Nosferatu Meets Radiohead: A Haunting Halloween at Plymouth Arts Cinema

Plymouth Arts Cinema is serving up something deliciously dark this Halloween — and it’s not just the sweets. On October 31 and November 4, the city’s beloved independent cinema is pairing F.W. Murnau’s 1922 horror masterpiece Nosferatu with a haunting new soundtrack made up of tracks from Radiohead’s Kid A and Amnesiac. It’s a bold collision of gothic cinema and experimental sound — the kind of creative crossover that Plymouth’s cultural scene thrives on.

In his latest article, community reporter Joshua Edwards dives into the eerie double bill, which also features Knell — a locally shot short film by director Dean Ferris — and reflects on why venues like Plymouth Arts Cinema remain vital spaces for discovery, conversation and community. Expect a mix of sharp wit, film nerdery, and just the right amount of Halloween spirit.

On Halloween night and again on November the 4th, the Arts Cinema in Plymouth is host to a rather intriguing cinematic mashup. Viewers can see F.W. Murnau's 1922 classic horror film, Nosferatu but scored by select songs from the Radiohead albums Kid A (2000) and Amnesiac (2001). 
 
Fans of the band will recognise these as two of Radiohead's more experimental and potentially claustrophobic works, so the idea of marrying them to the iconic nightmare imagery of Graf Orlok should be a truly intriguing prospect. I know I'm excited by it; Max Schreck's unlicensed Dracula parody having long been considered my favourite vampire depicted in film; that great white goblinoid head and tendril like appendages all shot in stark German expressionist style backed by Thom Yorke, Johnny Greenwood et al at their most abrasive and atmospheric? Hell, I'd write a 900-word article about the prospect just to get tickets... 
 
On All Hallows Eve itself, the reimagining of the quintessential cinematic strigoi will be part of a double feature. Nosferatu x Radiohead will be supported by Knell, a short film shot in Exeter and Newton Abbot. Directed and edited by Dean Ferris, Knell tells the story of a young, engaged couple walking through the woods who encounter the sound of a ringing bell. This bell’s sound (it’s knell… see what they did there?) leads them to a peculiar structure that will stay with them for quite some time. 
 
I was fortunate enough to watch Knell in advance and can tell you I found it quite enjoyable. At times the dialogue and delivery is a little wooden, but that is par for the course for young engaged couples and, indeed, most horror films, so it's easily forgiven. Lani Landsman's performance of Jenny is endearing however, and she conveys unease very believably, and when things get scary she’s pretty terrifying. 
 
One of the things that stood out to me about Knell was the cinematography by Felix Northover and Ben Wetten. There is a wonderful juxtaposition between the fairytale creep of the woods that conjures images of childhood nightmares, and the cold horror of city centres at nighttime. No location is more terrifying to a drunken suburbanite on the walk home than a dimly lit underpass, is it? Mining that familiar obstacle for the purpose of fright is done very well here. 
 
Knell calls to mind the low-budget charm of classics such as Evil Dead and the Blair Witch Project, which is not to be disparaging at all. The power to do a lot with a little is a pillar of good horror film making, and Dean Ferris has definitely taken that on board. There is nothing more terrifying than what we don't see, the monsters at the edge of our own mind. Pair that with some great editing and wonderful practical effects and Knell becomes a real treat, no trick necessary. 
 
The highlight of the whole film for me is the soundtrack. A simple refrain, performed on what sounds to me like Mandolin and violin, really gives the film character. After all, where is Jaws without those strings or Jason Vorhees without his trademark "chim chim chim ha ha ha"? Every good bump in the night should be the percussion track for a memorable piece of chilling music. 
 
I won't say too much more for fear of spoilers, but the film is definitely worth a watch. It's a lot of fun and there has obviously been a tonne of heart and effort put into it. If you disagree, well... It's only 12 minutes long, so where's the harm? Plus, as I said, at this showing you get to see Nosferatu and Radiohead as a tag team afterwards (I really can’t stress how cool I think that is, sorry for going on about it.) 
 
We are very lucky in Plymouth to have an arts cinema, and furthermore to have had one since 1947. Much like the wonders you can find musically outside of the stadiums and inside the pubs, art cinemas are a great space to find something interesting and different to offset the mainstream blockbuster deluge that we've grown so accustomed to. Both forms have their place, for sure, but I’ve always been partial to the things you find off of the beaten path. 

Plymouth's art cinema now takes residence at the Art University Plymouth's main campus on Tavistock Place, though it is independently run so you can feel happy that your patronage will be supporting local business. It has earned a nationwide reputation as a champion of gender equality in the film industry, thanks to current film programmer Anna Navas, and the rest of the cinema team. They regularly put on talks by renowned filmmakers, as well as dementia friendly screenings and "Bringing in Baby" events that allow new parents to catch the latest releases in a safe and inclusive environment. A community atmosphere pervades, with the promise of even lone attendees to shows finding a fellow film lover to chat to. 
 
The Art’s cinema also offers £4 tickets to patrons under 25 for most viewings, which is a real boon for younger people looking to expand their cinematic oeuvre > https://plymouthartscinema.org/whats-on/radiohead-x-nosferatu-a-symphony-of-horror-pg/
 
I'd say there's no good reason not to see what the place has to offer and I hope to see you down there for Nosferatu x Radiohead and Knell. Don't say hello to me though, because it's Halloween and I'm easily startled. 

Now, who do I talk to about following this up with George Melie’s A Trip to the Moon soundtracked by Mellon Collie and the Infinite Sadness as Billy Corgan always intended?