At MIXX 96 radio, street level mtg. room at 119 Washington Street NE
Dir: Dustin Hoffman / 2012 / UK / 99 min / 35mm film
Based on a popular stage play, Quartet is a good-natured ensemble comedy in the tradition of The Best Exotic Marigold Hotel. The story revolves around a group of aging musicians who now live in a high-end retirement home called Beecham House, located in the majestic English countryside. Reggie (Tom Courtenay) is a retired opera singer who has made his home there, planning to live out his twilight years in relative peace. All is going well until the arrival of Jean (Maggie Smith of Downton Abby), another famous singer and a former flame who threw Reggie’s life into turmoil at one point. Meanwhile, the owners are threatening to close down Beecham House, and the only chance it has for salvation is for its famous residents to put on a concert for wealthy financiers. The directorial debut of actor Dustin Hoffman, Quartet is an entertaining showcase for several legendary actors. Peter Travers of Rolling Stone calls Quartet “defiantly funny and touching.”
Based on a popular stage play, Quartet is a good-natured ensemble comedy in the tradition of The Best Exotic Marigold Hotel. The story revolves around a group of aging musicians who now live in a high-end retirement home called Beecham House, located in the majestic English countryside. Reggie (Tom Courtenay) is a retired opera singer who has made his home there, planning to live out his twilight years in relative peace. All is going well until the arrival of Jean (Maggie Smith of Downton Abby), another famous singer and a former flame who threw Reggie’s life into turmoil at one point. Meanwhile, the owners are threatening to close down Beecham House, and the only chance it has for salvation is for its famous residents to put on a concert for wealthy financiers. The directorial debut of actor Dustin Hoffman, Quartet is an entertaining showcase for several legendary actors. Peter Travers of Rolling Stone calls Quartet “defiantly funny and touching.”
Saturday, May 4 –
Celso Duarte Quintet
Patricia Mazuela (from Sin Fronteras)
6:30pm doors/7:30pm show $20.00 OFS members and Students with ID/ $35 General Admission Tickets Available online at olympiafilmsociety.org and at Rainy Day Re- cords and Traditions Café All Ages with 21+ Mezzanine Lounge
Celso Duarte is a virtuoso of the Paraguayan harp and Mexican jarocho harp, arranger, singer, and multi-talented instrumentalist. Since 1998, Duarte has been a member of the two-time Grammy- winning band Lila Downs y La Misteriosa. As a solo artist, he has performed with his band at Carnegie Hall, Kennedy Center, Getty Center and other historic venues. His first solo album, “De Sur a Sur (From South to South)”, was released in 2006. In his solo career, Duarte has showcased traditional Paraguayan and Mexican folk music styles. In addition, Duarte creates a new style of music by incorporating elements of jazz and world rhythms, including Brazilian and Afro-Peruvian influences. Duarte spends time researching folkloric genres that are in danger of being lost. Asked about his harp playing, Duarte said, “My harp is for me a magic instrument. You can feel the resonance in your chest, in your arms, in your body.”
This concert is a fundraiser for the CIELO Project — the only bilingual, bicultural Latino center in the south Puget Sound area. CIELO offers educational, counseling and advocacy services to the Latino South Sound community.
Celso Duarte Quintet
Patricia Mazuela (from Sin Fronteras)
6:30pm doors/7:30pm show $20.00 OFS members and Students with ID/ $35 General Admission Tickets Available online at olympiafilmsociety.org and at Rainy Day Re- cords and Traditions Café All Ages with 21+ Mezzanine Lounge
Celso Duarte is a virtuoso of the Paraguayan harp and Mexican jarocho harp, arranger, singer, and multi-talented instrumentalist. Since 1998, Duarte has been a member of the two-time Grammy- winning band Lila Downs y La Misteriosa. As a solo artist, he has performed with his band at Carnegie Hall, Kennedy Center, Getty Center and other historic venues. His first solo album, “De Sur a Sur (From South to South)”, was released in 2006. In his solo career, Duarte has showcased traditional Paraguayan and Mexican folk music styles. In addition, Duarte creates a new style of music by incorporating elements of jazz and world rhythms, including Brazilian and Afro-Peruvian influences. Duarte spends time researching folkloric genres that are in danger of being lost. Asked about his harp playing, Duarte said, “My harp is for me a magic instrument. You can feel the resonance in your chest, in your arms, in your body.”
This concert is a fundraiser for the CIELO Project — the only bilingual, bicultural Latino center in the south Puget Sound area. CIELO offers educational, counseling and advocacy services to the Latino South Sound community.
Dir: Tom Hooper / 2012 / UK / 158 min / 35mm film
Twenty-seven years after its 1985 debut, the staggeringly successful worldwide phenomenon that is the musical Les Misérables has finally made its way to the big screen, directed by Tom Hooper (The King’s Speech). Winner of three Oscars and based upon Victor Hugo’s classic epic of sin, redemption, destitution, rebellion, and, above all, love in many forms, the film starts Hugh Jackman as Jean Valjean, the former 19-year convict-turned-factory-owner/mayor-turned-hunted and haunted fugitive, and Russell Crowe as Javert, the single-minded detective determined to bring Valjean to justice for breaking the terms of his parole. Having vowed to care for Cosette (Amanda Seyfried), the orphaned illegitimate daughter of one of his former employees, Fantine (played with ferocious intensity and pathos by Golden Globe-winner & Oscar winner for Best Actress Anne Hathaway), Valjean’s journey eventually leads him to Paris on the eve of the 1832 student-led rebellion. More operetta than typical musical, this Les Misérables features the much-lauded yet still controversial and rare directorial choice to have the actors sing the songs live while filming. Kenneth Turan of the Los Angeles Times raves, “this movie musical is a clutch player that delivers an emotional wallop when it counts. You can walk into the theater as an agnostic, but you may just leave singing with the choir.”
Twenty-seven years after its 1985 debut, the staggeringly successful worldwide phenomenon that is the musical Les Misérables has finally made its way to the big screen, directed by Tom Hooper (The King’s Speech). Winner of three Oscars and based upon Victor Hugo’s classic epic of sin, redemption, destitution, rebellion, and, above all, love in many forms, the film starts Hugh Jackman as Jean Valjean, the former 19-year convict-turned-factory-owner/mayor-turned-hunted and haunted fugitive, and Russell Crowe as Javert, the single-minded detective determined to bring Valjean to justice for breaking the terms of his parole. Having vowed to care for Cosette (Amanda Seyfried), the orphaned illegitimate daughter of one of his former employees, Fantine (played with ferocious intensity and pathos by Golden Globe-winner & Oscar winner for Best Actress Anne Hathaway), Valjean’s journey eventually leads him to Paris on the eve of the 1832 student-led rebellion. More operetta than typical musical, this Les Misérables features the much-lauded yet still controversial and rare directorial choice to have the actors sing the songs live while filming. Kenneth Turan of the Los Angeles Times raves, “this movie musical is a clutch player that delivers an emotional wallop when it counts. You can walk into the theater as an agnostic, but you may just leave singing with the choir.”
Dir: Amy Berg / 2012 / New Zealand/US / 147 min / 35mm film
It has been a long road for the three wrongfully convicted individuals known as the West Memphis Three. Accused of the brutal murders of three eight-year-old boys, these three teenagers—Jason Baldwin, Jessie Misskelley Jr., and Damien Echols—were convicted largely on the basis of their outcast positions in their high school social structure. They were “goths.” The motive was Satanism. The crime was committed in 1993 and they were in prison within two years. Three HBO documentaries—Paradise Lost: The Child Murders at Robin Hood Hills (1996), Paradise Lost 2: Revelations (2000), and Paradise Lost 3: Purgatory (2011)—as well as celebrity interest helped to win attention for the Three and eventually secured their release. West of Memphis, featured at last year’s Sundance Film Festival and produced by Lord of the Rings mastermind Peter Jackson, travels deep into the details of this fascinating case, with unprecedented access to its principals. “Do we need a fourth film?” Roger Ebert asks. “Yes, I think we do. If you only see one of them, this is the one to choose, because it has the benefit of hindsight.”
It has been a long road for the three wrongfully convicted individuals known as the West Memphis Three. Accused of the brutal murders of three eight-year-old boys, these three teenagers—Jason Baldwin, Jessie Misskelley Jr., and Damien Echols—were convicted largely on the basis of their outcast positions in their high school social structure. They were “goths.” The motive was Satanism. The crime was committed in 1993 and they were in prison within two years. Three HBO documentaries—Paradise Lost: The Child Murders at Robin Hood Hills (1996), Paradise Lost 2: Revelations (2000), and Paradise Lost 3: Purgatory (2011)—as well as celebrity interest helped to win attention for the Three and eventually secured their release. West of Memphis, featured at last year’s Sundance Film Festival and produced by Lord of the Rings mastermind Peter Jackson, travels deep into the details of this fascinating case, with unprecedented access to its principals. “Do we need a fourth film?” Roger Ebert asks. “Yes, I think we do. If you only see one of them, this is the one to choose, because it has the benefit of hindsight.”
Dir: Tom Hooper / 2012 / UK / 158 min / 35mm film
Twenty-seven years after its 1985 debut, the staggeringly successful worldwide phenomenon that is the musical Les Misérables has finally made its way to the big screen, directed by Tom Hooper (The King’s Speech). Winner of three Oscars and based upon Victor Hugo’s classic epic of sin, redemption, destitution, rebellion, and, above all, love in many forms, the film starts Hugh Jackman as Jean Valjean, the former 19-year convict-turned-factory-owner/mayor-turned-hunted and haunted fugitive, and Russell Crowe as Javert, the single-minded detective determined to bring Valjean to justice for breaking the terms of his parole. Having vowed to care for Cosette (Amanda Seyfried), the orphaned illegitimate daughter of one of his former employees, Fantine (played with ferocious intensity and pathos by Golden Globe-winner & Oscar winner for Best Actress Anne Hathaway), Valjean’s journey eventually leads him to Paris on the eve of the 1832 student-led rebellion. More operetta than typical musical, this Les Misérables features the much-lauded yet still controversial and rare directorial choice to have the actors sing the songs live while filming. Kenneth Turan of the Los Angeles Times raves, “this movie musical is a clutch player that delivers an emotional wallop when it counts. You can walk into the theater as an agnostic, but you may just leave singing with the choir.”
Twenty-seven years after its 1985 debut, the staggeringly successful worldwide phenomenon that is the musical Les Misérables has finally made its way to the big screen, directed by Tom Hooper (The King’s Speech). Winner of three Oscars and based upon Victor Hugo’s classic epic of sin, redemption, destitution, rebellion, and, above all, love in many forms, the film starts Hugh Jackman as Jean Valjean, the former 19-year convict-turned-factory-owner/mayor-turned-hunted and haunted fugitive, and Russell Crowe as Javert, the single-minded detective determined to bring Valjean to justice for breaking the terms of his parole. Having vowed to care for Cosette (Amanda Seyfried), the orphaned illegitimate daughter of one of his former employees, Fantine (played with ferocious intensity and pathos by Golden Globe-winner & Oscar winner for Best Actress Anne Hathaway), Valjean’s journey eventually leads him to Paris on the eve of the 1832 student-led rebellion. More operetta than typical musical, this Les Misérables features the much-lauded yet still controversial and rare directorial choice to have the actors sing the songs live while filming. Kenneth Turan of the Los Angeles Times raves, “this movie musical is a clutch player that delivers an emotional wallop when it counts. You can walk into the theater as an agnostic, but you may just leave singing with the choir.”
Dir: Amy Berg / 2012 / New Zealand/US / 147 min / 35mm film
It has been a long road for the three wrongfully convicted individuals known as the West Memphis Three. Accused of the brutal murders of three eight-year-old boys, these three teenagers—Jason Baldwin, Jessie Misskelley Jr., and Damien Echols—were convicted largely on the basis of their outcast positions in their high school social structure. They were “goths.” The motive was Satanism. The crime was committed in 1993 and they were in prison within two years. Three HBO documentaries—Paradise Lost: The Child Murders at Robin Hood Hills (1996), Paradise Lost 2: Revelations (2000), and Paradise Lost 3: Purgatory (2011)—as well as celebrity interest helped to win attention for the Three and eventually secured their release. West of Memphis, featured at last year’s Sundance Film Festival and produced by Lord of the Rings mastermind Peter Jackson, travels deep into the details of this fascinating case, with unprecedented access to its principals. “Do we need a fourth film?” Roger Ebert asks. “Yes, I think we do. If you only see one of them, this is the one to choose, because it has the benefit of hindsight.”
It has been a long road for the three wrongfully convicted individuals known as the West Memphis Three. Accused of the brutal murders of three eight-year-old boys, these three teenagers—Jason Baldwin, Jessie Misskelley Jr., and Damien Echols—were convicted largely on the basis of their outcast positions in their high school social structure. They were “goths.” The motive was Satanism. The crime was committed in 1993 and they were in prison within two years. Three HBO documentaries—Paradise Lost: The Child Murders at Robin Hood Hills (1996), Paradise Lost 2: Revelations (2000), and Paradise Lost 3: Purgatory (2011)—as well as celebrity interest helped to win attention for the Three and eventually secured their release. West of Memphis, featured at last year’s Sundance Film Festival and produced by Lord of the Rings mastermind Peter Jackson, travels deep into the details of this fascinating case, with unprecedented access to its principals. “Do we need a fourth film?” Roger Ebert asks. “Yes, I think we do. If you only see one of them, this is the one to choose, because it has the benefit of hindsight.”
Dir: Tom Hooper / 2012 / UK / 158 min / 35mm film
Twenty-seven years after its 1985 debut, the staggeringly successful worldwide phenomenon that is the musical Les Misérables has finally made its way to the big screen, directed by Tom Hooper (The King’s Speech). Winner of three Oscars and based upon Victor Hugo’s classic epic of sin, redemption, destitution, rebellion, and, above all, love in many forms, the film starts Hugh Jackman as Jean Valjean, the former 19-year convict-turned-factory-owner/mayor-turned-hunted and haunted fugitive, and Russell Crowe as Javert, the single-minded detective determined to bring Valjean to justice for breaking the terms of his parole. Having vowed to care for Cosette (Amanda Seyfried), the orphaned illegitimate daughter of one of his former employees, Fantine (played with ferocious intensity and pathos by Golden Globe-winner & Oscar winner for Best Actress Anne Hathaway), Valjean’s journey eventually leads him to Paris on the eve of the 1832 student-led rebellion. More operetta than typical musical, this Les Misérables features the much-lauded yet still controversial and rare directorial choice to have the actors sing the songs live while filming. Kenneth Turan of the Los Angeles Times raves, “this movie musical is a clutch player that delivers an emotional wallop when it counts. You can walk into the theater as an agnostic, but you may just leave singing with the choir.”
Twenty-seven years after its 1985 debut, the staggeringly successful worldwide phenomenon that is the musical Les Misérables has finally made its way to the big screen, directed by Tom Hooper (The King’s Speech). Winner of three Oscars and based upon Victor Hugo’s classic epic of sin, redemption, destitution, rebellion, and, above all, love in many forms, the film starts Hugh Jackman as Jean Valjean, the former 19-year convict-turned-factory-owner/mayor-turned-hunted and haunted fugitive, and Russell Crowe as Javert, the single-minded detective determined to bring Valjean to justice for breaking the terms of his parole. Having vowed to care for Cosette (Amanda Seyfried), the orphaned illegitimate daughter of one of his former employees, Fantine (played with ferocious intensity and pathos by Golden Globe-winner & Oscar winner for Best Actress Anne Hathaway), Valjean’s journey eventually leads him to Paris on the eve of the 1832 student-led rebellion. More operetta than typical musical, this Les Misérables features the much-lauded yet still controversial and rare directorial choice to have the actors sing the songs live while filming. Kenneth Turan of the Los Angeles Times raves, “this movie musical is a clutch player that delivers an emotional wallop when it counts. You can walk into the theater as an agnostic, but you may just leave singing with the choir.”
