The Cinematheque NOV+DEC 2016 by The Cinematheque

EXPERIENCE ESSENTIAL CINEMA

FASSBINDER: TO LOVE WITHOUT DEMANDS

NOV

DEC 2016

1131 Howe Street | Vancouver | theCinematheque.ca

EUFF 2016 UNCANNY RELATIONS: SURREALISM RW FASSBINDER ANDRZEJ ŻUŁAWSKI CALIGARI WITH LIVE MUSIC MULHOLLAND DRIVE

Europe without the Jetlag!

F i l m Fe s t i v a l

European Union 19th Annual

y NOVEMBER + DECEMBER 2016

19th Annual

European Union F i l m Fe s t i v a l Europe without the Jetlag!

November 18–30

eufilmfestival.com

he Cinematheque’s annual celebration of new cinema from the European Union is proudly presented with the Vancouver consulates and the Ottawa embassies of the member states of the European Union and the Delegation of the European Union to Canada. This year’s festival showcases entries from 23 EU members.

Acknowledgments: For assistance in making Vancouver’s European Union Film Festival possible, The Cinematheque is grateful to Diodora Bucur, Press Officer, Delegation of the European Union to Canada (Ottawa); Tom McSorley, Executive Director, and Jerrett Zaroski, Director, Cinema Programs, Canadian Film Institute (Ottawa); and the Embassies and Consulates of all European Union member states. Program subject to change

Slovakia

France

Eva Nová

Vancouver Premiere!

Writer-director Marko Škop’s intimate psychological drama, Slovakia’s official submission to the upcoming 89th Oscars, won a prestigious International Critics Prize at TIFF last year. Its impact is due largely to an absolutely stellar performance from Emília Vášáryová, so-called "First Lady of Slovak Theatre and Film." She’s the titular Eva, a discredited, once-famous actress recently released from her third stint in rehab for alcoholism, and desperate to make amends with the nowadult son she abandoned in infancy. Travelling to the country village where her son, his family, and her sister live, Eva is promptly shown the door and instructed never to return. What follows is a sometimes harrowing, ultimately hopeful portrait of a woman determined to do anything to be given a second chance. “Vásáryová is phenomenal in this role. She carries the weight of the world in her eyes” (Robert Bell, Exclaim!).

(Médecin de campagne)

Slovakia 2015. Dir: Marko Škop. 106 min. DCP

FRIDAY, NOVEMBER 18 – 6:30 PM

OPENING NIGHT SPONSORED BY:

Belgium

France 2016. Dir: Thomas Lilti. 102 min. DCP

French star François Cluzet plays an “irreplaceable” country doctor in this gentle, winning, well-judged drama, the latest from physician-turned-director Thomas Lilti (whose hospital dramedy Hippocrates screened at The Cinematheque in 2015). Cluzet is middle-aged Jean-Pierre, who plays an important role in the rural community he serves. When he falls sick himself, it’s time to get help with his practice. Marianne Denicourt is Natalie, the new doctor brought in from the city. She’s not that much younger than Jean-Pierre, but she’s fresh out of medical school – and the two begin to butt heads. Both leads are superb. “A strongly observational character drama . . . The film bristles with humour, mostly drawn from life, and illuminating moments of irony” (Boyd van Hoeij, Hollywood Reporter). SATURDAY, NOVEMBER 19 – 6:30 PM

Portugal

Vancouver Premiere!

Belgium 2014. Dirs: Adil El Arbi, Bilall Fallah. 100 min. DCP

Portugal/Spain 2016. Dirs: Gonçalo Galvão Teles, Luís Galvão Teles. 105 min. DCP

Image

The mean streets of Brussels are the setting – and Martin Scorsese’s urban cinema an avowed inspiration – for this timely, fast-paced Belgian drama about media ethics, immigrant violence, and the representation of ethnic minorities. Eva (Laura Verlinden), an ambitious young reporter working for TV news legend Herman (Gene Bervoets), is determined to get the real story on riots in the troubled suburb of Molenbeek (now internationally notorious after recent terrorist attacks in Paris and Brussels). When Eva enlists Lahbib (Nabil Mallat), a young Moroccan tough, as her guide to this complicated world, events evolve in unexpected ways. Co-directors Adil El Arbi and Bilall Fallah, both Brussels-based filmmakers of Moroccan heritage, have attracted Hollywood attention for their punchy, powerhouse movies, and were recently announced as directors of the forthcoming Beverly Hills Cop 4.

Irreplaceable

FRIDAY, NOVEMBER 18 – 8:35 PM

Gelo

Spanish actress Ivana Baquero, the transfixing 12-year-old star of Guillermo del Toro’s Pan’s Labyrinth, returns to the realm of fantasy in Gelo, Portuguese father/son duo Gonçalo and Luís Galvão Teles’s heady debut. “Born from the DNA of a frozen ice-age corpse, Catarina (Baquero) grows up incarcerated in an isolated palace, subject to experiments on human immortality conducted by the FUTURE LIFE corporation. A film student named Joana (also Baquero) falls madly in love with Miguel (Cats Don’t Have Vertigo’s Afonso Pimentel), an ice-obsessed classmate, only to see him tragically ripped from her hands during an initiatic journey to a snowy mountaintop. What can possibly unite Joana and Catarina? How many lives are there in one life? Is the end only the beginning of something else?” (Cineuropa). SATURDAY, NOVEMBER 19 – 8:30 PM

Denmark

Croatia

Vancouver Premiere!

(Stille Hjerte)

(Hitac)

Silent Heart

One Shot

Denmark 2014. Dir: Bille August. 97 min. Blu-ray Disc

Croatia 2013. Dir: Robert Orhel. 76 min. DCP

Danish veteran Bille August is best-known for two Palme d’Or winners, 1987’s Pelle the Conqueror (which also won the Foreign-Language Oscar) and 1991’s The Best Intentions (from an Ingmar Bergman script). Silent Heart, his latest, is a moving domestic drama that addresses the issue of assisted suicide. Three generations of a family gather for a weekend to say farewell to matriarch Esther (Ghita Nørby), who has a debilitating illness and wishes to end her life. Her husband Poul (Morten Grunwald), a doctor, has agreed to help her die. But as the weekend progresses, and old conflicts emerge, Esther’s children are no longer so certain they support the decision. Silent Heart won four Bodil Awards (the Danish Oscars), including Best Film. “Masterfully crafted . . . A return to form for August” (Jonathan Holland, Hollywood Reporter).

“I get drunk once and I’m pregnant,” says ambitious university student and soon-to-be single mom Petra, played by Iva Babic, in Croatian writer-director Robert Orhel’s psychological crime drama. Petra’s life gets considerably more complicated when, carelessly handling a gun she’s found in a friend’s house, she accidentally shoots and kills a stranger! Ecija Ojdani is Anita, the investigating detective assigned to interrogate Petra. Anita has been having an affair with a married man, and has just learned she’s unexpectedly pregnant herself. The two women will discover they are connected in other significant ways as well. One Shot received its world premiere at the Montreal World Film Festival.

SUNDAY, NOVEMBER 20 – 6:00 PM

MONDAY, NOVEMBER 21 – 8:30 PM

Cyprus

Italy

Vancouver Premiere!

Family Member Vancouver Premiere!

The Move of the Penguin (La mossa del pinguino)

Italy 2013. Dir: Claudio Amendola. 94 min. Blu-ray Disc

The directorial debut of award-winning Italian screen actor Claudio Amendola is an affable, underdog sports dramedy cut from the same cloth as crowd pleasers Cool Runnings and The Full Monty. “Bruno is a 30-year-old man from Rome with a wife and an infant son. But he still hasn’t found his path in life. After his latest failure, which cost him most of his savings, he has an outlandish and bold intuition: he discovers the little-known winter sport of curling and decides to start a team, hoping to represent Italy at the 2006 Turin Winter Olympics. And so it begins, the march of the Assault Penguins, a rag-tag team ready to fight its way through a plethora of obstacles and improbable situations all the way to the podium” (Cineuropa).

(Μέλος Οικογενείας) Cyprus 2015. Dir: Marinos Kartikkis. 104 min. DCP

“Humour and pathos mark this comedy-drama rooted in a family’s wily scheme to make ends meet. For Yiorgos and Sophia, owners of a faltering convenience store, maintaining a suburban lifestyle with their two kids means factoring in grandpa’s pension cheque. The old man dies in his sleep one night, days away from the critical home visit by a government social worker. Concealing the body is a breeze compared with the dilemma of faking grandpa’s presence. With consequences for the whole family, Sophia hits on the bright idea of hiring a senior citizen caught shoplifting in their store to move in and play the part in order to keep the cheques coming” (Siskel Film Center, Chicago). WEDNESDAY, NOVEMBER 23 – 6:30 PM

Sweden

SUNDAY, NOVEMBER 20 – 8:00 PM

Latvia

Vancouver Premiere!

Underdog

(Svenskjävel) Sweden/Norway 2014. Dir: Ronnie Sandahl. 100 min. Blu-ray Disc

Vancouver Premiere!

Exiled

(Pelnu sanatorija) Latvia/Lithuania 2016. Dir: Dāvis Sīmanis Jr. 100 min. DCP

Based on historical events that befell Courland, Latvia, at the end of WWI, Exiled is the high-profile, fiction-feature debut of Latvian filmmaker Dāvis Sīmanis Jr., known for his visually-evocative documentaries. “In the final year of WWI, an exhausted German army surgeon (Downfall’s Ulrich Matthes) is sent to inspect a remote convalescent home for shell-shocked patients. There, he encounters a strange world at odds with his cold, rational mind. His fruitless efforts to change the place and an unexpected attachment to a mysterious, savage boy from the surrounding woods lead Ulrich on a path to selfdiscovery. But soon, this sanctuary will have to make its last stand against the encroaching madness of war” (Moscow I.F.F.).

A top-prize winner at the Chicago International Film Festival, the superb feature-film debut of novelist-turned-director Ronnie Sandahl is a doomed amour story set against the backdrop of Sweden’s economic crisis; the powerhouse performance by feminist comic Bianca Kronlöf has garnered comparisons to Émilie Dequenne’s breakout turn in the Dardennes’ Rosetta. “23-yearold Dino, like an abundance of Swedes her age, has fled the mass unemployment of her home country in search of a more worthwhile existence in a nouveau-riche Oslo . . . When a broken arm leads to a position as a housekeeper in a Norwegian middle-class home, Dino is thrown into a reality very far from her own” (Cineuropa). “Quietly impressive . . . An emotionally engaging ride, as well as an assured big-screen bow for both director and star” (Stephen Dalton, Hollywood Reporter). WEDNESDAY, NOVEMBER 23 – 8:30 PM

MONDAY, NOVEMBER 21 – 6:30 PM

Estonia

Czech Republic

Vancouver Premiere!

