Silent cinema has long had areputation of antiquity, seen by most of the 21st century film audience as outdated, irrelevant and culturally redundant. The narrative of film itself has always been driven by the advent of popular new technology. In 1927,The Jazz Singer took audiences by storm, shifting popular cinema into the era of talkies from the 1930s onwards. Left behind was the era of silent cinema, an outdated modem shaped by emphatic performances, decadent intertitles, and erratic physical comedians of vaudeville such as Buster Keaton and Harry Langdon. It’s aperiod of cinema history far often left to moulder away in attics and archives, rarely disrupted or challenged, and seen as the past-time of apurely older, nostalgic generation.
A new set of young programmers in London are reshaping how we experience silence and celluloid, combing through the pre-sound film catalogue to speak into this often buried period of history. At least three packed-out film clubs have emerged over the last year in London: Silent Picture Show, atravelling programme, Films Are Gay! at East London’s Finch Community Cinema and SECT Silent Film Club at The Garden Cinema in Soho. Building audiences of primarily younger people, they are utilising lost, censored or unpopular silent film to rescore ideas of gender, sexuality and experimentation.
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Programmer Ellen Cleary began Silent Picture Show in late 2025, inspired by her attendance of theLe Giornate del Cinema Muto, an all-silent festival in Pordenone, Italy. The festival’s programme resists rose-tinted nostalgias, engaging with modern-day criticisms and proactively working to welcome young people into silent film. Cleary rejects the notion that it’s aspace reserved for the old guard: “As if you need to be an early film historian or know everything there is to know about photo-chemical restoration or sprocket holes to appreciate it… That’s nonsense! The silent era is so exciting and varied,” she explains. It’s about the space to intervene with history. Her screening ofThe Wind (1928) at Finch Community Cinema focused on the impact of star Lillian Gish beyond the screen, pointing to the largely forgotten influence of women in shaping early film production, accompanied by pianist John Sweeney.
Similarly, Silent Picture Show’s screening of Erotikon at the Cinema Museum portrayed an early example of female pleasure, which was censored abruptly after only one initial public performance in 1929. Rules around censorship fluctuated massively during this period, and for Cleary, exploring these banned and disavowed works offers insight into aculture repressed by the conservative barometers of the past. Teasing out the artistry within these confined gems and connecting them to London’s repertory film appetite is her manifesto, blending the old and the new, and subverting the popular trends inciting local cinemaniacs. ‘Obsessed with ICA’s experimental film programming? Then come see this mind-blowing Swiss avant-garde movie from like ahundred years ago. Interested in queer feminist filmmaking? Then wait until you get to know Germaine Dulac’. This refusal of fashionable viewing and of the idea that younger audiences are the dictators of film culture, is refreshing.
Earlier this year, Silent Picture Show welcomed the senior crowd attending longstanding seriesKennington Bioscope. Using asmart, tactile engagement with viewership, the hardcore silent cinema-goers of an older generation are united with ayounger, curious audience, creating alegitimate sense of community across generations for Londoners. Back this coming September for an under-wraps 16mm presentation, Cleary in the meantime can be found sourcing inspiration for Silent Picture Show’s year ahead in the aisles of the city’s favourite avant-garde haunts.
Over at The Garden Cinema, SECT (Silence Enables Creative Transformation) Film Club, run by musician and programmer Raffaele Gabrielli, is similarly transposing silent form loudly for apresent age. Developing an ongoing strand within the iconic art deco luxury of Soho’s favourite independent screen, Gabrielli selects 100-year-old flicks and renews them with live scores in his signature moody, electronic style. In fact, his recent presentation of pioneering animator Lotte Reinger’sThe Adventures of Prince Achmed (1926) came shortly before alive score of the film at Bologna’s restoration festivalIl Cinema Ritrovato this summer. Evidently, London’s silent scene is well ahead of thecurve.
SECT also nods to the idea of afraction of people who take their distance from the majority, and Gabrielli embraces this within the niche experimental component of early cinema: “Silent films carry the pure and original essence of visual storytelling. Often, these films are also trailblazers, as no rules had been written yet at that point,” he tells me. Reconditioning the screening space with his unusual sound, he invites the viewer to appreciate the eccentric, the odd and the previously unwelcomed. His audience is largely in their 20s and 30s, which he attributes to the decline of true art in modern box office cinema. Born in Italy, he finds nothing challenging about confronting audiences with dialogue intertitles. “More and more people are getting used to watching films in their original language. Icome from acountry where everything is dubbed anyway, and people grow up with it. There’s renewed interest for the old, or better even, for the original,” he continues. His next curation project takes him to Kolo community space in Paris, where he will be scoring aseries of avant-garde shorts from the1920s.
