The Cinematheque MAY+JUNE 2015 by The Cinematheque

EXPERIENCE ESSENTIAL CINEMA

ORSON WELLES 100 OPEN HOUSE / SOME LIKE IT HOT THE APU TRILOGY RESTORED PAINTING WITH FILM CONTINUED... DARK STAR: H.R. GIGER’S WORLD + ALIEN THE RED BALLOON

MAY + JUNE 2015

1131 Howe Street | Vancouver | theCinematheque.ca

100

ORSON WELLES y MAY + JUNE 2015

ORSON WELLES

100

“The greatest career in film, the most tragic, and the one with most warnings for the rest of us.” – David Thomson, The New Biographical Dictionary of Film

“Had he made only Citizen Kane, The Magnificent Ambersons, and The Lady from Shanghai, Orson Welles would still deserve a prominent place among the citations carved on any Arch of Triumph celebrating the history of cinema.” – André Bazin

Citizen Kane

USA 1941. Dir: Orson Welles. 119 min. Blu-ray Disc

Orson Welles’s dazzling-in-every way debut is deserving of its reputation as The Greatest Film Ever Made. Welles, a 25-year-old theatre prodigy notorious for his 1938 “War of the Worlds” radio broadcast, was given carte blanche by RKO Pictures to make a movie. Co-written by Herman J. Mankiewicz, shot by Gregg Toland, and starring Welles and his Mercury Theatre players, Citizen Kane’s tale of power, the press, and the hollowness of the American Dream is structured, in flashbacks, as a reporter’s investigation into the life (and mysterious dying words) of a wealthy, once-prominent newspaper tycoon. The film’s every-trick-in-the-book visual virtuosity and sophisticated storytelling are still utterly thrilling. Kane, Pauline Kael wrote, “may be more fun than any other great movie.” “Inventing modern cinema is a tough act to follow,” Welles later acknowledged. He never again enjoyed such untrammelled creative freedom.

USA 1942. Dir: Orson Welles. 88 min. DVD

THURSDAY, MAY 14

Orson Welles’s second feature, an adaptation of Booth Tarkington’s Pulitzer Prize-winning novel, is both a great film and the greatest “lost” film in cinema history. Wrestled away from the director after his 131-minute version bombed during test screenings – something Citizen Kane never had to endure – The Magnificent Ambersons was re-edited and partially re-shot by its studio, RKO. The kicker: the excised footage (some 50 minutes!) was destroyed, and with it, all future hopes of a restored cut. “It was a much better picture than Kane,” lamented Welles, “if they’d just left it as it was.” Yet what remains is nonetheless a masterpiece – a wonderment of gravity-defying camerawork, chiaroscuro lighting, and regal performances, painting a tragic picture of an aristocratic family in decline at the dawn of the 20th century. “Even in its truncated form it’s amazing and memorable” (Pauline Kael).

Opening Night: Orson Welles 100th Birthday Party with refreshments & special introduction Doors 6:30 pm / Screening 7:30 pm

SATURDAY, MAY 16 – 9:15 PM MONDAY, MAY 18 – 6:15 PM

SATURDAY, MAY 16 – 7:00 PM MONDAY, MAY 18 – 4:00 PM

The Magnificent Ambersons

Opening Night

100th

Birthday Party Thursday, May 14 Refreshments & Special Introduction 6:30 pm – Doors 7:30 pm – Screening of Citizen Kane

Introduced by Tom Charity Tom Charity is the programmer at VIFF Vancity Theatre in Vancouver and an occasional film critic for Sight & Sound and Cinema Scope magazines. He is the author of several books on the cinema, and has contributed to several more, including John Cassavetes: Lifeworks; a monograph on the film The Right Stuff; and The Rough Guide to Film.

Happy 100th

Birthday, Orson! The Cinematheque celebrates the May 6th centennial of Orson Welles, one of cinema’s foremost artists, with a retrospective of the 12 completed feature films he directed during a legendary, turbulent, and peripatetic career. The Orson Welles story is the stuff of movie lore: young Wisconsin-born wunderkind, toasted as a director on the New York stage by the age of 20, nationally (in)famous for his 1938 “War of the Worlds” radio broadcast, is invited to Hollywood by struggling RKO Pictures and – in an arrangement unprecedented for an untried filmmaker and resented by others in the industry – given carte blanche to make a movie. After a false start or two, Welles makes his feature debut at age 25 with Citizen Kane, a rich, rewarding, multi-layered work in which every advance in cinematic art of the previous half-century seems reinvented in new, fresh, startlingly modern ways. For much of the next half-century and beyond, Kane will be cited as perhaps the greatest film ever made.

Magnificent Ambersons, and then endured decades of irregular work, box-office failures, abortive projects, European misadventures, and funding difficulties. Welles frequently took acting jobs in other people’s movies in order to selffinance his own films. His was a Shakespearean career of triumph, tragedy, unrealized expectations, and greatness achieved too early – a career that eerily paralleled the unhappy life and unfulfilled promise of Charles Foster Kane, protagonist of Welles’s greatest (but by no means sole) masterwork. The mythic, larger-than-life story of Welles the man and maverick cannot obscure the magical, truly astounding body work he managed to create as a filmmaker, including the masterpieces Citizen Kane, The Magnificent Ambersons, The Lady from Shanghai, and Touch of Evil; several – yes – Shakespeare adaptations of the highest order; and a jaw-dropping version of Kafka’s The Trial. And, it should also be noted, the trials of Welles’s career are, from a curatorial perspective, still very much a living legacy. Complicated legal and copyright issues can still bedevil a film programmer seeking to organize a Welles retrospective and can restrict access to certain films in certain formats in certain territories – a situation that has had its effect on The Cinematheque’s mounting of this retrospective in honour of the great director’s 100th birthday.

“I started at the top and worked my way down,” Welles once remarked of his subsequent career. He lost creative control of his next picture, the nonetheless-magnificent

The Stranger USA 1946. Dir: Orson Welles. 95 min. DCP

Four years after the release of the bowdlerized Magnificent Ambersons, an undaunted Welles returned to the director’s chair for this characteristically baroque, noir-soaked thriller, which proved to RKO that Welles could make a profitable picture after all – albeit only one! A sign-of-the-times tale of the Nazi living next door, The Stranger pits American War Crimes Commissioner Mr. Wilson (pulp-staple Edward G. Robinson) against “Professor Charles Rankin” (Welles), a mustachioed Connecticut newlywed who just might be a massmurdering Nazi incognito. Though Welles was on a noticeably shorter artistic leash, the ingenuity of his camera angles and gutsy incorporation of actual holocaust footage – a first for Hollywood cinema – elevate The Stranger above its “minor work” status. “A cunning conspiracy to scare the daylights out of you. Adroitly directed, it is a grade-A gooseflesh-raiser” (Time). THURSDAY, MAY 21 – 6:30 PM SATURDAY, MAY 23 – 8:15 PM WEDNESDAY, MAY 27 – 8: 15 PM

New Restoration!

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 (played by 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 reaches its climax in the dazzling Hall of Mirrors shoot-out, one of the director’s most celebrated sequences. Welles’s brilliantly exotic film was a financial failure and effectively ended his career in Hollywood, where he wouldn’t work again for another decade! THURSDAY, MAY 21 – 8:20 PM SATURDAY, MAY 23 – 6:30 PM WEDNESDAY, MAY 27 – 6:30 PM

New Restoration!

Othello

USA/Italy/Morocco/France 1952. Dir: Orson Welles. 93 min. DCP

Orson Welles’s dynamic version of Shakespeare’s tragedy took top prize at Cannes in 1952. Welles himself has the title role; Micheál MacLiammóir is Iago. The film’s fitful production schedule – it was shot over several years, in various Moroccan and Italian locales, as the director struggled to raise financing – is the stuff of Wellesian legend. Desdemona had to be recast several times; the role ultimately went to Canadian Suzanne Cloutier. Rendered in bold Expressionist style, Othello is both bravura Orson Welles and superb cinematic Shakespeare. “Crowned in glory . . . Othello doesn’t rank below Citizen Kane and The Magnificent Ambersons, but alongside them” (Vincent Canby, New York Times). MONDAY, JUNE 1 – 6:30 PM WEDNESDAY, JUNE 3 – 8:30 PM THURSDAY, JUNE 4 – 6:30 PM

Confidential Report (aka Mr. Arkadin)

France/Spain/Switzerland 1955. Dir: Orson Welles. 99 min. 35mm

Situated in the often-complicated Orson Welles filmography between Othello and Touch of Evil, the over-the-top Confidential Report, aka Mr. Arkadin, “still hasn’t gotten its due as one of Welles’s most inventive and resonant films” (J. Hoberman, Village Voice). Welles’s sordid potboiler revisits Citizen Kane territory with its tale of a mysterious financier (Welles) who hires a small-time smuggler (Robert Arden) to investigate the forgotten details of his past. Shot in various European locales, and rendered in the director’s extravagant visual style, the film was beset by production delays, money woes, and, ultimately, various release versions unapproved by Welles, including an American edit designed to make the film more linear. This Europeanrelease version kept Welles’s flashback structure intact and is thought to more closely correspond to his wishes. MONDAY, JUNE 1 – 8:20 PM WEDNESDAY, JUNE 3 – 6:30 PM

More Welles 100 at Vancity Theatre! In support of The Cinematheque’s Orson Welles retrospective, the Vancity Theatre has programmed a medley of Wellesiana, including the new documentary Magician: The Astonishing Life & Work of Orson Welles (May 16, 17, 23, 24); It’s All True (May 17); Richard Linklater’s Me and Orson Welles (May 23); and Norman Foster’s Journey Into Fear (May 24). Vancity Theatre will also present the free events “Fragments and Lost Treasures” (May 31) and “Radio Pictures” (June 7). There will be a panel discussion, “Regarding Citizen Kane,” on May 24 after a screening of that film. See viff.org for more details.

