Diss Corn Hall
Diss Heritage Triangle Project

Coming Events:

Mon 03 Aug 10:00 Mosaic Workshop - with Joy Holden at DesignerMakers21 workshop Workshops Book/Details
Wed 05 Aug 10:00 Drawing for Adults - with Clare Birks at DesignerMakers@21 Workshops Book/Details
Wed 05 Aug 7:30 Diss Corn Hall On Tour presents:
Still Alice (12A) at Diss High School
Cinema Book/Details

Current Exhibition:

Check out our first Corn Hall On Tour programme of events for July to September.

Dig Diss - heritage archeological dig

To celebrate the Heritage Triangle project getting the go-ahead to start work, the Diss Dig - an excavation led by Professor Tom Licence of the UEA's Department of East Anglian Studies - took place in the garden area behind the Diss Town Council.

Help out with our Arts Awards

Our Arts Award group is celebrating success after scooping the Arts category in the Bernard Matthews Youth Awards on 29th October for their film project entitled The Diss Appearing Triangle which took 9 months to complete.

The Awards held at Open in Norwich netted the group prize money of £1000 to be spent on equipment and funding for future Arts Awards projects.

Diss Corn Hall's next Arts Award term has begun! If you are 11-18 and would like to explore and discover a specific - or a variety - of Arts disciplines in a friendly and fun atmosphere, come along to the Diss Corn Hall Arts Awards sessions on Wednesday evenings between 4pm and 6pm during term time.

For more information about Arts Awards visit their website on www.artsaward.or.uk. You can also keep up-to-date with what our group is up to on the Arts Award section of the Corn Hall website.

Arts Awards is a nationally recognised qualification with Bronze, Silver and Gold levels.

We also put on a showcase event for parents and families as well as occasional Saturday workshops in a variety of art forms which you will need to be available for.

Diss Corn Hall

Located in the East Anglian market town of Diss on the Norfolk / Suffolk border, this impressive Grade 2 listed building, originally built as a corn exchange, is now a thriving arts venue offering regular high quality entertainment from theatre, comedy and cinema to music, family fun and art.

The DCH Blog

Birdman - a pre-screening review
Notionally a comedy, Alejandro Iñárritu’s examination of the tortured artist is too painfully acute to be truly funny. Although drenched in the pathos of Micheal Keaton’s faltering, post Batman career, Birdman is better seen as an unflinching examination of self-doubt, narcissism and self-regard.

Shot in a series of impossibly long takes in a brilliantly realised facsimile of a New York theatre, the film has an almost unbearably claustrophobic feel that perfectly matches the mental disintegration of Riggan Thomson, a washed up multiplex hero who can’t escape the tyranny of typecasting. It’s undoubtedly Keaton’s film, but Edward Norton, as his on-stage nemesis, is just as good. Lest we forget, Norton played the Hulk in Louis Leterrier’s lacklustre reboot, so Keaton isn’t the only one here with superhero baggage. The two of them are surrounded by a marvellously varied, but universally strong, ensemble cast that clearly relishes the opportunity to do something of substance.

The film is occasionally as introspective and pretentious as the industry it seeks to satirise, but it is never less than interesting, is frequently thought-provoking and occasionally very wise. It’s certainly cleverer and deeper than some of its publicity suggests, with the much vaunted Birdman a small part of a complex and involving narrative. How heartening it is that a film this ambitious and individual can come away from the Oscar ceremony laden with honours.
By David Vass

Thursday 30th July 2015

Wild Tales
The seemingly incongruous opening titles of Damián Szifron’s Wild Tales – the cast is listed illustrated by animals in their natural habitat - gives an important clue as to what links the stories in this portmanteau film. Whether its road rage, revenge, corruption or infidelity, this is an illustration of what can happen when we let go of that impotent anger that seems to bubble just beneath the surface calm of modern life. It’s about the damage done if you allow yourself to go wild.
Owing a debt to the films of producer Pedro Almodovar, but also oddly reminiscent of the old Amicus horror films of the seventies, the tales vary in substance and tone, but all of them zip along. Although this is a resolutely Argentinian film (with a stellar ensemble cast of that nation’s biggest stars) these stories of petty officialdom, money driven corruption or simple rudeness, surely resonate with audiences of any nationality. Szifron’s abiding message is how similarly venal, childish and short-sighted we all are, a thesis he presents with considerable wit and imagination.
Sitting down to watch a foreign film often requires the viewer to gird their loins, in readiness for a challenging, albeit worthwhile, experience – as if only dour, worthy art house fodder is allowed to play out in the international market. There is something hugely enjoyable about discovering that not all foreign language features require us to bare our soul – sometimes they are a scabrous, wicked delight and very funny indeed.
By David Vass

Friday 24th July 2015

The Second Best Marigold Hotel - a pre-screening review
The original Best Exotic Marigold Hotel was a word of mouth surprise hit – a rakish third age comedy that was as much about the ensemble cast as the narrative. It was a proper story, with a beginning, middle and end. All of which left something of a problem when it came to engineering a sequel that no one involved guessed might happen. The solution is an emotional reset, with many of the characters revisiting issues that we might have thought had been, in some cases literally, put to bed.
Julie Dench and Bill Nighy are still circling each other, despite the consummation of the first film’s motorcycle ride. Dev Patel is still hapless, notwithstanding the success of the first hotel that the plot demanded. And Celia Imrie is still salivating, this time over the wittily cast Richard Gere. Add to that cast a splendid score from Thomas Newman and stunning photography from Ben Smithard, and it’s easy to forgive the episodic flavour of Oli Parker’s screenplay, as each of the cast members gets the chance to do a turn.
At least director John Madden has resisted the temptation to succumb to a formula, and there is something refreshing about the storyline owing more to Faulty Towers than A Passage to India. Once the culture-clash clichés have run their course, the movie dares to take us in unexpected directions, offering a film that is wittier and more ingenious than might have been expected.
By David Vass
Monday 20th July 2015

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