Lola, a cabaret dancer, is raising a boy whose father, Michel, left seven years ago. She is waiting for him. She sings, dances and occasionally dallies with passing sailors. Roland Cassard, a childhood friend whom she meets by chance, falls deeply in love with her. But she is waiting for Michel…
"Magical… Lola is imbued with a poignant awareness of the transcience of happiness and the difficulties and unlikelihood of love." Geoff Andrew, 1001 Movies You Must See Before You Die
"Taps deep into a dreamy and wistful romantic spirit." Blake Lucas, Defining Moments in Movies
The queen dies. Before her last breath, she makes her husband promise that he will only marry a woman more beautiful than herself. The king finds only one person that meets these conditions: the princess, his own daughter. Based on the fairy tale Peau d’Ane by Charles Perrault.
"Like Demy’s other movies it’s one of a kind, at once monstrously Oedipal and charmingly infantile; Deneuve manages to be both hilarious and touching in her donkey drag." J Hoberman
Jean (Claude Mann) arrives in Nice (the "bay of angels") for a holiday. He discovers gambling and meets platinum-blonde Jackie (Jeanne Moreau), a high roller at the casino. Sparks fly between them and passion grows. But is it for one another, or for the game? Jean, still naive, begins his education.
"So existential, so romantic … The great beauty of [Bay] is the way the croupier’s spiraling wheel becomes a metaphor not for life’s randomness, but for its lack of permanence, its riskiness[:] [a] hardened demimondaine can bet on a number and suddenly abandon it to dash after her beloved — an ecstatic ending a few films later revealed as the cause of another heroine’s melancholy" (Fernando F. Croce).
From its opening images of a young woman in high heels and nothing else walking through the streets of Paris at night, this hypnotic revenge thriller from master filmmaker Claire Denis is equal parts stark and voluptuous, brutal and sensual, raw and sophisticated.
"It is the darkest movie - visually, psychologically and spiritually - that Denis has made. It’s also one of the rarest of cinematic objects - a completely contemporary, disturbingly relevant film noir." Amy Taubin, Sigh & Sound
"As black and sticky and inescapable as a tar pit - a movie whose darkness swallows its characters and the audience whole." **** Adam Nayman, Globe & Mail
’Buried’ meets ’127 Hrs’ in this nail-biting suspense film with ’Lost’ star Neil Hopkins. In a bone fide California nightmare scenario, Jackson Alder comes to after his SUV has been swept off the road by a mudslide. The doors are jammed shut, and anyway who knows how deep he’s buried (or how much further he might slide), so Jackson reckons he can wait it out til help comes. If his oxygen lasts out…
A compelling, provocative portrait of the inspiring, controversial whale activist Paul Watson, and his relationship in two environmental movements West Coasters know very well: Greenpeace, which he left,and Sea Shepherd, which he founded.
Director Trish Dolman will introduce the film via skype. Filmmaker Kevin Eastwood will be in attendance for this special screening, along with Sea Shepherd cofounder Ron Precious and Paul Watson for a Q&A via skype.
"Compelling… haunting… captivating." Variety
"[A] thoroughly thought-provoking and emotionally poignant portrait of a Canadian outlaw." 4/5 Katherine Monk, Vancouver Sun
Inexplicably repudiated by most critics and audiences last year, Killing Them Softly is ripe for rediscovery, a highly stylized, caustic satire which uses a hired killer (Brad Pitt) as an emblem for the last word in private enterprise. Based on George V Higgins’ novel Cogan’s Trade, but updated to the economic meltdown (and Presidential election campaign) of 2008, and set in a mildewed, post Katrina New Orleans, the movie may be the last great film noir. Gandolfini is at his very best as another professional killer, a bloated, vicious, self-pitying wreck of a man, perhaps the ghost of Coogan’s Future.
