Opens October 7 (Select Showtimes) | In this satisfying documentary, executive producer and narrator Martin Scorsese recounts his lifelong love affair with the work of visionary British filmmakers Michael Powell and Emeric Pressburger, including THE RED SHOES and BLACK NARCISSUS. Drawing on rich archival material and through delightful interviews with renowned directors, Scorsese explores the collaboration and partnership between the two filmmakers, how their innovative and distinct style left an indelible mark on cinema, and how their body of work influenced generations of filmmakers, including himself. As Scorsese explains, “That body of work is a wondrous presence, a constant source of energy, and a reminder of what life and art are all about.” A true treat for cinephiles, MADE IN ENGLAND provides a robust pairing alongside the Film Center's partial retrospective, Cinema Unbound: The Creative Worlds of Powell and Pressburger, this October 2–17. 

Awards & Nominations

Official Selection - Berlin International Film Festival, Tribeca Film Festival

Cinema Unbound - The Creative Worlds of Powell & Pressburger: In collaboration with the British Film Institute (BFI), and with generous guidance and support from acclaimed film editor, Thelma Schoonmaker, we proudly present this 11-film celebration of one of the greatest and most enduring filmmaking partnerships. Read more

5 QUESTIONS WITH DAVID HINTON

(Interview from July/August 2024 Gazette)

When were you first introduced to the films of Michael Powell and Emeric Pressburger? 
I remember seeing A MATTER OF LIFE AND DEATH on TV when I was young, and the opening of that film burned itself into my brain. Even now, I think it has perhaps the best beginning of any film that I've seen. But I really started to dig deep into Michael and Emeric's work in 1986 when I met Michael and made a film about him for television. That was when his first volume of autobiography came out—A Life in Movies—a very entertaining and inspiring book which I recommend to everyone. 

What did you discover about Powell and/or Pressburger while making this film that you didn't know before? 
I knew a lot about the men already, but I discovered more about their films by seeing them through Scorsese's eyes. He made me consider in much more detail the way that music is used in their films, and he made me look harder at some of their characters. It was very illuminating to hear him compare Lermontov in THE RED SHOES to Travis Bickle in TAXI DRIVER, for instance. He also made me more aware of great things in their less-celebrated works—like the big VistaVision shots of warships in THE BATTLE OF THE RIVER PLATE.   

The Film Center welcomes a strong audience of students studying film. What is one piece of advice you'd give to an emerging filmmaker?
Put someone interesting in front of the camera. That might seem obvious but I still have to remind myself about it sometimes. I never went to film school, and I had to learn about film-making by doing it, which means that I sometimes get too preoccupied by image-making and film technique. But if the person on the screen is fascinating to the viewer, then nothing else really matters very much. I think this applies in both drama and documentary.    

What is a memorable moviegoing experience you've had?
One that springs to mind is going to see Kevin Brownlow's restoration of NAPOLEON by Abel Gance. I love the dreamlike quality of silent cinema, and this was the first time that I had experienced that magic with a full orchestra playing live. The film is a magnificent epic from 1927, which famously opens up into a triptych at the end, with three images on the screen at the same time. The whole glorious experience was made more moving because the restoration was such a labor of love on Brownlow's part. We were watching a lost masterpiece saved from oblivion. 

What film do you watch again and again? 
Well, I've watched all the Powell and Pressburger films many times in order to make this documentary! But, generally, I'm not the kind of person who watches films over and over again. I tend to be on the lookout for something fresh. Or sometimes I'd rather read a book. But one film that I find it bracing to go back to is COME AND SEE by Elem Klimov. It is full of fury against the horrors of war and, for some bizarre reason, I once insisted on showing it to my family on Christmas Day. I think I felt that it was the perfect antidote to the sentimentality of the season. 

The Film Center is ADA accessible. This presentation will be projected without open captions. The theater is hearing-loop equipped. For accessibility requests, please email filmcenter@saic.edu