Dir: Tom Hooper / 2012 / UK / 158 min / 35mm film
Twenty-seven years after its 1985 debut, the staggeringly successful worldwide phenomenon that is the musical Les Misérables has finally made its way to the big screen, directed by Tom Hooper (The King’s Speech). Winner of three Oscars and based upon Victor Hugo’s classic epic of sin, redemption, destitution, rebellion, and, above all, love in many forms, the film starts Hugh Jackman as Jean Valjean, the former 19-year convict-turned-factory-owner/mayor-turned-hunted and haunted fugitive, and Russell Crowe as Javert, the single-minded detective determined to bring Valjean to justice for breaking the terms of his parole. Having vowed to care for Cosette (Amanda Seyfried), the orphaned illegitimate daughter of one of his former employees, Fantine (played with ferocious intensity and pathos by Golden Globe-winner & Oscar winner for Best Actress Anne Hathaway), Valjean’s journey eventually leads him to Paris on the eve of the 1832 student-led rebellion. More operetta than typical musical, this Les Misérables features the much-lauded yet still controversial and rare directorial choice to have the actors sing the songs live while filming. Kenneth Turan of the Los Angeles Times raves, “this movie musical is a clutch player that delivers an emotional wallop when it counts. You can walk into the theater as an agnostic, but you may just leave singing with the choir.”
Twenty-seven years after its 1985 debut, the staggeringly successful worldwide phenomenon that is the musical Les Misérables has finally made its way to the big screen, directed by Tom Hooper (The King’s Speech). Winner of three Oscars and based upon Victor Hugo’s classic epic of sin, redemption, destitution, rebellion, and, above all, love in many forms, the film starts Hugh Jackman as Jean Valjean, the former 19-year convict-turned-factory-owner/mayor-turned-hunted and haunted fugitive, and Russell Crowe as Javert, the single-minded detective determined to bring Valjean to justice for breaking the terms of his parole. Having vowed to care for Cosette (Amanda Seyfried), the orphaned illegitimate daughter of one of his former employees, Fantine (played with ferocious intensity and pathos by Golden Globe-winner & Oscar winner for Best Actress Anne Hathaway), Valjean’s journey eventually leads him to Paris on the eve of the 1832 student-led rebellion. More operetta than typical musical, this Les Misérables features the much-lauded yet still controversial and rare directorial choice to have the actors sing the songs live while filming. Kenneth Turan of the Los Angeles Times raves, “this movie musical is a clutch player that delivers an emotional wallop when it counts. You can walk into the theater as an agnostic, but you may just leave singing with the choir.”
Dir: Amy Berg / 2012 / New Zealand/US / 147 min / 35mm film
It has been a long road for the three wrongfully convicted individuals known as the West Memphis Three. Accused of the brutal murders of three eight-year-old boys, these three teenagers—Jason Baldwin, Jessie Misskelley Jr., and Damien Echols—were convicted largely on the basis of their outcast positions in their high school social structure. They were “goths.” The motive was Satanism. The crime was committed in 1993 and they were in prison within two years. Three HBO documentaries—Paradise Lost: The Child Murders at Robin Hood Hills (1996), Paradise Lost 2: Revelations (2000), and Paradise Lost 3: Purgatory (2011)—as well as celebrity interest helped to win attention for the Three and eventually secured their release. West of Memphis, featured at last year’s Sundance Film Festival and produced by Lord of the Rings mastermind Peter Jackson, travels deep into the details of this fascinating case, with unprecedented access to its principals. “Do we need a fourth film?” Roger Ebert asks. “Yes, I think we do. If you only see one of them, this is the one to choose, because it has the benefit of hindsight.”
It has been a long road for the three wrongfully convicted individuals known as the West Memphis Three. Accused of the brutal murders of three eight-year-old boys, these three teenagers—Jason Baldwin, Jessie Misskelley Jr., and Damien Echols—were convicted largely on the basis of their outcast positions in their high school social structure. They were “goths.” The motive was Satanism. The crime was committed in 1993 and they were in prison within two years. Three HBO documentaries—Paradise Lost: The Child Murders at Robin Hood Hills (1996), Paradise Lost 2: Revelations (2000), and Paradise Lost 3: Purgatory (2011)—as well as celebrity interest helped to win attention for the Three and eventually secured their release. West of Memphis, featured at last year’s Sundance Film Festival and produced by Lord of the Rings mastermind Peter Jackson, travels deep into the details of this fascinating case, with unprecedented access to its principals. “Do we need a fourth film?” Roger Ebert asks. “Yes, I think we do. If you only see one of them, this is the one to choose, because it has the benefit of hindsight.”
Dir: Amy Berg / 2012 / New Zealand/US / 147 min / 35mm film
It has been a long road for the three wrongfully convicted individuals known as the West Memphis Three. Accused of the brutal murders of three eight-year-old boys, these three teenagers—Jason Baldwin, Jessie Misskelley Jr., and Damien Echols—were convicted largely on the basis of their outcast positions in their high school social structure. They were “goths.” The motive was Satanism. The crime was committed in 1993 and they were in prison within two years. Three HBO documentaries—Paradise Lost: The Child Murders at Robin Hood Hills (1996), Paradise Lost 2: Revelations (2000), and Paradise Lost 3: Purgatory (2011)—as well as celebrity interest helped to win attention for the Three and eventually secured their release. West of Memphis, featured at last year’s Sundance Film Festival and produced by Lord of the Rings mastermind Peter Jackson, travels deep into the details of this fascinating case, with unprecedented access to its principals. “Do we need a fourth film?” Roger Ebert asks. “Yes, I think we do. If you only see one of them, this is the one to choose, because it has the benefit of hindsight.”
It has been a long road for the three wrongfully convicted individuals known as the West Memphis Three. Accused of the brutal murders of three eight-year-old boys, these three teenagers—Jason Baldwin, Jessie Misskelley Jr., and Damien Echols—were convicted largely on the basis of their outcast positions in their high school social structure. They were “goths.” The motive was Satanism. The crime was committed in 1993 and they were in prison within two years. Three HBO documentaries—Paradise Lost: The Child Murders at Robin Hood Hills (1996), Paradise Lost 2: Revelations (2000), and Paradise Lost 3: Purgatory (2011)—as well as celebrity interest helped to win attention for the Three and eventually secured their release. West of Memphis, featured at last year’s Sundance Film Festival and produced by Lord of the Rings mastermind Peter Jackson, travels deep into the details of this fascinating case, with unprecedented access to its principals. “Do we need a fourth film?” Roger Ebert asks. “Yes, I think we do. If you only see one of them, this is the one to choose, because it has the benefit of hindsight.”
Dir: Tom Hooper / 2012 / UK / 158 min / 35mm film
Twenty-seven years after its 1985 debut, the staggeringly successful worldwide phenomenon that is the musical Les Misérables has finally made its way to the big screen, directed by Tom Hooper (The King’s Speech). Winner of three Oscars and based upon Victor Hugo’s classic epic of sin, redemption, destitution, rebellion, and, above all, love in many forms, the film starts Hugh Jackman as Jean Valjean, the former 19-year convict-turned-factory-owner/mayor-turned-hunted and haunted fugitive, and Russell Crowe as Javert, the single-minded detective determined to bring Valjean to justice for breaking the terms of his parole. Having vowed to care for Cosette (Amanda Seyfried), the orphaned illegitimate daughter of one of his former employees, Fantine (played with ferocious intensity and pathos by Golden Globe-winner & Oscar winner for Best Actress Anne Hathaway), Valjean’s journey eventually leads him to Paris on the eve of the 1832 student-led rebellion. More operetta than typical musical, this Les Misérables features the much-lauded yet still controversial and rare directorial choice to have the actors sing the songs live while filming. Kenneth Turan of the Los Angeles Times raves, “this movie musical is a clutch player that delivers an emotional wallop when it counts. You can walk into the theater as an agnostic, but you may just leave singing with the choir.”
Twenty-seven years after its 1985 debut, the staggeringly successful worldwide phenomenon that is the musical Les Misérables has finally made its way to the big screen, directed by Tom Hooper (The King’s Speech). Winner of three Oscars and based upon Victor Hugo’s classic epic of sin, redemption, destitution, rebellion, and, above all, love in many forms, the film starts Hugh Jackman as Jean Valjean, the former 19-year convict-turned-factory-owner/mayor-turned-hunted and haunted fugitive, and Russell Crowe as Javert, the single-minded detective determined to bring Valjean to justice for breaking the terms of his parole. Having vowed to care for Cosette (Amanda Seyfried), the orphaned illegitimate daughter of one of his former employees, Fantine (played with ferocious intensity and pathos by Golden Globe-winner & Oscar winner for Best Actress Anne Hathaway), Valjean’s journey eventually leads him to Paris on the eve of the 1832 student-led rebellion. More operetta than typical musical, this Les Misérables features the much-lauded yet still controversial and rare directorial choice to have the actors sing the songs live while filming. Kenneth Turan of the Los Angeles Times raves, “this movie musical is a clutch player that delivers an emotional wallop when it counts. You can walk into the theater as an agnostic, but you may just leave singing with the choir.”
Dir: Amy Berg / 2012 / New Zealand/US / 147 min / 35mm film
It has been a long road for the three wrongfully convicted individuals known as the West Memphis Three. Accused of the brutal murders of three eight-year-old boys, these three teenagers—Jason Baldwin, Jessie Misskelley Jr., and Damien Echols—were convicted largely on the basis of their outcast positions in their high school social structure. They were “goths.” The motive was Satanism. The crime was committed in 1993 and they were in prison within two years. Three HBO documentaries—Paradise Lost: The Child Murders at Robin Hood Hills (1996), Paradise Lost 2: Revelations (2000), and Paradise Lost 3: Purgatory (2011)—as well as celebrity interest helped to win attention for the Three and eventually secured their release. West of Memphis, featured at last year’s Sundance Film Festival and produced by Lord of the Rings mastermind Peter Jackson, travels deep into the details of this fascinating case, with unprecedented access to its principals. “Do we need a fourth film?” Roger Ebert asks. “Yes, I think we do. If you only see one of them, this is the one to choose, because it has the benefit of hindsight.”
It has been a long road for the three wrongfully convicted individuals known as the West Memphis Three. Accused of the brutal murders of three eight-year-old boys, these three teenagers—Jason Baldwin, Jessie Misskelley Jr., and Damien Echols—were convicted largely on the basis of their outcast positions in their high school social structure. They were “goths.” The motive was Satanism. The crime was committed in 1993 and they were in prison within two years. Three HBO documentaries—Paradise Lost: The Child Murders at Robin Hood Hills (1996), Paradise Lost 2: Revelations (2000), and Paradise Lost 3: Purgatory (2011)—as well as celebrity interest helped to win attention for the Three and eventually secured their release. West of Memphis, featured at last year’s Sundance Film Festival and produced by Lord of the Rings mastermind Peter Jackson, travels deep into the details of this fascinating case, with unprecedented access to its principals. “Do we need a fourth film?” Roger Ebert asks. “Yes, I think we do. If you only see one of them, this is the one to choose, because it has the benefit of hindsight.”
Dir: Tom Hooper / 2012 / UK / 158 min / 35mm film
Twenty-seven years after its 1985 debut, the staggeringly successful worldwide phenomenon that is the musical Les Misérables has finally made its way to the big screen, directed by Tom Hooper (The King’s Speech). Winner of three Oscars and based upon Victor Hugo’s classic epic of sin, redemption, destitution, rebellion, and, above all, love in many forms, the film starts Hugh Jackman as Jean Valjean, the former 19-year convict-turned-factory-owner/mayor-turned-hunted and haunted fugitive, and Russell Crowe as Javert, the single-minded detective determined to bring Valjean to justice for breaking the terms of his parole. Having vowed to care for Cosette (Amanda Seyfried), the orphaned illegitimate daughter of one of his former employees, Fantine (played with ferocious intensity and pathos by Golden Globe-winner & Oscar winner for Best Actress Anne Hathaway), Valjean’s journey eventually leads him to Paris on the eve of the 1832 student-led rebellion. More operetta than typical musical, this Les Misérables features the much-lauded yet still controversial and rare directorial choice to have the actors sing the songs live while filming. Kenneth Turan of the Los Angeles Times raves, “this movie musical is a clutch player that delivers an emotional wallop when it counts. You can walk into the theater as an agnostic, but you may just leave singing with the choir.”
Twenty-seven years after its 1985 debut, the staggeringly successful worldwide phenomenon that is the musical Les Misérables has finally made its way to the big screen, directed by Tom Hooper (The King’s Speech). Winner of three Oscars and based upon Victor Hugo’s classic epic of sin, redemption, destitution, rebellion, and, above all, love in many forms, the film starts Hugh Jackman as Jean Valjean, the former 19-year convict-turned-factory-owner/mayor-turned-hunted and haunted fugitive, and Russell Crowe as Javert, the single-minded detective determined to bring Valjean to justice for breaking the terms of his parole. Having vowed to care for Cosette (Amanda Seyfried), the orphaned illegitimate daughter of one of his former employees, Fantine (played with ferocious intensity and pathos by Golden Globe-winner & Oscar winner for Best Actress Anne Hathaway), Valjean’s journey eventually leads him to Paris on the eve of the 1832 student-led rebellion. More operetta than typical musical, this Les Misérables features the much-lauded yet still controversial and rare directorial choice to have the actors sing the songs live while filming. Kenneth Turan of the Los Angeles Times raves, “this movie musical is a clutch player that delivers an emotional wallop when it counts. You can walk into the theater as an agnostic, but you may just leave singing with the choir.”
Dir: Amy Berg / 2012 / New Zealand/US / 147 min / 35mm film
It has been a long road for the three wrongfully convicted individuals known as the West Memphis Three. Accused of the brutal murders of three eight-year-old boys, these three teenagers—Jason Baldwin, Jessie Misskelley Jr., and Damien Echols—were convicted largely on the basis of their outcast positions in their high school social structure. They were “goths.” The motive was Satanism. The crime was committed in 1993 and they were in prison within two years. Three HBO documentaries—Paradise Lost: The Child Murders at Robin Hood Hills (1996), Paradise Lost 2: Revelations (2000), and Paradise Lost 3: Purgatory (2011)—as well as celebrity interest helped to win attention for the Three and eventually secured their release. West of Memphis, featured at last year’s Sundance Film Festival and produced by Lord of the Rings mastermind Peter Jackson, travels deep into the details of this fascinating case, with unprecedented access to its principals. “Do we need a fourth film?” Roger Ebert asks. “Yes, I think we do. If you only see one of them, this is the one to choose, because it has the benefit of hindsight.”
It has been a long road for the three wrongfully convicted individuals known as the West Memphis Three. Accused of the brutal murders of three eight-year-old boys, these three teenagers—Jason Baldwin, Jessie Misskelley Jr., and Damien Echols—were convicted largely on the basis of their outcast positions in their high school social structure. They were “goths.” The motive was Satanism. The crime was committed in 1993 and they were in prison within two years. Three HBO documentaries—Paradise Lost: The Child Murders at Robin Hood Hills (1996), Paradise Lost 2: Revelations (2000), and Paradise Lost 3: Purgatory (2011)—as well as celebrity interest helped to win attention for the Three and eventually secured their release. West of Memphis, featured at last year’s Sundance Film Festival and produced by Lord of the Rings mastermind Peter Jackson, travels deep into the details of this fascinating case, with unprecedented access to its principals. “Do we need a fourth film?” Roger Ebert asks. “Yes, I think we do. If you only see one of them, this is the one to choose, because it has the benefit of hindsight.”
Dir: Tom Hooper / 2012 / UK / 158 min / 35mm film
Twenty-seven years after its 1985 debut, the staggeringly successful worldwide phenomenon that is the musical Les Misérables has finally made its way to the big screen, directed by Tom Hooper (The King’s Speech). Winner of three Oscars and based upon Victor Hugo’s classic epic of sin, redemption, destitution, rebellion, and, above all, love in many forms, the film starts Hugh Jackman as Jean Valjean, the former 19-year convict-turned-factory-owner/mayor-turned-hunted and haunted fugitive, and Russell Crowe as Javert, the single-minded detective determined to bring Valjean to justice for breaking the terms of his parole. Having vowed to care for Cosette (Amanda Seyfried), the orphaned illegitimate daughter of one of his former employees, Fantine (played with ferocious intensity and pathos by Golden Globe-winner & Oscar winner for Best Actress Anne Hathaway), Valjean’s journey eventually leads him to Paris on the eve of the 1832 student-led rebellion. More operetta than typical musical, this Les Misérables features the much-lauded yet still controversial and rare directorial choice to have the actors sing the songs live while filming. Kenneth Turan of the Los Angeles Times raves, “this movie musical is a clutch player that delivers an emotional wallop when it counts. You can walk into the theater as an agnostic, but you may just leave singing with the choir.”