Chimes at Midnight

F for Fake

France/Spain/Switzerland 1966. Dir: Orson Welles. 115 min. DVD

France/Iran/West Germany 1975. Dir: Orson Welles. 88 min. 35mm

(aka Falstaff)

“I think Falstaff is like a Christmas tree decorated with vices,” said Welles. “The tree itself is total innocence and love.” A profound compassion for Shakespeare’s recurring second-tiered character informs Welles’s astonishing five-play mélange Chimes at Midnight, one of the auteur’s greatest achievements. It enacts the friendship – and eventually estrangement – between Prince Hal (Keith Baxter), heir to King Henry IV’s throne, and his paternal tavern-chum Falstaff (a pillow-stuffed Welles), the boisterous, tragicomic drunkard who, in the director-actor’s adroit hands, comes to embody the death of Merrie England. Welles’s performance, a sensitive blend of conflicted emotions, is among his most tender and impressive. The film received a special 20th Anniversary Award at Cannes. “The one Welles film that deserves to be called lovely; there is a rising tide of opinion that proclaims it his masterpiece” (David Kehr, Chicago Reader).

(Vérités et mensonges)

The last film completed by Orson Welles before his 1985 death was this stylish pseudo-documentary, a film magician’s marvellous meditation on his art, on creation and fakery, on reality and illusion. Welles’s masterful sleight-of-hand takes in noted art forger Elmyr de Hory’s counterfeit Picassos, Clifford Irving’s hoax biography of Howard Hughes, Welles’s own “War of the Worlds” radio broadcast, and much else besides. Ruminating on Chartres, declaring “I am a charlatan,” detouring to Citizen Kane, and mixing up his own material with footage shot by others, Welles engineers a witty, ingenious houseof-mirrors con game that sets out to make grateful marks of us all. “One of the most dazzling, equivocal, and personal films ever made” (Jack Kroll, Newsweek). THURSDAY, JUNE 18 – 8:50 PM SUNDAY, JUNE 21 – 4:30 PM MONDAY, JUNE 22 – 6:30 PM

THURSDAY, JUNE 4 – 8:20 PM SUNDAY, JUNE 21 – 8:45 PM WEDNESDAY, JUNE 24 – 8:20 PM

New Restoration!

The Trial (Le procès) Restored 35mm Print!

France/Italy/West Germany 1962. Dir: Orson Welles. 118 min. DCP

Macbeth

Orson Welles’s audacious adaptation of Kafka was dear to his heart – “the best film I have ever made,” he called it in 1962 – and was the first work since Citizen Kane over which he exercised complete artistic control. Shot in communist Zagreb and in Paris’s then-deserted Gare d’Orsay, with Anthony Perkins as persecuted bureaucrat Joseph K., the apocalyptic film filters Kafka’s Expressionist nightmare through film noir, Hiroshima, and the Holocaust. Now widely esteemed, it initially met with a divided reception; English-language critics viewed it as disappointment, while Europeans hailed it as a baroque, labyrinthine masterpiece. The cast includes Jeanne Moreau and Romy Schneider. The Welles-narrated prologue, an illustration of Kafka’s parable “Before the Law,” features the pinscreen animation of Alexandre Alexeieff and Claire Parker.

(“Scottish Version”)

USA 1948. Dir: Orson Welles. 107 min. 35mm

“Something wicked this way comes.” Welles’s first Shakespeare-to-screen adaptation is a haunting Elizabethan fever-dream that doubles down on the horror running through the famously fatalistic play. Having twice directed Macbeth on stage – including the landmark “Voodoo” production that relocated the setting from Scotland to Haiti and featured an all-black cast – Welles was well-versed in the source material, but severely limited by a miniscule budget from poverty-row studio Republic Pictures. His solution: strip the play bare and create a stark, oneiric tragedy about the elemental evils of man. Bressonian in its austerity, and presented here in its restored, full-length version with the original Scottish-burred dialogue intact (the studio released a shortened version dubbed with American accents), Macbeth is a singular work in the visionary director’s oeuvre. “Pure cinema” (Geoff Andrews, Time Out). Restored 35mm print courtesy of the UCLA Film & Television Archive. Restoration funding provided by The Film Foundation and the Hollywood Foreign Press Association. THURSDAY, JUNE 11 – 6:30 PM SUNDAY, JUNE 14 – 8:35 PM MONDAY, JUNE 15 – 6:30 PM

SUNDAY, JUNE 21 – 6:30 PM THURSDAY, JUNE 25 – 6:30 PM

The Immortal Story (Histoire immortelle) France 1968. Dir: Orson Welles. 63 min. 16mm

Touch of Evil USA 1958. Dir: Orson Welles. 110 min. DCP

A “Goya-like vision of an infected universe” (Peter Bogdanovich), Orson Welles’s spectacularly seedy 1958 noir is one of his major masterpieces. Touch of Evil (screening here in its 1998 reconstruction) is set in a town along the California-Mexico border, where a murder investigation brings Mexican narcotics agent Vargas (Charlton Heston), honeymooning with his American wife Susan (Janet Leigh), into serious conflict with corner-cutting, corpulent Hank Quinlan (Welles), the local American lawman. Employing his characteristic baroque compositions, director Welles weaves a tour-de-force tapestry of the grotesque out of flea-bag motels, pot-smoking delinquents, butch bikers, and sweaty backwater hoodlums. Marlene Dietrich appears briefly as the madam of a Mexican bordello. The swooning, three-minute, single-take opening sequence “may be the greatest single shot ever put on film” (James Monaco).

Welles’s ongoing rumination on the corruptive nature of power continued with The Immortal Story, a faithful and elegant page-to-screen adaptation of a short story by Danish author Karen Blixen (penname Isak Dinesen). In 19th-century Macao, a wealthy but heirless old merchant named Clay (a superbly cankerous Welles) vows to make “factual” a seafarer’s tall tale about a virginal young sailor hired to impregnate a rich man’s wife. French arthouse doyenne Jeanne Moreau, previously in The Trial and Chimes at Midnight, re-teams with Welles to play Virginie, vengeful daughter of the merchant’s donewrong business partner, who agrees to pose as Clay’s adulterous bride. Originally commissioned for French television – this is the slightly longer, theatrical Englishlanguage version – it stands as one of the director’s most measured and melancholic offerings, on top of being his first colour feature. “Exquisite” (Jonathan Rosenbaum). MONDAY, JUNE 22 – 8:15 PM WEDNESDAY, JUNE 24 – 7:00 PM THURSDAY, JUNE 25 – 8:45 PM

THURSDAY, JUNE 11 – 8:35 PM SUNDAY, JUNE 14 – 6:30 PM MONDAY, JUNE 15 – 8:35 PM

NEW DOCUMENTARY EXCLUSIVE FIRST RUNS

2015 DOXA Documentary Film Festival 2015 Hot Docs Canadian International Documentary Film Festival

Sugar Coated Canada 2015. Dir: Michèle Hozer. 90 min. DCP

Is sugar toxic? Is it responsible for the biggest medical epidemic ever? Is the sugar industry using the same playbook once used by Big Tobacco to fudge the science and fight regulation? These are the provocative questions raised by the sharp, forceful new documentary Sugar Coated, filmed in part in Vancouver. Sugar intake has skyrocketed in the last 30 years to levels unprecedented in human history. A growing body of evidence suggests sugar is causing not only widespread obesity but also an epidemic of metabolic disease amongst otherwise normal-weight and physically-fit adults and children. Sugar Coated, debuted at this spring’s DOXA and Hot Docs festivals, ponders just how sweet our favourite taste may not be. All Ages Welcome FRIDAY, MAY 15 – 4:30 PM SATURDAY, MAY 16 – 3:00 PM & 5:00 PM SUNDAY, MAY 17 – 4:30 PM MONDAY, MAY 18 – 8:00 PM

