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Located on Eastern Lane, The Maltings is the festival’s main hub. The Henry Travers Studio at The Maltings is named after the eponymous film and stage actor, whose best known role was guardian angel Clarence Odbody in the 1946 film It’s a Wonderful Life. The Henry Travers Studio a black-box studio space which can seat up to 120.
The Maltings is a large venue on 4 floors which includes a theatre and cinema, The Maltings Cafe Bar and the Henry Travers Studio. It’s a busy venue with a programme of films and theatre. This venue offers step-free access to all spaces and has a lift.
There is ramped access on the left side of the main entrance or 8 wide steps with handrails on both sides. Their are either push doors at the main entrance or power assisted doors with a push button on the left side.
This entrance takes you to the foyer of the venue with a box office desk directly in front, the Henry Travers Studio through a door to the left and The Maltings Cafe Bar through a door to the right.
To access the theatre and cinema auditorium you need to either take the lift or the stairs. The lift is yellow and it is to the right as you come in. The stairs are also on the right with a yellow handrail on one side.
You need to take the lift to the lower levels or go down the stairs.
Room Description: A black square room with red details.
Doorway: Wide double door which is held open before events start.
Seating: Fixed auditorium style pull-out padded seating with padded seat and back and no arms. Loose chairs with padded backs and seats and no arms.
Temperature: Heated and warm, not much ventilation.
Lighting: The lighting in this venue will depend on the event. There may be coloured lights. For most events, the curtains will be open.
Flooring: Smooth black flooring
Sound: No ambient sound from outside the room could be heard.
Patterns: Ceiling lighting rig in a grid, high contrast between the red auditorium style seating and black room.
Smell: Neutral
There are gendered toilets on the -1 lower ground level. There is an accessible adapted toilet with babychange facilities and gendered toilets on the -3 lower ground level. All toilets are accessible via the lift or down the stairs with a handrail. The doorways of the toilets are 91cm wide.
There is food and drink available at the Cafe Bar on the ground floor. The opening times are;
‘Opening hours for 2025 :
Tuesday – Saturday 9.30am – 4pm
Lunches served from 11.45am – 2.45pm
Drinks and home baking served until 3.45pm
Sundays/Mondays – CLOSED
There will be a bar service available one hour before every show/film.’
There are also drinks available at the Theatre Bar on the -1 lower ground floor level before and during events.
There are multiple emergency exits throughout the building, including step-free emergency exits, marked by illuminated green signs which will take you either to the outside of the building or external refuge points. Follow the signs and the directions by staff in the case of an emergency. The closest step-free emergency exit in the theatre is back through to the theatre bar and through a corridor exit marked with a green emergency exit sign. The closest step-free emergency exit in the Henry Travers Studio is through the marked emergency exits within the studio into a glass corridor which leads out to the carpark. The emergency meeting point is across the road outside the Sports Direct.
Eastern Lane, Berwick-upon-Tweed, TD15 1AJ
Join us for a special screening of Love Tapes recorded over the Festival. Love Tapes artist Wendy Clarke will also join collaborator Kim Coleman live online to discuss and answer questions from the audience on her Love Tapes project and their collaboration, Endless Love Tapes.
A hybrid, participatory movement and performance workshop developed by artist and PhD researcher Conal McStravick and Toronto/Tkaronto-based artist and community activist Mikiki based on the AIDS activist videos of Stuart Marshall (1949-1993). Marshall’s videos bookend the propagation of an influential, intersectional mode of AIDS video activism, propagated through UK-Canada transnational video networks.
Join BFI NETWORK partners BFI Doc Society and Film Hub North for a tea or coffee, followed by a roundtable conversation where you can ask us anything about our film funds and talent development programmes.
The first edition of Berwick Film & Media Arts Festival’s New Cinema Forum is an invitation to artists, filmmakers, critics and arts/film workers to consider new orientations to creating, exhibiting and working collectively. Offering practical ways to sustain and develop your practice and community, the NCF is a relaxed space to reflect and make connections ahead of our Opening Night film.
A mysterious house and a magical forest are staging for a playful portrait of Belgian philosopher Isabelle Stengers. Seated amongst verdant overgrowth, dusty ephemera and the occasional stray cat, Stengers expands on the ideas that have shaped her life and work. Intimate and pleasurable, the film delivers an empowering and hopeful message about how to survive in a world of ruins and the potential of collective action.
Born stateless and of Palestinian heritage, Basma al-Sharif’s work explores cyclical political histories and conflicts. In films and installations that move backward and forward in history, between place and non-place, she confronts the legacy of colonialism through satirical, immersive, and lyrical works.
Join us for a special in focus conversation with Basma al-Sharif, BFMAF24 Filmmaker in Focus led by Dr Viviane Saglier, lecturer in Film Studies at the University of St. Andrews.
Anti-colonial intellectuals, artists, and activists like Funmilayo Ransome-Kuti, Kwame Nkrumah, and George Padmore were all in the heart of Empire – London – in 1947. They were imagining a world after colonialism, but did they meet? And if they all did, what did they discuss, what did they conjure?
A Radical Duet is a dual timeline hybrid film about two women of different generations who come together to put their fervour and imagination into writing a revolutionary play.
An intimate, multifaceted portrait of the Krahô people indigenous to northeastern Brazil. Made in close collaboration with the community, The Buriti Flower sketches the rhythms, dreams and ways of being connecting families working to protect their land from the cyclical violence of encroaching settlements. Blending observational documentary and staged scenes, it depicts the flow of life on a continuum of ever-replenishing strength and resistance.
Basma al-Sharif’s first feature film is an experimental homage to the Gaza Strip and to the possibility of hope against hopelessness. Departing from the ancient symbol of the ouroboros – a snake eating its own tail – the film follows a man moving through different landscapes in search of a past lover. A multilingual journey through time and space reflecting on recurrent patterns of destruction and regeneration, representation and erasure.
Marking the centenary of her birth, BFMAF presents a new restoration of the seventh and final feature of Leida Laius, one of Estonia’s most distinctive directors. The tenacious Valentina, recently freed from prison in Soviet Russia, heads back to her native Estonia on a quest to find her son Jüri. A Stolen Meeting touches on powerful themes of migration, rootlessness, reconciliation and motherhood at the end of the Soviet Era.
