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Running time: 126 minutes

This work contains flashing images which may affect viewers who are susceptible to photosensitive epilepsy.

Seating: Allocated - See Seating Plan for More Details

The screening on Thu 13 Jun at 2pm will have descriptive subtitles and will be relaxed for people living with dementia.

1984: There’s a landfill in our living room

Mother and Maria’s world feels like sparkles down spines, Christmas is every day in their nidus of love; the two of them like silvery-catching magpies. The pair spend their evenings on pilgrimages in South East London, nights where fireworks crumble over them as they carefully collect their goods. Tin foil balls, chalk, paper, all things neglected, left for the foxes or bin men, they adopt for their nest. They Hoard infinite souvenirs from their night time walks, trolleys filled with sacks upon sacks of joy for their catalogue of love that waits for them at the door.

The image shows a shop aisle at Christmas time. It shows a young girl , white, with long dark hair pushing a trolley. She is wearing a white jacket with a white checked skirt. There is a woman to her right white, long dark hair wearing a metallic gold cloak.

At school, Maria is sleepy from the night voyages. Sometimes the stench sticks to her hair. If only they could smell the glee from it too. Her tiredness makes her forgetful. Nighttime is her and mother’s time. Maria’s teachers and classmates make her aware for the first time of the foreignness of her and mother’s loving regime and she begins to question it entirely one lost afternoon. After one night of disrupting their routines that ends in an accident, Maria knows in her belly that she wouldn’t want it any other way. Christmas is coming, the tinfoil ball tree is mounted with glowing bulbs, a children’s delight; the room glimmering of all things collected now shiny all still from the year before. Tin Drum plays. Maria goes to the corner shop and when she returns, something happens to Mother which changes her future forever.

1994: He handed her to me, its weight would come in waves.

Maria’s last day of school she walks waved home with her best friend of ten years Laraib. As she arrives home, at the top stairs, waiting, are two bare feet. A tall odd man, a stranger who has a familiar scent of trauma, a childhood pain, a Gemini of knowing stings. His name is Michael and he has come to stay. The following days are slow and strange, full of leavings and returns. A homecoming. The two become intertwined as the present is ruptured. Michael with Maria, Maria with the past, pilgrims, but for Maria the Hoardings have just begun. Nighttime becomes hers once more, rowing in it endlessly, finding new objects to treasure. Maria descends into madness, and it’s soon clear that she is hiding a much bigger secret, one that is both inexplicable and shocking.

Two industrial-size silver bins in front of a metal fence. A white female is standing in the bin to the left. She has long dark hair and wears a red sleeveless vest. It is night time.

‘a haunting study of loneliness and thwarted sexuality’ – ★★★★ The Guardian 

‘this British debut glitters with gross-out promise’ – ★★★★ The Telegraph

‘Luna Carmoon wields disgust like a weapon in this filthily captivating debut’ – BFI

‘intergenerational trauma meets punk perversity’ – Financial Times

Director: Luna Cameron

Cast: Saura Lightfoot, Maria Joseph Quinn, Hayley Squires, Lily-Beau Leach – Young, Deba Hekmat, Samantha Spiro, Cathy Tyson


  • Information about screenings with descriptive subtitles

    Descriptive subtitles, sometimes referred to as subtitles for D/deaf and hard-of-hearing people or captions, transcribe dialogue and relevant aspects of the soundtrack, including music and sound effects, attempting to give D/deaf and hard-of-hearing viewers an equal experience to those who are able to watch films without descriptive subtitles. Descriptive subtitles would include speech identifiers and descriptive elements such as [door slamming] and [kettle whistling].

  • Seating accessibility information


    Seat size

    Seats in the Cinema are 45cm (172/3“) wide and 46cm (18“) deep, are 40cm (152/3“) from the floor, and have 12cm (42/3“) between seats.


    Seats in the Cinema have armrests that do not fold away, and cannot be completely removed.


    Seats in the cinema have 30cm (112/3”) of legroom in front of seats, with additional legroom on row A and seats B1-B4 and B11-B14.

    Further information

    If you have any questions about accessibility our Box Office team are always happy to help and can be contacted on 01642 525199 or by emailing [email protected] - you can also tell us about your access requirements when prompted to do so during the online booking process.

  • BBFC rating information (may contain spoilers)


    A person pushes a teenage girl to the ground, In another scene, a character briefly strangles a woman.

    Threat and horror

    In one scene a person is seriously injured after becoming trapped beneath fallen furniture


    Infrequent very strong language (‘c**t’) occurs, as well as strong language (‘f**k’) and miler terms (‘shit’, ‘bullshit’, ‘piss’, ‘arse’, ‘bastard’, ‘Jesus’, ‘Christ’, ‘God’).


    An intense consensual sexual relationship between a teenage girl and an older man includes sexualised scenes of violence and injury detail. A sex scene includes heavy thrusting and buttock nudity. A clothed person rubs her body vigorously against a man. A character urinates in front of a man with the intention of provoking sexual arousal. There are strong verbal sex references, including to ejaculation.


    Teenagers briefly smoke a marijuana joint.

    Sexual violence and sexual threat

    There is a disturbing scene in which a child is approached on a street at night by a man who subsequently exposes his penis to her. The incident frightens the child who consequently wets herself. There are also verbal references to a rapist.

    Injury detail

    There is sight of healed scarring, as well as a scene featuring a person’s painfully swollen toes. In another scene, a heavily decomposed animal corpse is discovered.


    There is brief sexualised buttock nudity.

    Disturbing images

    People watch a television programme which includes bullfighting footage in which a bull is impaled.


    A character experiences disturbing visions, and there are also intimations of mental illness. There are highly charged scenes of emotional upset between a parent and her young daughter. The girl also becomes upset after her mother is injured.

    Flashing/flickering lights

    This work contains flashing images which may affect viewers who are susceptible to photosensitive epilepsy.