Kent MOMI is pleased to announce its new season of Friday evening screenings with a six-week programme exploring Production Design, ahead of our next major exhibition, the films included as voted for by our visitors and ourselves.

On Friday 12th April we present Ivan the Terrible: Part 1 (Sergei Eisenstein, 1944; 1 hr. 39 mins). By 1944, the widespread experimentalism that had characterised the Soviet arts of the 1920s was a distant, long-suppressed memory. Evacuated to Alma Ata (Kazakhstan) - where the entire production was shot at Mosfilm's substantial production facility, as Axis forces advanced on Moscow in WWII, Eisenstein envisaged making a film about Tsar Ivan IV, aka Ivan the Terrible, whom Joseph Stalin admired as the same kind of brilliant, decisive, successful leader that he considered himself to be.  Ivan the Terrible’s medievalist aura and Eduard Tisse’s peerless cinematography captivate, combining elements of both high and low art at every turn with its tortured angles and Wagnerian sense of melodrama.

Introduced by Dr. Natasha with a discussion afterwards.

To reserve places, please hit the button, below, or email info@kentmomi.org

First come, first served with a limited capacity of 30 places.

Doors open 5.30, for drinks, nibbles & classic cocktails by Dr. Natasha.

Films commence 6.30pm sharp.

Screenings are FREE to Kent MOMI yearly ticket holders, but a £5 donation is suggested, to help us keep the lights on. Museum tickets can be bought at the door, and are valid for a year.

Kent MOMI is pleased to announce its new season of Friday evening screenings with a six-week programme exploring Production Design, ahead of our next major exhibition, the films included as voted for by our visitors and ourselves.

On Friday 5th April we screen 2001: A Space Odyssey (Stanley Kubrick, 1968; 2 hr. 19 mins). Kubrick was determined to avoid the fanciful portrayals of space found in standard popular science fiction, to which end illustrators Chesley Bonestell, Roy Carnon, and Richard McKenna were hired to produce concept drawings, sketches, and paintings of the space technology seen in the film. Epic scale and cutting edge technology dominate every aspect of the film’s creation. For example, the spacecraft interior shots: Ostensibly containing a giant centrifuge that produces artificial gravity, Kubrick had a 27 ton rotating "ferris wheel" built by Vickers-Armstrong Engineering Group at a cost of $750,000 (equivalent to $6,300,000 today). Various scenes in the Discovery centrifuge were shot by securing set pieces within the wheel, then rotating it while the actor walked or ran in sync with its motion, keeping him at the bottom of the wheel as it turned.

Introduced by Dr. Joss with a discussion afterwards.

To reserve places, please hit the button, below, or email info@kentmomi.org

First come, first served with a limited capacity of 30 places.

Doors open 5.30, for drinks, nibbles & classic cocktails by Dr. Natasha.

Films commence 6.30pm sharp.

Screenings are FREE to Kent MOMI yearly ticket holders, but a £5 donation is suggested, to help us keep the lights on. Museum tickets can be bought at the door, and are valid for a year.

Kent MOMI is pleased to announce its new season of Friday evening screenings with a six-week programme exploring Production Design, the films included as voted for by our visitors and ourselves.

 On Friday 29th March we present Oliver! (Carol Reed, 1968; 2 hr. 33 mins). Nominated for 11 Academy Awards, Oliver! took home an astonishing 5 Awards including Best Picture and Best Art Direction for John Box and Terence Marsh.

Oliver! was filmed entirely on stage sets, there are no locations. The ‘London’ streets – even the steam railway – were built on six soundstages; Shepperton Studio’s expansive backlot overflowing with exterior sets for numbers such as 'Consider Yourself' and 'Who Will Buy?' Despite appearing permanent and solid, the ingenious sets were flexible enough to be reconfigured overnight to allow for the multiple different setups required. The chase after Bill Sikes (Oliver Read) through the sewers of London and across the rooftops– takes on an almost operatic quality. Here is some splendid camera work, chilling vertical shots and a degree of terror rare in a ‘children’s film’.

Introduced by Dr. Joss with a discussion afterwards. 

To reserve places, please hit the button, below, or email info@kentmomi.org

First come, first served with a limited capacity of 30 places.

Doors open 5.30, for drinks, nibbles & classic cocktails by Dr. Natasha.

Films commence 6.30pm sharp.

Screenings are FREE to Kent MOMI yearly ticket holders, but a £5 donation is suggested, to help us keep the lights on. Museum tickets can be bought at the door, and are valid for a year.

Kent MOMI is pleased to announce its new season of Friday evening screenings with a six-week programme exploring Production Design, ahead of our next major exhibition, the films included as voted for by our visitors and ourselves.