"Andrew Dominik’s Killing Them Softly is a slick ensemble-nightmare of middle-management mobster brutality and incompetence in the tradition of Goodfellas and Casino, Pulp Fiction and TV’s The Sopranos, with something of the opening voiceover monologue from the Coens’ Blood Simple: the one about being on your own. It is outstandingly watchable, superbly and casually pessimistic… a smart, nasty, gripping movie." Peter Bradshaw, The Guardian
What’s old, pussycat? Allen’s first produced screenplay did not turn out the way he wanted, but this swung-out nineteen sexties farce is at the very least a fascinating time capsule, so chauvinist it would make Austin Powers blush. But get a load of that cast! Peters O’Toole and Sellers, Romy Schneider, Paula Prentiss, Ursula Andress and Woody too.
In one of her most profound performances Juliette Binoche plays sculptress Camille Claudel some years after she has been committed to an asylum by her family. Pinning her hopes on a longed-for visit from her brother, Camille enjoys a degree of trust and respect from the nuns, but her composure is fragile, and she remains bitter and paranoid when the subject of her old lover Auguste Rodin comes up. Most tragically of all, she refuses to return to her work. Dumont’s film is restrained, sometimes harrowing, but singularly authentic and deeply felt - an experience you will not soon forget.
“I wait for each new film by Luc and Jean-Pierre Dardenne, Abbas Kiarostami, Claire Denis and Bruno Dumont. I enjoy all sorts of films, but those are the people that really interest me. I admire the Dardenne brothers tremendously, but I feel closest, in my work, to Dumont. Dumont’s films are basically existential works, philosophical films, not political ones. I think of my own films that way.” Michael Haneke (Amour).
"A mesmerizingly intense yet controlled lead by Juliette Binoche." Jonathan Romney, Screen International
"Heartbreaking." Guy Lodge, Variety
Richard Eyre’s produciton of Verdi’s masterpiece has been one of the most successful opera stagings in the long and celebrated history of the Royal Opera House. We present the original, definitive incarnation of that production, starring the incomparable Renee Fleming as the ill-fated courtesan Violetta, oppose Joseph Calleja as Alfredo and Thomas Hapson as his unyielding father.
Introduced by UBC Film professor Ernest Mathijs, author of the first book length study of the movie, a rare chance to see arguably the best Canadian horror movie of the new millennium in 35mm. Emily Perkins and Katherine Isabelle star.
ITALIAN FILM FESTIVAL OPENING NIGHT GALA
The opening night gala for the inaugura Vancouverl Italian Film Festival includes an exhibition of drawings by Federico Fellini inspired by his love of food; live music by Roy & Rosemary; catered reception with Italian wine and food, and the Canadian premiere of the documentary short Federico of the Spirits, plus a special screening of one Fellini’s most beloved masterpieces, Amarcord, in 35mm.
Fellini exhibition: Live music (Roy & Rosemary). Wine, hors d’oeuvres
6.00, 6.30 FEDERICO OF THE SPIRITS (20 min)
7.00 Introductory remarks + film screening: AMARCORD
9.15 Catered reception. Live music.
Shortly after turning 50 and at the height of his career, Federico Fellini returned to the seaside town of Rimini, where he grew up, to make Amarcord (a neologism that suggests "mi ricordo" in the Emiliano-Romagnolo dialect: I remember).
Set in the 1930s, the film has the free-wheeling form that became one of Fellini’s hallmarks. It allows him to swing back and forth between ribald comedy, fantasy and melancholy.
"Amarcord is the least grandiose and most immediate of the maestro’s later films and deserves to be rated among the finest screen memoirs of the 20th century. It offers an extraordinarily lyrical and vivid succession of vignettes, inside the most subtly rigorous narrative structure of Fellini’s career. […] Although the figure of the boy Titta is obviously his alter ego, Fellini builds a generously fractured mosaic that belongs to no one central character or even the on-screen narrator… Like many autobiographical tales written or filmed, this one weaves the innocent, limited viewpoint of children into its wider social context, which here heralds the reign of fascism in Italy in the 30s. Poignant indeed is the gap, gradually revealed to the viewer, between the hints of violence and social exclusion to come (especially in relation to the Jewish population), and the life-affirming antics of youth. […] Fellini’s comedy, refreshingly, goes to the outer limits of vulgarity in a number of hilarious scenes. His style is streamlined here into a pure, exalted poetry of mist, flowing camera movements, pastel colours, and lightly artificial set design. A triumph of artistic form, its emotions are direct and affecting." Adrian Martin
Composer Tan Dun (Crouching Tiger, Hidden Dragon) contributes a lovely score to this visually dazzling Tang dynasty court intrigue starring Zhang Ziyi and Ge You (Farewell My Concubine). Mixing extraordinary pageantry with passionate, balletic martial arts sequences choreographed by the great Yuen Wo-ping, The Banquet is a sexed up Hamlet, a thrilling aesthetic experience in the tradition of Hero and House of the Flying Daggers.