2015 DOXA Documentary Film Festival

Dark Star: H.R. Giger’s World (Dark Star: HR Gigers Welt) Switzerland 2015. Dir: Belinda Sallin. 95 min. DCP

“This is the oldest skull I have.” Those are first lines spoken in an intimate, arresting documentary portrait of Swiss surrealist H.R. Giger, best known for his Oscar-winning design of the title creature in Ridley Scott’s Alien and for macabre album artwork for Emerson, Lake & Palmer; Deborah Harry; the Dead Kennedys; and others. Giger, who died in 2014, was still alive when Dark Star was made. He welcomed the filmmakers into his crammed-with-curiosities Zurich sanctum (the artefacts there include that first skull, a gift from dad when Giger was six). Full of great archival footage, including clips from Giger’s own films, Dark Star illuminates the sometimes sunny, sometimes tragic life of an unusual artist whose biomechanical, sex-anddeath-suffused creations have long been revered by acidheads, tattoo fetishists, and SF aficionados. THURSDAY, MAY 28 – 7:00 PM FRIDAY, MAY 29 – 7:00 PM SATURDAY, MAY 30 – 7:00 PM SUNDAY, MAY 31 – 4:30 PM & 8:45 PM

Alien

USA/Great Britain 1979. Dir: Ridley Scott. 117 min. DCP

“In space, no one can hear you scream.” But in the theatre, everyone can! The first and still best in a diminishingreturns franchise, Ridley Scott’s influential horror/sci-fi hybrid (screening here in its original release version) is a claustrophobic, nerve-obliterating monster movie crafted with the conviction of a taut cat-and-mouse thriller. After diverting to investigate a mysterious distress signal, the blue-collar crew of a commercial spaceship must contend with the ferocious face-hugging, then face-eating E.T. that has joined them onboard. The infamous chest-bursting scene remains one of cinema’s most enduringly shocking; the erotic alien design by H.R. Giger, one of its most original. “Vibrates with a dark and frightening intensity” (Roger Ebert).

THURSDAY, MAY 28 – 9:00 PM FRIDAY, MAY 29 – 9:00 PM SATURDAY, MAY 30 – 9:00 PM SUNDAY, MAY 31 – 6:30 PM

FREE EVENT

OPEN HOUSE JUNE 13

ALL AGES WELCOME! June is Film Lovers Month at The Cinematheque and to celebrate our doors will be open for a glimpse beyond the screen. Join us on Saturday, June 13 from 12:00 pm to 2:00 pm for our 7th Annual Open House. Tour the projection booth, library, and archive. Participate in a Some Like It Hot-themed activity with our Education Department. Join our donor program. Bid on film posters. Then, at 2:00 pm, grab a complimentary bag of the city’s best popcorn and settle into your seat for an Essential Cinema experience with a free screening of Billy Wilder’s 1959 comedy Some Like It Hot, starring Marilyn Monroe, Tony Curtis, and Jack Lemmon.

OPEN HOUSE: 12:00 PM – 2:00 PM FREE SCREENING OF SOME LIKE IT HOT: 2:00 PM ALL AGES WELCOME Tickets to the free 2:00 pm screening will be available on a first-come, first-served basis starting at 12:00 pm on Saturday, June 13. For more information, call 604-688-8202.

LOVE FILM? DONATE TODAY June is for Film Lovers at The Cinematheque As a charitable cultural organization, The Cinematheque relies on the support of donors like you. This June, new monthly donors ($10+ per month) will have a chance to win a private screening! Plus, for the rest of the year, our monthly donors will be entered into monthly draws for a chance to win free movies, exclusive treats, and more.

Your donation will support the innovative year-round

film programming and award-winning education programs of Western Canada’s largest film institute.

SHOW YOUR LOVE FOR THE CINEMATHEQUE! Become a monthly donor or make an annual gift. www.theCinematheque.ca/donate

See us at the Box Office

604.688.8202

Satyajit Ray’s

APU

TRILOGY

THE

New Restorations with New Subtitles!

PATHER PANCHALI

“Never having seen a Satyajit Ray film is like never having seen the sun or moon.”

– Akira Kurosawa n 1992, shortly before his death at the age of 70, the great Indian director Satyajit Ray received an Honorary Academy Award “in recognition of his rare mastery of the art of motion pictures, and of his profound humanitarian outlook, which has had an indelible influence on filmmakers and audiences throughout the world.” As India’s first film artist of international stature, Ray almost single-handedly created the “Parallel Cinema” of thematically and artistically serious film works which, with Indian government support, developed as an alternative to the rigidly conventionalized, “a star, six songs, and three dances” formula of India’s massive commercial movie industry. Many other important Indian filmmakers emerged in his wake. Ray’s own films constitute one of the most beloved bodies of work in world cinema – films of simplicity, power, poetry, grace, and generosity which bear the salutary stamp of Ray’s two great influences, Vittorio De Sica and Jean Renoir.

At the pinnacle of Ray’s achievement is an astonishing trio of films, known as the Apu Trilogy, from the beginning of his career: Pather Panchali (1955), Aparajito (1956), and The World of Apu (1959). Based on two novels by Bibhutibhushan Bandyopadhyay (a.k.a. Bibhutibhushan Banerjee), and chronicling a young Bengali boy’s growth from childhood to maturity, the trilogy stands as one of the central, essential masterworks of world cinema and as an extraordinary exemplar of Ray’s transcendent humanism. The Apu Trilogy has not been presented in Vancouver since 1997. Its three films screen here in beautiful new digital restorations with newly-translated subtitles. All Ages Welcome Annual $3 membership required those 18+

“One of the ten greatest films in the history of cinema . . . The last masterpiece of neorealism.” – J. Hoberman, Village Voice

Pather Panchali (Song of the Road)

India 1955. Dir: Satyajit Ray. 125 min. DCP

Satyajit Ray’s unforgettable debut burst upon the Western film world in much the same way Kurosawa’s Rashomon had several years before: as a revelatory bombshell introducing a previously unknown national cinema. Based on a renowned autobiographical novel by Bibhutibhushan Bandyopadhyay, Pather Panchali is the coming-of-age tale of brother and sister Apu (Subir Banerjee) and Durga (Uma Das Gupta), two children growing up in a poor Brahmin family in rural Bengal. Recounting their formative encounters with the sorrows, joys, and mysteries of life, Ray invests ordinary events with extraordinary poetry and power. Pather Panchali is a work of sublime simplicity, exquisite beauty, and heartrending lyricism, made in the best tradition of Ray’s two key influences: the humanism of Jean Renoir and the stylistic directness of Italian neorealism. The film’s score is by Ravi Shankar. In Bengali with English subtitles. FRIDAY, JUNE 5 – 6:30 PM SATURDAY, JUNE 6 – 4:00 PM SUNDAY, JUNE 7 – 6:30 PM MONDAY, JUNE 8 – 8:30 PM

“One of the great cinematic experiences of my life.” – Martin Scorsese “The great, sad, gentle sweep of The Apu Trilogy remains in the mind of the moviegoer as a promise of what film can be . . . It creates a world so convincing that it becomes, for a time, another life we might have lived.” – Roger Ebert PATHER PANCHALI

“A masterpiece for which terms like ‘simplicity’ and ‘profundity’ seem inadequate” – Jonathan Rosenbaum, Chicago Reader

Aparajito

(The Unvanquished)

India 1956. Dir: Satyajit Ray. 109 min. DCP

In Satyajit Ray’s second Apu film, winner of both the Golden Lion and International Critics Prize at Venice, young Apu and his family move from their rural village to the holy city of Benares (aka Varanasi), where Apu’s father has found work as a priest. A wonderfully wellobserved and deeply moving work, rendered with Ray’s characteristic warmth, humour, and poetry, the film follows Apu (played here as a boy by Pinaki Sen Gupta and as a young man by Smaran Ghosal) through the trials and tribulations of family tragedy, growing mother-son conflict, and admission to the University of Calcutta. Karuna Banerjee is a standout as Apu’s mother. Ravi Shankar again provides the score. “More perceptive than any other study of adolescence that I know” (David Shipman). In Bengali with English subtitles. FRIDAY, JUNE 5 – 8:50 PM SATURDAY, JUNE 6 – 6:30 PM SUNDAY, JUNE 7 – 8:50 PM TUESDAY, JUNE 9 – 6:30 PM

“It is the kind of film one sees only once in a decade. Indisputably, it is one of the masterpieces of cinema.” – Pierre Marcabru

The World of Apu (Apur sansar)