Twenty-seven years after its 1985 debut, the staggeringly successful worldwide phenomenon that is the musical Les Misérables has finally made its way to the big screen, directed by Tom Hooper (The King’s Speech). Winner of three Oscars and based upon Victor Hugo’s classic epic of sin, redemption, destitution, rebellion, and, above all, love in many forms, the film starts Hugh Jackman as Jean Valjean, the former 19-year convict-turned-factory-owner/mayor-turned-hunted and haunted fugitive, and Russell Crowe as Javert, the single-minded detective determined to bring Valjean to justice for breaking the terms of his parole. Having vowed to care for Cosette (Amanda Seyfried), the orphaned illegitimate daughter of one of his former employees, Fantine (played with ferocious intensity and pathos by Golden Globe-winner & Oscar winner for Best Actress Anne Hathaway), Valjean’s journey eventually leads him to Paris on the eve of the 1832 student-led rebellion. More operetta than typical musical, this Les Misérables features the much-lauded yet still controversial and rare directorial choice to have the actors sing the songs live while filming. Kenneth Turan of the Los Angeles Times raves, “this movie musical is a clutch player that delivers an emotional wallop when it counts. You can walk into the theater as an agnostic, but you may just leave singing with the choir.”
Dir: Dustin Hoffman / 2012 / UK / 99 min / 35mm film
Based on a popular stage play, Quartet is a good-natured ensemble comedy in the tradition of The Best Exotic Marigold Hotel. The story revolves around a group of aging musicians who now live in a high-end retirement home called Beecham House, located in the majestic English countryside. Reggie (Tom Courtenay) is a retired opera singer who has made his home there, planning to live out his twilight years in relative peace. All is going well until the arrival of Jean (Maggie Smith of Downton Abby), another famous singer and a former flame who threw Reggie’s life into turmoil at one point. Meanwhile, the owners are threatening to close down Beecham House, and the only chance it has for salvation is for its famous residents to put on a concert for wealthy financiers. The directorial debut of actor Dustin Hoffman, Quartet is an entertaining showcase for several legendary actors. Peter Travers of Rolling Stone calls Quartet “defiantly funny and touching.”
Based on a popular stage play, Quartet is a good-natured ensemble comedy in the tradition of The Best Exotic Marigold Hotel. The story revolves around a group of aging musicians who now live in a high-end retirement home called Beecham House, located in the majestic English countryside. Reggie (Tom Courtenay) is a retired opera singer who has made his home there, planning to live out his twilight years in relative peace. All is going well until the arrival of Jean (Maggie Smith of Downton Abby), another famous singer and a former flame who threw Reggie’s life into turmoil at one point. Meanwhile, the owners are threatening to close down Beecham House, and the only chance it has for salvation is for its famous residents to put on a concert for wealthy financiers. The directorial debut of actor Dustin Hoffman, Quartet is an entertaining showcase for several legendary actors. Peter Travers of Rolling Stone calls Quartet “defiantly funny and touching.”
Dir: Tom Hooper / 2012 / UK / 158 min / 35mm film
Twenty-seven years after its 1985 debut, the staggeringly successful worldwide phenomenon that is the musical Les Misérables has finally made its way to the big screen, directed by Tom Hooper (The King’s Speech). Winner of three Oscars and based upon Victor Hugo’s classic epic of sin, redemption, destitution, rebellion, and, above all, love in many forms, the film starts Hugh Jackman as Jean Valjean, the former 19-year convict-turned-factory-owner/mayor-turned-hunted and haunted fugitive, and Russell Crowe as Javert, the single-minded detective determined to bring Valjean to justice for breaking the terms of his parole. Having vowed to care for Cosette (Amanda Seyfried), the orphaned illegitimate daughter of one of his former employees, Fantine (played with ferocious intensity and pathos by Golden Globe-winner & Oscar winner for Best Actress Anne Hathaway), Valjean’s journey eventually leads him to Paris on the eve of the 1832 student-led rebellion. More operetta than typical musical, this Les Misérables features the much-lauded yet still controversial and rare directorial choice to have the actors sing the songs live while filming. Kenneth Turan of the Los Angeles Times raves, “this movie musical is a clutch player that delivers an emotional wallop when it counts. You can walk into the theater as an agnostic, but you may just leave singing with the choir.”
Twenty-seven years after its 1985 debut, the staggeringly successful worldwide phenomenon that is the musical Les Misérables has finally made its way to the big screen, directed by Tom Hooper (The King’s Speech). Winner of three Oscars and based upon Victor Hugo’s classic epic of sin, redemption, destitution, rebellion, and, above all, love in many forms, the film starts Hugh Jackman as Jean Valjean, the former 19-year convict-turned-factory-owner/mayor-turned-hunted and haunted fugitive, and Russell Crowe as Javert, the single-minded detective determined to bring Valjean to justice for breaking the terms of his parole. Having vowed to care for Cosette (Amanda Seyfried), the orphaned illegitimate daughter of one of his former employees, Fantine (played with ferocious intensity and pathos by Golden Globe-winner & Oscar winner for Best Actress Anne Hathaway), Valjean’s journey eventually leads him to Paris on the eve of the 1832 student-led rebellion. More operetta than typical musical, this Les Misérables features the much-lauded yet still controversial and rare directorial choice to have the actors sing the songs live while filming. Kenneth Turan of the Los Angeles Times raves, “this movie musical is a clutch player that delivers an emotional wallop when it counts. You can walk into the theater as an agnostic, but you may just leave singing with the choir.”
Dir: Dustin Hoffman / 2012 / UK / 99 min / 35mm film
Based on a popular stage play, Quartet is a good-natured ensemble comedy in the tradition of The Best Exotic Marigold Hotel. The story revolves around a group of aging musicians who now live in a high-end retirement home called Beecham House, located in the majestic English countryside. Reggie (Tom Courtenay) is a retired opera singer who has made his home there, planning to live out his twilight years in relative peace. All is going well until the arrival of Jean (Maggie Smith of Downton Abby), another famous singer and a former flame who threw Reggie’s life into turmoil at one point. Meanwhile, the owners are threatening to close down Beecham House, and the only chance it has for salvation is for its famous residents to put on a concert for wealthy financiers. The directorial debut of actor Dustin Hoffman, Quartet is an entertaining showcase for several legendary actors. Peter Travers of Rolling Stone calls Quartet “defiantly funny and touching.”
Based on a popular stage play, Quartet is a good-natured ensemble comedy in the tradition of The Best Exotic Marigold Hotel. The story revolves around a group of aging musicians who now live in a high-end retirement home called Beecham House, located in the majestic English countryside. Reggie (Tom Courtenay) is a retired opera singer who has made his home there, planning to live out his twilight years in relative peace. All is going well until the arrival of Jean (Maggie Smith of Downton Abby), another famous singer and a former flame who threw Reggie’s life into turmoil at one point. Meanwhile, the owners are threatening to close down Beecham House, and the only chance it has for salvation is for its famous residents to put on a concert for wealthy financiers. The directorial debut of actor Dustin Hoffman, Quartet is an entertaining showcase for several legendary actors. Peter Travers of Rolling Stone calls Quartet “defiantly funny and touching.”
Dir: Tom Hooper / 2012 / UK / 158 min / 35mm film
Twenty-seven years after its 1985 debut, the staggeringly successful worldwide phenomenon that is the musical Les Misérables has finally made its way to the big screen, directed by Tom Hooper (The King’s Speech). Winner of three Oscars and based upon Victor Hugo’s classic epic of sin, redemption, destitution, rebellion, and, above all, love in many forms, the film starts Hugh Jackman as Jean Valjean, the former 19-year convict-turned-factory-owner/mayor-turned-hunted and haunted fugitive, and Russell Crowe as Javert, the single-minded detective determined to bring Valjean to justice for breaking the terms of his parole. Having vowed to care for Cosette (Amanda Seyfried), the orphaned illegitimate daughter of one of his former employees, Fantine (played with ferocious intensity and pathos by Golden Globe-winner & Oscar winner for Best Actress Anne Hathaway), Valjean’s journey eventually leads him to Paris on the eve of the 1832 student-led rebellion. More operetta than typical musical, this Les Misérables features the much-lauded yet still controversial and rare directorial choice to have the actors sing the songs live while filming. Kenneth Turan of the Los Angeles Times raves, “this movie musical is a clutch player that delivers an emotional wallop when it counts. You can walk into the theater as an agnostic, but you may just leave singing with the choir.”
Twenty-seven years after its 1985 debut, the staggeringly successful worldwide phenomenon that is the musical Les Misérables has finally made its way to the big screen, directed by Tom Hooper (The King’s Speech). Winner of three Oscars and based upon Victor Hugo’s classic epic of sin, redemption, destitution, rebellion, and, above all, love in many forms, the film starts Hugh Jackman as Jean Valjean, the former 19-year convict-turned-factory-owner/mayor-turned-hunted and haunted fugitive, and Russell Crowe as Javert, the single-minded detective determined to bring Valjean to justice for breaking the terms of his parole. Having vowed to care for Cosette (Amanda Seyfried), the orphaned illegitimate daughter of one of his former employees, Fantine (played with ferocious intensity and pathos by Golden Globe-winner & Oscar winner for Best Actress Anne Hathaway), Valjean’s journey eventually leads him to Paris on the eve of the 1832 student-led rebellion. More operetta than typical musical, this Les Misérables features the much-lauded yet still controversial and rare directorial choice to have the actors sing the songs live while filming. Kenneth Turan of the Los Angeles Times raves, “this movie musical is a clutch player that delivers an emotional wallop when it counts. You can walk into the theater as an agnostic, but you may just leave singing with the choir.”
Dir: Dustin Hoffman / 2012 / UK / 99 min / 35mm film
Based on a popular stage play, Quartet is a good-natured ensemble comedy in the tradition of The Best Exotic Marigold Hotel. The story revolves around a group of aging musicians who now live in a high-end retirement home called Beecham House, located in the majestic English countryside. Reggie (Tom Courtenay) is a retired opera singer who has made his home there, planning to live out his twilight years in relative peace. All is going well until the arrival of Jean (Maggie Smith of Downton Abby), another famous singer and a former flame who threw Reggie’s life into turmoil at one point. Meanwhile, the owners are threatening to close down Beecham House, and the only chance it has for salvation is for its famous residents to put on a concert for wealthy financiers. The directorial debut of actor Dustin Hoffman, Quartet is an entertaining showcase for several legendary actors. Peter Travers of Rolling Stone calls Quartet “defiantly funny and touching.”
Based on a popular stage play, Quartet is a good-natured ensemble comedy in the tradition of The Best Exotic Marigold Hotel. The story revolves around a group of aging musicians who now live in a high-end retirement home called Beecham House, located in the majestic English countryside. Reggie (Tom Courtenay) is a retired opera singer who has made his home there, planning to live out his twilight years in relative peace. All is going well until the arrival of Jean (Maggie Smith of Downton Abby), another famous singer and a former flame who threw Reggie’s life into turmoil at one point. Meanwhile, the owners are threatening to close down Beecham House, and the only chance it has for salvation is for its famous residents to put on a concert for wealthy financiers. The directorial debut of actor Dustin Hoffman, Quartet is an entertaining showcase for several legendary actors. Peter Travers of Rolling Stone calls Quartet “defiantly funny and touching.”
Dir: Dustin Hoffman / 2012 / UK / 99 min / 35mm film
Based on a popular stage play, Quartet is a good-natured ensemble comedy in the tradition of The Best Exotic Marigold Hotel. The story revolves around a group of aging musicians who now live in a high-end retirement home called Beecham House, located in the majestic English countryside. Reggie (Tom Courtenay) is a retired opera singer who has made his home there, planning to live out his twilight years in relative peace. All is going well until the arrival of Jean (Maggie Smith of Downton Abby), another famous singer and a former flame who threw Reggie’s life into turmoil at one point. Meanwhile, the owners are threatening to close down Beecham House, and the only chance it has for salvation is for its famous residents to put on a concert for wealthy financiers. The directorial debut of actor Dustin Hoffman, Quartet is an entertaining showcase for several legendary actors. Peter Travers of Rolling Stone calls Quartet “defiantly funny and touching.”
Based on a popular stage play, Quartet is a good-natured ensemble comedy in the tradition of The Best Exotic Marigold Hotel. The story revolves around a group of aging musicians who now live in a high-end retirement home called Beecham House, located in the majestic English countryside. Reggie (Tom Courtenay) is a retired opera singer who has made his home there, planning to live out his twilight years in relative peace. All is going well until the arrival of Jean (Maggie Smith of Downton Abby), another famous singer and a former flame who threw Reggie’s life into turmoil at one point. Meanwhile, the owners are threatening to close down Beecham House, and the only chance it has for salvation is for its famous residents to put on a concert for wealthy financiers. The directorial debut of actor Dustin Hoffman, Quartet is an entertaining showcase for several legendary actors. Peter Travers of Rolling Stone calls Quartet “defiantly funny and touching.”
Dir: Tom Hooper / 2012 / UK / 158 min / 35mm film
Twenty-seven years after its 1985 debut, the staggeringly successful worldwide phenomenon that is the musical Les Misérables has finally made its way to the big screen, directed by Tom Hooper (The King’s Speech). Winner of three Oscars and based upon Victor Hugo’s classic epic of sin, redemption, destitution, rebellion, and, above all, love in many forms, the film starts Hugh Jackman as Jean Valjean, the former 19-year convict-turned-factory-owner/mayor-turned-hunted and haunted fugitive, and Russell Crowe as Javert, the single-minded detective determined to bring Valjean to justice for breaking the terms of his parole. Having vowed to care for Cosette (Amanda Seyfried), the orphaned illegitimate daughter of one of his former employees, Fantine (played with ferocious intensity and pathos by Golden Globe-winner & Oscar winner for Best Actress Anne Hathaway), Valjean’s journey eventually leads him to Paris on the eve of the 1832 student-led rebellion. More operetta than typical musical, this Les Misérables features the much-lauded yet still controversial and rare directorial choice to have the actors sing the songs live while filming. Kenneth Turan of the Los Angeles Times raves, “this movie musical is a clutch player that delivers an emotional wallop when it counts. You can walk into the theater as an agnostic, but you may just leave singing with the choir.”
Twenty-seven years after its 1985 debut, the staggeringly successful worldwide phenomenon that is the musical Les Misérables has finally made its way to the big screen, directed by Tom Hooper (The King’s Speech). Winner of three Oscars and based upon Victor Hugo’s classic epic of sin, redemption, destitution, rebellion, and, above all, love in many forms, the film starts Hugh Jackman as Jean Valjean, the former 19-year convict-turned-factory-owner/mayor-turned-hunted and haunted fugitive, and Russell Crowe as Javert, the single-minded detective determined to bring Valjean to justice for breaking the terms of his parole. Having vowed to care for Cosette (Amanda Seyfried), the orphaned illegitimate daughter of one of his former employees, Fantine (played with ferocious intensity and pathos by Golden Globe-winner & Oscar winner for Best Actress Anne Hathaway), Valjean’s journey eventually leads him to Paris on the eve of the 1832 student-led rebellion. More operetta than typical musical, this Les Misérables features the much-lauded yet still controversial and rare directorial choice to have the actors sing the songs live while filming. Kenneth Turan of the Los Angeles Times raves, “this movie musical is a clutch player that delivers an emotional wallop when it counts. You can walk into the theater as an agnostic, but you may just leave singing with the choir.”
Dir: Tom Hooper / 2012 / UK / 158 min / 35mm film
Twenty-seven years after its 1985 debut, the staggeringly successful worldwide phenomenon that is the musical Les Misérables has finally made its way to the big screen, directed by Tom Hooper (The King’s Speech). Winner of three Oscars and based upon Victor Hugo’s classic epic of sin, redemption, destitution, rebellion, and, above all, love in many forms, the film starts Hugh Jackman as Jean Valjean, the former 19-year convict-turned-factory-owner/mayor-turned-hunted and haunted fugitive, and Russell Crowe as Javert, the single-minded detective determined to bring Valjean to justice for breaking the terms of his parole. Having vowed to care for Cosette (Amanda Seyfried), the orphaned illegitimate daughter of one of his former employees, Fantine (played with ferocious intensity and pathos by Golden Globe-winner & Oscar winner for Best Actress Anne Hathaway), Valjean’s journey eventually leads him to Paris on the eve of the 1832 student-led rebellion. More operetta than typical musical, this Les Misérables features the much-lauded yet still controversial and rare directorial choice to have the actors sing the songs live while filming. Kenneth Turan of the Los Angeles Times raves, “this movie musical is a clutch player that delivers an emotional wallop when it counts. You can walk into the theater as an agnostic, but you may just leave singing with the choir.”
