The Cinematheque JULY+AUG 2015 by The Cinematheque

EXPERIENCE ESSENTIAL CINEMA

FILM NOIR TRUFFAUT’S ANTOINE DOINEL CYCLE EASY RIDER GANGS OF WASSEYPUR BERNARD SHAKEY: NEIL YOUNG ON SCREEN

ANTOINE DOINEL CYCLE

JULY + AUGUST 2015 1131 Howe Street | Vancouver | theCinematheque.ca

THE BLUE DAHLIA

y JULY + AUGUST 2015

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Opening Night

THIS GUN FOR HIRE

he feverish, fatalistic world of Film Noir returns to The Cinematheque for another moody, menacing, angst-filled August. Celebrating one of the American cinema’s richest and most creative periods in all its stylish, seductive, and cynical glories, this year’s Noir season features 12 hard-boiled classics from noir’s 1940s/1950s heyday plus two small sidebars spotlighting noir’s surprisingly wide reach and lurid legacy.

FRIDAY, AUGUST 7

Reception & Special Introduction 6:00 pm - Doors 7:00 pm - Screening of This Gun for Hire with Introduction 8:50 pm - Gilda

All ages welcome unless otherwise indicated Annual $3 Membership required for those 18+

Gilda

USA 1946. Dir: Charles Vidor. 110 min. DCP

This Gun for Hire

USA 1942. Dir: Frank Tuttle. 80 min. 35mm

Based on a Graham Greene novel, this moody, morbid wartime noir has Alan Ladd, in his breakthrough role, as Philip Raven, a San Francisco assassin-for-hire in the employ of devious forces. Raven’s a cold-blooded killer without a trace of human pity; his sole weakness is for his cat – at least until luscious Veronica Lake, as nightclub entertainer/femme fatale Ellen Graham, begins to melt his icy heart. The movie marked the first screen pairing of Ladd and Lake, who became one of Hollywood’s most popular on-screen couples. (They also appear in The Blue Dahlia, screening in this series). The dialogue is aptly laconic; the mix of studio sets and locations provides excellent atmosphere and offbeat exoticism. Ladd’s seminal performance as the stoic, unsmiling protagonist is “the prototype for the killer as angel of death” (Chris Petit, Time Out).

Noir misogyny and Hollywood glamour hit memorable peaks in Gilda, a lavish, big-budget melodrama set in a stylish, studio-bound Buenos Aires. A sexually-ambiguous Glenn Ford plays Johnny Farrell, a down-and-out gambler hired as the right-hand man of a shady German casino owner (George Macready). A sexually-ferocious Rita Hayworth is Gilda, the owner’s new bride – who, lo and behold, just happens to be Johnny’s old lover! A perverse ménage à trois and power game proceeds to play itself out. The delicious dialogue is lasciviously laden with euphemism and innuendo; the most famous scene has Hayworth performing a scorching striptease to the strains of “Put the Blame on Mame.” The movie was shot by distinguished cinematographer Rudolph Maté (Dryer’s The Passion of Joan of Arc), who later directed the manic 1950 noir D.O.A. (also screening in this series). FRIDAY, AUGUST 7 – 8:50 PM SATURDAY, AUGUST 8 – 6:30 PM WEDNESDAY, AUGUST 12 – 8:30 PM

FRIDAY, AUGUST 7

Opening Night with Reception & Introduction Doors 6:00 pm / Screening 7:00 pm SATURDAY, AUGUST 8 – 8:40 PM SUNDAY, AUGUST 9 – 6:30 PM

Crime, corruption, cruelty, chaos! 2

Two-bit heels! Cold-blooded killers! Double-crossing dames!

GILDA

Laura

USA 1944. Dir: Otto Preminger. 88 min. DCP

The Blue Dahlia

USA 1946. Dir: George Marshall. 99 min. 35mm

A dark tone of postwar pessimism pervades the noir universe; a common motif has a serviceman returning from WWII only to find disillusionment and/or betrayal at home. Made from an Oscar-nominated script by noir stalwart Raymond Chandler (his only original screenplay), The Blue Dahlia has Alan Ladd as a veteran who discovers that his wife has been egregiously unfaithful in his absence. When she turns up murdered, he’s the prime suspect. Veronica Lake co-stars as a mysterious woman who attempts to befriend the protagonist, while William Bendix is Ladd’s hapless, war-wounded army buddy Buzz. Unfolding in a well-rendered atmosphere of brutality, corruption, chaos, despair, and helplessness, The Blue Dahlia is “a taut film that still plays like a house afire . . . The script reflects Chandler’s hard-boiled, grim wit” (James Monaco).

Otto Preminger’s necrophilic noir is “everyone’s favourite chic murder mystery” (Pauline Kael). Gene Tierney is the late, lamented title character, whose grisly death has left her corpse difficult to identify. Dana Andrews is McPherson, the detective investigating the homicide. The sordid circle of suspects includes acid-tongued radio personality Waldo Lydecker (magnificently played by Clifton Webb) and parasitic playboy Shelby Carpenter (Vincent Price), Laura’s philandering fiancé. The investigation takes an unexpected and unsettling turn when detective McPherson finds himself falling prey to the victim’s strangely alluring spell! “The sleekest of noirs, the chicest of murders, and deliciously twisted . . . A truly haunting study of obsession” (James Monaco). “A corrosive portrait of greed and cruelty” (Sadoul, Dictionary of Films). FRIDAY, AUGUST 14 – 6:30 PM SATURDAY, AUGUST 15 – 6:30 PM SUNDAY, AUGUST 16 – 8:30 PM

SUNDAY, AUGUST 9 – 8:10 PM WEDNESDAY, AUGUST 12 – 6:30 PM THURSDAY, AUGUST 13 – 8:00 PM

The File on Thelma Jordon USA 1950. Dir: Robert Siodmak. 100 min. 35mm

Detour

USA 1945. Dir: Edgar G. Ulmer. 68 min. 35mm

Edgar’s G. Ulmer’s legendary no-budget noir has a big reputation to live up to: it’s often cited as the greatest B-movie ever made! The plot, deliriously doom-laden, has New York nightclub pianist Roberts (Tom Neal) hitchhiking to Hollywood in order to join his fiancée. Accepting a ride from amiable Haskell (Edmund MacDonald), our hapless hero quickly discovers that fate – and an alluring femme fatale named Vera (Ann Savage) – has sent him on a deadly detour. Ulmer’s Poverty Row quickie, shot in six days, truly is a triumph of inspiration over limited resources. “Detour puts the noir in film noir. Utilizing ‘night for night’ cinematography, this amazingly dark genre landmark unfolds with the logic of a nightmare . . . A film that must be seen to be (dis-)believed” (James Monaco).

“Most men have known at least one Thelma Jordon.” Noir luminary Robert Siodmak (Phantom Lady, The Killers, Criss Cross) directs Double Indemnity’s Barbara Stanwyck in this marvellously melodramatic tale of duplicity and murder. Stanwyck is titular femme-fatale Thelma, who worms her way into the affections of unhappily-married assistant district attorney Cleve Marshall (Wendell Corey). When Thelma’s wealthy aunt is killed and Thelma is charged with the crime, Cleve contrives to prosecute the case himself so that he can deliberately botch it! The gorgeously gloomy cinematography is by prolific George Barnes, who won an Oscar for Hitchcock’s Rebecca and also shot the 1948 noir high-point Force of Evil. “No one is as good as Stanwyck when she is bad . . . An unusual mystery with a great performance and superior direction” (Hal Erickson, allmovie.com). SATURDAY, AUGUST 15 – 8:20 PM SUNDAY, AUGUST 16 – 6:30 PM MONDAY, AUGUST 17 – 6:30 PM

THURSDAY, AUGUST 13 – 6:30 PM FRIDAY, AUGUST 14 – 8:20 PM MONDAY, AUGUST 17 – 8:30 PM

The Woman in the Window

The Big Clock

Edward G. Robinson and Joan Bennett top the cast of the stylish and seductive Woman in the Window, one of Fritz Lang’s best and most nightmarish American noirs. Robinson’s a mild-mannered psychology professor enjoying a bit of freedom while his wife and kids are away on vacation. Bennett’s the alluring subject of a painting he regularly stops to admire in a gallery window. An unexpected encounter with this beauty in the flesh puts the professor in a compromising – and dangerously criminal – position. Noir regular Dan Duryea appears as a blackmailer; Canadian Raymond Massey plays the professor’s pal, a DA. “Not merely a dazzling piece of suspense, but also a characteristically stark demonstration of Lang’s belief in the inevitability of fate . . . A classic noir thriller” (Geoff Andrew, Time Out).

Hollywood veteran John Farrow (husband of Maureen O’Sullivan and father of Mia Farrow) directs a slick, suspenseful noir thriller propelled by head-spinning plot twists and centring on a big frame-up. Ray Milland is George, a crime journalist with a troubled marriage (O’Sullivan plays his wife) and a tyrannical publishingtycoon boss (Charles Laughton). Neglecting his matrimonial obligations in order to investigate the murder of a young woman, George soon makes a shocking discovery: all clues point to George himself as the prime suspect in the case! The film’s title refers to its central set-piece, a mammoth corporate clock ticking off George’s frantic race against time. Elsa Lanchester has a memorable supporting role as an eccentric artist. 1987’s No Way Out, with Kevin Costner and Gene Hackman, was a remake.