India 1959. Dir: Satyajit Ray. 105 min. DCP

The touching, triumphant conclusion to Satyajit Ray’s Apu Trilogy begins in Calcutta with the young hero as an unemployed would-be writer. His fortunes take a most unexpected turn when he attends a friend’s cousin’s wedding; love, parenthood, and heartbreak are all in the offing for Apu as Ray’s luminous film moves towards its concluding notes of reconciliation and hope. The World of Apu is widely regarded as one of cinema’s most tender love stories. It introduced two actors who would become central performers in Ray’s cinema: Sharmila Tagore (a distant relative of Nobel Prize-winning writer Rabindranath Tagore) as Aparna, and Soumitra Chatterjee (soon to be Ray’s favourite leading man) as Apu. “One of the most vital and abundant movies ever made” (Time). “Rich and contemplative, and a great, convincing affirmation” (Pauline Kael). In Bengali with English subtitles. SATURDAY, JUNE 6 – 8:35 PM SUNDAY, JUNE 7 – 4:00 PM MONDAY, JUNE 8 – 6:30 PM TUESDAY, JUNE 9 – 8:35 PM

SUN

MON

TUES

WED

THURS

NOW PLAYING

TICKETS

FRI

MAY

SAT

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

DOXA Documentary Film Festival Friday, May 1 – Sunday, May 10

Classics from Our Collection

The General – 6:30 pm

The Lady Vanishes – 8:10 pm

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

Aura Satz – 7:30 pm

Cinema Sunday The Red Balloon + White Mane – 1:00 pm

Orson Welles 100

Citizen Kane – 4:00 pm

OPEN HOUSE 7

Painting With Film

Citizen Kane / Introduced

Nostalghia – 6:30 pm

by Tom Charity – 7:30 pm

Nosferatu the Vampyre – 8:50 pm

Sugar Coated – 3:00 pm Sugar Coated – 5:00 pm Orson Welles 100

Citizen Kane – 7:00 pm The Magnificent

The Stranger – 6:30 pm

Painting With Film

The Mirror – 6:30 pm

Orson Welles 100

The Lady from Shanghai – 6:30 pm

Noughts – 8:35 pm

The Stranger – 8:15 pm

Painting With Film Nosferatu the Vampyre – 6:30 pm Nostalghia – 8:35 pm

New Documentary

Painting With Film

A Zed and Two

Sugar Coated – 8:00 pm

Painting With Film

The Mirror – 6:30 pm

Noughts – 6:30 pm

A Zed and Two

The Mirror – 8:40 pm

Noughts – 8:35 pm

New Documentary

Dark Star: H.R. Giger’s

Orson Welles 100

Othello – 6:30 pm

The Apu Trilogy

The World of Apu – 4:00 pm

Orson Welles 100

The Lady from

Dark Star: H.R. Giger’s

The Stranger – 8:15 pm

Alien – 9:00 pm

Orson Welles 100

Confidential Report

Pather Panchali – 8:30 pm

Aparajito – 6:30 pm The World of Apu – 8:35 pm

DIM Cinema

Jean-Paul Kelly: The Full

Catastrophe – 7:30 pm

Orson Welles 100

Othello – 6:30 pm (aka Falstaff) – 8:20 pm

The World of Apu – 6:30 pm

Dark Star: H.R. Giger’s World – 7:00 pm

Othello – 8:30 pm

New Documentary

Alien – 9:00 pm

(Mr. Arkadin) – 8:20 pm

The Apu Trilogy

Alien – 9:00 pm

Chimes at Midnight

Dark Star: H.R. Giger’s World – 7:00 pm

(Mr. Arkadin) – 6:30 pm

The Apu Trilogy

New Documentary

World – 7:00 pm

Confidential Report

JUNE

New Documentary

Shanghai – 6:30 pm

Aparajito – 8:50 pm

CLASSICS FROM OUR COLLECTION 19

Orson Welles 100

Shanghai – 8:20 pm

Pather Panchali – 6:30 pm

DIM CINEMA 18

Post Partum – 7:30 pm

Ambersons – 6:15 pm

World – 8:45 pm

Frames of Mind

A Zed and Two

Dark Star: H.R. Giger’s

imagineNATIVE 16

FRAMES OF MIND 18

Birthday Party Doors – 6:30 pm

New Documentary

The Lady from

Alien – 6:30 pm

PAINTING WITH FILM 12–15

CINEMA SUNDAY 17

Sugar Coated – 4:30 pm

The Magnificent

World – 4:30 pm

THE APU TRILOGY 8–9

HAIDA PAUL 16

Opening Night 100th

New Documentary

New Documentary Sugar Coated – 4:30 pm

IN THIS ISSUE NEW DOCUMENTARY 6

Soundfigures: Films by

Orson Welles 100

Ambersons – 9:15 pm

ORSON WELLES 100 2–5

DIM Cinema

The Apu Trilogy

Pather Panchali – 6:30 pm

The Apu Trilogy

Pather Panchali – 4:00 pm Aparajito – 6:30 pm

Aparajito – 8:50 pm

The World of Apu – 8:35 pm

Orson Welles 100

Macbeth

Painting With Film

Fitzcarraldo – 7:00 pm

Open House

Open House – 12:00

(“Scottish Version”) – 6:30 pm

Some Like It Hot – 2:00pm

Touch of Evil – 8:35 pm

Painting With Film

Fitzcarraldo – 7:00 pm

Orson Welles 100

Touch of Evil – 6:30 pm

Orson Welles 100

Macbeth

Frames of Mind

0.8 Amps of Happiness – 7:30 pm

imagineNATIVE

Reel Kanata – 7:00pm

Macbeth

(“Scottish Version”) – 6:30 pm

Orson Welles 100

(“Scottish Version”) – 8:35 pm

Touch of Evil – 8:35 pm

F for Fake – 8:50 pm

Painting With Film

Eraserhead – 7:00 pm

Painting With Film

Alphaville – 7:00 pm

Alphaville – 8:45 pm

Eraserhead – 9:00 pm

SPECIAL GUEST IN ATTENDANCE

ALL AGES EVENT

TOP: PATHER PANCHALI BOTTOM: THE LADY FROM SHANGHAI

Orson Welles 100 F for Fake – 4:30 pm The Trial – 6:30 pm Chimes at Midnight (aka Falstaff) – 8:45 pm

FREE EVENT

BACKGROUND IMAGES:

