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The maltings cinema entrance in the nighttime

Maltings Henry Travers

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.

Access

Venue Introduction

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.

Entrance

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.

Venue Physical Access

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.

Venue Sensory Access

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

Toilets

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.

Food/Drink

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.

Emergency Evacuation

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.

 

Address

Eastern Lane, Berwick-upon-Tweed, TD15 1AJ

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Programme at Maltings Henry Travers


21 September 2019

The Meadow Mari are a Finno-Urgic ethnic group living on the left bank of the Volga River in central Russia, sometimes called ‘the last authentic pagans in Europe’. Their religion—Mari Paganism—is based on the worship of the forces of nature, and mass prayers are held in sacred groves at specific times according to the positioning of the Moon and the Sun. Mari were persecuted during the Soviet Union, but their faith has been given official status by the Russian government since the 1990s. However, some native religion believers contend that there is still a trend to Russify Mari culture and religion.

21 September 2019

Lionel Soukaz is a pivotal figure in European queer cinema: a filmmaker, collaborator with queer theorist Guy Hocquenghem and organiser of the first festivals of Cinémas Différents in France. Combining the pop cultural ironies of Jack Smith and Kenneth Anger with protest cinema, his films target the norms of heterosexual and homosexual culture alike, calling for the end of identity and the free reign of desire. Writer/curator Paul Clinton presents two works by Soukaz with an illustrated lecture.

Run Time

69 mins
More Info
21 September 2019

Christian Ghazi’s incendiary, avant-garde masterpiece A Hundred Faces for a Single Day ends with the send-off, “I don’t care when or how I will die, as long as there are armed men who will continue the march, shaking the earth with their uproar so that the world won’t sleep heavily over the bodies of the laborious, miserable and oppressed men.” Through this fiction-documentary hybrid film, Ghazi forged a strong critique of bourgeois society in Beirut during Lebanon’s Golden Age (which would end in 1975 with a gruelling and protracted civil war). An essay on labour, class, social relations and resistance, Ghazi considered the film his “manifesto on cinema”, a powerful and polemical work that reaches back to the early decades of film experimentation while pioneering radical techniques in multivalent sound, disjunctive montage and an embedded perspectives on direct action.

Selected by Artist in Profile Marwa Arsanios, who will introduce the film

21 September 2019

Christian Ghazi’s incendiary, avant-garde masterpiece A Hundred Faces for a Single Day ends with the send-off, “I don’t care when or how I will die, as long as there are armed men who will continue the march, shaking the earth with their uproar so that the world won’t sleep heavily over the bodies of the laborious, miserable and oppressed men.” Through this fiction-documentary hybrid film, Ghazi forged a strong critique of bourgeois society in Beirut during Lebanon’s Golden Age (which would end in 1975 with a gruelling and protracted civil war). An essay on labour, class, social relations and resistance, Ghazi considered the film his “manifesto on cinema”, a powerful and polemical work that reaches back to the early decades of film experimentation while pioneering radical techniques in multivalent sound, disjunctive montage and an embedded perspectives on direct action.

Selected by Artist in Profile Marwa Arsanios, who will introduce the film

Director

Country

Run Time

64 mins

Year

1971
More Info
21 September 2019

This programme brings together Marwa Arsanios’ new work Amateurs, Stars and Extras or the labor of love with her earlier, much-lauded film Have You Ever Killed a Bear or Becoming Jamila.

Q&A with filmmaker Marwa Arsanios

Run Time

52 mins
More Info
21 September 2019

Interleaving the archive (Group Action with KK) is a performative lecture by Holly Argent that brings together a spoken semi-fictive narrative, photographic transparents on an overhead projector, a live video-feed projection and a screening of a number of films by Polish artist duo KwieKulik (Przemyslaw Kwiek and Zofia Kulik). Also known as KK, the duo were making work in Warsaw, Poland between 1971–87. Their political and often ephemeral work attempted to expose their situation as artists working under communist rule in the People’s Republic of Poland.

Run Time

71 mins
More Info
20 September 2019

After living wild for a week, Astrid’s 13-year-old son Phillip returns home without saying a word. Only gradually does everyday life get back on track. Astrid now finds herself confronted with questions that provide a whole new perspective on her middle-class existence and her career in Berlin’s cultural sector. At home, it becomes more and more difficult for this single mother to accept that her son is leading his own life. The family may be disintegrating, but only to form itself anew.

Supported by Goethe-Institut London

Director

Countries

Run Time

105 mins

Year

2019
More Info
20 September 2019

Steffanie Ling (Artistic Director, Images Festival) presents Broken Clocks, a selectrospective of Vancouver-based artist Kasper Feyrer’s 16mm films originally shown as installations. By filming their sculptures as props, and the gallery installation as set, each exhibition seeps into the next, creating the causes and conditions for the next film to germinate. Feyrer’s use of ‘practical film effects’—such as physical objects and non-digital special effects made for the verisimilitude of the camera—fashion a world of techniques and materials designed to mirror our own without the pretext of permanence.

Q&A with filmmaker Kasper Feyrer

Co-presented with Images Festival

Run Time

56 mins
More Info
20 September 2019

This shorts programme looks at filmmakers cinematically adapting folkloric legends from their own cultures. Busójáráskor is an ethnographic documentary on the Hungarian celebration of Busójárás, in which people dress as horned monsters with carved wooden masks. Nigerien filmmaker Moustapha Alassane’s The Ring of King Koda adapts a Zarma legend in which a king tests the loyalty of a fisherman. Nana Tchitchoua’s Impressions from Rustaveli melds the Georgian medieval poet’s writings with the cinematic language of Sergei Parajanov and Jack Smith.

Run Time

55 mins
More Info
20 September 2019

The episodically connected lives of four college friends unfold throughout the incipient martial law years, as they struggle to define their sexual and professional desires and how best to attain them. An observational drama that does not shy away from topics such as abortion, prostitution, patriarchy, homosexuality, military violence and the repressive social conditioning of collective imaginaries, this understated feminist inquiry into the possibilities of sustaining queer kinships stands out as a singular achievement of woman-centred Philippine cinema. — Letitia Calin