Seven days of 35mm prints, restored classics, director-led Q&As, and one silent film with a live piano. Reserve early — the front row always goes first.
This week, monochrome
Eight screenings, one weekend retrospective, and a Saturday morning silent film with live score. All times listed in local time. Members skip the queue — bring your card.
Reservation desk
Three steps. One confirmation email. No app to download, no account to keep alive. Arrive fifteen minutes before showtime and we'll have a paper ticket with your name on it.
All fields are required. Cards processed by Stripe. We never store your details.
Ways to watch
Standard seating is just the start. Bring a notebook, bring a date, bring a friend who insists on the back row — we've built a format for every kind of viewer.
Cushioned raked seating, central aisle, a good view of the whole frame. Includes a programme note and a glass of water at the bar.
Celluloid prints projected on our restored Kinoton. Six seats only, reserved for purists. Includes an introduction from the projectionist.
Director, critic, or cinematographer in conversation after the screening. Selected Thursday evenings. Wine served in the lobby.
Saturday matinees feature a silent film accompanied by a live pianist. Tea, coffee, and croissants in the bar from 10:30.
Special events
Beyond the weekly programme, we host a handful of events each month. Most include a screening plus a 60–90 minute conversation. Members receive early access forty-eight hours before public sale.
Held on stage after a 4K restoration of Portrait of a Lady on Fire. Moderated by critic Manohla Dargis. Includes signed programme.
Murnau's original German expressionist horror, accompanied by pianist Maja Ratkje on our 1923 Steinway B. Tea, coffee, and pastries from 10:30.
A weekend pass to all six Andrei Tarkovsky features in chronological order, including a new 4K restoration of The Mirror. 35mm prints where available.
The director presents a new 4K restoration and reflects on a decade of audience response. Co-presented with the Documentary Film Association.
Reservation flow
The whole process takes under a minute. We send a paper ticket PDF, a calendar invite, and a 24-hour reminder. No app, no newsletter, no friction.
Open the schedule, filter by format, tap a screening. Each title has a programme note written by our programmer, Aïda Belhaj.
Pick from the live seat map. Front row is reserved for 35mm purists; the back row stays empty for latecomers — never for a couple.
Apple Pay, Google Pay, or card. We never see your details — Stripe handles everything, and we store only your name and email.
Doors open thirty minutes before showtime. Order a glass of wine, read the programme, dim the lights. The film begins precisely.
I've been to multiplexes that felt like airports. Mono Film feels like the back room of someone who has watched ten thousand films and quietly arranged the best one for you tonight. The seats are honest, the prints are clean, and they remember my name.
Common questions
Still curious? Write to our editorial desk and we'll reply within a working day.
Yes, up to four hours before the screening. After that, we offer a credit valid for any future screening. Just reply to your confirmation email.
The auditorium is step-free from street level. We have two wheelchair spaces in row C, accessible toilets, and induction loops at the bar. Guide dogs are very welcome.
Both. Roughly 60% of the programme is repertory — 35mm prints and restorations — and 40% is new independent work, often with a director in attendance.
The hall is available for hire on Mondays and Tuesday afternoons. Email [email protected] with your preferred film and date, and we'll send a quote within 48 hours.
The bar opens ninety minutes before showtime. Natural wine, vermouth, tea, and the city's best croissants. We close the bar ten minutes after the lights go down.
We don't seat during the film. The projectionist will let you in at the first natural break, usually between ten and twenty minutes. We do not pause the film.
Continue exploring
The full programme, the people behind it, and the writing that surrounds the work — three places to keep looking.