https://www.thegardencinema.co.uk/

The Garden Cinema, 39-41, Parker Street, London (2026)

28/08/2026

Now Showing at The Garden Cinema.

𝐁𝐢𝐭𝐭𝐞𝐫 𝐂𝐡𝐫𝐢𝐬𝐭𝐦𝐚𝐬 tells two alternating stories, one starring Elsa, an advertising director, in 2004, during a long weekend in December. The second takes place in 2026 and stars Raúl, a screenwriter and director who is writing a script that we soon discover is the story of Elsa, her boyfriend Bonifacio, and her friends Patricia and Natalia. Mixed with fiction, Elsa is, in a way, Raúl’s alter ego, who, like him, resorts to autofiction as a solution to a long period of creative drought. He looks inside himself, and he can’t help but also look at the people who make up his most intimate universe: his partner and his assistant. The film narrates the close relationship between reality and fiction, between inspiration and life, exploring the limits of autofiction and stories within stories.

𝐓𝐡𝐞 𝐆𝐚𝐫𝐝𝐞𝐧 𝐂𝐢𝐧𝐞𝐦𝐚 𝐕𝐢𝐞𝐰:

Despite acknowledging Bitter Christmas as Almodóvar’s return to form, some reviewers have also dismissed it as overly self-referential.
We beg to disagree. After all, Fellini did the same thing in 8½, and nobody holds it against him.

Ultimately, Bitter Christmas is a complex, gripping, and thought-provoking meditation on the ethics of writing and the relationship between artists and their work. Here’s the paradox: making great art seems to demand a healthy dose of narcissism, one that can as easily damage the a creators closest relationships. Where is the line drawn?

Dazzled by the boldness and campness of Almodóvar’s aesthetics, it’s easy to forget his filmography is grounded in the impeccably crafted screenplays he writes himself. Bitter Christmas is another; one in which the art of writing becomes both the subject and the source of suspense – so skilfully crafted that it makes the whole thing look effortless.

Book tickets 🎟️

24/08/2026

‘𝘊𝘪𝘯𝘦𝘮𝘢 𝘤𝘢𝘯 𝘧𝘪𝘭𝘭 𝘪𝘯 𝘵𝘩𝘦 𝘦𝘮𝘱𝘵𝘺 𝘴𝘱𝘢𝘤𝘦𝘴 𝘰𝘧 𝘺𝘰𝘶𝘳 𝘭𝘪𝘧𝘦 𝘢𝘯𝘥 𝘺𝘰𝘶𝘳 𝘭𝘰𝘯𝘦𝘭𝘪𝘯𝘦𝘴𝘴’. Pedro Almodóvar‘s 𝗕𝗜𝗧𝗧𝗘𝗥 𝗖𝗛𝗥𝗜𝗦𝗧𝗠𝗔𝗦 is showing at The Garden Cinema from Fri 28 Aug 📽️

24/08/2026

𝘐𝘧 𝘪𝘵 𝘨𝘦𝘵𝘴 𝘵𝘰𝘰 𝘳𝘦𝘢𝘭, 𝘺𝘰𝘶 𝘤𝘢𝘯 𝘢𝘭𝘸𝘢𝘺𝘴 𝘵𝘶𝘳𝘯 𝘪𝘵 𝘰𝘧𝘧.

Jane Schoenbrun‘s Teenage S*x and Death at Camp Miasma is now showing at The Garden Cinema.

𝐓𝐡𝐞 𝐆𝐚𝐫𝐝𝐞𝐧 𝐂𝐢𝐧𝐞𝐦𝐚 𝐕𝐢𝐞𝐰:

Across her three feature films to date Jane Schoenbrun has established an innate grasp of the ways in which people engage with media, and a remarkable ability to translate these experiences into cinema. We’re All Going to the World’s Fair was coming-of-age for the terminally online, whilst I Saw the TV Glow explored the role of nostalgia and television in identity formation for misfit 90s kids. With Teenage S*x and Death at Camp Miasma Schoenbrun sets their sights on how 80s slasher fandom and filmmaking has impacted upon film studies, cultural theory, and gender politics. But whilst this is a film full of complex ideas, Camp Miasma never feels over-intellectualised. Schoenbrun instead enjoyably and lightly parodies many of these positions, understanding that the enjoyment of horror film, and indeed the self-identification found within, arises from an tangibly emotional place. As with their earlier films, this is an felt experience and a sensory rabbit hole which often defies conventional narrative logic.

