Movies by Mills (March 2020)

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EDITORIAL THE TRUTH A story reunion between scriptwriter Lumir with her famous mother/actress, Fabienne, against the backdrop of her autobiographic book and Fabienne’s latest role in a Sci-Fi picture as a mother who never grows old.

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LITTLE JOE Alice, a single mother, is a dedicated Senior plant breeder at a corporation engaged in developing new species. Against company policy, she takes one home as a gift for her teenage son & names it after him but soon starts fearing it.

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Movie Posters.

A feature article on collecting and understanding the value of original movie posters and what to look for to determine an original from a fake.

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THE CALL OF THE WILD A sled dog struggles in the wilds of the Yukon.

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BAFTA AWARD WINNERS ACADEMY AWARD WINNERS DVDS OF THE MONTH ROMA A year in the life of a middle-class family's maid in Mexico City in the early 1970s.

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PICNIC AT HANGING ROCK During a rural summer picnic, a few students and a teacher from an Australian girls' school vanish without a trace. Their absence frustrates and haunts the people left behind.

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BICYCLE THIEVES In post-war Italy, a working-class man's bicycle is stolen. He and his son set out to find it.

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THE LIGHT BETWEEN OCEANS A lighthouse keeper and his wife living off the coast of Western Australia raise a baby they rescue from a drifting rowing boat.

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Poster: THE TRUTH

PHOTO CREDITS: CURZON ARTIFICIAL EYE: 1,4,6,7,32 BRITISH FILM INSTITUTE: 8,10.11 20TH CENTURY FOX (THROUGH WALT DISNEY STUDIOS MOTION PICTURES: 16,18,19

ACKNOWLEDGEMENTS: We would like to thank the following people for their help in providing material for this magazine: Hannah Farr and Ed Frost @ Curzon.com Team @ Fox Press Office Jill Reading @ BFI

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EDITORIAL Hello film lovers!

Here we are at the first of another month and one that again will bring the best of films to you.

Our cover feature review is The Truth with two of its stars: Catherine Deneuve & Ethan Hawke. It fulfils the criteria of MbM’s standards of a memorable film that one would want to watch again.

Other films reviewed in this issue are: Little Joe, directed by Jessica Hausner, starring Emily Beecham, Ben Whishaw.

The Call Of The Wild, directed by Chris Sanders, starring: Harrison Ford, Omar Sy, and Buck.

We also take a retrospective look at the BAFTA awards and the Academy Awards, listing the winners in each category.

There is also a feature article on movie posters and the collectible value of original posters and how to tell an original poster from a fake, plus also where you can purchase posters one-sheets or quads from trusted sources.

Finally, there is our feature: DVDs of the Month.

This month’s selection:

ROMA PICNIC AT HANGING ROCK BICYCLE THIEVES THE LIGHT BETWEEN OCEANS

ENJOY THE READ Magazine Editor

Magazine Designer

Brian Mills

Paul Ridler

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THE TRUTH Directed by Kore-eda Hirokazu Starring: Catherine Deneuve, Juliette Binoche, Ethan Hawke, Clementine Grenier, Manon Clavel Once upon a time there was a witch, but her heart was as hard as stone.

- Fabienne A stormy reunion between Scriptwriter Lumir (Juliette Binoche) with her famous mother and actress, Fabienne (Catherine Deneuve), against the backdrop of Fabienne’s autobiographic book and her latest role in a Sci-fi picture as a mother who never grows old. Lumir has arrived from New York with husband Hank (Ethan Hawke) and their young daughter Charlotte (Clementine Grenier) to celebrate Fabienne’s memoirs: “La Verité.”

This is Kore-eda’s first film made outside his native Japan and working with renowned international stars: Catherine Deneuve and Juliette Binoche.