FRIDAY, AUGUST 21 – 6:30 PM SATURDAY, AUGUST 22 – 8:25 PM SUNDAY, AUGUST 23 – 6:30 PM

FRIDAY, AUGUST 28 – 8:10 PM MONDAY, AUGUST 31 – 8:10 PM WEDNESDAY, SEPTEMBER 2 – 6:30 PM

In a Lonely Place

The Big Heat

Directed by Hollywood maverick and auteurist favourite Nick Ray (Johnny Guitar, Rebel Without a Cause), In a Lonely Place features Humphrey Bogart in perhaps his finest performance. Bogie is Dixon Steele, a Hollywood screenwriter blacklisted for boozing and bad attitude. When the hatcheck-girl he takes home turns up murdered, Steele’s the prime suspect – but next-door neighbour Laurel (Gloria Grahame) exonerates him. As romance blossoms between Laurel and Steele, she slowly begins to suspect that this jealous, suspicious, often-violent man may be a killer after all. Ray’s film is a masterfully directed, darkly haunting portrait of disaffection and distrust. “The noir atmosphere of deadly paranoia frames one of the screen’s most adult and touching love affairs . . . Never were despair and solitude so romantically alluring” (Geoff Andrew, Time Out).

Fritz Lang’s nihilist 1950s noir raised screen violence to new heights – with, among other things, a notorious scene involving Lee Marvin as a psychopathic gangster, Gloria Grahame as a gun moll, and a pot full of scalding coffee! Gilda’s Glenn Ford is family-man Bannion, the film’s ostensible good guy, an honest cop serving on a corrupt police force in a Mob-controlled city. Investigating the death of a fellow officer, Bannion is ordered off the case by his superiors; his decision to ignore that order will have dire consequences. Director Lang opts for a spare, strippeddown, hard-as-nails approach, with stark cinematography, an economical narrative, terse dialogue, and minimal use of music. “It’s designed in light and shadows, and its underworld atmosphere glistens with the possibilities of sadism – this is a definitive film noir” (Pauline Kael).

FRIDAY, AUGUST 21 – 8:30 PM SATURDAY, AUGUST 22 – 6:30 PM MONDAY, AUGUST 24 – 6:30 PM

SATURDAY, AUGUST 29 – 6:30 PM WEDNESDAY, SEPTEMBER 2 – 8:25 PM THURSDAY, SEPTEMBER 3 – 6:30 PM

New Restoration!

D .O. A.

USA 1944. Dir: Fritz Lang. 99 min. 35mm

USA 1950. Dir: Nicholas Ray. 94 min. 35mm

Pickup on South Street USA 1953. Dir: Samuel Fuller. 80 min. DCP

“A superb thriller . . . A desperate kind of masterpiece” (Time Out), the lurid Pickup on South Street is a leading exemplar of pulp-fiction primitive Sam Fuller’s brutally kinetic cinema. Richard Widmark is “three-time loser” Skip McCoy, a New York pickpocket who finds himself dangerously embroiled in Cold War espionage when he inadvertently lifts some microfilm from the purse of Candy (Jean Peters), former mistress of a Red spy. The action unfolds in a sensationally shadowy, shabby universe of subways, waterfronts, and seedy rooms. Thelma Ritter, as lovable stool-pigeon Moe – “What do I know about Commies? Nothing. I just know I don’t like them.” – earned an Oscar nomination for her supporting role. “The most claustrophobic American film before Psycho, and the finest distillation of Fuller’s tabloid sensibility” (Charles Taylor, Village Voice). FRIDAY, AUGUST 28 – 6:30 PM SATURDAY, AUGUST 29 – 8:20 PM SUNDAY, AUGUST 30 – 6:30 PM

USA 1948. Dir: John Farrow. 95 min, 35mm

USA 1953. Dir: Fritz Lang. 90 min. 35mm

USA 1950. Dir: Rudolph Maté. 83 min. 16mm

A man investigates his own murder! Is there a noir with a better premise? This brisk, nihilistic, neurotic gem has Edmond O’Brien as Frank Bigelow, a smarmy small-town accountant escaping his dull but sweet fiancée for a night on the town in San Francisco. After some hanky-panky in a nightclub, Bigelow learns that he has ingested slow-acting poison – and will be dead within a matter of days. He sets out on a desperate, frenzied search to solve the mystery of his “murder,” and to make some sense of his impending death. Unusually cynical even by noir’s sordid standards, D.O.A. was directed by Rudolph Maté, best known as the distinguished cinematographer of such works as Dryer’s The Passion of Joan of Arc, Hitchcock’s Foreign Correspondent, and Charles Vidor’s Gilda (the latter also screens in this series). SUNDAY, AUGUST 30 – 8:10 PM MONDAY, AUGUST 31 – 6:30 PM THURSDAY, SEPTEMBER 3 – 8:20 PM

Noir Sidebar

RANCHO NOTORIOUS

The Psycho-Western Film noir is not a genre per se but a style and an historical cycle and a mood and a (darkly fatalistic) worldview. Silver and Ward’s essential Film Noir Encyclopedia considers classic films of many genres (even science fiction) as true films noir – including these two remarkable cult Westerns from the 1950s.

Rancho Notorious

Johnny Guitar

What is “Chuck-a-Luck”? That’s the “Rosebud”-like mystery driving Fritz Lang’s Technicolor noir-on-the-range, one of the German émigré’s most personal, and characteristically idiosyncratic, works. Uttered by a dying bandit after the rape and murder of a young bride-to-be, it’s the sole clue a Texas frontiersman (Arthur Kennedy) has to hunt down, and exact revenge on, his fiancée’s killer. Lang’s fellow expat Marlene Dietrich, ever the alluring screen siren, owns her role as the shade-throwing, lace-clad matriarch of the titular rancho, harbouring outlaws for a cut of their ill-gotten gains. A cult favourite for its campy excess, in-studio aesthetic, and proto-feminist bent. “A perversely stylized western by Fritz Lang, his last and best” (Dave Kehr, Chicago Reader).

French New Waver and former Cahiers du cinéma critic Jean-Luc Godard once wrote that “cinema is Nicholas Ray.” Outlandish, perhaps, but those familiar with Ray’s magisterial chef d’oeuvre Johnny Guitar– a genre-subverting, noir-steeped Western with oodles of style (and subtext) to spare – can empathize with the urge to hyperbolize. Shooting on a shoestring for B-movie studio Republic Pictures, the maverick director was granted enough creative elbowroom to craft a pseudo-shoot-’em-up (Truffaut called it a “fake Western”) that pivots on genderbending feminism and thinly-veiled anti-McCarthyism. Joan Crawford, in an impassioned performance, commands the screen as Vienna, the true-grit saloonkeeper at odds with the raving townsfolk. “A miraculous movie that should never be far from the screen” (Richard Brody, The New Yorker).

USA 1952. Dir. Fritz Lang. 89 min. 35mm

WEDNESDAY, AUGUST 19 – 6:30 PM THURSDAY, AUGUST 20 – 8:40 PM SUNDAY, AUGUST 23 – 8:30 PM

USA 1954. Dir: Nicholas Ray. 110 min. DCP

WEDNESDAY, AUGUST 19 – 8:20 PM THURSDAY, AUGUST 20 – 6:30 PM MONDAY, AUGUST 24 – 8:25 PM

Noir Sidebar

BLOW OUT

The Paranoid Conspiracy Thriller of the 1970s Neo-noir has become a (self-conscious) genre in itself – Body Double, Chinatown, countless other examples. For some, however, the true spiritual heir of the pitiless noir universe, all head-spinning, harrowing existential fatalism and dread, is the paranoid conspiracy film of the 1970s. The Parallax View and Blow Out are two of our favourites.

The Parallax View

Blow Out

Terrifyingly on-point for a stupefied nation still watching Watergate unfold, Pakula’s second entry in his so-called “Paranoia trilogy” (after Klute, before All the President’s Men) is an acid trip of a political thriller that reaches delirious highs as its yarn unravels. Warren Beatty is Joe Frady, a deep-digging reporter investigating a web of “accidental” deaths linked to a presidential candidate’s assassination. With all signs pointing to a Grassy Knoll-like conspiracy, he infiltrates a shadowy recruitment agency and discovers – in a hallucinatory, 5-minute fever montage! – a covert brainwashing program behind a laundry-list of political hits. A ferocious, zeitgeist-fed film exuding noir-level cynicism in modern America, The Parallax View is “a JFK conspiracy film that gets it right . . . One of the high points of the New American Cinema” (Alex Cox).

De Palma cemented his reputation as the master protégé of Hitchcock with this suspense-drenched reworking of Antonioni’s Blow-Up for a paranoid, post-Watergate America. Relocating the setup from swinging ’60s London to nocturnal ’80s Philadelphia – and swapping the medium of photography for audio recording – it stars a never-better John Travolta as a slasher-movie soundman who believes he’s inadvertently recorded a political assassination. Aided by the call girl who is a possible eyewitness (Nancy Allen), he begins unravelling a to-the-top conspiracy that puts them both in the crosshairs of a maniacal hit man. With plenty of nods to De Palma’s cinematic idols, Blow Out is a pastiche-laden thriller that revels in a new era of noir-like nihilism! “American history trapped in The Twilight Zone . . . [De Palma’s] best and most original” (Roger Ebert).