Twenty-seven years after its 1985 debut, the staggeringly successful worldwide phenomenon that is the musical Les Misérables has finally made its way to the big screen, directed by Tom Hooper (The King’s Speech). Winner of three Oscars and based upon Victor Hugo’s classic epic of sin, redemption, destitution, rebellion, and, above all, love in many forms, the film starts Hugh Jackman as Jean Valjean, the former 19-year convict-turned-factory-owner/mayor-turned-hunted and haunted fugitive, and Russell Crowe as Javert, the single-minded detective determined to bring Valjean to justice for breaking the terms of his parole. Having vowed to care for Cosette (Amanda Seyfried), the orphaned illegitimate daughter of one of his former employees, Fantine (played with ferocious intensity and pathos by Golden Globe-winner & Oscar winner for Best Actress Anne Hathaway), Valjean’s journey eventually leads him to Paris on the eve of the 1832 student-led rebellion. More operetta than typical musical, this Les Misérables features the much-lauded yet still controversial and rare directorial choice to have the actors sing the songs live while filming. Kenneth Turan of the Los Angeles Times raves, “this movie musical is a clutch player that delivers an emotional wallop when it counts. You can walk into the theater as an agnostic, but you may just leave singing with the choir.”
Dir: Dustin Hoffman / 2012 / UK / 99 min / 35mm film
Based on a popular stage play, Quartet is a good-natured ensemble comedy in the tradition of The Best Exotic Marigold Hotel. The story revolves around a group of aging musicians who now live in a high-end retirement home called Beecham House, located in the majestic English countryside. Reggie (Tom Courtenay) is a retired opera singer who has made his home there, planning to live out his twilight years in relative peace. All is going well until the arrival of Jean (Maggie Smith of Downton Abby), another famous singer and a former flame who threw Reggie’s life into turmoil at one point. Meanwhile, the owners are threatening to close down Beecham House, and the only chance it has for salvation is for its famous residents to put on a concert for wealthy financiers. The directorial debut of actor Dustin Hoffman, Quartet is an entertaining showcase for several legendary actors. Peter Travers of Rolling Stone calls Quartet “defiantly funny and touching.”
Based on a popular stage play, Quartet is a good-natured ensemble comedy in the tradition of The Best Exotic Marigold Hotel. The story revolves around a group of aging musicians who now live in a high-end retirement home called Beecham House, located in the majestic English countryside. Reggie (Tom Courtenay) is a retired opera singer who has made his home there, planning to live out his twilight years in relative peace. All is going well until the arrival of Jean (Maggie Smith of Downton Abby), another famous singer and a former flame who threw Reggie’s life into turmoil at one point. Meanwhile, the owners are threatening to close down Beecham House, and the only chance it has for salvation is for its famous residents to put on a concert for wealthy financiers. The directorial debut of actor Dustin Hoffman, Quartet is an entertaining showcase for several legendary actors. Peter Travers of Rolling Stone calls Quartet “defiantly funny and touching.”
Dir: Tom Hooper / 2012 / UK / 158 min / 35mm film
Twenty-seven years after its 1985 debut, the staggeringly successful worldwide phenomenon that is the musical Les Misérables has finally made its way to the big screen, directed by Tom Hooper (The King’s Speech). Winner of three Oscars and based upon Victor Hugo’s classic epic of sin, redemption, destitution, rebellion, and, above all, love in many forms, the film starts Hugh Jackman as Jean Valjean, the former 19-year convict-turned-factory-owner/mayor-turned-hunted and haunted fugitive, and Russell Crowe as Javert, the single-minded detective determined to bring Valjean to justice for breaking the terms of his parole. Having vowed to care for Cosette (Amanda Seyfried), the orphaned illegitimate daughter of one of his former employees, Fantine (played with ferocious intensity and pathos by Golden Globe-winner & Oscar winner for Best Actress Anne Hathaway), Valjean’s journey eventually leads him to Paris on the eve of the 1832 student-led rebellion. More operetta than typical musical, this Les Misérables features the much-lauded yet still controversial and rare directorial choice to have the actors sing the songs live while filming. Kenneth Turan of the Los Angeles Times raves, “this movie musical is a clutch player that delivers an emotional wallop when it counts. You can walk into the theater as an agnostic, but you may just leave singing with the choir.”
Twenty-seven years after its 1985 debut, the staggeringly successful worldwide phenomenon that is the musical Les Misérables has finally made its way to the big screen, directed by Tom Hooper (The King’s Speech). Winner of three Oscars and based upon Victor Hugo’s classic epic of sin, redemption, destitution, rebellion, and, above all, love in many forms, the film starts Hugh Jackman as Jean Valjean, the former 19-year convict-turned-factory-owner/mayor-turned-hunted and haunted fugitive, and Russell Crowe as Javert, the single-minded detective determined to bring Valjean to justice for breaking the terms of his parole. Having vowed to care for Cosette (Amanda Seyfried), the orphaned illegitimate daughter of one of his former employees, Fantine (played with ferocious intensity and pathos by Golden Globe-winner & Oscar winner for Best Actress Anne Hathaway), Valjean’s journey eventually leads him to Paris on the eve of the 1832 student-led rebellion. More operetta than typical musical, this Les Misérables features the much-lauded yet still controversial and rare directorial choice to have the actors sing the songs live while filming. Kenneth Turan of the Los Angeles Times raves, “this movie musical is a clutch player that delivers an emotional wallop when it counts. You can walk into the theater as an agnostic, but you may just leave singing with the choir.”
Dir: Dustin Hoffman / 2012 / UK / 99 min / 35mm film
Based on a popular stage play, Quartet is a good-natured ensemble comedy in the tradition of The Best Exotic Marigold Hotel. The story revolves around a group of aging musicians who now live in a high-end retirement home called Beecham House, located in the majestic English countryside. Reggie (Tom Courtenay) is a retired opera singer who has made his home there, planning to live out his twilight years in relative peace. All is going well until the arrival of Jean (Maggie Smith of Downton Abby), another famous singer and a former flame who threw Reggie’s life into turmoil at one point. Meanwhile, the owners are threatening to close down Beecham House, and the only chance it has for salvation is for its famous residents to put on a concert for wealthy financiers. The directorial debut of actor Dustin Hoffman, Quartet is an entertaining showcase for several legendary actors. Peter Travers of Rolling Stone calls Quartet “defiantly funny and touching.”
Based on a popular stage play, Quartet is a good-natured ensemble comedy in the tradition of The Best Exotic Marigold Hotel. The story revolves around a group of aging musicians who now live in a high-end retirement home called Beecham House, located in the majestic English countryside. Reggie (Tom Courtenay) is a retired opera singer who has made his home there, planning to live out his twilight years in relative peace. All is going well until the arrival of Jean (Maggie Smith of Downton Abby), another famous singer and a former flame who threw Reggie’s life into turmoil at one point. Meanwhile, the owners are threatening to close down Beecham House, and the only chance it has for salvation is for its famous residents to put on a concert for wealthy financiers. The directorial debut of actor Dustin Hoffman, Quartet is an entertaining showcase for several legendary actors. Peter Travers of Rolling Stone calls Quartet “defiantly funny and touching.”
Dir: Tom Hooper / 2012 / UK / 158 min / 35mm film
Twenty-seven years after its 1985 debut, the staggeringly successful worldwide phenomenon that is the musical Les Misérables has finally made its way to the big screen, directed by Tom Hooper (The King’s Speech). Winner of three Oscars and based upon Victor Hugo’s classic epic of sin, redemption, destitution, rebellion, and, above all, love in many forms, the film starts Hugh Jackman as Jean Valjean, the former 19-year convict-turned-factory-owner/mayor-turned-hunted and haunted fugitive, and Russell Crowe as Javert, the single-minded detective determined to bring Valjean to justice for breaking the terms of his parole. Having vowed to care for Cosette (Amanda Seyfried), the orphaned illegitimate daughter of one of his former employees, Fantine (played with ferocious intensity and pathos by Golden Globe-winner & Oscar winner for Best Actress Anne Hathaway), Valjean’s journey eventually leads him to Paris on the eve of the 1832 student-led rebellion. More operetta than typical musical, this Les Misérables features the much-lauded yet still controversial and rare directorial choice to have the actors sing the songs live while filming. Kenneth Turan of the Los Angeles Times raves, “this movie musical is a clutch player that delivers an emotional wallop when it counts. You can walk into the theater as an agnostic, but you may just leave singing with the choir.”
Twenty-seven years after its 1985 debut, the staggeringly successful worldwide phenomenon that is the musical Les Misérables has finally made its way to the big screen, directed by Tom Hooper (The King’s Speech). Winner of three Oscars and based upon Victor Hugo’s classic epic of sin, redemption, destitution, rebellion, and, above all, love in many forms, the film starts Hugh Jackman as Jean Valjean, the former 19-year convict-turned-factory-owner/mayor-turned-hunted and haunted fugitive, and Russell Crowe as Javert, the single-minded detective determined to bring Valjean to justice for breaking the terms of his parole. Having vowed to care for Cosette (Amanda Seyfried), the orphaned illegitimate daughter of one of his former employees, Fantine (played with ferocious intensity and pathos by Golden Globe-winner & Oscar winner for Best Actress Anne Hathaway), Valjean’s journey eventually leads him to Paris on the eve of the 1832 student-led rebellion. More operetta than typical musical, this Les Misérables features the much-lauded yet still controversial and rare directorial choice to have the actors sing the songs live while filming. Kenneth Turan of the Los Angeles Times raves, “this movie musical is a clutch player that delivers an emotional wallop when it counts. You can walk into the theater as an agnostic, but you may just leave singing with the choir.”
Trance
Dir.: Danny Boyle / 2013 / UK / 101 min / 35 mm film
In Trance, director Danny Boyle leaves the feel-good comfort of films like Slumdog Millionaire and returns to the territory of his early work, such as Shallow Grave. Simon (James McAvoy) is an auctioneer who falls in with a band of thieves to steal a priceless painting. Things go wrong when Simon ends up hitting his head, which leaves him with a mild case of amnesia and unable to remember where he hid the loot. Enter hypnotherapist Elizabeth Lamb (Rosario Dawson), who has been hired to extract the pertinent information from Simon’s hazy brain. It’s up to her to find the truth—but then again she may be in on the scam. Reality is questioned and bends at will in this mind-altering and suspenseful thriller. Peter Travers of Rolling Stone says, “Danny Boyle’s trippy, Inception-like thriller is a hypnotic head trip that demands attention.”
Dir.: Danny Boyle / 2013 / UK / 101 min / 35 mm film
In Trance, director Danny Boyle leaves the feel-good comfort of films like Slumdog Millionaire and returns to the territory of his early work, such as Shallow Grave. Simon (James McAvoy) is an auctioneer who falls in with a band of thieves to steal a priceless painting. Things go wrong when Simon ends up hitting his head, which leaves him with a mild case of amnesia and unable to remember where he hid the loot. Enter hypnotherapist Elizabeth Lamb (Rosario Dawson), who has been hired to extract the pertinent information from Simon’s hazy brain. It’s up to her to find the truth—but then again she may be in on the scam. Reality is questioned and bends at will in this mind-altering and suspenseful thriller. Peter Travers of Rolling Stone says, “Danny Boyle’s trippy, Inception-like thriller is a hypnotic head trip that demands attention.”
The Gatekeepers
Dir.: Dror Moreh / 2013 / Israel/France/Germany/Belgium / English and Hebrew w/ English subtitles / 101 min / 35 mm film
The Gatekeepers is an eye-opening documentary that takes us on a disturbing journey through the volatile, decades-long Israel-Palestine conflict. The film focuses on six former heads of Shin Bet, the highly secretive Israeli security agency that specializes in counterterrorism, as each man, now well into old age, recounts the disquieting lengths they were forced to reach in the name of their ordained cause. Candid and forthcoming with information, each testimony builds on top of the other, painting a portrait of a hostile war waged on territorial rights that manages to suck the humanity out of everyone in its wake. An unsettling historical document of a futile, unending conflict and the violent nature of mankind, Kenneth Turan of The Los Angeles Times calls The Gatekeepers “a documentary potent enough to alter how you see the world.”
Dir.: Dror Moreh / 2013 / Israel/France/Germany/Belgium / English and Hebrew w/ English subtitles / 101 min / 35 mm film
The Gatekeepers is an eye-opening documentary that takes us on a disturbing journey through the volatile, decades-long Israel-Palestine conflict. The film focuses on six former heads of Shin Bet, the highly secretive Israeli security agency that specializes in counterterrorism, as each man, now well into old age, recounts the disquieting lengths they were forced to reach in the name of their ordained cause. Candid and forthcoming with information, each testimony builds on top of the other, painting a portrait of a hostile war waged on territorial rights that manages to suck the humanity out of everyone in its wake. An unsettling historical document of a futile, unending conflict and the violent nature of mankind, Kenneth Turan of The Los Angeles Times calls The Gatekeepers “a documentary potent enough to alter how you see the world.”
Trance
Dir.: Danny Boyle / 2013 / UK / 101 min / 35 mm film
In Trance, director Danny Boyle leaves the feel-good comfort of films like Slumdog Millionaire and returns to the territory of his early work, such as Shallow Grave. Simon (James McAvoy) is an auctioneer who falls in with a band of thieves to steal a priceless painting. Things go wrong when Simon ends up hitting his head, which leaves him with a mild case of amnesia and unable to remember where he hid the loot. Enter hypnotherapist Elizabeth Lamb (Rosario Dawson), who has been hired to extract the pertinent information from Simon’s hazy brain. It’s up to her to find the truth—but then again she may be in on the scam. Reality is questioned and bends at will in this mind-altering and suspenseful thriller. Peter Travers of Rolling Stone says, “Danny Boyle’s trippy, Inception-like thriller is a hypnotic head trip that demands attention.”
Dir.: Danny Boyle / 2013 / UK / 101 min / 35 mm film
In Trance, director Danny Boyle leaves the feel-good comfort of films like Slumdog Millionaire and returns to the territory of his early work, such as Shallow Grave. Simon (James McAvoy) is an auctioneer who falls in with a band of thieves to steal a priceless painting. Things go wrong when Simon ends up hitting his head, which leaves him with a mild case of amnesia and unable to remember where he hid the loot. Enter hypnotherapist Elizabeth Lamb (Rosario Dawson), who has been hired to extract the pertinent information from Simon’s hazy brain. It’s up to her to find the truth—but then again she may be in on the scam. Reality is questioned and bends at will in this mind-altering and suspenseful thriller. Peter Travers of Rolling Stone says, “Danny Boyle’s trippy, Inception-like thriller is a hypnotic head trip that demands attention.”
Trance
Dir.: Danny Boyle / 2013 / UK / 101 min / 35 mm film
In Trance, director Danny Boyle leaves the feel-good comfort of films like Slumdog Millionaire and returns to the territory of his early work, such as Shallow Grave. Simon (James McAvoy) is an auctioneer who falls in with a band of thieves to steal a priceless painting. Things go wrong when Simon ends up hitting his head, which leaves him with a mild case of amnesia and unable to remember where he hid the loot. Enter hypnotherapist Elizabeth Lamb (Rosario Dawson), who has been hired to extract the pertinent information from Simon’s hazy brain. It’s up to her to find the truth—but then again she may be in on the scam. Reality is questioned and bends at will in this mind-altering and suspenseful thriller. Peter Travers of Rolling Stone says, “Danny Boyle’s trippy, Inception-like thriller is a hypnotic head trip that demands attention.”
Dir.: Danny Boyle / 2013 / UK / 101 min / 35 mm film
In Trance, director Danny Boyle leaves the feel-good comfort of films like Slumdog Millionaire and returns to the territory of his early work, such as Shallow Grave. Simon (James McAvoy) is an auctioneer who falls in with a band of thieves to steal a priceless painting. Things go wrong when Simon ends up hitting his head, which leaves him with a mild case of amnesia and unable to remember where he hid the loot. Enter hypnotherapist Elizabeth Lamb (Rosario Dawson), who has been hired to extract the pertinent information from Simon’s hazy brain. It’s up to her to find the truth—but then again she may be in on the scam. Reality is questioned and bends at will in this mind-altering and suspenseful thriller. Peter Travers of Rolling Stone says, “Danny Boyle’s trippy, Inception-like thriller is a hypnotic head trip that demands attention.”
