Running time: 109 minutes
ARC’s policy is to set ticket prices based on demand, like budget airlines, which means we set a price when the event goes on sale and then sometimes put the price up or down depending on how the show is selling. Usually, the price will increase as we get closer to the event, so it is advantageous to book in advance, although sometimes we will put special offers on and reduce the price. Our website will always show the current ticket price.
ARC’s theatre and dance performances are priced on a Pay What You Decide basis, which means you don’t have to pay until after you have seen a show!
We want to encourage more people to come and see shows at ARC, more often. Pay What You Decide not only allows you to pay what you can afford, rather than a fixed ticket price, but also removes the financial risk of buying a ticket for a show in advance without knowing whether you are going to enjoy it or not.
Tickets are available to book in advance as usual, but there is no obligation for you to pay until after you have seen the show. You can then decide on a price which you think is suitable based on your experience, which means if you haven’t enjoyed it at all, you don’t have to pay anything.
All money collected will help ARC pay the artists who have performed, and we therefore hope you will give generously.
Please ensure you have arrived and collected your tickets 15 minutes before the show starts in order to secure your seats. At the end of the show, you can decide what to pay, either by cash on the door or by card at the Box Office.
Seating: Allocated - See Seating Plan for More Details
The screening on Wed 14 Feb at 2pm will have descriptive subtitles.
The End We Start From is based on a novel of the same name by author Megan Hunter. Making its premiere at the Toronto International Film Festival.
When an environmental crisis sees London submerged by flood waters, a young family is torn apart in the chaos. As a woman (Jodie Comer) and her newborn try and find their way home, the profound novelty of motherhood is brought into sharp focus in this intimate and poetic portrayal of family survival.
Catch Director Mahalia Belo and star Jodie Comer discuss The End We Start From.
‘Jodie Comer is phenomenal in end-of-days survival thriller’ – ★★★★★ The Guardian
‘smart eco-thriller has mainstream oomph’ – Financial Times
‘Jodie Comer shines in all too believable disaster drama’ ★★★★ The Guardian
Director- Mahilla Belo
Cast- Jodie Comer, Benedict Cumberbatch, Katherine Waterson
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 can watch films without descriptive subtitles. Descriptive subtitles would include speech identifiers and descriptive elements such as [door slamming] and [kettle whistling].
Seating accessibility information
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.
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 man aggressively confronts another and grabs him by his collar during a scuffle. Verbal references are made to a woman being trampled to death during a desperate scramble for food.
Threat and horror
A group of masked gunmen storm a shelter to ransack its food supplies, causing characters to flee in terror. A lone pregnant woman begins to go into labour during a natural disaster.
Occasional strong language (‘f**k’) occurs, as well as milder terms such as ‘bloody’, ‘dick’, ‘shit’, ‘Jesus’, ‘Christ’ and ‘God’.
There is a scene of implied masturbation, with limited detail. There is also an isolated sexualised use of the term ‘f**k’.
It is implied that a man takes his own life off-screen.
There is blood on a character’s clothing and on a shovel in the aftermath of off-screen violence. .
A scene of childbirth contains brief female genital nudity. There are also scenes of breast nudity, however, these also occur within a natural context.
Characters experience psychological trauma after a natural disaster uproots their family. References are made to death and bereavement.