)

Terminally Happy (Adina Istrate, 2015)

The Glass Key (Stuart Heisler, 1942)

LuTo (Katina Medina Mora, 2015)

The Night of the Hunter (Charles Laughton, 1955)

Bikram: Yogi, Guru, Predator (Eva Orner, 2019)

December

Soldiers. Story From Ferentari (Soldații. Poveste din Ferentari, Ivana Mladenović, 2017)

John and Michael (John et Michael, Shira Avni, 2004)

High Tension (Haute Tension, Alexandre Aja, 2003)

Little Joe (Jessica Hausner, 2019)

The Matrix (The Wachowskis, 1999)

Finders Keepers (Bryan Carberry and Clay Tweel, 2015)

To Catch a Thief (Alfred Hitchcock, 1955)

My Buddha is Punk (Andreas Hartmann, 2016)

Little Miss Sumo (Matt Kay, 2018)

[if-you-fan-a-fire]

“Go to Penitentiary,” Toronto Star. July 31, 1931. Page 02. ---- Jas. [Joseph] Webb and Ernest Edwards, the two men who attempted to rob the Old Mill, were to-day sentenced to serve two years in Kingston penitentiary.

The crown pointed out that the two accused used as a weapon an unloaded revolver of antique model. He declared that the effect gained was successful in that they intimidated those whom they intended to rob.

Albert Prosser, 15 South Barrington Ave., Birch Cliff Heights, was found guilty of operating a whiskey still and fined $200 and costs or one month and one month.

[AL: Both Webb and Edwards were immigrants from the United Kingdom - Webb from Chester, England, and Edwards from Knighton, Wales. Webb left behind a criminal record in England, including fines and probation ordered by the local court and ten months in a local jail. He was also known as Joseph Francis Ward. He was 30 in 1931, single, and working as a baker in Toronto - he had a scroll and heart reading ‘Conney’ on his left arm and a Union Jack on his right, and he had served in the First World War . Edwards was also known as Lloyd, and all his teeth were false. A tractor driver on a construction crew, he was unemployed during the robbery of the old grist mill.  Both men were considered ‘trusty’ prisoners - Webb as #2276 worked in the kitchen and Edwards as #2277 on the farm at Kingston Penitentiary. Webb was deported May 1933 and Edwards was transferred September 1931 to Collin’s Bay Camp as inmate #330 and was released January 1933.]

[dickiebhee]

If Trump's the "MLK" of Healthcare & David Dao's the "Rosa Parks" or Airline Travel, Who's Y'all Flavor Flav?

If Trump’s the “MLK” of Healthcare & David Dao’s the “Rosa Parks” or Airline Travel, Who’s Y’all Flavor Flav?

You’d think by now they’d skip the step of martyring our heroes before they start to celebrate them but old habits are hard to break, I guess.

And do you need any further proof that niggas are, indeed, the truest Americans besides the fact that we’re always the standard of comparison whenever somebody is referencing either greatness or triumph?

So decide for yourself whether you should be…

[christinaepilzauthor-blog]

Queen Charlotte's Christmas Tree

by Catherine Curzon

As a historian of Georgian royalty, I have to get that family from Hanover into all of my holiday celebrations. Of course, mad kings and mistresses aren't always appropriate for Christmas but trees certainly are. Most people believe that we have Prince Albert and Queen Victoria to thank for the tradition of Christmas trees in England, but that isn't actually the case. In fact, for that particular tradition we should look back into the Georgian era, and Queen Charlotte of Mecklenburg-Strelitz. On 8th September 1761, George III married the 17-year-old Charlotte of Mecklenburg-Strelitz in the Chapel Royal at St. James's Palace. Their marriage was long, produced 15 children, and was filled with challenges, but when George was well, the couple were happy. Charlotte put up the first known English tree at her home at Queen's Lodge, Windsor, in December, 1800. It was a tradition that she brought with her from her home in Germany, where trees were a popular bit of festive decor. Legend has it that they were popularised by Martin Luther in 1536 who was strolling in a pine forest in Wittenberg one night when he glanced up through the canopy at the stars twinkling above him. Inspired, he hurried home and brought a fir red into his house, which he lit with candles. Luther hoped that this would remind his children of the heavens and, by extension, God.