No Secret Anymore:
The Times of Del Martin and Phyllis Lyon
Sponsored by SAGE Olympia
Dir.: Joan E. Biren / 2003 / US / 57 min / high definition digital
Considered to be the founders of the modern lesbian civil rights movement, Del Martin and Phyllis Lyon are two women who have been partners in life and in love for the last 50 years. In the documentary No Secret Anymore, their work is chronicled, revealing the lengths the couple have reached to elevate the rights of lesbian women throughout the decades. From the 1950’s, when they founded the first public organization for lesbians in America, to the current fight for gay marriage throughout the country, the women’s political struggles and victories are accounted for, along with the remarkable bond they have shared throughout the years. Filled with archival footage and meaningful interviews with key players, No Secret Anymore has won several best documentary prizes at film festivals across the country.
The Gatekeepers
Dir.: Dror Moreh / 2013 / Israel/France/Germany/Belgium / English and Hebrew w/ English subtitles / 101 min / 35 mm film
The Gatekeepers is an eye-opening documentary that takes us on a disturbing journey through the volatile, decades-long Israel-Palestine conflict. The film focuses on six former heads of Shin Bet, the highly secretive Israeli security agency that specializes in counterterrorism, as each man, now well into old age, recounts the disquieting lengths they were forced to reach in the name of their ordained cause. Candid and forthcoming with information, each testimony builds on top of the other, painting a portrait of a hostile war waged on territorial rights that manages to suck the humanity out of everyone in its wake. An unsettling historical document of a futile, unending conflict and the violent nature of mankind, Kenneth Turan of The Los Angeles Times calls The Gatekeepers “a documentary potent enough to alter how you see the world.”
Dir.: Dror Moreh / 2013 / Israel/France/Germany/Belgium / English and Hebrew w/ English subtitles / 101 min / 35 mm film
The Gatekeepers is an eye-opening documentary that takes us on a disturbing journey through the volatile, decades-long Israel-Palestine conflict. The film focuses on six former heads of Shin Bet, the highly secretive Israeli security agency that specializes in counterterrorism, as each man, now well into old age, recounts the disquieting lengths they were forced to reach in the name of their ordained cause. Candid and forthcoming with information, each testimony builds on top of the other, painting a portrait of a hostile war waged on territorial rights that manages to suck the humanity out of everyone in its wake. An unsettling historical document of a futile, unending conflict and the violent nature of mankind, Kenneth Turan of The Los Angeles Times calls The Gatekeepers “a documentary potent enough to alter how you see the world.”
The Gatekeepers
Dir.: Dror Moreh / 2013 / Israel/France/Germany/Belgium / English and Hebrew w/ English subtitles / 101 min / 35 mm film
The Gatekeepers is an eye-opening documentary that takes us on a disturbing journey through the volatile, decades-long Israel-Palestine conflict. The film focuses on six former heads of Shin Bet, the highly secretive Israeli security agency that specializes in counterterrorism, as each man, now well into old age, recounts the disquieting lengths they were forced to reach in the name of their ordained cause. Candid and forthcoming with information, each testimony builds on top of the other, painting a portrait of a hostile war waged on territorial rights that manages to suck the humanity out of everyone in its wake. An unsettling historical document of a futile, unending conflict and the violent nature of mankind, Kenneth Turan of The Los Angeles Times calls The Gatekeepers “a documentary potent enough to alter how you see the world.”
Dir.: Dror Moreh / 2013 / Israel/France/Germany/Belgium / English and Hebrew w/ English subtitles / 101 min / 35 mm film
The Gatekeepers is an eye-opening documentary that takes us on a disturbing journey through the volatile, decades-long Israel-Palestine conflict. The film focuses on six former heads of Shin Bet, the highly secretive Israeli security agency that specializes in counterterrorism, as each man, now well into old age, recounts the disquieting lengths they were forced to reach in the name of their ordained cause. Candid and forthcoming with information, each testimony builds on top of the other, painting a portrait of a hostile war waged on territorial rights that manages to suck the humanity out of everyone in its wake. An unsettling historical document of a futile, unending conflict and the violent nature of mankind, Kenneth Turan of The Los Angeles Times calls The Gatekeepers “a documentary potent enough to alter how you see the world.”
Trance
Dir.: Danny Boyle / 2013 / UK / 101 min / 35 mm film
In Trance, director Danny Boyle leaves the feel-good comfort of films like Slumdog Millionaire and returns to the territory of his early work, such as Shallow Grave. Simon (James McAvoy) is an auctioneer who falls in with a band of thieves to steal a priceless painting. Things go wrong when Simon ends up hitting his head, which leaves him with a mild case of amnesia and unable to remember where he hid the loot. Enter hypnotherapist Elizabeth Lamb (Rosario Dawson), who has been hired to extract the pertinent information from Simon’s hazy brain. It’s up to her to find the truth—but then again she may be in on the scam. Reality is questioned and bends at will in this mind-altering and suspenseful thriller. Peter Travers of Rolling Stone says, “Danny Boyle’s trippy, Inception-like thriller is a hypnotic head trip that demands attention.”
Dir.: Danny Boyle / 2013 / UK / 101 min / 35 mm film
In Trance, director Danny Boyle leaves the feel-good comfort of films like Slumdog Millionaire and returns to the territory of his early work, such as Shallow Grave. Simon (James McAvoy) is an auctioneer who falls in with a band of thieves to steal a priceless painting. Things go wrong when Simon ends up hitting his head, which leaves him with a mild case of amnesia and unable to remember where he hid the loot. Enter hypnotherapist Elizabeth Lamb (Rosario Dawson), who has been hired to extract the pertinent information from Simon’s hazy brain. It’s up to her to find the truth—but then again she may be in on the scam. Reality is questioned and bends at will in this mind-altering and suspenseful thriller. Peter Travers of Rolling Stone says, “Danny Boyle’s trippy, Inception-like thriller is a hypnotic head trip that demands attention.”
Trance
Dir.: Danny Boyle / 2013 / UK / 101 min / 35 mm film
In Trance, director Danny Boyle leaves the feel-good comfort of films like Slumdog Millionaire and returns to the territory of his early work, such as Shallow Grave. Simon (James McAvoy) is an auctioneer who falls in with a band of thieves to steal a priceless painting. Things go wrong when Simon ends up hitting his head, which leaves him with a mild case of amnesia and unable to remember where he hid the loot. Enter hypnotherapist Elizabeth Lamb (Rosario Dawson), who has been hired to extract the pertinent information from Simon’s hazy brain. It’s up to her to find the truth—but then again she may be in on the scam. Reality is questioned and bends at will in this mind-altering and suspenseful thriller. Peter Travers of Rolling Stone says, “Danny Boyle’s trippy, Inception-like thriller is a hypnotic head trip that demands attention.”
Dir.: Danny Boyle / 2013 / UK / 101 min / 35 mm film
In Trance, director Danny Boyle leaves the feel-good comfort of films like Slumdog Millionaire and returns to the territory of his early work, such as Shallow Grave. Simon (James McAvoy) is an auctioneer who falls in with a band of thieves to steal a priceless painting. Things go wrong when Simon ends up hitting his head, which leaves him with a mild case of amnesia and unable to remember where he hid the loot. Enter hypnotherapist Elizabeth Lamb (Rosario Dawson), who has been hired to extract the pertinent information from Simon’s hazy brain. It’s up to her to find the truth—but then again she may be in on the scam. Reality is questioned and bends at will in this mind-altering and suspenseful thriller. Peter Travers of Rolling Stone says, “Danny Boyle’s trippy, Inception-like thriller is a hypnotic head trip that demands attention.”
The Gatekeepers
Dir.: Dror Moreh / 2013 / Israel/France/Germany/Belgium / English and Hebrew w/ English subtitles / 101 min / 35 mm film
The Gatekeepers is an eye-opening documentary that takes us on a disturbing journey through the volatile, decades-long Israel-Palestine conflict. The film focuses on six former heads of Shin Bet, the highly secretive Israeli security agency that specializes in counterterrorism, as each man, now well into old age, recounts the disquieting lengths they were forced to reach in the name of their ordained cause. Candid and forthcoming with information, each testimony builds on top of the other, painting a portrait of a hostile war waged on territorial rights that manages to suck the humanity out of everyone in its wake. An unsettling historical document of a futile, unending conflict and the violent nature of mankind, Kenneth Turan of The Los Angeles Times calls The Gatekeepers “a documentary potent enough to alter how you see the world.”
Dir.: Dror Moreh / 2013 / Israel/France/Germany/Belgium / English and Hebrew w/ English subtitles / 101 min / 35 mm film
The Gatekeepers is an eye-opening documentary that takes us on a disturbing journey through the volatile, decades-long Israel-Palestine conflict. The film focuses on six former heads of Shin Bet, the highly secretive Israeli security agency that specializes in counterterrorism, as each man, now well into old age, recounts the disquieting lengths they were forced to reach in the name of their ordained cause. Candid and forthcoming with information, each testimony builds on top of the other, painting a portrait of a hostile war waged on territorial rights that manages to suck the humanity out of everyone in its wake. An unsettling historical document of a futile, unending conflict and the violent nature of mankind, Kenneth Turan of The Los Angeles Times calls The Gatekeepers “a documentary potent enough to alter how you see the world.”
The Gatekeepers
Dir.: Dror Moreh / 2013 / Israel/France/Germany/Belgium / English and Hebrew w/ English subtitles / 101 min / 35 mm film
The Gatekeepers is an eye-opening documentary that takes us on a disturbing journey through the volatile, decades-long Israel-Palestine conflict. The film focuses on six former heads of Shin Bet, the highly secretive Israeli security agency that specializes in counterterrorism, as each man, now well into old age, recounts the disquieting lengths they were forced to reach in the name of their ordained cause. Candid and forthcoming with information, each testimony builds on top of the other, painting a portrait of a hostile war waged on territorial rights that manages to suck the humanity out of everyone in its wake. An unsettling historical document of a futile, unending conflict and the violent nature of mankind, Kenneth Turan of The Los Angeles Times calls The Gatekeepers “a documentary potent enough to alter how you see the world.”
Dir.: Dror Moreh / 2013 / Israel/France/Germany/Belgium / English and Hebrew w/ English subtitles / 101 min / 35 mm film
The Gatekeepers is an eye-opening documentary that takes us on a disturbing journey through the volatile, decades-long Israel-Palestine conflict. The film focuses on six former heads of Shin Bet, the highly secretive Israeli security agency that specializes in counterterrorism, as each man, now well into old age, recounts the disquieting lengths they were forced to reach in the name of their ordained cause. Candid and forthcoming with information, each testimony builds on top of the other, painting a portrait of a hostile war waged on territorial rights that manages to suck the humanity out of everyone in its wake. An unsettling historical document of a futile, unending conflict and the violent nature of mankind, Kenneth Turan of The Los Angeles Times calls The Gatekeepers “a documentary potent enough to alter how you see the world.”
Trance
Dir.: Danny Boyle / 2013 / UK / 101 min / 35 mm film
In Trance, director Danny Boyle leaves the feel-good comfort of films like Slumdog Millionaire and returns to the territory of his early work, such as Shallow Grave. Simon (James McAvoy) is an auctioneer who falls in with a band of thieves to steal a priceless painting. Things go wrong when Simon ends up hitting his head, which leaves him with a mild case of amnesia and unable to remember where he hid the loot. Enter hypnotherapist Elizabeth Lamb (Rosario Dawson), who has been hired to extract the pertinent information from Simon’s hazy brain. It’s up to her to find the truth—but then again she may be in on the scam. Reality is questioned and bends at will in this mind-altering and suspenseful thriller. Peter Travers of Rolling Stone says, “Danny Boyle’s trippy, Inception-like thriller is a hypnotic head trip that demands attention.”
Dir.: Danny Boyle / 2013 / UK / 101 min / 35 mm film
In Trance, director Danny Boyle leaves the feel-good comfort of films like Slumdog Millionaire and returns to the territory of his early work, such as Shallow Grave. Simon (James McAvoy) is an auctioneer who falls in with a band of thieves to steal a priceless painting. Things go wrong when Simon ends up hitting his head, which leaves him with a mild case of amnesia and unable to remember where he hid the loot. Enter hypnotherapist Elizabeth Lamb (Rosario Dawson), who has been hired to extract the pertinent information from Simon’s hazy brain. It’s up to her to find the truth—but then again she may be in on the scam. Reality is questioned and bends at will in this mind-altering and suspenseful thriller. Peter Travers of Rolling Stone says, “Danny Boyle’s trippy, Inception-like thriller is a hypnotic head trip that demands attention.”
Trance
Dir.: Danny Boyle / 2013 / UK / 101 min / 35 mm film
In Trance, director Danny Boyle leaves the feel-good comfort of films like Slumdog Millionaire and returns to the territory of his early work, such as Shallow Grave. Simon (James McAvoy) is an auctioneer who falls in with a band of thieves to steal a priceless painting. Things go wrong when Simon ends up hitting his head, which leaves him with a mild case of amnesia and unable to remember where he hid the loot. Enter hypnotherapist Elizabeth Lamb (Rosario Dawson), who has been hired to extract the pertinent information from Simon’s hazy brain. It’s up to her to find the truth—but then again she may be in on the scam. Reality is questioned and bends at will in this mind-altering and suspenseful thriller. Peter Travers of Rolling Stone says, “Danny Boyle’s trippy, Inception-like thriller is a hypnotic head trip that demands attention.”
Dir.: Danny Boyle / 2013 / UK / 101 min / 35 mm film
In Trance, director Danny Boyle leaves the feel-good comfort of films like Slumdog Millionaire and returns to the territory of his early work, such as Shallow Grave. Simon (James McAvoy) is an auctioneer who falls in with a band of thieves to steal a priceless painting. Things go wrong when Simon ends up hitting his head, which leaves him with a mild case of amnesia and unable to remember where he hid the loot. Enter hypnotherapist Elizabeth Lamb (Rosario Dawson), who has been hired to extract the pertinent information from Simon’s hazy brain. It’s up to her to find the truth—but then again she may be in on the scam. Reality is questioned and bends at will in this mind-altering and suspenseful thriller. Peter Travers of Rolling Stone says, “Danny Boyle’s trippy, Inception-like thriller is a hypnotic head trip that demands attention.”
Benefit for the Digital Cinema Systems
Two Historic Theaters!
One Great Cause!
$8.00/film
E.T. the
Extra-terrestrial at the Capitol Theater 6:00 box office/6:30 film
Dir: Steven Spielberg / 1982 / US / 115 minutes / 35 mm film
Don’t miss this rare screening of sci-fi classic to benefit the digital system. The family film E.T. The Extra-terrestrial, screening at 6:30 at the Capitol Theater, is director Steven Spielberg’s beloved tale of the loneliness of childhood and the importance of friendship. Ten-year-old Elliot is having a hard time after the divorce of his parents. That is, until he discovers an alien in his backyard, which he lures with Reese’s Pieces. This new secret adds intrigue to Elliot’s life, not to mention a true friend and a goal: find a way to get his new friend, E.T., back to his home planet.
The Gatekeepers
Dir.: Dror Moreh / 2013 / Israel/France/Germany/Belgium / English and Hebrew w/ English subtitles / 101 min / 35 mm film
The Gatekeepers is an eye-opening documentary that takes us on a disturbing journey through the volatile, decades-long Israel-Palestine conflict. The film focuses on six former heads of Shin Bet, the highly secretive Israeli security agency that specializes in counterterrorism, as each man, now well into old age, recounts the disquieting lengths they were forced to reach in the name of their ordained cause. Candid and forthcoming with information, each testimony builds on top of the other, painting a portrait of a hostile war waged on territorial rights that manages to suck the humanity out of everyone in its wake. An unsettling historical document of a futile, unending conflict and the violent nature of mankind, Kenneth Turan of The Los Angeles Times calls The Gatekeepers “a documentary potent enough to alter how you see the world.”