Cinema Sunday 20,000 Leagues Under the Sea – 1:00 pm

Painting With Film

Orson Welles 100

Painting With Film

Haida Paul

Haida Paul: Four

F for Fake – 6:30 pm

The Immortal Story – 7:00 pm

The Trial – 6:30 pm

Russian Ark /

The Immortal Story – 8:15 pm

Films – 4:00 pm

Chimes at Midnight

The Immortal Story – 8:45 pm

Introduced by Donald

Haida Paul: Compilation

Brackett – 6:30 pm

Film and Panel

Rope – 8:35 pm

Discussion – 7:00 pm

(aka Falstaff) – 8:20 pm

Orson Welles 100

Painting With Film

Rope – 6:30 pm

Russian Ark – 6:30 pm

Russian Ark – 8:10 pm

Rope – 8:20 pm

Open

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

1131 Howe Street, Vancouver • cslyaletown.org

Centre for Yaletown

SUN

MON

TUES

WED

THURS

NOW PLAYING

TICKETS

FRI

MAY

SAT

DOXA Documentary Film Festival Friday, May 1 – Sunday, May 10

Classics from Our Collection

The General – 6:30 pm

The Lady Vanishes – 8:10 pm

Aura Satz – 7:30 pm

Cinema Sunday The Red Balloon + White Mane – 1:00 pm

Orson Welles 100

Citizen Kane – 4:00 pm

OPEN HOUSE 7

Painting With Film

Citizen Kane / Introduced

Nostalghia – 6:30 pm

by Tom Charity – 7:30 pm

Nosferatu the Vampyre – 8:50 pm

Sugar Coated – 3:00 pm Sugar Coated – 5:00 pm Orson Welles 100

Citizen Kane – 7:00 pm The Magnificent

The Stranger – 6:30 pm

Painting With Film

The Mirror – 6:30 pm

Orson Welles 100

The Lady from Shanghai – 6:30 pm

Noughts – 8:35 pm

The Stranger – 8:15 pm

Painting With Film Nosferatu the Vampyre – 6:30 pm Nostalghia – 8:35 pm

New Documentary

Painting With Film

A Zed and Two

Sugar Coated – 8:00 pm

Painting With Film

The Mirror – 6:30 pm

Noughts – 6:30 pm

A Zed and Two

The Mirror – 8:40 pm

Noughts – 8:35 pm

New Documentary

Dark Star: H.R. Giger’s

Orson Welles 100

Othello – 6:30 pm

The Apu Trilogy

The World of Apu – 4:00 pm

Orson Welles 100

The Lady from

Dark Star: H.R. Giger’s

The Stranger – 8:15 pm

Alien – 9:00 pm

Orson Welles 100

Confidential Report

Pather Panchali – 8:30 pm

Aparajito – 6:30 pm The World of Apu – 8:35 pm

DIM Cinema

Jean-Paul Kelly: The Full

Catastrophe – 7:30 pm

Orson Welles 100

Othello – 6:30 pm (aka Falstaff) – 8:20 pm

The World of Apu – 6:30 pm

Dark Star: H.R. Giger’s World – 7:00 pm

Othello – 8:30 pm

New Documentary

Alien – 9:00 pm

(Mr. Arkadin) – 8:20 pm

The Apu Trilogy

Alien – 9:00 pm

Chimes at Midnight

Dark Star: H.R. Giger’s World – 7:00 pm

(Mr. Arkadin) – 6:30 pm

The Apu Trilogy

New Documentary

World – 7:00 pm

Confidential Report

JUNE

New Documentary

Shanghai – 6:30 pm

Aparajito – 8:50 pm

CLASSICS FROM OUR COLLECTION 19

Orson Welles 100

Shanghai – 8:20 pm

Pather Panchali – 6:30 pm

DIM CINEMA 18

Post Partum – 7:30 pm

Ambersons – 6:15 pm

World – 8:45 pm

Frames of Mind

A Zed and Two

Dark Star: H.R. Giger’s

imagineNATIVE 16

FRAMES OF MIND 18

Birthday Party Doors – 6:30 pm

New Documentary

The Lady from

Alien – 6:30 pm

PAINTING WITH FILM 12–15

CINEMA SUNDAY 17

Sugar Coated – 4:30 pm

The Magnificent

World – 4:30 pm

THE APU TRILOGY 8–9

HAIDA PAUL 16

Opening Night 100th

New Documentary

New Documentary Sugar Coated – 4:30 pm

IN THIS ISSUE NEW DOCUMENTARY 6

Soundfigures: Films by

Orson Welles 100

Ambersons – 9:15 pm

ORSON WELLES 100 2–5

DIM Cinema

The Apu Trilogy

Pather Panchali – 6:30 pm

The Apu Trilogy

Pather Panchali – 4:00 pm Aparajito – 6:30 pm

Aparajito – 8:50 pm

The World of Apu – 8:35 pm

Orson Welles 100

Macbeth

Painting With Film

Fitzcarraldo – 7:00 pm

Open House

Open House – 12:00

(“Scottish Version”) – 6:30 pm

Some Like It Hot – 2:00pm

Touch of Evil – 8:35 pm

Painting With Film

Fitzcarraldo – 7:00 pm

Orson Welles 100

Touch of Evil – 6:30 pm

Orson Welles 100

Macbeth

Frames of Mind

0.8 Amps of Happiness – 7:30 pm

imagineNATIVE

Reel Kanata – 7:00pm

Macbeth

(“Scottish Version”) – 6:30 pm

Orson Welles 100

(“Scottish Version”) – 8:35 pm

Touch of Evil – 8:35 pm

F for Fake – 8:50 pm

Painting With Film

Eraserhead – 7:00 pm

Painting With Film

Alphaville – 7:00 pm

Alphaville – 8:45 pm

Eraserhead – 9:00 pm

SPECIAL GUEST IN ATTENDANCE

ALL AGES EVENT

TOP: PATHER PANCHALI BOTTOM: THE LADY FROM SHANGHAI

Orson Welles 100 F for Fake – 4:30 pm The Trial – 6:30 pm Chimes at Midnight (aka Falstaff) – 8:45 pm

FREE EVENT

BACKGROUND IMAGES:

Cinema Sunday 20,000 Leagues Under the Sea – 1:00 pm

Painting With Film

Orson Welles 100

Painting With Film

Haida Paul

Haida Paul: Four

F for Fake – 6:30 pm

The Immortal Story – 7:00 pm

The Trial – 6:30 pm

Russian Ark /

The Immortal Story – 8:15 pm

Films – 4:00 pm

Chimes at Midnight

The Immortal Story – 8:45 pm

Introduced by Donald

Haida Paul: Compilation

Brackett – 6:30 pm

Film and Panel

Rope – 8:35 pm

Discussion – 7:00 pm

(aka Falstaff) – 8:20 pm

Orson Welles 100

Painting With Film

Rope – 6:30 pm

Russian Ark – 6:30 pm

Russian Ark – 8:10 pm

Rope – 8:20 pm

Open

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

1131 Howe Street, Vancouver • cslyaletown.org

Centre for Yaletown

g n i t Pain W FITZCARRALDO

s s e n l l ti S f o T h e Cinema (continued from April)

ction!? Instead, these esteemed directors seem to call out: Freeze! Recently, culture critic and film scholar Hava Aldouby has illuminated a unique zone of viewing pleasure by reminding us that the great Federico Fellini professed a desire to create “an entire film made of immobile pictures.” In this screening series, we can also use this quotation as a launching point to gaze at and analyze films by a diverse range of acclaimed directors who, like Fellini, create sequences of “pictures” that draw extensively on art history, and particularly painting, as a reservoir for their highly retinal and idiosyncratic visual imagery. David Lynch, for example, said he liked making “moving paintings.” Something like Goya in action. Like Aldouby’s own astute observations about Fellini, we can also employ an innovative pictorial approach that allows us to uncover a wealth of visual art evocations throughout the astonishing bodies of work produced by these seminal film artists over the years. Each director occupies a uniquely personal place in the history of cinema, but there is also one common element they all share, apart from the exquisite nature of their artifacts, and that is their intense absorption by the suspended and extended retinal experience. Dreaming with our eyes wide open if you like. Ultra-reverie.

We celebrate the moving image in this series, but in a rather counter-intuitive manner. These are all slow movies. Some are so slow that you are suddenly taken aback by the sound of your own beating heart. Some cross over into a purely optical realm more commonly reserved for paintings as receptacles and transmitters of unconscious meanings and associations. That is where these films begin to weave their occasionally immobile magic: in the dream-like interstitial zone between poetic paintings, photographs, and motion pictures. Are they paintings, or are they photographs, or are they motion pictures? Yes, they are. So, climb aboard this slow moving cinematic train, where the pace may be leisurely but the heights achieved are lofty and the view is sublime. – Donald Brackett

Donald Brackett is an art/film/culture critic and the author of two books on the dynamics of creative collaboration: Fleetwood Mac: 40 Years of Creative Chaos (Praeger, 2007) and Dark Mirror: The Pathology of the Singer-Songwriter (Praeger, 2008). A frequent guest lecturer, curator, and film programmer, he curated Strange Magic: The Films of Charles Brackett and Billy Wilder, a retrospective presented at The Cinematheque in 2013.

g h t i W Fil m

(c o n tinu e d fr om A pril ) nald B o D y b d te a r u C

rackett

The Mirror Nostalghia

Italy/USSR 1983. Dir: Andrei Tarkovsky. 125 min. 35mm

The visionary Tarkovsky’s first film made outside the USSR is a work of extraordinary beauty. While in Italy researching the life of an 18th-century Russian composer, a Soviet musicologist has a sexuallycharged but unconsummated relationship with his beautiful translator, and meets a mysterious madman convinced the world is about to end. Appearing in the latter role is Bergman regular Erland Josephson, later the star of The Sacrifice, Tarkovsky’s final film. Shot in Tuscany, and cowritten with the great Italian screenwriter Tonino Guerra, Nostalghia is suffused with longing and homesickness, and displays some of Tarkovsky’s most astonishing imagery. “An existential rapture almost to the point of exploding. Tarkovsky’s serene humanism and fresco-like mentality offer us a rare gift: a sculpture made of time, frozen before our eyes but melting in our hearts” (DB). FRIDAY, MAY 15 – 6:30 PM SUNDAY, MAY 17 – 8:35 PM

Nosferatu the Vampyre (Nosferatu - Phantom der Nacht)

West Germany/France 1979. Dir: Werner Herzog. 107 min. DCP

Werner Herzog’s striking version of Nosferatu was not, he insisted, a remake of Murnau’s 1922 horror classic (“the greatest German film,” according to Herzog) but rather a tribute to it. Klaus Kinski (wearing make-up that replicates Max Schreck’s in Murnau’s original) plays a world-weary Count Dracula, suffering the monotony of eternal life. Bruno Ganz and Isabelle Adjani are the young couple drawn into the mysterious count’s orbit. Herzog’s breathtaking, often apocalyptic imagery includes one notorious scene involving 11,000 rats. The kinky Kinski is superbly creepy – the best movie vampire ever, Herzog now maintains! Nosferatu screens here in its German-language version (with subtitles). “Sympathy for the devil – an incongruous, harrowing humanism – is saturated throughout this opulent extravaganza, swept along by the haunting sounds of Popol Vuh, Herzog’s Prokofiev” (DB). FRIDAY, MAY 15 – 8:50 PM SUNDAY, MAY 17 – 6:30 PM

(Zerkalo)