WEDNESDAY, AUGUST 26 – 6:30 PM THURSDAY, AUGUST 27 – 8:35 PM

WEDNESDAY, AUGUST 26 – 8:30 PM THURSDAY, AUGUST 27 – 6:30 PM

USA 1974. Dir. Alan J. Pakula. 102 min. 35mm

USA 1981. Dir. Brian De Palma. 107 min. DCP

f the extraordinary Boyhood (2014), Richard Linklater’s shot-over-12-years cinematic experiment, has an antecedent, it is François Truffaut’s Antoine Doinel cycle. (We’re discounting, because they are documentaries, the once-every-seven-years instalments in the Michael Apted-directed Up series.) Beginning with 1959’s The 400 Blows, one of the great films about childhood – and one of the seminal works of the French New Wave – Truffaut’s much-admired series follows a single fictional character, played each time by Jean-Pierre Léaud, over a total of five films (four features and a short) spanning 20 years. “I wonder if Truffaut had lived, would there have been more Doinel films,” Linklater has said. “It would be interesting to see him as an older man.” All Ages Welcome Annual $3 membership required for those 18+

The 400 Blows

Antoine and Colette

France 1959. Dir: François Truffaut. 99 min. 35mm

France 1962. Dir: François Truffaut. 32 min. 35mm

(Les quatre cents coups) One of cinema’s most celebrated debuts, and one of the breakthrough works of the French nouvelle vague, Truffaut’s semi-autobiographical first feature won Best Director honours at Cannes in 1959. A year before, Truffaut the film critic had been barred from the festival for the ferocity of his Cahiers du cinéma reviews! A young JeanPierre Léaud (soon Truffaut’s regular on-screen alter ego) makes his own memorable debut as Antoine Doinel, a troubled 12-year-old in revolt against parents and school. The film is dedicated to Truffaut’s mentor André Bazin. Several scenes pay tribute to Jean Vigo’s 1933 classic Zéro de conduite. The 400 Blows was also the first instalment in the director’s much-loved Antoine Doinel cycle, which grew to include five films, each starring Léaud. “Its lyrically realistic and totally unsentimental portrait of adolescence has never been matched in the cinema” (Georges Sadoul). THURSDAY, JULY 9 – 6:30 PM FRIDAY, JULY 10 – 6:30 PM SATURDAY, JULY 11 – 4:30 PM WEDNESDAY, JULY 15 – 8:20 PM

(Antoine et Colette)

The second and least-seen instalment in Truffaut’s famed Antoine Doinel cycle was this 1962 short, originally made for the 1962 anthology film Love at Twenty. Clocking in at a thrifty 32 minutes, Antoine and Colette finds Antoine (played again by Jean-Pierre Léaud) on the verge of adulthood, working in a record-pressing plant, and about to experience his first major disappointment in affairs of the heart. Marie-France Pisier co-stars as coquettish Colette, a young music student. Made right after Jules and Jim, with Truffaut at the very height of his New Wave powers, this charming work was based on the director’s own wrenching first experience of heartbreak. “Among the most beautiful things Truffaut ever committed to film” (Kent Jones, The Criterion Collection). followed by

Stolen Kisses (Baisers volés)

France 1968. Dir: François Truffaut. 91 min. 35mm

The third film (and second feature) in Truffaut’s celebrated cycle chronicling the éducation sentimentale of Antoine Doinel (Jean-Pierre Léaud) finds the young protagonist at age 20. Dishonourably discharged from the army, he goes through a series of odd jobs in Paris, and has a brief affair with an older woman (Delphine Seyrig). Claude Jade, in her screen debut, is Antoine’s girlfriend Christine (hereafter a regular in the series). Nominated for an Oscar, and dedicated to Cinémathèque Française founder Henri Langlois, the film’s charming evocation of vintage 1930s and ‘40s romantic comedies belies the fact that it was made amidst the political turmoil of May 1968, in which Truffaut played an active part. “A movie so full of love that to define it may make it sound like a religious experience, which, of course, it is” (Vincent Canby, New York Times). THURSDAY, JULY 9 – 8:30 PM FRIDAY, JULY 10 – 8:30 PM SATURDAY, JULY 11 – 6:30 PM

THE 400 BLOWS

“When you have the good fortune, as I did in the Antoine Doinel cycle, to shoot someone at the ages of 14, 18, 24, and 26, and then to pick him up again at 35, you have in your hands material that is precious. And I wanted to take advantage of having filmed this same boy at different stages of his life . . . I felt I had to take advantage of an opportunity never afforded any previous movie director.” – François Truffaut “One of the most enduring and endearing characters in modern film . . . The fun of the pictures is seeing how each one resonates as a stand-alone movie whether or not you’ve seen the others lately. . . . The Antoine Doinel cycle stands with the finest achievements of French cinema. – David Sterritt, tcm.com

Bed and Board

Love on the Run

France/Italy 1970. Dir: François Truffaut. 97 min. 35mm

France 1979. Dir: François Truffaut. 95 min. 35mm

(Domicile conjugal)

(L’amour en fuite)

Is Antoine Doinel ready for the responsibilities of marriage and fatherhood? In the bittersweet Bed and Board, the fourth movie in Truffaut’s beloved cycle, Antoine (Jean-Pierre Léaud) and girlfriend Christine (played, as in Stolen Kisses, by Claude Jade) have tied the matrimonial knot, but Antoine’s immaturity – and his affair with a Japanese woman – threatens to unravel it. Sight gags, running jokes, and filmic references abound; Bed and Board, like its predecessor Stolen Kisses, is set in the cinematic Paris of René Clair, Jacques Becker, Jean Renoir, and other French greats. “A comedy about marriage, the desire to escape it, and the craftiness involved in running from one’s own desires . . . The film is brisk and funny, but it’s also underscored by sadness and longing” (Noah Baumbach). “One of the most decent and loving films I can remember” (Roger Ebert).

The affectionate final chapter in Truffaut’s Antoine Doinel saga is also something of a summation of the entire series; Truffaut had decided, while making the film, that he would not return to the character again. The womanizing protagonist, played as always by Jean-Pierre Léaud, is now an aspiring novelist in his thirties. In the throes of divorce from wife Christine (Claude Jade), and infatuated with record-store salesgirl Sabine (pop singer Dorothée), he has a fateful encounter with his first love Colette (Marie-France Pisier, reprising her role from 1962’s Antoine and Colette), now a lawyer. Can our Antoine, forever mired in arrested development, find adult happiness? Clips from earlier Doinel films serve as flashbacks. The cinematography is by frequent Truffaut collaborator Nestor Almendros. The music is by Georges Delerue, who scored 11 films for the director.

SATURDAY, JULY 11 – 8:50 PM SUNDAY, JULY 12 – 6:30 PM MONDAY, JULY 13 – 6:30 PM

SUNDAY, JULY 12 – 8:30 PM MONDAY, JULY 13 – 8:30 PM WEDNESDAY, JULY 15 – 6:30 PM

ANTOINE AND COLETTE

INDUSTRIAL SOUNDTRACK FOR THE URBAN DECAY

Vancouver Premiere!

INDUSTRIAL SOUNDTRACK FOR THE URBAN DECAY France 2015. Dirs: Amélie Ravalec, Travis Collins. 52 min. DCP

The industrial decay of the 1970s forged a remarkable industrial-music artistic movement, the origins and influence of which are traced in this lively new documentary. “The first wave of industrial rock bands combined abrasive metal-bashing noise with confrontational attitude and punk sensibility. This was outsider art steeped in taboo themes, from transgressive sexuality to politically extreme imagery . . . Set to a steady background throb of mechanized beats and drones, the film splices archive performance clips into contemporary interviews with key players in industrial rock’s origin story including Throbbing Gristle, Cabaret Voltaire, Test Department, In The Nursery, Clock DVA and Non . . . In parallel with the embryonic punk rock scene, early industrial artists formed their own semi-anarchist network of independent record labels and DIY fanzines. Industrial Soundtrack is a fan-friendly affair, endearingly passionate in tone, with a DIY look and feel that suits its semi-underground subject” (Stephen Dalton, Hollywood Reporter). THURSDAY, JULY 16 – 7:00 PM & 9:45 PM FRIDAY, JULY 17 – 7:00 PM & 9:45 PM

THE BALLAD OF GENESIS AND LADY JAYE USA/France 2011. Dir: Marie Losier. 70 min. HDCAM

Art, love, and devotion are at radical extremes in Marie Losier’s provocative, intimate, and ultimately highly-affecting documentary, a portrait of British cult musician and transgressive performance artist Genesis P-Orridge. An iconic figure linking the pre- and post-punk eras, P-Orridge was a major innovator and influence in the development of industrial music through his prolific work with COUM Transmissions, Throbbing Gristle, and Psychic TV. In the 1990s, he embarked on his most subversive, boundary-defying artistic endeavour yet: After he met and married New York dominatrix Jacqueline “Lady Jaye” Beyer, a woman many years his junior, the two embarked on a body-modification project they called Pandrogeny – undergoing plastic surgeries, including his-and-her breast implants, to more closely resemble one another and merge into a single unified entity! Losier’s brisk, compelling film won two prizes at Berlin in 2011. THURSDAY, JULY 16 – 8:15 PM FRIDAY, JULY 17 – 8:15 PM

THE BALLAD OF GENESIS AND LADY JAYE

EASY RIDER

EASY RIDER, BBS x 3 EASY PIECES

or a brief shining moment as the 1960s were segueing into the 1970s, the independent production company BBS, founded by Bob Rafelson, Bert Schneider, and Stephen Blauner, was at the forefront of the New Hollywood cinema, responsible for some of its epochal, generation-defining films. BBS-produced landmarks The Last Picture Show, The King of Marvin Gardens, and Hearts and Minds would come soon, but (overlooking those made-for-TV fauxBeatles, The Monkees, whom these mavericks also foisted on an unsuspecting world), the company first made its countercultural mark with Easy Rider, Five Easy Pieces, and (Jack Nicholson’s directorial debut) Drive, He Said.