Celebrated for critically acclaimed films I Wish, Like Father, Like Son and Our Little Sister, Kore-eda has gone from strength to strength; capitalised with his most personal film After the Storm (2016). He was prompted to write the script after his own father died and seeing how his mother was coping. The narrative follows a young father trying to return to the good graces of his family. Ryota, the father, is an author turned private detective struggling to make ends meet as he flitters away all the money he earns on gambling, barely able to pay child support for his son. Family tensions run high with Ryaota and his sister believing each other is taking advantage of their mother. When a typhoon hits, holed-up in his mother’s house with his estranged wife and son, Ryota attempts to rekindle relationships with his family. Family relationships are an ongoing theme with Kore-eda and are once again are evident in The Truth but this time between a mother and her daughter.

The Truth follows Shoplifters in Kore-eda’s filmography; a film which was an excellent and compassionate love letter to family, which was emphasised in the film’s marketing mantra: ‘Sometimes you choose your family’.

After a successful shoplifting spree, Osamu and his son rescue a little girl in the freezing cold and invite her home with them.

Osamu’s wife Nobuyo reluctantly agrees to shelter her. Although her family is poor, they live happily together until an unforeseen incident upsets the delicate balance they have created, revealing long-buried secrets….

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Shoplifters went on to win the coveted Palme d’Or at Cannes, An Academy Award for Best Motion Picture in a Foreign Language, Golden Globe for Best Motion in a Foreign Language and BAFTA Award for Best Film Not in the English Language.

Returning to The Truth and to the leading actresses and their characters which dominate the story.

Catherine Deneuve who launched her career in 1957 with The Twilight Girls. Seven years later she starred in one of the greatest films ever made: THE UMBRELLAS OF CHERBOURG. She was cast as Genevieve Emery, an employee in her widowed mother’s chic but financially embattled umbrella shop. She has fallen in love with a French auto mechanic Guy Foucher. On the evening before Guy is to leave for a two-year tour of combat in Algeria, the pair share a passionate night. Genevieve becomes pregnant and then must choose between waiting for Guy’s return or accepting an offer of marriage from a wealthy diamond merchant.

Three years later Deneuve joined her sister Francoise Dorleac in another memorable movie, THE YOUNG GIRLS OF ROCHEFORT, which was a tribute to the Hollywood musical. The film was directed by Jacques Demy, as was ‘Umbrellas’, with music composed by Michel Legrand.

Catherine Deneuve’s success was meteoric.

And so to Kore-eda’s casting of Juliette Binoche as Lumir, Fabienne’s daughter in THE TRUTH. Like Deneuve, Binoche is a well-known actress making her film debut in Liberty Belle in 1983.

Her first film that gained her critical acclaim came six years later in THE UNBEARABLE LIGHTNESS OF BEING. However, what really catapulted Juliette Binoche’s acting career to a new level was starring in BLUE, one of a trio of films made

by Krzysztof Kieslowski called THREE COLORS. She plays the role of Julie, a woman reeling from the tragic death of her husband and young daughter. More than just a tale of grief, it’s also a tale of liberation, as Julie attempts to free herself from the past while confronting truths about the life of her late husband, a composer. Shot in sapphire tones and set to an extraordinary operatic score, BLUE is an overwhelming sensory experience.

When you get two great actresses together on the screen like Catherine Deneuve and Juliette Binoche, you know that you are about to experience a momentous work of art. As their characters show, neither of them are willing to give in to the other, because these strong women both believe they are right…yet they both love each other.

Though THE TRUTH may at first appear to be a difficult film to watch, it is anything but. So be prepared for the last sequence which is a celebration of life.

The audience left the screening which I attended not with a frown but with a smile, me included, for I would gladly watch the film again….and that’s the truth.

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Fabienne (Catherine Deneuve) & Lumir (Juliette Binoche) in The Truth

Fabienne (Catherine Deneuve) & Charlotte (ClĂŠmentine Grenier) in The Truth 6

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L’actrice qui joue Amy at 38 (Ludivine Sagnier) in The Truth

Lumir (Juliette Binoche), Charlotte (ClĂŠmentine Grenier), Hank (Ethan Hawke) in The Truth

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LITTLE JOE Directed by Jessica Hauser Starring: Emily Beecham, Ben Whishaw, Kerry Fox Look what I have for you. What do think, we’ll call him Little Joe? You have to take good care of it. Keep it warm.

Talk to it. It needs attention.