Charlotte of Mecklenburg-Strelitz by Nathiel Dance-Holland

Throughout the 17th century, trees of various types that were illuminated by candlelight became popular across Southern Germany whilst in Charlotte's homeland of Mecklenburg-Strelitz, a single, mighty yew branch being decorated rather than a whole tree. Samuel Taylor Coleridge visited the country in 1799 and wrote of the traditions there. Among them, he noted, was the Yew branch. "There is a Christmas custom here which pleased and interested me. The children make little presents to their parents, and to each other; and the parents to the children. For three or four months before Christmas the girls are all busy; and the boys save up their pocket money, to make or purchase these presents. What the present is to be is cautiously kept secret, and the girls have a world of contrivances to conceal it -- such as working when they are out on visits, and the others are not with them; getting up in the morning before daylight; and the like. then, on the evening before Christmas day, one of the parlours is lighted up by the children, into which the parents must not go. A great yew bough is fastened on the table at a little distance from the wall, a multitude of little tapers are fastened in the bough, but so as not to catch it till they are nearly burnt out, and coloured paper hangs and flutters from the twings. Under this bough, the children lay out in great order the presents they mean for their parents, still concealing in their pockets what they intend for each other. Then the parents are introduced, and each presents his little gift, and then bring out the rest one by one from their pockets, and present them with kisses and embraces.

An ancient yew

Where I witnessed this scene there were eight or nine children, and the eldest daughter and the mother wept aloud for joy and tenderness; and the tears ran down the face of the father, and he clasped all his children so tight to his breast, it seemed as if he did it to stifle the sob that was rising within him. I was very much affected. The shadow of the bough and its appendages on the wall, and arching over on the ceiling, made a pretty picture, and then the raptures of the very little ones, when at last the twings and their needles began to take fire and snap! -- Oh, it was a delight for them! On the next day, in the great parlour, the parents lay out on the table the presents for the children; a scene of more sober joy success, as on this day, after an old custom, the mother says privately to each of her daughters, and the father to his sons, that which he has observed most praiseworthy, and that which was most faulty in their conduct. Formerly, and still in all the smaller towns and villages throughout North Germany, these presents were sent by all the parents to some one fellow, who in high buskins, a white robe, a mask, and an enormous flax wig, personate Knecht Rupert, the servant Rupert. On Christmas night he goes round to every house, and says that Jesus christ his master sent him thither, the parents and elder children receive him with great pomp of reverence, while the little ones are most terribly frightened.

Coleridge by Washington Allston

He then inquires for the children, and, according to the character which he hears from the parent, he gives them the intended presents, as if they came out of heaven from Jesus Christ. Or, if they should have been bad children, he gives the parents a rod, and in the name of his master recommends them to use it frequently. About seven or eight years old the children are let into the secret, and it is curious to observe how faithfully they keep it." Charlotte was devoted to her homeland and when she came to England as a bride, she brought many traditions with her. Among them was the traditional Christmas yew branch. Yet as a queen, even a private one, Charlotte didn't content herself to a quiet corner of the castle. Instead, she used it as a way to bring the royal household, from family to friends to courtiers, together. She and her ladies-in-waiting positioned and decorated the bough in the centre of the Queen's House's largest room. As evening fell and the tapers were lit, the court assembled around the yew and sang carols. Then, by the light of the tree, they exchanged opulent gifts to celebrate Christmas. This was the first, but not the last notable Christmas foliage of the Georgian era. In 1800, Queen Charlotte was planning a Christmas Day party for the children of the most important and wealthy families in Windsor - I should say that the poor weren't forgotten either, and the 60 poorest families were given an enormous Christmas lunch too. This time, however, there would be no yew bow, but a whole tree. From it were hung the traditional decorations as well as small gifts for the children from the royal family. The children were enchanted by the sight before them, for they had never seen anything like it before. It glittered with glass and crystal and the scent of fruit and spice filled the drawing room, capturing the heart and imagination of all who saw it.

Windsor Castle

Dr John Watkins, one of the adults present, wrote:

"Sixty poor families had a substantial dinner given them and in the evening the children of the principal families in the neighbourhood were invited to an entertainment at the Lodge. Here, among other amusing objects for the gratification of the juvenile visitors, in the middle of the room stood an immense tub with a yew tree placed in it, from the branches of which hung bunches of sweetmeats, almonds and raisins in papers, fruits and toys most tastefully arranged and the whole illuminated by small wax candles. After the company had walked round and admired the tree, each child obtained a portion of the sweets which it bore together with a toy, and then all returned home quite delighted."

