Category: FUC screening

La Noire de… / The Black Girl Screening Sunday 29 March 2015

29 March 2015 | 7.30pm | Common House | Free


La Noire de … / Black Girl, 1966 (60 mins)
Directed by Ousmane Sembene
+ (short) Peppa Pig: Miss Rabbit’s Day Off

The first image of Ousmane Sembène’s Black Girl (1966, France/Senegal) is a highly relevant one: a large white cruise ship slices across a small French harbor, its horn bellowing to announce its arrival. The large Western ship is a loaded image in diasporic studies; it is a symbol of power and majesty, the mass movement of peoples, and control of geographic space by Western civilizations. It is also symbolic of the slavery and oppression that was shuttled around the world on such ships over the past millennium. This particular ship bears the black girl of the title, Diouana, who has arrived from her hometown of Dakar, Senegal. As she exits the ship, she wonders, “Will someone be there for me?” The spare title sequence – no music and white block lettering – announces the film title: La noire de.., or, The black girl of… In speaking about the black diaspora, the original title poetically signals the confusion, separation, and dislocation that is a part of the movement of people from one place to another. Diouana, the “black girl,” is both ambiguously “of” someone and “of” someplace, but the exact people or places to which she belongs are left vague. Ousemane Sembène was possibly the most famous African filmmaker, and La noire de… is often credited as being the first Sub-Saharan African feature film, or at the very least the first to gain any kind of international recognition.

Introduction at Senses of Cinema


La_Noire-1966 blackg3.png~original


The Common House
Unit 5E (press the buzzer)
5 Pundersons Gardens
Bethnal Green E2 9QG

Programme Feb-May 2015

The thought, for example, that the cinema, along with the home and nourishment, is necessary for the reproduction of labour power, is true only in a world which conditions people for the reproduction of their labour power and compels their needs to harmonise with the employer’s interests, namely profit and domination.

— Theodor W. Adorno, ‘Theses on Need’ (1942)

Even if we might, in the crisis, have no choice but to self-organise these reproductive activities — and even though, most likely, abject reproduction will in the end mainly be foisted upon women — we must fight against this process which reinforces gender. We must treat it as it is: a self-organisation of the abject, of what no one else is willing to do.

— Endnotes, ‘The Logic of Gender’ (2013)

‘We have invented ourselves, so to speak, the social contradictions that made our freedom necessary.’ Where invented doesn’t mean made up but found and translated the facts that reveal their dormant political dimension.

— Claire Fontaine, ‘Human Strike Within the Field of Libidinal Economy’ (2009)

it’s a thought about the future. What if there were no more families anymore? Do we actually need them?

— Giorgos Lanthimos interviewed by Larry Rohter

Gendered Labour and Reproduction Strand







29 March 2015
La Noire de … / Black Girl, 1966 (60 mins)
Directed by Ousmane Sembene
+ (short) Peppa Pig: Miss Rabbit’s Day Off

26 April 2015
A Wives’ Tale, 1980 (72 mins)
Directed by Sophie Bissonette
+ shorts from the UK miners’ strike

***Previously in this series***

2 November 2014
Eat Sleep Die 2012 (104 mins)
Directed by Gabriela Pichler, Sweden

30 November 2014
A Mask if Always Active, 2014 (28 mins)
By Ines Doujak and John Barker

21 December 2014
Death Laid an Egg, 1968
Directed by Gulio Questi
+ Santa Claus Army, 1974
by Solvognen

25 January 2015
Roma ore 11.00 1952
Directed by Giuseppe de Santis
shorts by Coronet Instructional Films

22 February 2015
Dogtooth, 2009
+ (short) Necktie, 2013
Directed by Giorgos Lanthimos

*** Grupo Cine de la Base / Cinema of the Base Argentina May Special ***

31 May 2015
Raymundo (Gleyzer)

Actividad Raymundo

Crisis-Stasis in Greece | 7.30pm | 22 February 2015

Full Unemployment Cinema Presents:

Dogtooth Free | Common House | 7.30pm

Dogtooth, (1h 33mins) 2009
+ (short) Necktie, 2013
Directed by Giorgos Lanthimos


it’s a thought about the future. What if there were no more families anymore? Do we actually need them?