USSR 1974. Dir: Andrei Tarkovsky. 106 min. 35mm

Tarkovsky’s visually-sumptuous fourth feature is the great director’s most personal and poetic (and Proustian) film. The Mirror offers an idiosyncratic history of 20th-century Russia, in the form of a poet’s fragmented reflections on three generations of his family. The poems used were written and read by Tarkovsky’s own father, poet Arseny Tarkovsky; Tarkovsky’s mother appears as the protagonist’s elderly mother. In a dual role, actress Margarita Terekhova is both the protagonist’s wife and his mother as a younger woman. “Here we see the Michelangelo of moving images in his prime. Almost exclusively visual in content, with a slippery flow of oneiric images comparable to the stream-ofconsciousness technique in modernist literature, this meditation on memory and mortality is like life itself, or the way we remember it: discontinuous and frequently non-chronological” (DB). FRIDAY, MAY 22 – 6:30 PM SUNDAY, MAY 24 – 8:40 PM MONDAY, MAY 25 – 6:30 PM

A Zed and Two Noughts Great Britain/Netherlands 1985. Dir: Peter Greenaway.115 min. 35mm

Peter Greenaway’s wickedly perverse, coolly intellectual follow-up to The Draughtsman’s Contract is a genuine oddity. A bizarre auto accident with a swan makes widowers of zoologist brothers (and ex-Siamese twins) Oswald and Oliver Deuce and leaves driver Alba Bewick without a leg. The brothers are driven by grief to an obsessive study of the decay of dead animals. Alba is pursed by a conniving surgeon but takes up instead with Oswald and Oliver, whose experiments with rotting flesh get more extreme. Offering up a characteristic Greenaway catalogue of allusions, motifs, and arcane knowledge along the way, the film is lit to Vermeer-like perfection by master cinematographer Sacha Vierny (Last Year at Marienbad) in his first of many collaborations with the director. “The boldest and arguably the best of Greenaway’s fiction features” (Jonathan Rosenbaum, Chicago Reader). FRIDAY, MAY 22 – 8:35 PM SUNDAY, MAY 24 – 6:30 PM MONDAY, MAY 25 – 8:35 PM

RUSSIAN ARK

Fitzcarraldo

West Germany 1982. Dir: Werner Herzog. 158 min. DCP

A decade after Aguirre, The Wrath of God, Werner Herzog returned to the Peruvian jungle for another tale of mad, monumental obsession – and indulged in some loony, now-legendary obsessiveness of his own! Klaus Kinski plays an eccentric Irish rubber baron who dreams of building an opera house in the Amazonian jungle. Financing the wild scheme involves opening up inaccessible territory – and that involves dragging a massive steamship over a mountain, with the help of hostile Jivaro Indians. In depicting his hero’s folly, Herzog chose to live it: to actually drag a steamship over a mountain, with the help of the not-always-cooperative locals (an arduous, dangerous endeavour chronicled in Les Blank’s documentary Burden of Dreams). “Another movie, another mountain! Kinski again demonstrates why he was the recurring surrogate for Herzog’s fanatical cinematic explorations of the edges of sanity. This film is an opera” (DB). FRIDAY, JUNE 12 – 7:00 PM SATURDAY, JUNE 13 – 7:00 PM

Eraserhead

USA 1977. Dir: David Lynch. 89 min. 35mm

David Lynch’s hair-hoisting first feature is one of those rare movies that genuinely seems to have spilled directly out of the unconscious mind — unmediated, unadulterated, and “carrying bits of brain tissue with it” (Film Comment). Shot on a shoestring, and taking six years to complete, Lynch’s grisly comedy is set in a god-awful industrial wasteland, where hapless factory worker Henry (Jack Nance) learns from girlfriend Mary (Charlotte Stewart) that he has become a father — of a monstrous mutant child. Eraserhead serves up a Lynchian nightmare vision of love, sex, parenthood, and the nuclear family, rendered in remarkably textured blackand-white images and startling, unsettling sound. “Certainly the most disturbing contemplation of family and domestic life ever concocted, this early Lynch masterpiece provides ample evidence of his original career as a visual artist” (DB). FRIDAY, JUNE 19 – 7:00 PM SATURDAY, JUNE 20 – 9:00 PM

Alphaville

(Alphaville, une étrange aventure de Lemmy Caution) France/Italy 1965. Dir: Jean-Luc Godard. 98 min. DCP

Godard’s hugely-influential mix of dystopian science fiction and film noir was originally called Tarzan vs. IBM, a title suggestive of its theme and its pop-art/pulp-fiction sensibilities. Secret agent Lemmy Caution (Eddie Constantine) travels through space in a Ford Galaxie to Alphaville, the city of the future, where love, art, and individuality are outlawed. His mission is to neutralize dictatorial Professor Von Braun and destroy the ruthless Alpha 60 computer. Cartoonballoon dialogue complements the comic-book plot, while cinematographer Raoul Coutard’s amazing visuals create a shadowy, menacing, soulless futuristic world of concrete and glass – shot entirely on location in contemporary Paris! “Images in duration, dream landscapes, oneiric storylines, and psychic projections. Godard contributed much to a changing cinema, and Alphaville is a good example of his early postmodern mental-montage techniques” (DB). FRIDAY, JUNE 19 – 8:45 PM SATURDAY, JUNE 20 – 7:00 PM

Russian Ark

Rope

Russia/Germany 2002. Dir: Alexander Sokurov. 96 min. DCP

Hitchcock’s first film in colour, and first with favourite Jimmy Stewart, was this audacious experiment in the use of the long take and real time. Inspired by the notorious Leopold and Loeb case of the 1920s, Rope stars John Dall and Farley Granger as university chums (and barely-disguised lovers) who set out to prove their Nietzschean superiority by committing a murder. Stewart is their former philosophy professor. The film is composed of eight uncut ten-minute takes invisibly edited together to look like a single, continuous 80-minute shot. The technical challenge was enormous; Rope is a stunning feat of elaborately planned camera movement and carefully choreographed actors. It is also well-acted and ghoulishly funny! “This is one of the best examples of Hitchcock’s ongoing confrontation with what he called the empty white rectangle of cinema” (DB).

(Russki kovcheg)

USA 1948. Dir: Alfred Hitchcock. 80 min. DCP

A manifest miracle of the cinema, Alexander Sokurov’s astonishing film offers dreamy passage on the ark of Russian history, in the form of a single, spellbinding, time-travelling tracking shot – at 96 minutes, the longest uninterrupted Steadicam shot in cinema history – through St. Petersburg’s famed Hermitage Museum. Our companions on the fantastic voyage are an unseen narrator (Sokurov) and a 19-century French marquis (Sergey Dreiden). Mysteriously transported to the museum, the two wander through dozens of grand rooms, miles of corridors, and hundreds of years of history, encountering a pageant of historical personages along the way. The virtuosity on display, involving the complicated choreography of a cast of thousands, is breathtaking. “This film is an ideal celebration of our theme, a parade of beautiful images about beautiful images. An exquisite meditation on movement, memory, and history” (DB).

FRIDAY, JUNE 26 – 8:35 PM SUNDAY, JUNE 28 – 6:30 PM MONDAY, JUNE 29 – 8:20 PM

FRIDAY, JUNE 26 – 6:30 PM (WITH INTRODUCTION BY DONALD BRACKETT) SUNDAY, JUNE 28 – 8:10 PM MONDAY, JUNE 29 – 6:30 PM

Introduction by Donald Brackett

Friday, June 26 Donald Brackett, curator of “Painting With Film: The Cinema of Stillness,” will be in attendance on Friday, June 26 to introduce the final program in the series, Russian Ark and Rope.

ALPHAVILLE

The Cinematheque and imagineNATIVE Present

Reel Kanata

A film program in honour of National Aboriginal History Month and National Aboriginal Heritage Day To mark National Aboriginal Heritage Month and this week’s National Aboriginal Heritage Day (June 21), The Cinematheque and Toronto’s imagineNATIVE Film + Media Arts Festival present a special program of new and award-winning short films by Canadian Indigenous filmmakers exploring themes of resilience, empowerment, and indomitability. imagineNATIVE, held annually in October, is the world’s largest event of its kind celebrating works by Indigenous media artists.

Repercussions ● The heartbeat of a city resonates and the past vibrates in the present in this stopmotion animation from Métis artist Calder. Terril Calder/2013. 4 min. My Story ● Simple whiteboard animation and voice-over narration relate the artist’s personal journey and struggles. Tabobondung is a 17-year-old Anishinabekwe from Wasauksing First Nation in Ontario. Shania Tabobondung/2013. 9 min.

A Common Experience ● Playwright Yvette Nolan voices her personal experience in this poetic exploration of the multigenerational effects of Canada’s residential school system, directed by Métis filmmaker Belcourt. Shane Belcourt/2013. 11 min. Mohawk Midnight Runners ● After the death of a dear friend, a young Mohawk man decides to make positive changes in his life – and to run down a road naked in the middle of the night! Zoe Hopkins/2013. 15 min.

Throat Song ● A young Inuit woman seeks to reclaim her lost voice in this Oscar-shortlisted short drama from producer Stacey Aglok MacDonald’s Nunavut-based company Puhitaq. Miranda DePencier/2011. 18 min.