(Risttuules)

Czech Republic/Germany 2014. Dir: Stepan Altrichter. 94 min. Blu-ray Disc

In the Crosswind Estonia 2014. Dir: Martti Helde. 90 min. DCP

A festival darling that garnered prizes galore, writer-directorvirtuoso Martti Helde’s astonishing first feature – an art film with the emphasis on art – recalls the haunting history of Stalin’s “ethnic cleansing” of Estonia via letters sent by a deported mother cast adrift in Siberia in the early ’40s. It’s quite unlike any traditional period piece, because Helde and his painterly cinematographer, Erik Pollumaa, visualize the story through an unbroken series of monochrome tableaux vivants – literally “living pictures” – in which the actors stay motionless, frozen in a moment, while the camera dexterously sashays around them. The result, four painstaking years in the making, is an eerie, exhilarating masterwork of formal ingenuity. “One of the most courageous and intrinsically detailed feature debuts we’ve ever seen . . . Martti Helde has made a grand entrance into arthouse cinema” (Nikola Grozdanovic, IndieWire). THURSDAY, NOVEMBER 24 – 6:30 PM

Schmitke

Something strange – very, very strange – is afoot in this delicate, decidedly offbeat comedy-mystery, the debut feature of young Czech director Stepan Altrichter. German character actor Peter Kurth is creaky, pokerfaced Schmitke, a German windturbine engineer sent to a town on the Czech side of the misty Ore Mountains to fix one of his old contraptions. Along for the job is his yappy, inept younger co-worker Gruber (Johann Jürgens). Gruber promptly disappears, a mysterious “Bearman” is reported in the vicinity, and Schmitke starts to “feel” the spirit of the surrounding wilderness. “Uniformly excellent . . . A wholly unusual serio-comic portrait of a man finding himself in middle age . . . Altrichter demonstrates a knack for great visual and aural storytelling” (Elizabeth Kerr, Hollywood Reporter). FRIDAY, NOVEMBER 25 – 8:20 PM

Netherlands

Bulgaria

Vancouver Premiere!

A Noble Intention Vancouver Premiere!

While Aya Was Sleeping (Докато Ая спеше)

Bulgaria 2016. Dir: Cvetodar Markov. 88 min. DCP

Seven-year-old Aya spends a lot of time in the theatre where her father Asen, an actor, performs. One night, Aya falls asleep there. On the same evening, the real drama takes place backstage, after the show: Asen, shocked to learn that he is to be replaced in the long-running production by a TV star, provokes a scandal, which turns into a drunken brawl. Aya and her mom will have leading roles to play in Ansen’s subsequent efforts to recover his dignity and self-worth. Stefan Denolyubov, as Asen, won the best actor prize at Bulgaria’s Golden Rose national film festival. Prominent Bulgarian stage performers make up much of the cast.

aka Public Works (Publieke Werken)

Netherlands 2015. Dir: Joram Lürsen. 115 min. Blu-ray Disc

Joram Lürsen’s lavish, period-perfect costume drama – a box-office smash at home – is based on the eponymous bestselling Dutch novel by Thomas Rosenboom, winner of the 2000 Libris Literature Award. “1888: the magnificent Central Station in Amsterdam is being built, and in an effort to gentrify the area, all houses must yield for the planned luxury Victoria Hotel. A violin maker, Vedder, refuses to give his house up, and together with his cousin Anijs – a pharmacist facing legal problems for illegal medical practices – plans a scheme that will benefit both men and also, more altruistically, help a colony of poor peat-cutters. But passion, pride, and stubbornness will bring tragic consequences" (Dutch Features). SATURDAY, NOVEMBER 26 – 6:00 PM

THURSDAY, NOVEMBER 24 – 8:15 PM

Germany

Vancouver Premiere!

Family Party (Familienfest)

Germany 2015. Dir: Lars Kraume. 90 min. Blu-ray Disc

A family get-together becomes a festival of horrid behaviour and dark farce in German director Lars Kraume’s spirited ensemble dramedy, which calls to mind Danish filmmaker Thomas Vinterberg’s 1998 hit The Celebration. “The Westhoff Family has congregated at the family villa for the 70th birthday of its patriarch, famous pianist Hannes Westhoff (Günther Maria Halmer). During the lengthy celebrations, family members are all forced to tend old wounds, face unpleasant questions, and deal with unsettled business. Memories of the distant past are awakened, old battles are waged – until a devastating piece of news arrives and changes everything” (Cineuropa). The cast includes Hannelore Elsner, Michaela May, and Lars Eidinger. Kraume also directed 2015’s The People vs. Fritz Bauer, a drama about the hunt for Adolf Eichmann. FRIDAY, NOVEMBER 25 – 6:30 PM

Hungary

Vancouver Premiere!

Mom and Other Loonies in the Family

(Anyám és más futóbolondok a családból) Hungary/Germany/Bulgaria 2015. Dir: Ibolya Fekete. 108 min. DCP

Hungary’s Ibolya Fekete – director of the festival prizewinners Bolshe Vita (1996) and Chico (2001), and a guest of The Cinematheque way back in 2003 – returns to feature-filmmaking after a long absence with a personal work tracing a chaotic century of Hungarian history. “Mom and Other Loonies … is the story of an odd family during the 20th century: four generations of ‘crazies’ led by the character of Mom, who lived 94 years and moved 27 times in her life. Moving was her only way of confronting troubles, dangers, and conflicts. In reality, it was History that chased her throughout the country and a terrible century. At the incredible age of 94, Mum tells the story of these events to her daughter – nearly 100 years of often mischievous and heart-warming but also sometimes painful episodes” (Cineuropa). SATURDAY, NOVEMBER 26 – 8:15 PM

Lithuania

Luxembourg

Vancouver Premiere!

Lithuania/Finland 2014. Dir: Marius Ivaškevičius. 100 min. DCP

(Eng nei Zäit)

Santa

Lithuanian writer-director Marius Ivaškevičius graduated from shorts to feature with this affecting, Yuletide-themed family drama, nominated for four Lithuanian Film Awards including Best Picture. “A trip to Lapland leads to immense changes in the life of a single mother and her seven-year-old son when they meet a local actor. Love, hope, and efforts to save the life of the little boy will dramatically affect the lives of the two grown-ups. Santa is a story about human relations and the often painful challenges that life poses. In order to overcome these challenges, sometimes one must believe in the miracle of fairy tales” (EU Film Days Tokyo). SUNDAY, NOVEMBER 27 – 4:00 PM

Finland

Tomorrow After the War Luxembourg/Belgium 2015. Dir: Christophe Wagner. 106 min. DCP

Luxembourgian director Christophe Wagner’s noir-steeped Blind Spot screened in our 2013 EUFF. His latest is an intense wartime thriller set in the twilight of WWII. “In February 1945, Jules returns to Luxembourg. To escape conscription, he fled the country and joined the resistance movement in France. Back in his hometown, Jules hopes to find peace of mind and put the war behind him. But he returns to a country devastated by the Battle of the Bulge and deeply divided from four years of occupation . . . When his former girlfriend Leonie is assassinated along with the German farmers she works for, the life Jules was struggling to rebuild collapses. The ensuing investigation will reveal grey areas of the Occupation along with the efforts made in high places to cover them up” (Cineuropa). MONDAY, NOVEMBER 28 – 6:30 PM

Romania

Vancouver Premiere!

Kaisa’s Enchanted Forest (Kuun metsän Kaisa)

Finland 2016. Dir: Katja Gauriloff. 84 min. DCP

Sámi filmmaker Katja Gauriloff’s sublime documentary, “set in the interface of truth and fiction,” spins an enchanting tale. In 1935, the young Swiss writer Robert Crottet, suffering from TB, began having vivid dreams that compelled him to travel to remote Lapland. There, he encountered the matriarchal Kaisa, a legendary storyteller and seer of the Skolt Sámi community. Their friendship led to Crottet’s book Enchanted Forest – and, when World War II began displacing the Sámi, his international campaign on behalf of Scandinavia’s indigenous peoples. Director Gauriloff, Kaisa’s great-granddaughter, makes poetic use of remarkable archival footage (shot by Crottet and a companion) and beautiful animation to tell a nearly-lost story about a nearly-lost culture. “Delightful and distinctive . . .Enchanting is indeed the operative word for Kaisa’s Enchanted Forest” (Dennis Harvey, Variety).

Vancouver Premiere!

Live

Romania 2015. Dir: Vlad Păunescu. 97 min. Blu-ray Disc

Veteran Romanian producer/cinematographer Vlad Păunescu proves his aptitude for the director’s chair with Live, a polished, moody thriller set in the dog-eat-dog world of tabloid journalism. It features a commanding performance from Romanian New Wave thesp Rodica Lazar (The Death of Mr. Lazarescu). “Ema is a successful TV journalist, host of a popular investigation show. Her success relies heavily on ratings, and Ema is willing to put her health and resources at stake in order to discover the truth. But when one of her cases propels her into the midst of a huge and dangerous political scandal, it will change her life dramatically" (Focus on Romania F.F.). MONDAY, NOVEMBER 28 – 8:30 PM

SUNDAY, NOVEMBER 27 – 6:00 PM

Ireland

Austria

Vancouver Premiere! Vancouver Premiere!

My Name is Emily

Ireland 2015. Dir: Simon Fitzmaurice. 100 min. DCP

Hanna’s Sleeping Dogs (Hannas schlafende Hunde)

Austria/Germany 2016. Dir: Andreas Gruber. 120 min. DCP

Harry Potter alumnus Evanna Lynch and Ben Wheatley favourite Michael Smiley (Kill List, A Field in England) star in the acclaimed debut feature from best-selling Irish author Simon Fitzmaurice, an intelligent, uplifting coming-of-age road movie that almost certainly is the first film written and directed by a person afflicted with MND. It traces the journey of a foster-cared teen (Lynch), who, on her 16th birthday, flies the coop, along with a bashful classmate, to search for her institutionalized father (Smiley), a former writer. “Brimming with images of freedom, from the wide open road to the vast expanse of the sea, and buoyed by an arrestingly confident performance from Lynch, My Name is Emily will resonate with the young and young-atheart alike. This is a stylish and assured film about self-discovery as an ongoing adventure” (Michèle Maheux, Toronto I.F.F.).

The sleeping dogs of family history awake – and three generations of women face the fallout – in the latest from Austrian writer-director Andreas Gruber. Based on an autobiographical novel by Elisabeth Escher, the film is set in the 1960s in a provincial Austrian town, where nine-year-old Johanna is growing up a good Catholic girl. When Johanna’s grandmother reveals a big secret – the family is actually Jewish – it distresses Johanna’s mother and unsettles some in the community. Johanna, however, decides to embrace, not hide, her heritage, and reinvents herself as “Hanna.” Gruber’s bestknown film, 1994’s The Quality of Mercy, also dealt in a forthright manner with Austria’s wartime past. Hanna’s Sleeping Dogs, a German-Austrian co-production, won the best screenplay award at this year’s Shanghai International Film Festival.

SUNDAY, NOVEMBER 27 – 7:45 PM

WEDNESDAY, NOVEMBER 30 – 6:30 PM

Slovenia Vancouver Premiere!

