One of our Trustees, Geoff Hardy, took part in July 2020, in a short video made by People & Planet who say: ‘We aim to reclaim Pride from the companies that co-opt it by pinkwashing their irresponsible business practices….’

What do you think PRIDE should be? See the video ‘I wand Pride to …’ on the People & Planet site, and say what you think.

The organisers of the Shropshire Rainbow Film Festival have, after a lot of thought decided that, regrettably, the 2019 Festival will not be taking place this October.
However, we are pleased to announce that there are two great Pride Film Seasons – in Shrewsbury and Oswestry.
The Old Market Hall Cinema, Shrewsbury, have put together OMH Pride Month of LGBTQ+ film screenings:-
Sunday September 22nd, 7pm, ‘Are you Proud?’ which combines rare archive footage with interviews from leading campaigners. Are You Proud? charts the LGBTQ+ movement’s momentous journey charting the joys and divisions toward equality. Celebrating the community’s greatest achievements, the film calls attention to the fights both past and present while asking tough questions about the future and explores the difference between rights and liberation.
Ashley Joiner (2019) UK 1h 37m

There will be four other films, also on Sundays, throughout October:
Go Tell It To The Bees (15) Sunday 6th October, 7pm.

Transmilitary (12A) 
Sunday 13th October, 7pm

Jonathan Agassi Saved My Life (18) Sunday October 20th, 7pm

The Shiny Shrimps (15) Sunday 27th October, 7pm

To book:  Phone: 01743 281281.
Meanwhile, Oswestry Film Society are holding their 3rd Pride Season, at
Kinoculture cinema. Their programme:
Are You Proud? (15) Wednesday 13th Nov 7.30pm

Go Tell it to the Bees (15) Wednesday 20th Nov 7.30pm

Tucked (15) Wednesday 27th Nov 7.30pm

The Shiny Shrimps (15) Wednesday 4th Dec 7.30pm

To book:
Or: call 01691 238167   email: [email protected] to reserve tickets.
Shropshire Rainbow Film Festival:
This would have been the 14th year of the Shropshire Rainbow Film Festival, Festival, which has gone from strength to strength since 2006Over that time the world for LGBTQ + people has changed considerably and we are proud to have played a part locally.
The Rainbow Film Festival 2019:
Organising the Festival involves a lot of time, hard work and effort. Unfortunately, this year the team found this difficult owing to their need to balance life and over-full work schedules.
Have no fear though, we will be back in 2020!  Between now and then, we will be supporting or putting on events, so keep a look out. The website will be refreshed in the near future, so keep an eye on that and our Facebook page and watch out for Mailouts.
Our immediate priority is to look at, and reshape, how we organise; we have one new trustee and welcome more. We are saying a sad farewell to those retiring from the committee and thanking them for the tremendous work they have put in over the years.
‘We are very sorry to make this announcement’, said Peter Roscoe, one of the Trustees, ‘but we have some great ideas and wish to reassure everyone that the Festival will continue into the future and keep Shrewsbury and Shropshire firmly on the LGBTQ+ national map. The good news is that there is a lot of enthusiasm for the future and planning will begin soon to put the show back on the road in 2020’.
Shropshire Rainbow Film Festival will collaborate with Shrewsbury LGBT History and screen a film as part of Shropshire’s LGBT History Month Programme in February 2020. With innovative LGBTQ+ film seasons, The Old Market Hall in Shrewsbury and, in November, at Kinoculture in Oswestry , autumn in Shropshire is looking good!

50 Years Legal

Sunday 17th February 2019, 19:00-21:30

Certificate 15

Year: 2017
Country of Origin: UK
Length: 90 min (1hr 30 min)
Director: Simon Napier-Bell


Directed and written by legendary rock promoter Simon Napier-Bell, created to coincide with the 50 anniversary of the partial decriminalisation of homosexuality, this is an engaging but informative journey through LGBT history in UK since 1967 and how changes in politics and social attitudes, for better or worse,  have  evolved over the subsequent decades.
The documentary features interviews with a veritable who’s who of leading LGBT activists and cultural commentators from across the generations, discussing topics such as homophobia, acceptance, diversity and gender identity. There are personal accounts from actors such as Sir Ian McKellen and Sir Derek Jacobi, singers such Sir Elton John, Marc Almond, Will Young and Olly Alexander, and comedians such as Matt Lucas and Stephen K. Amos. Trans activists such as Jake Graff and Paris Lee offer honest reflection alongside journalists such as Matthew Todd and Matthew Paris and politicians such as Lord Cashman and Angela Eagle.  Simon Napier-Bell established a name for himself in 60s as manager of groups such as The Yardbirds but subsequently went on to manage T Rex, Wham! and George Michael.  50 Years Legal is both a celebration of battles won and lives lived, but also in Simon Napier-Bell’s own words, “the overwhelming conclusion of the film is that it’s not so much tolerance that overcomes prejudice as familiarity. Letting everyone live their life the way they want to without feeling the need to interfere”.