Beyond and besides this, Camp Miasma is also a meta-textual-horror love letter in the mode of Wes Craven’s New Nightmare (amusingly referenced at one point), and also an erotic psychodrama which quotes Sunset Boulevard (directly) and Persona (visually). All of which wouldn’t work without the very funny and sensual chemistry of the central performances from Hannah Einbinder and Gillian Anderson. This is a film to indulge in. An invigorating and inspiring experience, and a fitting close to Schoenbrun’s impressive ‘Screen Trilogy’.

Book now 🎟️

10/08/2026

𝘐𝘵 𝘪𝘴 𝘯𝘰𝘵 𝘵𝘩𝘦 𝘨𝘰𝘥𝘴 𝘸𝘩𝘰 𝘩𝘢𝘷𝘦 𝘤𝘳𝘦𝘢𝘵𝘦𝘥 𝘮𝘢𝘯, 𝘣𝘶𝘵 𝘳𝘢𝘵𝘩𝘦𝘳 𝘮𝘢𝘯 𝘸𝘩𝘰 𝘩𝘢𝘴 𝘤𝘳𝘦𝘢𝘵𝘦𝘥 𝘵𝘩𝘦 𝘨𝘰𝘥𝘴.

Le Mépris [Jean-Luc Godard, 1963]

10/08/2026

𝐂𝐳𝐞𝐜𝐡𝐨𝐬𝐥𝐨𝐯𝐚𝐤 𝐍𝐞𝐰 𝐖𝐚𝐯𝐞 at The Garden Cinema.

Throughout September and October, in collaboration with the Czech Centre London and as part of the 30th Made in Prague Festival, we present masterpieces from the Czechoslovak New Wave.
Of all the cinematic movements that swept the globe in the aftermath of the Second World War, the Czechoslovak New Wave stands out as one of the most politically focused and creatively integrated of them all. From the early 1960s to the aftermath of the Prague Spring in 1968, a group of filmmakers, who trained at the Film and TV School of the Academy of Performing Arts (FAMU) and worked out of the state-owned Barrandov studios in Prague, created a series of films which, to this day, are remarkable in their thematic complexity, daring satire, and dazzling formal experimentation.

With special thanks to Second Run DVD, who provided many of the films in this season.

For more details and to book 🎟️ see our website
www.thegardencinema.co.uk

10/07/2026

𝘎𝘪𝘷𝘦𝘢𝘸𝘢𝘺 𝘢𝘭𝘦𝘳𝘵 🍻📽️📢

To celebrate the release of award-winning, critically-acclaimed, festival-favourite, boozy road movie
𝐓𝐡𝐞 𝐋𝐚𝐬𝐭 𝐎𝐧𝐞 𝐅𝐨𝐫 𝐓𝐡𝐞 𝐑𝐨𝐚𝐝, we’ve partnered with Bulldog Film Distribution to give you the chance to win:

1 x The Last One For The Road tote bag
3 x The Last One For The Road shot glasses
3 x The Last One For The Road coasters
1 x 35cl bottle of Dappa - grappa by Devon Distillery
1 x 250ml can of Nonna Assunta Limoncello Spritz

To win:
1. Follow 𝐓𝐇𝐄 𝐆𝐀𝐑𝐃𝐄𝐍 𝐂𝐈𝐍𝐄𝐌𝐀 and Bulldog Film Distribution
2. Like the post
3. Tag a friend you like to bring along

Competition ends Thursday 16 July 🗓️
——
Surviving bar-to-bar on anecdotes and the ‘good old days’, two blustery 50-somethings hatch a plan to change their luck by digging up the cash their old pal buried before he left for Argentina. En route to the airport, they come across a shy architecture student whose view of life will transform as they take him under their wing on a road trip across the Venetian plains

𝐓𝐡𝐞 𝐆𝐚𝐫𝐝𝐞𝐧 𝐂𝐢𝐧𝐞𝐦𝐚 𝐕𝐢𝐞𝐰:

There’s a touch of Aki Kaurismäki as well as Wim Wenders in this drunken and circuitous road trip. Our Quixotic heroes are Carlobianchi and Doriano, petty crooks and serious drinkers who appear transplanted from another decade (Carlobianchi resembles a particularly dishevelled Bruno Ganz). There’s Kaurismäki’s boozing and Americana, as well as Wenders’ endless roads and expressive lighting. A young architect student they pick up along the way might have stumbled out of Alice Rohrwacher’s La chimera.

Massimiliano Kuveiller’s 16mm cinematography helps bind The Last One for the Road to these cinematic forebearers. His unusual angles and soft Veneto vistas imbue each scene with a whimsical charm. And whilst there’s a melancholy to this slightly worn out pair, it’s played with a mischievous, rather than maudlin, sensibility.