- Alice Alice, a single mother, is a dedicated senior plant breeder at a corporation engaged in developing new species. She has engineered a very special crimson flower, remarkable not only for its beauty but also for its therapeutic value: if kept at the ideal temperature, fed properly and spoken to regularly, this plant makes its owner happy.

Against company policy, Alice takes one home as a gift for her teenage son, Joe. They christen it ‘Little Joe’ but as it grows so too does Alice’s suspicion that her creations may not be as harmless as their nickname suggests.

At first the attraction of this movie is its uniqueness as it steps from one genre to another with sci-fi its calling card. It is unsettling for the storyline jumps all over the place and with a haunting soundtrack aiming to add to the suspense. But soon one is thinking of films like The Day of the Triffids, and it is not in that class.

The idea that the plant will make you happy does not materialise, only false promises that like the film result in disappointment. Little Joe does not engage the emotions and consequently you lose interest in the characters and despite good acting, it is not enough to save the film.

Director, Jessica Hauser, has made a film that has an aspiring storyline that fails to deliver, but what does she feel about Little Joe? Let us eavesdrop on Jessica at last year’s Cannes Film Festival and the press conference for the film.

“The film is a sort of genre film, but it is also not at all! I think the idea was to have a happy end and not like in some horror films, for example Body Snatchers (Invasion of the Body Snatchers), in the end the whole world is infected and it’s very bad, dark and depressing. And I think what I wanted to do is a sort of, “let’s live with the zombies, we’ll be fine!”

“I never really made very Austrian films – I always try to make films that have an international audience because the films I’m doing are naturalist films – they’re not even realism films – they’re very 8

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stylish, styled. I’m interested in doing fairy tales, and I think they should hold good for which country ever; and it’s also not really a film that’s in the future, it could also be in the past.

Those elements that are important to me – I prefer to do something that has a more existential point of view”.

AWARDS: PRIX D’INTERPRETATION FEMININE: EMILY BEECHAM (CANNES INTERNATIONAL, 2019 FILM FESTIVAL) GRAND PRIX DU FESTIVAL INTERNATIONAL DE SCIENCE FICTION UTOPIALES (POITIERS, 2019) MENTION SPECIALE DU JURY AU FESTIVAL EUROPEAN DU FILM FANTASTIQUE (STRASBOURG, 2019).

Ultimately, there are good intentions both for the flower and the characters in the story.

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An inventive script.

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Fluid and crisp cinematography by Martin Gschlacht

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Excellent Costume and Production Design by Tanya Hausner and Katharina Woppermann.

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Soundtrack from the Watermill Album by Japanese composer Teiji Ito.

The film screened at last year’s London Film Festival in the DARE SECTION. In conclusion, the film does have merits, but unfortunately not enough to warrant a second viewing.

UK RELEASE: 21ST FEBRUARY 2020 AT MOST ARTHOUSE CINEMAS

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Chris (Ben Whishaw) in Little Joe

Karl (David Wilmot), Ric (Phoenix Brossard), Alice (Emily Beecham), Chris (Ben Whishaw) in Little Joe 10

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Alice (Emily Beecham) & Chris (Ben Whishaw) in Little Joe

Joe (Kit Connor) & Alice (Emily Beecham) in Little Joe

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POSTERS MOVIE POSTERS ORIGINATED IN PARIS WITH THE LUMIERE BROTHERS IN 1895 WITH THEIR SHORT FILM: L’ARROSEUR AROSE. Originally, film posters were produced for the exclusive use by the theatres exhibiting the film the poster was created for and were required to be returned to the distributor after the film left the theatre. In the United States, film posters were usually returned to a nationwide operation called the National Screen Service (NSS) which printed and distributed most of the posters for the studios between 1940 and 1984.

Today there is a thriving collectibles market in film posters.

