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Blue Ruin

(2013, 90 mins, DCP)
Director:
CAST Macon Blair, Devin Ratray, Amy Hargreaves, Kevin Kolack

Showtimes

Apr 25 10:30 pm
Apr 26 01:00 pm
Apr 30 04:30 pm
May 02 10:30 pm

Critics have been pulling out comparisons to the Coen brothers and Park Chan-wook for this lean, mean revenge thriller, a scintillating debut by writer-director Jeremy Saulnier (it’s currently 100% Fresh on Rotten Tomatoes). Living a seemingly pointless existence, Dwight suddenly snaps into action when he learns of the imminent release of state prisoner, Will Cleland. With a score to settle he returns to his home town, swapping the big blue for bloodshed.

Delighting lovers of genre film and American Indie, Blue Ruin’s filmmaking is clean and efficient but the killing isn’t. Thrilling, devastating and even humiliating at times, Dwight’s plight manages to hit the sweet spot between idiot and amateur, predator and prey..

About the Director

Virginia native Jeremy Saulnier studied filmmaking at NYU’s Tisch School of the Arts. He directed and photographed the award-winning short Crabwalk and the cult horror comedy Murder Party. His cinematography credits include Michael Tully’s Septien and Matthew Porterfield’s Hamilton, Putty Hill, and I Used to Be Darker, which screened at the 2013 Sundance Film Festival. Blue Ruin, Saulnier’s second feature film, premiered at the 2013 Cannes Film Festival and was awarded the FIPRESCI Prize in the Directors’ Fortnight

"Easily the most suspenseful American film of the year, a thriller that feels like lightning across a quiet night sky; sudden, terrifying, and excitingly singular." Gabe Toro, The Playlist

"Intelligent and thrilling. Recalls the dark wit of the Coens." 4 stars Total Film

"A feral and staggeringly well-conceived revenge saga." David Ehrlich, Film.com

The Lady Eve

(1941, 94 mins, DVD)
Director:
CAST Barbara Stanwyck, Henry Fonda, Charles Coburn

Showtimes

A couple meet on an ocean liner. Jean (Stanwyck) is a knock-out babe and a con artist. Charles (Fonda) is a nerdy heir, interested in the study of snakes and about to get fleeced. Jean’s father “The Colonel” (Coburn) zeroes in for the kill at the card table but the plan is abandoned when Jean falls for Charles. Stanwyck knew more about sexy than any actress today and with humour along for the ride, she shimmies her way in and out of Fonda’s heart. Sturges’ unique gifts for directing comedy and writing witty dialogue makes this yet another of his great romantic comedies that deserves its reputation as a classic.

 

John MacLachlan Gray is a multiple award-winning writer and composer for stage, television, film, radio and print. “Billy Bishop Goes to War” is one of the most famous and widely-produced plays in Canadian theatre, winning the Governor General’s Award for English Drama in 1983. Over the past four decades he has worked as a composer/librettist/director of nine stage musicals; as a satirist on CBC TV’s “The Journal;” as a columnist for The Globe and Mail and the Vancouver Sun; as a screenwriter of feature films; and as the author of two works of non-fiction and five acclaimed novels. He holds honorary doctorates from Mount Allison University and Dalhousie University, and is an Officer of the Order of Canada.

Vancouver’s beloved costume historian, Ivan Sayers, is bringing some personal items to THE LADY EVE screening to give us a 3-dimentional experience: two dresses from the personal collection of Barbara Stanwyck, bought at her estate auction.

Eat Drink Man Woman

(1994, 124 mins, DVD)
In Mandarin with English subtitles
Director:
CAST Sihung Lung, Yu-wen Wang, Chien-lien Wu, Kuei-mei Yang
Classification:

Showtimes

May 02 07:30 pm

With a salute to the Vancouver Magazine Restaurant Awards celebrating its 25th year, Cinema Salon has invited one of our top chefs to present a favourite film this month. Relying on food as a symbol for love and facing the head-on clash between generations, Eat Drink Man Woman is a delicious study of the relationship between an aging Taiwanese master chef and his three daughters. As director Ang Lee sums up his film, “I started thinking about families and how they communicate. Sometimes the things children need to hear most are often the things that parents find hardest to say, and vice versa.” Eat before the screening, preferably Chinese roast duck.