Easy Rider

Drive, He Said

Get your motor running! Nothing less than a countercultural time bomb, Easy Rider, released in the summer of ’69, is the movie that changed the game in Hollywood, transformed Dennis Hopper into a rebel auteur, and saved the acting career of Jack Nicholson. After scoring on a big coke deal (with Phil Spector!), two hippie bikers – Peter Fonda, as star-spangled Captain America, and Hopper, as buckskinned Billy – hit the open road on a Western-in-reverse odyssey in search of America. Nicholson, as the alcoholic lawyer who joins them, earned his first-ever Oscar nod. The film offers a serendipitous, era-defining mix of biker B-movie, Antonioni avantgardism, acid-trip psychedelics, New Wave stylistics, and culturewars paranoia. Made for $375,000, it went on to gross more than $50 million worldwide. The pioneering all-rock soundtrack includes, of course, the “heavy metal thunder” of Steppenwolf’s “Born to Be Wild.”

After his on-screen turns in the New Hollywood hits Easy Rider and Five Easy Pieces, Jack Nicholson got to go behind the camera for his own BBS-produced foray into the countercultural zeitgeist. Nicholson’s anarchic directorial debut features many of the period’s mainstays, including Karen Black, Bruce Dern, Robert Towne, and Henry Jaglom, but it is lesser-known William Tepper who has the lead as a university basketball star and bedhopper caught up in the radical politics and anti-war activism of the early ’70s. Terrence Malick, uncredited, contributed to the Nicholson-penned script, adapted from Jeremy Larner’s award-winning novel. The film raised eyebrows aplenty with its profanity, depiction of drug use, and profuse nudity. Hooted at Cannes and a flop at the box-office, it stands, flaws and all, as one of the era’s defining campus-protest movies.

USA 1969. Dir: Dennis Hopper. 95 min. DCP

SATURDAY, JULY 18 – 6:30 PM SUNDAY, JULY 19 – 8:20 PM WEDNESDAY, JULY 22 – 6:30 PM

USA 1970. Dir: Jack Nicholson. 90 min. DCP

SUNDAY, JULY 19 – 6:30 PM MONDAY, JULY 20 – 8:30 PM WEDNESDAY, JULY 22 – 8:25 PM

Five Easy Pieces USA 1970. Dir: Bob Rafelson. 98 min. DCP

“I’d like a side order of wheat toast.” The New Hollywood cinema and Jack Nicholson are at their finest – and moviedom has its greatest-ever toast-ordering scene – in Rob Rafelson’s edgy, epochal tragicomedy. Nicholson is surly, disaffected California drifter and oil-rigger Bobby Dupea, who’s neither as rootless nor as blue-collar as he seems: he’s actually a gifted classical pianist from a very privileged family. When his waitress girlfriend Rayette (Karen Black) announces she’s pregnant, it sets in motion a chain of events that has Bobby hitting the road to reconnect with what he’s been running away from. Cinematographer László Kovács also shot Easy Rider. The film was nominated for a quartet of Oscars. “One of the finest works of its day . . . Rebellion has never seemed so contingent, futile, and misunderstood” (The Rough Guide to Film). SATURDAY, JULY 18 – 8:25 PM SUNDAY, JULY 19 – 4:30 PM MONDAY, JULY 20 – 6:30 PM FIVE EASY PIECES

SUN

MON

TUES

TICKETS

Gangs of Wasseypur: Part I — 4:00 pm

HOW TO BUY TICKETS Day–of tickets go on sale at the Box Office 30 minutes before the first show of the evening. Advance tickets are available for credit card purchase at theCinematheque.ca ($1 service charge applies). Events, times, and prices are subject to change without notice.

First Runs

theCinematheque.ca

Sherlock Junior – 7:00 pm

Le Million – 8:00 pm

First Runs

Gangs of Wasseypur:

THURS

First Runs

Gangs of Wasseypur:

FRI

First Runs

Gangs of Wasseypur:

Part I — 6:00 pm

Gangs of Wasseypur:

Part II — 7:00 pm

Part II — 9:00 pm

DIM Cinema

Ute Aurand: Eye Movement

Stillness — 7:30 pm

Truffaut’s Doinel Cycle

The 400 Blows — 6:30 pm

Truffaut’s Doinel Cycle

The 400 Blows — 6:30 pm

Truffaut’s Doinel Cycle

Bed and Board — 6:30 pm

Truffaut’s Doinel Cycle

Bed and Board — 6:30 pm

Love on the Run — 8:30 pm

Cinema Sunday

Flight of the Navigator — 1:00 pm

Easy Rider, Easy Pieces

Five Easy Pieces — 6:30 pm

Truffaut’s Doinel Cycle

Love on the Run — 6:30 pm

The 400 Blows — 8:20 pm

Easy Rider, Easy Pieces

Easy Rider — 6:30 pm

Drive, He Said — 8:25 pm

Drive, He Said — 8:30 pm

Easy Rider, Easy Pieces

Antoine and Colette +

Stolen Kisses — 8:30 pm

Stolen Kisses — 6:30 pm

Industrial Music

Industrial Soundtrack for the Urban Decay — 7:00 pm

The Ballad of Genesis and Lady Jaye — 8:15 pm

Industrial Soundtrack for the Urban Decay — 9:45 pm

First Runs

The Wonders — 6:30 pm

Industrial Music

First Runs

The Tribe — 6:30 pm

Easy Rider – 6:30 pm Five Easy Pieces – 8:25 pm

The Wonders — 9:00 pm

The Tribe — 8:40 pm

Easy Rider, Easy Pieces

First Runs

The Wonders — 6:30 pm The Tribe — 8:40 pm

Five Easy Pieces — 4:30 pm Drive, He Said — 6:30 pm Easy Rider — 8:20 pm

First Runs

The Wonders — 6:30 pm

First Runs

The Tribe — 6:30 pm

The Wonders — 9:00 pm

First Runs

The Tribe — 6:30 pm

The Wonders — 9:00 pm

Gothic Migrations

Supernatural + X–Files

Neil Young on Screen

Human Highway: Director’s Cut — 6:30 pm

+ Ginger Snaps — 7:00 pm

Rust Never Sleeps — 9:45 pm

TRUFFAUT’S DOINEL CYCLE 6–7 INDUSTRIAL MUSIC 8

Neil Young on Screen

Human Highway:

THE INDIE FILMMAKERS LAB 17

Greendale — 7:00 pm Journey Through the

Muddy Track — 8:10 pm

Past — 8:45 pm

Film Noir

This Gun for Hire — 6:30 pm

Neil Young on Screen

Dead Man — 6:30 pm

Neil Young on Screen

Solo Trans + A Day at

Muddy Track — 8:45 pm

the Gallery — 6:30 pm

The Blue Dahlia — 8:10 pm

DIM CINEMA 18

AUGUST

FIRST RUNS 12–13

Neil Young on Screen

Director’s Cut — 6:30 pm Rust Never Sleeps — 9:45 pm

EASY RIDER, EASY PIECES 9

CINEMA SUNDAY 17

The 400 Blows — 4:30 pm

Antoine and Colette +

IN THIS ISSUE

NEIL YOUNG ON SCREEN 14–16

Truffaut’s Doinel Cycle

Antoine and Colette +

Greendale — 8:05 pm

NOIR SIDEBAR 5

Gangs of Wasseypur:

Part I — 6:00 pm

Bed and Board — 8:50 pm

The Tribe — 8:40 pm

FILM NOIR 2–5

First Runs

Part I — 6:00 pm

Part II — 7:00 pm

SAT

Part I — 4:00 pm

Gangs of Wasseypur:

Love on the Run — 8:30 pm

THE CINEMATHEQUE IS RECOGNIZED AS AN EXEMPT NON–PROFIT FILM SOCIETY UNDER THE B.C. MOTION PICTURE ACT, AND AS SUCH IS ABLE TO SCREEN FILMS THAT HAVE NOT BEEN REVIEWED BY THE B.C. FILM CLASSIFICATION OFFICE. UNDER THE ACT, ALL PERSONS ATTENDING CINEMATHEQUE SCREENINGS MUST BE MEMBERS OF THE PACIFIC CINÉMATHÈQUE PACIFIQUE SOCIETY AND BE 18 YEARS OF AGE OR OLDER.

Classics From Our Collection

JULY

WED

DIM Cinema

Ute Aurand, Julia Feyrer and

Neil Young on Screen

Dead Man — 6:30 pm

Film Noir Opening Night

Doors – 6:00pm

Neil Young on Screen Journey Through the Past — 6:30 pm Human Highway: Director’s Cut — 8:05 pm Neil Young Trunk Show — 9:45 pm

Film Noir

Gilda — 6:30 pm

Tamara Henderson: Toying

Human Highway:

This Gun for Hire — 7:00 pm

This Gun for

with String — 7:30 pm

Director’s Cut — 8:45 pm

Gilda — 8:50 pm

Hire — 8:40 pm

Film Noir

The Blue Dahlia — 6:30 pm

Gilda — 8:30 pm

Film Noir

Detour — 6:30 pm The Blue Dahlia — 8:00 pm

Film Noir

Laura — 6:30 pm

Film Noir

Laura — 6:30 pm The File on Thelma

Detour — 8:20 pm

Dead Man — 8:30 pm

Jordon — 8:20 pm

GOTHIC MIGRATIONS 18 CLASSICS FROM OUR COLLECTION 19

Cinema Sunday

Summer Wars — 1:00 pm Film Noir

The File on Thelma

Noir Sidebar

Rancho Notorious — 6:30 pm

Johnny Guitar — 8:20 pm

Jordon — 6:30 pm

The File on Thelma

Noir Sidebar

Johnny Guitar — 6:30 pm

Film Noir

The Woman in the

Window — 6:30 pm

TOP: LAURA

The Woman in the

Rancho Notorious — 8:40 pm

Film Noir

In a Lonely Place — 6:30 pm

Window — 6:30 pm In a Lonely Place — 8:30 pm

Film Noir

In a Lonely Place — 6:30 pm

Johnny Guitar — 8:25 pm

Noir Sidebar

The Parallax View — 6:30 pm

Blow Out — 8:30 pm

Noir Sidebar

Blow Out — 6:30 pm The Parallax View — 8:35 pm

Rancho Notorious — 8:30 pm

BOTTOM: GANGS OF WASSEYPUR

Film Noir

The Woman in the Window — 8:25 pm

Laura — 8:30 pm

SPECIAL GUEST IN ATTENDANCE

BACKGROUND IMAGES:

