The Cinematheque JUL + AUG 2017

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EXPERIENCE ESSENTIAL CINEMA

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GOIN' DOWN THE ROAD

JULY

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AUGUST 2017

1131 Howe Street | Vancouver | theCinematheque.ca

CANADA ON SCREEN FILM NOIR FUNERAL PARADE OF ROSES THE ORNITHOLOGIST DESERT HEARTS SOLARIS + STALKER MONTEREY POP

July 1-7 A Week of Free Screenings!

Happy 150th Birthday Canada!

y JULY + AUGUST 2017

Canada on Screen

Canada à l’écran

A year-long program celebrating Canada’s 150th birthday and its rich cinematic heritage

Une année complète de programmation célébrant le 150e anniversaire du Canada et la richesse de son patrimoine cinématographique

The Cinematheque is proud to celebrate Canada’s 2017 sesquicentennial with Canada on Screen, an exciting national initiative co-produced by TIFF, The Cinematheque, Library and Archives Canada, and the Cinémathèque québécoise.

Canada on Screen is the most ambitious retrospective of Canada’s moving-image heritage ever mounted. In honour of Canada’s 150th birthday, a list of Canada’s 150 essential moving-image works, based on a countrywide poll of critics, scholars, and industry professionals, has been compiled across nine categories: feature films, documentaries, shorts, animation, experimental film and video, moving-image installations, music videos, commercials, and television shows. These 150 masterworks, many of them newly restored, will be made available to Canadians everywhere in 2017.

A full list of the essential 150 is available at tiff.net/canadaonscreen Throughout the year, The Cinematheque will be presenting special free screenings showcasing many of these 150 works. Please join us and discover – or rediscover – the breadth, boldness, and wealth of Canada’s cinema history, a remarkable cultural legacy.

The Cinematheque est fière de célébrer en 2017 les 150 ans du Canada avec Canada à l’écran, une initiative nationale stimulante coproduite par le TIFF, The Cinématheque, Bibliothèque et Archives Canada et la Cinémathèque québécoise.

Canada à l’écran est la rétrospective consacrée au patrimoine cinématographique et vidéographique canadien la plus ambitieuse jamais organisée. En l’honneur du 150e anniversaire du pays, une liste de 150 œuvres canadiennes essentielles a été établie selon un groupe pancanadien de critiques, de chercheurs et de membres de l’industrie. Elles sont présentées en neuf catégories : longs métrages de fiction, documentaires, courts métrages, films et vidéos expérimentaux, installations vidéo, vidéoclips, films publicitaires et émissions de télévision. Ces 150 œuvres, dont plusieurs ont fait l’objet d’une restauration récente, seront présentées aux Canadiens partout au pays en 2017. Une liste complète des 150 œuvres essentielles est disponible ici : tiff.net/canadaonscreen.

Tout au long de l’année, The Cinematheque présentera gratuitement des séances de projection spéciales mettant en vedette plusieurs de ces 150 œuvres. Venez découvrir – ou redécouvrir – avec nous la portée, l’audace et la richesse de l’histoire cinématographique canadienne et de son héritage culturel.

Acknowledgment As we commemorate Canada 150, The Cinematheque acknowledges that Vancouver is located on the unceded lands of the Coast Salish peoples, including the traditional territories of the Musqueam, Squamish, and Tsleil-Waututh First Nations.

Reconnaissance Tandis que nous soulignons le 150e anniversaire du Canada, The Cinematheque reconnaît que Vancouver est située sur les terres ancestrales des Salish du littoral, y compris les territoires traditionnels des nationsdes nations Musqueam, Squamish, et Tsleil-Waututh.

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Happy 150th Birthday Canada!

A Week of Free Screenings – July 1-7!

As the centrepiece of our year-long Canada on Screen program, The Cinematheque celebrates Canada Day and Canada’s 150th birthday with a week of free screenings, featuring many of Canada’s greatest film (and television) works, from Anne of Green Gables to Jesus of Montreal. Go log-driving with The Log Driver’s Waltz. Go down the road with Goin’ Down the Road. Visit Winnipeg in My Winnipeg. Meet Glenn Gould in Thirty Two Short Films About Glenn Gould. And enjoy more free Canada on Screen presentations throughout the summer and the remainder of 2017! Bonne fête!

Joyeux 150e anniversaire, Canada!

Semaine de projections gratuites : du 1er au 7 juillet Pour célébrer la fête du Canada et le 150e anniversaire du pays, The Cinematheque organise une semaine de projections gratuites; un événement-clé de son programme Canada à l’écran, qui se poursuit toute l’année. Au programme : certaines des plus grandes œuvres canadiennes produites pour le petit et le grand écran, d’Anne… la maison aux pignons verts à Jésus de Montréal. Explorez la drave avec La valse du maître draveur, prenez la route avec Goin’ Down the Road, visitez Winnipeg avec Winnipeg mon amour, ou rencontrez Glenn Gould avec Trente-deux films brefs sur Glenn Gould. Profitez également de plusieurs autres projections gratuites organisées par Canada à l’écran tout au long de l’été et de l’année 2017. Bonne fête!

Free Admission!

Entrée gratuite!

Mon oncle Antoine

Mon oncle Antoine

(My Uncle Antoine) Canada 1971. Dir: Claude Jutra. 104 min. DCP

A national treasure! Voted the best Canadian film of all time in 1984, 1993, and 2004 national polls conducted by TIFF, Claude Jutra’s evocative coming-of-age tale is set in a remote Quebec mining community in the 1940s. Its protagonist is Benoît (Jacques Gagnon), a 15-year-old boy who loses his illusions and his innocence one Christmas as he observes the adult world of hypocrisy, unhappiness, and incompetence. The plot centres on a sleigh trip Benoît and his drunken uncle, the local undertaker, must take in the midst of a blizzard to collect a neighbour’s body. The film, rich in detail, incident, and characterization, features the beautiful wintry camerawork of Michel Brault, perhaps Canada’s most gifted cinematographer.

SATURDAY, JULY 1 – 4:00 PM

Canada 1971. Réal. : Claude Jutra. 104 min. DCP

Un trésor national! Les sondages nationaux menés par le TIFF en 1984, 1993 et 2004 ont nommé cette fable d’apprentissage de Claude Jutra le meilleur film canadien de tous les temps. Dans une ville minière reculée du Québec des années 1940, Benoît (Jacques Gagnon), 15 ans, perd ses illusions et son innocence à Noël, tandis qu’il observe les adultes hypocrites, malheureux et incompétents autour de lui. Le récit est centré sur la promenade en traîneau de Benoît avec son oncle ivre, qui est aussi l’homme à tout faire du village. Ensemble, ils doivent traverser un blizzard pour aller chercher le cadavre d’un voisin. Remplie de détails, d’incidents et de personnages captivants, l’œuvre met en vedette les magnifiques images hivernales captées par Michel Brault, qui est sans doute l’un des directeurs photo canadiens les plus accomplis.

SAMEDI, 1ER JUILLET – 16 H

GOIN' DOWN THE ROAD

LOG DRIVER'S WALTZ

Free Admission! New Restoration!

Entrée gratuite! Nouvelle copie restaurée!

Goin’ Down the Road

Goin’ Down the Road

Don Shebib’s hoser classic may be the archetypal English-Canadian movie! Winner of the 1970 Canadian Film Award for Best Feature – and subject of a famous SCTV parody with John Candy and Joe Flaherty – Shebib’s legendary work casts Doug McGrath and Paul Bradley as Pete and Joey, two high-spirited young men who flee the poverty of the Maritimes for the bright lights of big-city Toronto, only to find their dreams dashed on Hogtown’s mean streets. Made for a pittance, shot on 16mm (blown up to 35mm), and filmed in a semi-documentary style, Goin’ Down the Road proved both a critical and commercial success, becoming one of the first English-Canadian features that Canadians actually saw – and saw themselves in! It remains an iconic work.

Ce classique signé Don Shebib pourrait bien être l’archétype du film canadien-anglais! Ayant remporté le prix du meilleur film décerné par le Palmarès du film canadien en 1970, et été le sujet d’une parodie célèbre de SCTV avec John Candy and Joe Flaherty, le film légendaire met en scène Doug McGrath et Paul Bradley dans les rôles de Pete et Joey. Déterminés à fuir la pauvreté des Maritimes, ces deux jeunes hommes mettent le cap sur Toronto, grande métropole où leurs rêves sont confrontés à la réalité de la rue. Tourné avec peu de moyens, en 16 mm (puis gonflé en 35 mm) et avec un style quasi documentaire, Goin’ Down the Road a profité d’un succès à la fois critique et commercial.

Il s’agissait de l’un des premiers longs métrages canadiens que les gens allaient voir en salle, et aussi l’un des premiers dans lesquels ils se reconnaissaient. Une œuvre iconique.

Canada 1970. Dir: Donald Shebib. 90 min. DCP

preceded by

Canada 1970. Réal. : Donald Shebib. 90 min. DCP

précédé de

Log Driver’s Waltz Canada 1979. Dir: John Weldon. 3 min. DCP

Kate and Anna McGarrigle sing Wade Hemsworth’s “The Long Driver’s Waltz” in John Weldon’s infectious animated short, the lively tale of a dance-loving young woman keen to be courted by a toque-and-plaid-clad log driver.

SATURDAY, JULY 1 – 6:00 PM TUESDAY, JULY 4 – 8:10 PM

La valse du maître draveur Canada 1979. Réal. : John Weldon. 3 min. DCP

Kate et Anna McGarrigle chantent « The Long Driver’s Waltz » de Wade Hemsworth dans ce court métrage animé irrésistible de John Weldon. Il raconte l’histoire entraînante d’une jeune femme qui aime danser et se faire courtiser par un draveur portant une tuque et une chemise à carreaux.

SAMEDI, 1ER JUILLET – 18 H MARDI, 4 JUILLET – 20 H 10

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Free Admission! New Restoration!

Entrée gratuite! Nouvelle copie restaurée!

Jesus of Montreal

Jésus de Montréal

(Jésus de Montréal) Canada 1989. Dir: Denys Arcand. 120 min. DCP

Already the most internationally-acclaimed Canadian filmmaker of the 1980s, Denys Arcand cemented his reputation with this rich, provocative satirical drama, winner of the Jury Prize at Cannes and 12 Genies at home, and the second-straight Arcand film (after The Decline of the American Empire) to be nominated for an Oscar. A send-up of big media, organized religion, and contemporary mores, Arcand’s triumph features Lothaire Bluteau as a young Montreal actor asked by the Church to revitalize its moribund annual Passion Play. When he mounts a unorthodox version that reinterprets the historical record and emphasizes the radical spirit of the Gospels, the Church is not amused, setting the stage for modern-day martyrdom and Passion.

SATURDAY, JULY 1 – 8:00 PM

Canada 1989. Réal. : Denys Arcand. 120 min. DCP

Au cours des années 1980, Denys Arcand était déjà le réalisateur canadien jouissant de la plus importante renommée internationale, et il n’a fait que confirmer ceci grâce à ce long métrage lauréat du Prix du jury à Cannes et de 12 Prix Génie. Ce drame satirique riche et provocateur était aussi son second film de suite à être mis en nomination aux Oscars (après Le déclin de l’empire américain).

Combinant une critique des grands médias, des religions organisées et des mœurs contemporaines, le grand succès d’Arcand met en scène Lothaire Bluteau en tant que jeune acteur montréalais à qui l’Église a demandé de revitaliser sa représentation annuelle moribonde de la Passion. Lorsqu’il crée une version qui suit radicalement les évangiles, l’Église est loin d’être ravie, ce qui entraîne une vision très moderne de la Passion et du concept de martyr.

SAMEDI, 1ER JUILLET – 20 H

Free Admission! New Restoration!

Entrée gratuite! Nouvelle copie restaurée!

Léolo

Léolo

A young boy growing up in a wildly dysfunctional Montreal family finds refuge in his imagination in enfant terrible JeanClaude Lauzon’s memorable – and memorably bizarre – second feature. Léo, the protagonist of Lauzon’s deliriously surreal, darkly unsettling dramedy, fancies himself a Sicilian named Léolo, and believes his mother - played by renowned chanteuse Ginette Reno – was impregnated by a tomato. He’s also begun cultivating elaborate sexual fantasies about a neighbour – and plotting revenge against his unlikely rival. Lauzon’s debut, Un zoo la nuit, won a record 13 Genies in 1988; Léolo, voted one of the ten best Canadian films of all time in a 2015 critics poll, proved to be the director’s final work: Lauzon died in a plane crash in 1997.

Dans le second film de Jean-Claude Lauzon, un garçon élevé dans une famille terriblement dysfonctionnelle de Montréal trouve refuge dans son imagination. Cette comédie dramatique mémorable (et mémorablement étrange) met en scène les délires surréalistes parfois sombres et déstabilisants du jeune Léo, qui s’est créé un alter ego sicilien nommé Léolo et croit que sa mère (interprétée par la célèbre chanteuse Ginette Reno) a été engrossée par une tomate. Il se met aussi à fantasmer à propos d’une voisine, planifiant sa revanche contre un adversaire peu banal. Tandis que le premier long de Lauzon, Un zoo la nuit, avait récolté 13 Prix Génie en 1988, Léolo a été nommé l’un des meilleurs films canadiens de tous les temps en 2015, dans le cadre d’un sondage mené auprès de critiques. Et cette œuvre s’est avérée sa dernière, puisque le réalisateur a péri dans un accident d’avion en 1997.