My original idea for 50 Years Legal was to interview a cross-section of people – both celebrities and ordinary folk – about gay life since decriminalisation in the 60s, then edit it into a chatty piece of entertainment. Within a day of starting I realised it was impossible. The resulting programme would be at least four hours long and I’d only been asked to make a 90-minute film.
Instead, I would have to stick to one central theme and follow it closely. And because the Sexual Offences act of 1967 was only a partial decriminalisation, and for many gays made things worse rather than better, the film became the fight for equal rights.
The list of celebrities who agreed to talk was amazing, so much so that the ordinary people I’d planned to use too had to be dropped.
My first surprise was the activist streak I found in nearly everyone I talked to, even those in whom I’d never before observed it. And as the interviews progressed I began to feel I’d been a rather lazy gay these last fifty years. Perhaps I should have done more to help. On the other hand, as person after person stressed that activism need involve little more than just being openly gay and uncowed, I felt better. At least I’d always been that.
The progress that’s been made from the very partial decriminalisation of 1967, until 2017 when gay marriage was made legal, to today’s openness in discussing transsexual matters, is amazing. In the 70s and 80s, gays could still be prosecuted for exchanging phone numbers or having sex in a hotel bedroom. Today, in law at least, there is complete equality with straight life. And the film charts that progress.
It was achieved by a blend of arts and activism. Both Stephen Fry and Michael Cashman make the point that while marching and protesting in public were important, it was always the arts that led the political agenda. Whether it was Peter Finch and Murray Head with the first NSE4 dumps screen kiss, Quentin Crisp with his breathtaking flamboyance in the Naked Civil Servant, or Tom Robinson’s passionately angry ‘Glad to be Gay’, it was always artists that broke the ice. The work ofAsus S301A1 Charger political activists was to convert the public’s increasing acceptance into law before it could backslide.
The overwhelming conclusion of the film is that it’s not so much tolerance that overcomes prejudice as familiarity. Letting everyone live their life the way they want to without feeling 70-713 dumps the need to interfere. (But with laws in place just in case.)
Fortunately, we’re almost there. And at the end of the film, Matthew Parris perfectly Asus S301A Charger sums up the progress that’s been made.
‘These days fewer people give a toss.’

Short biography Simon Napier-Bell

Simon Napier-Bell is rock manager, author, film maker and public speaker. Artists he’s managed include The Yardbirds, Ultravox, T Rex, Marc Bolan, Japan, Asia, Candi Staton, Boney M, Sinéad O’Connor, Wham, and George Michael. He co-wrote the song You Dont Have To Say You Love Me. He has also written four best-selling music business books: You Dont Have To Say You Love Me, Black Vinyl White Powder, Im Coming To Take You To Lunch, and TaRaRaBoomDeAy. Recently he directed three documentary films, To be Frank, Sinatra at 10027, Gone Too Soon – and 50 Years Legal, marking 50 years since the decriminalisation of homosexuality in the UK. He is CEO of Pierbel Group, which offers music management and consultancy, and is originating producer of Raiding the Rock Vault, the No 1 rated music show in Las Vegas, and Raiding the Country Vault, in Branson, Missouri.

120 BPM

Sunday 2nd December 2018, Time: 19:30

Certificate: 15
Year: 2017
Country of Origin: France
Length: 144 min (2hr 24 min)
Director: Robin Campillo

In association with the Old Market Hall, we are screening the film 120 BPM to mark World AIDS Day (officially the 1st December). Our screening is on the 2nd December.


“Pulsating with life and pounding with urgency, this rousing, heart-breaking celebration of political activism is nothing short of a modern queer classic. Drawing directly on personal experience, Robin Campillo’s extraordinary account of AIDS activist group ACT UP-Paris in the 1990s begins in the thick of it – at a group meeting. As members discuss action and debate strategy, a small gang of fresh recruits are welcomed into the fold. Among the newbies is introspective, HIV-negative Nathan, who finds himself instantly drawn to outspoken group member Sean. As Nathan becomes more involved in the group’s activities – from closed-off API-571 dumps meetings to direct action in medical labs, school playgrounds and political rallies – his romantic relationship with Sean develops.
With much of the drama taking place in the meeting space, Campillo’s film thrives on the power of discourse. So rarely has the palpable exhilaration and frustration of activism been so richly rendered on screen, with the weekly gatherings that punctuate the film exuding passion and anger. But far more than a cerebral account of political action, this is a deeply emotional and bracingly sensual film, which ignites CGEIT dumps the heart and body just as much as it incites the mind.” BFI
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GUARDIAN – 5 Stars
EMPIRE – 5 Stars “Fly on the wall filmmaking at its best, this is pure cinema — an enthralling, enveloping experience that seizes you fully, effortlessly mixing politics, sex, life, death and art.”