— Giorgos Lanthimos interviewed by Larry Rohter

As part of our season on Gendered Labour and Reproduction we are showing the cruel Euro-Debt-crisis allegory Dogtooth alongside the murderous metaphysical short, Necktie. Dogtooth is a provocative and disturbing film about the effect on a middle-class suburban family when the father takes total control of the lives of the three adult children, restricting their access to the outside world. Presumably in their early to middle twenties, the three unnamed children, a boy and his two sisters (Christos Passalis, Aggeliki Papoulia, and Mary Tsoni) walk, talk, and act like zombies.

The family and parental authority here can be seen as representations of the nation, and especially of authority, of the Greek State and ruling class. The parents exercise control over the behaviour and minds of their children through the deliberate manipulation of knowledge and information in the first instance. Throughout the film, the parents teach the ‘children’ words with incorrect definitions. They also tell them that the outside world is full of dangers and unspeakable horrors and that they are only ready to face these dangers alone when their dogtooth falls out, thus setting them a target that they can never achieve. In Dogtooth, both parents maintain control over their children’s behaviour with indirect control over information and only resort to violent means when the eldest daughter begins to engage in behaviour beyond the limits set by her parents.

This model of dictatorial power reflects Greece of the post-war period up until the collapse of the military Junta in 1973, which marked the culmination and apparent end to this direct mode of social control. That period was defined by formally democratic governments with serious restrictions on certain forms of activity, a prominent place for traditional institutions such as the Orthodox Church and the Army, as well as the existence of the parakratos – or the parastate – shadowy groups that used violence to curb forms of politics that existed beyond the pale of the strongly anti-communist, pro-Western Greek State. The murder of Grigoris Lambrakis in 1963 is an example of the way this arrangement worked, and his story became the inspiration for the Costas Gavras film Z.


For an excellent pre-history of the roots of the crisis in Greece: the story of the UK-US involvement in defeating a viable post-war communist movement in Greece and propping up regressive political forms for the last half of the 20th century ‘Athens 1944 Britain’s Dirty Secret’ by Ed Vulliamy and Helena Smith:

More recent essays on Grexit and the rise of Syriza:

Some Notes on Syriza by Ady Amatia

On Syriza by TPTG

Alexis Pottis Explains the Euro Crisis

The Glass Floor By Theorie Communiste (AKA Theo Cosme)


The Common House
Unit 5E Pundersons Gardens
Bethnal Green,
London E2 9QGT

Rome 11.00 Ore – Sunday 25 January

25 January 2015 | Free | 7.30pm | The Common House

Roma Ore 11.00 + shorts by Coronet Instructional Films

Roma Ore 11 / Rome 11:00 (1952)
Directed by Giuseppe De Santis

Based on a real incident, this is the story of five girls who are among the 200 women who answer an ad for a modest secretarial position one rainy morning in Rome in 1951. They crowd and push their way into the old building and fight their way up the stairs to await an interview, only to be told there is not enough time to interview all candidates. A scuffle breaks out and the stairway collapses sending many of them hurtling down in a mass of bodies amid brick and mortar. Among them are the well-born wife of a poor artist; a streetwalker making an attempt to change her life; an unhappy servant girl; and the desperate wife of an unemployed factory worker. How the event changes or fails to change their lives is told.

I Want to Be a Secretary (1941)
Coronet Instructional Films

Follows a young woman through her clerical training and job search. Shows pre-World War II offices and office workers, primarily women. One of Coronet’s earliest educational films.

The Secretary’s Day (1947)
Coronet Instructional Films

The daily activities of a secretary are compared with those of a stenographer to show the added responsibilities and duties of the secretary.