On Friday 22nd March we present The Red Shoes (Powell & Pressburger, 1948, 2 hr. 13 mins). The Red Shoes’ production designers Hein Heckroth and Arthur Lawson won an Academy Award for their art direction, making dozens of bold concept illustrations inspired by German Expressionism that created the aesthetic of this genre-defying film. The film also won an Oscar for its score. Music, art, light and dance magically combine to transport us, in Powell’s words, “inside the heads of two people who were falling in love”. 

Creating some critical consternation upon its release, The Red Shoes nonetheless proved to be a huge hit beyond expectations, and is generally regarded as the best work of Powell and Pressburger's partnership and one of the greatest films of all time: In 1999 It was voted the ninth greatest British film of all time by the British Film Institute.

Introduced by David with a discussion afterwards. 

To reserve places, please hit the button, below, or email info@kentmomi.org

First come, first served with a limited capacity of 30 places.

Doors open 5.30, for drinks, nibbles & classic cocktails by Dr. Natasha.

Films commence 6.30pm sharp.

Screenings are FREE to Kent MOMI yearly ticket holders, but a £5 donation is suggested, to help us keep the lights on. Museum tickets can be bought at the door, and are valid for a year.

Kent MOMI is pleased to announce its new season of Friday evening screenings with a six-week programme exploring Production Design, ahead of our next major exhibition, the films included as voted for by our visitors and ourselves.

On Friday 15th March we present Faust (F.W. Murnau, 1926, 1 hr. 46 mins), "one of the most astonishing visual experiences the silent cinema has to offer" (NY Times). 

F. W. Murnau was one of the boldest and most imaginative artists working during the silent period of German Expressionism. Along with his horror classic Nosferatu, his creation of Faust is considered one of the greatest of all supernatural fantasies. In Faust, Murnau offered a new kind of visual aesthetic, in which the atmospheric play of light and shadow is uniquely combined with the expressive and dramatic use of smoke, fog, mists and clouds. These manifestations of the normally invisible element of the air are dramatically associated in Murnau’s film with supernatural presence, pestilence, terror, moral drama, and human tragedy.

Introduced by Dr. Natasha, with a short discussion afterwards.

To reserve places, please hit the button, below, or email info@kentmomi.org

First come, first served with a limited capacity of 30 places.

Doors open 5.30, for drinks, nibbles & classic cocktails by Dr. Natasha.

Films commence 6.30pm sharp.

Screenings are FREE to Kent MOMI yearly ticket holders, but a £5 donation is suggested, to help us keep the lights on. Museum tickets can be bought at the door, and are valid for a year.

Kent MOMI is pleased to announce its new season of Friday evening screenings with a six-week programme exploring Production Design, ahead of our next major exhibition, the films included as voted for by our visitors and ourselves.

We begin with The Grand Budapest Hotel (Wes Anderson, 2014, 1 hr. 40 mins). Exploring themes of fascism, nostalgia, friendship, and loyalty, Anderson associate Adam Stockhausen was responsible for The Grand Budapest Hotel's production design. Stockhausen researched the Library of Congress's photochrom print collection of alpine resorts to source ideas for the film's visual palette. These images showcased little of recognizable Europe, instead cataloguing obscure historical landmarks, a disassociating approach complemented by the cinematography which employed three framing devices, helping to evoke the aesthetic of the corresponding periods. The filmmakers relied on matte paintings and miniature effect techniques to play on perspective for elaborate scenes, creating the illusion of size and grandeur. Under the leadership of Simon Weisse, three major miniature models: the 1⁄8-scale forest set, the 1⁄12-scale observatory, and the 1⁄18-scale Grand Budapest Hotel set, were constructed, based on art director Carl Sprague's conceptual renderings. The Grand Budapest Hotel set comprised the hotel building atop a wooded ledge with a funicular, bound by a Friedrichian landscape painting superimposed with green-screen technology. Designers sculpted the 3-meter-high (9.8 ft) hotel with silicone resin molds and etched brass embellishment. Photos of the Warenhaus set were then glued in boxes installed to each window to convey the illusion of light.

Introduced by Ms. Rosanne with a discussion afterwards.

To reserve places, please hit the button, below, or email info@kentmomi.org

First come, first served with a limited capacity of 30 places.

Doors open 5.30, for drinks, nibbles & classic cocktails by Dr. Natasha.

Films commence 6.30pm sharp.

Screenings are FREE to Kent MOMI yearly ticket holders, but a £5 donation is suggested, to help us keep the lights on. Museum tickets can be bought at the door, and are valid for a year.