Canada 1992. Dir: Jean-Claude Lauzon. 107 min. DCP

SUNDAY, JULY 2 – 6:00 PM

Canada 1992. Réal. : Jean-Claude Lauzon. 107 min. DCP

DIMANCHE, 2 JUILLET – 18 H

Free Admission!

Entrée gratuite!

The Sweet Hereafter

The Sweet Hereafter

Atom Egoyan’s spellbinding adaptation of Russell Banks’s haunting novel earned an avalanche of honours, including seven Genies, three prizes at Cannes, and two Oscar nominations (for Director and Adapted Screenplay). Transposing the book’s wintry setting from upstate New York to the interior of British Columbia, The Sweet Hereafter spins a complex, devastating tale of a small community attempting to cope with cataclysmic tragedy: the deaths of 14 of its children in a school-bus accident. The film, nonlinear in the preferred Egoyan manner, was widely praised as the cerebral director’s warmest and most accessible to date, and is now routinely cited as one of Canadian cinema’s greatest works.

Signée Atom Egoyan, cette fascinante adaptation du troublant roman de Russell Banks a reçu une avalanche de récompenses, y compris sept Prix Génie, trois prix à Cannes et deux nominations aux Oscars (meilleure réalisation et meilleure adaptation). Transposant le contexte hivernal du livre de l’État de New York jusqu’aux confins de la Colombie-Britannique, The Sweet Hereafter développe un récit complexe et poignant sur la vie d’un village devant composer avec une tragédie immense : le décès de 14 enfants dans accident d’autobus scolaire. Structuré de façon non linéaire à la Egoyan, le film a été chaudement accueilli et considéré comme l’un des les plus accessibles créés par ce réalisateur cérébral. Il est désormais régulièrement cité parmi les meilleures œuvres du cinéma canadien.

Canada 1997. Dir: Atom Egoyan. 110 min. DCP

Canada 1997. Réal. : Atom Egoyan. 110 min. DCP

SUNDAY, JULY 2 – 8:05 PM

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DIMANCHE, 2 JUILLET – 20 H 05

Free Admission! New Restoration! Miniseries Marathon!

Entrée gratuite! Nouvelle copie restaurée! Marathon de minisérie!

Anne of Green Gables

Anne… la maison aux pignons verts

Canada 1985. Dir: Kevin Sullivan. 199 min. DCP

Back by popular demand! Anne of Green Gables, the seminal CBC miniseries, is one of Canadian television’s most prized, perennial works. The first of four TV adaptations of Canadian author Lucy Maud Montgomery’s popular Victorian-set novels — all produced and written by Kevin Sullivan, who here directs as well — Anne features Toronto-born actress Megan Follows as sweet-natured, tough-willed, red-topped Anne Shirley, an orphan girl adopted by two elderly P.E.I. siblings (played by screen veterans Colleen Dewhurst and Richard Farnsworth) who were expecting a boy. A homegrown phenomenon and international hit, the Emmy-winning Anne ranks as the most watched Canadian television drama of all time!

Anne of Green Gables screens in two parts, each approximately 100 minutes in length. There will be a 15-minute intermission between Part 1 and Part 2.

MONDAY, JULY 3 – 1:00 PM

Canada 1985. Réal. : Kevin Sullivan. 199 min. DCP

De retour, à la demande générale! La célèbre minisérie de CBC Anne… la maison aux pignons verts est l’une des œuvres télévisuelles les plus célébrées de tous les temps. La première des quatre adaptations pour la télé de la populaire série de romans victoriens de Lucy Maud Montgomery a été entièrement produite et scénarisée par Kevin Sullivan, qui est ici également réalisateur. L’actrice torontoise Megan Follows y incarne Anne, cette orpheline rousse aussi douce que courageuse ayant été adoptée à l’Île-du-Prince-Édouard par un duo frère-sœur (incarné par les acteurs d’expérience Richard Farnsworth et Colleen Dewhurst), qui attendait plutôt un garçon. Véritable phénomène local et international, Anne… a raflé un Emmy et est la série dramatique canadienne la plus populaire de tous les temps!

La minisérie Anne… la maison aux pignons verts sera présentée en deux parties d’une durée approximative de 100 minutes chacune.

Il y aura un entracte de 15 minutes entre la Partie 1 et la Partie 2.

LUNDI, 3 JUILLET – 13 H

Free Admission!

Entrée gratuite!

Mommy

Mommy

Still in his twenties, Québécois wunderkind and Cannes darling Xavier Dolan (I Killed My Mother, Lawrence Anyways) already has six wondrous features under his belt. He may be the world’s most acclaimed – and exciting – young filmmaker! Dolan’s fondness for extravagant melodrama and exuberant meta-cinematic stylization is on audacious display in Mommy, his virtuoso fifth feature, a feverish family drama rendered with startling formal daring. After a struggling single mom (Anne Dorval) brings her volatile teenage son (Antoine-Olivier Pilion) home from an institution, a shy neighbour (Suzanne Clément) unexpectedly inserts herself into their love-hate relationship. Dorval and Clément are Dolan regulars. The film is shot in vivid colour and an unusual, cellphone-video-like 1:1 screen ratio, to dynamic effect.

Même s’il est encore dans la vingtaine, le phénomène du cinéma québécois et chouchou de Cannes Xavier Dolan (J’ai tué ma mère, Lawrence Anyways) a déjà six fabuleux longs métrages à son actif. Il pourrait bien être le jeune réalisateur le plus intéressant et acclamé au monde! Son intérêt pour les mélodrames extravagants et les effets cinématographiques réflexifs et exubérants sont manifestes dans Mommy, cinquième film génial qui nous plonge dans un drame familial dont la forme est innovatrice. Quand une mère célibataire (Anne Dorval) va chercher son fils adolescent (Antoine-Olivier Pilon) dans le centre où il était confiné, une voisine timide (Suzanne Clément) s’insère de façon inattendue dans leur relation amour-haine. Dorval et Clément sont des actrices qui travaillent régulièrement avec Dolan. L’œuvre aux couleurs vives est tournée dans un format carré inhabituel (similaire à une vidéo de téléphone cellulaire) produisant un grand impact.

Canada 2014. Dir: Xavier Dolan. 134 min. DCP

MONDAY, JULY 3 – 7:00 PM

Canada 2014. Réal. : Xavier Dolan. 134 min. DCP

LUNDI, 3 JUILLET – 19 H

Free Admission!

Entrée gratuite!

Reason Over Passion

La raison avant la passion

(La raison avant la passion) Canada 1968. Dir: Joyce Wieland. 82 min. 16mm

Joyce Wieland, one of Canada’s foremost avant-garde filmmakers and visual artists, offers a cinematic intervention into the eternal debate about Canadian identity in this epic, visionary, experimental road movie, perhaps her greatest moving-image work. Exploring “the pain and joy of living in a very large country,” and etched with structuralist/materialist formal touches, Wieland’s film traverses our nation’s landscapes, hallowed symbols, and politics, and takes issue with that famous phrase – “reason over passion” – from Pierre Trudeau. “One of the most haunting journeys you’ll ever take across the gargantuan land we call, however tenuously, home” (Take One).

“It remains one of the most passionate (and reasoned) celebrations of Canada ever filmed” (Peter Morris, The Film Companion).

TUESDAY, JULY 4 – 6:30 PM

Canada 1968. Réal. : Joyce Wieland. 82 min. 16 mm

Joyce Wieland, l’une des plus grandes artistes visuelles et réalisatrices de l’avant-garde canadienne, intervient dans l’éternel débat sur l’identité canadienne avec ce road-movie épique, visionnaire et expérimental, qui est sans doute l’une de ses œuvres audiovisuelles les plus accomplies. Exprimant « la douleur et la joie de vivre dans un immense pays », et dessiné avec une touche structuraliste et matérialiste, le film de Wieland parcourt les paysages, les symboles et la politique de notre pays, tirant son titre d’une phrase emblématique de Pierre Trudeau. « L’un des voyages les plus troublants que vous entreprendrez sur le territoire gargantuesque que nous nommons, fragilement, chez nous. » (Take One) « Ce film demeure l’une des célébrations les plus passionnées (et raisonnées) du Canada jamais tournées. » (Peter Morris, The Film Companion) MARDI, 4 JUILLET – 18 H 30

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Free Admission! New Restoration!

Entrée gratuite! Nouvelle copie restaurée!

La vie rêvée

La vie rêvée

Canada 1972. Réal. : Mireille Dansereau. 85 min. DCP

(Dream Life) Canada 1972. Dir: Mireille Dansereau. 85 min. DCP

Ambitious, ironic, visually seductive, and playful, Mireille Dansereau’s superb debut feature was the first fiction feature in Quebec (and only the second in Canada) to be directed by a woman. Two young “liberated” women working for a film company share a crush on, and elaborate fantasies about, an older “ideal man,” but find their romantic illusions disappointed by imperfect reality. Deftly mixing dreams, parody sequences, media images, and diverse film styles to explore the social construction (and marginalization) of female desire, Dansereau’s witty, engaging milestone won the 1972 Canadian Film Award for “outstanding artistic achievement.” “A thoughtful exploration of liberation, of sexuality, of friendship and, not least, of the overwhelming power of imagery” (Peter Morris, The Film Companion).

Ambitieux, ironique, visuellement séduisant et ludique, le superbe premier film de Mireille Dansereau a été le premier long métrage de fiction réalisé par une femme au Québec (et le second réalisé par une femme au Canada). Deux jeunes femmes « libérées » travaillant dans l’industrie du cinéma fantasment sur un même « homme idéal », mais leurs illusions romantiques sont vite déçues par la réalité imparfaite. Mêlant habilement les rêves, les séquences parodiques, les images médiatiques et divers styles cinématographiques, Dansereau y explore la construction sociale du désir féminin et sa marginalisation. Ce chef-d’œuvre fascinant et rempli de finesse a remporté le prix de la « réalisation artistique exceptionnelle » décerné par le Palmarès du film canadien en 1972. « Une exploration réfléchie de la libération, de la sexualité et de l’amitié, mais aussi de l’énorme pouvoir des images. » (Peter Morris, The Film Companion).

MERCREDI, 5 JUILLET – 18 H 30

WEDNESDAY, JULY 5 – 6:30 PM

CAMERAS TAKE FIVE

MY WINNIPEG

Free Admission!

Entrée gratuite!

My Winnipeg

Winnipeg mon amour

Geriatric hockey. Frozen horse heads jutting surreally out of the iced-over Red River. A scary Ann Savage, femme fatale of the 1945 noir classic Detour, as the director’s hairdresser mother. Guy Maddin’s wondrous My Winnipeg, a free-wheeling, fantastical mock-memoir that couldn’t possibly be mistaken for anyone else’s Winnipeg, is a sheer demented pleasure – another triumph from the movie obsessive and mad genius who is one of Canada’s (and the world’s) most distinctive filmmakers. “A hilarious ‘docu-fantasia’ . . . At once an autobiographical fever dream, a mythopoeic history of Canada’s coldest city, and a wacky exercise in ethnography . . . Holding together its hallucinatory blend is the director’s inspired, entertaining narration (James Adams, Globe and Mail).

Du hockey gériatrique; des têtes de chevaux gelées qui émergent de façon surréelle de la rivière Rouge; Ann Savage, femme fatale du film noir classique Detour (1945), coiffeuse et mère du réalisateur…

Le fascinant Winnipeg mon amour constitue les faux mémoires libres et fantastiques de Guy Maddin, et sa vision singulière de Winnipeg ne pourrait certainement pas être attribuée à un autre.

Procurant un plaisir fou et pur, ce film est un autre triomphe du génie créatif et obsessif qui est aussi l’un des cinéastes les plus particuliers au Canada (et au monde). « Une hilarante “docu-fantaisie”… À la fois un rêve fiévreux autobiographique, une histoire mythopoétique de l’une des villes les plus froides au Canada, et un excentrique exercice d’ethnographie… Ce qui lie ce mélange hallucinatoire est la narration inspirée et divertissante du réalisateur. » (James Adams, Globe and Mail).

Canada 2007. Dir: Guy Maddin. 80 min. 35mm

preceded by

Canada 2007. Réal. : Guy Maddin. 80 min. 35 mm

précédé de

Cameras Take Five

Canada 2002. Dir: Steven Woloshen. 3 min. DCP

An exuberant, abstract study of shape and line, set to Dave Brubeck’s recording of “Take Five,” and handmade by Montreal’s Steven Woloshen, whose cameraless animations (drawn or scratched directly onto film) have extended the tradition of Norman McLaren and Len Lye. WEDNESDAY, JULY 5 – 8:15 PM

Cameras Take Five

Canada 2002. Réal. : Steven Woloshen. 3 min. DCP

Une étude abstraite et exubérante des formes et des lignes, basée sur l’enregistrement de « Take Five » de Dave Brubeck et créée à la main par le Montréalais Steven Woloshen, dont les animations sans caméra (dessinées ou grattées sur la pellicule) poursuivent la tradition de Norman McLaren et Len Lye. MERCREDI, 5 JUILLET – 20 H 15

BEGONE DULL CARE LONELY BOY RHAPSODY IN TWO LANGUAGES

THE HEART OF THE WORLD LES RAQUETTEURS

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Free Admission!

Entrée gratuite!

Canadian Rhapsodies: A Canada on Screen Shorts Programme

Programme de courts métrages Canadian Rhapsodies de Canada à l’écran

Music is a principal element in this mixed programme of five essential and historic Canadian films, spanning the categories of animation, documentary, and shorts.

La musique est l’élément central de ce programme mixte composé de cinq films canadiens essentiels et historiques appartenant aux catégories animation, documentaires et courts métrages.