Rome Ore 11 (Italian Poster)

Rome Ore 11 (Italian Poster)



The Common House
Unit 5E Pundersons Gardens
Bethnal Green,
London E2 9QGT

Masked Rage – 30 November 2014

30 November 2014 | Free | 5.30pm | The Common House


Full Unemployment Cinema Presents:

A Mask if Always Active, (2014)

By Ines Doujak and John Barker


Sweet Sugar Rage (1985)

By The Sistren Theatre Collective

Film stiill from A Mask If Always Active, 2014

Film stiill from A Mask If Always Active, 2014

A Mask if Always Active, (2014)

By Ines Doujak and John Barker

28 mins
A musical on the themes of carnival/utopia and rebellion. The filmmakers will introduce the film.
Sweet Sugar Rage (1985)

By The Sistren Theatre Collective
45 minutes

A popular Jamaican women’s troupe uses improvisation and theater as consciousness-raising tools for both rural and urban audiences. Their performances speak directly to the daily experiences of women–the least empowered workers, who labor long hours for low wages with no benefits or rights to organize for better conditions. Using role-play and interviews with female cane workers, the collective develops dramatizations which analyze social issues and pinpoint their concerns.

This film has kindly been made available by Cinenova distribution. We will be collecting donations on the day to cover the screening fee for this film.


The Common House

Unit 5E Pundersons Gardens

Bethnal Green,

London E2 9QGT

2 November: Eat, Sleep, Die


Sunday 2 November | Free | 7pm



Eat Sleep Die (2012)

Directed by Gabriela Pichler, Sweden, 104 mins

Nermina Lukac’s electrifying performance as Raša is the heart of director Gabriela Pichler’s feature debut. A Montenegrin-born young woman living in rural Sweden, Raša is laid off from her job at a food-packing plant. Her ensuing job search pulls us through the maze of limited prospects and frustrating bureaucracy facing the country’s working immigrant population. Affable, resilient, street smart and soft-hearted, Raša’s natural magnetism draws us in completely. We feel every ounce of her disappointment, fear and elation as she soldiers on, looking for work. An Audience Award winner at the Venice Film Festival, EAT SLEEP DIE’s assured naturalism and political conviction single out Pichler as a bold, exciting new cinematic voice. Her film is a positive rallying cry for low-wage workers who dream of a life that won’t merely add up to the three verbs that form the film’s title.
– Mike Dougherty, American Film Institute



The Common House

5E Pundersons Gardens
Bethnal Green, London E2 9QG

Next Screening: Black Wave Special – Sunday 29 June

Black Wave Special | 29 June | 7pm | Free | Common House


Short: Excerpt from Cinema Komunisto (2010)
Directed by Mila Turajlic

Feature:  Uloga moje porodice u svjetskoj revoluciji / Role of My family in World Revolution (1971)
Directed by Bahrudin ‘Bato’ Cengic, 1h 19mins

Towards a pro-communist heretical cinema… Taking place in the wake of the Second World War, Čengić’s comedy charts an outwardly rather bourgeois family who have been harbouring a secret obsession with all things Communist during the Nazi occupation. When the Reds take over, the family are jubilant and eagerly support the cause. The daughter Leposava (translated as Juliet for the film’s subtitles) falls in love with an earnest young Communist, while her brother joins his band and, dressed in a bold red ankle-length coat, goes about the country bringing socialism to all.

Their joy at the new political reality is mirrored in musical form, with cheesy easy-listening numbers with lyrics such as “Twinkle, twinkle little star, we’ll be ruled by the USSR,” and visually in the stylised poses that they adopt glorifying revolution as sexy in, for example, a sequence in which Leposava, dressed in a silky red nightdress and exuding confidence and beauty, holds a submachine gun while the camera lingers over her.

There seems to be no end to what Communism can do. Swiss-made chocolate appears in magic tricks, the dead are brought back to life, the blind are made to see and a dumb man has speech given to him—the first words he utters being “America and England will rise up and become proletarian paradises” (which is a cue for a song of that title).

But the gaiety doesn’t last. We are shown a comrade being tortured before being executed in a quarry and Leposava is sexually assaulted by Russian soldiers and ultimately hangs herself. “This isn’t the freedom I had imagined,” says one of the comrades, expressing his disenchantment, while earlier in the film there are references to Hitler that indirectly draw parallels between the oppression of Communism and National Socialism.

