King Mob




17 July Hackney Picturehouse
The Cardinal and the Corpse. 1992. Dir. Chris Petit. Wr. Iain Sinclair
The Sorcerers. 1967. Dir. Michael Reeves. Wr. Reeves, Tom Baker

27 July Wapping Project
The Dark Eyes of London. 1939. Dir. Walter Summers.
7pm - Wapping Hydraulic Power Station, Wapping Wall, London E1W 3SG

30 July Swedenborg Hall
The Mabuse Saga.
Dr Mabuse der Spieler. 1922.
Das Testament des Dr Mabuse. 1933.
Die 1000 Augen des Dr Mabuse. 1960.
(in association with the Goethe Institut)

11 Sept Goethe Institut
Allemagne Année 90 Neuf Zero. 1991. Dir. Jean-Luc Godard.
Flight to Berlin. 1984. Dir. Christopher Petit.

14 Sept (Secret location)
Aguirre: Wrath of God. 1972. Dir. Werner Herzog
Mail to book

18 Sept Goethe Institut
The Bridegroom, the Actress and the Pimp. 1968. Dir. Jean-Marie Straub.
Germany in Autumn. 1978. Dir. Fassbinder, H Boll, Alexander Kluge, Volker Schlondorff

18 Sept The Barbican
It Always Rains on Sunday. 1947. Dir. Robert Hamer.
(Launch night of the Barbican’s “Urban Wandering” film series)

19 Sept The Barbican
Bronco Bullfrog. 1970. Dir. Barney Platts-Mills.
(Part of The Barbican’s “Urban Wandering” film series)

22 September Rio Dalston
The Tarnished Angels. 1957. Dir. Douglas Sirk (from Pylon by William Faulkner).
Written on the Wind. 1956. Dir. Douglas Sirk.
(With Peter Evans in association with Capital Celluloid)

9 Oct Broadway Film Shop
Stromboli. 1949. Dir. Roberto Rossellini.
(Free – Unticketed)

10 Oct Italian Cultural Institute
Vulcano. 1950. Dir. William Dieterle.
Iain Sinclair in conversation with Muriel Walker

17 Oct St John’s Bethnal Green
The Small World of Sammy Lee. 1962. Dir. Ken Hughes.
Introduced by Iain Sinclair

22 Oct White Building, Hackney Wick
Girl Chewing Gum. 1976. Dir. John Smith.
The Man Phoning Mum. 2011. Dir. John Smith.
Hackney Marshes. 1978. Dir. John Smith.
Iain Sinclair in conversation with John Smith

28 Oct Master Tech, 1 Heneage St E1 5LJ
British Sounds. 1969. Dir. Jean-Luc Godard.
Showing until 7pm
(Free - no entry - observe from street)

29 Oct ICA
The Last Movie. 1971. Dir. Dennis Hopper.
The Return of Frank James. 1940. Dir. Fritz Lang.

30 Oct Dentist, 33 Chatsworth Road
A Time for Dying. 1969. Dir. Budd Boetticher.
(Limited capacity – email to book)

7 Nov Whitechapel Gallery
Beat. 2006. Dir. Gary Walkow.
Iain Sinclair in conversation with Gary Walkow

8 November F, 110 Stoke Newington Church Street, N16 7NY
Tornado. 200-2010. Dir. Francis Alÿs.
Nostalgia for the Light. 2010. Dir. Patricio Guzmán.
(Test Centre presents the launch of Iain Sinclair's new book American Smoke: Journeys to the End of the Light)

9/10 Nov ICA
Berlin Alexanderplatz. 1979/80. Dir. Rainer Werner Fassbinder.
Introduced by Iain Sinclair and Chris Petit

14 Nov Wiltons Music Hall
Hangover Square. 1944. Dir. John Brahm.
(Free – booking advised – contact venue)
Introduced by Iain Sinclair

20 Nov ICA
Le Mépris. 1963. Dir. Jean-Luc Godard.
(Iain Sinclair in conversation with Colin MacCabe)

29 Nov Hackney Picturehouse
Bring me the Head of Alfredo Garcia. 1974. Dir. Sam Peckinpah.
(Late-screening with introduction by Iain Sinclair.)

