if....
Why this pick
Anderson and Malcolm McDowell bring the same caustic, rule-breaking energy to a stylised institution, mixing deadpan social satire, tonal shocks and rebellious fantasy.
A FILM WORTH A CLOSER LOOKTHE FEATURE PRESENTATION
IF THIS ONE STAYED WITH YOU
Keep the feeling.
SIMILAR PICKS / A PERSONAL CONNECTION
Why this pick
Anderson and Malcolm McDowell bring the same caustic, rule-breaking energy to a stylised institution, mixing deadpan social satire, tonal shocks and rebellious fantasy.
Why this pick
The final Mick Travis film amplifies O Lucky Man!’s furious institutional satire: an episodic, grotesque collision of privilege, bureaucracy, media spectacle and moral decay.
Why this pick
A wildly theatrical British class satire whose abrupt shifts between absurd comedy, musicality and menace echo O Lucky Man!’s gleefully destabilising attack on respectable power.
Why this pick
Its post-apocalyptic Britain is rendered in surreal sketches, grim jokes and bizarre transformations—an anarchic, stylised cousin to O Lucky Man!’s episodic social nightmare.
Why this pick
Paddy Chayefsky’s acidic script turns a crumbling hospital into a fast-talking absurdist portrait of systems failing people, with similarly bleak comic outrage.
Finding the atmosphere, tension and little details that made this one stay with you.
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01 / THE STORY
The film opens with a short fragment outside the plot. Grainy, black-and-white, and silent, a title "Once Upon a Time" leads to Latino labourers picking coffee beans while armed foremen push rudely between them. One worker (McDowell with black hair and moustache) pockets a few beans ("Coffee for the Breakfast Table") but is seen by a foreman. He is next seen before a fat Caucasian magistrate who slobbers as he removes his cigar only to say "Guilty." The foreman draws his machete and lays it across the unfortunate laborer's wrists, bound to a wooden block, revealing that he is to lose his hands for the theft of a few beans. The machete rises, falls, and we see McDowell draw back in a silent scream. The scene blacks out, the word NOW appears onscreen and expands quickly to fill it.
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02 / FACES IN THE FRAME

Gloria Rowe / Madame Paillard / Mrs. Richards
Mr. Duff / Charlie Johnson / Dr. Munda

Factory Chairman / Prison Governor
Tea Lady / Neighbour
Neighbour / Usher / Sister Hallett
Mary Ball / Salvationist / Vicar's Wife (as Mary Macleod)
John Stone (Coffee Factory) / Col. Steiger / Prison Warder / Meths Drinker / Film Executive

Master of Ceremonies (Nightspot) / Warner / Male Nurse