New Restoration!

Rhapsody in Two Languages

Nouvelle copie restaurée!

Rhapsody in Two Languages

Canada 1934. Dir: Gordon Sparling. 11 min. DCP

Canada 1934. Réal. : Gordon Sparling. 11 min. DCP

From his “Canadian Cameo” series of theatrical shorts, Canadian cinema pioneer Sparling’s dynamic portrait of Montreal is a “city symphony” film in the tradition of Walter Ruttmann and Dziga Vertov – and one of our national cinema’s founding works!

Courtesy of Library and Archives Canada.

Issu de la série « Canadian Cameo » du pionnier du cinéma canadien Gordon Sparling, ce dynamique portrait de Montréal est un film de « symphonie urbaine », dans la lignée de Walter Ruttmann et Dziga Vertov, mais aussi l’une des œuvres fondatrices de notre cinéma national! Avec l’aimable autorisation de Bibliothèque et Archives Canada.

Begone Dull Care Canada 1949. Dirs: Norman McLaren, Evelyn Lambert. 7 min. DCP

Caprice en couleurs

Jazz and cinema fuse in ecstatic fashion in McLaren and Lambert’s masterpiece of hand-drawn, cameraless animation, an abstract visual interpretation of Oscar Peterson’s music.

Canada 1949. Réal. : Norman McLaren, Evelyn Lambert. 7 min. DCP

Le jazz et le cinéma s’unissent de manière extatique dans ce chefd’œuvre d’animation dessinée et sans caméra de McLaren et Lambert, qui offrent une interprétation visuelle abstraite de la musique d’Oscar Peterson.

Les raquetteurs (The Snowshoers) Canada 1958. Dirs: Gilles Groulx, Michel Brault. 15 min. DCP

Les raquetteurs

Groulx and Brault invented Direct Cinema in Canada with this lively, landmark record of a snowshoeing festival, complete with marching bands and beauty queens, in Sherbrooke, Quebec.

Much admired by the Europeans, it pointed the way for the masterful documentaries of the NFB’s then-new French unit.

Canada 1958. Réal. : Gilles Groulx, Michel Brault. 15 min. DCP

Groulx et Brault ont inventé le cinéma direct avec ce film phare vivantqui capte un festival de raquette, ses fanfares et ses reines de beauté à Sherbrooke, au Québec. Cette œuvre très saluée par les Européens a ouvert la voie aux nombreux chefs-d’œuvre documentaires produits par le studio francophone de l’ONF, qui venait de naître.

The Heart of the World Canada 2000. Dir: Guy Maddin. 6 min. DCP

The Heart of the World

Maddin’s faux silent melodrama mixes Metropolis, Murnau, and Eisenstein in a mad, breathless Kino rush. “Not just the most perfectly distilled example of Maddin’s cine-delirium but one of the most exhilarating motion-picture triple-espresso shots ever created” (Jason Anderson, Canada on Screen digital catalogue).

Canada 2000. Réal. : Guy Maddin. 6 min. DCP?

Ce faux mélodrame muet signé Guy Maddin mêle Métropolis, Murnau et Eisenstein en un délire kino effréné. « The Heart of the World est non seulement le parfait exemple du délire cinématographique de Maddin, mais aussi l’un des plus grands coups de fouet filmiques jamais concoctés. » (Jason Anderson, catalogue numérique de Canada à l’écran)

Lonely Boy Canada 1962. Dirs: Wolf Koenig, Roman Kroitor. 27 min. DCP

Cinema’s first rock doc was this trailblazing fly-on-the-wall portrait of Ottawa heartthrob Paul Anka, made by the NFB’s legendary Unit B. “A landmark in the history of cinéma vérité, Koenig and Kroitor’s sly half-hour deconstruction of the packaging and selling of the 20-year-old teen idol is as subtle as it is merciless.

Shot in the full fleeting flush of Anka’s pre-Fab Four fame — when the fresh-faced singer-songwriter could draw thousands of screaming and swooning girls — this NFB production deftly walks the razor’s edge between cold editorial indictment and cool objectivity” (Geoff Pevere, Canada on Screen digital catalogue).

THURSDAY, JULY 6 – 6:30 PM

Lonely Boy Canada 1962. Réal. : Wolf Koenig, Roman Kroitor. 27 min. DCP

Ce portrait révolutionnaire fait par la légendaire Unité B de l’ONF du tombeur d’Ottawa Paul Anka constitue le premier rockumentaire. « Œuvre phare de l’histoire du cinéma-vérité, ce film d’une demi-heure de Wolf Koenig et Roman Kroiter, qui se veut une déconstruction intelligente du mythe commercial et bien ficelé qu’incarne Paul Anka, l’idole des jeunes âgée de 20 ans, est aussi subtile qu’impitoyable. Tournée alors qu’Anka était dans tout l’éclat de sa célébrité avant l’émergence des Beatles, lorsqu’il voyait crier et se pâmer devant lui des milliers de jeunes filles, cette production de l’ONF navigue habilement entre la froide accusation et la fraîche objectivité. » (Geoff Pevere, catalogue numérique de Canada à l’écran).

JEUDI, 6 JUILLET – 18 H 30

Free Admission!

Entrée gratuite!

Thirty Two Short Films About Glenn Gould

Trente-deux films brefs sur Glenn Gould

Director François Girard and screenwriter Don McKellar reinvented the movie biography in this bracingly original portrait of the late Canadian pianist Glenn Gould (played by Bon Cop, Bad Cop’s Colm Feore). The film eschews both conventional drama and conventional documentary for a kaleidoscopic approach that delivers precisely what the title promises: 32 short films — dramatizations, interviews, experiments — about its subject. The 32-segment structure is modelled on Bach’s Goldberg Variations, famously recorded twice

by Gould. One section is an abridged version of Spheres, Norman McLaren’s 1969 animated short scored by Gould. The unorthodox methods succeed brilliantly, capturing and illuminating the enigma of Gould’s eccentric genius in ways conventional approaches surely could not. This is audacious, inspiring, richly intelligent filmmaking.

Le réalisateur François Girard et le scénariste Don McKellar ont réinventé le film biographique grâce à ce portrait original du pianiste canadien Glenn Gould (interprété par Colm Feore, en vedette dans Bon Cop, Bad Cop). Le film esquive à la fois les normes de la fiction dramatique et du documentaire, privilégiant une approche kaléidoscopique qui livre exactement ce qu’annonce le titre : 32 films brefs – des reconstitutions dramatiques, des entretiens et des expérimentations –à propos de son sujet. La structure en 32 segments s’appuie sur les célèbres Variations Goldberg de Bach, qui ont été enregistrées deux fois par Gould.

L’une des sections est la version abrégée de Sphères, une courte animation réalisée par McLaren en 1969 et dont Gould avait créé la trame musicale. Cette méthode inhabituelle parvient à capter et éclairer l’énigme derrière le génie excentrique de Gould avec une intelligence et un succès qui n’auraient pas été possibles par le biais d’une approche traditionnelle. Une réalisation audacieuse, inspirante, riche et ingénieuse.

Canada 1993. Dir: François Girard. 98 min. DCP

THURSDAY, JULY 6 – 8:00 PM

Canada 1993. Réal. : François Girard. 98 min. DCP

JEUDI, 6 JUILLET – 20 H

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Free Admission!

Entrée gratuite!

Dead Ringers

Alter ego

Videodrome and The Fly may have straddled the line, but David Cronenberg decisively left grindhouse for arthouse with this deeply unsettling, formally precise psychological horror-drama, featuring Jeremy Irons in an astounding dual role many believe deserved an Oscar. Irons plays identical-twin gynaecologists who, unbeknownst to their lovers, occasionally switch identities.

Geneviève Bujold is the troubled actress who comes between them. Cronenberg’s disturbing masterpiece won 11 Genies Awards and was voted one of ten best Canadians films of all time in 2004 and 2015 TIFF polls. When Irons ultimately won the Best Actor Oscar two years later for Reversal of Fortune – a film Cronenberg hadn’t directed – he made a point of thanking Cronenberg.

Videodrome et The Fly ont beau avoir pavé la voie, le film qui a fait passer Cronenberg des grindhouses aux salles de répertoire est Alter ego, un drame d’horreur psychologique profondément déstabilisant et doté d’une grande précision formelle. Jeremy Irons y joue un double rôle époustouflant que plusieurs croyaient digne d’un Oscar; celui de jumeaux identiques gynécologues qui, à l’insu de leurs conjointes, intervertissent leur identité à l’occasion.

Geneviève Bujold incarne pour sa part l’actrice troublée qui se positionnera entre eux. Ce chef-d’œuvre de Cronenberg a remporté 11 Prix Génie et a été voté parmi les dix meilleurs films canadiens de tous les temps dans les sondages menés par le TIFF en 2004 et 2015. Lorsqu’Irons a enfin remporté l’Oscar du meilleur acteur deux ans plus tard pour Reversal of Fortune, un film non réalisé par Cronenberg, il en a profité pour remercier Cronenberg.

Canada/USA 1988.Dir: David Cronenberg. 116 min. 35mm

FRIDAY, JULY 7 – 6:30 PM

Canada/États-Unis 1988. Réal. : David Cronenberg. 116 min. 35 mm

VENDREDI, 7 JUILLET – 18 H 30

Free Admission!

Entrée gratuite!

The Friendly Giant

The Friendly Giant

For decades, CBC’s The Friendly Giant, created by and starring Robert Homme, invited Canadian kiddies to “look up, waaay up” into the musical, magical, medieval world populated by Friendly, Rusty the rooster, and Jerome the giraffe. Its opening sequence – big, brown boot; miniature castle; lowered drawbridge; tiny fireside furniture, adjusted just for us – is practically etched in our collective consciousness. Warm, relaxed, and largely ad-libbed, the show endured – and endeared – by ne’er straying from a child-friendly 15-minute length and a small cast of familiar characters. Budget cuts resulted in the show’s cancellation in 1985, amid a public outcry. Long off-air and unavailable, TFG returns to the screen – a suitably giant-sized one! – in this program of fondly-remembered episodes.

Pendant plusieurs décennies, l’émission de CBC The Friendly Giant – créée par Robert Homme, qui en était aussi la vedette – a invité les enfants canadiens à « regarder en haut, tout en haut » dans le monde musical, magique et médiéval habité par Friendly, Rusty le coq et Jerome la girafe. Son générique d’ouverture, avec un château miniature, un pont-levis, une grande botte brune, un château miniature, un pont-levis et de petits meubles disposés près du foyer, est pratiquement gravé dans notre conscience collective.

L’émission chaleureuse, détendue et largement improvisée a perduré et continué de charmer son public grâce à son format de 15 minutes parfait pour les enfants et à son petit groupe de personnages familiers. Des restrictions budgétaires ont entraîné l’annulation de l’émission en 1985, malgré les protestations des téléspectateurs. Retiré des ondes et indisponible depuis longtemps, The Friendly Giant est de retour à l’écran – un écran plutôt géant d’ailleurs! – dans ce programme composé d’épisodes mémorables.

Canada 1958-1985.

Running time: approx. 45 min.

Canada 1958-1985.

followed by Durée : approx. 45 min. suivi de

Degrassi Junior High Canada 1987-1989.

For a gaggle of backpack-strapped Canadian youth in the late 1980s, Degrassi Junior High was an obsessively-watched oddity: a middle-school soap opera, set and shot in no-frills Toronto, that didn’t trivialize or sugarcoat the travails of being a teen.

During its celebrated three-season run on CBC (preceded by The Kids of Degrassi Street; succeeded by Degrassi High), the show tackled a myriad of thorny topics – racism, drug abuse, teen pregnancy, eating disorders – with startling maturity and real-world relatability. In honour of its 30th anniversary this year, we present a trio of fan-favourite episodes from the gen-defining series, including Emmy-winner “It’s Late.”

Running time: approx. 84 min.

SUNDAY, JULY 16 – 1:00 PM This special Canada on Screen presentation of select episodes from The Friendly Giant and Degrassi Junior High screens in conjunction with The Cinematheque’s Cinema Sunday program for children and their families. See page 22 for more details.

Degrassi (Degrassi Junior High) Canada 1987-1989.

Pour un grand nombre de jeunes Canadiens armés d’un sac à dos à la fin des années 1980, Degrassi était une émission hors-norme adorée : tourné à Toronto, ce soap destiné aux élèves du secondaire abordait les aléas de l’adolescence sans les banaliser ni les enjoliver.

Tout au long de ses trois saisons acclamées, l’émission diffusée par CBC (précédée de The Kids of Degrassi Street et suivie par Degrassi High) s’est penchée avec maturité et réalisme sur plusieurs sujets épineux comme le racisme, la toxicomanie, la grossesse chez les ados ou les troubles alimentaires. Pour souligner son 30e anniversaire cette année, nous présentons trois épisodes populaires auprès des admirateurs de la série qui a transformé toute une génération, y compris l’épisode lauréat d’un Emmy « It’s Late ».

Durée : approx. 84 min.

DIMANCHE, 16 JUILLET – 13 H Cette présentation spéciale de Canada à l’écran regroupe des épisodes sélectionnés des émissions The Friendly Giant et Degrassi. Elle est présentée en association avec le programme Cinema Sunday de The Cinematheque, qui est destiné aux enfants et à leur famille.

Veuillez consulter la page 22 pour obtenir plus de renseignements.

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THE BIG SNIT

NOBODY WAVED GOOD-BYE

THE STREET

DEGRASSI JUNIOR HIGH

LE CHAT DANS LE SAC

THE FRIENDLY GIANT, CBC STILL PHOTO COLLECTION

Free Admission!