The film, it is not surprising to say, was censored, and Čengić found it difficult to work in film over the following decade. Today, the film is almost completely unknown in the English-speaking world. Yet it stands as just as funny as other far more famous comic allegory of the workings of Communism, most famously Miloš Forman’s Hoří, má panenko (The Fireman’s Ball, 1966), and is just as incisive in the points it makes about the abuse of power as more serious directors, such as Miklós Jancsó. Particularly notable is the fact that the film doesn’t dwell too heavily on accusing some third party of atrocities against an implicit first person (ie what they did to us). The real bite of the film is that it asks why did we believe in this and what have we created from the heady dreams of freedom we had?

A reader on Black Wave film can be downloaded from Monoskop:
Surfing the Black: Yugoslav Black Wave Cinema and Its Transgressive Moments (2012)
Edited by Gal Kirn, Dubravka Sekulić and Žiga Testen
Publisher Jan van Eyck Academie, Maastricht, The Netherlands
ISBN 9072076516, 9789072076472
216 pages
More info on the book here:

The Common House
Unit 5E (press the buzzer)
5 Pundersons Gardens
Bethnal Green E2 9QG

Bato Čengić - Uloga moje porodice u svjetskoj revoluciji

Bato Čengić
Bato Čengić
Bato Čengić - Uloga moje porodice u svjetskoj revoluciji

Bato Čengić – Uloga moje porodice u svjetskoj revoluciji / The Role of My Family in World Revolution (1971)

There Goes the Neighbourhood





Concrete Heart Land/ Bleacher on the Rye – Gentrification Double Bill

Friday 30 May | 7PM | Cinema6 | £3 or donation

I feel sorry for the residents of the estates that are being knocked down who will have to leave the Elephant and Castle. With so many new people coming to live here it will force a lot of people out…
– Joyce, ex-Heygate Estate Resident

Full Unemployment Cinema and Southwark Notes present an evening of films and presentations around the politics and economics of gentrification and ‘regeneration’ in south London. While in the midst of a widely acknowledged housing crisis London also seems to be in the grip of a malign spiral of development that threatens to displace many working class people from ‘their’ city. This process is exemplified by the recent ‘regeneration’ of the Heygate Estate in Elephant and Castle that has led to the eviction and dispersal of long term tenants, a protracted struggle by leaseholders to secure equitable compensation and the eventual building of a private housing development with almost no social housing.

The film Concrete Heart Land ( documents the attempts by local Heygate residents to resist this ongoing process of dispossession and gentrification. Concrete Heart Land traces this struggle through a combination of archive footage, panoramic views of the huge Heygate estate and by parodying the language of regeneration in chanted ensemble performances in the deliberately run down estate. It analyses the social cleansing of the Heygate Estate in Elephant and Castle, South London and marks the moment that the estate was finally lost as social housing to make way for a regeneration scheme. The film is not just a chronicle of defeat in the face of profit-led gentrification but also documents attempts by the local community to resist. The second film in the screening is Bleacher on the Rye (working title), a documentary about the regeneration of Peckham Rye Station and the surrounding area by the independent, activist production company Spectacle ( The film pays close attention to the way the wider dynamics of gentrification are hostile to existing communities, businesses and the diverse cultures of a particular neighbourhood.

Ultimately at the heart of both films lies the wider question of what kind of city we desire to live in. One characterised by gentrification, profit led development, the atomisation of existent communities and the zoning of the city according to the dictates of class status and income? Or is it still possible to assert political control and neighbourhood autonomy over the pressures of property development and the managerial, market led imperatives of local and central government? Or rather than this 21st century urban either/ or might the paraphernalia of gentrification-from craft coffee to chain-stores, sterile public spaces and market rate lettings- somehow co-exist with existent working class neighbourhoods? After the screenings a presentation by Southwark Notes-a local group of activists investigating gentrification-will explore these questions as well as the role of local art scenes in both opposing and abetting gentrification. This will be followed by a discussion, possibly to be continued in an establishment selling either beer or cup cakes, depending upon preference.