Dual

(Dvojina) Slovenia/Croatia/Denmark 2013. Dir: Nejc Gazvoda. 102 min. DCP

Slovene director-to-watch Nejc Gazvoda, whose award-winning debut film A Trip screened as part of EUFF 2013, deftly sidesteps any sophomore slumps with his enchanting second feature, a playful, sensitively-shot lesbian love story. “Due to a technical problem, a plane from Denmark heading to Greece lands at a Slovene airport, with the passengers eventually taken to a Ljubljana hotel for the night. Quiet young Dane Iben (Mia Jexen) can’t face waiting in the hotel, and asks Tina (A Trip’s Nina Rakovec), who drove the minibus from the airport, to drive her around the city . . . A delicately crafted charmer of a film, for a while Nejc Gazvoda’s colourful, funny, and insightful film feels like a lesbian equivalent of Before Sunset as two young women wander the warm nighttime streets of Ljubljana, talking, having fun, and gradually coming under each other’s spell” (Mark Adams, Screen Daily). WEDNESDAY, NOVEMBER 30 – 8:50 PM

NOTFILM

NEW DOCUMENTARY

“Charming ... An intelligent, affectionate documentary ... Notfilm testifies to an almost inexhaustible fascination with the pleasures and paradoxes of cinema.” – A. O. Scott, New York Times “A revelatory documentary ... This is a gift for film-lovers, even if you are not a Film-lover.” – Tim Grierson, Paste “Completely fascinating ... A thoughtful, incisive meditation on its decades-old events, Notfilm is gossipy and philosophical by turn.” – Kenneth Turan, Los Angeles Times

Vancouver Premiere!

Notfilm

USA 2015. Dir: Ross Lipman. 128 min. DCP

In 1964, an all-star assembly of talent — dramatist Samuel Beckett, silent-era comedy genius Buster Keaton, famed cinematographer Boris Kaufman, and prominent stage director Alan Schneider — came together in New York to collaborate on a short film entitled Film. Beckett’s “interesting failure” — the Nobel winner’s only venture into cinema — is the absorbing subject of film preservationist Ross Lipman’s “kino-essay” (the nod to Dziga Vertov, Kaufman’s brother, is deliberate). This ambitious documentary recounts the making of Film, its historical and cultural context, and its philosophical and conceptual underpinnings, with an expansive purview that encompasses the birth of cinema, the nature of consciousness, and Beckett’s larger career. Including interviews, rare archival footage, and never-before-heard audio recordings, Notfilm — so titled because it was shot digitally and not on film — also has conceptual and ontological ideas of it own, which link it in deeper ways to Beckett’s concerns in Film.

PRECEDED BY New Restoration!

Film

(aka Samuel Beckett’s Film) USA 1965. Dir: Alan Schneider. 22 min. DCP

Samuel Beckett’s sole foray into film was made with legendary silent comedian (and absurdist fellow-traveller) Buster Keaton and directed, under Beckett’s supervision, by Alan Schneider (who had directed the first American stage production of Waiting for Godot). Keaton is O, a man attempting to evade all extraneous perception of his existence, but unable to escape the inevitability of self-perception. Film was intended as an exploration of 18th-century Irish philosopher George Berkeley’s dictum that esse est percipi — to be is to be perceived. “Dark, witty and fascinating ... Intriguing [for] the wholly appropriate casting of Keaton who, in the classic comedies of the ’20s, envisaged a universe notable for its cruel, arbitrary absurdity” (Time Out). There will be a 10-minute intermission between Film and Notfilm THURSDAY, OCTOBER 27, 2016 – 7:00 PM TUESDAY, NOVEMBER 1, 2016 – 7:00 PM WEDNESDAY, NOVEMBER 2, 2016 – 7:00 PM

I KNEW HER WELL

NEW RESTORATIONS

Italy 1965 SERIES PRESENTING PARTNER:

“Brilliantly entertaining . . . Pretty much everyone who sees this movie is blown away.” – Alexander Payne New Restoration!

I Knew Her Well (Io la conoscevo bene)

Italy/France/West Germany 1965. Dir: Antonio Pietrangeli. 115 min. DCP

A young woman from the provinces is seduced by la dolce vita of big-city life – and a cad or two – in Antonio Pietrangeli’s bittersweet social comedy, a little-seen, now-newly-restored treasure of Italian cinema. Stefania Sandrelli (Divorce Italian Style, The Conformist) is Adriana, who comes to Rome dreaming of movie stardom and love. “I Knew Her Well is at once a delightful immersion in the popular music and style of Italy in the 1960s and a biting critique of its sexual politics and culture of celebrity. Over a series of intimate episodes, just about every one featuring a different man, a new hairstyle, and an outfit to match, unsung Italian master Pietrangeli, working from a script he co-wrote with Ettore Scola, composes a deft, seriocomic character study . . . I Knew Her Well is a thrilling rediscovery, by turns funny, tragic, and altogether jaw-dropping” (Janus Films). FRIDAY, NOVEMBER 11 – 6:30 PM SUNDAY, NOVEMBER 13 – 8:30 PM MONDAY, NOVEMBER 14 – 6:30 PM

New Restoration!

Sandra

(aka Of a Thousand Delights) (Vaghe stelle dell’Orsa) Italy 1965. Dir: Luchino Visconti. 100 min. DCP

There is decadence amid the ruins in Italian maestro Luchino Visconti’s baroque family drama, winner of the Golden Lion at Venice. An updating of the Elektra legend, it stars the resplendent Claudia Cardinale as titular Sandra, returning to the Etruscan ancestral home of her aristocratic family for a ceremony to commemorate her late father. He died in Auschwitz; Sandra suspects her half-mad mother (Marie Bell) betrayed him. Meanwhile, Sandra’s new American husband (Michael Craig) is unsettled by Sandra’s relationship with her brother Gianni (Jean Sorel).Visconti’s operatic, memory-haunted film, shot by Armando Nannuzzi, looks magnificent. Its Italian-language title translates as “Glimmering Stars of the Great Bear,” and comes from a poem by Giacomo Leopardi. “Here, as elsewhere, Visconti approaches more than any other modern director the silent film poetry of Murnau and Stroheim” (Phillip Lopate). FRIDAY, NOVEMBER 11 – 8:45 PM SUNDAY, NOVEMBER 13 – 6:30 PM MONDAY, NOVEMBER 14 – 8:45 PM

GA L L E RY T H E C I N E M AT H E Q U E A N D T H E M O R R I S A N D H E L E N B E L K I N A RT

UNCANNY RELA TIONS A SERIES OF SURRE ALIST FILMS ORGAN IZED ON THE OCCAS ION OF THE BELKIN ART GALLER Y’S EXHIBI TION JULIA FEYRER AND TAMAR A HENDE RSON: THE LAST WAVES

n conjunction with Julia Feyrer and Tamara Henderson: The Last Waves, join us for Uncanny Relations, a film series reconsidering canonical surrealist films and experimental feminist interventions, in the context of Feyrer and Henderson’s own hallucinogenic and uncanny exhibition-based films. Dream states and unconscious meanderings weave their way throughout the exhibition and onto the screen. The fluid, associative logic of dreams functions as a liminal space that mediates between waking life and sleep, between facts on the ground and subjective interior experience. The bridge between these states of being captivated surrealist practitioners in the first half of the 20th century and continues to vex Feyrer and Henderson nearly a century later. Uncanny Relations offers three nights of rarely-seen cinema, each including a feature-length film as well as a program of shorts. Introductions to screenings will be provided by 221A Head of Strategy Jesse McKee on November 3 and Vancouver artist Evann Siebens on November 10.

Julia Feyrer and Tamara Henderson: The Last Waves Morris and Helen Belkin Art Gallery, UBC September 6 – December 4, 2016 belkin.ubc.ca

I. JULIA FEYRER AND TAMARA HENDERSON + COCTEAU’S BLOOD OF A POET

Introduction by Jesse McKee, Head of Strategy at 221A Artist-Run Centre Bottles Under the Influence • Bottles from the collection of the Historic Museum of Wine and Spirits in Stockholm enact a strange, surrealist drama. Canada 2012/Julia Feyrer, Tamara Henderson. 10 min. Consider the Belvedere • Bottles and sculptural objects are characters in a playful, neon-lit detective story, shot at The Banff Centre and Vancouver’s Belvedere Court apartments. Canada 2015/Julia Feyrer, Tamara Henderson. 9 min. FOLLOWED BY

The Blood of a Poet

(Le sang d’un poète)

France 1930. Dir: Jean Cocteau. 55 min. 35mm

Poet, painter, novelist, and playwright Jean Cocteau’s featurette, financed by the wealthy patron of surrealism Vicomte de Noailles, offers an arrestingly beautiful evocation of the interior life of an artist. The work is composed of four fantastical, dream-like episodes, all of which occur in the fraction of a second before the toppling chimney seen in the film’s opening sequence hits the ground in the film’s final sequence. In between, Cocteau explores a chief obsession, the relationship between creativity and death, and introduces a characteristic motif (central to his 1950 feature Orphée), the image of a poet passing through a mirror into another world. The Blood of a Poet was a major influence on the American avant-gardists Maya Deren and Kenneth Anger. (Cocteau’s magical Beauty and the Beast screens at The Cinematheque in December.)

THURSDAY, NOVEMBER 3 – 6:30 PM

TICKET OF NO RETURN

II. CANONICAL SURREALIST SHORTS

Entr’acte • Made to be screened at intermission (entr’acte) during Francis Picabia’s Dadaist ballet Relâche, Clair’s outrageous short features a Who’s Who of Paris Dada (Marcel Duchamp, Man Ray, Erik Satie) and takes inspiration from slapstick cinema. France 1924/René Clair. 20 min. Ghosts Before Breakfast (Vormittagsspuk) • Richter’s Dadaist comedy has everyday objects (hats, neckties, coffee cups) in hilarious pixilated revolt against their daily routine. Germany 1928/Hans Richter. 8 min. L’Étoile de Mer (The Starfish) • The photographer Man Ray’s avant-garde short is a playful, dreamlike, and erotic visualization of the surrealist poem by Robert Desnos. France 1928/Man Ray. 18 min. Un Chien Andalou • Buñuel’s debut provocation, a collaboration with Salvador Dalí, is the most famous of surrealist films, and includes one of cinema’s most shocking moments; Buñuel himself wields the razor. France 1929/ Luis Buñuel. 16 min. Rose Hobart • American surrealist/collagist Cornell’s first film, an early example of the found-footage style, recycles images from East of Borneo, a 1931 feature starring Rose Hobart. USA 1936/Joseph Cornell. 19 min. Preserved by Anthology Film Archives, New York. THURSDAY, NOVEMBER 3 – 8:15 PM

III. MAYA DEREN + JEAN PAINLEVÉ Introduction by Evann Siebens, a Vancouver-based artist who makes media with movement Maya Deren (1917-1961), “the mother of underground cinema,” was the leading avant-garde filmmaker in the U.S. during the WWII era. Her films, including the surrealist masterpiece Meshes of the Afternoon (1943), are magical, lyrical, trance-like pieces of startling beauty, and helped inspired a renaissance in American avant-garde filmmaking. The wondrous science films of French director and biologist Jean Painlevé (1902-1989) meet at the unlikely intersection of nature documentary and avant-garde art, and were admired by the Paris surrealists (many of whom Painlevé had befriended) for their dream-like poetry, sly wit, and interest in the strange psychosexual realms of existence.