JAMES WALT is the Executive Chef at Araxi, the culinary cornerstone in the heart of Whistler Village. One of the country’s leading chefs, Walt inspires both his contemporaries and his guests, creating compelling regional cuisine based on local, sustainable ingredients. His impressive culinary career spans some of BC’s leading restaurants and his appointment as executive chef to The Canadian Embassy in Italy, was an experience that has shaped the way he cooks today. Walt is Whistler’s only chef to cook at the celebrated James Beard House in New York City, where he has performed three times

We Are Here

(2013, 80 mins, DCP)
Director:
Classification:

Showtimes

Apr 29 06:30 pm

In 1945, 95% of the Jews in Poland were murdered during the Holocaust. In 2013, a Jewish museum is erected, a monument not just to the past, but to a New Poland. We Are Here is an important documentary looking at the complex and fragile Polish-Jewish relatinship through the eyes of five Jews living in Poland today.

Meet Ania, a young woman celebrating her newly discovered Jewish identity, dedicated to building her life in Warsaw. Meet Henryk, at ninety-seven he is one of two survivors in a small town that was once half Jewish. Meet Leslaw, he had to come out twice, as Jewish and as gay. Meet Larysa, who came out as a Jew in her forties and is haunted by the death that surrounds her. Meet Irena, a survivor of the Warsaw ghetto who lost her entire family and for fifty years chose to live her life as a non-Jew.

We Are Here is about how a country, a people, a community and individual families are impacted by the events of World War II.

This groundbreaking new film excavates the fragile, shaky rebirth of Polish Jewish life in the shadow of the Holocaust.

The Last of the Unjust

(Le dernier des injustes)
(2013, 220 mins, DCP)
In German, French
Director:
Classification:
Sunday April 27 is Holocaust Remembrance Day

Showtimes

Apr 25 06:30 pm
Apr 27 06:45 pm
Apr 30 06:30 pm
May 01 02:00 pm

Claude Lanzmann, whose epic Shoah is certainly the definitive film about the Holocaust, returns to one of the subjects from that masterpiece to unravel the tale of the ‘model’ concentration camp, Theresienstadt, and the ambiguous leader of its Jewish Council, Benjamin Murmelstein.

A former rabbi from Vienna, Murmelstein spent the immediate pre-war years as Adolf Eichmann’s hand-picked representative of Austria’s Jewish community, and claimed to have saved 120,000 Jews from deportation and certain death by helping them escape to the US, Britain and Palestine. Once war began and Murmelstein was sent to the camp, he negotiated on a day-to-day basis with Eichmann over the fate of its inmates.

As Murmelstein puts it, “ they wanted a puppet, but I got to pull some of the strings.” His interviews with Lanzmann are undeniably riveting, as he recounts the realities of life in the camp with complete candor, alternately erudite, cunning and guileless. There are no easy answers here, and it’s hardly surprising that Lanzmann decided it was impossible to shoehorn this fascinating material into Shoah - nor that it should still exert such a pull on him that he has returned to the footage decades later.

Filmography:

Sobibór, 14 octobre 1943, Israel, Why (Doc, 1973), Shoah (Doc, 1985), Tsahal (Doc, 1994), Un vivant qui passe (Doc, 1999) , 16 heures (Doc, 2001)

"A discursive, essential Shoah postscript centered on as fascinating and inconvenient a figure as may have survived Hitler’s annihilation." Michelle Orange, Village Voice

"Those who think this is a black-and-white issue will be surprised, as Lanzmann himself appears to have been, by what is said here." Michael Phillips, Chicago Tribune

“Utterly fascinating. A reminder of another way documentaries can be made: simply, agonizingly, without comedy or narcissism, and with unforgettable, almost unbearable power."

Stephen Marche, Esquire

What's New, Pussycat?

(1965, 108 mins, 35mm)
Director:
CAST Peter Sellers, Peter O’Toole, Woody Allen, Romy Schneider, Capucine, Paula Prentiss, Ursula Andress
Classification:
Introduced by film scholar and educator Michael van den Bos

Showtimes

Admittedly, Woody’s first produced screenplay did not turn out the way he would have wanted. At 28, the nightclub comedian and movie nut was thrilled to be commissioned to write a script for (and about) Warren Beatty. But the more he wrote the larger his own role became, with less and less for Warren, until the Hollywood lothario lost interest .Instead the project was passed to Peter O’Toole, hot from his Lawrence of Arabia triumph.