Entrée gratuite!

Nobody Waved Good-bye

Nobody Waved Good-bye

Young filmmaker Don Owen’s assignment from the National Film Board of Canada was to make a half-hour docudrama on juvenile delinquency.

On the sly, he turned the project into a feature – and helped launch the modern English-Canadian cinema! Peter Kastner plays a suburban Toronto teenager whose youthful rebellion against adult values lands in him trouble at home, at school, and with the law. Julie Biggs is his likeminded girlfriend. Owen’s rough and ready film, shot with a lightweight, hand-held camera, had a fresh, improvised, intimate feel and a documentary-like immediacy that charmed audiences. Not initially though: after mixed reviews and meagre returns at home, it was acclaimed in New York, then re-released in Canada to greater success.

Mandaté par l’ONF, le jeune cinéaste Don Owen devait créer un docudrame sur la délinquance juvénile, mais le projet s’est transformé en long métrage de fiction et a contribué à lancer le cinéma canadienanglais moderne! Peter Kastner interprète un adolescent vivant en banlieue de Toronto et dont la rébellion contre les valeurs du monde adulte entraîne des soucis à la maison, à l’école et auprès des autorités.

Julie Biggs, sa petite amie, partage son avis. Tourné caméra à l’épaule, le film dur et impitoyable d’Owen donnait l’impression de faire appel à l’improvisation; sa fraîcheur et son approche intimiste lui conféraient une immédiateté similaire au documentaire, ce qui a séduit le public.

Mais l’accueil initial a été plus difficile : après des critiques mitigées et de faibles recettes à domicile, l’œuvre a été saluée à New York puis relancée au Canada, où elle a obtenu plus de succès par la suite.

Canada 1964. Dir: Don Owen. 80 min. DCP

preceded by

Canada 1964. Réal. : Don Owen. 80 min. DCP

précédé de

The Big Snit

Canada 1985. Dir: Richard Condie. 10 min. DCP

Too busy quarrelling over Scrabble, a middle-aged couple fails to notice that global nuclear war has broken out.

Winnipeg animator Richard Condie’s wonderfully off-the-wall cartoon won a Genie and was nominated for an Oscar.

WEDNESDAY, JULY 19 – 6:30 PM

Le p'tit chaos

Canada 1985. Réal. : Richard Condie. 10 min. DCP

Trop occupé à se disputer au sujet du Scrabble, un couple d’âge moyen ne réalise pas qu’une guerre nucléaire vient d’éclater. Cette magnifique animation au ton décalé créée par le cinéaste Richard Condie a remporté un Prix Génie et a été mise en nomination pour un Oscar.

MERCREDI, 19 JUILLET – 18 H 30

Free Admission!

Entrée gratuite!

Le chat dans le sac

Le chat dans le sac

(The Cat in the Bag) Canada 1964. Dir: Gilles Groulx. 74 min. DCP

“I am Québécois, so I must find my own way.” Gilles Groulx’s milestone first feature drew on Canadian documentary traditions and Godardian New Wave trends to help spark a new, modern national cinema.

Exploring pivotal issues of identity and place, it charts the political awakening of Claude (Claude Godbout), a young French-Canadian journalist involved in a romantic relationship with Barbara (Barbara Ulrich), an Anglo-Jewish actress. Groulx’s drama – originally a documentary short about winter! – has dynamic hand-held camerawork

by Jean-Claude Labrecque and a powerful score by John Coltrane (who re-recorded several signature pieces for the film). “Essential . . . As important to les Québécois as its contemporary Nobody Waved Good-Bye was to English-Canadian filmmakers” (Take One). preceded by

The Street

Canada 1976. Dir: Caroline Leaf. 10 min. DCP

Animator Caroline Leaf’s virtuosic short, a marvel of painting-on-glass technique, adapts Mordecai Richler’s poignant story about a nine-yearold Jewish boy in Montreal facing the death of his grandmother. The Street won the Canadian Film Award and received an Oscar nomination.

WEDNESDAY, JULY 19 – 8:15 PM

Canada 1964. Réal. : Gilles Groulx. 74 min. DCP

« Je suis Québécois, donc je dois trouver ma propre voie. » Ce premier long de Gilles Groulx a joué un grand rôle dans l’éclosion d’un cinéma national moderne, puisant dans la tradition du documentaire canadien et de la Nouvelle Vague godardienne. Abordant des questions centrales comme l’identité et le lieu, le film suit l’éveil politique de Claude (Claude Godbout), un jeune journaliste canadien francophone vivant une relation amoureuse avec Barbara (Barbara Ulrich), une actrice juive anglophone. Initialement un projet documentaire sur l’hiver, le projet de Groulx est devenu une fiction dramatique portée par les dynamiques images tournées caméra à l’épaule par Jean-Claude Labrecque et la puissance trame musicale de John Coltrane (qui a réenregistré plusieurs morceaux importants pour le film). « Essentiel… Aussi important pour les Québécois que Nobody Waved Good-Bye l’était pour les cinéastes canadiens-anglais à la même époque. » (Take One) précédé de

La rue

Canada 1976. Réal. : Caroline Leaf. 10 min. DCP

Ce tour de force de la cinéaste d’animation Caroline Leaf emploie à merveille la peinture sur verre pour offrir une adaptation du poignant récit de Mordecai Richler au sujet d’un garçon juif montréalais de 9 ans confronté au décès de sa grand-mère. The Street a été primé par le Palmarès du film canadien et mis en nomination aux Oscars.

MERCREDI, 19 JUILLET – 20 H 15

9

MINDSCAPE

NEIGHBOURS

LES BONS DÉBARRAS

LA RÉGION CENTRALE

THE HART OF LONDON FOSTER CHILD

TREES OF SYNTAX, LEAVES OF AXIS MEMORANDUM

CHURCHILL'S ISLAND

Free Admission!

Entrée gratuite!

La région centrale

La région centrale

Truly spectacular! Michael Snow’s cosmic, kinetic exploration of nature, perception, technology, and cinema was shot over 24 hours in a deserted, otherworldly area of northern Quebec, and made with a special computer-operated camera capable of moving in any direction. “The result is an awe-inspiring, self-reflexive masterwork. . . Something like a cognitive cinematic sculpture: a time-space object composed of images that could not possibly have been observed by the human eye, highlighting the camera’s role in shaping the viewer’s experience . . . While Snow’s Wavelength is internationally recognized as a groundbreaking masterpiece, La Région centrale is unequivocally the Canadian avant-garde great’s crowning achievement” (Barbara Goslawski, Canada on Screen digital catalogue).

Vraiment spectaculaire! Cette exploration cosmique et cinétique de la nature, les perceptions, la technologie et le cinéma a été tournée par Michael Snow en 24 heures dans une zone désertique et irréelle située au nord du Québec. Une caméra spéciale dirigée par ordinateur et capable de se déplacer dans toutes les directions a été employée. « Le résultat est un chef-d’œuvre impressionnant et autoréflexif… Un peu comme une sculpture cinématographique et cognitive : un objet espace-temps composé d’images qui ne pourraient avoir été captées par l’œil humain, soulignant le rôle de la caméra dans la construction de l’expérience du spectateur…

Tandis que Wavelength de Snow est mondialement reconnu en tant que chef-d’œuvre innovateur, La région centrale est sans équivoque le plus grand achèvement de l’avant-garde canadienne. » (Barbara Goslawski, catalogue numérique de Canada à l’écran)

Canada 1971. Dir: Michael Snow. 180 min. 16mm

preceded by

Canada 1971. Réal. : Michael Snow. 180 min. 16 mm

précédé de

Trees of Syntax, Leaves of Axis Canada 2009. Dir: Daïchi Saïto. 10 min. 35mm

Montreal experimental filmmaker Daïchi Saïto, originally from Japan, spent days filming autumnal trees on Mount Royal to produce this vibrantly beautiful study of light and colour, set to an improvised soundtrack by American-Canadian violinist/composer Malcolm Goldstein.

WEDNESDAY, JULY 26 – 7:00 PM

Trees of Syntax, Leaves of Axis Canada 2009. Réal. : Daïchi Saïto. 10 min. 35 mm

Originaire du Japon, le cinéaste expérimental montréalais Daïchi Saïto a passé plusieurs journées d’automne à filmer les arbres du mont Royal afin de produire cette magnifique étude de la lumière et de la couleur, qui s’appuie sur une trame musicale improvisée par le violoniste canado-américain Malcolm Goldstein.

MERCREDI, 26 JUILLET – 19 H

Free Admission!

Entrée gratuite!

The Hart of London

Le cerf de London

“One of the few GREAT films of all cinema” (Stan Brakhage), the magnum opus (and final completed film) of Canadian painter and experimental filmmaker Jack Chambers explores perception, place, civilization and nature, and the cycles of life and death.

Composed of arresting oppositions and counterpoints, it is built around news footage of a deer captured and killed in London, Ontario (the artist’s hometown) in 1954; Chambers began the film the same year he was diagnosed with leukemia. “Chambers’s achievement in simultaneously creating a distinctive portrait of a place in time while exploring existential themes developed through a unique and inventive use of the film form remains nothing short of visionary” (Kate MacKay, Canada on Screen digital catalogue).

Qualifié par Stan Brakhage comme étant l’un des « rares GRANDS films de toute l’histoire du cinéma », cette œuvre-clé du peintre et cinéaste expérimental canadien Jack Chambers est aussi le dernier film qu’il a achevé. Il y aborde la perception, le lieu, la civilisation et la nature, ainsi que les cycles de la vie et de la mort. Composé d’oppositions et de contrepoints, Le cerf de London est érigé autour d’un fait divers : la capture et la mort d’un cerf dans sa ville natale de London (Ontario) en 1954. Chambers a amorcé ce film la même année où il a reçu un diagnostic de leucémie. « Ce chef-d’œuvre de Chambers, qui a su brosser un portrait distinctif d’un lieu dans le temps tout en explorant des sujets existentiels grâce à un usage inventif et unique en son genre de la forme cinématographique, n’est rien de moins que visionnaire. » (Kate MacKay, catalogue numérique de Canada à l’écran)

Canada 1970. Dir: Jack Chambers. 79 min. 16mm

Canada 1970. Réal. : Jack Chambers. 79 min. 16 mm

WEDNESDAY, AUGUST 2 – 7:30 PM MERCREDI, 2 AOÛT – 19 H 30

Our July 26 and August 2 Canada on Screen events are presented in conjunction with The Cinematheque's monthly DIM Cinema program. See page 23 for more details.

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Nos projections du 26 juillet et du 2 août sont présentées en collaboration avec le programme mensuel DIM Cinéma de The Cinémathèque. Pour plus de renseignements, veuillez consulter la page 23.

Free Admission!

New Restoration!

Entrée gratuite!

Nouvelle copie restaurée!

Les bons débarras

Les bons débarras

(Good Riddance)

Canada 1980. Réal. : Francis Mankiewicz. 120 min. DCP

Francis Mankiewicz’s remarkable tale of a complex mother-daughter relationship is “one of the most moving of all Canadian films” (Take One). The drama is set in Quebec’s Laurentians, where Manon (Charlotte Laurier), the manipulative 13-year-old daughter of single mom Michelle (Marie Tifo), is dangerously determined to sabotage any other relationship commanding her mother’s attention.

Shot by acclaimed cinematographer Michel Brault, and scripted by famously reclusive novelist Réjean Ducharme, Mankiewicz’s masterwork won eight Genies and was named one of the ten best Canadian films ever made in 1984, 1993, and 2004 national polls.

Portant sur une relation mère-fille complexe, ce récit remarquable de Francis Mankiewicz est « l’un des films les plus émouvants du cinéma canadien » (Take One). Campé dans les Laurentides, au Québec, le drame présente Manon (Charlotte Laurier), la fille de 13 ans manipulatrice de Michelle (Marie Tifo), une mère monoparentale.

Manon est dangereusement déterminée à saboter toute relation qui pourrait accaparer l’attention de sa mère. Filmé par le directeur photo émérite Michel Brault et scénarisé par le célèbre écrivain reclus Réjean Ducharme, le chef-d’œuvre de Mankiewicz a reçu huit Prix Génie. Il a aussi été nommé l’un des dix meilleurs films canadiens de tous les temps d’après les sondages nationaux de 1984, 1993 et 2004.

preceded by

précédé de

Mindscape

Le paysagiste

Canada 1980. Dir: Francis Mankiewicz. 120 min. DCP

(Le paysagiste) Canada 1976. Dir: Jacques Drouin. 8 min. DCP

An artist enters his own painting in Jacques Drouin’s wordless short, a rare example of pinscreen animation, the intricate technique invented in the 1930s by Alexandre Alexeieff and Claire Parker.

WEDNESDAY, AUGUST 9 – 7:00 PM

Canada 1976. Réal. : Jacques Drouin. 8 min. DCP

Dans ce court métrage sans paroles de Jacques Drouin, un artiste entre dans sa propre toile. Ce film est l’un des rares exemples d’animation faisant appel à la technique de l’écran d’épingles, inventée durant les années 1930 par Alexandre Alexeieff et Claire Parker.

MERCREDI, 9 AOÛT – 19 H

Free Admission!

Entrée gratuite!

Foster Child

Foster Child

Alberta filmmaker Gil Cardinal, raised in foster care, searches for his birth family and rediscovers his Métis heritage in this awardwinning documentary. The film was made at a time when systemic issues affecting Indigenous children, including policies of cultural assimilation and the forcible removal of children from their families, were rarely discussed. “Foster Child is as resonant today as it was in 1987, its maker’s care, openness, and honesty about his own personal history speaking eloquently to an experience shared by so many.