The first auction by a major auction house solely of film posters occurred on December 11, 1990, when proceeds of a sale of 271 vintage posters run by Bruce Hershenson at Christie’s totalled US$935,000. The record price for a single poster was set on November 15, 2005 when $690,000 was paid for a poster of Fritz Lang’s 1927 film Metropolis from the Reel Poster Gallery in London. Other early horror and science fiction posters are known to bring extremely high prices as well, with an example from The Mummy realizing $452,000 in a 1997 Sotheby’s auction, and posters from both Bride of Frankenstein and The Black Cat selling for $334,600 in Heritage auctions, in 2007 and 2009, respectively.

Due to market demand by collectors for older posters, there has been surge in fake posters being sold online. Even avid collectors have been fooled and parted with thousands for certainly looks like an original and only close inspection reveals a tiny imperfection that it is a master fakery.

Here at Movies by Mills, posters have played an important part in each issue of the magazine and first thing discussed are the covers: front and back page. The front page will determine what poster is needed for the back page. Looking back at MbM’s first issue which was May 2013 and our first poster was Populaire, followed by Like Someone in Love (June 2013), Breathe In (July 2013), What Maisie Knew (August 2013)….

COME, LET US TAKE A LOOK AT THOSE EARLY BACK PAGES OF MBM

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Opened 31 May 2013

Opened 31 May 2013

Opened 19 July 2013

Opened 20 June 2013

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Opened 6th September 2013

Opened 4th October 2013

Opened 20th October 2013 at London Film Festival 14

Re-Released:

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17th December 2013

Opened 20th December 2013

Opened

21ST February 2014

Opened 4th February 2014

Re-Released. Limited Screenings Only

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THE CALL OF THE WILD Directed by Chris Sanders Starring: Harrison Ford, Dan Stevens, Karen Gillan, Cara Gee, Omar Sy The Yukon’s a dangerous place, you never know what’s coming.

I came up here because I didn’t want to be around anyone…and then I met Buck.

- John Thornton A sled dog struggles for survival in the wilds of the Yukon, but the St Bernard named Buck has already survived a succession of masters both cruel and kind, until it meets Thornton who has a space in his heart which needs to be filled, and filled it is when he encounters the dog.

Prior to this we learn that Buck was owned by Judge Miller (Bradley Whitford). The film begins with the effect that Buck has on the Miller household by galloping through the household, over dishes and carpets…make way one might say…here comes Buck!

Strong dogs like Buck are at a premium to be used on sled teams during the Canadian Yukon’s gold rush, and Buck is stolen and transported to the north.

Through soggy Skagway, Alaska, Buck encounters John Thornton (Harrison Ford) by picking up a harmonica which had fallen out of his pocket and retuning it to him. It’s a good introduction and the pair soon become friends.

Now…a lot of the criticism of the film comes about its CGI effects which obviously show that Buck is not a real dog, but a anthropomorphised one and at no time is Thornton talking to a real dog.

If you can get past these moments of artificiality, then the film will win you over.

The most powerful and enjoyable sequences are the ones when Buck is up against avalanches and when Perrault (Omar Sy) has to return to Quebec because his mail delivery service by sled is considered to be outmoded.

Enter villain Hal (Dan Stevens), a gold prospector who purchases the team. He and his sister Mercedes (Karen Gillan) treat the dogs badly, but thankfully Thornton steps in and objects to the treatment of the dogs and particularly Buck. Eventually Thornton and Buck set off to the great unknown.

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Certainly, computer graphics meddle a little with the narrative, but cannot hide the essential message of the story which is: finding one’s inner strength amidst the beauty of nature.

The CGI model of Buck is a digital scan of Buckley, a real dog that director Chris Sanders’ wife, Jessica Steele-Sanders, adopted from an Emporia, Kansas animal shelter during production. Buckley is a cross between a St. Bernard and a Scotch shepherd; a medium-sized herding dog, like a border collie or Australian shepherd, the same sort of mixed breed as Buck in Jack London’s book. When the producers saw Buckley and learned that he was the same sort of mixed breed as the dog in the book, it was decided that Buck in the film would be a digital scan of Buckley.

The role of John Thornton was previously played by Rutger Hauer in the 1997 TV adaptation of the story. Both Ford and Hauer appeared together as enemies in Blade Runner.