Detour — 8:30 pm

Jordon — 6:30 pm

ALL AGES EVENT

Film Noir

Pickup on South Street — 6:30 pm D .O. A. — 8:10 pm

Film Noir

D .O. A. — 6:30 pm The Big Clock — 8:10 pm

The Indie Filmmakers Lab

Premiere Screening – 7:00 pm

Film Noir

The Big Clock — 6:30 pm

SEPTEMBER

The Big Heat — 8:25 pm

Film Noir

Pickup on South

Film Noir

The Big Heat — 6:30 pm

Street — 6:30 pm

Pickup on South

The Big Clock — 8:10 pm

Street — 8:20 pm

Film Noir

The Big Heat — 6:30 pm D .O. A. — 8:20 pm

Open

Open Minds Open HEARTS Join us Sundays, 10 a.m. at The Cinematheque

1131 Howe Street, Vancouver • cslyaletown.org

Centre for Yaletown

SUN

MON

TUES

TICKETS

Gangs of Wasseypur: Part I — 4:00 pm

First Runs

theCinematheque.ca

Sherlock Junior – 7:00 pm

Le Million – 8:00 pm

First Runs

Gangs of Wasseypur:

THURS

First Runs

Gangs of Wasseypur:

FRI

First Runs

Gangs of Wasseypur:

Part I — 6:00 pm

Gangs of Wasseypur:

Part II — 7:00 pm

Part II — 9:00 pm

DIM Cinema

Ute Aurand: Eye Movement

Stillness — 7:30 pm

Truffaut’s Doinel Cycle

The 400 Blows — 6:30 pm

Truffaut’s Doinel Cycle

The 400 Blows — 6:30 pm

Truffaut’s Doinel Cycle

Bed and Board — 6:30 pm

Truffaut’s Doinel Cycle

Bed and Board — 6:30 pm

Love on the Run — 8:30 pm

Cinema Sunday

Flight of the Navigator — 1:00 pm

Easy Rider, Easy Pieces

Five Easy Pieces — 6:30 pm

Truffaut’s Doinel Cycle

Love on the Run — 6:30 pm

The 400 Blows — 8:20 pm

Easy Rider, Easy Pieces

Easy Rider — 6:30 pm

Drive, He Said — 8:25 pm

Drive, He Said — 8:30 pm

Easy Rider, Easy Pieces

Antoine and Colette +

Stolen Kisses — 8:30 pm

Stolen Kisses — 6:30 pm

Industrial Music

Industrial Soundtrack for the Urban Decay — 7:00 pm

The Ballad of Genesis and Lady Jaye — 8:15 pm

Industrial Soundtrack for the Urban Decay — 9:45 pm

First Runs

The Wonders — 6:30 pm

Industrial Music

First Runs

The Tribe — 6:30 pm

Easy Rider – 6:30 pm Five Easy Pieces – 8:25 pm

The Wonders — 9:00 pm

The Tribe — 8:40 pm

Easy Rider, Easy Pieces

First Runs

The Wonders — 6:30 pm The Tribe — 8:40 pm

Five Easy Pieces — 4:30 pm Drive, He Said — 6:30 pm Easy Rider — 8:20 pm

First Runs

The Wonders — 6:30 pm

First Runs

The Tribe — 6:30 pm

The Wonders — 9:00 pm

First Runs

The Tribe — 6:30 pm

The Wonders — 9:00 pm

Gothic Migrations

Supernatural + X–Files

Neil Young on Screen

Human Highway: Director’s Cut — 6:30 pm

+ Ginger Snaps — 7:00 pm

Rust Never Sleeps — 9:45 pm

TRUFFAUT’S DOINEL CYCLE 6–7 INDUSTRIAL MUSIC 8

Neil Young on Screen

Human Highway:

THE INDIE FILMMAKERS LAB 17

Greendale — 7:00 pm Journey Through the

Muddy Track — 8:10 pm

Past — 8:45 pm

Film Noir

This Gun for Hire — 6:30 pm

Neil Young on Screen

Dead Man — 6:30 pm

Neil Young on Screen

Solo Trans + A Day at

Muddy Track — 8:45 pm

the Gallery — 6:30 pm

The Blue Dahlia — 8:10 pm

DIM CINEMA 18

AUGUST

FIRST RUNS 12–13

Neil Young on Screen

Director’s Cut — 6:30 pm Rust Never Sleeps — 9:45 pm

EASY RIDER, EASY PIECES 9

CINEMA SUNDAY 17

The 400 Blows — 4:30 pm

Antoine and Colette +

IN THIS ISSUE

NEIL YOUNG ON SCREEN 14–16

Truffaut’s Doinel Cycle

Antoine and Colette +

Greendale — 8:05 pm

NOIR SIDEBAR 5

Gangs of Wasseypur:

Part I — 6:00 pm

Bed and Board — 8:50 pm

The Tribe — 8:40 pm

FILM NOIR 2–5

First Runs

Part I — 6:00 pm

Part II — 7:00 pm

SAT

Part I — 4:00 pm

Gangs of Wasseypur:

Love on the Run — 8:30 pm

Classics From Our Collection

JULY

WED

DIM Cinema

Ute Aurand, Julia Feyrer and

Neil Young on Screen

Dead Man — 6:30 pm

Film Noir Opening Night

Doors – 6:00pm

Neil Young on Screen Journey Through the Past — 6:30 pm Human Highway: Director’s Cut — 8:05 pm Neil Young Trunk Show — 9:45 pm

Film Noir

Gilda — 6:30 pm

Tamara Henderson: Toying

Human Highway:

This Gun for Hire — 7:00 pm

This Gun for

with String — 7:30 pm

Director’s Cut — 8:45 pm

Gilda — 8:50 pm

Hire — 8:40 pm

Film Noir

The Blue Dahlia — 6:30 pm

Gilda — 8:30 pm

Film Noir

Detour — 6:30 pm The Blue Dahlia — 8:00 pm

Film Noir

Laura — 6:30 pm

Film Noir

Laura — 6:30 pm The File on Thelma

Detour — 8:20 pm

Dead Man — 8:30 pm

Jordon — 8:20 pm

GOTHIC MIGRATIONS 18 CLASSICS FROM OUR COLLECTION 19

Cinema Sunday

Summer Wars — 1:00 pm Film Noir

The File on Thelma

Noir Sidebar

Rancho Notorious — 6:30 pm

Johnny Guitar — 8:20 pm

Jordon — 6:30 pm

The File on Thelma

Noir Sidebar

Johnny Guitar — 6:30 pm

Film Noir

The Woman in the

Window — 6:30 pm

TOP: LAURA

The Woman in the

Rancho Notorious — 8:40 pm

Film Noir

In a Lonely Place — 6:30 pm

Window — 6:30 pm In a Lonely Place — 8:30 pm

Film Noir

In a Lonely Place — 6:30 pm

Johnny Guitar — 8:25 pm

Noir Sidebar

The Parallax View — 6:30 pm

Blow Out — 8:30 pm

Noir Sidebar

Blow Out — 6:30 pm The Parallax View — 8:35 pm

Rancho Notorious — 8:30 pm

BOTTOM: GANGS OF WASSEYPUR

Film Noir

The Woman in the Window — 8:25 pm

Laura — 8:30 pm

SPECIAL GUEST IN ATTENDANCE

BACKGROUND IMAGES:

Detour — 8:30 pm

Jordon — 6:30 pm

ALL AGES EVENT

Film Noir

Pickup on South Street — 6:30 pm D .O. A. — 8:10 pm

Film Noir

D .O. A. — 6:30 pm The Big Clock — 8:10 pm

The Indie Filmmakers Lab

Premiere Screening – 7:00 pm

Film Noir

The Big Clock — 6:30 pm

SEPTEMBER

The Big Heat — 8:25 pm

Film Noir

Pickup on South

Film Noir

The Big Heat — 6:30 pm

Street — 6:30 pm

Pickup on South

The Big Clock — 8:10 pm

Street — 8:20 pm

Film Noir

The Big Heat — 6:30 pm D .O. A. — 8:20 pm

Open

Open Minds Open HEARTS Join us Sundays, 10 a.m. at The Cinematheque

1131 Howe Street, Vancouver • cslyaletown.org

Centre for Yaletown

EXCLUSIVE FIRST RUNS

“A monster of a film . . . Belongs alongside the great crime sagas of the cinema . . . A gift to film lovers.” – Kurt Halfyard, Twitchfilm “The lovechild of Bollywood and Hollywood . . . A brilliant collage of genres, by turns pulverizing and poetic . . . It’s epic in every sense.” – Maggie Lee, Variety “A rich and exuberant character-driven crime saga in an idiom you absolutely have not encountered before . . . Gangs of Wasseypur is a signal achievement in 21st-century cinema.” – Andrew O’Hehir, Salon

The Wonders (Le meraviglie)