A towering figure in Indigenous cinema and a mentor to many, Gil Cardinal passed away in 2015, but his legacy lives on not only in his own remarkable body of work, but in that of the many artists he inspired” (Jesse Wente, Canada on Screen digital catalogue).

Élevé en foyer d’accueil, le cinéaste albertain Gil Cardinal part en quête de sa famille biologique et redécouvre son héritage métis dans ce documentaire primé. Le film a été tourné à une époque où les problèmes systémiques affectant les enfants autochtones étaient peu abordés, y compris les politiques d’assimilation culturelle et la séparation forcée des jeunes avec leur famille. « Foster Child est aussi pertinent aujourd’hui qu’en 1987. L’ouverture et la franchise du réalisateur au sujet de son propre parcours éclairent une situation éprouvante pourtant vécue par des générations. Décédé en 2015, Gil Cardinal était un grand mentor et une figure de proue du cinéma autochtone. Il laisse derrière lui des films remarquables qui ont su inspirer de nombreux autres artistes. » (Jesse Wente, catalogue numérique de Canada à l’écran)

preceded by

précédé de

Canada 1987. Dir: Gil Cardinal. 43 min. DCP

Neighbours

Canada 1952. Dir: Norman McLaren. 8 min. DCP

A dispute over a simple flower leads to a terrible escalation of hostilities between neighbours in maestro animator Norman McLaren’s pixillated classic. Formally inventive, ferociously funny, and not a little shocking, this anti-war parable won an incongruous Oscar – for Best Documentary Short!

WEDNESDAY, AUGUST 23 – 7:00 PM

Canada 1987. Réal. : Gil Cardinal. 43 min. DCP

Voisins

Canada 1952. Réal. : Norman McLaren. 8 min. DCP

Une dispute portant sur une fleur mène à de terribles hostilités entre voisins dans ce court métrage classique du maître de l’animation Norman McLaren. L’œuvre est créative sur le plan formel, incroyablement drôle et plutôt surprenante.

Une parabole antiguerre qui a remporté un Oscar incongru : celui du meilleur court métrage documentaire!

MERCREDI, 23 AOÛT – 19 H

Free Admission!

Entrée gratuite!

Memorandum

Memorandum

NFB legends Donald Brittain and John Spotton co-directed this distinctive, deeply moving account of the Holocaust and “the banality of evil,” which follows a Canadian survivor, Bernard Laufer, and other former prisoners as they visit Bergen-Belsen on the twentieth anniversary of the camp’s liberation. At the same time, a number of Nazi death-camp functionaries were on trial in Frankfurt. The brilliant, biting voice-over narration was written by Brittain, always one of the most literary of our great documentarians.

"One of the most incisive and powerful ‘essay films’ ever made in Canada” (Ali Kazimi, Canada on Screen digital catalogue).

Les légendes de l’ONF Donald Brittain et John Spotton ont coréalisé ce récit émouvant et particulier portant sur l’Holocauste et sur « la banalité du Mal ». On y suit Bernard Laufer, un survivant canadien, et d’autres ex-prisonniers tandis qu’ils visitent Bergen-Belsen à l’occasion du 20e anniversaire de sa libération. À la même époque, plusieurs fonctionnaires nazis ayant travaillé dans les camps de concentration subissaient un procès à Francfort. La narration brillante et mordante du film a été écrite par Brittain, qui est l’un des plus littéraires de nos grands documentaristes. « L’un des “essais cinématographiques” les plus forts et pénétrants réalisés au Canada. » (Ali Kazimi, catalogue numérique de Canada à l’écran)

Canada 1965. Dirs: Donald Brittain, John Spotton. 58 min. DCP

Canada 1965. Réal. : Donald Brittain, John Spotton. 58 min. DCP

preceded by précédé de

Churchill’s Island

Canada 1941. Dir: Stuart Legge. 21 min. DCP

A classic of wartime propaganda from the NFB, this Lorne Greene-narrated depiction of British resolve won the very first Academy Award for Best Documentary.

WEDNESDAY, AUGUST 23 – 8:10 PM

Churchill’s Island

Canada 1941. Réal. : Stuart Legge. 21 min. DCP

Une œuvre de propagande classique créée en temps de guerre par l’ONF. Narrée par Lorne Greene, cette description de la détermination britannique a remporté le tout premier Academy Award destiné au meilleur documentaire.

MERCREDI, 23 AOÛT – 10 H 10

11

SUN

MON

TUES

WED

THURS

FRI

SAT

1

TICKETS Happy 150th Birthday Canada!

HOW TO BUY TICKETS

2

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, unless otherwise indicated.

ALL SCREENINGS ARE RESTRICTED TO 18+

3

Léolo – 6:00 pm

The Sweet Hereafter – 8:05 pm

9

10

New Restorations

Monterey Pop – 6:30 pm

Canada on Screen

Anne of Green Gables – 1:00 pm

4

Canada on Screen

Reason Over Passion – 6:30 pm

5

Goin’ Down the Road + Log Driver’s Waltz – 8:10 pm

Mommy – 7:00 pm

Funeral Parade of Roses – 8:10 pm

New Restorations

Funeral Parade of Roses – 6:30 pm

11

Canada on Screen

La vie rêvée – 6:30 pm

6

My Winnipeg + Cameras Take Five – 8:15 pm

12

New Restorations

Monterey Pop – 6:30 pm

13

Monterey Pop – 8:10 pm

Essential Cinema

UNLESS OTHERWISE INDICATED

Canada on Screen / Cinema Sunday

17

The Friendly Giant + Degrassi Junior High – 1:00 pm New Restorations Desert Hearts – 4:30 pm New Cinema The Ornithologist – 6:30 pm New Restorations Desert Hearts – 8:45 pm

$3 ANNUAL MEMBERSHIP REQUIRED FOR THOSE 18+

theCinematheque.ca

23

New Restorations

Desert Hearts – 6:30 pm

18

19

New Restorations

7

New Restorations

Canada on Screen

Nobody Waved Good-bye + The Big Snit – 6:30 pm

20

Dead Ringers – 6:30 pm

14

Funeral Parade of Roses – 6:30 pm

25

26

Solaris – 7:00 pm

The Ornithologist – 6:30 pm

New Restorations

Monterey Pop – 5:00 pm

New Restorations

Funeral Parade of Roses – 7:00 pm

Monterey Pop – 9:00 pm

Monterey Pop – 9:00 pm

New Cinema The Ornithologist – 6:30 pm

15

New Restorations

Desert Hearts – 6:30 pm

New Restorations Funeral Parade of Roses – 8:45 pm

21

New Cinema

The Ornithologist – 8:25 pm

22

New Restorations

Solaris – 7:00 pm

New Restorations

Solaris – 7:00 pm

The Ornithologist – 8:45 pm

27

Canada on Screen / DIM Cinema

New Cinema

8

Canada on Screen

Essential Cinema

Le chat dans le sac + The Street – 8:15 pm

The Ornithologist – 8:25 pm

24

Canadian Rhapsodies: A Canada on Screen Shorts Programme – 6:30 pm

A Clockwork Orange – 8:30 pm

New Cinema

Solaris – 7:00 pm

IN THIS ISSUE

New Restorations

Canada on Screen

Thirty Two Short Films About Glenn Gould – 8:00 pm

A Clockwork Orange – 8:30 pm

16

Jesus of Montreal – 8:00 pm

July 1-7

Canada on Screen

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.

Goin’ Down the Road + Log Driver’s Waltz – 6:00 pm

A Week of Free Screenings!

JULY

Canada on Screen Mon oncle Antoine – 4:00 pm

La région centrale +

28

New Restorations

Stalker – 7:00 pm

29

New Restorations

Stalker – 7:00 pm

New Restorations

Stalker – 7:00 pm

Trees of Syntax, Leaves of Axis – 7:00 pm

CANADA ON SCREEN 2–11 FILM NOIR 14-17 NOIR SIDEBAR 16-17 ESSENTIAL CINEMA 18

30

New Restorations

Stalker – 7:00 pm

31

New Restorations

Stalker – 7:00 pm

2

1

The Hart of London – 7:30 pm

NEW CINEMA 19 NEW RESTORATIONS 18–21

AUGUST

CINEMA SUNDAY 22 DIM CINEMA 23 FRAMES OF MIND 23

3

Canada on Screen / DIM Cinema

6

7

Film Noir

The Glass Key – 4:30 pm Double Indemnity – 6:30 pm

Film Noir

Affair in Trinidad – 6:30 pm

The Maltese Falcon – 4:30 pm

8

The Glass Key – 6:30 pm

The Maltese Falcon – 8:35 pm

13

Film Noir

Film Noir

Night Editor – 6:30 pm

9

Shockproof – 8:00 pm

Gun Crazy – 8:30 pm

Film Noir

The Lady from Shanghai – 6:30 pm

16

15

Doors - 6:00pm

4

Double Indemnity - 7:00pm

5

Film Noir

Shockproof – 6:30 pm

10

Canada on Screen

Les bons débarras + Mindscape – 7:00 pm

Film Noir

Shockproof – 6:30 pm

Frames of Mind

17

11

Swift Current – 7:30 pm

12

Film Noir

The Lady from Shanghai – 6:30 pm

19

Film Noir

Phantom Lady – 4:30 pm

Phantom Lady – 8:30 pm

Dark Passage – 8:15 pm

Kiss Me Deadly – 6:30 pm Noir Sidebar

Invasion of the Body Snatchers - 8:30

Rated 14A

BACKGROUND IMAGE:

SHOCKPROOF

Film Noir

Phantom Lady – 6:30 pm

Rated PG Rated 18A

Gun Crazy – 6:30 pm

Affair in Trinidad – 6:30 pm

Dark Passage – 8:15 pm

Rated G

Film Noir

The Lady from Shanghai – 8:15 pm

Affair in Trinidad – 8:15 pm

18

Film Noir

Double Indemnity – 4:30 pm The Glass Key – 8:30 pm

Gun Crazy with Introduction – 8:10 pm

GUEST

Film Noir

The Maltese Falcon – 6:30 pm

Double Indemnity – 8:10 pm

Night Editor - 9:05pm

Night Editor – 8:15 pm

14

Film Noir Opening Night

20

Cinema Sunday

Meatballs – 1:00 pm

21

Noir Sidebar

Film Noir

Invasion of the Body Snatchers – 6:30 pm

Dark Passage – 6:30 pm

Them! – 8:10 pm

Kiss Me Deadly – 8:30 pm

22

Noir Sidebar

Them! – 6:30 pm Invasion of the Body Snatchers – 8:20 pm

23

Canada on Screen

Foster Child + Neighbours – 7:00 pm Memorandum + Churchill’s Island – 8:10 pm

24

Film Noir

Kiss Me Deadly – 6:30 pm Noir Sidebar

Them! – 8:30 pm

Vancouver Latin American Film Festival August 25-September 3 vlaff.org

A TWO-WEEK FILMMAKING PROGRAM FOR ASPIRING ARTISTS AGES 14–19. GET INSPIRED, DEVELOP YOUR CRAFT, AND CREATE A SHORT FILM TO BE PROUD OF!

Program 1: July 10 - 21 Program 2: July 24 - August 4

indielab.ca

SUN

MON

TUES

WED

THURS

FRI

SAT

1

TICKETS Happy 150th Birthday Canada!

HOW TO BUY TICKETS

2

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, unless otherwise indicated.

ALL SCREENINGS ARE RESTRICTED TO 18+

3

Léolo – 6:00 pm

The Sweet Hereafter – 8:05 pm

9

10

New Restorations

Monterey Pop – 6:30 pm

Canada on Screen

Anne of Green Gables – 1:00 pm

4

Canada on Screen

Reason Over Passion – 6:30 pm

5

Goin’ Down the Road + Log Driver’s Waltz – 8:10 pm

Mommy – 7:00 pm

Funeral Parade of Roses – 8:10 pm

New Restorations

Funeral Parade of Roses – 6:30 pm

11

Canada on Screen

La vie rêvée – 6:30 pm

6

My Winnipeg + Cameras Take Five – 8:15 pm

12

New Restorations

Monterey Pop – 6:30 pm

13

Monterey Pop – 8:10 pm

Essential Cinema

UNLESS OTHERWISE INDICATED

Canada on Screen / Cinema Sunday

17

The Friendly Giant + Degrassi Junior High – 1:00 pm New Restorations Desert Hearts – 4:30 pm New Cinema The Ornithologist – 6:30 pm New Restorations Desert Hearts – 8:45 pm

$3 ANNUAL MEMBERSHIP REQUIRED FOR THOSE 18+

theCinematheque.ca

23

New Restorations

Desert Hearts – 6:30 pm

18

19

New Restorations

7

New Restorations

Canada on Screen

Nobody Waved Good-bye + The Big Snit – 6:30 pm

20

Dead Ringers – 6:30 pm

14

Funeral Parade of Roses – 6:30 pm

25

26

Solaris – 7:00 pm

The Ornithologist – 6:30 pm

New Restorations

Monterey Pop – 5:00 pm

New Restorations

Funeral Parade of Roses – 7:00 pm

Monterey Pop – 9:00 pm

Monterey Pop – 9:00 pm

New Cinema The Ornithologist – 6:30 pm

15

New Restorations

Desert Hearts – 6:30 pm

New Restorations Funeral Parade of Roses – 8:45 pm

21

New Cinema

The Ornithologist – 8:25 pm

22

New Restorations

Solaris – 7:00 pm

New Restorations

Solaris – 7:00 pm

The Ornithologist – 8:45 pm

27

Canada on Screen / DIM Cinema

New Cinema

8

Canada on Screen

Essential Cinema

Le chat dans le sac + The Street – 8:15 pm

The Ornithologist – 8:25 pm

24

Canadian Rhapsodies: A Canada on Screen Shorts Programme – 6:30 pm

A Clockwork Orange – 8:30 pm

New Cinema

Solaris – 7:00 pm

IN THIS ISSUE

New Restorations

Canada on Screen

Thirty Two Short Films About Glenn Gould – 8:00 pm

A Clockwork Orange – 8:30 pm

16

Jesus of Montreal – 8:00 pm

July 1-7

Canada on Screen

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.

