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15 September
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After October 7th the world was shocked and sympathetic following the Hamas attacks in Israel. Within a few short months most of this sympathy had gone as the world recoiled in horror at the brutality of the Israeli response to these attacks, while few Israeli Jews seem to have noticed anything untoward.
As a British-American Jew Gillian Mosely wanted to know what has happened to make Jews, a people who have experienced oppression, othering, and genocide, exhibit such moral and humanitarian numbness. More widely, how does the moral disengagement that allows atrocities the world over, happen?
There will be a post-film Q&A. We are delighted that filmmaker Gillian Mosely will join us for the Q&A.
‘Do we get stupider as we grow up?’ In his wildly popular Broadway show American Utopia, David Byrne reflects on human connections, life and how on earth we work through it. He joins the dots with his music and it all starts making sense. Spike Lee here transforms the production into immersive, dynamic cinema that radiates with astounding performances, inventive contemporary dance and political urgency. American Utopia flows like an iridescent dream vision. Work by James Baldwin, Janelle Monáe and Kurt Schwitters is highlighted among exhilarating renditions of Byrne’s solo work, as well as Talking Heads classics.
"A flat-out masterpiece" - Rolling Stone
"An outstanding collaboration between two essential artists" - Vanity Fair
"Simply spectacular... a masterclass in musicianship" - The Hollywood Reporter
"Should be required viewing for everyone... magical" - Uproxx
"One of the best movies of its kind... Grade: A" - Indiewire
We are pleased to take part in this years Nithraid, the annual sail and row boat race and festival held just outside the RBC each August, with a debut documentary screening by locally born filmmaker Glenda Rome.
The film delves into geopoetics, a philosophy developed by Scottish poet and thinker Kenneth White, which emphasizes a deep connection between the mind, language, and the living world.
Lecturer in Environmental Humanities at the University of Glasgow’s Dumfries Campus, David Borthwick, will lead an informal discussion following the screening, touching on Geopoetics and the ways in which the film depicts landscape and ecology.
About the Director: Glenda is a Scottish filmmaker, originally from Dumfriesshire, whose cinematic work bridges art, environmental and human connection. For over two decades she has worked internationally on documentaries and community projects — from collaborating with Indigenous communities in the Ecuadorian rainforest and Iñupiat people in Alaska, to helping young and under-represented voices tell their own stories through film.
After a mysterious cosmic event rips Oak Street from suburbia and transports their neighbourhood to someplace unknown, the Platt family soon discovers that their very survival depends on them sticking together as they navigate their now unrecognizable surroundings.
The Monday Night Film Club returns with a classic drama from Hungarian director István Szabó, the Oscar®-winning director of Mephisto, Hanussen and Being Julia.
Set in Hungary in the years following the end of WW2, a young boy concocts a fantasy ideal of his father who has been killed in the war. In the boy's fertile imagination, the father attains mythical and heroic qualities. Szabó's poignant cinematic ode, combining humour with a poetic nostalgia, relates historical events through the prism of personal experience, producing a film of extraordinary warmth, intimacy and power. Chosen by Hungarian critics and writers as one of the best Hungarian films of all time, Father also boasts luminous monochrome cinematography by the great Sándor Sára. In black and white | In Hungarian with English subtitles.
"Szabó's superb second feature, a major prizewinner at the time... shot and edited with all the effervescent brio of early Truffaut" Michael Brooke, MovieMail
"A beautiful study of the need for heritage... Szabó has told his story on two levels that complement each other magnificently" The New York Times
Award-winner Sandra Oh (Killing Eve) plays the title role in this razor-sharp reimagining of Molière’s classic dark comedy.
Telling the truth isn’t always that simple. Alice, a brilliant novelist, despises the carefully constructed lies of modern society. But the more she challenges those around her, the fiercer the backlash becomes. Soon, she must confront the price of speaking her truth in a world that would rather silence her.
This title will be recorded in advance of its release and will be filmed in front of a live audience.
Angela Bowling feeds an abandoned bird with the finest cakes and sweets, making him grow bigger and bigger.
Join us for a special screening of Hal Ashby's black comedy for the 20th Anniversary of the Monday Night Film Club. Originally called Talk Cinema the film + discussion evening was the brainchild of film lecturer Darren Connor. Darren passed away at the very young age of 40 after a charity cycle ride in June 2011. We'll be paying tribute to Darren and we'll also hear from past and present Film Club customers.
The 1971 cult classic pairs Bud Cort as a dead-pan disillusioned 20-year-old obsessed with suicide and a lovable Ruth Gordon (“I’ll never understand this mania for black”) as a fun-loving 80-year-old eccentric. They meet at a funeral, and develop a taboo romantic relationship, in which they explore the tired theme of the meaning of life with a fresh perspective.
Filmed at the National Galleries of Scotland during the 2025 retrospective, ‘Andy Goldsworthy: 50 Years’, this film captures a dialogue between artist Andy Goldsworthy and art historian, author, and broadcaster Andrew Graham Dixon.
The documentary offers a look behind the scenes of Goldsworthy’s largest and most ambitious indoor exhibition. Surrounded by new installations created specifically for the show, the pair explore the core environmental philosophies, fleeting natural materials, and creative ideas that have defined the artist's extraordinary half-century career.
There will be a Q & A Session with Andrew Graham-Dixon after the film