In honour of author Jack London’s love of nature, the making of The Call of the Wild was eco-friendly. There were no single-use plastic bottles, biodegradable plates and cutlery were used. In addition, leftover food was donated, employed solar-powered generators, and relied on recycled paper.

Harrison Ford’s best known roles also have a connection to a dog.

Indiana Jones was named after George Lucas’s Alaskan Malamuke, and Indy is shown to have kept the same breed as his own pet when he was a boy. The same dog inspired Han Solo’s co-pilot, Chewbacca.

The number A113, famous as a room at CalArts where young character animation students honed their craft before going on to careers at Disney or Pixar, is briefly seen on a bulletin board. Director Chris Sanders is a graduate of CalArts. An A113 Easter egg can be found hidden in Disney and Pixar films.

A digital version of Brody, director Chris Sanders’ and Jessica Steele-Sanders’ first dog, has a brief cameo encountering Buck’s in the Skagway dog pen prior to Buck’s purchase by Perrault, played by Omar Sy. Brody was the real “adopted brother” of Buckley, the dog who served as the model for the CG Buck.

Each sled dog on Buck’s team (besides Spitz) was given the personality of one of the Seven Dwarfs from the classic Disney animated film: Dolly is Bashful, Pike is Grumpy, Joe is Happy, Billy is Sleepy, Dave is Dopey, Dub is Sneezy, and Sol-Leks is Doc. Unlike the source novel, John Thornton has a back story. They wanted Thornton’s experience to be like Buck’s for this film adaptation to show both man and dog finding their strength after overcoming tragedy.

If cinemagoers are looking a film that doesn’t overstrain your mind but engages your emotions – this would be that film.

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Perraut (Omar Sy) & Buck in The Call of the Wild

Buck & John Thornton (Harrison Ford) in The Call of the Wild 18

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John Thornton (Harrison Ford) in The Call of the Wild

John Thornton (Harrison Ford) & Buck in The Call of the Wild

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BAFTAS 2020 AWARD WINNERS BEST FILM

1917 Directed by Sam Mendes

OUTSTANDING BRITISH FILM

1917 Directed Sam Mendes

OUTSTANDING DEBUT BY A BRITISH WRITER, DIRECTOR OR PRODUCER

BAIT Directed Mark Jenkin

FILM NOT IN THE ENGLISH LANGUAGE

PARASITE Directed by Bong Joon-ho

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DOCUMENTARY

FOR SAMA Directed by Waad al-Kateab

ANIMATED FILM

FROZEN 2 Directed by Chris Buck

DIRECTOR

SAM MENDES (1917)

LEADING ACTRESS

RENEE ZELLWEGER (JUDY)

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LEADING ACTOR

JOAQUIN PHOENIX (JOKER)

SUPPORTING ACTOR

BRAD PITT (ONCE UPON A TIME IN HOLLYWOOD) SUPPORTING ACTRESS

LAURA DERN (MARRIAGE STORY)

ORIGINAL SCREENPLAY

PARASITE ADAPTED SCREENPLAY

JOJO RABBIT 22

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ORIGINAL SCORE

JOKER CASTING

JOKER CINEMATOGRAPHY

1917 (ROGER DEAKINS)

EDITING

LE MANS ‘66 PRODUCTION DESIGN

1917 COSTUME DESIGN

LITTLE WOMEN

MAKE UP & HAIR

BOMBSHELL SOUND

1917 SPECIAL VISUAL EFFECTS

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ACADEMY AWARDS WINNERS 2020 BEST PICTURE

PARASITE

LEAD ACTOR

JOAQUIN PHOENIX (Joker)

LEAD ACTRESS

RENEE ZELLWEGER (Judy)

SUPPORTING ACTOR

BRAD PITT (Once Upon A Time In Hollywood)

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SUPPORTING ACTRESS

LAURA DERN (Marriage Story)

DIRECTOR

BONG JOON-HO (Parasite)

ANIMATED FEATURE

TOY STORY 4

ANIMATED SHORT

HAIR LOVE

ADAPTED SCREENPLAY

JOJO RABBIT

ORIGINAL SCREENPLAY

PARASITE

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CINEMATOGRAPHY

1917 (Roger Deakins)