Goin’ Down the Road + Log Driver’s Waltz – 6:00 pm

A Week of Free Screenings!

JULY

Canada on Screen Mon oncle Antoine – 4:00 pm

La région centrale +

28

New Restorations

Stalker – 7:00 pm

29

New Restorations

Stalker – 7:00 pm

New Restorations

Stalker – 7:00 pm

Trees of Syntax, Leaves of Axis – 7:00 pm

CANADA ON SCREEN 2–11 FILM NOIR 14-17 NOIR SIDEBAR 16-17 ESSENTIAL CINEMA 18

30

New Restorations

Stalker – 7:00 pm

31

New Restorations

Stalker – 7:00 pm

2

1

The Hart of London – 7:30 pm

NEW CINEMA 19 NEW RESTORATIONS 18–21

AUGUST

CINEMA SUNDAY 22 DIM CINEMA 23 FRAMES OF MIND 23

3

Canada on Screen / DIM Cinema

6

7

Film Noir

The Glass Key – 4:30 pm Double Indemnity – 6:30 pm

Film Noir

Affair in Trinidad – 6:30 pm

The Maltese Falcon – 4:30 pm

8

The Glass Key – 6:30 pm

The Maltese Falcon – 8:35 pm

13

Film Noir

Film Noir

Night Editor – 6:30 pm

9

Shockproof – 8:00 pm

Gun Crazy – 8:30 pm

Film Noir

The Lady from Shanghai – 6:30 pm

16

15

Doors - 6:00pm

4

Double Indemnity - 7:00pm

5

Film Noir

Shockproof – 6:30 pm

10

Canada on Screen

Les bons débarras + Mindscape – 7:00 pm

Film Noir

Shockproof – 6:30 pm

Frames of Mind

17

11

Swift Current – 7:30 pm

12

Film Noir

The Lady from Shanghai – 6:30 pm

19

Film Noir

Phantom Lady – 4:30 pm

Phantom Lady – 8:30 pm

Dark Passage – 8:15 pm

Kiss Me Deadly – 6:30 pm Noir Sidebar

Invasion of the Body Snatchers - 8:30

Rated 14A

BACKGROUND IMAGE:

SHOCKPROOF

Film Noir

Phantom Lady – 6:30 pm

Rated PG Rated 18A

Gun Crazy – 6:30 pm

Affair in Trinidad – 6:30 pm

Dark Passage – 8:15 pm

Rated G

Film Noir

The Lady from Shanghai – 8:15 pm

Affair in Trinidad – 8:15 pm

18

Film Noir

Double Indemnity – 4:30 pm The Glass Key – 8:30 pm

Gun Crazy with Introduction – 8:10 pm

GUEST

Film Noir

The Maltese Falcon – 6:30 pm

Double Indemnity – 8:10 pm

Night Editor - 9:05pm

Night Editor – 8:15 pm

14

Film Noir Opening Night

20

Cinema Sunday

Meatballs – 1:00 pm

21

Noir Sidebar

Film Noir

Invasion of the Body Snatchers – 6:30 pm

Dark Passage – 6:30 pm

Them! – 8:10 pm

Kiss Me Deadly – 8:30 pm

22

Noir Sidebar

Them! – 6:30 pm Invasion of the Body Snatchers – 8:20 pm

23

Canada on Screen

Foster Child + Neighbours – 7:00 pm Memorandum + Churchill’s Island – 8:10 pm

24

Film Noir

Kiss Me Deadly – 6:30 pm Noir Sidebar

Them! – 8:30 pm

Vancouver Latin American Film Festival August 25-September 3 vlaff.org

A TWO-WEEK FILMMAKING PROGRAM FOR ASPIRING ARTISTS AGES 14–19. GET INSPIRED, DEVELOP YOUR CRAFT, AND CREATE A SHORT FILM TO BE PROUD OF!

Program 1: July 10 - 21 Program 2: July 24 - August 4

indielab.ca

T

he Cinematheque’s annual foray into the dark, desperate world of American film noir returns with eleven lurid classics from noir’s hard-boiled heyday. Spanning the dangerous decade-and-a-half from 1941’s The Maltese Falcon (seminal) to 1955’s Kiss Me Deadly (sensational), this year’s sordid lineup spotlights, amongst other stylish, seductive glories, several of noir’s most fearsome femmes fatales: Barbara Stanwyck in Double Indemnity; Rita Hayworth in The Lady from Shanghai; Peggy Cummins in Gun Crazy; and, way down on the B-movie undercard but not to be outdone, Janis Carter in Night Editor. The latter depraved gem is one of three titles making their first-ever appearance in a Cinematheque noir season; Shockproof, directed by Douglas Sirk and written by Samuel Fuller, and Affair in Trinidad, reuniting Hayworth and her Gilda co-star Glenn Ford, are the others. And again this year, we’ve added a small sidebar exploring noir’s surprisingly wide influence – this time on two spine-tingling standards of 1950s science-fiction.

OPENING NIGHT

Special Film Noir Triple Bills!

August 5, 6, 7 & 19

TRIPLE BILL PRICE: $22 Adults/ $20 Students & Seniors

Courtyard Wingding!

Thursday, August 3 6:00 pm - Reception + Entertainment 7:00 pm - Double Indemnity 9:05 pm - Night Editor

Regular single and double bill prices otherwise in effect.

Annual $3 membership required.

Double Indemnity USA 1944. Dir: Billy Wilder. 106 min. DCP

Fred MacMurray, as gravely-wounded insurance salesman Walter Neff, staggers into a dark office, picks up a Dictaphone, and offers up a startling confession of murder. So begins Billy Wilder’s sordid, superlative Double Indemnity, one of film noir’s defining works. Barbara Stanwyck sizzles as Phyllis Dietrichson, the double-crossing dame who seduces Neff into a plot to bump off her husband and collect big on his life-insurance policy. Edward G. Robinson co-stars as insurance investigator Keyes, Neff’s friend and colleague. Co-written by Wilder and Raymond Chandler, from James M. Cain’s novella, “this shrewd, tawdry thriller is one of the high points of 1940s films . . . Stanwyck’s Phyllis Dietrichson is perhaps the best acted and most fixating of all the slutty, cold-blooded femmes fatales of film noir” (Pauline Kael).

THURSDAY, AUGUST 3 - 7:00 PM

Opening Night with Refreshments + Entertainment Doors 6:00 pm / Screening 7:00 pm

14

FRIDAY, AUGUST 4 – 8:10 PM SATURDAY, AUGUST 5 – 4:30 PM SUNDAY, AUGUST 6 – 6:30 PM

DARK PASSAGE

Night Editor USA 1946. Dir: Henry Levin. 68 min. 35mm

People are plain rotten – “Pure, no good, first-rate, high-grade, A-number-one rotten” – in this terrific B-movie noir soaked with sadism, seediness, and doom. The tawdry tale has philandering cop Tony Cochrane (William Gargan) and married society dame Jill Merrill (Janis Carter) in the midst of an illicit rendezvous when they witness a brutal murder. Afraid of exposing their affair, they don’t report the crime, but the violence seems to sexually arouse Jill, as does the opportunity to blackmail the killer. Based on an eponymous radio program, the film was made as a pilot for a movie series, but remained a one-off. Prolific noir cameraman Burnett Guffey’s many credits include The Reckless Moment and In a Lonely Place. “One of the raunchiest and best B-movies of the 1940s!” (Noir City).

THURSDAY, AUGUST 3 – 9:05 PM MONDAY, AUGUST 7 – 8:15 PM TUESDAY, AUGUST 8 – 6:30 PM

Shockproof USA 1949. Dir: Douglas Sirk. 79 min. DCP

Major talents Douglas Sirk and Samuel Fuller are the one-two punch behind this brisk, stylish 1949 noir in the couple-on-the lam mode. Sirk directs from Fuller’s script; Cornel Wilde plays principled parole officer Griff Marat, who finds himself in a heap of trouble when he loses his head for – and marries – seductive bad-girl Jenny Marsh (Patricia Knight), one of his parolees. Wilde and Knight were married at the time. A pivotal scene takes place in L.A.’s Bradbury Building, prominently featured in Blade Runner. Pioneering British pop artist Richard Hamilton based a series of works on a still (featuring Knight) from the film. The cop-out ending wasn’t Fuller’s but was imposed on Sirk by the studio.

FRIDAY, AUGUST 4 – 6:30 PM TUESDAY, AUGUST 8 – 8:00 PM THURSDAY, AUGUST 10 – 6:30 PM

The Maltese Falcon USA 1941. Dir: John Huston. 100 min. DCP

Pop culture artefact. Film noir prototype. Classic Hollywood high point. John Huston’s directorial debut. And Humphrey Bogart, in his first top-billed role, establishing the nowlegendary Bogie persona: the snarling, cynical, self-reliant anti-hero whose tough-guy exterior masks the bittersweet romantic (and perhaps even sentimental) soul underneath. Bogart is “Spade, Sam Spade,” a San Francisco private-eye caught up in a deadly web of deceit involving a motley assortment of unscrupulous characters (Mary Astor, Sydney Greenstreet, Peter Lorre, Elisha Cook Jr.) and the search for a missing statuette. Has there been a better screen adaptation of Dashiell Hammett’s deliciously hard-boiled detective fiction?

SATURDAY, AUGUST 5 – 6:30 PM SUNDAY, AUGUST 6 – 8:35 PM MONDAY, AUGUST 7 – 4:30 PM

15

The Glass Key USA 1942. Dir: Stuart Heisler. 85 min. DCP

Based on a novel by Dashiell Hammett, and reuniting Alan Ladd and Veronica Lake – fresh off their popular pairing in This Gun for Hire – this excellent early noir spins a moody, sadomasochistic tale of political corruption, sexual impropriety, and murder.

Ladd is an up-from-the gutter political aide attempting to extricate his employer from a mob-hatched murder frame-up. Lake is the boss’s seductive fiancée. William Bendix, in a scene-stealing supporting role, is the sadistic thug who gleefully administers a vicious marathon beating to Ladd. Scripted by pulp writer Jonathan Latimer, and shot in low-key light by Theodor Sparkuhl, The Glass Key “remains the best adaptation of a Hammett story . . . The Maltese Falcon excepted” (Robert Porfirio, Film Noir).

SATURDAY, AUGUST 5 – 8:30 PM SUNDAY, AUGUST 6 – 4:30 PM MONDAY, AUGUST 7 – 6:30 PM

Gun Crazy

(aka Deadly is the Female) USA 1949. Dir: Joseph H. Lewis. 86 min. DCP

A much-loved film noir classic, Joseph H. Lewis’s legendary B-movie, made for Poverty Row studio Monogram Pictures, is a manic tour-de-force of technique and deadly eroticism. John Dall, as a gun-obsessed sap, and Peggy Cummins, as a predatory femme fatale, play the film’s pistol-packing doomed-couple-on-the-run. Admired by the French Surrealists and by the young guns of the French New Wave (it was an inspiration for Godard’s Breathless), and an important ancestor of “fugitive couple” films such as Bonnie and Clyde, Badlands, and Natural Born Killers, this off-beat, original, and utterly stylish work now stands as both cult-movie masterpiece and American cinema landmark.

THURSDAY, AUGUST 10 – 8:10 PM introduced by Shaun Inouye, Programming Associate, The Cinematheque SATURDAY, AUGUST 12 – 6:30 PM SUNDAY, AUGUST 13 – 8:30 PM

The Lady from Shanghai USA 1948. Dir: Orson Welles. 87 min. DCP

A sheer pleasure: film noir at its most bizarre and baroque, and Orson Welles at the top of his game!

Rita Hayworth (the then-Mrs. Welles) is one of noir’s definitive spider ladies as Elsa Bannister, beautiful wife of a disabled lawyer (Everett Sloane). She persuades Irish adventurer Michael O’Hara (Welles) to join the crew of her husband’s yacht — and promptly lures him into a complex web of intrigue, betrayal, and murder. The famously convoluted plot climaxes in the dazzling Hall of Mirrors shoot-out, one of the director’s most celebrated sequences. Welles’s brilliantly exotic film – “the weirdest great movie ever” (Dave Kehr, Chicago Reader) – was a financial flop and effectively ended his career in Hollywood, where he wouldn’t work again for another decade!

FRIDAY, AUGUST 11 – 6:30 PM SATURDAY, AUGUST 12 – 8:15 PM MONDAY, AUGUST 14 – 6:30 PM

Affair in Trinidad USA 1952. Dir: Vincent Sherman. 98 min. 35mm

“She’s back! With that man from Gilda!” After a four-year hiatus from Hollywood (during which she was married to Prince Aly Khan), love goddess Rita Hayworth returned to the screen and re-teamed with Gilda co-star Glenn Ford in this Notorious-like noir drama set in the tropics. Hayworth is steamy nightclub singer Chris Emery, whose husband is found dead in mysterious circumstances. Ford is Chris’s brother-in-law Steve Emery, appalled that Chris is carousing with dubious characters rather than comporting herself like a grieving widow. He sets out to investigate his brother’s death. Hayworth’s two torrid, roofraising dance numbers recall her celebrated “Put the Blame on Mame” semi-striptease in Gilda. The film was a blockbuster hit for Columbia Pictures, out-grossing Gilda. Hot stuff!