Thanks to the queen, the fashionable world raced to put up their Christmas trees and no one who fancied themselves anyone went without. Across high society trees were soon glittering in the most opulent drawing rooms in Britain. So, when the adoring Prince Albert first put up his tree, he really was following in the footsteps of the glorious Georgians. Far from being first to the show, he was actually one of the last! References "Yew Tree - 'Taxus baccata'" Grow Wild. https://www.growwilduk.com/blog/2015/12/15/yew-tree-taxus-baccata Anonymous. The Magazine Antiques, Volume 108. Straight Enterprises, 1975. Anonymous. Country Life, Volume 186. Country Life, 1992. Coleridge, Samuel Taylor. The Collected Works of Samuel Taylor Coleridge. Princeton University Press, 2015. Craig, William Marshall. Memoir of Her Majesty Sophia Charlotte of Mecklenburg Strelitz, Queen of Great Britain. Henry Fisher, 1818. Curzon, Catherine. Queens of Great Britain. Pen & Sword, 2017. Delves Broughton, Vernon (ed.). Court and Private Life in the Time of Queen Charlotte. Richard Bentley, 1887. Fitzgerald, Percy. The Good Queen Charlotte. Downey & Co, 1899. Hadlow, Janice. The Strangest Family: The Private Lives of George III, Queen Charlotte and the Hanoverians. William Collins, 2014. Desmond, Ray. Kew. Random House, 1998. Foley, Daniel. The Christmas Tree. Chilton, 1960. Groom, Suzanne & Prosser, Lee. Kew Palace. Merrell, 2006. Harrison, Michael. The Story of Christmas. Odhams Press, 1951. Hedley, Owen. Queen Charlotte. J Murray, 1975. Holt, Edward. The Public and Domestic Life of George the Third, Volume I. Sherwood, Neely and Jones, 1820 Nash, Joseph. The Mansions of England in the Olden Time. TM Lean, 1869. Pimlott, John & Pimlott, Ben. The Englishman's Christmas. Harvester Press, 1978. Sfetcu, Nicolae. About Christmas. Sfetcu, 2014. All images from Wikipedia. ~~~~~~~~~~~~ Catherine Curzon is a royal historian. She is the author of Life in the Georgian Court, Kings of Georgian Britain, and Queens of Georgian Britain. She has written extensively for publications including HistoryExtra.com, the official website of BBC History Magazine, Explore History, All About History, History of Royals and Jane Austen's Regency World. Catherine has spoken at venues and events including the Stamford Georgian Festival, the Jane Austen Festival, Lichfield Guildhall, the National Maritime Museum at Greenwich and Dr Johnson's House. In addition, she has appeared with An Evening with Jane Austen at Kenwood House, Godmersham Park, the Royal Pavilion, Brighton, the Jane Austen Festival, Bath, and the Stamford Georgian Festival. Her novels, The Crown Spire, The Star of Versailles, and The Mistress of Blackstairs, are available now. Catherine holds a Master's degree in Film and lives in Yorkshire atop a ludicrously steep hill. Connect with Catherine through her website (http://madamegilflurt.com), Facebook, Twitter (@MadameGilflurt), Google Plus, Pinterest, and Instagram.

Hat Tip To: English Historical Fiction Authors

[liamtaylorposterartdesign]

Referencing

Timorous Beasties, n.d., About, Timorous Beasties, website post, viewed 30 September 2017, http://www.timorousbeasties.com/about

Treggiden, K 2014, Convention-deying Glaswegian wallpaper punks open up to us…, We Heart, weblog post, 25 February, viewed 30 September 2017, https://www.we-heart.com/2014/02/25/timorous-beasties-interview/

Victoria Albert Museum 2015, Timorous Beasties: the devil in the detail, online video,  youtube, viewed 30 September 2017, https://www.youtube.com/watch?v=9kfxD2OpH5o

Prosser, S 2016, Q & A with Allistair Mcauley and Paul Simmons, Timorous Beasties, Design Insider, weblog post, nd., viewed 29 September 2017, http://www.designinsiderlive.com/qa-with-alistair-mcauley-and-paul-simmons-timorous-beasties/

Jefferies, S 2007, The Writhing on the Wall, The Guardian, weblog post, 8 February, viewed 30 September 2017, https://www.theguardian.com/artanddesign/2007/feb/08/design.britishidentity