Dir.: Dror Moreh / 2013 / Israel/France/Germany/Belgium / English and Hebrew w/ English subtitles / 101 min / 35 mm film
The Gatekeepers is an eye-opening documentary that takes us on a disturbing journey through the volatile, decades-long Israel-Palestine conflict. The film focuses on six former heads of Shin Bet, the highly secretive Israeli security agency that specializes in counterterrorism, as each man, now well into old age, recounts the disquieting lengths they were forced to reach in the name of their ordained cause. Candid and forthcoming with information, each testimony builds on top of the other, painting a portrait of a hostile war waged on territorial rights that manages to suck the humanity out of everyone in its wake. An unsettling historical document of a futile, unending conflict and the violent nature of mankind, Kenneth Turan of The Los Angeles Times calls The Gatekeepers “a documentary potent enough to alter how you see the world.”
From Up on Poppy Hill
Dir.: Goro Miyazaki / 2013 / Japan / in English / 91 min / 35mm film
Studio Ghibli scores with another attractive animated feature, this one the second effort from Goro Miyazaki, son of the legendary studio’s founder and driving creative force, Hayao Miyazaki, who also co-wrote this screenplay. The story, which provides certain parallels and contact points with the Hong Kong classic In the Mood for Love, takes place in 1963, as all Japan is beginning to feverishly prepare for the 1964 Olympics, hosted by Tokyo, a historically key transition point for postwar Japan. Umi (voiced by Sarah Bolger) is a 16-year-old whose father, a former sea captain, is dead. Her mother is studying medicine in the U.S. And Umi has been left to operate a boarding house that promises to be extremely busy when the Olympics arrives. Then she meets a boy. Complications ensue. Studio Ghibli authority Timothy Brayton of Antagony & Ecstasy says “it’s got a good heart, and likable characters [who are] easy to root for [It’s] a pleasant enough, airy kind of anime that there’s not much to complain about, for fans of the form.”
Dir.: Goro Miyazaki / 2013 / Japan / in English / 91 min / 35mm film
Studio Ghibli scores with another attractive animated feature, this one the second effort from Goro Miyazaki, son of the legendary studio’s founder and driving creative force, Hayao Miyazaki, who also co-wrote this screenplay. The story, which provides certain parallels and contact points with the Hong Kong classic In the Mood for Love, takes place in 1963, as all Japan is beginning to feverishly prepare for the 1964 Olympics, hosted by Tokyo, a historically key transition point for postwar Japan. Umi (voiced by Sarah Bolger) is a 16-year-old whose father, a former sea captain, is dead. Her mother is studying medicine in the U.S. And Umi has been left to operate a boarding house that promises to be extremely busy when the Olympics arrives. Then she meets a boy. Complications ensue. Studio Ghibli authority Timothy Brayton of Antagony & Ecstasy says “it’s got a good heart, and likable characters [who are] easy to root for [It’s] a pleasant enough, airy kind of anime that there’s not much to complain about, for fans of the form.”
No beer/wine in mezzanine on May 17th
Dir.: Pablo Larraín / 2013 / Chile / France / US / Spanish w/ English subtitles
118 min / 35mm film
An Academy Award nominee for Best Foreign Language Film, a Cannes Film Festival award winner, and a popular selection at many international film festivals, No takes a wickedly gleeful look at the end of the dictatorship in Chile in the late 80s. It is, in fact, the third film in a loosely knit trilogy from director Pablo Larraín examining life in Chile under the Pinochet regime, following the surprising and excellent Tony Manero (2008) and Post Mortem (2010). Gael Garcia Bernal (The Motorcycle Diaries, Y Tu Mama Tambien) plays René Saavedra, a hustling businessman who has embraced Chile’s move to market-driven economics. Based on true events, the action centers on the 1988 plebiscite in Chile, a national election to decide, on a yes or no up-and-down basis, whether or not Pinochet’s regime would remain in power. Activists who had been working for years to overturn the repressive regime turn to Saavedra, who tells them in plain terms that a campaign focused on the misery Pinochet caused would not work. Instead, he put together a campaign filled with upbeat jingles, comedy, and other tools of advertising—and won the election by some 10 points.
Friday, May 10
Miss Indigo Blue and Gotta Jones Productions Presents…
An extraordinary night of
royally raunchy burlesque:
The Reign of Fame!
Hosted by The Illustrious Ms. Hattie Hotpants!
8:00pm Doors/9:00pm Show
$20 General Admission
$35 Preferred seating with private performer meet & greet!
$50 VIP seating with swag bags and performer experience/patron participation!
18+ Only to attend/ Mezzanine Lounge Seating for those 21+
Tickets available online at olympiafilmsociety.org, Rainy Day Records, and box office night of show.
Miss Indigo Blue and Gotta Jones Productions Presents…
An extraordinary night of
royally raunchy burlesque:
The Reign of Fame!
Hosted by The Illustrious Ms. Hattie Hotpants!
8:00pm Doors/9:00pm Show
$20 General Admission
$35 Preferred seating with private performer meet & greet!
$50 VIP seating with swag bags and performer experience/patron participation!
18+ Only to attend/ Mezzanine Lounge Seating for those 21+
Tickets available online at olympiafilmsociety.org, Rainy Day Records, and box office night of show.
Saturday, May 18th – Veterans for Peace – Rachel Corrie chapter 109 Presents….
Occupy Love
3:30 doors/4:00pm show
Tickets: $8 General Admission / $6 OFS Members
Tickets available online at olympiafilmsociety.org and at box office night of show.
Dir: Velcrow Ripper / 2013 / US / 84 min / high definition digita
Join acclaimed director Velcrow Ripper (Scared Sacred, Fierce Light) on a journey deep inside the revolution of the heart that is erupting around the planet, as he asks the question, “How could the crisis we are facing become a love story?”
Occupy Love explores the growing realization that the dominant system of power is failing to provide us with health, happiness or meaning. The old paradigm that concentrates wealth, founded on the greed of the few, is causing economic and ecological collapse. The resulting crisis has become the catalyst for a profound awakening: millions of people are deciding that enough is enough - the time has come to create a new world, a world that works for all life.
“What the film shows, triumphantly, is that love can unite as much as greed can divide.” Vancouver International Film Festival
Occupy Love
3:30 doors/4:00pm show
Tickets: $8 General Admission / $6 OFS Members
Tickets available online at olympiafilmsociety.org and at box office night of show.
Dir: Velcrow Ripper / 2013 / US / 84 min / high definition digita
Join acclaimed director Velcrow Ripper (Scared Sacred, Fierce Light) on a journey deep inside the revolution of the heart that is erupting around the planet, as he asks the question, “How could the crisis we are facing become a love story?”
Occupy Love explores the growing realization that the dominant system of power is failing to provide us with health, happiness or meaning. The old paradigm that concentrates wealth, founded on the greed of the few, is causing economic and ecological collapse. The resulting crisis has become the catalyst for a profound awakening: millions of people are deciding that enough is enough - the time has come to create a new world, a world that works for all life.
“What the film shows, triumphantly, is that love can unite as much as greed can divide.” Vancouver International Film Festival
No
Dir.: Pablo Larraín / 2013 / Chile / France / US / Spanish w/ English subtitles
118 min / 35mm film
An Academy Award nominee for Best Foreign Language Film, a Cannes Film Festival award winner, and a popular selection at many international film festivals, No takes a wickedly gleeful look at the end of the dictatorship in Chile in the late 80s. It is, in fact, the third film in a loosely knit trilogy from director Pablo Larraín examining life in Chile under the Pinochet regime, following the surprising and excellent Tony Manero (2008) and Post Mortem (2010). Gael Garcia Bernal (The Motorcycle Diaries, Y Tu Mama Tambien) plays René Saavedra, a hustling businessman who has embraced Chile’s move to market-driven economics. Based on true events, the action centers on the 1988 plebiscite in Chile, a national election to decide, on a yes or no up-and-down basis, whether or not Pinochet’s regime would remain in power. Activists who had been working for years to overturn the repressive regime turn to Saavedra, who tells them in plain terms that a campaign focused on the misery Pinochet caused would not work. Instead, he put together a campaign filled with upbeat jingles, comedy, and other tools of advertising—and won the election by some 10 points.
Dir.: Pablo Larraín / 2013 / Chile / France / US / Spanish w/ English subtitles
118 min / 35mm film
An Academy Award nominee for Best Foreign Language Film, a Cannes Film Festival award winner, and a popular selection at many international film festivals, No takes a wickedly gleeful look at the end of the dictatorship in Chile in the late 80s. It is, in fact, the third film in a loosely knit trilogy from director Pablo Larraín examining life in Chile under the Pinochet regime, following the surprising and excellent Tony Manero (2008) and Post Mortem (2010). Gael Garcia Bernal (The Motorcycle Diaries, Y Tu Mama Tambien) plays René Saavedra, a hustling businessman who has embraced Chile’s move to market-driven economics. Based on true events, the action centers on the 1988 plebiscite in Chile, a national election to decide, on a yes or no up-and-down basis, whether or not Pinochet’s regime would remain in power. Activists who had been working for years to overturn the repressive regime turn to Saavedra, who tells them in plain terms that a campaign focused on the misery Pinochet caused would not work. Instead, he put together a campaign filled with upbeat jingles, comedy, and other tools of advertising—and won the election by some 10 points.
From Up on Poppy Hill
Dir.: Goro Miyazaki / 2013 / Japan / in English / 91 min / 35mm film
Studio Ghibli scores with another attractive animated feature, this one the second effort from Goro Miyazaki, son of the legendary studio’s founder and driving creative force, Hayao Miyazaki, who also co-wrote this screenplay. The story, which provides certain parallels and contact points with the Hong Kong classic In the Mood for Love, takes place in 1963, as all Japan is beginning to feverishly prepare for the 1964 Olympics, hosted by Tokyo, a historically key transition point for postwar Japan. Umi (voiced by Sarah Bolger) is a 16-year-old whose father, a former sea captain, is dead. Her mother is studying medicine in the U.S. And Umi has been left to operate a boarding house that promises to be extremely busy when the Olympics arrives. Then she meets a boy. Complications ensue. Studio Ghibli authority Timothy Brayton of Antagony & Ecstasy says “it’s got a good heart, and likable characters [who are] easy to root for [It’s] a pleasant enough, airy kind of anime that there’s not much to complain about, for fans of the form.”
Dir.: Goro Miyazaki / 2013 / Japan / in English / 91 min / 35mm film
Studio Ghibli scores with another attractive animated feature, this one the second effort from Goro Miyazaki, son of the legendary studio’s founder and driving creative force, Hayao Miyazaki, who also co-wrote this screenplay. The story, which provides certain parallels and contact points with the Hong Kong classic In the Mood for Love, takes place in 1963, as all Japan is beginning to feverishly prepare for the 1964 Olympics, hosted by Tokyo, a historically key transition point for postwar Japan. Umi (voiced by Sarah Bolger) is a 16-year-old whose father, a former sea captain, is dead. Her mother is studying medicine in the U.S. And Umi has been left to operate a boarding house that promises to be extremely busy when the Olympics arrives. Then she meets a boy. Complications ensue. Studio Ghibli authority Timothy Brayton of Antagony & Ecstasy says “it’s got a good heart, and likable characters [who are] easy to root for [It’s] a pleasant enough, airy kind of anime that there’s not much to complain about, for fans of the form.”
From Up on Poppy Hill
Dir.: Goro Miyazaki / 2013 / Japan / in English / 91 min / 35mm film
Studio Ghibli scores with another attractive animated feature, this one the second effort from Goro Miyazaki, son of the legendary studio’s founder and driving creative force, Hayao Miyazaki, who also co-wrote this screenplay. The story, which provides certain parallels and contact points with the Hong Kong classic In the Mood for Love, takes place in 1963, as all Japan is beginning to feverishly prepare for the 1964 Olympics, hosted by Tokyo, a historically key transition point for postwar Japan. Umi (voiced by Sarah Bolger) is a 16-year-old whose father, a former sea captain, is dead. Her mother is studying medicine in the U.S. And Umi has been left to operate a boarding house that promises to be extremely busy when the Olympics arrives. Then she meets a boy. Complications ensue. Studio Ghibli authority Timothy Brayton of Antagony & Ecstasy says “it’s got a good heart, and likable characters [who are] easy to root for [It’s] a pleasant enough, airy kind of anime that there’s not much to complain about, for fans of the form.”
Dir.: Goro Miyazaki / 2013 / Japan / in English / 91 min / 35mm film
Studio Ghibli scores with another attractive animated feature, this one the second effort from Goro Miyazaki, son of the legendary studio’s founder and driving creative force, Hayao Miyazaki, who also co-wrote this screenplay. The story, which provides certain parallels and contact points with the Hong Kong classic In the Mood for Love, takes place in 1963, as all Japan is beginning to feverishly prepare for the 1964 Olympics, hosted by Tokyo, a historically key transition point for postwar Japan. Umi (voiced by Sarah Bolger) is a 16-year-old whose father, a former sea captain, is dead. Her mother is studying medicine in the U.S. And Umi has been left to operate a boarding house that promises to be extremely busy when the Olympics arrives. Then she meets a boy. Complications ensue. Studio Ghibli authority Timothy Brayton of Antagony & Ecstasy says “it’s got a good heart, and likable characters [who are] easy to root for [It’s] a pleasant enough, airy kind of anime that there’s not much to complain about, for fans of the form.”
No
Dir.: Pablo Larraín / 2013 / Chile / France / US / Spanish w/ English subtitles
118 min / 35mm film
An Academy Award nominee for Best Foreign Language Film, a Cannes Film Festival award winner, and a popular selection at many international film festivals, No takes a wickedly gleeful look at the end of the dictatorship in Chile in the late 80s. It is, in fact, the third film in a loosely knit trilogy from director Pablo Larraín examining life in Chile under the Pinochet regime, following the surprising and excellent Tony Manero (2008) and Post Mortem (2010). Gael Garcia Bernal (The Motorcycle Diaries, Y Tu Mama Tambien) plays René Saavedra, a hustling businessman who has embraced Chile’s move to market-driven economics. Based on true events, the action centers on the 1988 plebiscite in Chile, a national election to decide, on a yes or no up-and-down basis, whether or not Pinochet’s regime would remain in power. Activists who had been working for years to overturn the repressive regime turn to Saavedra, who tells them in plain terms that a campaign focused on the misery Pinochet caused would not work. Instead, he put together a campaign filled with upbeat jingles, comedy, and other tools of advertising—and won the election by some 10 points.
Dir.: Pablo Larraín / 2013 / Chile / France / US / Spanish w/ English subtitles
118 min / 35mm film
An Academy Award nominee for Best Foreign Language Film, a Cannes Film Festival award winner, and a popular selection at many international film festivals, No takes a wickedly gleeful look at the end of the dictatorship in Chile in the late 80s. It is, in fact, the third film in a loosely knit trilogy from director Pablo Larraín examining life in Chile under the Pinochet regime, following the surprising and excellent Tony Manero (2008) and Post Mortem (2010). Gael Garcia Bernal (The Motorcycle Diaries, Y Tu Mama Tambien) plays René Saavedra, a hustling businessman who has embraced Chile’s move to market-driven economics. Based on true events, the action centers on the 1988 plebiscite in Chile, a national election to decide, on a yes or no up-and-down basis, whether or not Pinochet’s regime would remain in power. Activists who had been working for years to overturn the repressive regime turn to Saavedra, who tells them in plain terms that a campaign focused on the misery Pinochet caused would not work. Instead, he put together a campaign filled with upbeat jingles, comedy, and other tools of advertising—and won the election by some 10 points.
From Up on Poppy Hill
Dir.: Goro Miyazaki / 2013 / Japan / in English / 91 min / 35mm film
Studio Ghibli scores with another attractive animated feature, this one the second effort from Goro Miyazaki, son of the legendary studio’s founder and driving creative force, Hayao Miyazaki, who also co-wrote this screenplay. The story, which provides certain parallels and contact points with the Hong Kong classic In the Mood for Love, takes place in 1963, as all Japan is beginning to feverishly prepare for the 1964 Olympics, hosted by Tokyo, a historically key transition point for postwar Japan. Umi (voiced by Sarah Bolger) is a 16-year-old whose father, a former sea captain, is dead. Her mother is studying medicine in the U.S. And Umi has been left to operate a boarding house that promises to be extremely busy when the Olympics arrives. Then she meets a boy. Complications ensue. Studio Ghibli authority Timothy Brayton of Antagony & Ecstasy says “it’s got a good heart, and likable characters [who are] easy to root for [It’s] a pleasant enough, airy kind of anime that there’s not much to complain about, for fans of the form.”