BY PAINLEVÉ

BY DEREN Meshes of the Afternoon • Deren’s most celebrated film, a haunting, paranoid take on love and loneliness, was the finest example of dream cinema since the Buñuel-Dalí collaboration Un Chien Andalou. USA 1943/Maya Deren, Alexander Hammid. 14 min.

The Seahorse (L’hippocampe) • Painlevé’s popular film pairs imagery of hermaphroditic seahorses with modernist music by Darius Milhaud for a remarkable underwater adventure in science and surrealism. France 1934/ Jean Painlevé. 15 min.

At Land • Deren’s poetic exploration of identity, destiny, and chess manipulates time, space, and subjectivity to create a “pure American trance film” (P. Adams Sitney). USA 1944/Maya Deren. 15 min.

The Vampire (Le vampire) • Set to a jazz score by Duke Ellington, Painlevé’s observational short about South American vampire bats is a science-film Nosferatu with an anti-Nazi subtext. France 1945/ Jean Painlevé. 9 min.

Ritual in Transfigured Time • Deren, also a choreographer and dancer, combines dance and film grammar in a formally daring, psycho-dramatic study of ritual. USA 1946/Maya Deren. 15 min.

The Love Life of the Octopus (Les amours de la pieuvre) • A musique concrète score by Pierre Henri enlivens this slithery, oddly sensual depiction of the octopus’s otherworldly mating rituals and reproductive practices. France 1965/Jean Painlevé, Geneviève Hamon. 13 min.

The Private Life of a Cat • Deren and husband Hammid’s documentary, a remarkably intimate look at feline reproduction and parenting, is the “cat video” par excellence. USA 1944/ Alexander Hammid, Maya Deren. 22 min. Preserved by Anthology Film Archives, New York.

Total running time: approx. 105 min THURSDAY, NOVEMBER 10 – 6:30 PM

IV. DREAMS THAT MONEY CAN BUY

Dreams That Money Can Buy USA 1947. Dir: Hans Richter. 90 min. 16mm

The prominent German surrealist Hans Richter, one of cinema’s pioneering avant-garde filmmakers, supervised this celebrated omnibus work, made in America and in colour, featuring dream-sequence contributions from some of the 20th century’s leading Dadaist and surrealist artists: Max Ernst, Fernand Léger, Man Ray, Marcel Duchamp, and Alexander Calder. Richter’s linking narrative concerns a poor poet with a rich imagination who sets himself up in business selling dreams to the dreamless. John Cage, Darius Milhaud, and Paul Bowles, among others, contribute to the soundtrack. Dreams That Money Can Buy won a major prize at Venice in 1947 for “best original contribution to film progress.” “The most startling film of the year” (Sight & Sound). THURSDAY, NOVEMBER 10 – 8:40 PM

V. GERMAINE DULAC A pioneering figure in the French avant-garde of the 1920s, filmmaker and feminist Germaine Dulac (1882-1942) is credited with both the first feminist film (1923’s The Smiling Madame Beudet) and the first truly surrealist film (1928’s The Seashell and the Clergyman).

The Smiling Madame Beudet (La souriante Madame Beudet) • In this landmark work of feminist cinema, Dulac makes inventive use of visual techniques to portray the frustrations, desires, and dreams of a woman trapped in an oppressive marriage. France 1923/Germaine Dulac. 32 min.

The Seashell and the Clergyman (La coquille et le clergyman) • Dulac’s classic short, scripted by Antonin Artaud, employs Freudian symbolism to explore the sexual torment of a cleric. Often cited as the cinema’s first genuinely surrealist (as opposed to Dadaist) work, it was banned in Britain as “almost meaningless. If there is a meaning, it is doubtless objectionable.” France 1928/Germaine Dulac. 28 min. THURSDAY, NOVEMBER 17 – 6:30 PM

VI. OTTINGER’S TICKET OF NO RETURN

Ticket of No Return

(Bildnis einer Trinkerin)

West Germany 1979. Dir: Ulrike Ottinger. 108 min. 35mm

Flamboyant avant-gardist and feminist satirist Ulrike Ottinger (Freak Orlando, Joan of Arc of Mongolia), once described as “the Queen of the Berlin Underground filmmakers” (Variety), conflates opulent Hollywood stylization and darker documentary realism in this provocative seriocomic feature, subtitled “Portrait of a Woman Drinker.” Her unusual, outré film follows two very different alcoholic women – one an extravagantly-dressed socialite, the other a homeless bag lady – who embark on a grotesque drunkards’ tour of Berlin. German punk icon Nina Hagen makes an appearance, as do several prominent actors of the New German Cinema. “Stunning and wonderful . . . It’s more radical than Fassbinder, Herzog, all those guys. Ottinger’s as cool as them, but this takes it to a whole new level” (Richard Linklater). THURSDAY, NOVEMBER 17 – 8:00 PM

DREAMS THAT MONEY CAN BUY

BY/WITH/ABOUT

WITH

ABOUT

FASSBINDER

“The rarest of portrait-films: in addition to being a crucial addition to the critical and biographical record, it’s a cinematic experience in itself, a work of art that can stand on its own as a movie.” – Richard Brody, The New Yorker “Revelatory . . . Thomsen has constructed a moving, nuanced, and unsettling portrait of his friend.” – Tony Pipolo, Artforum “A must-see for anyone interested in the mind of a major auteur.” – Jordan Mintzer, Hollywood Reporter

Vancouver Premiere!

Fassbinder: To Love Without Demands (Fassbinder: at elske uden at kræve) Denmark 2015. Dir: Christian Braad Thomsen. 106 min. DCP

Rainer Werner Fassbinder is a preeminent figure in postwar European cinema. Both wunderkind and enfant terrible of the New German Cinema, he produced, in his tragically cut-short life (he died at 37), a staggeringly voluminous and fiercely original body of work that continues to exhilarate, provoke, puzzle, and lay claim to his inimitable artist genius. This new documentary from writer-director (and longtime RWF friend) Christian Braad Thomsen provides a crucial, carefully-considered take on the man behind the legend. As much a reminiscence as a biographical portrait, Thomsen’s film is crafted around a generous, hitherto-unseen interview with the punk auteur from 1978, in which a haggard Fassbinder, glass in hand, philosophizes about his childhood, his prolific, self-destructive creativity, and the indivisibility of his personal and professional life. Film clips, interviews with collaborators, TV appearances, and festival footage – including an unfazed Fassbinder being booed at the 1969 Berlin Film Festival – round out this welcome and complex study. THURSDAY, DECEMBER 15 – 6:30 PM FRIDAY, DECEMBER 16 – 8:30 PM SATURDAY, DECEMBER 17 – 4:30 PM SUNDAY, DECEMBER 18 – 8:30 PM MONDAY, DECEMBER 19 – 6:30 PM

“Brilliant . . . Save for his monumental miniseries Berlin Alexanderplatz, In a Year of 13 Moons may be Fassbinder’s greatest achievement.” – Ed Gonzalez, Slant

35mm Print!

In a Year of 13 Moons (In einem Jahr mit 13 Monden)

West Germany 1978. Dir: Rainer Werner Fassbinder. 124 min. 35mm

In an oeuvre packed with no fewer than 40 feature-length works of unyielding artistic integrity, this may be Fassbinder’s most overlooked masterpiece. An elegiac, deeply personal film made in the aftermath of actor Armin Meier’s suicide (he was Fassbinder’s lover and sometimes thespian), it chronicles the trials of a downcast Frankfurt transsexual in search of acceptance after being jilted by her longtime partner. Volker Spengler gives a devastating performance as Elvira, née Erwin, Fassbinder’s ultimate outsider. Her story is recounted, at one point, against the gory carnage of an abattoir – perhaps the cruelest estrangement effect in the director’s cinema. Never before had RWF had such a hands-on role in making a movie: he wrote, directed, produced, shot, and co-edited it. Screening here for the first time in almost 20 years (it was regrettably absent from our 2012 retrospective), the film is a haunting portrait of rejection and despair from one of cinema’s foremost observers of human unkindness. THURSDAY, DECEMBER 15 – 8:30 PM SATURDAY, DECEMBER 17 – 6:30 PM SUNDAY, DECEMBER 18 – 4:00 PM

“Completely bonkers and entirely charming . . . Truly, deeply, gloriously weird.” – Adam Sternbergh, Vulture

New Restoration!

Kamikaze ‘89

West Germany 1982. Dir: Wolf Gremm. 106 min. DCP

’80s aesthetics reach their apex in Wolf Gremm’s newly-restored curio classic, a pop-meets-trash-art “neon-noir” that features the great Rainer Werner Fassbinder in his final screen role (he died a month before its release). The year is 1989 and West Germany is now a wealthy, world superpower. When a shady media conglomerate known as The Combine receives a bomb threat, an expert police lieutenant (Fassbinder, swathed in leopard-printed apparel and endless perspiration) is given four days to crack the case. A vision of the future steeped in the era of its making (that synthy soundtrack: Tangerine Dream’s Edgar Froese!), Kamikaze ’89 still offers some spot-on forecasting of coming trends like reality TV and microcamera surveillance – though sadly the “police disco” failed to take off. Fassbinder brings with him muse Brigitte Mira (Ali: Fear Eats the Soul) and longtime cinematographer Xaver Schwarzenberger, making it feel like a tangential RWF project. FRIDAY, DECEMBER 16 – 6:30 PM SATURDAY, DECEMBER 17 – 8:50 PM SUNDAY, DECEMBER 18 – 6:30 PM MONDAY, DECEMBER 19 – 8:30 PM

SUN

MON

TICKETS

6 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.

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.

TUES

NOVEMBER 7

New Cinema

Tower – 4:30 pm

New Cinema

Spa Night – 6:30 pm

New Documentary

Film + Notfilm – 7:00 pm

WED

New Documentary

Film + Notfilm – 7:00 pm

DIM Cinema

Owen Land (formerly known as George Landow) – 7:30 pm

GUEST

Uncanny Relations: Surrealism

I. Feyrer and Henderson + Blood of a Poet – 6:30 pm

GUEST

Sci-Fi Cinema Sunday

WarGames with John Badham – 1:00 pm

New Restorations

I Knew Her Well – 6:30 pm

GUEST

Frames of Mind

Fado – 7:30 pm

Sandra – 8:45 pm

New Restorations

SAT

New Cinema

Tower – 6:30 pm Spa Night – 8:15 pm

New Cinema

Spa Night – 4:30 pm Tower – 6:30 pm Spa Night – 8:15 pm

GUEST

Uncanny Relations: Surrealism

III. Maya Deren + Jean Painlevé - 6:30 pm

New Restorations

I Knew Her Well – 6:30 pm

Uncanny Relations: Surrealism

V. Germaine Dulac – 6:30 pm

EUFF 2016

Eva Nová – 6:30 pm

The Oliver-Film Ensemble

EUFF 2016

Irreplaceable – 6:30 pm Gelo – 8:30 pm

Image – 8:35 pm

VI. Ticket of No Return – 8:00 pm

GUEST

The Cabinet of Dr. Caligari with Live Music – 7:00 pm

Sandra – 8:45 pm

IV. Dreams That Money Can Buy – 8:40 pm

Tower – 8:30 pm

FRI

II. Canonical Surrealist Shorts – 8:15 pm

Tower – 8:30 pm

Spa Night – 6:30 pm

THURS

Sandra – 6:30 pm I Knew Her Well – 8:30 pm

EUFF 2016

Silent Heart – 6:00 pm

UNLESS OTHERWISE INDICATED

Exiled – 6:30 pm

EUFF 2016

Family Member – 6:30 pm

Underdog – 8:30 pm

One Shot – 8:30 pm

The Move of the Penguin – 8:00 pm

ALL SCREENINGS ARE RESTRICTED TO 18+

EUFF 2016

In the Crosswind – 6:30 pm

While Aya Was Sleeping – 8:15 pm

EUFF 2016

Family Party – 6:30 pm

EUFF 2016

A Noble Intention – 6:00 pm Mom and Other Loonies in the Family – 8:15 pm

Schmitke – 8:20 pm

$3 ANNUAL MEMBERSHIP REQUIRED FOR THOSE 18+ GUEST

theCinematheque.ca

EUFF 2016

Santa – 4:00 pm Kaisa’s Enchanted Forest – 6:00 pm

EUFF 2016 2–6 NEW DOCUMENTARY 6

NEW RESTORATIONS 7

Andrzej Żuławski

The Third Part of the Night - 6:30pm The Devil – 8:30 pm

UNCANNY RELATIONS: SURREALISM 8–10 RW FASSBINDER 11 NEW CINEMA 14–15

Old Stone – 5:00 pm

ESSENTIAL CINEMA 18–19

Best of the 21st Century?

