Dwindling membership, a crumbling club house, penniless coffers: The “Bradford Movie Makers” have seen better days. The active club members, most of them fairly advanced in years, sit there, basking in blissful memories and not mincing their words when they pick at the others’ film ideas over multiple cups of tea. Cineastes have met here every Monday since 1932 and can be proud of a ninety-year history including countless amateur films of all genres.

The “club”, as insiders call it, is a typical British working class film club: watching films together on a regular basis and spending every free minute on elaborate shoots including stunt riders and green screens. But the old veterans are beginning to get frail, the occasional death must be mourned. And then the pandemic comes on top of all this, darkening the only bright spot of the week. But it also brings unexpected surprises … Kim Hopkins manages the feat, despite a number of tragic-sad occasions, of avoiding the tear-jerker trap and gives us equally astonishing and funny insights into this pastime that’s far more than just a hobby. This quiet, funny and touching portrait of a band of film buffs – male and female – pays tribute to the need we all have to spend time together.

Icelandic musician Björk has always merged natural and technoid creativeness. She samples and loops environmental sounds and transforms them by means of electronic effects. Paul White translates this approach and aesthetics in the video clip for “Hunter”, morphing the singing Björk’s head and human features into an artificial polar bear that seems to be made of liquid plastic.

The figure of the singer Björk seamlessly transforms into petals, into underwater creatures with delicate tentacles and other fantastic organic manifestations impossible to classify. Accompanying Tobias Gremmler’s graceful computer animation, Björk’s singing wipes the slate clean: tabula rasa, a free, unencumbered space for later-born children to blossom and make their own mistakes.

A rhythmic collage of sounds and filmed sequences accompanies the demolition of a house. People from a neighbourhood in East London report in interview fragments: The living conditions were not comfortable – ugh, those spiders! – but the families had a home that had grown over generations. Now the community protests against being squeezed out by a motorway network.