Dir.: Goro Miyazaki / 2013 / Japan / in English / 91 min / 35mm film
Studio Ghibli scores with another attractive animated feature, this one the second effort from Goro Miyazaki, son of the legendary studio’s founder and driving creative force, Hayao Miyazaki, who also co-wrote this screenplay. The story, which provides certain parallels and contact points with the Hong Kong classic In the Mood for Love, takes place in 1963, as all Japan is beginning to feverishly prepare for the 1964 Olympics, hosted by Tokyo, a historically key transition point for postwar Japan. Umi (voiced by Sarah Bolger) is a 16-year-old whose father, a former sea captain, is dead. Her mother is studying medicine in the U.S. And Umi has been left to operate a boarding house that promises to be extremely busy when the Olympics arrives. Then she meets a boy. Complications ensue. Studio Ghibli authority Timothy Brayton of Antagony & Ecstasy says “it’s got a good heart, and likable characters [who are] easy to root for [It’s] a pleasant enough, airy kind of anime that there’s not much to complain about, for fans of the form.”
Benefit for Digital Cinema Systems
Two Historic Theaters!
One Great Cause!
$8.00/film
Alien at the
Skyline Drive-In
Beer/wine garden for 21 & over
8:00 gates/9:00 film
Dir: Ridley Scott / 1979 / US / 117 minute/ 35 mm film
In the original sci-fi opus Alien, which screens at 9:00 at the Skyline Drive-In, we follow the crew of the Nostromo, a salvage ship on its way home. Mistake one happens when they make an unscheduled stop on a supposedly deserted planet. Mistake number two: never let a contaminated crewmember back on the ship. Part gritty space opera, part horror film, Alien plays like a haunted monster movie trapped within the suffocating confines of outer space.
From Up on Poppy Hill
Dir.: Goro Miyazaki / 2013 / Japan / in English / 91 min / 35mm film
Studio Ghibli scores with another attractive animated feature, this one the second effort from Goro Miyazaki, son of the legendary studio’s founder and driving creative force, Hayao Miyazaki, who also co-wrote this screenplay. The story, which provides certain parallels and contact points with the Hong Kong classic In the Mood for Love, takes place in 1963, as all Japan is beginning to feverishly prepare for the 1964 Olympics, hosted by Tokyo, a historically key transition point for postwar Japan. Umi (voiced by Sarah Bolger) is a 16-year-old whose father, a former sea captain, is dead. Her mother is studying medicine in the U.S. And Umi has been left to operate a boarding house that promises to be extremely busy when the Olympics arrives. Then she meets a boy. Complications ensue. Studio Ghibli authority Timothy Brayton of Antagony & Ecstasy says “it’s got a good heart, and likable characters [who are] easy to root for [It’s] a pleasant enough, airy kind of anime that there’s not much to complain about, for fans of the form.”
Dir.: Goro Miyazaki / 2013 / Japan / in English / 91 min / 35mm film
Studio Ghibli scores with another attractive animated feature, this one the second effort from Goro Miyazaki, son of the legendary studio’s founder and driving creative force, Hayao Miyazaki, who also co-wrote this screenplay. The story, which provides certain parallels and contact points with the Hong Kong classic In the Mood for Love, takes place in 1963, as all Japan is beginning to feverishly prepare for the 1964 Olympics, hosted by Tokyo, a historically key transition point for postwar Japan. Umi (voiced by Sarah Bolger) is a 16-year-old whose father, a former sea captain, is dead. Her mother is studying medicine in the U.S. And Umi has been left to operate a boarding house that promises to be extremely busy when the Olympics arrives. Then she meets a boy. Complications ensue. Studio Ghibli authority Timothy Brayton of Antagony & Ecstasy says “it’s got a good heart, and likable characters [who are] easy to root for [It’s] a pleasant enough, airy kind of anime that there’s not much to complain about, for fans of the form.”
No
Dir.: Pablo Larraín / 2013 / Chile / France / US / Spanish w/ English subtitles
118 min / 35mm film
An Academy Award nominee for Best Foreign Language Film, a Cannes Film Festival award winner, and a popular selection at many international film festivals, No takes a wickedly gleeful look at the end of the dictatorship in Chile in the late 80s. It is, in fact, the third film in a loosely knit trilogy from director Pablo Larraín examining life in Chile under the Pinochet regime, following the surprising and excellent Tony Manero (2008) and Post Mortem (2010). Gael Garcia Bernal (The Motorcycle Diaries, Y Tu Mama Tambien) plays René Saavedra, a hustling businessman who has embraced Chile’s move to market-driven economics. Based on true events, the action centers on the 1988 plebiscite in Chile, a national election to decide, on a yes or no up-and-down basis, whether or not Pinochet’s regime would remain in power. Activists who had been working for years to overturn the repressive regime turn to Saavedra, who tells them in plain terms that a campaign focused on the misery Pinochet caused would not work. Instead, he put together a campaign filled with upbeat jingles, comedy, and other tools of advertising—and won the election by some 10 points.
Dir.: Pablo Larraín / 2013 / Chile / France / US / Spanish w/ English subtitles
118 min / 35mm film
An Academy Award nominee for Best Foreign Language Film, a Cannes Film Festival award winner, and a popular selection at many international film festivals, No takes a wickedly gleeful look at the end of the dictatorship in Chile in the late 80s. It is, in fact, the third film in a loosely knit trilogy from director Pablo Larraín examining life in Chile under the Pinochet regime, following the surprising and excellent Tony Manero (2008) and Post Mortem (2010). Gael Garcia Bernal (The Motorcycle Diaries, Y Tu Mama Tambien) plays René Saavedra, a hustling businessman who has embraced Chile’s move to market-driven economics. Based on true events, the action centers on the 1988 plebiscite in Chile, a national election to decide, on a yes or no up-and-down basis, whether or not Pinochet’s regime would remain in power. Activists who had been working for years to overturn the repressive regime turn to Saavedra, who tells them in plain terms that a campaign focused on the misery Pinochet caused would not work. Instead, he put together a campaign filled with upbeat jingles, comedy, and other tools of advertising—and won the election by some 10 points.
No
Dir.: Pablo Larraín / 2013 / Chile / France / US / Spanish w/ English subtitles
118 min / 35mm film
An Academy Award nominee for Best Foreign Language Film, a Cannes Film Festival award winner, and a popular selection at many international film festivals, No takes a wickedly gleeful look at the end of the dictatorship in Chile in the late 80s. It is, in fact, the third film in a loosely knit trilogy from director Pablo Larraín examining life in Chile under the Pinochet regime, following the surprising and excellent Tony Manero (2008) and Post Mortem (2010). Gael Garcia Bernal (The Motorcycle Diaries, Y Tu Mama Tambien) plays René Saavedra, a hustling businessman who has embraced Chile’s move to market-driven economics. Based on true events, the action centers on the 1988 plebiscite in Chile, a national election to decide, on a yes or no up-and-down basis, whether or not Pinochet’s regime would remain in power. Activists who had been working for years to overturn the repressive regime turn to Saavedra, who tells them in plain terms that a campaign focused on the misery Pinochet caused would not work. Instead, he put together a campaign filled with upbeat jingles, comedy, and other tools of advertising—and won the election by some 10 points.
Dir.: Pablo Larraín / 2013 / Chile / France / US / Spanish w/ English subtitles
118 min / 35mm film
An Academy Award nominee for Best Foreign Language Film, a Cannes Film Festival award winner, and a popular selection at many international film festivals, No takes a wickedly gleeful look at the end of the dictatorship in Chile in the late 80s. It is, in fact, the third film in a loosely knit trilogy from director Pablo Larraín examining life in Chile under the Pinochet regime, following the surprising and excellent Tony Manero (2008) and Post Mortem (2010). Gael Garcia Bernal (The Motorcycle Diaries, Y Tu Mama Tambien) plays René Saavedra, a hustling businessman who has embraced Chile’s move to market-driven economics. Based on true events, the action centers on the 1988 plebiscite in Chile, a national election to decide, on a yes or no up-and-down basis, whether or not Pinochet’s regime would remain in power. Activists who had been working for years to overturn the repressive regime turn to Saavedra, who tells them in plain terms that a campaign focused on the misery Pinochet caused would not work. Instead, he put together a campaign filled with upbeat jingles, comedy, and other tools of advertising—and won the election by some 10 points.
From Up on Poppy Hill
Dir.: Goro Miyazaki / 2013 / Japan / in English / 91 min / 35mm film
Studio Ghibli scores with another attractive animated feature, this one the second effort from Goro Miyazaki, son of the legendary studio’s founder and driving creative force, Hayao Miyazaki, who also co-wrote this screenplay. The story, which provides certain parallels and contact points with the Hong Kong classic In the Mood for Love, takes place in 1963, as all Japan is beginning to feverishly prepare for the 1964 Olympics, hosted by Tokyo, a historically key transition point for postwar Japan. Umi (voiced by Sarah Bolger) is a 16-year-old whose father, a former sea captain, is dead. Her mother is studying medicine in the U.S. And Umi has been left to operate a boarding house that promises to be extremely busy when the Olympics arrives. Then she meets a boy. Complications ensue. Studio Ghibli authority Timothy Brayton of Antagony & Ecstasy says “it’s got a good heart, and likable characters [who are] easy to root for [It’s] a pleasant enough, airy kind of anime that there’s not much to complain about, for fans of the form.”
Dir.: Goro Miyazaki / 2013 / Japan / in English / 91 min / 35mm film
Studio Ghibli scores with another attractive animated feature, this one the second effort from Goro Miyazaki, son of the legendary studio’s founder and driving creative force, Hayao Miyazaki, who also co-wrote this screenplay. The story, which provides certain parallels and contact points with the Hong Kong classic In the Mood for Love, takes place in 1963, as all Japan is beginning to feverishly prepare for the 1964 Olympics, hosted by Tokyo, a historically key transition point for postwar Japan. Umi (voiced by Sarah Bolger) is a 16-year-old whose father, a former sea captain, is dead. Her mother is studying medicine in the U.S. And Umi has been left to operate a boarding house that promises to be extremely busy when the Olympics arrives. Then she meets a boy. Complications ensue. Studio Ghibli authority Timothy Brayton of Antagony & Ecstasy says “it’s got a good heart, and likable characters [who are] easy to root for [It’s] a pleasant enough, airy kind of anime that there’s not much to complain about, for fans of the form.”
No
Dir.: Pablo Larraín / 2013 / Chile / France / US / Spanish w/ English subtitles
118 min / 35mm film
An Academy Award nominee for Best Foreign Language Film, a Cannes Film Festival award winner, and a popular selection at many international film festivals, No takes a wickedly gleeful look at the end of the dictatorship in Chile in the late 80s. It is, in fact, the third film in a loosely knit trilogy from director Pablo Larraín examining life in Chile under the Pinochet regime, following the surprising and excellent Tony Manero (2008) and Post Mortem (2010). Gael Garcia Bernal (The Motorcycle Diaries, Y Tu Mama Tambien) plays René Saavedra, a hustling businessman who has embraced Chile’s move to market-driven economics. Based on true events, the action centers on the 1988 plebiscite in Chile, a national election to decide, on a yes or no up-and-down basis, whether or not Pinochet’s regime would remain in power. Activists who had been working for years to overturn the repressive regime turn to Saavedra, who tells them in plain terms that a campaign focused on the misery Pinochet caused would not work. Instead, he put together a campaign filled with upbeat jingles, comedy, and other tools of advertising—and won the election by some 10 points.
Dir.: Pablo Larraín / 2013 / Chile / France / US / Spanish w/ English subtitles
118 min / 35mm film
An Academy Award nominee for Best Foreign Language Film, a Cannes Film Festival award winner, and a popular selection at many international film festivals, No takes a wickedly gleeful look at the end of the dictatorship in Chile in the late 80s. It is, in fact, the third film in a loosely knit trilogy from director Pablo Larraín examining life in Chile under the Pinochet regime, following the surprising and excellent Tony Manero (2008) and Post Mortem (2010). Gael Garcia Bernal (The Motorcycle Diaries, Y Tu Mama Tambien) plays René Saavedra, a hustling businessman who has embraced Chile’s move to market-driven economics. Based on true events, the action centers on the 1988 plebiscite in Chile, a national election to decide, on a yes or no up-and-down basis, whether or not Pinochet’s regime would remain in power. Activists who had been working for years to overturn the repressive regime turn to Saavedra, who tells them in plain terms that a campaign focused on the misery Pinochet caused would not work. Instead, he put together a campaign filled with upbeat jingles, comedy, and other tools of advertising—and won the election by some 10 points.
From Up on Poppy Hill
Dir.: Goro Miyazaki / 2013 / Japan / in English / 91 min / 35mm film
Studio Ghibli scores with another attractive animated feature, this one the second effort from Goro Miyazaki, son of the legendary studio’s founder and driving creative force, Hayao Miyazaki, who also co-wrote this screenplay. The story, which provides certain parallels and contact points with the Hong Kong classic In the Mood for Love, takes place in 1963, as all Japan is beginning to feverishly prepare for the 1964 Olympics, hosted by Tokyo, a historically key transition point for postwar Japan. Umi (voiced by Sarah Bolger) is a 16-year-old whose father, a former sea captain, is dead. Her mother is studying medicine in the U.S. And Umi has been left to operate a boarding house that promises to be extremely busy when the Olympics arrives. Then she meets a boy. Complications ensue. Studio Ghibli authority Timothy Brayton of Antagony & Ecstasy says “it’s got a good heart, and likable characters [who are] easy to root for [It’s] a pleasant enough, airy kind of anime that there’s not much to complain about, for fans of the form.”
Dir.: Goro Miyazaki / 2013 / Japan / in English / 91 min / 35mm film
Studio Ghibli scores with another attractive animated feature, this one the second effort from Goro Miyazaki, son of the legendary studio’s founder and driving creative force, Hayao Miyazaki, who also co-wrote this screenplay. The story, which provides certain parallels and contact points with the Hong Kong classic In the Mood for Love, takes place in 1963, as all Japan is beginning to feverishly prepare for the 1964 Olympics, hosted by Tokyo, a historically key transition point for postwar Japan. Umi (voiced by Sarah Bolger) is a 16-year-old whose father, a former sea captain, is dead. Her mother is studying medicine in the U.S. And Umi has been left to operate a boarding house that promises to be extremely busy when the Olympics arrives. Then she meets a boy. Complications ensue. Studio Ghibli authority Timothy Brayton of Antagony & Ecstasy says “it’s got a good heart, and likable characters [who are] easy to root for [It’s] a pleasant enough, airy kind of anime that there’s not much to complain about, for fans of the form.”
From Up on Poppy Hill
Dir.: Goro Miyazaki / 2013 / Japan / in English / 91 min / 35mm film
Studio Ghibli scores with another attractive animated feature, this one the second effort from Goro Miyazaki, son of the legendary studio’s founder and driving creative force, Hayao Miyazaki, who also co-wrote this screenplay. The story, which provides certain parallels and contact points with the Hong Kong classic In the Mood for Love, takes place in 1963, as all Japan is beginning to feverishly prepare for the 1964 Olympics, hosted by Tokyo, a historically key transition point for postwar Japan. Umi (voiced by Sarah Bolger) is a 16-year-old whose father, a former sea captain, is dead. Her mother is studying medicine in the U.S. And Umi has been left to operate a boarding house that promises to be extremely busy when the Olympics arrives. Then she meets a boy. Complications ensue. Studio Ghibli authority Timothy Brayton of Antagony & Ecstasy says “it’s got a good heart, and likable characters [who are] easy to root for [It’s] a pleasant enough, airy kind of anime that there’s not much to complain about, for fans of the form.”
Dir.: Goro Miyazaki / 2013 / Japan / in English / 91 min / 35mm film
Studio Ghibli scores with another attractive animated feature, this one the second effort from Goro Miyazaki, son of the legendary studio’s founder and driving creative force, Hayao Miyazaki, who also co-wrote this screenplay. The story, which provides certain parallels and contact points with the Hong Kong classic In the Mood for Love, takes place in 1963, as all Japan is beginning to feverishly prepare for the 1964 Olympics, hosted by Tokyo, a historically key transition point for postwar Japan. Umi (voiced by Sarah Bolger) is a 16-year-old whose father, a former sea captain, is dead. Her mother is studying medicine in the U.S. And Umi has been left to operate a boarding house that promises to be extremely busy when the Olympics arrives. Then she meets a boy. Complications ensue. Studio Ghibli authority Timothy Brayton of Antagony & Ecstasy says “it’s got a good heart, and likable characters [who are] easy to root for [It’s] a pleasant enough, airy kind of anime that there’s not much to complain about, for fans of the form.”