Timorous Beasties, 2005, Glasglow Toile, image of digital print, Timorous Beasties, viewed 30 September 2017 http://www.timorousbeasties.com/shop/wallcoverings/61/chic-blotch-wallpaper/

Timorous Beasties, n.d., Hotch Blotch, image of digital print, Timorous Beasties, viewed 30 September 2017 http://www.timorousbeasties.com/shop/fabric/75/glasgow-toile

[taiyakikancho-blog]

Designer Research:Timorous Beasties

The Timorous Beasties company was first founded in Glasgow, Scotland within the year of 1990. Alistair Mcauley and Paul Simmons are the the founders of Timorous Beasties, both met and studied textile design at the Glasgow School of Art. Timorous Beasties began as a printed textiles business, following the graduation of both Mcauely and Simmons. The duo were intrigued by the varieties of new and traditional making process of products. The company works within a collaborative team environment, as the some of the works require physical labour through traditional methods of producing products, screen printing is one example of process used by Timorous Beasties. Originally the company drafted designs with the use of a rotary screen, while the present saw the company work with a combination of both traditional and modernised methods of printing etc. Colour has also evolved from traditionally becoming a limited selection of four specific colours to an unlimited amount. The increased demands for more product variety saw Timorous Beasties developing a diverse range of specially designed manchester, ceramics, wallpaper, gravestones and customised orders. Timorous Beasties works on a niche market, where the niche(s) refer to addressing certain product/designing marketing aspects. It has been noted in an interview that people who usually do not buy or spend overly on fabric or manchester products seem to purchase goods from Timorous Beasties.

Timorous Beasties works with a unique system of pattern designs that are heavily inspired by: historical works and motifs/symbols from past eras, themes of evolution in aesthetic taste, the natural beauty/celebration of nature, human society, contemporary design, splatters/blots and kaleidoscopes.  The visual blend of flora, fauna and human society are depicted to be an inseparable concept that visually plays throughout many of the companies works. To further add to the aforementioned theme the company also seeks to produce more realistic designs that capture the beauty of nature. Likewise, Timorous Beasties seek to challenge the views of the wider public on the concept of an ‘acceptable’ textile images/narratives, ‘Glasgow Toile’ is an example of a notable work that challenges perspectives due to the distasteful representation of society.

‘Glasgow Toile‘ (2005), Timorous Beasties

‘Glasgow Toile’ (2005, is available in both fabric and wallpaper form) is an example of work designed by the Timorous Beasties that has very strong ties to both history and fabric/textile art. The design consists of an unpleasant chaotic scenery with drug addicts and homeless people  amongst the backdrop of buildings in a monochromes of red/green/blue and off-white. Despite the negative connotational narrative the fabric, the design pays homage to one particular toile known as the ‘Peacock Amongst the Ruins’ (British origins, late 18th century). The characteristics of the ‘Peacock Amongst the Ruins’ has had strong influence onto the ‘Glasgow Toile’, in addition to the original themes of the French Toile de Jouy. Toile de Jouy first began in France 1760, where they depict scenes of the countryside and also has distinct themes of pattern repetition in the fabrics. The concept of repetition have been utilised within ‘Glasgow Toile’ in a half drop repeat, where the pattern does not match perfectly on the sides and appears to be in a half drop-like state- thus the name of the particular pattern. The ‘Glasgow Toile’ acts as a visual update to the original Toile de Jouy and contradicts the tranquil country side imagery to that of the dark side of modern urban society.

‘Peacock Amongst the Ruins‘ (Late 18thC), --

  ‘Les Traveaux de la Manufacture’ (1783-4) Jean-Bapiste Huet

‘Rorschach’  is one of Timorous Beasties’ labelled collections and within this series vivid use of colour in the form of splatters, blots, bleed and patterns. The fusion between both colour and intricate pattern is repeated to result in a complex psychedelic art form. The name ‘Rorschach’ is directly derived from the term- Rorschach Test is a form of psychological test in the form of black and white or coloured inkblots. The test requires the tested individual to say what could be seen within the blots. In this case, Timorous Beasties takes a modernistic twist on the concept of Rorschach ink blots and creates depth through both repetition and colour. ‘Chic Blotch’, ‘Marble Gum’ and ‘Omni Drips’ (all undated) seem to follow a straight repeat pattern, where the main pattern is copied and placed directly or next to the design, which adds a systematic flow to the design.