CINEMA SUNDAY 22

Rated PG Rated 14A

EUFF 2016

Hanna’s Sleeping Dogs – 6:30 pm

Andrzej Żuławski

On the Silver Globe – 7:00 pm

DIM Cinema

Marie Menken: Eye Music in Red Major – 7:30 pm

DECEMBER New Cinema

Old Stone – 5:00 pm

Opening Night

Andrzej Żuławski

On the Silver Globe – 7:00 pm

On the Silver Globe with Introduction - 7:00 pm

Dual – 8:50 pm

Andrzej Żuławski

Old Stone – 6:30 pm

Best of the 21st Century?

Mulholland Drive – 6:45 pm

Mulholland Drive – 8:10 pm

Possession – 6:30 pm

RW Fassbinder

Fassbinder: To Love Without Demands – 6:30 pm

RW Fassbinder

In a Year of 13 Moons – 4:00 pm

The Devil – 6:30 pm Possession – 8:50 pm

The Third Part of the Night – 8:50 pm

New Cinema

Andrzej Żuławski

New Cinema

Old Stone – 6:30 pm

Andrzej Żuławski

Best of the 21st Century?

Possession – 8:10 pm

Mulholland Drive – 8:10 pm

RW Fassbinder

Kamikaze ’89 – 6:30 pm

Fassbinder: To Love Without Demands – 8:30 pm

In a Year of 13 Moons – 8:30 pm

New Cinema

RW Fassbinder

Fassbinder: To Love Without Demands – 4:30 pm In a Year of 13 Moons – 6:30 pm Kamikaze ’89 – 8:50 pm

Kamikaze ’89 – 6:30 pm

MULHOLLAND DRIVE 23

Rated G

Mulholland Drive – 6:45 pm

DIM CINEMA 20

FRAMES OF MIND 21

Mars Attacks! – 1:00 pm New Cinema

ANDRZEJ ŻUŁAWSKI 16–17

THE OLIVER-FILM ENSEMBLE 20-21

Sci-Fi Cinema Sunday

Tomorrow After the War – 6:30 pm Live – 8:30 pm

My Name is Emily – 7:45 pm

IN THIS ISSUE

EUFF 2016

RW Fassbinder

Fassbinder: To Love Without Demands – 6:30 pm

GUEST

Frames of Mind

Essential Cinema

Fanny and Alexander – 7:00 pm

The Confessions of Thomas Quick – 7:30 pm

Essential Cinema

Fanny and Alexander – 7:00 pm

Kamikaze ’89 – 8:30 pm

Fassbinder: To Love Without Demands – 8:30 pm

Essential Cinema

Romeo and Juliet – 4:00 pm

Beauty and the Beast – 4:00 pm

To Catch a Thief – 4:30 pm

Romeo and Juliet – 4:00 pm

Fanny and Alexander – 7:00 pm

Romeo and Juliet – 6:00 pm

Beauty and the Beast – 6:30 pm

To Catch a Thief – 6:30 pm

To Catch a Thief – 8:40 pm

Romeo and Juliet – 8:20 pm

Beauty and the Beast – 8:30 pm

Rated 18A BACKGROUND IMAGE:

DREAMS THAT MONEY CAN BUY

Now on view at

Dedicating a seat at The Cinematheque is a lasting way to show your support for the essential cinema experience in Vancouver, celebrate a special occasion, or honour a loved one.

Exhibition Sponsor:

SEAT DEDICATION CAMPAIGN

With a $250 donation, a custom engraved plaque will be secured to the Cinematheque seat of your choosing, for a period of 5 years. You will receive a charitable tax receipt for the full amount of your donation.

LEARN MORE + DONATE: WWW.THECINEMATHEQUE.CA/SEAT-CAMPAIGN

SUN

MON

TICKETS

TUES

NOVEMBER 7

New Cinema

Tower – 4:30 pm

New Cinema

Spa Night – 6:30 pm

New Documentary

Film + Notfilm – 7:00 pm

WED

New Documentary

Film + Notfilm – 7:00 pm

DIM Cinema

Owen Land (formerly known as George Landow) – 7:30 pm

GUEST

Uncanny Relations: Surrealism

I. Feyrer and Henderson + Blood of a Poet – 6:30 pm

GUEST

Sci-Fi Cinema Sunday

WarGames with John Badham – 1:00 pm

New Restorations

I Knew Her Well – 6:30 pm

GUEST

Frames of Mind

Fado – 7:30 pm

Sandra – 8:45 pm

New Restorations

SAT

New Cinema

Tower – 6:30 pm Spa Night – 8:15 pm

New Cinema

Spa Night – 4:30 pm Tower – 6:30 pm Spa Night – 8:15 pm

GUEST

Uncanny Relations: Surrealism

III. Maya Deren + Jean Painlevé - 6:30 pm

New Restorations

I Knew Her Well – 6:30 pm

Uncanny Relations: Surrealism

V. Germaine Dulac – 6:30 pm

EUFF 2016

Eva Nová – 6:30 pm

The Oliver-Film Ensemble

EUFF 2016

Irreplaceable – 6:30 pm Gelo – 8:30 pm

Image – 8:35 pm

VI. Ticket of No Return – 8:00 pm

GUEST

The Cabinet of Dr. Caligari with Live Music – 7:00 pm

Sandra – 8:45 pm

IV. Dreams That Money Can Buy – 8:40 pm

Tower – 8:30 pm

FRI

II. Canonical Surrealist Shorts – 8:15 pm

Tower – 8:30 pm

Spa Night – 6:30 pm

THURS

Sandra – 6:30 pm I Knew Her Well – 8:30 pm

EUFF 2016

Silent Heart – 6:00 pm

UNLESS OTHERWISE INDICATED

Exiled – 6:30 pm

EUFF 2016

Family Member – 6:30 pm

Underdog – 8:30 pm

One Shot – 8:30 pm

The Move of the Penguin – 8:00 pm

ALL SCREENINGS ARE RESTRICTED TO 18+

EUFF 2016

In the Crosswind – 6:30 pm

While Aya Was Sleeping – 8:15 pm

EUFF 2016

Family Party – 6:30 pm

EUFF 2016

A Noble Intention – 6:00 pm Mom and Other Loonies in the Family – 8:15 pm

Schmitke – 8:20 pm

$3 ANNUAL MEMBERSHIP REQUIRED FOR THOSE 18+ GUEST

theCinematheque.ca

EUFF 2016

Santa – 4:00 pm Kaisa’s Enchanted Forest – 6:00 pm

EUFF 2016 2–6 NEW DOCUMENTARY 6

NEW RESTORATIONS 7

Andrzej Żuławski

The Third Part of the Night - 6:30pm The Devil – 8:30 pm

UNCANNY RELATIONS: SURREALISM 8–10 RW FASSBINDER 11 NEW CINEMA 14–15

Old Stone – 5:00 pm

ESSENTIAL CINEMA 18–19

Best of the 21st Century?

CINEMA SUNDAY 22

Rated PG Rated 14A

EUFF 2016

Hanna’s Sleeping Dogs – 6:30 pm

Andrzej Żuławski

On the Silver Globe – 7:00 pm

DIM Cinema

Marie Menken: Eye Music in Red Major – 7:30 pm

DECEMBER New Cinema

Old Stone – 5:00 pm

Opening Night

Andrzej Żuławski

On the Silver Globe – 7:00 pm

On the Silver Globe with Introduction - 7:00 pm

Dual – 8:50 pm

Andrzej Żuławski

Old Stone – 6:30 pm

Best of the 21st Century?

Mulholland Drive – 6:45 pm

Mulholland Drive – 8:10 pm

Possession – 6:30 pm

RW Fassbinder

Fassbinder: To Love Without Demands – 6:30 pm

RW Fassbinder

In a Year of 13 Moons – 4:00 pm

The Devil – 6:30 pm Possession – 8:50 pm

The Third Part of the Night – 8:50 pm

New Cinema

Andrzej Żuławski

New Cinema

Old Stone – 6:30 pm

Andrzej Żuławski

Best of the 21st Century?

Possession – 8:10 pm

Mulholland Drive – 8:10 pm

RW Fassbinder

Kamikaze ’89 – 6:30 pm

Fassbinder: To Love Without Demands – 8:30 pm

In a Year of 13 Moons – 8:30 pm

New Cinema

RW Fassbinder

Fassbinder: To Love Without Demands – 4:30 pm In a Year of 13 Moons – 6:30 pm Kamikaze ’89 – 8:50 pm

Kamikaze ’89 – 6:30 pm

MULHOLLAND DRIVE 23

Rated G

Mulholland Drive – 6:45 pm

DIM CINEMA 20

FRAMES OF MIND 21

Mars Attacks! – 1:00 pm New Cinema

ANDRZEJ ŻUŁAWSKI 16–17

THE OLIVER-FILM ENSEMBLE 20-21

Sci-Fi Cinema Sunday

Tomorrow After the War – 6:30 pm Live – 8:30 pm

My Name is Emily – 7:45 pm

IN THIS ISSUE

EUFF 2016

RW Fassbinder

Fassbinder: To Love Without Demands – 6:30 pm

GUEST

Frames of Mind

Essential Cinema

Fanny and Alexander – 7:00 pm

The Confessions of Thomas Quick – 7:30 pm

Essential Cinema

Fanny and Alexander – 7:00 pm

Kamikaze ’89 – 8:30 pm

Fassbinder: To Love Without Demands – 8:30 pm

Essential Cinema

Romeo and Juliet – 4:00 pm

Beauty and the Beast – 4:00 pm

To Catch a Thief – 4:30 pm

Romeo and Juliet – 4:00 pm

Fanny and Alexander – 7:00 pm

Romeo and Juliet – 6:00 pm

Beauty and the Beast – 6:30 pm

To Catch a Thief – 6:30 pm

To Catch a Thief – 8:40 pm

Romeo and Juliet – 8:20 pm

Beauty and the Beast – 8:30 pm

Rated 18A BACKGROUND IMAGE:

DREAMS THAT MONEY CAN BUY

Now on view at

Dedicating a seat at The Cinematheque is a lasting way to show your support for the essential cinema experience in Vancouver, celebrate a special occasion, or honour a loved one.

