In the first of our series bringing you opera productions from London’s Royal Opera House, a chance to enjoy the company’s new staging of Richard Wagner’s epic, his final masterpiece. A young man ignorant of everything, including his own name, arrives at the Kingdom of the Holy Grail. Is he the ‘pure fool, enlightened by compassion’, who, it has been prophesied, will purify the kingdom?
Running time includes two intermissions.
An unforgettable experience!
Thirty years before he starred in Ingmar Bergman’s Wild Strawberries, director Victor Sjostrom plays an alcoholic fated to die at the stroke of midnight at New Year’s Eve – thus dooming him to a new role, taking the reins of Death’s chariot and collecting fresh souls for the next year. Aside from its profound influence on Bergman, The Phantom Carriage foreshadows Murnau, Cocteau, and Kubrick’s The Shining.
This silent classic is accompanied by a new specially commissioned score performed live by Funerary Call.
"The film of all films… It completely overwhelmed me. I was shaken to the core.” Ingmar Bergman
"Sjöström’s film is not just an early horror, but an argument for the moral validity of cinema itself." Anton Bitel, Eye for Film
"The Phantom Carriage is a metaphysical howl of a soul’s journey though the darkest of nights." The Brothers Quay
Red herrings abound in Paul Lynch’s Canadian slasher, leading up to a killer cat-and-mouse chase through Hamilton High School, and a bloody finale that takes place on the dance floor, on prom night! Starring 80’s scream queen Jamie Lee Curtis. "If you’re not back by midnight, you won’t be coming home!"
"Prom Night II is a well-made rip-off of every largely successful horror film of the last 30 years. Elements of A Nightmare on Elm Street (dream-like murders, exaggerated deaths), The Exorcist (possession that brings out unkempt sexual urges, a priest trying to reconcile), and Carrie (Vicki’s vendetta at the prom, her overbearing religious mother) are all mixed into a familiar, yet devilishly entertaining brew."
More than one critic compared Jacques Audiard’s forceful, rich prison drama to The Godfather. Audiard uses the prison as a microcosm in this allegory for how to get ahead in the twenty-first century.
"If Malik doesn’t remind you of Al Pacino’s Michael Corleone on his journey from innocence to corruption in The Godfather saga, well ... he should. A Prophet is similarly, startlingly momentous."—Steven Rea, Philadeliphia Inquirer
"It’s a highly original film made in a familiar context, and an exciting moviegoing experience you shouldn’t miss."—Andrew O’Hehir, Salon
"A Prophet is the kind of film that makes you remember why going to the movies can be a thrilling experience."—Marjorie Baumgarten, Austin Chronicle