"Highly entertaining costume melodrama on a magnificent canvas." Sean Axmaker, MSN
"Stunningly beautiful." Philip French, The Observer
"As eye-opening as it is thought-provoking… Brings new life to a classic… A true work of art." Bill Gibron, Pop Matters
Abel Ferrara’s (Bad Lieutenant, King Of New York) 1981 revenge thriller classic Ms. 45 follows a mute garment-district seamstress – played by the late model/actress/musician/screenwriter Zoë Tamerlis – who after falling victim to multiple unspeakable assaults, ignites her one-woman homicidal rampage against New York City’s entire male population. Now remastered in HD from the original negative materials.
["Ferrera] is clearly a talented fellow. One can only hope he finds something else to make movies about very soon." Janet Maslin, New York Times
By turns moving and funny, Ignacio Ferreras’ animated tale of two elderly men who become friends at a care facility for the aged is based on Paco Roca’s multiple award-winning graphic novel of the same name. Combining an honestly come by poignancy with bursts of caustic humour, this is an extraordinarily involving work for adults that earns it laughs even as it generates a profound sympathy for the unforgettable Emilio and Miguel.
"It’s funny, it’s sad, it’s sweet, it’s heartbreaking. It’s brilliant."
Peter Bradshaw, The Guardian
"One of the most accomplished Spanish films, from any genre, of recent years." Neil Young, The Hollywood Reporter
"Wrinkles, an exceptional comic book, an outstanding film"
Gregorio Belinchón, El Pais
Olympia Dukakis gives an brilliant, barnstorming performance as a foul-mouthed lesbian, Stella, who isn’t about to let her lover of 31 years, Dot (Brenda Fricker), be carted off to an old folks’ home without a fight. Her plan? A daring rescue, followed by flight to Canada and marriage - an elopement. Ryan Doucette is the hitchhiker who helps them sneak over the border - the Brad Pitt to their septuagenarian Thelma and Louise.
Paulo Henrique Fontenelle
The "Brazilian Beatles", Os Mutantes combined rock, psychedelia and South American sounds to spearhead the Tropicalia movement. A singer-songwriter who also played bass and the keyboards, Arnaldo Baptista gave the band its pulse - guitarist Sergio Dias was his brother, and lead singer Rita Lee became his wife. In 1973, though, everything fell apart, marriage, band, and eventually Baptista’s health (copious binges on LSD did not help). Yet against the odds Baptista has been able to recover his creativity and his career. This intimate documentary has a powerful, sometimes painful story to tell. Baptista is joined by collaborators and admirers Gilberto Gil, Sean Lennon, Devendra Banhart and Roberto Menescal.
"A magnificent documentary." Claudio Carvalho
Samsara is a Sanskrit word that means “the ever turning wheel of life” and is the point of departure for the filmmakers as they search for the elusive current of interconnection that runs through our lives. Conceived as a guided meditation on the cycle of birth, death, and rebirth, Samsara is audiovisual poetry. Filmed over a period of five years in twenty-five countries on five continents, and brilliantly shot on 70mm film, Samsara transports us to the varied worlds of sacred grounds, disaster zones, industrial complexes, and natural wonders. From the filmmakers of Baraka.
40 years ago, William Friedkin’s The Exorcist redefined screen terror with its slow but atmospheric build up mounting to a sustained crescendo of graphic, visceral horror. Audiences had never seen special effects like these before, and reacted with panic and revulsion - as if Satan himself was at loose in this film.
"A credible portrait of the modern, urban world ripped apart by an obscene, ancient evil… the graphic desecration of everything considered wholesome and good about the fading American Dream - the home, the family, the church, and, most shockingly, the child." Mark Kermode