A disarmingly delightful, quasi Beckettian odyssey powered by gallons of beer and grappa.
Book now 🎟️

29/06/2026

𝘎𝘪𝘷𝘦𝘢𝘸𝘢𝘺 𝘢𝘭𝘦𝘳𝘵 🧢📽️📢

To celebrate the release of Sophy Romvari’s Blue Heron, we are giving away a Blue Heron cap, stickers and postcard! Courtesy of our friends at Conic ✨
For your chance to win:

1. Follow 𝐓𝐇𝐄 𝐆𝐀𝐑𝐃𝐄𝐍 𝐂𝐈𝐍𝐄𝐌𝐀 ♥️
2. Like the post 👍
3. Tag a friend you like to bring along 🫂

Competition ends Thursday 2 July 🗓️

——

𝐓𝐡𝐞 𝐆𝐚𝐫𝐝𝐞𝐧 𝐂𝐢𝐧𝐞𝐦𝐚 𝐕𝐢𝐞𝐰:
Sophy Romvari’s feature debut should strike a chord with anyone who grew up, or raised children, during the 1990s. She evokes such an authentic sense of family dynamics, and time and place, that as the temporality and narrative starts to shift, the viewer begins to feel they are moving through lived memories.

Blue Heron presents us with an idyllic Vancouver Island setting. But this is also an isolated location, and one which sets the loneliness of living with a difficult child/sibling into relief. The strain of home life, and the worrying lack of support available, are juxtaposed against this stunning coastal environment which, in such circumstances, feels like the edge of the world.

Romvari’s unusual and exciting directorial choices in the latter stage of the film move Blue Heron into a study of the representation of memory itself, evoking but never forcing strong emotions. Not only is this an impressive debut, but it’s one of the year’s best films.

23/06/2026

Garden Cinema Head Curator George Crosthwait has a special message for you (he really likes Blue Heron and wants you to watch it with him on Saturday) 📽️

𝐉𝐨𝐢𝐧 𝐮𝐬 𝐟𝐨𝐫 𝐨𝐮𝐫 𝟑:𝟎𝟎𝐩𝐦 𝐬𝐜𝐫𝐞𝐞𝐧𝐢𝐧𝐠 𝐨𝐟 𝐁𝐥𝐮𝐞 𝐇𝐞𝐫𝐨𝐧 𝐨𝐧 𝐒𝐚𝐭𝐮𝐫𝐝𝐚𝐲 𝟐𝟕 𝐉𝐮𝐧𝐞, 𝐟𝐨𝐥𝐥𝐨𝐰𝐞𝐝 𝐛𝐲 𝐚𝐧 𝐢𝐧-𝐩𝐞𝐫𝐬𝐨𝐧 𝐐&𝐀 𝐰𝐢𝐭𝐡 𝐝𝐢𝐫𝐞𝐜𝐭𝐨𝐫 𝐒𝐨𝐩𝐡𝐲 𝐑𝐨𝐦𝐯𝐚𝐫𝐢.

Tickets via our website www.thegardencinema.co.uk

22/06/2026

Screwball comedy doesn’t get any more effortlessly elegant and gleefully irreverent than this roulette wheel of romantic deception, gleaming with cunning wit and Continental élan.
Billy Wilder and Charles Brackett’s sophisticated script - a typically subversive blend of fairy-tale escapism and caustic social observation - and the pitch-perfect direction of master craftsman Mitchell Leisen yield a topsy-turvy Cinderella story with a cynical bite.
[Silent Film]

𝐌𝐈𝐃𝐍𝐈𝐆𝐇𝐓 (Mitchell Leisen, 1939) is now showing at The Garden Cinema as part of our 𝐒𝐜𝐫𝐞𝐰𝐛𝐚𝐥𝐥 𝐒𝐮𝐦𝐦𝐞𝐫 season.
𝐓𝐡𝐞 𝐦𝐚𝐭𝐢𝐧𝐞𝐞 𝐬𝐜𝐫𝐞𝐞𝐧𝐢𝐧𝐠 𝐨𝐧 𝐖𝐞𝐝𝐧𝐞𝐬𝐝𝐚𝐲 𝟐𝟒 𝐉𝐮𝐧𝐞, 𝐰𝐢𝐥𝐥 𝐛𝐞 𝐢𝐧𝐭𝐫𝐨𝐝𝐮𝐜𝐞𝐝 𝐛𝐲 𝐣𝐨𝐮𝐫𝐧𝐚𝐥𝐢𝐬𝐭 𝐃𝐚𝐫𝐫𝐞𝐧 𝐑𝐢𝐜𝐡𝐦𝐚𝐧.
Book now 🎟️

The Garden Cinema

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