BEST DOCUMENTARY FEATURE

AMERICAN FACTORY

BEST DOCUMENTARY SHORT SUBJECT

LEARNING TO SKATEBOARD IN A WARZONE BEST LIVE ACTION SHORT FILM

THE NEIGHBOR’S WINDOW

BEST INTERNATIONAL FEATURE FILM

PARASITE

FILM EDITING

FORD V FERRARI SOUND MIXING

1917

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SOUND EDITING

FORD V FERRARI PRODUCTION DESIGN

ONCE UPON A TIME IN HOLLYWOOD

ORIGINAL SCORE

JOKER (Hildur Guðnadóttir)

ORIGINAL SONG

I’M GONNA LOVE ME AGAIN (Rocketman) MAKE-UP AND HAIR

BOMBSHELL

COSTUME DESIGN

LITTLE WOMEN

VISUAL EFFECTS

1917

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DVDS OF THE MONTH (Not One but 4 DVDS)

ROMA With his eighth and most personal film, Alfonso Cuaron recreated the early 1970s Mexico City of his childhood, narrating a tumultuous period in the life of a middle-class family through the experiences of Cleo (Yalitza Aparicio), in a revolutionary screen debut), the indigenous domestic worker who keeps the household running. Charged with the care of four small children abandoned by their father. Cleo tends to the family even as her own life is shaken by personal and political upheavals. Written, directed, shot, and coedited by Cuaron, Roma is a labour of love with few parallels in the history of cinema, deploying monumental black and white cinematography, an immersive soundtrack and a mixture of professional and nonprofessional performances to shape its author’s memories into a world of enveloping texture, and to pay tribute to the woman who nurtured him.

DIRECTOR APPROVED TWO DVD SPECIAL EDITION 4K DIGITAL MASTER SUPERVISED BY DIRECTOR ALFONSO CUARON ROAD TO ROMA – A NEW DOCUMENTARY ABOUT THE MAKING OF THE FILM, FEATURING BEHIND-THE-SCENES FOOTAGE AND AN INTERVIEW WITH CUARON. SNAPSHOTS FROM THE SET. A NEW DOCUMENTARY FEATURING ACTORS YALITZA APARICIO AND MARINA DE TAVIRA, PRODUCERS GABRIELA RODRIGUEZ AND NICOLAS CELIS, PRODUCTION DESIGNER EUGENIO CABALLERO, CASTIND DIRECTOR LUIS ROSALES, EXECUTIVE PRODUCER DAVID LINDE, AND OTHERS. NEW DOCUMENTARY ABOUT THE FILM’S SOUND AND POSTPRODUCTION PROCESSES, FEATURING CUARON SERGIO DIAZ, SKIP LIEVSAY, AND CRAIG HANIGHAN, FROM THE [PSTPRODUCTION SOUND TEAM, EDITOR ADAM GOUGH, POSTPRODUCTION SUPERVISOR CARLLOS MORALES. AND FINISHING ARTIST STEVEN J SCOTT. NEW DOCUMENTARY ABOUT THE FILM’S AMBITIOUS THEATRICAL CAMPAIGN AND SOCIAL IMPACT IN MEXICO, FEATURING CELIS AND RODRIGUEZ. TRAILERS ALTERNATE FRENCH SUBTITLES AND SPANISH. PLUS ESSAYS BY NOVELIST VALERIA LUISELLI AND HISTORIAN ENRIQUE KRAUZE. ROMA IS THE FIRST FILM FROM NETFLIX TO BE RELEASED ON CRITERION.

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PICNIC AT HANGING ROCK On Saturday 14th February 1900 a party of schoolgirls from Appleyard College took a trip to Hanging Rock near Mt. Macedon in the state of Victoria. During that idyllic sun-drenched afternoon some of the party left the rest of the group and having climbed higher, stopped to rest and fell asleep. They awoke as though still in a dream and silently ventured further through a passage in the imposing rock face. Some of the girls were never seen again.

The film that established Peter Weir as a major filmmaker is a critically acclaimed classic of Australian cinema. With BAFTA-winning photography and a memorably haunting score, Picnic at Hanging Rock remains one of the most chillingly atmospheric and beautifully enigmatic films ever made.

