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The Doors: Live at the Hollywood Bowl, 1968

(1968, 91 mins, DCP)
Director:
FEATURING Jim Morrison, Ray Manzarek, John Densmore, Robby Krieger
Classification: 19+

Showtimes

Aug 18 08:30 pm

The Doors: Live At The Bowl, 1968, is widely held as the band’s best performance ever captured on film. According to drummer John Densmore, Jim Morrison had taken LSD before the gig—but it seemed to inspire him. From "When the Music’s Over" all the way to "The End", this is one of the legendary rock n roll concerts, even down to Mick Jagger in the audience.

And now for the first time, fans can watch the complete version in digitally re–mastered glory with 5.1 surround sound as the entire concert has been carefully restored from the original camera negatives to include the lost performances of "Hello I Love You," "Texas Radio and the Big Beat" and "Spanish Caravan."

Uvanga

(2014, 90 mins, DCP)
In English, Inuktikut
Directors:
CAST Peter-Henry Arnatsiaq, Marianne Farley, Lukasi Forrest
Classification: 19+

Showtimes

Aug 15 08:30 pm
Aug 16 08:30 pm
Aug 17 04:40 pm
Aug 17 08:20 pm

In the land of the midnight sun, 14-year-old Tomas returns to the people and culture of an Inuk father he never knew. He and his mother, Anna, arrive in the small village of Igloolik in the heart of Nunavut following the mysterious death of his father. Tomas and Anna must navigate a world that is at times foreign but one that also exerts a magnetic pull. Over the course of two weeks that blend into one long summer’s day, they strive to rebuild the family they could no longer ignore. Uvanga (translated as “myself”) is the follow-up feature from the Arnait Colective and directors Madeline Piujuq Ivalu and Marie-Hélène Cousineau whose film Before Tomorrow won the Best Canadian First Feature prize at TIFF 2008.


About the Filmmakers

Marie Hélène-Cousineau is the founder of Arnait Video production, a video workshop for Inuit women. Madeline Piujuq Ivalu has been a key Elder participant at Arnait since 1991. Before Tomorrow is their first feature film and recently won the Best First Feature Prize at the Toronto International Film Festival.

Co-director and actress Madeline Piujuq Ivalu is a key elder participant of the Arnait Video Collective, an all-female collective based in Igloolik, Nuvavut, who have been making videos since 1991. Together with Marie-Hélène Cousineau, she co-directed Arnait’s award-winning feature film Before Tomorrow, which received nine Genie nominations, including nods for Ivalu for Best Director, Best Adapted Screenplay and Best Supporting Actress. She is a cultural advisor, storyteller, musician, actor and writer based in Igloolik.


"Experiences and milestones achieved amid laughter in the midnight sun punctuate Uvanga, which is bolstered by natural performances from local actors that draw us in while sharing the secrets of a place both strange and beautiful in its isolation." 3 stars (out of 4) — Linda Bernard, The Star

The Expedition to the End of the World

(2013, 90 mins, DCP)
In Danish, English with English subtitles
Director:
CAST Per Bek Jensen, Jonas Bergsoe, Bo Elberling
Classification: 19+

Showtimes

Aug 15 06:45 pm
Aug 16 06:45 pm
Aug 17 06:30 pm
Aug 18 06:45 pm

Silhouetted by ancient glaciers, a three-masted schooner cuts through the ice-strewn fjords along Greenland’s northeast coast. Aboard the vessel, the scene is decidedly less tranquil. A merry band of biologists, philosophers, geographers and artists (including Daniel Richter and Tal R) are high on pioneer spirit and intoxicated by the prospect of calling on absolutely sublime arctic lands previously unvisited by modern man. With encroaching ice threatening to leave the intrepid sailors stranded in these strange waters, there’s an exhilarating urgency to their quest. Much like our planet, they’re operating on a running clock.

Combining the swashbuckling and cerebral, Daniel Dencik’s stirring documentary lavishes equal attention on the majestic landscapes, the minutiae of arctic exploration and the extreme measures taken by the motley crew to stave off boredom (be it shooting guns, carousing to heavy metal or contemplating a polar bear’s intentions). And while this might have a Herzogian ring to it, be assured that Dencik has crafted a cinematic exploration of human nature guided by his own idiosyncratic sensibilities.