1 Dec Broadway Film Shop 4pm - 6pm
Walk the Walk. 1996. Dir. Robert Kramer.
(Free – Unticketed)

1 Dec Broadway Film Shop 7pm - 9pm
Il grido. 1957. Dir. Michelangelo Antonioni.

4 Dec Broadway Market: The Film Shop
The Last Days of Dobson. 2004. Dir. Will Sinclair
Automaton. 2005. Dir. Will Sinclair
(Free – Unticketed)

6 December Horse Hospital
The Criminal. 1961. Dir. Joseph Losey.
The Line-Up. 1958. Dir. Don Siegel


By way of explanation

It was hard to resist Paul Smith of spoken-word label KING MOB’s offer of this birthday present, the opportunity to make my choice of 70 films. The project seemed entirely theoretical, at this point, like a fabulously extended Desert Island Discs. Or an imagined stack of pristine DVDs in unbroken cellophane wrappers. The reality was the requirement to compose notes for a catalogue-newsheet - and to turn out, here and there, over the next twelve months, gabbing away to justify my strange selections.

The moment was right. I’d almost reached my allotted biblical span, a life largely punctuated by films remembered and misremembered: time to front up. Face judgement.

How then to limit the choices? One per year didn’t really work. Great films arrived in clusters like buses stacked along the length of Hackney’s Narrow Way, Mare Street. I had no interest in trying – Sight and Sound fashion – to nominate lists of ‘best’, ‘favourite’, ‘most important’. When I began to sift the residue of biography, I found that there wasn’t much left beyond the books. Simple solution then: work back, title by title, calling on films referenced, good, bad, totally off the wall. After a basic skeleton was achieved, 80+ films on paper, I’d only reached Dining on Stones (2004). Paul felt that other eras should be represented. So I started again, with a number of site-specific pieces, and with home movies and abortive projects with which I’d been involved. Now the list was more explicitly sub-Proustian. I also treated myself to films I’d like to see, but which I had never tracked down. I revised again, off the cuff, as I composed the notes. To make them function more like a single novel of disconnected fragments. Read or view in any order. The entries compose a botched cubist portrait of author-as-viewer. Without giving away anything as crude as taste: there should be far more Buñuel, Hitchcock, Welles. There should be Bergman, Bresson, Renoir, Visconti, Pasolini, Anthony Mann, Samuel Fuller, David Lynch, Jonas Mekas, Jean-Pierre Melville, Dreyer, Murnau, Pabst, Patrick Keiller, Howard Hawks, John Ford, Monte Hellman, Abel Ferrara, Von Stroheim, Von Sternberg, Buster Keaton. More everything, in fact. But this is how it came out. So this is what it is.

Iain Sinclair, June 2013



According to the Psalmist: ‘The days of our years are threescore and ten; and if by reason of strength they be fourscore years, yet is their strength labour and sorrow; for it is soon cut off, and we fly away.’

Thanks to Paul Smith (for the original and unworkable notion) and to Stanley Schtinter (for working it), my first bonus year after that biblical allotment has been about flying, bunker to coop, Hackney Picture House to Elephant and Castle, talking about (and sometimes staying to view) a catalogue of 70 films. On a number of occasions, Chris Petit has stepped in for me, and improved the day with his insights into the current state of play; the era of decommissioning, films without film, museums of loneliness. Gareth Evans is always somewhere at hand, melting down defunct projects and alchemising them into something new.

The party comes to an end at the Barbican this coming weekend, June 7 & 8. Footfalls are welcome.