DELUXE EDITION DISC 1 THE DIRECTOR’S CUT BONUS FEATURES DISC 2 THE ORIGINAL VERSION

DISC 3 A DREAM WITHIN A DREAM (113 mins) – The making of the film featuring interviews with cast and crew.

A RECOLLECTION – HANGING ROCK 1900 – A 1975 on-set documentary featuring interviews with author Joan Lindsay, Peter Weir and key cast members.

JOHN LINDSAY INTERVIEW – An interview with the author from 1974.

AUDIO INTERVIEW WITH KAREN ROBSON (IRMA) HANGING ROCK & MARTINDALE HALL: THEN AND NOW – A tour of the film’s principle locations.

‘THE DAY OF SAINT VALENTINE’ – The first screen adaptation of the novel made in 1969 by 13-year-old Tony Ingram, with commentary from the director.

SCENES DELETED FOR THE DIRECTOR’S CUT STILLS AND POSTER GALLERY – Accompanied by an excerpt from the novel read by actor Helen Morse.

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BICYCLE THIEVES Heralded as the greatest film ever made on release, winning an Oscar in 1949 and topping the Sight & Sound film poll in 1952, De Sica’s seminal work of Italian neorealism has had an impact on cinema worldwide from release to the present day, with filmmakers such as Satyajit Ray and Ken Loach claiming the film as a direct influence on their work.

Bicycle Thieves tells the story of Antonio, a long unemployed man who finally finds employment putting up cinema posters for which he needs a bicycle. His wife pawns all the family linen to redeem their already pawned bicycle and for Antonio salvation has come, until it is stolen. Antonio and his son take to the streets in a desperate search to find the bicycle which is so crucial to his livelihood.

As much about the position of Italians in post-War, post-Fascist Italy as the relationship between father and son, Bicycle Thieves is told through the labyrinth of the cinematic city with De Sica’s arresting visual poetry. Defining neorealism, a small period of filmmaking that focused on simple, humanist stories, Bicycle Thieves was one of the most captivating and moving.

SPECIAL EDITION CONTENTS. RESTORED HIGH DEFINITION DIGITAL TRANSFER OF THE FILM NEWLY TRANSLATED AND MORE COMPLETE ENGLISH SUBTITLES FEATURE LENGTH AUDIO COMMENTARY BY ITALIAN CINEMA EXPERT ROBERT GORDON, AUTHOR OF BFI MODERN CLASSICS ‘BICYCLE THIVES’.

TIMELESS CINEMA – A DOCUMENTARY PORTRAIT OF DIRECTOR, ACTOR AND SCREENWRITER VITTORIO DE SICA ORIGINAL TRAILER ADVERTISING DE SICA’S FILMS, FEATURING BICYCLE THIEVES STAR LAMBERTO MAGGIORANI AND FRANCESCO GOLISANO PRESENTING MIRACLE IN MILAN REVERSIBLE SLEEVE FEATURING ORIGINAL AND NEWLY COMMISSIONED ARTWORK

BY SAMUEL WEBSTER

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THE LIGHT BETWEEN OCEANS Based on the bestselling novel by M.L.Stedman and from acclaimed director Derek Cianfrance (The Place Beyond The Pines), The Light Between Oceans is a beautiful and heart-breaking reminder of the infinite power of love and the lengths that we go to in order to protect it.

When lighthouse keeper Tom Sherbourne (Michael Fassbender – (12 Years A Slave) and his adored wife Isabel (Alicia Vikander – The Danish Girl) discover a baby adrift in a boat off the remote coast of Western Australia they assume the worst that her parents are dead. Determined to give her a happy life full of love they choose to raise the child as their own but it’s not until years later that the shattering consequences of their decision will change their lives forever.

SPECIAL FEATURES AUDIO COMMENTARY WITH DIRECTOR DEREK CIANFRANCE AND FILM STUDIES PROFESSOR PHIL SOLOMON LIGHTHOUSE KEEPER BRINGING THE LIGHT TO LIFE

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