Totem ● A dead bird inspires a delicate expression of remembrance and gratitude in Ojibway painter and filmmaker Shilling’s arresting film. Travis Shilling/2013. 4 min. Blocus 138 ● Young Innu filmmaker Leblanc’s short documentary chronicles his community’s resistance to further exploitation of their territory. Réal Junior Leblanc/2012. 7 min. Wakening ● In a near-future dystopia, Cree warrior Weesagechak braves a war zone to find the ancient Weetigo and possibly end her people’s suffering. Danis Goulet/2013. 9 min.

TOTAL RUNNING TIME: APPROX. 77 MIN.

All Ages Welcome. Cinematheque membership not required for this event. THURSDAY, JUNE 18 – 7:00 PM

Motor Sister: A Celebration of the Work of Haida Paul

aida Paul (1937-2014) was a vibrant filmmaker and editor who contributed to the Vancouver film community for over 50 years, working on dozens of films across multiple genres. One of the principals of the Petra Films production company, Paul was known for her work on Sandy Wilson’s My American Cousin (1985), for which she won a Genie, and Hugh Brody’s opus Tracks Across Sand (2012). But her career was extensive; she acted as editor or sound editor on more than 50 other films. In the 1970s and 1980s, the women’sissues documentaries on which she collaborated, including This Film is about Rape (1978), were foundational to the creation of wider feminist publics in Canada and abroad. She was equally at home working in rockumentary, indie sci-fi, and experimental cinema. Her playful side was given free reign in the many classic children’s animated shorts she designed sound for or edited. Paul’s open spirit and ability to engage with the creative visions of her collaborators helped her to forge her unique editing style. As an editor, she brought deep intelligence and a non-judgmental, noncensorious eye to her work. At root, she was an incisive storyteller. She had the uncanny ability to bring to the fore moments of life captured on film; she always found ways to highlight the visceral connections and underlying meaning in each project to which she contributed. This celebration of Haida Paul’s craft aims to make visible the largely invisible work of a prolific and generous editor who played an important role in the formation of Vancouver’s film community and a number of the West Coast’s key aesthetic styles. Acknowledgements: Thank you to Ileana Pietrobruno and Zoë Druick for their instrumental work in organizing this program.

SATURDAY, JUNE 27 4:00 PM - Haida Paul: Four Films

This Film is About Rape – Bonnie Kreps, a pioneering feminist voice in Canadian cinema, dispelled myths about rape in this Ferron-scored documentary. Canada 1978. Dir: Bonnie Kreps. Editor: Haida Paul. 29 min. Street Kids – Peg Campbell’s innovative docudrama tackled the issue of teenage prostitution in Vancouver. Canada 1986. Dir: Peg Campbell. Editor/ Sound Designer/Sound Editor: Haida Paul. 22 min.

The Night Before the Morning After – The bittersweet tale of a one-night stand, Barry Healey’s short, produced by Phillip Borsos, was nominated for two Genies. Canada 1979. Dir: Barry Healey. Editor: Haida Paul. 14 min.

Girls Fitting In – Haida Paul directed this documentary exploring the tribulations of being a teenaged girl. Canada 1980. Dir/Editor: Haida Paul. 16 min. 7:00 PM – Haida Paul: Compilation Film and Panel Discussion, followed by a Reception A compilation of clips from films on which Haida Paul worked will be screened, followed by a panel discussion featuring several of her long-time colleagues and collaborators. Panels confirmed at press time: Hugh Brody, anthropologist, author, and documentary filmmaker; Raymond Hall, film editor, producer and Professor Emeritus, Film Production, UBC; Mo Simpson, documentary filmmaker, cinematographer, and editor; and Jennifer Torrance, film producer. A reception will be held afterwards in The Cinematheque lobby.

The Cinematheque’s Education Department presents

An Afternoon Film Program for Children and Their Families

20,000 LEAGUES UNDER THE SEA

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

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

“We will never be grateful enough to Lamorisse . . . With the eyes of a ten-year-old, wide open with dreams and wet with tears, we followed the dazzling horse in the sea, or the enchanted balloon in the sky.” – Marie-Noëlle Tranchant, Le Figaro

The Red Balloon (Le ballon rouge)

France 1956. Dir: Albert Lamorisse. 34 min. 35mm

French director Albert Lamorisse’s The Red Balloon is undoubtedly one of the most beloved and magical children’s films of all time! Winner of the Short Film Palme d’Or at Cannes, as well as the Oscar for Best Original Screenplay (the only short film with this distinction), it’s an enchanting urban adventure about a Parisian boy and a very special ballon rouge with a mind of its own. Though nearly wordless, there are English subtitles for the minimal French dialogue. “An utterly charming, tender and humorous drama of the ingeniousness of a child” (Bosley Crowther, New York Times).

+ White Mane (Crin-blanc)

France 1953. Dir: Albert Lamorisse. 40 min. 35mm

The film that preceded Lamorisse’s pitch-perfect The Red Balloon is another tale of childhood wonder that took a top prize at Cannes (Grand Prix for best short). Set in the south of France, it’s the story of a boy’s remarkable friendship with a wild stallion known as White Mane. The version presented here features newly-translated English narration by Peter Strauss. “There’s a sense of a boy’s wild-bird spirit blending with the tameless heart and strength of a mighty horse that moves one to emotional raptures that are seldom got from a film” (Bosley Crowther, New York Times). Both films screen from 35mm prints restored by Janus Films in 2007. During the short intermission between films, join Alliance Française de Vancouver for a fun, Frenchled activity where kids (and kids-at-heart) can have their photo taken with the red balloon against a Paris backdrop. For more on Alliance Française de Vancouver, visit www.alliancefrancaise.ca. SUNDAY, MAY 17 – 1:00 PM

20,000 Leagues Under the Sea USA 1954. Dir: Richard Fleischer. 127 min. DCP

Disney nearly broke the bank in bringing Jules Verne’s endlessly imaginative underwater epic to the big screen – and it shows! From the exquisitely ornate steampunk aesthetic, to the legendarily life-size animatronic Giant Squid, this CinemaScoped adaptation looks every bit as expensive as it was. The story, now well-trodden, concerns a free-wheeling harpoonsman (Kirk Douglas) on the hunt for a much-gossiped-about sea monster attacking vessels in the Pacific Ocean. What he discovers, instead, is a band of misanthropic castaways led by Captain Nemo (James Mason), skipper of the retro-futuristic submarine Nautilus. A marvel of in-camera effects and genre smarts, it’s “as fabulous and fantastic as anything [Walt Disney] has ever done in cartoons” (Bosley Crowther, New York Times). Find out how humans have explored the depths of the oceans! After the movie, the Vancouver Maritime Museum will give a glimpse into the history of underwater diving and lead participants in an interactive nautical-themed activity. The Vancouver Maritime Museum is located in Vanier Park in Vancouver. For more info, visit www.vanmaritime.com. SUNDAY, JUNE 21 – 1:00 PM

0.8 AMPS OF HAPPINESS

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

he 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. 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!

Post Partum

0.8 Amps of Happiness

Belgium/France/Luxembourg 2013. Dir: Delphine Noels. 95 min. DCP

Luce (Mélanie Doutey) and Ulysse (Jalil Lespert) are a contented young couple, very much in love and excitedly awaiting the birth of their first child. When baby Rose arrives, Luce is distraught to discover she feels no love for the newborn – only fear and growing anxiety. With her uncomprehending husband and meddling mother-in-law offering nothing but blame and platitudes, and the gulf growing between herself and what she believes a “good mother” to be, Luce’s mental state tips over from depression into psychosis. This harrowing psychological thriller delivers a stunning denouement that will stay with the viewer long after the final credits have rolled. Post-screening discussion with Dr. Heather Donaldson, who completed her medical degree at the University of British Columbia and her residency in psychiatry at the University of Toronto. Dr. Donaldson has a special interest in reproductive mental health and works in this area at Richmond Hospital. Moderated by Dr. Harry Karlinsky, Clinical Professor, Department of Psychiatry, University of British Columbia. Co-sponsored by the Pacific Post Partum Support Society. WEDNESDAY, MAY 20 – 7:30 PM

(0,8 Ampère geluk)