On Saturday we will screen a bunch of films rarely if ever seen (never in public places). The show begins with a 16mm piece made in Dublin in the early ‘60s, with Tom Baker (of future Witchfinder General fame), and continues, by way of a 1967 documentary about Allen Ginsberg, to 8mm diary records (in the spirit of Jonas Mekas) recording communal life in Hackney. Maggid Street, a fictional extension of this activity, was cooked up with the collaboration of the sculptor/poet/performance artist Brian Catling. And later finessed with graphics by Dave McKean. Catling, now a celebrated international artist, and author of The Vorrh (sold to major publishers in USA and UK), will be present. And there will be discussions with Chris Petit and Susan Stenger, whose compositions and sound retrievals form a major component in several of the films.

On Sunday, there will be a programme of more public features, television and sponsored film commissions. Three of the films, not available on DVD, were made in partnership with Petit: The Cardinal and the Corpse, The Falconer, Asylum. They will be followed by films made by Andrew Kötting, which will include the collaborative pedalo voyage from Hastings to Hackney, Swandown. And a trailer for the latest Kötting/Sinclair madness, By Our Selves, a tramp in the footsteps of the poet John Clare, Epping Forest to his home village, north of Peterborough. Clare is inhabited by Freddie Jones. Kötting is hidden inside a Straw Bear. There will be further dialogues, debates, with participants. As well as predictably unexpected bonus items.

One of the final 70x70 shows – a great triple bill – drew an audience of four people (three participants and a single outsider). I was not discouraged. Indeed, that afternoon felt very much like the best obituary for a certain kind of cinema and for the whole concept to travelling across London to locate the special places where films are curated.
The Barbican gathering won’t happen again, not for me. Most of these films will disappear into lock-ups and insecure vaults. (Apart from the Kötting pieces, which will be vigorously and constantly promoted by the performer/artist. And available at the touch of a website.) I look forward to finding out what happens. As the last chapter of this fiction of listing and (mis)remembering.




Around the World with Orson Welles. 1955. Dir. Orson Welles.
(Free – Unticketed)

18 Jan Kingsland Waste Market, E8 4AA
Maggid Street 1972. Dir. Iain Sinclair
(Free – Unticketed)

19 Jan Resonance 104FM

EVENT CANCELLED 22 Jan Madame Jojo’s
Too Hot to Handle. 1960. Dir. Terence Young.
Watch the film on YouTube

4 Feb Riverside Studios
In a Lonely Place. 1950. Dir. Nicholas Ray. 35mm print.
Introduced by Iain Sinclair
(In association with Roadside Picnic)

18 Feb SECRET LOCATION, contact
Chappaqua. 1966. Dir. Conrad Rooks.
The Beat Generation (sample). 1959. Dir. Charles Haas. Wr. Richard Matheson.

6 March King's College London
The Last of England. 1987. Dir. Derek Jarman
(with Iain Sinclair)

14 March Sugarhouse Studios
The Long Good Friday. 1979. Dir. John MacKenzie. Wr. Barrie Keeffe.

20 March (Secret Location)
Two Weeks in Another Town. 1962. Dir. Vincente Minnelli.
Llimited capacity: mail to book

26 March Cine Lumiere
King Lear. 1987. Dir. Jean-Luc Godard.
King Lear. 1971. Dir. Peter Brook.
With Iain Sinclair

8 April 8 Close-Up Cinema, Sclater St
The Killing of a Chinese Bookie. 1976. Dir. John Cassavetes.
The Criminal Life of Archibaldo de la Cruz. 1955, Dir. Luis Buñuel.