Download the pamphlet that accompanies the screening here: There Goes the Neighbourhood 

Peckam Questions
Retail Capital and Neighborhood Change: Boutiques and Gentrification in New York City. Sharon Zukin, 2009
Cultural Workers, Throw Down Your Tools – The Metropolis Is On Strike. Stevphen Shukaitis & Anja Kanngieser
From ‘Pyramid Dead: The Artangel of History’. Chris Jones
Ruin Regen
No Room to Move. Anthony Iles, Josie Berry Slater

Hosted by/Screening location:
Arcadia Missa,Unit 6, Bellenden Road Business Centre, SE15 4RF

For further Screening Details and for more about the Cinema6 project and other programming in the next weeks, check:


Full Unemployment Cinema Present: Leviathan (2012)

Leviathan: Moby-Dick illustration
*Sunday 27 April | 7pm | The Common House | Free*

We present Leviathan, Lucien Castaing-Taylor and Véréna Paravel (2012)
+ shorts

‘With the fish-eye cameras strapped to their heads, the film-makers and crew recorded the raging midnight seas from
which are hauled the fish and scallops that will end up on china plates and linen tablecloths in smart restaurants. Remorselessly,
they expose every aspect of this visceral business – often conducted in the dark, out of sight of land, on trips lasting up to 18 days.
It is a weird otherworld, filled with bug-eyed fish slathering over the decks, clanking rusty chains and hooded figures like medieval
torturers, all perpetually doused by the rising Atlantic.

Shrieking gulls plunge up from the dawn-slashed sky in vertiginous, inverted scenes as the cameras tumble upside-down.
Starfish float beneath the surface like coral-coloured confetti. On deck, scarred, tattooed men eviscerate fish dragged up
from the depths. In one shocking sequence, a skate dangles from a chain as its wings, the only edible parts, are excised –
a scene not far from the notorious trade in definned sharks. Meanwhile, an indeterminate heavy-metal track grinds out
from a radio, sounding more like the knell of an aquatic apocalypse.

These saturated, sublime images bear little comparison to any other film; rather, they evoke the work of artists such as
Winslow Homer and JMW Turner. In fact, by attaching 21st-century cameras to themselves and the crew of the Athena,
the directors were re-enacting Turner’s legendary feat, when he had his body lashed to the mast of a Harwich boat for
four hours to experience a storm at sea face-to-face and thus render it in oil. […]

Our pamphlet for this screening can be downloaded here: Full Unemployment Cinema_ Leviathan – Full Unemployment Cinema et al

Like Moby-Dick, Leviathan reflects an industrial reality more than a maritime romance. Just as Ahab’s ship was crewed
from around the world, so New Bedford’s whaling ships brought Azoreans and Portuguese, black Cape Verdeans and others
to its port; amazingly, 64% of the population of the eastern seaboard of Massachusetts have Azorean or Portuguese blood.
But as whaling declined, fishing took over – an equally deadly occupation, suffering the highest fatalities of any industry in the US.’

At The Common House
Unit 5E
5 Pundersons Gardens
Bethnal Green
E2 9QG

Logistics and Opposition

Sunday 30 March | 7pm | The Common House | Free


A screening and discussion of films on recent struggles in the logistics sector.

BBC, Panaroma: Amazon’s Truth Behind the Click, 2013

Maria Elena Scandaliato, Sciopero Generale Logistica, 2013

Cinema Action, Dock Strike 1972

Films and clips from Oakland, Bologna, Ellwood and more…

Guest speakers from Angry Workers of the World []

A pamphlet collecting recent theory and reflections on logistics and class struggle was distributed at this screening. Available here:  There are links to online reading material below.

Drone Container Ships under development by Rolls-Royce Holdings

Drone Container Ships under development by Rolls-Royce Holdings

At The Common House
Unit 5E
5 Pundersons Gardens
Bethnal Green
E2 9QG

Further reading

Brian Ashton, ‘Logistics and The Factory Without Walls’ (long version)

Jasper Bernes, ‘Logistics, Counterlogistics and the Communist Prospect’ (Endnotes)

Sergio Bologna, ‘The new bubble. After the real estate crisis of 2008, the creeping crisis of shipping finance’

Critical Logistics

DHL a [capitalists’] guide to logistics

Empire Logistics LibCom blog

Globalization and World Cities (GaWC) Research Network

Anthony Iles, ‘What greatness had not floated on the ebb of that river’

Logistics Playlist on YouTube

Mac McClelland, ‘I Was a Warehouse Wage Slave’

Alberto Toscano, ‘Logistics and Opposition’