Nestled on the same street corner for decades, the Prince Charles Cinema has long fended-off controversy due to its programming choices.
This year, having weathered storms of public opinion for decades, it is not scandalous film screenings, but a rental dispute that threatens one of London’s most beloved cinemas. Now, after a breakthrough in securing its future, the venue’s staff share why the cinema is vital to London’s film scene.
A Cinema With a Story
Few venues around London can boast history and folklore as rich as the Prince Charles Cinema (PCC), situated near Leicester Square station at the heart of central London. With the building that houses it beginning as a theatre in the 60’s, it once employed the Libertines’ Pete Doherty as a popcorn server and is allegedly the location where the Beatles first experimented with LSD.
Along with a dedicated fanbase worldwide, it includes directors Quentin Tarantino and Paul Thomas Anderson in its ranks of admirers, with the former once saying in an interview: “For lovers of quality films, this is Mecca.”
Known for pushing the envelope with programming, the PCC has courted controversy over the years, with screenings of European arthouse films dubbed “softcore porn” in the 70’s and recently with a planned screening of a film written entirely by ChatGPT.
Ben Freedman, who took over as managing director in the 90s, is proud of the cinema’s programming philosophy. Describing it simply, he said: “We will show any film, as long as it’s legal, that will sell tickets.”
Quirky and eclectic to its core, the PCC has a series of bizarre but endearing traditions that give it a special place in the hearts of its aficionados. On any given day, an uninitiated stranger may find themselves taken aback when audiences throw spoons at the screen during showings of the Room, or upon discovery of a toilet cubicle named after director Kevin Smith in the ladies’ bathroom.
Peculiarity aside, what’s clear when talking to fans of the cinema is a sense of community and belonging. Film booker Paul Vickery says this sense of community keeps people coming back.
“If you’re into film, you’ll have something that caters to your needs,” he said. “We don’t want anyone to feel like just because we show films they may not have heard of that they’re not welcome. I think one thing that we always hear from people is that they feel they’re part of the community, they feel that they’re welcome.”
When the cinema faced rental strife beginning in September 2024, it was precisely that sense of community that helped to bolster the cinema, and aid in their bid for Asset of Community Value (ACV) status.
A Fight for Survival
In September 2024, the cinema was struck with a crushing blow when their landlord Zedwell LSQ Ltd. raised the rent to a figure that was unfeasible to the PCC. In addition to higher rent, a clause was added to their rental agreement that would allow them to oust the cinema and redevelop the building at a mere 6 months’ notice. Immediately aware that the cinema would go under if these terms weren’t changed, the ownership launched an effort to ‘Save the PCC’.
Creating a section of the cinema’s website dedicated to updating fans on the rental dispute, the PCC released a petition, urging the public to show support. Even at a time when streaming is vastly popular, the venue commands a devoted fanbase, who came out in force to sign the petition – accumulating over 100,000 signatures in just 72 hours.
Aware that goodwill alone was not enough to keep their doors open, the cinema also submitted a bid to Westminster Council to become an Asset of Community Value.
Under this status, businesses are recognised for their important role in the cultural life of an area. Importantly, it also gives the public the opportunity to bid on the property first if the building owner should try to sell it.
The cinema was designated an ACV by the council at the start of May this year, and will hold this status for five years, after which point the cinema must submit a renewed bid. In the words of Ben Freedman, the way to ensure the cinema stays open is simple.
He said: “Buy tickets, come to see what’s on, find a film, maybe even a film that you vaguely heard of, or it could be a film that you saw once 30 years ago and loved and want to revisit…We’re not asking it as an act of charity. We’re asking it as a legitimate trade of time and money for an experience we hope you’ll never forget.”
Drawn to cinema from an early age, Ben believes nothing can replace the shared experience of moviegoing, and hopes that the PCC can continue to provide it to audiences for years to come.
He said: “I don’t think you feel the depths of emotion or connection either with what’s on screen or with the people that you’re sharing it with when sitting at home or watching it on your laptop or whatever, versus being in the cinema. I think it’s a materially different emotional experience.”
It’s with pride that the PCC acts as a place of refuge for film lovers, something evident in the way they hire mainly film students or people who have worked in the industry.
A Third Place for Cinephiles
With modern cities being criticised for lacking a “third place”, venues like the Prince Charles offer a space for like-minded people to commune over a shared appreciation for film. What’s clear about the PCC is a strong sense of culture and commitment to listening to the opinions of its dedicated customers. This support goes both ways, with the cinema bringing in 250,000 visitors annually at a time when cinema attendance is still struggling to reach pre-pandemic figures.
When Duty Manager Fil Freitas heard about the cinema at film school, it was like finding a secret bootleg tape. Starting out as an usher, the cinema became the place where he met his wife, and eventually the setting of his first film, The Regulars.
Shot over three gruelling weeks after hours at the cinema, it’s part homage to the Prince Charles itself, and part homage to everyone who works a customer-facing job. For him, in the same way that the community supports the cinema, the cinema can be a source of support for London cinephiles and filmmakers.
He said: “The Prince Charles has always been a good support group. It’s a good fallback. Even if it seems quite uncertain at the moment, I’ve always had a place there when I’ve felt low. A good film can turn you around on a bad day and it can turn you around if you’re feeling really down on filmmaking. If you’re a filmmaker and you’re not feeling particularly inspired, a good film will turn that around very quickly.”
As long as audiences continue to support it, the Prince Charles Cinema will keep inspiring, entertaining, and reminding Londoners why the big screen still matters.
More information on the cinema can be found on their website, and details on screenings of The Regulars can be found here.
Feaured Image Credit: Fionnán Morrin
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