We are delighted that a short Q&A recorded especially for this show with The Crying Game's producer, Stephen Woolley, will play after the screening of that film.
A 15min interval will separate the two features.
THE CRYING GAME (1992, 112 mins)
Director: Neil Jordan
Rated 18 for strong language, and strong bloody violence.
“Efficient and ingenious. The physical production is as lush as the film's romantic longing”- New York Times
“Has the sure grip and the unstoppable momentum of a dream – which are qualities, too of great fairy tales and the most memorable pop songs"- New Yorker
The Troubles provide the backdrop for a study of sexual identity in this landmark drama from director Neil Jordan (Michael Collins, Interview with the Vampire) and producer Stephen Woolley (Carol). When British soldier Jody (Forest Whitaker) is kidnapped by the IRA, he strikes up an unlikely friendship with his captor, Fergus (Stephen Rea). When the abduction goes awry, Fergus leaves for London where he becomes embroiled in a curious love triangle with Dil (Jaye Davidson), Jody's beautiful partner. This Academy Award-winning thriller challenged mainstream sexual stereotypes and remains a powerful and poignant exploration of gender and identity.
QUEERAMA (2017, 70mins)
Director: Daisy Asquith.
Rated 15 for strong sex, nudity, and language.
“Daisy Asquith’s labour of love Queerama is both a heartening celebration of progress and a cautionary reminder of all the broken lives and lonely hearts trampled along the way”- Screen Daily
Crafted from the treasures of the BFI National Archive, Queerama traverses a century of gay experiences and encompasses persecution and prosecution, love and desire, forbidden encounters, sexual liberation and Pride. Weaving in the music of John Grant, Goldfrapp and Hercules & Love Affair, Daisy Asquith guides us through queer relationships, desires, fears and expressions against a backdrop of incredible change.
About Stephen Woolley:
As a Londoner Woolley has enjoyed reflecting in his films the good, the bad and the ugly of our capital city, from Notting Hill race riots in the fifties in Absolute Beginners, 60’s political Westminster scandals in Scandal, love and lost love during the Blitz in End of the Affair and Their Finest, the struggle for equal pay in 68 with Made In Dagenham and violence, and corruption on the streets of Soho in Mona Lisa and Hyena. His latest film Living, set in the early fifties, captures another aspect of his beloved London - the power of County Hall - as does the vivid, underground world of The Crying Game, the movie that discovered Hoxton.