Thu · 14 Nov · 8:00pm
The Lighthouse in Winter
A 4K restoration of Mireia Solé's coastal meditation. Introduced by the director, followed by a screening of her 2018 short Saltbreath.
Season 14 · Now Reeling
Where monochrome frames meet modern voices.
Mono Film is an independent cinema and production house in the heart of the city — a 96-seat black-box theatre, a 35mm archival print vault, and a residency for filmmakers who shoot the way others only dream.
14Seasons programmed
2,400+Films in archive
38Resident filmmakers
96Black-box seats
Coming Up
Upcoming screenings & retrospectives
Hand-picked prints, director Q&As, and after-hours conversations. Doors open 30 minutes before curtain.
Sat · 16 Nov · 7:30pm
Quiet Towns — Triple Bill
Three new short films from our 2024 residency cohort: a laundromat at midnight, a piano tuner in winter, a town divided by a single road.
Sun · 17 Nov · 4:00pm
Atelier: A Tarkovsky Marathon
Three Sundays, three masterworks. Begins with Stalker; continues with Nostalghia and The Sacrifice in 4K restorations.
What We Do
Six ways to enter the work
From a 35mm print in the projector to a finished cut on the editing bay — Mono Film is a complete creative home for the curious image-maker.
Daily Screenings
Four to six curated shows a week — repertory classics, new restorations, and global independent premieres. Members book first; the rest join the queue.
See the calendarFilmmaker Residency
A six-week paid residency with full equipment access, a personal mentor, and a closing screening of your work on our main stage. Two cohorts per year.
Apply for 202535mm Print Vault
Browse, request, and study from a climate-controlled archive of 2,400+ physical prints — Bergman to Bertolucci, Wakamatsu to Wavelength.
Explore the catalogueProduction Services
Camera and lens rental, colour grading suite, foley stage, and a screening room you can lock for the day. Dry-hire or with crew — your call.
Browse gear & ratesWorkshops & Labs
Eight-week courses in 16mm hand-processing, cinematography, screenwriting, and the art of the long take. Taught by working practitioners.
See winter termThe Mono Journal
A quarterly long-read publication: director interviews, restoration notes, festival dispatches, and the occasional argument about aspect ratios.
Read the latest issueWhy Mono Film
A cinema built for the image, not the algorithm
We don't optimise for streaming hours. We programme for the moment a frame holds you still.
Curated, never algorithmic
Two programmers, one projectionist, and a 12-member curatorial council. No auto-play, no trending shelves.
Real film, real light
Two 35mm projectors kept in daily working order, plus a Kinoton for archival screenings and 16mm work.
Filled seats, quiet rooms
Caps at 96, with a strict no-phone policy. The room belongs to the work and to the people beside you.
Filmmakers on site
Our residents are usually in the building. Stop them in the corridor, share a coffee, argue about cuts.
For Visiting Filmmakers
From application to premiere night
The residency is six weeks. Here is what the journey actually looks like, week by week.
Apply & interview
Submit a treatment, a 5-minute sample, and a letter about why monochrome. We read every one. Shortlisted filmmakers meet the artistic director.
Set up your suite
Move into a private edit suite, get issued a 35mm camera, and meet your assigned mentor — a working director from our alumni network.
Shoot & develop
Three weeks on location, three weeks in our hand-processing darkroom. Weekly table reads open to the entire house.
Lock, grade, mix
Picture lock on the Avid, a grade session in our DaVinci suite, a 5.1 mix in the foley room. Two days of pure quiet.
Premiere on the main stage
Final Friday: your film on 35mm, a full house, an audience Q&A, and a one-page write-up in the next Mono Journal issue.
From the House
What filmmakers & members say
Fourteen seasons. Hundreds of premieres. A few words from the people who keep coming back.
I came in with a treatment and a roll of Tri-X. Six weeks later I walked out with a finished short, a 35mm print, and a cinematographer who is now my permanent collaborator. Mono is not a venue — it is a practice.
Twenty years in this city and this is the only cinema where the lights actually go down and nobody pulls out a phone. The programme is brave, the seats are honest, and the popcorn is good.
We screened our restoration print here on a Wednesday night in October. Standing ovation from a room of 96 strangers. That is what a cinema is for, and Mono Film remembers that better than anyone.