Forest Row Film Society

In September 2009, Forest Row Film Society were awarded the prestigious Engholm Prize for Film Society of the Year. This special organisation in East Sussex has had a remarkable few years and is now undergoing a successful revival. In this month's featured exhibitor slot we offer you the exclusive chance to take a look at an extract from the award-winning application, submitted by Brad Scott.
Read below for a history of Forest Row Film Society, or download the full application to get an inside look at how Forest Row won over the judges.

History

The film society in Forest Row was founded in 1978 with the aim of showing film “in the cultural field and of a classic nature by the world's great directors.” Since then, the works of Andrei Tarkovsky and Satyajit Ray have featured most often in our programmes, together with films by Akira Kurosawa, Ingmar Bergman, Louis Malle and Zhang Yimou. With an emphasis on great world cinema, Forest Row Film Society has also shown more mainstream features, together with films from the silent era.

Michael Cacoyannis’s Windfall in Athens was the opening presentation in the village hall on 2nd June 1978, and the society screened films about once a month all through the year for its first six years. Since then the season has usually run from about October to May with ten films a year, though this has expanded since the 2006 season. By 1980 there were 150 members, high attendances, and the society had established itself on a secure foundation. Indeed, as a feature in the East Grinstead Focus indicated (18th October 1980), the society was even able to screen Claude Goretta’s The Lacemaker simultaneously with the London first release cinemas. Particularly popular films over the years have included: The Tree of Wooden Clogs; Tous les Matins du Monde; Delicatessen and Wings of Desire. The first few years of the society’s existence required many experiments to optimise the viewing experience. The committee minutes from that time record various changes to the projection set-up, with different 16mm projectors, and the eventual abandonment of the projection room, resulting in projecting from the stage. The society bought its own Bell & Howell projector for £400 in 1982, and an Elf machine in 1991. A new screen was installed in 1987. In the early years, 16mm prints of a wide selection of films were easily available; however, through the 1990s the availability of 16mm prints markedly declined, to the extent that by 2001 all of our films were sourced from the British Film Institute. Though this made bookings somewhat easier, we often found that the BFI’s rights to distribute a film may have expired as well, further limiting the choice of films. The source of prints has not been the only impact on the society. Audience numbers continued to be strong through the 1980s, with 174 people somehow squeezing into the village hall to see Tarkovsky’s The Sacrifice in 1987, but the huge take-up of home video by the 1990s started to result in a decline in attendances, and losses for the first time for many years. Though a few films continued to attract good audiences, the film society increasingly found itself having to use up some of its reserves to keep going. Indeed, by the 1999-2000 season, the committee had decided to close the society the following year. This didn't actually happen, and the society continued on, still losing money with a shrinking and ageing audience.