The 2025 edition of Moons of Cavia sees the historic cinema delve into its archives to show what makes it such a special institution. But alongside its classic screening of Bride of Frankenstein, it is also continuing a legacy of building a cultural safe haven, and fostering future independent talent.
In an overgrown courtyard, between tall grass, sprawling bushes of mint and lemon balm, shadowed by the looming shadows of unkempt trees, the ancient projector sputters into life. As it whirs merrily away, a crowd of more than 60 artists, film buffs and general lovers of old cinema sit captivated – oblivious to the bats swooping overhead, picking off mosquitos from a cloud drawn by the promise of fresh blood.
On a balmy summer night, there could be no more fitting venue to showcase James Whale’s classic horror sequel, Bride of Frankenstein. The launch event for Filmhuis Cavia’s fifth outdoor screening series, Moons of Cavia, the film – being shown on an ancient print, via a vintage projector – is itself a fitting emblem for Amsterdam’s bold-yet-inclusive institution.
“Tonight is a celebration of this history of Cavia, so, we wanted to show something from our archive,” explains Olwen Collins, one of tonight’s leading organisers. “We interpreted that very literally, to mean showcasing the nuts and bolts of the place. Of what we have in the archive, this was one of the most universal films we could show – while still being in-keeping with the Cavia spirit.”
“Bride of Frankenstein is said to be one of the first examples of ‘queer horror’ – mainly because the director James Whale was openly gay in Hollywood in the 1920s and 30s, at a time when it was unheard of. And while those themes in the film itself might be subtle, a lot of people have offered up queer readings of the film since.”
The projector itself is also a part of Cavia’s history. A model from the 1960s, or early 70s, it was “very common in schools, libraries, and museums,” and “meant to be completely foolproof” according to Collins. But “for us in the modern day, it’s still quite difficult”, she laughs – thankfully adding Cavia can rely on its projectionist, “Carlijn, who is a pro, so we will be fine.”
The night does indeed go off without a hitch – delivering a moment which successfully encapsulates the Cavia philosophy. The walls of the indoor cinema are plastered with classic VHS tapes, and posters from screenings held decades previously; edgy, artistic, but always accessible, thanks to its DIY history – a legacy of “nuts and bolts” reflected again tonight.
Collins notes, “Moons of Cavia has been going on since 2020, but that the cinema has been hosting outdoor screenings for longer. It’s a bit unofficial because of the history of the place – which emerged in parallel to Amsterdam’s squatter movement.”
While the venue itself was never squatted, there was a squat which sprang up opposite its location on Van Hallstraat. And the associated ideas surrounding the squatting movement informed the non-profit, budget operations of Cavia, which has always sought to deliver affordable access to cult cinema, old and new – while representing and supporting alternative voices in the arts.
The old projection of Bride of Frankenstein sums that up; a full house engaging with a 90-year-old movie many have never seen, and being drawn together to discuss it, or maybe in the years ahead, even to create something new in its spirit.
This fantastic energy, which runs as a common thread through all Cavia’s events, will also be highlighted at three more days of unique outdoor screenings.
“On Friday, we have Dziga Vertov’s Man with a Movie Camera, with a live score – which is a jazz four-piece doing an improvised soundtrack,” Collins says excitedly. “The print is newly restored, and it will be beautiful on a digital projection. There’s also a party afterwards!
“On Saturday we have queer Asian shorts, from Asian Movie Night, which is an ongoing collaboration with Cavia – followed by a karaoke party, with Mahjong.
“And finally, on Sunday we have Working Progress, which is for up-and-coming filmmakers to show things they are still producing – getting live feedback from an audience. And then after there will be drinks and networking to get lots of young filmmakers together, to support each other, and to hopefully carry the spirit and culture of this venue into a new generation.”
It has long been an ambition of mine to see an open air screening at Filmhuis Cavia. The stars finally aligned this year – and I couldn’t be happier to have finally made it. If you’d like to similarly indulge in the remaining three nights of revelry at Moons of Cavia, you can find more information on the cinema’s website. I would heartily recommend that you do – for a chance to engage with the past, present and future of independent cinema. Nuts, bolts, and all.