“A sublimely idiosyncratic odyssey. While the scientists unearth fascinating details of a lost world, the artists in the group mull over the cosmic, and existential, implications, lending the voyage a Beckett-like sense of the absurd ... But even if the film were silent, its eerie landscapes are so breathtaking, and serenely composed, that we’d still be entranced.”—Brian D. Johnson, Maclean's

"With a mood and setting worthy of a murder story by Jack London, this audience-friendly, atmospheric work could be remade as a thriller, although that’s really what it is already."—John Anderson, Variety

Match Point

(2005, 124 mins, Blu-ray Disc)
Director:
CAST Jonathan Rhys Meyers, Scarlett Johansson, Emily Mortimer, Matthew Goode, Brian Cox, Penelope Wilton
Classification: 19+

Showtimes

Aug 10 08:00 pm

Tennis pro Chris Wilton (Jonathan Rhys Meyers) is befriended by a young toff, Tom Hewitt (Matthew Goode) and begins to date his sister (Emily Mortimer). She’s smart and nice, not very exciting but a key to a whole new social strata. When Chris meets Tom’s fiancée Nola (Scarlet Johansson) his eyes practically pop out of his skull. If he could have Nola and the new upper crust lifestyle to which he rapidly becomes accustomed, then he would truly have it all. But if there’s to be a choice between passion and luxury, what would he do then?

A Woody Allen movie for people who don’t like Woody Allen, Match Point dispenses with comedy altogether, replaces jazz with opera, and crosses the Atlantic for pastures new (or at any rate, London and the Home Counties). It’s the first Allen picture which doesn’t look like a Woody Allen picture (the unobtrusively handsome cinematography is by Remi Adefarasin), even if the story replays the ethical maundering of Crimes and Misdemeanors in a sexier key, with bits and bobs of Dreiser and Dostoievski thrown in.


"Allen’s best since Crimes and Misdemeanors ..."—Roger Ebert

The Case Against 8

(2014, 109 mins, DCP)
Directors:
Classification: 19+

Showtimes

Aug 10 05:50 pm

A behind-the-scenes look inside the historic case to overturn California’s ban on same-sex marriage. The high-profile trial first makes headlines with the unlikely pairing of Ted Olson and David Boies, political foes who last faced off as opposing attorneys in Bush v. Gore. The film also follows the plaintiffs, two gay couples who find their families at the center of the same-sex marriage controversy. Five years in the making, this is the story of how they took the first federal marriage equality lawsuit to the US Supreme Court.


"The stirring new documentary The Case Against 8, showcasing the lawyers and plaintiffs who challenged California’s 2008 gay marriage ban, is the best kind of popular history, a film that trembles with tears and hope, and I dare you to get through it without bawling some yourself."—Alan Scherstuhl, Village Voice

“Cotner and White’s handling of a hugely divisive topic is masterful ... Regardless of where you fall on the political spectrum, The Case Against 8 is essential viewing.”—National Post

"The film fascinates in part because the legal team behind the couples—and the American Foundation for Equal Rights that supported them—included Republican stalwart Ted Olson and Democrat David Boies, who had squared off in the famous Bush vs. Gore case, the 2000 battle over whether there should be a recount in Florida. Here they’re warm and toasty together and passionately committed to a progressive cause.”—Now magazine

Bubba Ho-Tep

(2002, 92 mins, Blu-ray Disc)
Director:
CAST Bruce Campbell, Ossie Davies, Ella Joyce, Bob Ivy, Heidi Mamhout
Classification: 19+

Showtimes

Aug 09 10:00 pm

Elvis lives! Well, if a nursing home in east Texas can be called "living". There are suggestions, too, that he’s not all he claims, but rather an Elvis impersonator with a busted hip and delusions of grandeur—rather like the black man down the hall who believes he’s Jack Kennedy. He didn’t die, he explains. He was "dyed". These unlikely soul mates are thrown together when an Egyptian mummy materializes to terrorize Shady Rest, one of those corners of the world where he can out pace the locals and where his victims likely won’t be missed.

Don Coscarelli’s cult comedy maybe out to lunch in the story department, but it’s also endearingly serious about Elvis, decrepitude, and the horrors of institutionalized care.


"It has the damnedest ingratiating way of making us sit there and grin at its harebrained audacity, laugh at its outhouse humor, and be somewhat moved (not deeply, but somewhat) at the poignancy of these two old men and their situation."—Roger Ebert, Chicago Sun-Times

Gerontophilia

(2013, 82 mins, DCP)
Director:
CAST Pier-Gabriel Lajoie, Walter Borden, Katie Boland, Yardly Kavanagh
Classification: 19+

Showtimes

Aug 08 08:20 pm
Aug 09 08:20 pm
Aug 10 04:15 pm
Aug 12 08:20 pm
Aug 14 08:20 pm

A love story unlike any you have seen before, the latest from gay provocateur Bruce La Bruce (No Skin Off My Ass) is at once his most mainstream, accessible movie, and arguably his most transgressive.