Exhibition Sponsor:

SEAT DEDICATION CAMPAIGN

LEARN MORE + DONATE: WWW.THECINEMATHEQUE.CA/SEAT-CAMPAIGN

NEW CINEMA

“A cool, exquisitely observant first feature.” – Stephen Holden, New York Times “Tender, even plaintive . . . Spa Night recombines elements of the emigrant saga and the comingof-age story into a searching, fresh-faced portrait.” – Matt Brennan, Slant

Spa Night

USA 2016. Dir: Andrew Ahn. 97 min. DCP

Actor Joe Seo won a Special Jury Award at Sundance for his breakthrough performance as a shy young Korean-American man torn between his duty to his struggling immigrant family and his awakening sexual identity in L.A. director Andrew Ahn’s assured, admirably low-key debut feature. David is the only child of religious, hardworking parents whose small business, a Korean restaurant, is in trouble. When David takes a job as an attendant in a Koreatown spa, he discovers an underground world of gay hookups that both frightens and attracts him. Ahn’s atmospheric, observant movie effectively merges the “coming-out” drama with a compelling story of newcomers chasing the American Dream. Ahn used his 2012 short film Dol (First Birthday), which also premiered at Sundance, to come out to his own Korean-American parents. Spa Night was featured at this year’s Vancouver Queer Film Festival. FRIDAY, NOVEMBER 4 – 8:15 PM SATURDAY, NOVEMBER 5 – 4:30 PM & 8:15 PM SUNDAY, NOVEMBER 6 – 6:30 PM MONDAY, NOVEMBER 7 – 6:30 PM

“A gripping reconstruction . . . Tense, reflective, and uniquely cinematic.” – Justin Chang, Variety “One of the essential films of the year.” – Brian Tallerico, RogerEbert.com “Absorbing . . . A fascinating blend of suspense and journalistic inquiry." – Eric Kohn, IndieWire

Tower

USA 2016. Dir: Keith Maitland. 82 min. DCP

Austin, Texas, filmmaker Keith Maitland’s remarkable animated documentary – yes, animated – offers a riveting account of modern America’s first mass school shooting. In August 1966, at the University of Texas in Austin, a gunman ascended a clock tower and shot dozens of people; 16 died. It was, at the time, an unprecedented event. Maitland’s film, incorporating archival footage and dramatic, often deeply moving testimony from those who survived and those who came to their aid, makes impressive use of rotoscope animation, the method employed by Austin’s most famous homegrown filmmaker, Richard Linklater, in Waking Life and A Scanner Darkly. Tower is a bold, powerful, and strikingly original work that expands our notion of what a documentary can be. It won the Documentary Feature prize and the Audience Award (Documentary) at SXSW earlier this year. FRIDAY, NOVEMBER 4 – 6:30 SATURDAY, NOVEMBER 5 – 6:30 SUNDAY, NOVEMBER 6 – 4:30 PM & 8:30 MONDAY, NOVEMBER 7 – 8:30

PM PM PM PM

“A remarkably mature debut . . . Spine-chilling.” – Maggie Lee, Variety “Gripping . . . A refreshing and solid debut.” – Clarence Tsui, Hollywood Reporter

Old Stone (Lao shi)

Canada/China 2016. Dir: Johnny Ma. 80 min. DCP

Chinese-Canadian filmmaker Johnny Ma’s blistering debut feature, recipient of the Best Canadian First Feature award at TIFF this year, is a pulse-pounding, genre-morphing drama/thriller that exposes the mechanisms of indifference at the root of China’s appalling “hit and run” epidemic. Lao Shi (fantastic Chen Gang) is a taxi driver who inadvertently strikes a motorcyclist; panicked and unsure when or if the authorities will arrive, he rushes the victim to the hospital, saving his life. But Lao Shi discovers that his act of moral integrity comes at a ruinous cost: he’s now liable for the fast-amassing medical bills of the comatose patient. Upbraided for not observing protocol – which would have resulted in the motorcyclist’s death and a onetime fine – the cabbie, slipping into madness, decides to make things “right.” Ma deftly handles the material with resolve and formal invention, swapping gritty, social realism with slick, noir panache when shit hits the fan. A debut to be admired. FRIDAY, DECEMBER 9 – 6:30 SATURDAY, DECEMBER 10 – 6:30 SUNDAY, DECEMBER 11 – 5:00 MONDAY, DECEMBER 12 – 5:00 WEDNESDAY, DECEMBER 14 – 6:30

PM PM PM PM PM

HysTeria Heartbreak &

Andrzej Żu lawski (1940 – 2016

)

olish filmmaker Andrzej Żuławski (zhu-WOFF-skee), whose signature brand of over-the-top excess inspired the criticscoined adjective “Zulawskien,” died in February at the age of 75. His passing came just six months after his latest (now last) film Cosmos garnered him the Best Director prize at the Locarno Film Festival, no small feat for a veteran auteur returning to cinema after a 15-year absence. For many, the award represented more than just the decorating of a film’s director: it vindicated a visionary artist’s singular body of work that so often met with bafflement, hostility, and suppression. His was a cinema without concession, of sustained hysteria and emotional savagery. Cutting his teeth in the 1960s as an assistant to Polish cine-giant Andrzej Wadja (who died in October), Żuławski quashed any illusions that he might follow in his mentor’s footsteps with his explosive first feature The Third Part of the Night (1971), a calling-card debut that established his penchant for casual bloodletting, manic camerawork, and hand-biting political allegory. That combination ran him afoul of the Communist government on his next film, the gory Gothic-horror The Devil (1972), resulting in its blocked release and, in turn, Żuławski’s flight from Poland to France, where he would produce the lion’s share of his cinema (including four films with then romantic partner Sophie Marceau). Only by invitation did the expat return to Poland to mount – then re-mount— his magnum opus On the Silver Globe (1988), a delirious sci-fi epic whose closest kin may be Alexei Gherman’s Hard to be a God. Kyboshed in 1977 by the Ministry of Culture in mid-production, its glorious completion occurred a decade later when the un-conceding Żuławski resurrected the project with salvaged footage and renewed purpose. Yet it is Possession (1981), a scandalous, fever-dream film in which “Sam Neill and Isabelle Adjani screamed at one another for two hours” (David Thomson), that remains Żuławski’s most best-known and most notorious work, largely due to its reputation as a “video nasty” in the UK and its its censorship in North America, where it was released in drastically-cut form. We are delighted to present the film in its original, unedited version for this select retrospective, which also includes brand-new digital restorations of Żuławski’s rarely-screened Polish masterworks, courtesy of Kadr Film Studio.

“Żuławski’s masterpiece . . . On the Silver Globe is outsider art on a huge scale.” – J. Hoberman, New York Times “Among the most visually extravagant films ever made.” – Richard Brody, The New Yorker

New Restoration!

On the Silver Globe

(Na srebrnym globie)

Poland 1988. Dir: Andrzej Żuławski. 166 min. DCP

In a career rife with state censorship and prohibition, Andrzej Żuławski’s unruly, epic On the Silver Globe is without doubt the visionary director’s flagship film maudit – and almost certainly his chef d’oeuvre too. Coaxed back to Communist Poland in 1976 after the success of his French-made film That Most Important Thing: Love, Żuławski spent the next two years shooting a wildly ambitious (and expensive) adaptation of his great-uncle’s eponymous sci-fi novel before Polish authorities pulled the plug (reportedly for its ballooning budget; likely its subversive content). A decade later, Żuławski sutured the surviving material together, adding restaged scenes, documentary footage, and expository voiceover, to produce a frenzied, mammoth-sized version of his “murdered” masterpiece. In it, astronauts marooned on a replacement Earth forge a new, pious society amid the planet’s telepathic bird people (no joke). Screening in a brand-new digital restoration approved by the late Żuławski, this is gonzo, grandiose cinema of the first order. THURSDAY, DECEMBER 1 – 7:00 PM FRIDAY, DECEMBER 2 – 7:00 PM MONDAY, DECEMBER 5 – 7:00 PM

“Deeply disturbing and highly prophetic.” – Daniel Bird, Film Comment

New Restoration!

The Devil (Diabeł)

Poland 1972. Dir: Andrzej Żuławski. 125 min. DCP

Andrzej Żuławski's controversial, incendiary second feature (after The Third Party of the Night, his startling debut) is a horror/historical hybrid set during the Prussian invasion of Poland in the late 18th century. Banned by the Communist government for its moral depravity and costume-veiled commentary on the March 1968 crisis – in which Polish authorities provoked then arrested political dissidents en masse – The Devil follows an incarcerated nobleman (The Third Part’s Leszek Teleszynski) as he trudges through the decaying, dystopian wastelands of his war-ravaged country upon being freed by a satanic shadow figure. Vitriolic rage and violence follows, rendered by way of Żuławski’s signature, schizoid cinematography and a cold, glacial palette. The film’s (unsurprising) banning drove Żuławski to France, where, with the exception of his thwarted then resurrected Polish epic On the Silver Moon and 1996’s Szamanka, he would live and work for the remainder of his career. SATURDAY, DECEMBER 3 – 6:30 PM SUNDAY, DECEMBER 4 – 8:30 PM

ON THE SILVER GLOBE

Op en in g N ig h T THURSDAY, DECEMBER 1

Opening Night with Refreshments & Special Introduction 7:00 pm - On the Silver Globe | Introduced by Helena G. Kudzia Helena G. Kudzia is an instructor in the Department of Central, Eastern, and Northern European Studies at the University of British Columbia. She holds degrees from Poland and Canada. Her interests include Social Sciences, Philosophy, and Language.

One of the last great renegades of European art cinema, a wildly inventive, madly ambitious artist.” – A.O. Scott, New York Times “No other filmmaker fuses hysteria and contemplation like Andrzej Żuławski . . . Nearly every film he made is essential.” – Russ Fischer, IndieWire “Now is the perfect time to discover the bizarre, brilliant, and grotesquely

funny films of Andrzej Żuławski.” – Daniel Bird, Film Comment

“May be the only film in existence which is itself mad . . Extreme but essential viewing.” – Tom Huddleston, Time Out

“Daring. . . A singular vision of history’s horror show.” – Michał Oleszczyk, Slate

New Restoration! 35mm Print!

