There’s Soho, the place—and then there’s Soho, the myth. It’s the red-lit throb of London nightlife. It’s smoke-filled jazz basements, backroom deals, reels of porn and prestige cinema spliced together on the same reels. It’s where art collides with sin, where glamour masks grind, and where anything respectable once felt just slightly out of place. Soho is London’s cinematic heart—gritty and glitzy in equal measure.

No one knows that better than Rebel Reel Cine Club, a roaming, rebellious film curator outfit that’s been lighting up London screens with purpose and punch. They don’t just show films—they stage them. Film, music, live performance, interviews, immersive context—all woven together into an experience. And when Rebel Reel does Soho, they do it right.

Their next feature, Michael Winterbottom’s The Look of Love (2013), starring Steve Coogan as Paul Raymond—the infamous “King of Soho”—is a sharp pick. A film set in the sleazy-luxe heart of Soho, shown in Soho, in the historic Warner Brothers screening room? That’s not just curation—it’s site-specific cinema. Cultural archaeology, even.

But Rebel Reel doesn’t stop at one film. They’ve curated a deeper dive—a list of essential Soho films where the district isn’t just a backdrop, but a co-star. Each pick captures a different face of Soho: its sleaze, its soul, its ambition, and its danger. These are films where Soho breathes, seduces, and, occasionally, bites.

Let’s walk through the alleyways.

The Look of Love

Dir. Michael Winterbottom, 2013

Steve Coogan slips into sleaze with style as Paul Raymond—pornographer, property mogul, and the original Soho showman. The film traces Raymond’s rise from club owner to Britain’s richest man, showing how he bought up Soho one strip club at a time. But beneath the rhinestones is a study in loneliness, hedonism, and legacy. It’s glossy but melancholy, capturing the thin line between the glitz of sex shows and the emotional grit behind the curtain.

Winterbottom shoots Soho as a kingdom—sometimes sparkling, sometimes rotting. And Coogan, in one of his sharpest roles, dances that line. There’s love, yes—but mostly the transactional kind.

Soho score: 9/10

Most Soho moment: Raymond surveying his empire in a velvet suit as dancers rehearse on mirrored stages.

The Small World of Sammy Lee

Dir. Ken Hughes, 1963

“This is where it all started,” says the Rebel Reel team. Back in October 2015, they screened Sammy Lee above The Blue Posts—a pub with its own music lore (The Rolling Stones rehearsed there, reportedly dressed by tailor John Pearse). It was more than a screening; it was the beginning of a movement. The film that sparked the club.

And what a choice. Anthony Newley plays Sammy Lee, a strip-club MC racing through Soho to gather £300 to settle a debt before the end of the day. What unfolds is a fast-paced, street-level thriller with noir tones and a jazzy score. But more than that, it’s a time capsule. You get to see Soho in the early ’60s—its alleys, signs, bars. Hughes captures not just the place, but its pulse.

The film doesn’t glamorise. It respects the grime. It knows this place smells of sweat and smoke and desperation. And it loves it anyway.

Soho score: 10/10

Most Soho moment: A water-spraying truck crawling up Berwick Street to Kenny Graham’s jazz, opening a film and a memory.

Mona Lisa

Dir. Neil Jordan, 1986

You can’t talk Soho cinema without Mona Lisa. Bob Hoskins is George, a small-time crook fresh out of prison, hired to drive an enigmatic call girl (Cathy Tyson) through the underworld she knows better than he does. The film is drenched in neon and melancholy. Soho is both cage and canvas.

Hoskins is phenomenal—tough but touchingly naive. Cathy Tyson’s Simone is complex, compelling. And then there’s Michael Caine, oozing menace as the slick kingpin. This isn’t just a crime drama—it’s a street-level fairy tale twisted by sex work, violence, and unexpected tenderness.

Jordan’s Soho is rain-slicked, sleazy, cinematic to the core. You feel the grime under your nails and the yearning in every exchange.

Soho score: 9.5/10

Most Soho moment: George trailing Simone through alleyways that seem to fold back on themselves—a labyrinth of vice and vulnerability.

Expresso Bongo

Dir. Val Guest, 1959

Before Soho was fully sleaze, it was showbiz. Expresso Bongo is the satire that saw it coming. Laurence Harvey plays a hustler who discovers a teenage singer (Cliff Richard in his film debut) and turns him into a sensation. The story’s light, but the critique is sharp: of fame, music, and the exploitation machine already revving up in post-war London.

Shot partly on location, this is a Soho of coffee bars, crooners, and would-be impresarios. It captures the moment before rock n’ roll took over and the entertainment industry sold its soul for airplay.

It’s fun. It’s fizzy. But there’s a bite beneath the beat.

Soho score: 7.5/10

Most Soho moment: A musical number breaking out in a basement bar where dreams get signed in cigarette smoke.

Absolute Beginners

Dir. Julien Temple, 1986

Temple’s adaptation of Colin MacInnes’s cult novel is a chaotic, neon-lit fever dream. It’s about race, youth, jazz, riots, and real estate. David Bowie shows up. So does a young Patsy Kensit. It’s a mess in the best way—too ambitious, too stylish, too much. But that’s kind of the point.

It captures a changing Soho. A place caught between its jazz roots and the corporate future. The film flopped on release but has become a touchstone for stylised British cinema—and it’s packed with cultural cameos and visual audacity.

Is it historically accurate? No. Is it Soho? In spirit, absolutely.

Soho score: 8/10

Most Soho moment: A widescreen musical set piece breaking out in the street—anarchy, capitalism, and choreography colliding.

Why Soho Matters on Screen

Soho isn’t just a neighbourhood. It’s an idea. A warning. A promise. In British cinema, it often stands in for the edge—the place where rules break, morals blur, and stories burn hotter. And Rebel Reel Cine Club gets that.

By curating these films not just as screenings but as events, they pull the past into the present. Showing The Look of Love in the old Warner Brothers screening room isn’t nostalgia—it’s activation. It’s showing that the stories of Soho still matter. Still seduce. Still say something real about ambition, sex, risk, and reinvention.

In a city increasingly smoothed over by money and masterplans, these films remind us of the texture. Of the lost Soho. The lived-in Soho. The one where art and vice held hands in every alleyway.

And maybe still do.

Want to Experience It?

Rebel Reel Cine Club’s next screening:

The Look of Love – Friday 21st, Soho (Warner Brothers screening room)

Go for the film. Stay for the performance, the atmosphere, and the stories between the scenes. Because in Soho, the real action’s often off-screen.

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