FRIDAY, AUGUST 11 – 8:15 PM SUNDAY, AUGUST 13 – 6:30 PM THURSDAY, AUGUST 17 – 6:30 PM

Noir Sidebar

Hard-Boiled 1950s Science Fiction

T

he notion that film noir and science fiction aren’t necessarily distant universes will surprise no one after decades of “future noir” and “tech noir” à la Blade Runner, The Terminator, The Matrix, and their multifarious replicants, clones, and cyberpunk spawn. And vintage noir, as purists often point out, was not a genre per se but a style and a mood and a world view (darkly fatalistic) and a historical cycle – one of the predominant filmmaking modes of the 1940s and 1950s. Films of various genres – westerns, women’s pictures, social-issue dramas – could be noirs. Silver and Ward’s essential Film Noir Encyclopedia considers several key sci-fi movies of the ’50s to be true films noir – including these two classics, both of which apply noir moods and methods (and menace and paranoia) – to SF subjects!

16

Dark Passage USA 1947. Dir: Delmar Daves. 106 min. DCP

Humphrey Bogart and Lauren Bacall headline writer-director Delmar Daves’s stylish and unusual noir thriller, set in San Francisco, and adapted from the novel by David Goodis. Bogey is a convicted murderer who escapes from prison and undergoes plastic surgery to disguise his identity; Bacall is a wealthy artist who helps him try to prove his innocence. The film makes radical use of the subjective camera; its first third is shot entirely from the Bogart character’s often-dizzying pointof-view. Agnes Moorehead co-stars. Not as well-known as the other three films Bogart and Bacall made together (To Have and Have Not, The Big Sleep, and Key Largo), Dark Passage is nonetheless a hugely entertaining example of hard-boiled, high-octane, ’40s Hollywood movie-making.

MONDAY, AUGUST 14 – 8:15 PM FRIDAY, AUGUST 18 – 8:15 PM SUNDAY, AUGUST 20 – 6:30 PM

Phantom Lady USA 1944. Dir: Robert Siodmak. 87 min. 35mm

High-heeled “hep kitten” Ella Raines combs New York City’s shadowy streets and seedy bars in a race against time to save her employer from the electric chair in Robert Siodmak’s suspenseful, stylish thriller, shot in the moody Expressionist manner. Raines’s boss (Alan Curtis) has been convicted of murdering his wife; the very existence of his only alibi, a mysterious woman in a flamboyant hat, is denied by every witness. Siodmak, the German expat who also made Criss Cross and The Killers, is one of noir’s key talents. So too is oft-adapted pulp author Cornell Woolrich, who penned the source novel (writing as William Irish) on which Phantom Lady was based. A steamy, sexually-charged jazz sequence involving Raines and, on drums, Elisha Cook Jr., still amazes.

THURSDAY, AUGUST 17 – 8:30 PM FRIDAY, AUGUST 18 – 6:30 PM SATURDAY, AUGUST 19 – 4:30 PM

Kiss Me Deadly USA 1955. Dir: Robert Aldrich. 105 min. DCP

Wow! Kiss Me Deadly, masterfully directed by Robert Aldrich (What Ever Happened to Baby Jane?), is nuclear-age noir so nasty and nihilistic it’s positively radioactive! François Truffaut called it “the most original American film since Orson Welles’s The Lady from Shanghai.” Adapted from one of Mickey Spillane’s sex-and-violence-filled Mike Hammer novels, it stars Ralph Meeker as a thuggish private eye bungling his way from brutality to brutality as he investigates why the halfnaked hitchhiker he picked up in the film’s nocturnal opening was tortured to death — in front of his own semiconscious eyes! As Hammer stumbles his way into a sinister Cold War conspiracy, Aldrich and cameraman Ernest Laslzo keep things dizzyingly off-kilter with a host of disorienting cinematic devices. “One of the most extraordinary films of the ’50s” (Georges Sadoul).

SATURDAY, AUGUST 19 – 6:30 PM SUNDAY, AUGUST 20 – 8:30 PM THURSDAY, AUGUST 24 – 6:30 PM

INVASION OF THE BODY SNATCHERS

Invasion of the Body Snatchers USA 1956. Dir: Don Siegel. 80 min. DCP

Future Dirty Harry director Don Siegel brings his trademark tough, terse touch to this simplygreat gem of ’50s science-fiction, adapted from Jack Finney’s novel The Body Snatchers. The tale of a small Californian town whose citizens just don’t seem themselves lately, Siegel’s unnerving, dread-filled film is often read as an anxious Cold War political allegory – antiCommunist, say some; anti-McCarthyist, say others. But, with its told-in-flashback structure, Expressionist-influenced visuals, desperate, disoriented protagonist, and untrustworthy femme fatale, it’s also highly, hair-raisingly noir. The screenplay is by Daniel Mainwaring, who also penned Out of the Past, one of noir’s pinnacle works. “Watch it as a film noir next time. It’s a paranoid thriller . . . A perfect film noir wrapped in a sci-fi wrapper” (Steve Eifert, Tor.com).

SATURDAY, AUGUST 19 – 8:30 PM MONDAY, AUGUST 21 – 6:30 PM TUESDAY, AUGUST 22 – 8:20 PM

Them!

USA 1954. Dir: Gordon Douglas. 94 min. DCP

One of the finest science-fiction films of the 1950s shapes itself as a smart, suspenseful, semi-documentary noir police procedural/thriller – and then mutates (!) into something else again. When a traumatized little girl is found wandering in the New Mexico desert and a mutilated body is discovered nearby, state cop James Whitmore and FBI agent James Arness suspect a homicidal maniac is on the loose, but soon uncover a larger, more terrifying mystery. Veteran director Gordon Douglas’s engrossing, surprisingly convincing film earned an Oscar nomination for its special effects and was one of Warner Brothers’ top grossers of 1954. Van Morrison’s band Them (“Gloria”) took their name from the movie. “Intelligent script, extremely well directed, with memorable climax in L.A. sewers . . . Look fast for Leonard Nimoy at a teletype machine” (Leonard Maltin).

MONDAY, AUGUST 21 – 8:10 PM TUESDAY, AUGUST 22 – 6:30 PM THURSDAY, AUGUST 24 – 8:30 PM

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FUNERAL PARADE OF ROSES

NEW RESTORATION

“Extraordinary . . . One of the most formally advanced films of the psychedelic decade.”

– Tony Rayns, Time Out “Funeral Parade of Roses is the child of a rich moment in history where all of the art forms commingled in an incredibly free playing field.” – Jim O’Rourke

薔薇の葬列 Funeral Parade of Roses (Bara no sôretsu)

Japan 1969. Dir: Toshio Matsumoto. 105 min. DCP

A delirious, taboo-obliterating masterpiece of queer cinema and the Japanese New Wave, the first feature-length film from Japanese avant-gardist Toshio Matsumoto (who died in April) was cited by fan Stanley Kubrick as a direct influence on his dystopian masterwork A Clockwork Orange! Lavishly praised but long unavailable in North America, it has been re-released in a stunning 4K restoration. Matsumoto’s exhilarating film, a loose adaptation of Oedipus Rex unapologetically set in Tokyo’s gay and drag-queen subculture, centres on Eddie (transgender actor Peter, of Kurosawa’s Ran), a cute, trans club hostess who’s bedding the boss (Yoshio Tsuchiya, also a Kurosawa player) while dethroning the club’s reigning queen. Matsumoto brings an arsenal of cinematic techniques to the table, and brazenly uses them all: Brechtian interruptions, cinéma vérité asides, pop-art aesthetics, disjunctive editing. The result is a frenetic, fantastic psychedelia of ’60s film modernism. See it with A Clockwork Orange on July 10 & 13.

SATURDAY, JULY 8 – 7:00 PM SUNDAY, JULY 9 – 8:10 PM MONDAY, JULY 10 – 6:30 PM THURSDAY, JULY 13 – 6:30 PM FRIDAY, JULY 14 – 8:45 PM

NEW CINEMA

A Clockwork Orange Great Britain/USA 1971. Dir: Stanley Kubrick. 136 min. DCP

Stanley Kubrick’s ultra-influential (and ultra-controversial) follow-up to 2001: A Space Odyssey was another masterful, future-set thought experiment that pulled no punches in its artistic resolve – much to the chagrin of finger-wagging moralists everywhere. A dystopian tomorrow tale adapted from Anthony Burgess’s notorious 1962 novel, A Clockwork Orange adopts the viewpoint of Ludwig van-loving, sociopathic teen protagonist/narrator Alex (Malcolm McDowell, Kubrick’s only choice for the role) as he brutally robs, rapes, and murders with his gang of doped-up “droogs” in futuristic London. Condemned by some for its perceived glorification of violence – Kubrick himself asked to have the film pulled from U.K. distribution after a rash of alleged copycat crimes – it still received four Oscar nominations, including Best Picture.

Toshio Matsumoto’s groundbreaking Funeral Parade of Roses (also screening this week) is an acknowledged and unmistakable inspiration. “A brilliant and dangerous work” (Vincent Canby, New York Times).

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MONDAY, JULY 10 – 8:30 PM THURSDAY, JULY 13 – 8:30 PM

NEW CINEMA

“A masterpiece . . . An extraordinarily rich, unpredictable fever dream . . . Look out for it.”

– Tom Charity, Sight and Sound “The single most delightful and adventurous movie I saw at TIFF 2016 . . .

I can’t wait to see it again.” – Manohla Dargis, New York Times “Calling to mind the best of Luis Buñuel and Apichatpong Weerasethakul, The Ornithologist adopts a dream logic that never begs for decoding, a sensuous engagement with the world that asks only to be experienced.” – Andrew Chan, Film Comment

Exclusive First Run!

The Ornithologist (O Ornitólogo)

Portugal/France/Brazil 2016. Dir: João Pedro Rodrigues. 118 min. DCP

The poetic, provocative fifth feature of Portuguese filmmaker (and former ornithologist) João Pedro Rodrigues is a stunner. Kayaking a remote river fjord in search of a rare black stork, ornithologist Fernando (French actor Paul Hamy) is swept away over rapids and lost in the wilderness. Thus begins a strange, mythic odyssey that reimagines the story of St. Anthony of Padua, patron saint of lost things and missing people, as a modern-day parable of spiritual and sexual self-discovery. As Fernando encounters off-course Chinese pilgrims, naked Amazonian horsewomen, and a queer shepherd named Jesus, Rodrigues pushes the boundaries and breaks conventions, genres, and taboos. This deeply beautiful, deeply mysterious work, shot in widescreen by Rui Poças, earned Rodrigues the best director prize at Locarno.

FRIDAY, JULY 14 – 6:30 PM SATURDAY, JULY 15 – 8:25 PM SUNDAY, JULY 16 – 6:30 PM MONDAY, JULY 17 – 8:25 PM THURSDAY, JULY 20 – 6:30 PM & 8:45 PM

NEW RESTORATION “Wonderfully well-made . . . The film has a beguilingly hypnotic atmosphere . . . It conveys romantic longing and confusion with bittersweet intensity.” – Camille Paglia, Sight & Sound “Thirty years before Carol, there was Donna Deitch’s genre-defying Desert Hearts . . . It still resonates . . . An extraordinarily important moment in queer film history.” – Shannon Keating, BuzzFeed.com

Desert Hearts USA 1986. Dir: Donna Deitch. 96 min. DCP

Being queer in Reno, Nevada, in 1959 was . . . complicated. A milestone in the positive (and passionate) depiction of lesbian romance in mainstream cinema, Donna Deitch’s debut feature was an art-house hit in 1986 and has now been newly restored. Adapting a novel by Jane Rule, the ground-breaking author who was based in British Columbia, the film stars another Canadian, Helen Shaver, as an uptight university professor exiting a failed marriage. She lands in Reno in search of a quickie divorce, and falls under the spell of a free-spirited sculptor and casino worker, played by Patricia Charbonneau. The film has striking similarities to Todd Haynes’s Carol. The great soundtrack is composed of classic country and rock-and-roll tunes. Both Shaver and Charbonneau were advised that Desert Hearts would ruin their careers!

SATURDAY, JULY 15 – 6:30 PM SUNDAY, JULY 16 – 4:30 PM & 8:45 PM MONDAY, JULY 17 – 6:30 PM

19

NEW RESTORATIONS TARKOVSKY

“Towering . . . A visionary epic . . . Stands with the greatest science-fiction movies ever made.”

– David Sterritt, Christian Science Monitor “A dreamlike interrogation of faith, memory, and the transfiguring power of love . . .

The clarity and beauty of Solaris ensures its majesty lives on.” – Andrew Pulver, The Guardian

Solaris

USSR 1972. Dir: Andrei Tarkovsky. 167 min. DCP

Adapted from Polish author Stanisław Lem’s novel, Tarkovsky’s metaphysical epic is often described as the “Soviet 2001” — although “Star Trek as written by Dostoevsky” (Jay Scott, Globe and Mail) also fits! A guiltridden psychologist (Donatas Banionis) is sent to investigate strange occurrences on a space station orbiting Solaris, a mysterious planet with a sentient Ocean. Confronted by the incarnation of his long-dead wife (Natalya Bondarchuk), he is forced to relive the greatest moral failures of his past. A brilliant exploration of love, truth, and what it means to be human, Solaris is magnificently mounted in widescreen and colour. Steven Soderbergh directed a surprisingly worthy American remake, starring George Clooney, in 2002. “Solaris ranks with the best of Tarkovsky’s work, which is to say it ranks with the best movies produced at any time” (Scott).

