a still from Nightshift by Robina Rose. The protagonist looks into the camera.

We’re delighted that the newly restored Nightshift (1981) by Robina Rose will be screening on 28th March at the 20th edition of the Berwick Film and Media Arts Festival, accompanied by a special introduction from Charlotte Procter (Cinenova Working Group) who supervised the film restoration carried out by Lightbox Film Center at University of the Arts (Philadelphia) in collaboration with the BFI.

To book your tickets, click here.

Nightshift will also screen throughout April and May.

Stay tuned for more.

Nightshift was shot on a low budget over five nights at the Portobello Hotel in West London, where Rose frequently worked. The film stars punk icon Jordan as a hotel receptionist and takes place during a single night shift. It contrasts the monotony of the work with dreamlike sequences featuring eccentric hotel guests, portrayed by prominent figures from London’s countercultural scene.The cast includes poet and actor Heathcote Williams, along with experimental filmmaker Anne Rees-Mogg. American independent filmmaker Jon Jost served as the director of photography, and the soundtrack was composed by Simon Jeffes of the Penguin Cafe Orchestra. Nightshift premiered at the 1981 Edinburgh Film Festival and was later shown at the 12th International Forum of New Cinema in 1982. Nightshift has been digitally restored by Lightbox Film Center (Philadelphia) in collaboration with the British Film Institute and Cinenova. Restoration funding provided by Ron and Suzanne Naples.

Robina Rose was born in 1951 to Danish and German parents and grew up in Notting Hill, London. After leaving school, she became a Film projectionist at the Arts Lab on Drury Lane, Covent Garden. Rose graduated from the Royal College of Art in 1977, where she did camera work on Celestino Coronado’s Hamlet starring Helen Mirren and Quentin Crisp. Rose was awarded a German Academic Exchange Service (DAAD) fellowship and moved to Berlin, where she was later invited to teach at the German Film and Television Academy (DFFB) and remained there for the rest of the 1980s. On her return from Berlin she worked for the Community Programme Unit of the BBC.

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