10 April The Cinema Museum
Niagara. 1952. Dir. Henry Hathaway.
Cul-de-Sac. 1966. Dir. Roman Polanski.
With Anna and Iain Sinclair

18 April Hackney Picturehouse
The Long Good Friday. 1979. Dir. John MacKenzie. Wr. Barrie Keeffe.
Iain Sinclair in conversation with Barrie Keeffe (scriptwriter)

23 April Cultural Institute, King's College London
The Cutting. 2005. Dir. Brian Catling & Tony Grisoni
The Act Of Seeing With One's Own Eyes. 1971. Stan Brakhage
With Iain Sinclair & Brian Catling in conversation

27 April ICA
Candy Mountain. 1987. Dir. Robert Frank, Rudy Wurlitzer.
The (Rudy) Wurlitzer Documentary. 1993. Dir. Chris Petit.
With introduction by Chris Petit

5 May Oberhausen Short Film Festival
Estate, a Reverie. Forthcoming 2014. Dir. Andrea Luka Zimmerman.
With Andrea Luka Zimmerman

4 May Premises
Memo Mori. 2009. Dir. Emily Richardson. Voiced: Sinclair.
(Limited capacity - email to book a place)

17 May London College of Communication
Too Hot To Handle. 1960. Dir. Terence Young.
The Killing of a Chinese Bookie. 1976. Dir. John Cassavetes.
The Criminal Life of Archibaldo de la Cruz. 1955, Dir. Luis Buñuel.
With Iain Sinclair and Gareth Evans
More info

29 May Cinema 6
8pm: The Cutting (Brian Catling & Tony Grisoni)
9pm: Iain & Brian in conversation
9:30pm: The Act of Seeing With One’s Own Eyes (Stan Brakhage)

31 May The Cinema Museum
Psycho. 1960. Dir. Alfred Hitchcock.
Touch of Evil. 1958. Dir. Orson Welles.
Under-score and re-edit: "Where's Vargas?" by Mordant Music.
Introduced by Chris Petit and Christopher Roth.

4 June ICA
Sympathy for the Devil. 1968. Dir. Jean-Luc Godard.


7/8 June The Barbican 70x70 FINALE

June 7 2PM
On-stage conversation between Susan Stenger, Brian Catling, Iain Sinclair with Gareth Evans (30 min MAX)

They (Dublin) (with Tom Baker, 1964, 15 min, DVD)
Ah! Sunflower (Allen Ginsberg in London) (1967, 30 min, DVD)
Hackney 8mm Diary Films 1969 > 1975 (45 min, DVD)
Maggid Street (1972/2014, 30 min, DVD)

End: 4.30pm

Iain Sinclair and Paul Tickell introduction (30 min MAX)

Vessels of Wrath (1991 Dir Paul Tickell / BBC2, 20 min, digital betacam)
Docklands (1991 Dir Mary Harron w/ J.G. Ballard, 20 min, digital betacam)

End: 6.10pm


The Cardinal & The Corpse (1992, 56 min, digital betacam)

On-stage conversation between Iain Sinclair and Chris Petit (45 min MAX)

The Falconer (1998, 56 min, digital betacam)

End: 9:45pm

June 8 2PM

London Orbital (performance, 30 min) – Iain Sinclair and Chris Petit on stage
Asylum (2000, 56 min, digital betacam)
Marine Court Rendezvous (UK 2008 Dir Iain Sinclair / Chris Petit, Soundtrack Susan Stenger, 30 min, DVD)
Berlin Alexanderplatz: 14 Boxes (Ruin Value) (preview, UK 2014 Dir Stanley Schtinter, 6 min, DVD)
Iain Sinclair birthday footage (UK 2013 Dir Susu Laroche & Stanley Schtinter, 3 min, DVD)

End: 4.15pm


In The Wake of Deadad (UK 2006 Dir Andrew Kotting, 61 min)

On-stage conversation with Iain Sinclair & Andrew Kotting (30 min MAX)

Louyre: This Our Still Life (UK 2011 Dir Andrew Kötting, 59 min, DCP)

End: 7.30pm

Swandown (UK 2012 Dir Andrew Kotting, 98 min, blu-ray)
By Our Selves (preview of a forthcoming project by Andrew Kotting and Iain Sinclair)

End: 10:10pm

Information and booking for the Barbican events

All Year
Content. 2011. Dir. Chris Petit.

The Face On The Fork 1968 / 2014 Script Treatment : Iain Sinclair