‘Chic Blotch’ (--), Timorous Beasties 

‘Marble Gum’ (--), Timorous Beasties

‘Omni Drips‘ (--), Timorous Beasties

References:

Krista 2011, timorous beasties rorschach, cloth & kind, weblog post, 10 February, viewed 1 October 2017, <http://clothandkind.blogspot.com.au/2011/10/timorous-beasties-rorschach.html>.

Chic Blotch by Timorous Beasties 2013, Colourful Beautiful Things, viewed 1 October, <http://www.colourfulbeautifulthings.co.uk/chic-blotch-by-timorous-beasties/>.

Understanding Wallpaper Pattern Repeats (undated), Dummies, viewed 1 October 2017, <http://www.dummies.com/home-garden/walls-ceilings/understanding-wallpaper-pattern-repeats/>.

Prosser, S 2016, ‘Q&A With Alistair Mcauley and Paul Simmons, Timorous Beasties’, Design Insider, viewed 29 September, <http://www.designinsiderlive.com/qa-with-alistair-mcauley-and-paul-simmons-timorous-beasties/>.

Huet B-J , V. 1783-4, Les Traveaux de la Manufacture, Design Sponge, viewed 30 September 2017, <http://www.designsponge.com/2010/03/past-present-toile-de-jouy-modern-toile.html>.

The Glasgow Toile (undated), Glasgow Museums Collections Navigator, viewed 30 September 2017, <http://collections.glasgowmuseums.com/starobject.html?oid=451467>.

M, Sophie & P, Smith (undated), ‘The Interview: Alistair Mcauley’, Houseology, viewed 29 September 2017, <https://www.houseology.com/masterclass/inspiration/interior-design-interviews/alistair-macauley-timorous-beasties>.

Half Drop Pattern Repeat Explained (undated), Sew Helpful, viewed 1 October 2017, <https://www.sew-helpful.com/half-drop-pattern-repeat.php>.

Jeffries, S 2007, ‘The writhing on the wall’, theguardian, viewed 29 September 2017, <https://www.theguardian.com/artanddesign/2007/feb/08/design.britishidentity>.

Peacock Amongst the Ruins 2007, The List, viewed 30 September 2017, <https://www.list.co.uk/article/2107-peacock-among-the-ruins/>.

About (undated), Timorous Beasties, viewed 29 September, <http://www.timorousbeasties.com/about>.

Mcauley, A & Simmons, P (undated), Chic Blotch Fabric, Timorous Beasties, viewed 1 October, <http://www.timorousbeasties.com/shop/fabric/1598/chic-blotch-fabric/>.

Mcauley, A & Simmons, P (undated), Glasgow Toile Fabric, Timorous Beasties, viewed 30 September 2017, <http://www.timorousbeasties.com/shop/fabric/75/glasgow-toile-fabric/>.

Mcauley, A & Simmons, P (undated), Marble Gum Wallpaper, Timorous Beasties, viewed 1 October 2017, <http://www.timorousbeasties.com/shop/wallcoverings/1704/marble-gum-wallpaper/>.

Mcauley, A & Simmons, P (undated), Omni Drips Fabric, Timorous Beasties, viewed 1 October, <http://www.timorousbeasties.com/shop/fabric/1654/omni-drips-fabric/>.

Decorating Ideas: Toile Fabric (undated), Traditional Home, viewed 30 September,  

<http://www.traditionalhome.com/design/decorating-ideas-toile-fabric>.

Victoria and Albert Museum 2010, Video: Timorous Beasties: The Devil in the Detail, online video, 8 November, Victoria and Albert Museum, viewed 30 September 2017, <https://vimeo.com/16612670>.

Grandon, M 2005, ‘Glasgow’s gritty contemporary wallpaper designers are on a roll’, Telegraph, viewed 30 September 2017, <http://www.telegraph.co.uk/culture/art/3643123/Glasgows-gritty-contemporary-wallpaper-designers-are-on-a-roll.html>.