But in what we might call a poetic injustice, Woody soon found himself written down in the pecking order when Peter Sellers started improvising, to the point where he turned his supporting role into the star part. Meanwhile producer Charles Feldman also insisted on a bigger role for his current protege ,Capucine.

In short, it’s not a masterpiece. But it is a fascinating time capsule back to the heart of the Swinging Sixties, a bit like Austen Powers without the Bondage. And they’re all so young and beautiful - well, maybe not Allen, but the rest of them - and the Tom Jones theme song remains as infectious as it ever was.

Sagrada - The Mystery of Creation

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

Showtimes

Apr 21 06:30 pm
Apr 24 08:10 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 wold-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

Design Is One: Lella & Massimo Vignelli

(2013, 79 mins)
Directors:
FEATURING Lelia and Massimo Vignelli, Paola Antonelli, Beatriz Cifuentes, Peter Eisenman, Yoshiki Waterhouse, Richard Meier, Milton Glaser, Michael Bierut, Jessica Helfand
Classification:

Showtimes

Apr 21 08:15 pm
Apr 24 06:30 pm

Italian-born Massimo and Lella Vignelli are among the world’s most influential designers. Throughout their long career, their motto has been, ’If you can’t find it, design it.’ The work covers such a broad spectrum that one could say the Vignellis are known by everybody, even those who don’t know their names. From graphics to interiors to products and corporate identities, the film brings us into the work and everyday moments of the Vignellis’ world, capturing their intelligence and creativity, as well as their humanity, warmth, and humor.

"Design is One brilliantly documents the modernist design endeavors of the Vignellis and their lifetime passion for design. Throughout the film, it becomes clear that their design solutions are based on fundamental design principles, aesthetics, functionality and common sense… All designers (including graphic, interior, furniture, industrial and product) as well as all architects should see this enlightening film." – Barry Roseman

Mistaken for Strangers

(2013, 75 mins, DCP)
Director:
CAST The National, Matt Berninger, Tom Berninger
Classification:

Showtimes

Hailed by Michael Moore as "one of the best documentaries about a band that I’ve ever seen" and by Pitchfork as "the funniest, most meta music movie since Spinal Tap," Mistaken For Strangers is as much a film about brothers as it is about music.

Matt Berninger, the lead singer of the critically acclaimed rock band The National, finally finds himself flush with success. Meanwhile his younger brother, Tom, is a loveable slacker - a filmmaker and metal-head still living with his parents in Cincinnati. On the eve of The National’s biggest tour to date, Matt invites Tom to work for the band as a roadie, unaware of Tom’s plan to film the entire adventure.

What starts as a rock documentary soon becomes a surprisingly honest portrait of a charged relationship between siblings, and the frustration of unfulfilled creative ambitions.

"Poignant and hilarious." NME

"Brutal, hilarious, unexpectedly honest." The Hollywood Reporter

"The best documentary we have seen all year." The New York Observer

The Unknown Known

(2013, 96 mins, DCP)
Director:
FEATURING Donald Rumsfeld
Classification:

Showtimes

Master non-fiction filmmaker Errol Morris (The Thin Blue Line; Tabloid; Fast, Loose & Out of Control) returns to the political sphere and the unblinking focus of The Fog of War with this feature-length investigation into the mind of former US Secretary of State Donald Rumsfeld. Not an exercise in gotcha journalism, the film is really a ruefully funny/horrified treatise on the constraints of political discourse, and indeed, human comprehension.

"Over the last 10 years, documentary filmmaker Errol Morris has been preoccupied with the methodology behind warfare, specifically investigating the mismanagement of American armed conflicts from Vietnam to Iraq. With the exception of his fascinating 2010 crime doc Tabloid, his output over the last decade has been a sober postmortem on our recent overseas failures: The Fog of War, Standard Operating Procedure and now The Unknown Known, which is the best of the bunch. Where his earlier documentaries looked at aspects of the military mindset, his newest feels nearly definitive, putting a face to hawkish policies." Tim Grierson, Paste

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