Kilmington Community Cinema
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Kilmington first film night was in March 2005 with “Vanity Fair” and shown with the support of Moviola’s mobile cinema unit providing all the equipment and projectionist.
Following a successful Crowdfunding appeal, well supported by the Village Community, Local Clubs, Parish Council, EDDC and DCC, Kilmington Community Cinema (KCC) open their independently run film nights with “23 Walks” on the 9th June 2021. All profit from the film shows goes to the Village Hall and following the opening of the KCC in June 2021 up to December 2024 we have raised a total of £8,771 for the Halls maintenance fund through the support of our audiences and volunteers. The KCC is a run by volunteers. |
Tickets:
Adults - £6 Children - £3 Book to ensure a seat. Please contact John Watts on 01297 521681 or email [email protected] Matinee's: It is essential to pre-book. Cream Tea's, served during the interval, are available for £4.00. Please order your cream tea at the time of booking via 01297 521681 or [email protected] |
The Choral (15)
Wednesday 15th April & Thursday 16th March (Matinee)
Alan Bennett has been a welcome chipper-in to British cinema over the past 40 years. This quietly plangent, drily comic piece about a choirmaster (Ralph Fiennes) staging an Elgar oratorio in a Yorkshire mill town superficially resembles one of those underdog comedies that were all period-accurate pluck and regional accents: The Full Monty, Brassed Off, Billy Elliot, and so on.
“Life’s f------ s---”’ a soldier having recently returned home without an upper limb said. “Then sing” Henry Guthrie (Fiennes). urges him, eyes shining – before noting that plenty of people “would give their right arm” for a voice as beautiful as his. That’s how The Choral often operates: it will pounce on a cruel joke, only slyly to repurpose it into an unlikely vessel for grace.
Fiennes, who is unassumingly tremendous here, is playing a threefold object of suspicion. Not only has Dr Guthrie spent considerable time in Germany, but he’s “not a family man” and, worse still, an atheist.
But this wintry tale of art blooming in adversity is far from a schematic feel-good jaunt. Set in the fictional West Riding town of Ramsden in 1916, when young men are being plucked from their community and sent to the frontline in Europe, it’s an anthem for doomed youth in a familiar Bennett key: wry, melancholic, sneakily profound.
Later on, Simon Russell Beale gate-crashes proceedings as Edward Elgar himself, whose The Dream of Gerontius is the work Guthrie has ambitiously opted to stage. This bumptious cameo descends into a never-meet-your-heroes nightmare, as the composer derides the various topical adjustments Guthrie has made to his work in good faith.
The scene scotches any hope of a conventionally warm and fuzzy finale, but Bennett was never going for something so dishonestly straightforward.
(Robbie Collin Telegraph (abridged)
“By focusing on a choral society, the film presents a different take on wartime. Whilst it does acknowledge the sadness of the ongoing conflict, the film, through its practicality and light humour, offers a hopeful interlude.”
“Life’s f------ s---”’ a soldier having recently returned home without an upper limb said. “Then sing” Henry Guthrie (Fiennes). urges him, eyes shining – before noting that plenty of people “would give their right arm” for a voice as beautiful as his. That’s how The Choral often operates: it will pounce on a cruel joke, only slyly to repurpose it into an unlikely vessel for grace.
Fiennes, who is unassumingly tremendous here, is playing a threefold object of suspicion. Not only has Dr Guthrie spent considerable time in Germany, but he’s “not a family man” and, worse still, an atheist.
But this wintry tale of art blooming in adversity is far from a schematic feel-good jaunt. Set in the fictional West Riding town of Ramsden in 1916, when young men are being plucked from their community and sent to the frontline in Europe, it’s an anthem for doomed youth in a familiar Bennett key: wry, melancholic, sneakily profound.
Later on, Simon Russell Beale gate-crashes proceedings as Edward Elgar himself, whose The Dream of Gerontius is the work Guthrie has ambitiously opted to stage. This bumptious cameo descends into a never-meet-your-heroes nightmare, as the composer derides the various topical adjustments Guthrie has made to his work in good faith.
The scene scotches any hope of a conventionally warm and fuzzy finale, but Bennett was never going for something so dishonestly straightforward.
(Robbie Collin Telegraph (abridged)
“By focusing on a choral society, the film presents a different take on wartime. Whilst it does acknowledge the sadness of the ongoing conflict, the film, through its practicality and light humour, offers a hopeful interlude.”
Wednesday: Doors and Bar open at 6.45pm with the evening’s entertainment starting at 7.15pm and ending about 9.30pm.
Thursday Matinee: Doors open 1.45pm with the film starting at 2pm. Come along and enjoy a film and have wine/soft drinks, ice-creams/tea/coffee.
Cream Teas, available during the Thursday matinee interval, are £4.00. Please request your cream tea at time of booking. It is essential to book for the Thursday matinee but booking is not required for Wednesday. To book, please contact John Watts on 01297 521681 or email: [email protected].
Thursday Matinee: Doors open 1.45pm with the film starting at 2pm. Come along and enjoy a film and have wine/soft drinks, ice-creams/tea/coffee.
Cream Teas, available during the Thursday matinee interval, are £4.00. Please request your cream tea at time of booking. It is essential to book for the Thursday matinee but booking is not required for Wednesday. To book, please contact John Watts on 01297 521681 or email: [email protected].