[stainedglassgardens]

Short films worth watching

I watched 67 short films in 2019. Here are some of my favourites, roughly divided according to genre

Science fiction

The Brain Hack (Joseph White, 2014) Animal (Fabrice Le Nézet and Jules Janaud, 2017) The Ceiling (Katto, Teppo Airaksinen, 2017) In Full Bloom (Maegan Houang, 2019) Invaders (Daniel Prince, 2018) A King's Betrayal (David Bornstein, 2014) Long Term Delivery (Jake Honig, 2018)

Horror

Tanglewood (Jordan Prosser, 2016) Pigskin (Jake Hammond, 2015) The Funspot (Jake Hammond, 2015) April and the Devil (Jake Hammond, 2018) Skin (Jordana Spiro, 2015) Blackwood (Andrew Montague, 2019) Monitor (Matt Black and Ryan Polly, 2018) The Sermon (Dean Puckett, 2018) The Devil's Passenger (Dave Bundtzen, 2018)

Documentary

A Night at the Garden (Marshall Curry, 2017) Samira (Lainey Richardson, 2018) Period. End of Sentence. (Rayka Zehtabchi, 2018) Life Overtakes Me (John Haptas and Kristine Samuelson, 2019) Little Miss Sumo (Matt Kay, 2018)  

Animation

Bead Game (Ishu Patel, 1977) John and Michael (John et Michael, Shira Avni, 2004)

... Other?

Girl of the Sky (Ariel Martin, 2017) Struck (Aurora Fearnley, 2017) Knock Down Ginger (Cleo Samoles-Little, 2016) Gold (Cleo Samoles-Little, 2015) Jane's Life (Cleo Samoles-Little, 2012) 4/4 (Kyle Sawyer, 2016) The Idea of North (Albert Choi, 2018) Koreatown (Grant Hyun, 2018)

Most of those are available to watch for free on Vimeo, except for Period. End of Sentence., Life Overtakes Me and Little Miss Sumo, which are on Netflix.

I made myself watch a lot of short films in 2019, because that is something I really enjoy, and most shorts are available for free online. Probably the hardest thing about short films is finding them and hearing about them. Which is where FIlm Shortage came in for me. Great website. Strongly recommend.

Short films are a fantastic medium and, as someone who often finds herself watching feature films and thinking “wow this is so average and boring but would have made such a fantastic short”, I am glad I have more of those fantastic shorts to point people towards now.

My criteria for inclusion in the above list was “do I remember it (and not just because it’s terrible)?” But I do have some favourites amongst those, which are:

In Full Bloom (Maegan Houang, 2019) 

Knock Down Ginger (Cleo Samoles-Little, 2016)

April and the Devil (Jake Hammond, 2018)

The Devil's Passenger (Dave Bundtzen, 2018)

Blackwood (Andrew Montague, 2019)

A King's Betrayal (David Bornstein, 2014)

Invaders (Daniel Prince, 2018)

[stainedglassgardens]

In a surprising turn of events, I have watched more films in the past six months than I ever have before, bringing the total to 171 from the first of January, 2019. Recap:

Like Father (Lauren Miller Rogen, 2018)

Upgrade (Leigh Whannell, 2018)

Skate Kitchen (Crystal Moselle, 2018)

Never Been Kissed (Raja Gosnell, 1999)

Anomalisa (Charlie Kaufman and Duke Johnson, 2015)

Dick (Andrew Fleming, 1999)

The Black Balloon (Elissa Down, 2008)

Under the Silver Lake (David Robert Mitchell, 2018)

6 Balloons  (Marja-Lewis Ryan, 2018)

Rosy (Jess Bond, 2018)

The Party’s Just Beginning (Karen Gillan, 2018)

The Rider (Chloé Zhao, 2017)

Snowpiercer (Bong Joon-ho, 2013)

Touch of Evil (Orson Welles, 1958)

Thirteen (Catherine Hardwicke, 2003)

Sadie (Megan Griffiths, 2018)

The Miseducation of Cameron Post (Desiree Akhavan, 2018)

Frida (Julie Taymor, 2002)

Fyre: The Greatest Pary That Never Happened (Chris Smith, 2019)

Time Share (Tiempo Compartido, Sebastián Hofmann, 2018)

The Stranger (Orson Welles, 1946)

Abducted in Plain Sight (Skye Borgman, 2017)

King of Thieves (James Marsh, 2018)

Malevolent (Olaf de Fleur, 2018)

Serena (Susanne Bier, 2014)

Baise-moi (Virginie Despentes and Coralie Trinh Thi, 2000)

And Breathe Normally (Andið Eðlilega, Ísold Uggadóttir, 2018)

Catwalk: Tales from the Cat Show Circuit (Aaron Hancox and Michael McNamara, 2018)

Santoalla (Andrew Becker and Daniel Mehrer, 2016)

Jane Fonda in Five Acts (Susan Lacy, 2018)