Possession

France/West Germany 1981. Dir: Andrzej Żuławski. 127 min. 35mm

Andrzej Żuławski’s object nightmare (and best-known film) is a brilliant, batshit look at marital disintegration and psychological collapse as viewed through a prism of Hell. The renegade auteur penned this capital-C cult masterpiece during his split from wife and favourite leading lady Małgorzata Braunek. It features a mesmerizingly-unhinged Isabelle Adjani as the unhappy wife of a spy (Sam Neill), whose want for divorce triggers an apocalyptic storm of hysterical meltdowns, gory violence, manic jealously, and can’t-unsee copulation with a Lovecraftian squid-monster! Adjani, crowned Best Actress at Cannes for her role, earns her stripes (and then some) with a tourde-force freak-out in a subway corridor that’s more performance art than performance; cinematographer Bruno Nuytten’s frenetic, roving camerawork keeps the image teetering on the edge of insanity. Banned in the UK and butchered for its North American release – ironic, as it is Żuławski’s only English-language film – Possession screens here in its revelatory, restored, full-length cut. SATURDAY, DECEMBER 3 – 8:50 PM THURSDAY, DECEMBER 8 – 6:30 PM FRIDAY, DECEMBER 9 – 8:10 PM

The Third Part of the Night

(Trzecia część nocy)

Poland 1971. Dir: Andrzej Żuławski. 105 min. DCP

Andrzej Żuławski's hallucinatory, haunting feature-length debut is one of cinema's great out-of-the-gate works; rarely has a first film so thoroughly laid the groundwork for a career-long M.O. Based on his father’s experience as a resistance fighter in Nazioccupied Poland, Żuławski’s film centres on a fugitive Pole (Leszek Teleszynski) who, after witnessing the slaughter of his wife and son by the Gestapo, descends into a Hellish under(or inner)world shaped by his trauma and the delirium of war. All of Żuławski’s authorial trademarks are here: fever-pitch paranoia, dissociation from self, collapsing subjectivity/objectivity, catharsis through excess. The mercurial camerawork, with its erratic use of frenetic, handheld cinematography, arrives fully formed and awesome. Actress Małgorzata Braunek, playing both a dead lover and doppelgänger, would later marry, then divorce Żuławski, setting the stage for the director’s most notorious mindfuck, Possession. SUNDAY, DECEMBER 4 – 6:30 PM THURSDAY, DECEMBER 8 – 8:50 PM

BEAUTY AND THE BEAST

35mm Print!

Fanny and Alexander (Fanny och Alexander)

Sweden 1982. Dir: Ingmar Bergman. 188 min. 35mm

A triumph! Ingmar Bergman’s wonder-filled evocation of childhood and the magic of theatre is the crowning achievement of one of cinema’s most extraordinary careers. Winner of four Academy Awards (including the Swedish master’s third Oscar for best foreign-language film), Fanny and Alexander begins during Christmas 1907, with ten-year-old Alexander and younger sister Fanny enjoying the warmth and good humour of their ebullient, eccentric extended family. Their lives will soon take a less happy turn, however, with the death of their actor father and the remarriage of their mother to a puritanical Protestant minister. Bergman’s semi-autobiographical tale is shot in rich, glowing images by long-time collaborator Sven Nykvist. Offering something of a summation of Bergman’s work and chief themes, it may also be the director’s most opulent and optimistic film – something of a surprise, perhaps, from an artist long synonymous with Scandinavian austerity and angst! THURSDAY, DECEMBER 22 – 7:00 PM FRIDAY, DECEMBER 23 – 7:00 PM MONDAY, DECEMBER 26 – 7:00 PM

New Restoration!

Romeo and Juliet

Great Britain/Italy 1968. Dir: Franco Zeffirelli. 138 min. DCP

Franco Zeffirelli’s bold, affecting adaptation of Romeo and Juliet shaped the “greatest love story of all time” for the youth-culture 1960s and became a massive commercial success; Roger Ebert praised it as “the most exciting film of Shakespeare ever made.” In a daring stroke of casting, the director hired two actual teenagers, both unknowns – 17-year-old Leonard Whiting and 15-year-old Olivia Hussey – to play the Bard’s star-crossed young lovers. The supporting cast includes Michael York, Milo O’Shea, and John McEnery; Laurence Olivier voiced the prologue and epilogue. Nino Rota’s soundtrack – especially “Love Theme from Romeo and Juliet” – also became hugely popular. Shot on location in Tuscany and elsewhere in Italy, Zeffirelli’s sumptuous, swashbuckling film won Oscars for its cinematography and costumes. It screens here in a beautiful new restoration. Be sure to bring a hankie or plenty of Kleenex!

MONDAY, DECEMBER 26 – 4:00 PM WEDNESDAY, DECEMBER 28 – 6:00 PM THURSDAY, DECEMBER 29 – 8:20 PM FRIDAY, DECEMBER 30 – 4:00 PM

ES S EN T I AL C IN EMA ESSENTIAL BIG SCREEN // HAPPY HOLIDAYS The Cinematheque celebrates the festive season with a special selection of much-loved film classics, all works of enchanting beauty, all must-sees on the big screen. Happy holidays and happy viewing!

New 35mm Print! 70th Anniversary!

Beauty and the Beast (La belle et la bête)

France 1946. Dir: Jean Cocteau. 93 min. 35mm

Sumptuous, surreal, and thoroughly enchanting, Jean Cocteau’s remarkable retelling of Madame Leprince de Beaumont’s famed 18th-century story is one of the masterpieces of fantastic cinema. Pauline Kael called it “perhaps the most sensuously elegant of all filmed fairy tales.” Jean Marais, in extraordinary cat-like make-up, is the frightful, castledwelling Beast; Josette Day is delicate Beauty, whose love transforms monster into man. The film’s virtuoso visual style draws upon classic Dutch painting, the work of Vermeer in particular, as well as the 19th-century illustrations of Gustave Doré. The black-and-white cinematography, by veteran Henri Alekan (Wings of Desire), is stunning; the art direction by Christian Bérard, who also designed the costumes, is pure magic. “Cocteau’s fairy tale set standards in fantasy that few other filmmakers have reached” (Tom Milne, Time Out).

WEDNESDAY, DECEMBER 28 – 4:00 PM THURSDAY, DECEMBER 29 – 6:30 PM FRIDAY, DECEMBER 30 – 8:30 PM

New Restoration!

To Catch a Thief USA 1955. Dir: Alfred Hitchcock. 106 min. DCP

There are fireworks, quite literally, between Cary Grant and Grace Kelly in Alfred Hitchcock’s To Catch a Thief, a sexy, sophisticated romantic thriller set (and shot) on the French Riviera. Grant plays a retired cat burglar who may or may not be back in business; Kelly (here a year away from becoming Princess Grace of Monaco) is a glamorous American tourist husband-hunting on the Côte d’Azur. Hitchcock is working in light-entertainment mode in this pleasingly frothy caper movie, which falls between Rear Window and The Trouble with Harry in the Master of Suspense’s storied filmography. The chic, fit-for-a-princess clothes are by Edith Head; the Oscar-winning colour cinematography, in VistaVision, is by Hitchcock regular Robert Burks. This was Kelly’s third and final film for the director and one of her last roles in the cinema.

WEDNESDAY, DECEMBER 28 – 8:40 PM THURSDAY, DECEMBER 29 – 4:30 PM FRIDAY, DECEMBER 30 – 6:30 PM

INSTITUTIONAL QUALITY. Courtesy of LUX, London

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

Owen Land (formerly known as George Landow)

Marie Menken: Eye Music in Red Major

Q: “What is a ‘structural film’?”

“Marie it was who first of all of us discovered that hypnagogic envisioning need not only be done at night.” – Stan Brakhage

A: “That’s easy, everybody knows what a structural film is. It’s when engineers design an aeroplane, or a bridge, and they build a model to find out if it will soon fall apart. The film shows where all the stresses are.” This snippet, from a dialogue between two pandas in tonight’s penultimate film, pretty much sums up the work of one of the most original, irreverent, not to say eccentric experimental filmmakers of the 1960s and '70s. Witty and inventive, parodying not just the languages of mass culture, but the sophistries of the avant-garde, the films of the American artist Owen Land (a near anagram of his given name, George Landow) are based in philosophical games, using wordplay and optical ambiguity to explore the materiality of film, the role of the spectator, and the illusionary nature of cinema itself. Fleming Faloon | 1963. 7 min. Film in Which There Appear Edge Lettering, Sprocket Holes, Dirt Particles, Etc. | 1965-66. Silent. 4 min. Institutional Quality | 1969. 5 min. Remedial Reading Comprehension | 1970. 5 min. Bardo Follies | 1967. Silent. 20 min. On the Marriage Broker Joke as Cited by Sigmund Freud in Wit and its Relation to the Unconscious or Can the Avant-Garde Artist Be Wholed? | 1977-79. 18 min. New Improved Institutional Quality: In the Environment of Liquids and Nasals a Parasitic Vowel Sometimes Develops | 1976. 10 min.

The influence of Marie Menken on American experimental filmmaking cannot be overstated. Stan Brakhage, Jonas Mekas, Andy Warhol, Kenneth Anger – all owed much of their own development as filmmakers to her. Trained as a painter, she manipulated her Bolex camera like a set of brushes and palette knives. The films in this program, several of them tributes to other artists, are bold experiments with light and motion. Beyond the pyrotechnics of camerawork and editing, what inspires is the bodily connection to subject matter, clasped intimately like a partner in dance. Visual Variations on Noguchi | 1945. 4 min. Mood Mondrian | 1961-62. Silent. 6 min. Eye Music in Red Major | 1961. Silent. 6 min. Glimpse of the Garden | 1957. 5 min. Bagatelle for Willard Maas | 1958-1961. 6 min. Hurry! Hurry! | 1957. 3 min. Go! Go! Go! | 1962-64. Silent. 12 min. Arabesque for Kenneth Anger | 1958-1961. 4 min. Andy Warhol | 1964-65. Silent. 20 min. Screening format: 16mm Running time approx. 66 min.

WEDNESDAY, DECEMBER 7 – 7:30 PM

Screen format: 16mm Total running time approx. 68 min.

WEDNESDAY, NOVEMBER 9 – 7:30 PM

with Live Musical Accompaniment! 20

In Person: Mark Oliv er and the Oliver-Film Ensemble

FADO

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. 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!

