RADAR: Exchanges in Dance Film Frequencies is a program dedicated to the exploration and evolution of dance film through connecting artists scene by scene. Curated by filmmaker/curator Adam Sekuler and choreographer Shannon Stewart, RADAR features movement based films of many budgets, styles and perspectives, creating a platform of local/national and international exchange that allows artists to publicly screen their work, discuss, get feedback, and meet other artists working in the same form. Presented by Vancity Theatre in association with The Dance Centre.
Allen waxes notalgic in this, one of his most autobiographical films, an affectionate tribute to the radio stars of the 1940s, and to the working class listeners - like Woody’s own family - who marveled at their exploits, both real and imaginary.
"Radio Days is so ambitious and so audacious that it almost defies description." Roger Ebert, Chicago Sun-Times
Experience the Academy Awards(R) on the Big Screen in the comfort of the most luxurious movie theatre in town. Our red carpet party includes a welcome cocktail, hors d’oeuvres, an Oscar pool, prizes, tunes, and a celebrity host.
We’ll be putting our own Raincity spin on Hollywood’s big night, so expect surprises, laughs, a bigger splash!
Career criminal H.I. McDonnaugh (Nic Cage) marries police woman Ed (Holly Hunter), but sadly her womb is a barren place. Hi resolves to make off with one of the quintuplets born to local furniture tycoon Nathan Arizona - after all, how many babies does he need, really?
Komona (Rachel Mwanza, in an astonishing debut) is only 12 years old when she is kidnapped by rebel soldiers and thrown into a horrific life of guerilla warfare. Forced to witness and commit unspeakable acts of brutality, she forms a protective friendship with a young boy in the group, an albino she calls “Magician.” Meanwhile the soldiers attribute her uncanny survival skills to witchcraft. When the two friends escape the rebels’ clutches, it seems possible they can resume a normal life, but the world they live in is one where cruelty and terror reign, and their freedom is short lived.
With commentary provided by historian Michael Kluckner, this screening includes home movies, City-commissioned films, television shows produced by local stations and the community, and local advertisements from as far back as the 1940s. Those movies originally produced without sound will be accompanied live by pianist Wayne Stewart.
Two women from opposite sides of Hitler’s Third Reich meet in Toronto, years after the Second World War–Mania, orphaned by the regime, and Johanna, possibly the Nazi guard who protected her. Weaving together their stories, this powerful documentary intimately explores their war experiences and witnesses their reunion more than half a century later.
Dark, delirious and made under the sign of Scorsese, Rhymes for Young Ghouls is the angriest, punkiest, least "Canadian" Canadian movie you’ll see all year, and an electrifying feature debut from writer-director Jeff Barnaby. "Weed princess" Aila (the sensational Kawennahere Devery Jacobs) is used to looking out for herself on the Red Crow res, but when her old man gets out from prison things only get harder…
"It’s a tough, gritty piece of work, long on the violence but invested with the poetic sensibility you find in a Cormac McCarthy novel or Tom Waits song… [It] marks the arrival of a genuine cinematic intelligence, one sensitive to life’s more intimate, tender, even spiritual moments yet not averse to slamming the sledgehammer as circumstances require."—James Adams, Globe and Mail
’Exhibiting a vivid eye for potent imagery and a striking sense of the downtrodden vitriol [Rhymes For Young Ghouls] is a tremendously rousing film that announces the arrival of an exciting new voice in Canadian cinema." Scott A Gray, exclaim
"It has been years, probably since Xavier Dolan emerged with I Killed My Mother, since a Canadian director has debuted with a movie as impressive as Jeff Barnaby and Rhymes for Young Ghouls." Marina Antunes, Row Three
Australia’s submission to the Academy Awards for Best Foreign Language Film (a co-production with Laos and Thailand) is both a rapturous crowdpleaser and a surprisingly resonant, tough little movie about the tensions between the traditional way of life of indigineous peoples and the energy development imperatives of government and industry.
Trust the French to come up with the best bebop movie. Sax legend Dexter Gordon is mesmerizing as American horn player, Dale Turner (a thinly veiled amalgam of Bud Powell and Lester Young) trying to shake his demons in 1959 Paris, with loving help from a local fan and his young daughter. Plagued by years of alcoholism and drug use, knowing the end is near; he plays every note of his memories and battles with dignity and wisdom, and then returns home to New York. The forlorn music includes early work of Monk and Bird, the standards of Gershwin and Porter. Gordon’s contribution aside, Herbie Hancock is on piano and others such as Freddie Hubbard, Bobby Hutcherson, Ron Carter and Billy Higgins all figure, with Lonette McKee on vocals. Hancock, who a star attraction at this year’s TD Vancouver International Jazz Festival, also composed the film’s beautiful score.
"This movie teaches you everything about jazz that you really need to know… It is about a few months in a man’s life, and about his music. It has more jazz in it than any other fiction film ever made, and it is probably better jazz; it makes its best points with music, not words.." Roger Ebert, Chicago Sun-Times