Mademoiselle Paradis (Licht, Barbara Albert, 2017)

The B-Side: Elsa Dorfman’s Portrait Photography (Errol Morris, 2016)

Matangi/Maya/M.I.A (Steve Loveridge, 2018)

Pride & Prejudice (Joe Wright, 2005)

The Brain Hack (Joseph White, 2014)

Vazante (Daniela Thomas, 2017)

Tanglewood (Jordan Prosser, 2016)

Outfall (Suzi Ewing, 2018)

Pigskin (Jake Hammond, 2015)

The Funspot (Jake Hammond, 2015)

April and the Devil (Jake Hammond, 2018)

Smithereens (Susan Seidelman, 1982)

Can You Ever Forgive Me? (Marielle Heller, 2018)

Bus Stop (Joshua Logan, 1956)

Pink Plastic Flamingos (Colin West, 2017)

The Breaker Upperers (Madeleine Sami and Jackie Van Beek, 2018)

Amanda Knox (Rod Blackhurst and Brian McGinn, 2016)

Holy Hell (Will Allen, 2016)

Shoplifters (Manbiki Kazoku, Hirokazu Kore-eda, 2018)

Skin (Jordana Spiro, 2015)

A Night at the Garden (Marshall Curry, 2017)

Give Up the Ghost (Nathan Sam Long, 2018)

Last One Screaming (Matt Devino, 2017)

The Katy Universe (Patrick Muhlberger, 2018)

Roma (Alfonso Cuarón, 2018)

Did You Hear About the Morgans? (Marc Lawrence, 2009)

End Game (Rob Epstein and Jeffrey Friedman, 2018)

Behind the Curve (Daniel J. Clark, 2018)

Our Daily Bread (Unser täglich Brot, Nikolaus Geyrhalter, 2005)

92MARS (Ricardo Bernardini, 2018)

Construct (Kevin Margo, 2018)

Invaders (Daniel Prince, 2018)

Three Identical Strangers (Tim Wardle, 2018)

Dirty John: The Dirty Truth (Sara Mast, 2019)

Blackwood (Andrew Montague, 2019)

One (Luke Bradford, 2019)

God's Kingdom (Guy Soulsby, 2018)

Holiday (Isabella Eklöf, 2018)

Frigid (Joe Kicak, 2016)

Girl of the Sky (Ariel Martin, 2017)

Monitor (Matt Black and Ryan Polly, 2018)

Donoma (Evan Spencer Brace, 2018)

Perfect Blue (パーフェクトブル, Pāfekuto Burū, Satoshi Kon, 1997)

The Sermon (Dean Puckett, 2018)

Layer Cake (Matthew Vaughn, 2004)

Easy A (Will Gluck, 2010)

Generation Wealth (Lauren Greenfield, 2018)

The Rachel Divide (Laura Brownson, 2018)

The Place Beyond the Pines (Derek Cianfrance, 2012)

Burden (Timothy Marrinan and Richard Dewey, 2016)

What Will People Say (Hva vil folk si, Iram Haq, 2017)

Close Encounters of the Third Kind (Steven Spielberg, 1977)

Dear Zachary: A Letter to a Son About His Father (Kurt Kuenne, 2008)

Animal (Fabrice Le Nézet and Jules Janaud, 2017)

Capturing the Friedmans (Andrew Karecki, 2003)

The Fog of War: Eleven Lessons from the Life of Robert S. McNamara (Errol Morris, 2003)

Erasing Eden (Beth Dewey, 2016)

Destroyer (Karyn Kusama, 2018)

Unicorn Store (Brie Larson, 2019)

May the Devil Take You (Sebelum iblis menjemput, Timo Tjahjanto, 2018)

People in Cars (Daniel Lundh, 2017)

Presentation (Danielle Kampf, 2017)

Ink (Jamin Winans, 2009)

Hedgehog (Lindsey Copeland, 2016)

Koyaanisqatsi (Godfrey Reggio, 1982)

Wanda (Barbara Loden, 1970)

The Silence (John R. Leonetti, 2019)

24 Davids (Céline Baril, 2017)

The Frame (Jamin Winans, 2014)

The Talented Mr. Ripley (Anthony Minghella, 1999)

Baraka (Ron Fricke, 1992)

Wayne’s World (Penelope Spheeris, 1992)

Stories We Tell (Sarah Polley, 2012)

Born in Flames (Lizzie Borden, 1983)