Fado

The Confessions of Thomas Quick

Germany/Portugal 2016. Dir: Jonas Rothlaender. 100 min. DCP

Stellar acting, gorgeous cinematography, and a whipsmart script elevate the familiar subject of a couple torn apart by pathological jealousy into an impressive cinematic achievement. Young doctor Fabian (Golo Euler) travels from Berlin to Lisbon to win back ex-girlfriend Doro (Luise Heyer), an architect. Wary at first, Doro eventually succumbs to Fabian’s charms. (Be advised: there are very explicit sex scenes in the film.) All is well until Fabian’s jealousy, paranoia, and suspicion return once again, in ever more extreme forms. Director Jonas Rothlaender makes the daring stylistic decision to frame Fabian’s distorted perceptions in such a way that we, like Fabian, cannot easily distinguish delusion from reality. A raw, immersive exploration of how rigid rules of masculinity can imprison one, and how behind jealousy lies the unspoken fear of betrayal and abandonment. Post-screening discussion with Dr. Randall F. White, a clinical professor of psychiatry at UBC and the medical director of the B.C. Psychosis Program at UBC Hospital. WEDNESDAY, NOVEMBER 16 – 7:30 PM

Great Britain 2015. Dir: Brian Hill. 95 min. Blu-ray Disc

Thomas Quick was the nom de criminel of Swedish serial killer Sture Bergwall, who gained infamy in the 1990s by confessing to the murder (and in some cases, rape and cannibalism) of more than 30 individuals. In 1991, Bergwall, a 41-year-old loner and benzodiazepine addict, was convicted of armed robbery and sentenced to Säter psychiatric hospital. There, in intense psychoanalytic sessions meant to bring out deep-seated repressed memories, he began recalling his horrific crimes, the details of which were the basis for his later convictions. In 2008, Bergwall shocked the world again by recanting everything. Had Sweden’s worst serial killer been, in fact, the victim of a grave miscarriage of justice? Using first-hand accounts by Bergwall himself, reconstructions (sometimes grisly), and copious archival footage, the film uncovers the incredible truth behind the headlines. Post-screening discussion with Dr. Roy O’Shaughnessy, a clinical professor of psychiatry at UBC, where he is Head, Division of Forensic Psychiatry. WEDNESDAY, DECEMBER 21 – 7:30 PM

The Cabinet of Dr. Caligari

(Das cabinet des Dr. Caligari) Germany 1919. Dir: Robert Wiene. 70 min. Robert Wiene’s legendary landmark of Expressionism revolutionized German film and cinema art, and remains one of the creepiest of all horror movies – as anyone who has ever stumbled across its preternatural images flickering on late-night TV can attest! A tour de force of nightmarish art direction – the grotesque sets and costumes are by the painters and designers of the Der Sturm Expressionist group – The Cabinet of Dr. Caligari recounts the fantastical story of a sinister fairground hypnotist and the somnambulist he uses to do his deadly bidding. Its paranoia-filled tale of monstrous authoritarianism and madness has provided a wealth of material for historians probing the dark psyche of Weimar Germany; the film is famously cited by Siegfried Kracauer, in From Caligari to Hitler, as one of Weimar cinema’s first premonitions of Hitler’s tyranny.

For nearly a century, the jagged shadows of The Cabinet of Dr. Caligari have swept across screens and imaginations the world over. For Mark Oliver, the Vancouver-born grandson of one of its original producers, Caligari is much more than a film; it is a family heirloom. Our special screening of this horror masterpiece will be accompanied by a live musical performance by the Oliver-Film Ensemble. Mr. Oliver – who is directing an upcoming documentary, UFA Man, about his grandfather, the film mogul David Oliver – will introduce the evening and share some of his recent discoveries about Caligari’s mysterious origins. The musicians of the Oliver-Film Ensemble are Matt O’Donnell, Daniel Ruiz, Marc Wild, Vi-An Diep, and Justin Patterson. Regular Ticket Prices in effect.

SATURDAY, NOVEMBER 12 – 7:00 PM

All Ages Welcome. Not suitable for younger children. Annual Membership Requirement ($3) in effect for those 18+

MARS ATTACKS The Cinematheque’s Education Department presents

An Afternoon Film Program for Children and Their Families $6 Children & Youths (under 18) $9 Adults (Cinematheque membership not required)

Attention all ages! Beam aboard the Starship Cinematheque for a 12-month mission as we explore the outer reaches of cosmic cinema with our 2016 series, “Sci-Fi Cinema Sunday.” Each month, we present a science-fiction film that inspires wonderment beyond the infinite with tales of faraway galaxies, alien encounters, ripples in spacetime, and technological tomorrows. Films will be introduced by Vancouver film history teacher, critic, and intergalactic space pirate Michael van den Bos. In-theatre giveaways courtesy of Cinema Sunday community sponsors Videomatica Sales, Golden Age Collectables, and Kidsbooks.

Director John Badham in attendance!

WarGames

USA 1983. Dir: John Badham. 114 min. Blu-ray Disc

“Shall we play a game?” Long before “hacking” was a household word (to say nothing of the “internet”), John Badham introduced the concept to a generation of cinemagoers with his superb ’80s cyber-thriller, one of the first, and certainly best, of the decade’s computer-centric films. Fresh-faced Matthew Broderick is computer whiz David, a slacker Seattle teen who’d sooner boost his letter grades by hacking into his school’s system than study (hey, didn’t he do that as Ferris Bueller too?). When he gains access to what appears to be a sophisticated computer game – but is actually a US military supercomputer – his decision to play “Global Thermonuclear War” rather than chess unwittingly initiates WWIII. A prescient, Cold War nail-biter that taps into contemporary anxieties around national defence, online espionage, and headline-grabbing hacktivism, this triple-Oscar-nominated film may be Badham’s finest work. “Scary and intelligent . . . As a premise for a thriller, this is a masterstroke” (Roger Ebert). After the film, Cinema Sunday host Michael van den Bos will moderate a Q&A with John Badham, director of WarGames. Badham has earned critical praise and box-office success during a career distinguished by its range and diversity. He is the director of 17 feature films – including Saturday Night Fever (1978), Blue Thunder (1983), Short Circuit (1986), and Stakeout (1987) – and numerous television episodes. SUNDAY, NOVEMBER 13 – 1:00 PM

Mars Attacks!

USA 1996. Dir: Tim Burton. 106 min. Blu-ray Disc

Alas, Sci-Fi Cinema Sunday must end to make way for 2017’s new, still-under-wraps Cinema Sunday theme. But not before we take some affectionate potshots at the genre with Mars Attacks!, Tim Burton’s giddy, goofy, madcap spoof on science fiction’s B-movie pedigree and appetite for mass destruction. When ping-pongeyeballed Martians – rendered in stop-motion-inspired CG – descend on Earth, all attempts at peaceful overtures are met with “Ack Ack!” and schlocky ray-gun carnage. Good thing a grandma/grandson duo luck upon a (seriously) mind-blowing secret weapon: Slim Whitman’s 1952 rendition of “Indian Love Call”!? Based on the Topps trading cards from the early ’60s, and featuring a stacked ensemble cast happy to ham it up (Jack Nicholson as POTUS, Glenn Close as First Lady, Tom Jones as Tom Jones), this is Hollywood popcorn fare at its wonkiest. “I’m not sure what it all means, but, as in Ed Wood, Burton’s visual flair and affection for the characters make it fun” (Jonathan Rosenbaum, Chicago Reader). SUNDAY, DECEMBER 11 – 1:00 PM

WARGAMES

MULHOLLAND DRIVE THE BEST FILM OF THE 21ST CENTURY? And the best movie of the 21st century so far is …. David Lynch’s Mulholland Drive (2001)! This according to a BBC poll released in August, in which 177 critics from around the world voted to determine the 100 greatest films of our century to date. Wong Kar-wai’s In the Mood for Love (2000) was runner-up (films from 2000 onwards were eligible; the Beeb acknowledged that, strictly speaking, the century didn’t actually begin until 2001), and Paul Thomas Anderson’s There Will Be Blood (2007) placed third. Squeaking in at number 100 was the newest film on the list – and the sole entry from the current year – German director Maren Ade’s 2016 festival hit Toni Erdmann (scheduled for theatrical release in Canada in December). In light of its new-crowned century-topping status, we present a 35mm revival of Lynch’s much-admired film.

35mm Print!

Mulholland Drive USA 2001. Dir: David Lynch. 147 min. 35mm

David Lynch pulls out all the stops, upends all expectations, and, well, goes all Lynchian in this maniacal, mind-bending mix of Hollywood satire, film noir, and fever dream – anointed earlier this year, in a BBC poll, as the greatest film of the 21st century to date! Naomi Watts is perky Betty, an aspiring actress from Canada newly arrived in Los Angeles. Laura Harring is “Rita,” a mysterious dark-haired beauty searching for her identify after a near-fatal accident leaves her with amnesia. Justin Theroux is Adam, a hotshot Hollywood director under pressure from thugs to cast an unknown actress named Camilla in his latest movie. Lynch’s “love story in the city of dreams” was originally filmed as a TV pilot for ABC, which passed on picking it up as a series. “A film to love, not just revere . . . Lynch is our homespun Buñuel” (Manohla Dargis, L.A. Weekly). SATURDAY, DECEMBER 10 – 8:10 PM SUNDAY, DECEMBER 11 – 6:45 PM MONDAY, DECEMBER 12 – 6:45 PM WEDNESDAY, DECEMBER 14 – 8:10 PM

Andreas Bunte: Erosion SEP 13 – NOV 18 2016 SFU Gallery

Martine Syms: Borrowed Lady

OCT 13 – DEC 10 2016 Audain Gallery

SFU GALLERY

AU DAIN GALLERY

SFU Burnaby Campus Academic Quadrangle 3004 8888 University Drive Burnaby BC, V5A 1S6

SFU Goldcorp Centre for the Arts 149 West Hastings Street Vancouver BC, V6B 1H4

TUE - FRI / 12 – 5PM 778.782.4266

TUE – SAT / 12 – 5PM 778.782.9102 sfugalleries.ca

IM AG E Andreas Bunte, Erosion (film still), 2016. Courtesy the artist.

belkin.ubc.ca

Italian Film Fest Vancouver

JANUARY 6-12, 2017

iffest.ca PRESENTED BY

@PUSH FESTIVAL

ADMINISTRATIVE OFFICE

VOLUNTEERS

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, Sarah Bakke, Mark Beley, Taylor Bishop, Eileen Brosnan, Jeremy Buhler, Nadia Chiu, Rob Danielson, Steve Devereux, Bill Dovhey, Yaz Ebrahi, Moana Fertig, Kevin Frew, Lesli Froeschner, Andrew Gable, Shokei Green, Owen Griffiths, Paul Griffiths, Savannah Kemp, Tash King, Michael Kling, Ray Lai, Christina Larabie, Sharon Lee, Britt MacDuff, Abbey Markowitz, Liam McClure, Vit Mlcoch, Kelley Montgomery, Sean Murphy, Adrian Nickpour, Chahram Riazi, Will Ross, Hisayo Saito, Sweta Shrestha, Paige Smith, 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 Managing Director: Kate Ladyshewsky Operations + Programming Associate: Shaun Inouye Communications + Marketing: Lizzie Brotherston Education Manager: Liz Schulze Education Coordinator: Hayley Gauvin Venue Operations Manager: Linton Murphy Assistant Theatre Managers: Gabi Dao, Jessica Johnson, Aryo Khakpour, Viktor Koren Head Projectionist: Al Reid Relief Projectionists: Tim Fernandes, Ron Lacheur, Cassidy Penner, Helen Reed, Ryan Ermacora BOARD OF DIRECTORS Chair: Jim Bindon Vice Chair: David Legault Treasurer: Elizabeth Collyer Secretary: Lynda Jane Members: Moshe Mastai, Erin Mussolum, Wynford Owen, Tim Reeve, Eric Wyness

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Distribution: Hazel Ackner, Horacio Bach, Kyle Bowman, Michael Demers, Gail Franko, Jeff Halladay, Alan Kollins, Martin Lohmann, Lynn Martin, Vincent Oat, Matthew Shields, Lora Tanaka, Vanessa Turner, Harry Wong Office: Jo B., Betty-Lou Phillips Education: Michael van den Bos, Tash King, Akiko Sakai Archive: Charlotte Cavalié And a special thanks to all our spares!

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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:

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