The world’s all to pieces, isn’t it? They’re like a lot of rats and mice in England. They don’t know what they are going to do. It’s a good job the moon’s well up there too, I’ve got room enough to swing a sledgehammer underneath him without hitting of him. He’s well out of my way. But if they had their way they’d get the moon down you know and they’d be trying to wheel him along the road on two wheels. It was a great birthday party for such a timeless and enduring film that continues to resonate throughout the decades. In their unlikely setting the daughters pursued traditional female roles while the men devoted a great part of their time to maintaining and driving their ancient Allchin and Fowler steam engines around their land to no apparent purpose apart from the sheer enjoyment of it. This upgrade also ensures that the film will survive long into the future to be enjoyed by many generations to come. We are proud that we have successfully preserved the film, despite the fact that no funding is available for this and give our grateful thanks to Harvard University who recognized the importance of the film and generously supported us in ensuring its existence. We are thrilled with the results. As director Philip Trevelyan said when he viewed the restored copy “the film has come alive again”. This film has a feelgood factor off the scale and gives a powerful insight into a kind of world we all yearn for.

It has been a very tough time for the industry and continues to be challenging due to seating restrictions so please support your local cinemas. The unthinkable alternative is quite simply that we will lose them, and what an unwonderful world that would be. On the third evening, The Moon & the Sledgehammer will screen Gorge Coeur Ventre (Still Life, 2016), by Maud Alpi, fresh from the Locarno film festival. More here

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A peaceful and cheerful walk taken by two little girls in the middle of nature, away from the eyes of grown-ups. But the joy gradually starts disappearing and the reverie becomes nostalgia, while at the edge of the road, among the rotting summer fruit, faint faces appear. The cycle of life does not diminish the magic of the world, no matter whether it is lit by the moon or by the sun. Pucelancyrcan | Folk Police Recordings". folkpolicerecordings.bandcamp.com. Archived from the original on 13 May 2013. Films will be screened FREE of charge (booking is essential through Eventbrite). Our aim is to allow the public to fully absorb all the potential of sustainability and hope this inspires change. At the helm a fascinating and flawed father, proverbial performer and interfering agitator. Two besuited brothers and those beautifully scrawny sisters. Self-sufficient beguilers and inefficient modernisers.

The dvd is now available through www.themoonandthesledgehammer.com and Andrew Kotting’s In the Wake of a Deadad project can be seen at Dilston Grove, Southwark Park, London from October 4 th – November 11 th (visit THE MOON AND THE SLEDGEHAMMER screening at The Revelator, 5th Nov, 17.30 Barclay Curle Complex, 739 South St, Glasgow G14 0BX The film will screen as part of the Cambridge Film Trust’s Film Festival. There will be two screenings on Saturday 27th and Sunday 28th of the August bank holiday. Dilys Powell (29 August 1971). The Sunday Times Weekly Review. {{ cite news}}: Missing or empty |title= ( help) A nd if you miss this screening, there will be a later one at same venue in November to coincide with COP26 which is being held in Glasgow.

The woodland is their only world and within it we experience a man-powered-steam-driven-sweat-soaked-metal-wonder, alive to the noise of physical exertion and out-of-tune pianos. It is littered with heavy metal, rusty spanners, disemboweled car carcasses, manicured lawns, embroidered doilies and carefully pruned roses. It is a paradox fresh-out of Samuel Butler’s Erewohn. His marvelously offbeat tragicomedy takes less than seventy minutes to present an indelible microcosm, complete with ditties banged out on the family’s wheezing harmonium and out-of-tune piano, which Kath plays standing up. Darrell Hartman THE L MAGAZINE The Measure Thursday, June 4, 2009 Cut off from society and its influences, their bizarre personal fantasies and philosophies reveal a true independence of existence. Their seemingly eccentric lifestyle shows a family at one with nature, but at odds with society and each other. Yet for all their eccentricities they ably demonstrate that they are remarkably successful at looking after themselves in a way few of us are today and indeed make us question the accepted sanity and values of today’s ever more homogenised society In supporting roles are a smallholder family living in the wilderness where the distant sound of civilization is encroaching into the forest, coming ever closer . . .

We’ve throttled our enjoyment of work by buying so many ‘convenient’ machines and different ways of not doing work,” says Trevelyan. “The more we stop doing things for ourselves, the more lifeless we become. There’s terrific life expressed by the family in that film – gaiety, innocence and openness.” Real change can only come if the will of the people is behind it, pushing politicians from the ground up. Using Art as inspiration, this rare opportunity to view a collection of films from around the world, curated for the festival, show different versions and visions of sustainability; some offering inventive solutions, ( Dance of Joy) some highlighting the high cost of progress, ( Bait, The Raven’s Dance, Slow Glass, The Lost Legacy of Bida Bikini). Others feature those who have found contentment and their place in life without falling into the consumer trap, ( Big Ware, Lambing, The Glory of the Garden). Featuring a short film by Lucile Hadžihalilović, cult documentary The Moon and the Sledgehammer , and a discussion of a plan for a sustainable future on Earth

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Sam Ainsley, who will be hosting the conversation, is a British artist and teacher, living and working in Glasgow, and was the founder and former head of the Master of Fine Art (MFA) programme at the Glasgow School of Art.

LAMBINGwill screen with The Moon & Sledgehammer in this rare TrevelyanDouble Bill. It'sa unique opportunityto see Trevelyan's award-winning student filmon the big screen andchart his development as a film maker of unmistakable style. Even here his early film usespoetry as the main narrative. He is already experimenting with and finessing hispowerful control of time and space and ability to make his subjectso at easeas to beseemingly unaware of the camera. This throws up wonderful intimateglimpsesand an air of peaceful contentment as we are slowly drawninto the shepherd's world…Trevelyan seeks out people whose purpose in life he admires. He believes they have a great deal to teach us today and feels it is important that we listen and re-evaluatewhat we are slowly losing…. Meanwhile, tensions arise between Martin and the out-of-town Leigh family, who use the harbour-front ‘Skipper’s Cottage’ they bought from Martin and Steven as a seasonal holiday home and short-term rental business. artefacts, paintings (Eden Kötting) and film installations. Kotting’s own Gallivant screens on 2nd December. The film showed at the London and Berlin Film Festivals to great critical acclaim. In film making terms it defied established boundaries – only natural lighting was used, there was no voice-over and the director allowed his subjects to tell their own story, having no previous agenda other than to bring this family’s lifestyle to film. In many ways it is counted among the first ‘reality’ documentaries. In an interview with The Sunday Times Trevelyan says: ‘As a film maker you are bound to honour your material. You must tell the true story that emerges – and that takes time. It’s the only way, though. If you go in with a cut and dried brief all you are doing is raping the subject.’She has exhibited, curated and held residencies around the world as well as being a respected and published spokeswoman for the visual arts where she has contributed to a broad range of initiatives in Scotland and has served as a board member on many arts organisations. She was also elected to the Royal Scottish Academy and was inducted into the ‘Outstanding Women of Scotland’ by the Saltire Society in 2017. If you would like to join the audience on this special occasion please see cinema box office details below. Did you know the family, or visit their home? Do you have any questions about the film? If you are a fan of the film this is an occasion not to be missed.