Jesse’s Girl (M. Keegan Uhl, 2018)

I Walked With a Zombie (Jacques Tourneur, 1943)

Mary Goes Round (Molly McGlynn, 2017)

The Green Fog (Guy Maddin, Evan Johnson, and Galen Johnson, 2017)

Psycho (Alfred Hitchcock, 1960)

Someone Great (Jennifer Kaytin Robinson, 2019)

Ekaj (Cati Gonzalez, 2015)

Capernaum (Nadine Labaki, 2018)

Porcupine Lake (Ingrid Veninger, 2017)

The Decline of Western Civilization (Penelope Spheeris, 1981)

The Decline of Western Civilization Part II: The Metal Years (Penelope Spheeris, 1988)

The Decline of Western Civilization III (Penelope Spheeris, 1998)

Revolver (Guy Ritchie, 2005)

Pokémon: Detective Pikachu (Rob Letterman, 2019)

RocknRolla (Guy Ritchie, 2008)

Snatch (Guy Ritchie, 2000)

Lock, Stock and Two Smoking Barrels (Guy Ritchie, 1998)

The Seen and the Unseen (Sekala Niskala, Kamila Andini, 2017)

Nkosi Coiffure (Frederike Migom, 2015)

Speak Your Truth (Kris Erickson, 2018)

Incendies (Denis Villeneuve, 2010)

A.I. Rising (Lazar Bodrosa, 2018)

The Crescent (Seth A Smith, 2017)

Ring (リング, Ringu, Hideo Nakata, 1998)

Absences (Carole Laganière, 2013)

The Uninvited (Lewis Allen, 1944)

In Color (José Andrés Cardona, 2019)

Winners (Dan Bulla, 2018)

Jess (Daniel Hurwitz, 2018)

My First Time (Asaf Livni, 2018)

Murmur (Aurora Fearnley, 2018)

Pulsar (Aurora Fearnley, 2017)

Struck (Aurora Fearnley, 2017)

Samira (Lainey Richardson, 2018)

Despite Everything (A pesar de todo, Gabriela Tagliavini, 2019)

It Stains the Sands Red (Colin Minihan, 2016)

Satain Said Dance (Szatan kazał tańczyć, Katarzyna Rosłaniec, 2016)

Knock Down Ginger (Cleo Samoles-Little, 2016)

Gold (Cleo Samoles-Little, 2015)

Jane's Life (Cleo Samoles-Little, 2012)

4/4 (Kyle Sawyer, 2016)

Sugar Land (Lorenzo Lanzillotti, 2018)

The Idea of North (Albert Choi, 2018)

A Quiet Place (John Krasinski, 2018)

Dark Water (仄暗い水の底から, Honogurai Mizu no soko kara, Hideo Nakata, 2002)

Sound of My Voice (Zal Batmanglij, 2011)

Us (Jordan Peele, 2019)

The Perfection (Richard Shepard, 2018)

House of Wax (Andre DeToth, 1953)

We Have Always Lived in the Castle (Stacie Passon, 2018)

Always Be My Maybe (Nahnatchka Khan, 2019)

Gente que viene y bah (Patricia Font, 2019)

Period. End of Sentence. (Rayka Zehtabchi, 2018)

American Mary (Jen and Sylvia Soska, 2012)

The Boss (Ben Falcone, 2016)

Extremis (Dan Krauss, 2016)

E il cibo va (Food on the Go, Mercedes Cordova, 2017)

Last Night (Massy Tadjedin, 2010)

Murder Mystery (Kyle Newacheck, 2019)

Bead Game (Ishu Patel, 1977)

The Ceiling (Katto, Teppo Airaksinen, 2017)

Elisa & Marcela (Elisa y Marcela, Isabel Coixet, 2019)

Marlina the Murderer in Four Acts (Marlina Si Pembunuh dalam Empat Babak, Mouly Surya, 2017)

The Garden (Sommerhaüser, Sonja Maria Kröner, 2017)

Fast Color (Julia Hart, 2018)

The Tale of Iya (Iya Monogatari: Oku no Hito, Tetsuichiro Tsuta, 2013)

Chico and Rita (Chico y Rita, Tono Errando, Fernando Trueba and Javier Mariscal, 2010)

Rafiki (Wanuri Kahiu, 2018)

Floating! (Das Floß!, Julia C. Kaiser, 2015)

The Quiet American (Phillip Noyce, 2002)