Italy/Switzerland/Germany 2014. Dir: Alice Rohrwacher. 110 min. DCP

An understated, observant coming-of-age tale set during a golden summer in rural central Italy, Alice Rohrwacher’s second feature won the Grand Prix (the festival’s second-highest honour) at Cannes last year and was voted the best film of 2014 without U.S. distribution in a Film Comment poll. Tradition clashes with modernity in the story of adolescent Gelsomina (Maria Alexandra Lungu), who lives with her three younger sisters, Italian mother, and hippie-agrarian German father. The family’s old-fashioned beekeeping and honey-making business is imperilled; the arrival of a juvenile offender from Germany, and the appearance of an Italian TV crew shooting a cheesy reality show (hosted by an opulently-robed Monica Bellucci), provide dramatic incident. Ermanno Olmi, Federico Fellini, and the Dardenne brothers are cinematic touchstones for Rohrwacher’s delicate, affecting, and ultimately magical drama. THURSDAY, JULY 23 – 6:30 PM FRIDAY, JULY 24 – 9:00 PM SATURDAY, JULY 25 – 6:30 PM SUNDAY, JULY 26 – 6:30 PM MONDAY, JULY 27 – 9:00 PM WEDNESDAY, JULY 29 – 9:00 PM

The Tribe (Plemya)

Ukraine 2014. Dir: Myroslav Slaboshpytskiy. 132 min. DCP

A sensation on the festival circuit last year – it won three awards, including the Grand Prix, in the Critics’ Week at Cannes – Ukrainian prodigy Myroslav Slaboshpytskiy’s controversial debut is a one-of-a-kind work. Young Sergey (Grigoriy Fesenko), newly arrived at a boarding school for the deaf, is initiated into the rites and rituals of a brutal teenaged gang engaged in robbery, drugs, and prostitution. The film’s raw violence and graphic sex have raised eyebrows; the cinematic virtuosity of the young writer-director and his cinematographereditor Valentyn Vasyanovych, who are partial to rigorous long takes and fluid Steadicam shots, has drawn much praise. But The Tribe’s boldest stroke is that it is entirely in sign language without subtitles, creating an unusually immersive, intensely active experience for hearing audiences, while also evoking the heightened expressive modes of silent-era cinema! Please note: The Tribe is in (Ukrainian) sign language without subtitles – and is intended to be viewed that way! THURSDAY, JULY 23 – 8:40 PM FRIDAY, JULY 24 – 6:30 PM SATURDAY, JULY 25 – 8:40 PM SUNDAY, JULY 26 – 8:40 PM MONDAY, JULY 27 – 6:30 PM WEDNESDAY, JULY 29 – 6:30 PM

Vancouver Premiere!

Gangs of Wasseypur India 2012. Dir: Anurag Kashyap. Part I: 159 min. Part II: 158 min. DCP

Indian cinema has found its Godfather in writer-director-producer Anurag Kashyap’s bold, brash, utterly enthralling Gangs of Wasseypur, one of the most exhilarating works of cinema you’ll see this year. Clocking in at five hours-plus, and screening in two parts, Kashyap’s explosive, expansive, multigenerational epic charts a blood feud of near-biblical proportions between two rival criminal clans, the Khans and the Singhs, in a coal-mining town in Dhanbad, Jharkhand, in India’s northeast. The film spans seven decades of Indian history and politics, from the early 1940s to the present day. Serving up a marvellous masala of Tarantino, Scorsese, Scarface, Leone, and Woo – “Every fucker’s got his own movie playing in his head,” one character observes – Kashyap fashions his many influences into a distinctive vision rooted in India’s own cinema traditions. Colourful, hyperkinetic, hyperviolent, and often darkly humorous, Wasseypur also makes great use of music, including some remarkably ribald Bollywood tunes. In Hindi with English subtitles. PART I:

WEDNESDAY, JULY 1 – 4:00 PM THURSDAY, JULY 2 – 6:00 PM FRIDAY, JULY 3 – 6:00 PM SATURDAY, JULY 4 – 6:00 PM SUNDAY, JULY 5 – 4:00 PM

PART II:

WEDNESDAY, JULY 1 – 7:00 PM THURSDAY, JULY 2 – 9:00 PM FRIDAY, JULY 3 – 9:00 PM SATURDAY, JULY 4 – 9:00 PM SUNDAY, JULY 5 – 7:00 PM

Regular single/double admission prices in effect each date. One Part – Single Bill Price / Two Parts – Double Bill Price

“A mesmerizing coming-of-age tale: small and sweet in every good way . . . As powerful as it is enchanting.” – Robbie Collin, The Telegraph “Emotionally rich . . . Like a rural Fellini, Rohrwacher mixes the mundane with the absurd to create a sometimes fabulous tale that always feels palpably real.” – Elise Nakhnikian, Slant “Rich, strange, resonant . . . The Wonders captures something profound about the passage to adulthood as a mix of hormonal drama and dream state.” – Lee Marshall, Screen International Grand Prize of the Jury 2014 Cannes Film Festival

“One of the year’s most talked-about films . . . An unforgettably original drama.” – Dimitri Eipides, Toronto International Film Festival “A formally audacious coup de cinema that marks a stunning debut for Ukrainian filmmaker Myroslav Slaboshpytskiy.” – Jason Chang, Variety “I can’t stop thinking about it . . . One of this year’s strangest and most disturbing films.” – Peter Bradshaw, The Guardian Grand Prize, Critics’ Week 2014 Cannes Film Festival

y The Bernard Shakey Film Retrospective:

or more than four decades, the respected singer-songwriter and rock-music legend Neil Young has been pursing an artistic sideline as a filmmaker. Using the nom de cinema Bernard Shakey, Young has directed unorthodox concert films, experimental behind-the-scenes documentaries of life on tour, and music-infused fiction features, including the anarchic, surrealist satire Human Highway (1982), now newly restored and presented here in a new, final director’s cut. Premiered in New York earlier this year, and including several of Young’s collaborations with other directors (Jim Jarmusch’s Dead Man, scored by Young, among them), this first-ever retrospective of Bernard Shakey, auteur, offers a rare opportunity to discover another side of Neil Young’s creative genius, both behind and in front of the camera. It also reveals Mr. Young (big surprise here!) as a true Canadian (or North American) eccentric. My My, Hey Hey!

Special Bernard Shakey Triple Bills! Friday, July 31 Saturday, August 1 Sunday, August 2

Triple Bill Price: $20 Adults / $18 Students & Seniors Regular single and double bill prices otherwise in effect. Annual membership required. 18+ only.

“A supremely odd artifact that reveals a different aspect of Neil Young’s persona.” Ben Kenigsberg, New York Times Vancouver Premiere!

Human Highway: Director’s Cut USA 1982/2014. Dirs: Bernard Shakey, Dean Stockwell. 80 min. DCP

Hey Hey, My My, Neil Young’s one wacky guy! The rock legend with a long-time sideline in film directing (under the pseudonym Bernard Shakey) has been tinkering with this anarchic, apocalyptic musical comedy for more than 30 years. He’s now sending it out to nuke minds in a newly-restored, final-version director’s cut. Young’s nutty Cold War satire is set in and around a gas station/diner near a nuclear plant. The notable cast includes Dean Stockwell, Dennis Hopper, Sally Kirkland, the members of Devo, and Young himself (as dorky mechanic Lionel). The musiciandirector’s environmental concerns, love of cars, and interest in Native American issues all inform the surreal antics. The film has the loopy charm of Peewee’s Playhouse, and has also been aptly described as “if David Lynch directed The Wizard of Oz on acid.” FRIDAY, JULY 31 – 6:30 PM SATURDAY, AUGUST 1 – 8:05 PM SUNDAY, AUGUST 2 – 6:30 PM THURSDAY, AUGUST 6 – 8:45 PM

Greendale

USA 2003. Dir: Bernard Shakey. 85 min. 35mm

“Exquisitely grungy” (Variety), Neil Young’s 2003 musical drama Greendale (also an album and graphic novel) is set in a fictional small-town in northern California, where the Greens, a multigenerational family of anti-war and pro-environment activists, contend with tragedy and changing times. Made with a cast of family and friends, the film was shot on Super 8 and then blown up for intentionally grainy, homespun effect. Young’s Greendale album, a cycle of ten songs, provides the (lip-synched) dialogue and narrative. “The lack of polish is integral to the art . . . A splendid, crotchety artifact. At times it feels like a book of short stories set to music – a touch of Raymond Carver, a hint of Sherwood Anderson . . . Greendale is as full of crazy, honest life as anything Young has done” (A. O. Scott, New York Times). FRIDAY, JULY 31 – 8:05 PM MONDAY, AUGUST 3 – 7:00 PM

Rust Never Sleeps USA 1979. Dir: Bernard Shakey. 103 min. DCP

Now newly restored, Neil Young’s “concert fantasy” – including roadies garbed like Jawas from Star Wars, oversized sets designed to make the rocker appear childlike, and crowd-control announcements apparently recorded at Woodstock – was filmed at the Cow Palace in San Francisco in October 1978 during the legendary Rust Never Sleeps tour. “This film has stirring, even triumphant passages . . . Rust Never Sleeps offers some of his strongest songs, both new and old, in performances as fine or finer than those on the partly-live record album of the same title . . . The intensity of the singing and the playing of Crazy Horse, Young’s long-time partners for electric-rock projects, is as moving as rock can offer” (John Rockwell, New York Times). FRIDAY, JULY 31 – 9:45 PM SUNDAY, AUGUST 2 – 9:45 PM