Saturday 6th October 2018, 13:30-14:30
Part of the UK Short Film Programme


Year: 2018
Country of Origin: UK / Australia
Length: 22 mins
Director:  Brendon McDonall


Cher wisely asked, or auto-tuned, “Do you believe in life after love?” Well, with that comeback hit, it certainly worked for her, right?
So… [*SPOILER ALERT*]… You’ve loved and lost. You’ve hit ground zero and you never want to go through that hell again. But then, you meet someone incredible.  Life seems full of possibility again.  Inside you, your molecules are a hot mess and figurative butterflies are doing flash mobs in your tummy.  BUT… what if you knew the ending before it even began?  What if that ending involved more suffering?  With all that painful baggage, could you have a second chance at true intimacy? Or will some dickhead spoil it for you?
*Spoilers* is about [*SPOILER ALERT*]… the great leap of faith we all love.
It is written and directed by Brendon McDonall (The Law, Midnight Blue, The Dam) after his short All God’s Creatures won the Iris Prize in 2014.


Brendon is a director, screenwriter and actor. A graduate of UWS Theatre Nepean (Acting) and AFTRS (Australian Film, Television & Radio School – Directing & Screenwriting), his short film All God’s Creatures was nominated for the Dendy Award for Best Australian Short Film at the 2013 Sydney Film Festival, and went on to win Best Film and Best Director at the 2014 Sydney Mardi Gras Film Festival and the prestigious international Iris Prize in 2014.
Brendon won the AFTRS/Foxtel Award for Exceptional Talent and was Associate Director to Ian Watson on the ABC series Janet King 70-339.  His previous short films include The Law, Midnight Blue, All God’s Creatures and The Dam.
Director’s statement H12-211
**Spoilers** is about that – the phenomenon of spoilers on the internet and in narrative story telling where everyone is fiercely protective of their right to experience a story on their own terms.  So hence we have the advent of this “spoiler alert” which happens in reviews to warn people not to read ahead.  The film takes that idea and applies it to love and the world of relationships; asking the question that if you knew the ending and the ending involved suffering, pain, heartbreak, loss could you make the leap of love in the first place?  Essentially the film is about heartbreak.
The film is very much a kind of magical realist story about two guys who literally have matching luggage and enter into an extended date over the course of a day.  The spoilers themselves are ‘out there’.  In many ways it’s an experimental film; it breaks many rules.  There are flights of fancy in it and leaps of faith and it’s about that – love is a giant leap of faith.  In some ways the cinematic vision is a leap of faith as well.  It’s like: “Hey! What if these gargoyles did talk? What if the sat-nav had an opinion? What if a lobster was a bit homophobic?”
I think **Spoilers** is extremely Welsh.  I took that strategic approach and I didn’t write the screenplay until I arrived in Wales, which was a risk but the concept was there.  I actually used the location scout to inform the story and shape the narrative according to the locations that were available.  I think it has got a uniquely Welsh flavour.  I spent two months in Cardiff just absorbing the vernacular and sense of humour.  So I think it is absolutely Welsh through and through.
I don’t think you need to be a gay man to enjoy or relate to **Spoilers** – it’s a love story and quite incidental that the characters are gay. In fact, the film is completely blasé about it and doesn’t draw attention to it at all.  It’s accepted in the first fifteen seconds that the characters have this connection.
I was burning to make my coming-of-age film when I was 22 but I’m 39 now and my pre-occupations have changed.  So while I still very much enjoy films that deal with the kind of grand themes of the gay experience I am more interested in exploring more universal things at this point of my career.
I will miss the infrastructure and family that Iris affords.  That’s a very rare experience.  I love that Iris gives you creative freedom.  It was a very supportive but hands-off approach – it’s like this is your film now and we’re here to support you. I was afforded enormous freedom.  I can look back on this now and see a piece of work and this is what I love and this is what I would change.  It’s fantastic to be able to do this in a supportive environment with a short film and grow from it.