Beautiful 18-year-old Lake (the angelic Lajoie) is something of a saint, or so his feminist girlfriend says. He’s a gifted artist, but when his overbearing mom gets him a job at a seniors’ home he doesn’t complain—in fact he finds he enjoys the work. He finds the old folk sympathetic and interesting to be around (if routinely over-medicated). He starts to sketch them. He is drawn to one in particular, Mr Peabody (Borden), a wry old black man who likes gin and cards. One thing leads to another and they wind up in bed together. It’s not just sex though. Lake is falling in love.

Funny and touching, this is more than just a gay Harold and Maude lark. La Bruce asks us to take a long, hard, loving look at aging bodies and old souls.


« Magnificent » – Le Monde

« Beautiful » – Libération

« Audacious » – Le Parisien

« Poignant » – L’Humanité

« Luminous » – Métro

« Tender and sensual » – 20 minutes

« A beautiful story » – Télérama

« Powerful » – Les Inrockuptibles

« Delicious » – Ciné Télé OBS

« A beautiful movie » – Rolling Stone

« Romantic and innocent » – Europe

Alive Inside

(2014, 73 mins, DCP)
Director:
FEATURING Dan Cohen, Bobby McFerrin, Oliver Sacks
Classification: 19+

Showtimes

Aug 08 06:45 pm
Aug 09 06:45 pm
Aug 11 06:45 pm
Aug 12 06:45 pm
Aug 13 05:10 pm
Aug 14 06:45 pm

An old man sits, still and hunched and silent. To all intents and purposes he’s dead to the world. His name is Henry Graham, and he’s been in a nursing home for a decade. Then something remarkable happens: the nurse brings him his music—an iPod loaded with tunes from younger, happier days. And Henry lights up. He’s moving and jiggling and singing, utterly transformed, rejuvenated by the sounds and whatever echo chamber is resonating in his head ... Alive inside.

A truly hopeful film about Alzheimer’s and aging is something unexpected and, indeed, precious. This hugely affecting documentary won the Audience Prize at the Sundance Film Festival in January, and it’s easy to see why. It’s a portrait of a man on a mission, Dan Cohen, founder of the non-profit Music & Memory, as he fights bureaucrats and austerity budgets with the palpable evidence of how very simply the gift of an iPod can restore vitality and spiritual well-being to patients suffering from dementia and depression. Testimony from the likes of Oliver Sacks and Bobby McFerrin sheds light on the project, but there is nothing to compare with seeing the revelatory power of music in action as Cohen brings Louis Armstrong, the Beatles, or Schubert back into the lives of people who had all but given up the ghost.


"Gloriously inspirational."—Hollywood Reporter

Sagrada - The Mystery of Creation

(2012, 89 mins, DCP)
In German, Spanish, English with English subtitles
Director:

Showtimes

Aug 06 08:15 pm

The “Sagrada Família” in Barcelona is a unique and fascinating building project by a brilliant, formerly controversial genius, Antoni Gaudí, with an army of workers, a history with many highs and lows and a myriad of questions raised. The biography of the edifice, which has been under construction since 1882 and is about half completed today, is the starting point for Stefan Haupt’s film.

Normally we see a cathedral or a church in its finished form, a witness of days long gone by. By contrast, the construction of the Sagrada Família is anything but complete. The edifice is still growing and evolving today as it has done for the past 125 years. Who was the man who designed this cathedral? What was his driving force? Who were his successors? Who are the people, i.e. the workers, craftsmen, artists and architects, who continue working on the Sagrada Família and who want to complete it? What is their driving force?

With the help of these people who are building the “cathedral” today, perhaps the last of its kind, this film investigates the motives that incite us humans to design and build such edifices.

The film is about their knowledge and experience, about the symbolism and the underlying cultural roots, and also about the creative act from intention to realization. Participants from a wide variety of backgrounds give insight into their work, describing their knowledge and experience. For example Etsuro Sotoo, the Japanese sculptor, a former Buddhist who converted to Catholicism, who has been working in the Sagrada Família for more than 30 years; Josep Subirachs, the highly controversial designer of the Passion façade, who calls himself an agnostic; Jordi Bonet, the chief architect, who is fighting on every possible front to get the Sagrada Família completed, as well as artisans and workers from various fields, such as Jaume Torreguitart, who describes the anonymous pride of all those workers who know that their name will never appear in the books about the Sagrada Família.