Journey Through the Past USA 1974. Dir: Bernard Shakey. 74 min. DCP

“Neil Young opens his mind to take you on a Journey Through the Past.” His musical career hitting new peaks of popularity, Neil Young confounded fans with his now-rarely-seen filmmaking debut, a combination of documentary, fantasy, and art-house experiment. Paul Thomas Anderson recently cited the film’s look as an influence on his Inherent Vice. Selffinanced to the tune of $350,000, and credited, like all subsequent Young films, to Bernard Shakey, Journey Through the Past includes performances by Buffalo Springfield, CSNY, and Young solo; footage of Young doing an awkward radio interview, hanging with then-girlfriend Carrie Snodgrass, and philosophizing in a junkyard; and non-sequitur sequences inspired by 1960s European and counterculture cinema. Asked once what people should know before seeing the film, Young replied, “Jeez, I dunno, Just how to get to the theatre, I guess.” SATURDAY, AUGUST 1 – 6:30 PM MONDAY, AUGUST 3 – 8:45 PM

Neil Young Trunk Show USA 2009. Dir: Jonathan Demme. 82 min. DCP

Jonathan Demme has directed a trilogy of Neil Young films. The terrific Trunk Show is derived from two 2007 concerts at the Tower Theater in suburban Philadelphia. “There’s a sense of synapse-sparking whiplash to the proceedings, especially in the discordant way the numbers – electric and acoustic, old tracks and new – are cut together. Trunk Show gives you the profound impression of wandering within an unhinged psyche . . . Young seesaws maniacally around the stage, the music surging and regressing with exhilarating unpredictability . . . The filmmaker has given us another consummate concert film that is easily the equal of Neil Young: Heart of Gold and his classic Talking Heads feature, Stop Making Sense” (Keith Uhlich, Time Out New York). SATURDAY, AUGUST 1 – 9:45 PM

“I think it’s such a great film . . . I love Muddy Track.” — Jim Jarmusch Vancouver Premiere!

Muddy Track

USA 1987. Dir: Bernard Shakey. 72 min. DCP

… In which Neil Young, much enamoured of his new hand-held video camera, fondly names it Otto and takes it on a trip to Europe. Raw, ragged, and keepin’ it real, Neil and Otto’s 1987 rarity, released theatrically for this retrospective, chronicles Neil Young and Crazy Horse on a chaotic Grand Tour of the Continent. There’s a riot in Milan, tantrums backstage, rehearsals in hotels and on the bus, much night-time driving. The film is drenched in feedback, and full of aural and visual distortions; Young here truly earns his cinematic sobriquet Bernard Shakey. “Muddy Track is not a documentary. I don’t know what the fuck it is” (Neil Young). SUNDAY, AUGUST 2 – 8:10 PM TUESDAY, AUGUST 4 – 8:45 PM

“It’s really such a great thing to have this program of Bernard Shakey’s films . . . He’s really an amazing filmmaker.” Jim Jarmusch

Imported 35mm print!

Dead Man

USA 1995. Dir: Jim Jarmusch. 120 min. 35mm

Neil Young’s eerie, brooding electric-guitar score is among the many highlights of cultfavourite Jim Jarmusch’s visionary, deadpan Western, hailed by Greil Marcus as “the best movie of the end of the 20th century.” Johnny Depp is accountant William Blake, whose journey out west for a new job soon has him fleeing vicious bounty hunters - and embarking on a strange spiritual quest with a Native American named Nobody (Gary Farmer). The stellar cast includes Robert Mitchum, Crispin Glover, Steve Buscemi, and Iggy Pop. Young says he scored this supremely visually work – the cinematography is by Wim Wenders regular Robby Müller – as if composing accompaniment for a silent film. “The fulfilment of a cherished counterculture dream, the acid Western” (Jonathan Rosenbaum, Chicago Reader). “This is the Western Andrei Tarkovsky always wanted to make” (J. Hoberman, Village Voice). TUESDAY, AUGUST 4 – 6:30 PM THURSDAY, AUGUST 6 – 6:30 PM MONDAY, AUGUST 10 – 8:30 PM

Solo Trans

USA 1984. Dir: Hal Ashby. 60 min. DCP

Hollywood director Hal Ashby (Harold and Maude, Being There) helmed this hour-long portrait of Neil Young at an artistic crossroads, previously available only in a limited release on LaserDisc. Presented as an episode of Trans-Tour TV, and filmed at a concert in Dayton, Ohio, in 1983, it includes an acoustic set of Young classics, a set of Young’s Trans-era electronic experimentation, and a rockin’ rockabilly finale by Neil and The Shocking Pinks.

followed by

A Day at the Gallery USA 2012. Dir: Bernard Shakey. 40 min. DCP

For his 2012 release Americana, which featured dark, electrified versions of American folk standards, Neil Young commissioned artist Shepard Fairey – known for the “Andre the Giant Has a Posse” sticker and the Obama “Hope” poster – to create an original painting for each of the album’s 11 songs. This faux silent-era film has Young as an author visiting an art gallery, where each of Fairey’s paintings comes to vivid life, accompanied by a track from Americana. The album was Young’s first with Crazy Horse since 2003’s Greendale. MONDAY, AUGUST 10 – 6:30 PM

1616

The Cinematheque’s Education Department presents

An Afternoon Film Program for Children and Their Families

FLIGHT OF THE NAVIGATOR

$6 Children & Youths (under 18) $9 Adults (Cinematheque membership not required)

If there’s one thing the movies do best, it’s whisking audiences away on incredible journeys and fantastic voyages. Travel with us to points unknown in our 2015 Cinema Sunday series, “The Spirit of Adventure.” Teeter on the edge of your seat over the perilous pursuit of ancient artifacts, expeditions of eternal enlightenment, quests to quench fortune and glory, and missions to vanquish the vile villain. We are thrilled to present amazing adventures of the ages… for all ages! Films will be introduced by Vancouver film history teacher, critic, and dashing man of adventure Michael van ben Bos. In-theatre giveaways courtesy of Cinema Sunday community sponsors Videomatica Sales and Golden Age Collectables. Supported by Metro Vancouver

Flight of the Navigator USA 1986. Dir: Randal Kleiser. 90 min. 35mm

A repeat-viewing staple for families of the 1980s, Disney’s sci-fi riff on Rip Van Winkle is “perhaps the finest live-action children’s film to appear under the Disney banner since Uncle Walt’s departure” (Dave Kehr, Chicago Tribune). David, an angsty 12-year-old living in 1978 Fort Lauderdale, falls down a ravine and awakens eight years later, having not aged a day. When NASA discovers that David’s brain is full of intergalactic star maps and blueprints for an E.T. spacecraft – like the one they just recovered – he’s labelled a national threat and locked away. But David is telepathically linked to the UFO’s A.I. computer (giddily voiced by Paul Reuben, aka Pee-wee Herman), and soon he’s at the helm of the shell-shaped saucer for a jailbreak that takes him, and the viewer, on a globetrotting, time-jumping, Beach Boys-scored adventure like no other! After the movie, navigate the Universe with the H.R. MacMillan Space Centre! They’ll be onsite for a special activity all about our solar system. Best of all, you’ll leave with your very own solar system headband. The Space Centre is located at 1100 Chestnut Street (Vanier Park), Vancouver. For more info, visit www.spacecentre.ca. SUNDAY, JULY 19 – 1:00 PM

Summer Wars (Samâ uôzu)

Japan 2009. Dir: Mamoru Hosoda. 114 min. Blu-ray Disc

In partnership with the 39th Annual Powell Street Festival, Cinema Sunday brings back visionary anime director Mamoru Hosoda’s mind-bending cyberpunk adventure to drop jaws and pop eyes again! Winner of the 2010 Japan Academy Prize for Animation of the Year, Summer Wars is a cautionary tale from a nearlythere future where online avatars are the norm, existing and interacting within a globe-spanning web universe known as Oz. When Kenji, an awkward teenage mathlete, accidentally cracks a code that breaches Oz’s security, a nefarious A.I. takes control and threatens to annihilate both the real and virtual worlds. The hallucinatory, Takashi Murakami-esque Oz is popart brilliance. “A kick-ass synthesis of traditional hand-drawn scenes and fluid, rainbow-explosive CG artistry!” (Time Out). The film will be introduced by Mark Takeshi McGregor, Artistic Director of Powell Street Festival, the country’s largest festival of Japanese Canadian arts and culture. Celebrating its 39th year, Powell Street Festival takes place August 1st & 2nd at Oppenheimer Park with live music and dance, children’s activities, Japanese crafts, historic tours, and lots of fantastic Japanese food! For more info, visit www.powellstreetfestival.com. After the screening, audience members are invited to participate in an all-ages origami workshop, where you’ll learn to make your own anime-style avatars by folding pieces of paper. SUNDAY, AUGUST 16 – 1:00 PM

The Indie Filmmakers Lab - Premiere Screening The Indie Filmmakers Lab is a new digital media production program for youths ages 14-19 offered by The Cinematheque Education Department in partnership with the Simon Fraser University School for the Contemporary Arts. This summer’s inaugural program, generously supported by TELUS Optik Local, The Leon and Thea Koerner Foundation, and IATSE Local 891, saw young artists from across the Lower Mainland working in teams to create their own short films. Inspiring and exciting, these projects will debut at our Premiere Screening! Please note: This is an RSVP event. If you are not an Indie Filmmakers Lab participant or an invited guest and are interested in attending, email us at indielab@theCinematheque.ca. TUESDAY, SEPTEMBER 1 – 7:00 PM

PRESENTED BY:

IN PARTNERSHIP WITH:

PRESENTING PARTNER:

WITH SUPPORT FROM:

TOYING WITH STRING III

Moving-image art in dialogue with cinema Programmed by Michèle Smith, co-editor of the art journal Drawing Room Confessions.

www.dimcinema.ca

Thirds

Toying With String III

Ute Aurand: Eye Movement Stillness

Ute Aurand, Julia Feyrer and Tamara Henderson: Toying with String

Vancouver Premieres! Ute Aurand’s diary films, film portraits, and travelogues belong to the lineage of Jonas Mekas, Marie Menken, and Margaret Tait. A key figure in Berlin’s film scene since the 1980s, Aurand records life’s small, ephemeral details on a handheld Bolex camera, later reworking them in a style that is at once energetic, rhythmic, playful, and – unusually for experimental cinema – tender. She has described her filming method as “a brief touch” — “like a swing, to go away and come back and go away and come back again”. For this program, an older film that marked an important turning point for the filmmaker is paired with her most recent work, shot in the U.S., highlighting their differences and their similarities: films that explore the private lives of friends and family, the atmosphere of local and foreign places, and “the absolutely singular, exquisite textures of daily life around her” (Michael Sicinski, mubi.com).