FRIDAY, JULY 21 – 7:00 PM SATURDAY, JULY 22 – 7:00 PM SUNDAY, JULY 23 – 7:00 PM MONDAY, JULY 24 – 7:00 PM

20

STALKER

“Tarkovsky is for me the greatest, the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream.” – Ingmar Bergman

“Possibly Tarkovsky’s finest work . . . Resembles The Wizard of Oz adapted by a disciple of Dostoevsky and Kafka.” – Philip French, The Guardian “Mesmerizing . . . Not an easy film, but almost certainly a great one.” – Jonathan Rosenbaum, Chicago Reader

Stalker

USSR 1979. Dir: Andrei Tarkovsky. 163 min. DCP

Tarkovsky’s immersive, deeply mysterious masterpiece has been given a vivid new restoration! In a post-apocalyptic police state, two men, a writer and a scientist, engage the special skills of a Stalker to guide them through the forbidden Zone, a damp, fecund, overgrown wasteland where the rules of nature no longer apply. At the Zone’s centre is the Room, a place where the deepest desires of one’s heart are said to come true. Their extraordinary journey will test the limits of the way each of the three protagonists makes sense of the world; the film is distinguished by a remarkable sense of tactility, composed of stunning sepia images, and offers layer upon layer of meaning. Stalker is a haunting and unforgettable work from a visionary director whose too-few films are quite unlike anything else in cinema.

THURSDAY, JULY 27 – 7:00 PM FRIDAY, JULY 28 – 7:00 PM SATURDAY, JULY 29 – 7:00 PM SUNDAY, JULY 30 – 7:00 PM MONDAY, JULY 31 – 7:00 PM

NEW RESTORATION 50th ANNIVERSARY RE-RELEASE “Quite simply one of the best rock concert films ever, thanks not only to some great performances, but also to the way it sums up the spirit of the times.” – Geoff Andrew, Time Out

Monterey Pop

USA 1968. Dir: D.A. Pennebaker. 78 min. DCP An essential record of a defining countercultural moment! Held in June 1967, some two years before Woodstock, the Monterey International Pop Festival, one of the world’s first major rock fests, ushered in the Summer of Love and launched the legendary careers of Jimi Hendrix, Janis Joplin, and Otis Redding. Directed by famed documentarian D. A. Pennebaker (Dont Look Back, Ziggy Stardust and the Spiders from Mars), this seminal cinéma vérité concert film captures sizzling performances from Hendrix, Joplin, and Redding as well as appearances by The Who, Canned Heat, Mamas and the Papas, Jefferson Airplane, Simon and Garfunkel, Hugh Masekela, and Ravi Shankar, among others. Pennebaker himself supervised this beautiful new 50th-anniversary restoration, featuring a 5.1 surround sound mix from noted record producer and sound engineer Eddie Kramer. Warning: Guitars were harmed in the making of this film.

FRIDAY, JULY 7 – 9:00 SATURDAY, JULY 8 – 5:00 PM & 9:00 SUNDAY, JULY 9 – 6:30 WEDNESDAY, JULY 12 – 6:30 PM & 8:10

PM PM PM PM

21

Cinema Sunday

THE FRIENDLY GIANT, CBC STILL PHOTO COLLECTION

An Afternoon Film Program for Children and Their Families

$6 Children & Youths (under 18) $9 Adults (Cinematheque membership not required) In celebration of Canada’s big 150 (or sesquicentennial), Cinema Sunday patriotically presents “Made in Canada,” a yearlong engagement with family films hailing from the True North! Each month, we’ll screen an all-ages movie that showcases Canada’s extraordinary, diverse talents – both in front of and behind the camera – as well as the cities, landscapes, and cultures that make this country our home.

Films will be introduced by Vancouver film history teacher and critic Michael van den Bos.

Free Admission!

Canada on Screen: Television This special screening of select episodes of The Friendly Giant and Degrassi Junior High is presented as part of Canada on Screen, a celebration of Canada’s 150 essential moving-image works. Canada on Screen is a year-long, nation-wide program honouring Canada’s 150th birthday and its rich cinematic heritage. Screenings are free of charge. For more information, see page 2-11.

The Friendly Giant

followed by

Canada 1958-1985.

For decades, CBC’s The Friendly Giant, created by and starring Robert Homme, invited Canadian kiddies to “look up, waaay up” into the musical, magical, medieval world populated

by Friendly, Rusty the rooster, and Jerome the giraffe. Its opening sequence – big, brown boot; miniature castle; lowered drawbridge; tiny fireside furniture, adjusted just for us – is practically etched in our collective consciousness. Warm, relaxed, and largely ad-libbed, the show endured – and endeared – by ne’er straying from a child-friendly 15-minute length and a small cast of familiar characters. Budget cuts resulted in the show’s cancellation in 1985, amid a public outcry. Long off-air and unavailable, TFG returns to the screen – a suitably giantsized one! – in this program of fondly-remembered episodes.

Running time: approx. 45 min.

Degrassi Junior High Canada 1987-1989.

For a gaggle of backpack-strapped Canadian youth in the late 1980s, Degrassi Junior High was an obsessively-watched oddity: a middle-school soap opera, set and shot in no-frills Toronto, that didn’t trivialize or sugarcoat the travails of being a teen.

During its celebrated three-season run on CBC (preceded by The Kids of Degrassi Street; succeeded by Degrassi High), the show tackled a myriad of thorny topics – racism, drug abuse, teen pregnancy, eating disorders – with startling maturity and real-world relatability. In honour of its 30th anniversary this year, we present a trio of fan-favourite episodes from the gen-defining series, including Emmy-winner “It’s Late.”

Running time: approx. 84 min.

SUNDAY, JULY 16 – 1:00 PM

Meatballs

Canada 1979. Dir: Ivan Reitman. 94 min. DCP

“It just doesn’t matter! It just doesn’t matter!” Bill Murray’s rousing, raving, contra-motivational chant is but one of the inspired hilarities in this Canadian comedy classic, the first studio-backed directing gig for Ontario-raised, Hollywood-bound Ivan Reitman. Part-funded by the Canadian Film Development Corporation (now Telefilm Canada) and shot at an actual summer camp in Haliburton, Ontario, it casts SNL-era Murray – in his earliest leading role – as the irreverent head counsellor at a bottom-barrel summer camp at war with the posh, preppy camp across the lake. The film’s surprise success green-lit three forgettable sequels, three unforgettable Reitman-Murray collaborations (Stripes, Ghostbusters, Ghostbusters II), and an entire subgenre of coming-of-age camp comedies. Mercifully predating the lewd, gross-out trend in teen movies to come, Meatballs is, instead, a refreshingly sweet, PG-zone summer comedy that celebrates the unsung goofball in us all! Are you ready for the summer?

SUNDAY, AUGUST 20 – 1:00 PM

22

LA RÉGION CENTRALE

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

Canada on Screen: Experimental Film and Video Our July and August DIM Cinema programs are presented as part of Canada on Screen. For more information, see pages 2-11.

Free Admission!

Michael Snow and Daïchi Saïto

Eye on the Landscape: La région centrale and Trees of Syntax, Leaves of Axis In Michael Snow’s tenth film, La Région centrale, made in the twilight of the American lunar missions, the camera, attached to a robotic arm, casts its roving 360-degree eye across a remote, seemingly otherworldly mountaintop in northern Quebec. To a soundtrack based on the waves and pulses of the camera-activating machine, La Région centrale “transports its audience to a rugged Canadian landscape that is discovered at noon and then explored in seventeen episodes of dizzying motion as the machine’s shadow lengthens, night falls, and light returns” (Martha Langford, Art Canada Institute). Snow’s film is preceded by Trees of Syntax, Leaves of Axis, Daïchi Saïto’s kaleidoscopic exploration of the patterns and contrasts in the landscape of a Montreal park.

Trees of Syntax, Leaves of Axis | Daïchi Saïto/2009, 10 min. 35mm La région centrale | Michael Snow/1971. 180 min. 16mm

Free Admission!

The Hart of London Canada 1970. Dir: Jack Chambers. 79 min. 16mm

Jack Chamber’s feature-length experiment in “perceptual realism” combines newsreels, found photography, and original footage. A native of London, Ontario, Chambers (1931-1978) was renowned as a painter before he made films; he completed six, the last being his masterpiece The Hart of London, begun the year he was diagnosed with leukemia. “It’s a film of startling juxtapositions that seems to be speaking to elemental issues of life and death, yet it also manages to interweave five or six grand themes and let the viewer feel that they are logically interrelated” (Fred Camper, Chicago Reader). Chief among these themes is our alienation from nature, evoked in the opening footage of the capture and killing of a deer that had wandered into London and reprised in every major scene thereafter as one of the costs of civilization. Cited

by Stan Brakhage as “one of the few GREAT films of all cinema.”

WEDNESDAY, AUGUST 2 – 7:30 PM

WEDNESDAY, JULY 26 – 7:00 PM

A Monthly Mental Health Film Series Presented by The Cinematheque and the Institute of Mental Health, UBC Department of Psychiatry

The Cinematheque is pleased to join with the Institute of Mental Health, UBC Department of Psychiatry in presenting “Frames of Mind,” a monthly event utilizing film and video to promote professional and community education on issues pertaining to mental health and illness. Screenings, accompanied by presentations and audience discussions, are held on the third Wednesday of each month.

Please note there will be no Frames of Mind screening in July.

Series directed by Dr. Harry Karlinsky, Director of Public Education, Department of Psychiatry, University of British Columbia.

Programmed by Caroline Coutts, film curator, filmmaker, and programmer of “Frames of Mind” since its inception in September 2002.

Vancouver Premiere!

Swift Current

Canada 2015. Dir: Joshua Rofé. 74 min. Blu-ray disc

“When he was on his game as a professional hockey player, Sheldon Kennedy was in complete control: assured, aggressive, strategic, and always in motion. Off the ice, however, Kennedy was living a secret nightmare. A victim of serial sexual abuse perpetrated by a coach, Kennedy was struggling with trauma, guilt, and anger over something he kept perilously secret from those around him.

Inevitably it all boiled over. It would be a journey that would initially plunge Kennedy from stardom to shame, but eventually resurrected the tortured athlete’s career as an internationally renowned spokesperson for people who had shared – and were trying to survive — the same ordeal. Swift Current is a propulsive documentary account of Sheldon Kennedy’s extraordinary escape from darkness” (Geoff Pevere, Rendezvous with Madness).

Post-screening discussion with Don Wright, Founder of the BC Society for Male Survivors of Sexual Abuse.

Moderated by Dr. Harry Karlinsky, Clinical Professor, Department of Psychiatry, UBC and Geoff Pevere, Program Director, Rendezvous with Madness Film Festival.

Co-presented by the Rendezvous With Madness Film Festival, with support from the Canada Council for the Arts.

Co-sponsored by the BC Society for Male Survivors of Sexual Abuse, a non-profit society providing therapeutic services for males who have been abused at some time in their lives.

WEDNESDAY, AUGUST 16 - 7:30 PM

23

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THE CINEMATHEQUE PROGRAM GUIDE

200 – 1131 Howe Street Vancouver, BC V6Z 2L7 Phone: 604.688.8202 Fax: 604.688.8204 Email: info@theCinematheque.ca Web: theCinematheque.ca

Theatre Volunteers: Aya Alvarez, David Avelino, Mark Beley, Taylor Bishop, Eileen Brosnan, Jeremy Buhler, David Castillo, Nadia Chiu, Rob Danielson, Steve Devereux, Bill Dovhey, Yaz Ebrahi, Moana Fertig, Kevin Frew, Lesli Froeschner, Andrew Gable, Shokei Green, Paul Griffiths, Sam Herle, Savannah Kemp, Tash King, Michael Kling, Anqi La, Ray Lai, Christina Larabie, Sharon Lee, Britt MacDuff, Abbey Markowitz, Liam McClure, Dawn McCormick, Vit Mlcoch, Kelley Montgomery, Sean Murphy, Adrian Nickpour, Chahram Riazi, Will Ross, Tori Schepel, Sweta Shrestha, Raimondo Spano, Stephen Tweedale, Nathaniel Vossen

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

STAFF Executive + Artistic Director: Jim Sinclair Acting Managing Director: Lindsey Wasserman Managing Director: Kate Ladyshewsky (on leave) Operations + Programming Associate: Shaun Inouye Communications + Marketing Manager: Lizzie Brotherston Education Manager: Liz Schulze Education Coordinator: Hayley Gauvin Venue Operations Manager: Linton Murphy Assistant Theatre Managers: Sarah Bakke, Gabi Dao, Aryo Khakpour, Emma Pollard, Paige Smith Head Projectionist: Al Reid Relief Projectionists: Olivia Babler, Ryan Ermacora Tim Fernandes, Ron Lacheur, Cassidy Penner, Helen Reed, Film Archive Resident: Olivia Babler BOARD OF DIRECTORS

Distribution: Hazel Ackner, Horacio Bach, Kyle Bowman, Michael Demers, Gail Franko, Jeff Halladay, Alan Kollins, Martin Lohmann, Lynn Martin, Vincent Tao, Matthew Shields, Lora Tanaka, Vanessa Turner, Harry Wong Office: Jo B., Betty-Lou Phillips Education: Michael van den Bos, Ciaran DavisMacgregor, Hisayo Saito

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