At times, essential elements of cultural history fade away without much acknowledgment. Unfortunately, this was the case for Contemporary Films, a British film distributor that played a pivotal role in promoting sophisticated international cinema—primarily foreign-language films—in the UK. The company was instrumental in introducing the auteur movement, showcasing directors such as Ingmar Bergman, Satyajit Ray, Andrzej Wajda, and Yasujiro Ozu.
Founded by Charles Cooper in 1951, Contemporary Films emerged as a key player in the industry, initially focusing on short films aimed at the then-thriving film society scene. The company transitioned to feature films with the release of the Japanese film “Children of Hiroshima” in 1952. However, its influence began to decline in the early 1990s due to evolving industry dynamics. Remarkably, the company still exists today and is organizing a series of screenings to commemorate its 75th anniversary and celebrate its legacy.
Contemporary Films continues to shine brightly, as evidenced by the support from prominent figures in the film industry. Notable screenings will include classics like Miloš Forman’s “A Blonde in Love,” Bergman’s “Wild Strawberries,” and Jack Hazan’s documentary “A Bigger Splash” about David Hockney. Among those expressing their gratitude is director Mike Leigh, whose debut feature film “Bleak Moments” was distributed by Contemporary in 1971. Leigh recalls, “It was a great honor. One was accustomed to seeing ‘Contemporary Films’ on all the movies that weren’t just Hollywood trash.”
“Bleak Moments,” a film that blends dark humor with a unique narrative, tells the story of a woman living a solitary life alongside her sister, who has a learning disability, and a monotonous job. Financed by Albert Finney, who was enjoying his success from the 1960s, this offbeat feature was somewhat atypical for Contemporary’s catalog. “We were newcomers and innocent,” Leigh reflects. “You tend to take everything for granted, but they were quite remarkable in embracing this project.” Now an esteemed filmmaker with awards like the Palme d’Or and the Golden Lion, Leigh acknowledges the significant influence Contemporary had on his artistic growth. More importantly, he highlights the company’s role in promoting a culture of openness and cosmopolitanism in cinema. “Growing up in Manchester, I had only seen English-language films. Coming to London, I was exposed to world cinema, including Russian and Italian films, and Contemporary was central to that experience,” he notes.
Charles Cooper, the visionary behind the company, was an East End Jew and the son of a Ukrainian butcher. A dedicated communist, he viewed cinema as a medium for raising social consciousness. Prior to World War II, he introduced Soviet films to the UK through Kino, the film division of the Workers’ Theatre Movement, and later managed a film section for the International Workers Order in New York during the war.
After being deported from the U.S. in 1950, Cooper began supplying films to the burgeoning film society movement in Britain, which consisted of around 200 societies at the time. His keen interest in foreign “art” films resonated with the intellectual climate of the era, particularly his focus on Eastern European and films highlighting underprivileged communities.
Cooper’s approach to family life played a significant role in his success, often involving his children in the business. His daughters from his first marriage reflect on this dynamic. Adi Cooper, now a board member of Social Work England, states, “Charles was well-positioned to capture a market for films he was passionate about, evolving from political themes to what we now recognize as arthouse cinema. He took risks on filmmakers who were unknown at the time, some of whom later gained wider recognition.”
Her twin sister, Sue Cooper, a founding member of the punk band Poison Girls, adds, “There was no clear line between work and home for Charles. He was deeply passionate about film and politics, and he aimed to broaden people’s perspectives on different cultures. He was fundamentally an internationalist and a humanist.” They fondly share memories of film screenings in their home and playful experiences at the company’s office during school breaks.
Another key factor in Contemporary’s success was the close partnership Cooper developed with George Hoellering, a Hungarian émigré who managed the renowned Academy Cinema on Oxford Street in London. This venue was a leading platform for international films throughout the 1950s and 60s. “They were closely aligned, the gold standard of their time,” says Pete Lawley, Contemporary’s current managing director.
Hoellering passed away in 1984, by which time Cooper had also established his own cinemas, including the Paris Pullman and Phoenix cinemas in London, as well as another Phoenix location in Oxford. Lawley, who joined the company in 2023, recounts the decline of Contemporary Films: as Cooper’s health deteriorated in the late 1980s, he transferred control to his second wife, Kitty Furstenberg, who subsequently sold the company to their friend Eric Liknaitzky, who also passed away in 2023. Although Contemporary managed to acquire several notable independent films in the late 80s and early 90s, including Patricia Rozema’s “I’ve Heard the Mermaids Singing” and Jane Campion’s “Sweetie,” it struggled to adapt to the shift towards home entertainment formats during the 90s, instead focusing on the occasional re-release of classic films from its archive.