Ute Aurand’s trilogy of silent films, Toying with String I-III (Fadenspiele I-III), was made in a spirit of artistic spontaneity and improvisation with her sister, the painter Detel Aurand, between 1999 and 2013. Filmed inside the artist’s studio and outdoors in forests, fields, and mountains, they utilize various natural and manmade materials, invisibly manipulated, to create images in a constant state of metamorphosis. This aspect of the sisters’ films serves as a bridge to the work of local artists Julia Feyrer and Tamara Henderson, who will show a selection of 16mm films from their collaborative and separate practices. Julia Feyrer works with film, sculpture, sound, and historical photographic techniques to address themes of the corporeal and the temporal. Tamara Henderson translates her experiences of unconscious states, such as dreaming and hypnosis, into sculpture, furniture, and film scenarios. They began working together in 2009 while studying at Frankfurt’s Städelschule, and have exhibited the results of their collaboration at Walter Phillips Gallery, Banff, and the ICA, Philadelphia.

Thirds (Terzen) | Germany 1998. 52 min. 16mm. Sound To Be Here | Germany 2013. 36 min. 16mm. Sound. WEDNESDAY, JULY 8 – 7:30 PM

WEDNESDAY, AUGUST 5 – 7:30 PM

GINGER SNAPS

Liminal Darkness: A Celebration of Canadian Gothic Film Presented in conjunction with “Gothic Migrations,” the biennial conference of International Gothic Association, July 28-August 1 in Vancouver, hosted by Simon Fraser University. An exploration of Canadian Gothic film productions with a focus on Vancouver. Gothic critics Karen Budra and Julia Wright, in tandem with actor/academic Bill Dow, will introduce the first episodes of Vancouver-shot series Supernatural & The X-Files, followed by a screening of the Canadian cult classic Ginger Snaps.

Ginger Snaps

Canada 2000. Dir: John Fawcett. 108 min. DCP

Director John Fawcett and screenwriter Karen Walton put a fresh feminist spin on the horror genre in the bitingly witty, wickedly subversive Ginger Snaps, the tale of two death-obsessed teen sisters (Katharine Isabelle and Emily Perkins) contending with werewolves, menstruation, and the horrors of life in the bland Canadian suburbs. An instant cult classic that has become part of the Canadian cinema canon, “this isn’t just a good horror movie, it’s a good movie. Period” (Tom Charity, Time Out). Conference website and related links: www.sfu.ca/iga2015 THURSDAY, JULY 30 – 7:00 PM Julia M. Wright is Professor of English at Dalhousie

Conference Theme – “Gothic Migrations” : The gothic has

University in Halifax and a former Canada Research Chair

always involved translation, adaptation, travel, diaspora,

in English and Cultural Studies (2002-05) and European

migration, and their variations in the lost son or daughter,

Studies (2005-12). Karen Budra teaches literature & film

the absent father, the escaped slave or criminal, the

studies at Langara College in Vancouver, including Horror

disappeared family member, the alien, underground

Cinema, Cult Cinema, History of Tragedy, and Gothic Field

networks, cross border movements of cults, banditti,

Studies UK. Bill Dow, an actor, director, and writer in

terrorist and other conspiratorial webs. These themes have

theatre, film, and television, is best-known for playing Dr.

engaged gothic works and their criticism for some time

Bill Lee in the Stargate franchises, in addition to recurring

and their significance is growing in a new global economy

roles as Mayor Russ Hathaway in Da Vinci’s Inquest, Mr.

of the gothic. Our subject is the theme of migration

Parkman in Pasadena, and Dr. Charles Burks in The X-Files.

and we will consider the diasporic energies of the gothic mode, the migratory traces of vampires, wanderers, ghosts, demons, revenants, zombies, other supernatural tourists, phantasmal terrorists, and gothic escapees of all kinds.

SHERLOCK JUNIOR

Classics FROM OUR COLLECTION 16mm prints from The Cinematheque archive

All seats $8.00 (single or double bill; adults, students, and seniors) All Ages Welcome Annual $3 membership required for those 18+

Two deliriously dreamy comedy classics!

Sherlock Junior USA 1924. Dir: Buster Keaton. 45 min. 16mm

One of silent-comedy genius Buster Keaton’s most perfectly realized films, this harbinger of Woody Allen’s The Purple Rose of Cairo has the Great Stone Face as a movie projectionist who falls asleep, slides down the projection beam, and enters the world on screen – a world where the ordinary laws of physics have been replaced by the capricious rules of film editing. Sherlock Junior was a work much admired by European avant-gardists and cineastes; the French director René Clair (Le million) considered it comparable to Pirandello’s Six Characters in Search of an Author. “A wonderfully imaginative film, full of extraordinary tricks so immaculately executed that they look simple. It’s a piece of native American surrealism” (Pauline Kael). MONDAY, JULY 6 – 7:00 PM

Le Million

France 1931. Dir: René Clair. 89 min. 16 mm

René Clair’s influential and wildly inventive Le Million is “the best European musical comedy of the early sound period” (Georges Sadoul). A young artist (René Lefèvre) wins a fortune in a lottery, only to discover that he’s left the winning ticket in a discarded jacket. A frantic chase through a stylized studio-set Paris ensues, with the hero followed in hot pursuit by creditors, crooks, cops, and false friends. The film’s delirious opera house sequence inspired the Marx Brothers’ A Night at the Opera. The dreamy production design is by frequent Clair collaborator Lazare Meerson. With remarkably agile camera work, and the director’s trademark experiments with asynchronous sound effects, Le Million is “René Clair at his exquisite best; no one else has ever been able to make a comedy move with such delicate, dreamlike inevitability” (Pauline Kael). MONDAY, JULY 6 – 8:00 PM

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ADMINISTRATIVE OFFICE 200 – 1131 Howe Street Vancouver, BC V6Z 2L7 tel 604.688.8202 fax 604.688.8204 Email: info@theCinematheque.ca Web: theCinematheque.ca STAFF Executive and Artistic Director: Jim Sinclair Managing Director: Amber Orchard Communications + Development: Kate Ladyshewsky Operations & Marketing: Shaun Inouye Education Manager: Liz Schulze Education Intern: Hayley Gauvin Venue Operations Manager: Heather Johnston Assistant Theatre Managers: Elysse Cheadle, Justin Mah, Linton Murphy, Jarin Schexnider Head Projectionist: Al Reid Relief Projectionists: Tim Fernandes, Ron Lacheur, Cassidy Penner, Helen Reed, Amanda Thomson BOARD OF DIRECTORS President: Jim Bindon Vice-President: Eleni Kassaris Secretary: Lynda Jane Treasurer: Elizabeth Collyer Members: David Legault, Moshe Mastai, Wynford Owen, Eric Wyness

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VOLUNTEERS

THE CINEMATHEQUE PROGRAM GUIDE

Theatre Volunteers: Simon Armstrong, Sarah Bakke, Mark Beley, Alex Biron, Eileen Brosnan, Jeremy Buhler, Nadia Chiu, Andrew Clark, Steve Devereux, Bill Dovhey, Ryan Ermacora, Dawn McCormick, Moana Fertig, Kevin Frew, Lesli Froeschner, Andrew Gable, Shokei Green, Paul Griffiths, Joe Haigh, Jessica Johnson, Savannah Kemp, Michael Kling, Viktor Koren, Ray Lai, Christina Larabie, Green Lee, Claudette Lovencin, Britt MacDuff, Vit Mlcoch, Danuta Musial, Chahram Riazi, Will Ross, RJ Rudd, Hisayo Saito, Sweta Shrestha, Paige Smith, Mark David Stedman, Anna Sokolova, Derek Thomas, Stephen Tweedale, Amy Widmer

Program Notes: Jim Sinclair, additional program notes by Shaun Inouye Advertising: Shaun Inouye Proofreading: Kate Ladyshewsky Design: Marc Junker

Distribution: Hazel Ackner, Horacio Bach, Michael Demers, Gail Franko, Jeff Halladay, Alan Kollins, Martin Lohmann, Lynn Martin, Matthew Shields, Lora Tanaka, Vanessa Turner, Justina Vanovcan, John William, Harry Wong Office: Jo B., Sadie Olchewski, Betty-Lou Phillips Education: Michael van den Bos

Published six times a year with a bi-monthly circulation of 10–15,000. Printed by Van Press Printers. ADVERTISING To advertise in this Program Guide or in our theatre before screenings, please email advertising@theCinematheque.ca or call 604.688.8202. SUPPORT The Cinematheque is a charitable not-forprofit arts society. We rely on financial support from public and private sources. Donations are gratefully accepted — a tax receipt will be issued for all donations of $50 or more. To make a donation or for more information, please call our administration office at 604.688.8202.

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