Netherlands 2015. Dir: Saskia Gubbels. 52 min. Blu-ray Disc

“Before I lie down in the snow to die, I want to have tried everything to recover. Because living like this isn’t much of a life.” These haunting words are spoken by Lidwine, a severely depressed middle-aged woman who has come to Rijnstate Hospital in Arnhem, the Netherlands, for electroconvulsive therapy, or ECT. Saskia Gubbels’s unflinching but compassionate documentary portrays the experiences of four patients at Rijnstate, all admitted for ECT – still one of the most controversial psychiatric treatments in use today (in no small part due to its negative depiction in films, notably One Flew Over the Cuckoo’s Nest). But for Lidwine, Yvonne, Jan, and Wilma, any risks or fears are outweighed by the hope the treatment offers for some measure of their former happiness. Post-screening discussion with Dr. Michael Wilkins-Ho, a Clinical Associate Professor and the Head of the Geriatric Psychiatry Division at the UBC Deptartment of Psychiatry. Dr. Wilkins-Ho is also the Medical Coordinator of the Vancouver General Hospital outpatient ECT service, and the ECT Medical Lead in the Fraser Health Authority. Moderated by Dr. Harry Karlinsky, Clinical Professor, Department of Psychiatry, University of British Columbia. WEDNESDAY, JUNE 17 – 7:30 PM ORAMICS: ATLANTIS ANEW

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

www.dimcinema.ca

Soundfigures: Films by Aura Satzt (Near) extinct technologies make sound visible in this program of shorts by London-based artist Aura Satz that delve into ideas of knowledge, memory, and communication. On a Chladni Plate, a device that marked the birth of acoustics, grains of sand, moving like Busby Berkeley dancers, form intricate patterns in response to changing sound frequencies, their shapes recalling the utopian quest for a “pure,” onomatopoeic alphabet. Wax cylinder recordings combine with modern scientific instruments to animate a text by Rainer Maria Rilke on the possibility of hearing the dead by playing their skulls with a gramophone needle. A Ruben’s Tube translates a histrionic voice-over into a standing wave of small flames, provoking unexpected associations, from the biblical burning bush to various acts of ventriloquism in pop culture. Breaking its long silence, the Oramics Machine plays hand-drawn compositions by its inventor, electronic music pioneer Daphne Oram. Kaleidoscopic effects in the lamphouse of a 35mm film printer honour Natalie Kalmus, colour consultant on masterpieces of the Technicolor era. Chromatic distortions in early colour-film tests are revealed through the eyes of the George Eastman family and old Hollywood stars. In a dramatic finale, Satz and experimental filmmaker Lis Rhodes encode their voices as abstract light patterns on 16mm mono and 35mm stereo filmstrips in a collaborative exploration of sound-image synchronicity. Onomatopoeic Alphabet | Great Britain 2010. 6 min. DCP Sound Seam | Great Britain 2010. 15 min. DCP Vocal Flame | Great Britain 2012. 9 min. DCP Oramics: Atlantis Anew | Great Britain 2011. 7 min. DCP Doorway for Natalie Kalmus | Great Britain 2013. 9 min. DCP Chromatic Aberration | Great Britain 2014. 9 min. DCP In and Out of Synch | Great Britain 2012. 20min. 16mm

WEDNESDAY, MAY 13 – 7:30 PM

Jean-Paul Kelly: The Full Catastrophe Using abstraction, animation, and re-enactments, Torontobased artist Jean-Paul Kelly – the 2014 recipient of the Kazuko Trust Award for “artistic excellence in the moving image” at the New York Film Festival – has created a powerful series of short videos that examine the attractors and repulsors of various forms of media representation. Details from documentaries, press cuttings, publications, and online media streams are isolated, superimposed, composited, and otherwise reconfigured into new meanings — often in disturbing pairings of pleasure and pain, desire and trauma. The centrepiece of the program, Service of the goods, is a shot-by-shot reproduction of scenes from various Frederick Wiseman documentaries, which have been stripped of their naturalistic signifiers to bring underlying ideologies into sharper focus. “This film is not only a bang-on piece of filmic analysis; it also poses fundamental questions about the representation of social institutions, and those stuck inside of them” (Michael Sicinski, Keyframe Magazine). (Glissement) The Sense of an Ending | Canada 2010. 4 min. A Minimal Difference | Canada 2012. 5 min. Service of the goods | Canada 2013. 29 min. Figure-ground | Canada 2013. 5 min. The Innocents | Canada 2014. 13 min. Movement in Squares | Canada 2013. 13 min. Screening format: DCP WEDNESDAY, JUNE 10 – 7:30 PM

Classics FROM OUR COLLECTION 16mm prints from The Cinematheque archive

All seats $8.00 (single or double bill; adults, students, and seniors) $3 annual membership required

Classics on the train! The General

USA 1926. Dirs: Buster Keaton, Clyde Bruckman. 80 min. 16mm

Buster Keaton’s The General stands, with Chaplin’s The Gold Rush, as one of the two great comic epics of the silent era; some hold it to be the best screen comedy ever made! Set in the American South during the Civil War, it features the Great Stone Face as a civilian train engineer, wrongly accused of cowardice, who rescues a locomotive hijacked by Union agents. Keaton’s gift for complicated – and often dangerous – physical comedy was never more astonishing, and the film has been praised as masterful on virtually every level, including its Mathew Brady-like evocation of the Civil War. Brilliant. MONDAY, MAY 11 – 6:30 PM

The Lady Vanishes Great Britain 1938. Dir: Alfred Hitchcock. 97 min. 16mm

Hitchcock’s last great English film was this magnificently witty thriller about two young travellers who become embroiled in espionage and intrigue after an elderly woman mysteriously disappears during a trans-continental train ride. Margaret Lockwood and Michael Redgrave (in his film debut) are superb as the leads; an impressive cast of well-known character actors give memorable performances in supporting roles. The Lady Vanishes abounds in trademark Hitchcockian touches at their finest and most perverse. “Directed with such skill and velocity that it has come to represent the quintessence of screen suspense” (Pauline Kael). “It still looks as fresh and funny as it must have done in 1938 . . . A sheer pleasure” (Tony Rayns, Time Out). MONDAY, MAY 11 – 8:10 PM

TICKETS $ FROM

June 4 to Sept 26 Season Sponsor

Howard Family Stage

Tickets: 604-739-0559 • bardonthebeach.org

Media Sponsors

38th ANNUAL

• J U LY • 17-18 -19

TIX + INFO

604.602.9798

THEFESTIVAL.BC.CA

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

thecinematheque.ca

JERICHO BEACH PARK

Taj Mahal • Richard Thompson • Trampled by Turtles • Frazey Ford Sara Watkins – Sarah Jarosz – Aoife O’Donovan [I’m With Her]• Lucius Hawksley Workman • Basia Bulat • Adam Cohen • Blind Pilot • Said the Whale Phosphorescent • The Down Hill Strugglers • Beans on Toast • Mary Gauthier Breabach Scotland • La Gallera Social Club Venezuela • Bongeziwe Mabandla S. Africa Paulo Flores Angola • The Jerry Cans Nunavut • Bassekou Kouyaté & Ngoni Ba Mali Sam Lee & Friends UK • Marlon Williams New Zealand • Bustamento Australia Mama Kin Australia • Söndörgő Hungary • Nishtiman Iran/Iraq/Turkey + MORE

VOLUNTEERS Theatre Volunteers: Simon Armstrong, Sarah Bakke, Mark Beley, Alex Biron, Eileen Brosnan, Jeremy Buhler, Nadia Chiu, Andrew Clark, Steve Devereux, Bill Dovhey, Ryan Ermacora, Dawn McCormick, Moana Fertig, Kevin Frew, Lesli Froeschner, Andrew Gable, Shokei Green, Paul Griffiths, Joe Haigh, Jessica Johnson, Savannah Kemp, Beng Khoo, Michael Kling, Viktor Koren, Ray Lai, Christina Larabie, Green Lee, Britt MacDuff, Alli MacKay, Vit Mlcoch, Danuta Musial, Chahram Riazi, Will Ross, RJ Rudd, Hisayo Saito, Paige Smith, Mark David Stedman, Anna Sokolova, Derek Thomas, Stephen Tweedale, Amy Widmer Distribution: Hazel Ackner, Horacio Bach, Michael Demers, Gail Franko, Jeff Halladay, Alan Kollins, Martin Lohmann, Lynn Martin, Matthew Shields, Lora Tanaka, Vanessa Turner, John William, Harry Wong Office: Jo B., Alan Kollins, Sadie Olchewski, BettyLou Phillips Education: Michael van den Bos And a special thanks to all our spares!

THE CINEMATHEQUE PROGRAM GUIDE Program Notes: Jim Sinclair, additional program notes by Shaun Inouye Advertising: Shaun Inouye Proofreading: Kate Ladyshewsky Design: Marc Junker Published six times a year with a bi-monthly circulation of 10–15,000. Printed by Van Press Printers. ADVERTISING To advertise in this Program Guide or in our theatre before screenings, please email advertising@theCinematheque.ca or call 604.688.8202. SUPPORT The Cinematheque is a charitable not-forprofit arts society. We rely on financial support from public and private sources. Donations are gratefully accepted — a tax receipt will be issued for all donations of $50 or more. To make a donation or for more information, please call our administration office at 604.688.8202. The Cinematheque gratefully acknowledges the financial support of the following agencies:

facebook.com/thecinematheque

@thecinematheque