Inner and outer images interweave. In the hustle and bustle of this metropolis, the film approaches this mysterious cathedral persona, investigating the structural developments of the Sagrada Família and taking the time for breaks in order to look, hear, perceive, contemplate and reflect. Anna Huber, a reputed dancer from Switzerland, appears here and there during this discovery trip. Jordi Savall, the world-famous Catalan musician, conducts Johann Sebastian Bach’s “Mass in B Minor,” which has occasionally been called “the cathedral of music”, reflecting on the ways of interpreting a work of art, be it based on a score or on an architectural plan.

Inspired by Gaudí’s vision, the film ultimately explores the fundamentally human search for the meaning of our existence, our origin and our goal, as well as the question of our human creativity and what we want to use it for.


Director’s Statement

Biographies, in whatever form, fascinate me. They confront me with my own story. Where does a particular person come from, where is he or she now, where is he or she going? Could their life have taken a different course? Do we create our own biography or does it take its own, pre-set course? These are questions about life and its meaning.

Just like human beings, buildings and artistic creations have their biography and their genesis: they have an origin, “parents”, a moment of creation and birth and then a life until they are accomplished - or destroyed - with a possible continuation in a modified form. These biographies are fascinating and moving too.

The focus of this film is the biography of the Sagada Família, the biography of a religious building which seems almost anachronistic in our times. A biography unfinished as yet, but which has already filled volumes.

I would like to tell this biography “from the core and from within”, taking as a starting point its roots, the everyday life of workers, sculptors and architects, as well as exploring topical issues and problems of the present. Slowly the outer history will build around it, encompassing the first sketches and historical building stages, today’s development stage, as well as the vision of the completed Sagrada Família.


"This film is more than a documentary, it tells the story using beautiful and quiet images of the transformation of ideas, talks of human endeavour for perfection and in so doing, illustrates that the essential meaning of this edifice lies in its creation process and not only in its completion.

This creative process is illustrated in varying perspectives from inside the incomplete church as well as the complex structure of the exterior parts of the church.

The film gives cause for self-reflection on how the past and present are related, portraying people and destinies involved in the construction of the church and ultimately proves that something incomplete also has its own significance."—Jury citation, Erasmus Euro Media Awards

"Both exhaustive and astounding in its detective-like exploration of the history of the impossibly ornate Catalonian house of worship."—Jackson Scarlett, 7x7SF

Stardust Memories

(1980, 89 mins, 35mm)
Director:
CAST Woody Allen, Charlotte Rampling, Jessica Harper, Marie Christine Barrault, Tony Roberts, Daniel Stern, Amy Wright
Classification: 19+

Showtimes

Aug 03 08:10 pm

"I don’t want to make funny movies any more and they can’t force me to!" Evoking Fellini, Allen challenged his audience by dropping the nebbish persona he had built up over a decade on screen, and instead portraying a filmmaker as a brittle egoist, divorced from his fans, miserable in his personal life, and uncertain where to go next professionally.

"Allen plays Sandy Bates, a director who grudgingly fulfills a commitment to attend a retrospective of his films. There, famously, one of the fans on the reception committee gushes about his movies—”I especially like your early, funny ones.” The line has been canonized as the stock response of culture consumers who, having gotten used to artists’ work in one style or mode, hold them to it for life. Of course, this movie is about much more than the burden of celebrity—the cinematic retrospective gets Sandy to become inwardly retrospective about his own life. Allen didn’t have a whole lot to complain about—only a few years earlier, Annie Hall walked away with a parcel of Oscars, and his serious drama Interiors, though it didn’t win any, garnered five nominations—but Allen’s kvetches have never been about money or success but about existence itself. In Stardust Memories, Allen confronts the ultimate conundrum of the personal artist: all the stuff that gets in the way of the work becomes part of the work, then becomes essential to it. He kvetches, therefore he is—and therefore he can make a film about it and kvetch some more about doing so. The circularity of the self-consuming artist is reflected in the movie’s structure. It’s also a setup that invites catastrophe as a principle of creative destruction, and that, too, is something that Allen audaciously suggests in the film. The break in art that Allen refers to—between “the early, funny ones” and what came later—would also become breaks in life."

—Richard Brody, The New Yorker

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