No
Dir.: Pablo Larraín / 2013 / Chile / France / US / Spanish w/ English subtitles
118 min / 35mm film
An Academy Award nominee for Best Foreign Language Film, a Cannes Film Festival award winner, and a popular selection at many international film festivals, No takes a wickedly gleeful look at the end of the dictatorship in Chile in the late 80s. It is, in fact, the third film in a loosely knit trilogy from director Pablo Larraín examining life in Chile under the Pinochet regime, following the surprising and excellent Tony Manero (2008) and Post Mortem (2010). Gael Garcia Bernal (The Motorcycle Diaries, Y Tu Mama Tambien) plays René Saavedra, a hustling businessman who has embraced Chile’s move to market-driven economics. Based on true events, the action centers on the 1988 plebiscite in Chile, a national election to decide, on a yes or no up-and-down basis, whether or not Pinochet’s regime would remain in power. Activists who had been working for years to overturn the repressive regime turn to Saavedra, who tells them in plain terms that a campaign focused on the misery Pinochet caused would not work. Instead, he put together a campaign filled with upbeat jingles, comedy, and other tools of advertising—and won the election by some 10 points.
Dir.: Pablo Larraín / 2013 / Chile / France / US / Spanish w/ English subtitles
118 min / 35mm film
An Academy Award nominee for Best Foreign Language Film, a Cannes Film Festival award winner, and a popular selection at many international film festivals, No takes a wickedly gleeful look at the end of the dictatorship in Chile in the late 80s. It is, in fact, the third film in a loosely knit trilogy from director Pablo Larraín examining life in Chile under the Pinochet regime, following the surprising and excellent Tony Manero (2008) and Post Mortem (2010). Gael Garcia Bernal (The Motorcycle Diaries, Y Tu Mama Tambien) plays René Saavedra, a hustling businessman who has embraced Chile’s move to market-driven economics. Based on true events, the action centers on the 1988 plebiscite in Chile, a national election to decide, on a yes or no up-and-down basis, whether or not Pinochet’s regime would remain in power. Activists who had been working for years to overturn the repressive regime turn to Saavedra, who tells them in plain terms that a campaign focused on the misery Pinochet caused would not work. Instead, he put together a campaign filled with upbeat jingles, comedy, and other tools of advertising—and won the election by some 10 points.
From Up on Poppy Hill
Dir.: Goro Miyazaki / 2013 / Japan / in English / 91 min / 35mm film
Studio Ghibli scores with another attractive animated feature, this one the second effort from Goro Miyazaki, son of the legendary studio’s founder and driving creative force, Hayao Miyazaki, who also co-wrote this screenplay. The story, which provides certain parallels and contact points with the Hong Kong classic In the Mood for Love, takes place in 1963, as all Japan is beginning to feverishly prepare for the 1964 Olympics, hosted by Tokyo, a historically key transition point for postwar Japan. Umi (voiced by Sarah Bolger) is a 16-year-old whose father, a former sea captain, is dead. Her mother is studying medicine in the U.S. And Umi has been left to operate a boarding house that promises to be extremely busy when the Olympics arrives. Then she meets a boy. Complications ensue. Studio Ghibli authority Timothy Brayton of Antagony & Ecstasy says “it’s got a good heart, and likable characters [who are] easy to root for [It’s] a pleasant enough, airy kind of anime that there’s not much to complain about, for fans of the form.”
Dir.: Goro Miyazaki / 2013 / Japan / in English / 91 min / 35mm film
Studio Ghibli scores with another attractive animated feature, this one the second effort from Goro Miyazaki, son of the legendary studio’s founder and driving creative force, Hayao Miyazaki, who also co-wrote this screenplay. The story, which provides certain parallels and contact points with the Hong Kong classic In the Mood for Love, takes place in 1963, as all Japan is beginning to feverishly prepare for the 1964 Olympics, hosted by Tokyo, a historically key transition point for postwar Japan. Umi (voiced by Sarah Bolger) is a 16-year-old whose father, a former sea captain, is dead. Her mother is studying medicine in the U.S. And Umi has been left to operate a boarding house that promises to be extremely busy when the Olympics arrives. Then she meets a boy. Complications ensue. Studio Ghibli authority Timothy Brayton of Antagony & Ecstasy says “it’s got a good heart, and likable characters [who are] easy to root for [It’s] a pleasant enough, airy kind of anime that there’s not much to complain about, for fans of the form.”
The Company You Keep
Dir.: Robert Redford / 2013 / US / 121 min / 35 mm film
The Company You Keep is a throwback to political thrillers of the 1970s. Jim Grant (Redford) is an established lawyer with a secret. What people do not know is that he’s a former 60’s radical. Once a member of the notorious Weather Underground, he’s been in hiding since a robbery gone terribly wrong. Now, decades later, a fellow member of the group has turned herself in. This tips off an inquisitive reporter (Shia LeBeouf), who begins to investigate. With the threat of discovery becoming reality, Jim decides to run for it. Along the way, he meets up with former members of the Underground who have managed to integrate back into society, and some who have not. The stellar cast includes Susan Sarandon, Richard Jenkins, Nick Nolte, and Julie Christie. Peter Travers of Rolling Stone says, “Redford builds a riveting, resonant political thriller that values the complexity of its characters and the intelligence of its audience.”
Dir.: Robert Redford / 2013 / US / 121 min / 35 mm film
The Company You Keep is a throwback to political thrillers of the 1970s. Jim Grant (Redford) is an established lawyer with a secret. What people do not know is that he’s a former 60’s radical. Once a member of the notorious Weather Underground, he’s been in hiding since a robbery gone terribly wrong. Now, decades later, a fellow member of the group has turned herself in. This tips off an inquisitive reporter (Shia LeBeouf), who begins to investigate. With the threat of discovery becoming reality, Jim decides to run for it. Along the way, he meets up with former members of the Underground who have managed to integrate back into society, and some who have not. The stellar cast includes Susan Sarandon, Richard Jenkins, Nick Nolte, and Julie Christie. Peter Travers of Rolling Stone says, “Redford builds a riveting, resonant political thriller that values the complexity of its characters and the intelligence of its audience.”
Stoker beer/wine in mezzanine on May 24
Dir.: Park Chan-wook / 2013 / US/UK / 99 min / 35 mm film
From the innovative director of Oldboy comes Stoker, a measured study in the art of the bizarre in the guise of a family drama. India (Mia Wasikowska) is a stoic teenaged girl in mourning for her late father. With his recent passing, she and her mother, Evelyn (Nicole Kidman), feel adrift in their new lives. That’s why they’ve let Uncle Charlie move in. He’s come to offer comfort to the grieving pair, but with his arrival comes an unsettling feeling of unease. With his presence comes unearthed secrets and buried lies. There’s a sense of history between Evie and Charlie, and India must find out why. Meanwhile, she plays a sly game of cat-and-mouse with the new tenant that may result in her own demise. Dripping with a grim sense of expectation and wonder, Stoker is surely in the running to become a modern cult classic. Richard Roper of The Chicago Sun Times says, “It’s disturbingly good.”
Dir.: Park Chan-wook / 2013 / US/UK / 99 min / 35 mm film
From the innovative director of Oldboy comes Stoker, a measured study in the art of the bizarre in the guise of a family drama. India (Mia Wasikowska) is a stoic teenaged girl in mourning for her late father. With his recent passing, she and her mother, Evelyn (Nicole Kidman), feel adrift in their new lives. That’s why they’ve let Uncle Charlie move in. He’s come to offer comfort to the grieving pair, but with his arrival comes an unsettling feeling of unease. With his presence comes unearthed secrets and buried lies. There’s a sense of history between Evie and Charlie, and India must find out why. Meanwhile, she plays a sly game of cat-and-mouse with the new tenant that may result in her own demise. Dripping with a grim sense of expectation and wonder, Stoker is surely in the running to become a modern cult classic. Richard Roper of The Chicago Sun Times says, “It’s disturbingly good.”
The Sapphires
Dir.: Wayne Blair / 2013 / Australia / 103 min / 35mm film
This award-winning film festival favorite from Australia takes us back to the 60’s and the era of girl groups in popular music. Earning comparisons with Dreamgirls for its musicality and rags-to-riches theme, The Sapphires follows the adventures of a four-piece aboriginal soul quartet trying to make it at a time when racism was even worse and the Vietnam War kept intruding on everyone’s experience, a time when, somehow, everyone was ready for something new. The four girls in The Sapphires meet up with a manager who really believes in them and then take their lively act to Vietnam to entertain the troops, hoping to make it big. It may be a tried and true formula for crazy kids trying to make it in show biz, but along the way it finds any number of ways to endear itself. Peter Travers of Rolling Stone enthuses, “Even falling bombs... can’t detract from The Sapphires as they stride onstage in sequins singing Motown classics. What glory abides in their voices. And what a treat awaits you watching their dreams play out.”
Dir.: Wayne Blair / 2013 / Australia / 103 min / 35mm film
This award-winning film festival favorite from Australia takes us back to the 60’s and the era of girl groups in popular music. Earning comparisons with Dreamgirls for its musicality and rags-to-riches theme, The Sapphires follows the adventures of a four-piece aboriginal soul quartet trying to make it at a time when racism was even worse and the Vietnam War kept intruding on everyone’s experience, a time when, somehow, everyone was ready for something new. The four girls in The Sapphires meet up with a manager who really believes in them and then take their lively act to Vietnam to entertain the troops, hoping to make it big. It may be a tried and true formula for crazy kids trying to make it in show biz, but along the way it finds any number of ways to endear itself. Peter Travers of Rolling Stone enthuses, “Even falling bombs... can’t detract from The Sapphires as they stride onstage in sequins singing Motown classics. What glory abides in their voices. And what a treat awaits you watching their dreams play out.”
Barbara beer/wine in mezzanine on May 31
Dir.: Christian Petzold / 2013 / Germany / 105 min / German w/ English subtitles / 35 mm film
The winner of several international awards including The Golden Lion at the Berlin Film Festival, Barbara is a portrait of one woman’s perilous life behind the Iron Curtain. Set in 1980, the barrier between East and West Germany is fully ingrained. Barbara is a doctor in the East, who has been banished to a remote clinic for unspecified reasons. As she resumes her practice, Barbara must suffer many hardships. These include being under constant surveillance, which entails tolerating humiliating searches that can occur at any time. No one can be trusted, though some try to forge a connection. Andre, a fellow doctor, shows an interest, but her suspicion surrounding his motivation may be justified. All the while, Barbara holds an enduring affinity for the West, which may contain the secret to her yearned-for happiness. Kenneth Turan of The Los Angeles Times says, “It’s one terrific film, ... smart, thoughtful and emotionally involving.”
Dir.: Christian Petzold / 2013 / Germany / 105 min / German w/ English subtitles / 35 mm film
The winner of several international awards including The Golden Lion at the Berlin Film Festival, Barbara is a portrait of one woman’s perilous life behind the Iron Curtain. Set in 1980, the barrier between East and West Germany is fully ingrained. Barbara is a doctor in the East, who has been banished to a remote clinic for unspecified reasons. As she resumes her practice, Barbara must suffer many hardships. These include being under constant surveillance, which entails tolerating humiliating searches that can occur at any time. No one can be trusted, though some try to forge a connection. Andre, a fellow doctor, shows an interest, but her suspicion surrounding his motivation may be justified. All the while, Barbara holds an enduring affinity for the West, which may contain the secret to her yearned-for happiness. Kenneth Turan of The Los Angeles Times says, “It’s one terrific film, ... smart, thoughtful and emotionally involving.”
The Company You Keep
Dir.: Robert Redford / 2013 / US / 121 min / 35 mm film
The Company You Keep is a throwback to political thrillers of the 1970s. Jim Grant (Redford) is an established lawyer with a secret. What people do not know is that he’s a former 60’s radical. Once a member of the notorious Weather Underground, he’s been in hiding since a robbery gone terribly wrong. Now, decades later, a fellow member of the group has turned herself in. This tips off an inquisitive reporter (Shia LeBeouf), who begins to investigate. With the threat of discovery becoming reality, Jim decides to run for it. Along the way, he meets up with former members of the Underground who have managed to integrate back into society, and some who have not. The stellar cast includes Susan Sarandon, Richard Jenkins, Nick Nolte, and Julie Christie. Peter Travers of Rolling Stone says, “Redford builds a riveting, resonant political thriller that values the complexity of its characters and the intelligence of its audience.”
Dir.: Robert Redford / 2013 / US / 121 min / 35 mm film
The Company You Keep is a throwback to political thrillers of the 1970s. Jim Grant (Redford) is an established lawyer with a secret. What people do not know is that he’s a former 60’s radical. Once a member of the notorious Weather Underground, he’s been in hiding since a robbery gone terribly wrong. Now, decades later, a fellow member of the group has turned herself in. This tips off an inquisitive reporter (Shia LeBeouf), who begins to investigate. With the threat of discovery becoming reality, Jim decides to run for it. Along the way, he meets up with former members of the Underground who have managed to integrate back into society, and some who have not. The stellar cast includes Susan Sarandon, Richard Jenkins, Nick Nolte, and Julie Christie. Peter Travers of Rolling Stone says, “Redford builds a riveting, resonant political thriller that values the complexity of its characters and the intelligence of its audience.”
Stoker
Dir.: Park Chan-wook / 2013 / US/UK / 99 min / 35 mm film
From the innovative director of Oldboy comes Stoker, a measured study in the art of the bizarre in the guise of a family drama. India (Mia Wasikowska) is a stoic teenaged girl in mourning for her late father. With his recent passing, she and her mother, Evelyn (Nicole Kidman), feel adrift in their new lives. That’s why they’ve let Uncle Charlie move in. He’s come to offer comfort to the grieving pair, but with his arrival comes an unsettling feeling of unease. With his presence comes unearthed secrets and buried lies. There’s a sense of history between Evie and Charlie, and India must find out why. Meanwhile, she plays a sly game of cat-and-mouse with the new tenant that may result in her own demise. Dripping with a grim sense of expectation and wonder, Stoker is surely in the running to become a modern cult classic. Richard Roper of The Chicago Sun Times says, “It’s disturbingly good.”
Dir.: Park Chan-wook / 2013 / US/UK / 99 min / 35 mm film
From the innovative director of Oldboy comes Stoker, a measured study in the art of the bizarre in the guise of a family drama. India (Mia Wasikowska) is a stoic teenaged girl in mourning for her late father. With his recent passing, she and her mother, Evelyn (Nicole Kidman), feel adrift in their new lives. That’s why they’ve let Uncle Charlie move in. He’s come to offer comfort to the grieving pair, but with his arrival comes an unsettling feeling of unease. With his presence comes unearthed secrets and buried lies. There’s a sense of history between Evie and Charlie, and India must find out why. Meanwhile, she plays a sly game of cat-and-mouse with the new tenant that may result in her own demise. Dripping with a grim sense of expectation and wonder, Stoker is surely in the running to become a modern cult classic. Richard Roper of The Chicago Sun Times says, “It’s disturbingly good.”
The Company You Keep
Dir.: Robert Redford / 2013 / US / 121 min / 35 mm film
The Company You Keep is a throwback to political thrillers of the 1970s. Jim Grant (Redford) is an established lawyer with a secret. What people do not know is that he’s a former 60’s radical. Once a member of the notorious Weather Underground, he’s been in hiding since a robbery gone terribly wrong. Now, decades later, a fellow member of the group has turned herself in. This tips off an inquisitive reporter (Shia LeBeouf), who begins to investigate. With the threat of discovery becoming reality, Jim decides to run for it. Along the way, he meets up with former members of the Underground who have managed to integrate back into society, and some who have not. The stellar cast includes Susan Sarandon, Richard Jenkins, Nick Nolte, and Julie Christie. Peter Travers of Rolling Stone says, “Redford builds a riveting, resonant political thriller that values the complexity of its characters and the intelligence of its audience.”
Dir.: Robert Redford / 2013 / US / 121 min / 35 mm film
The Company You Keep is a throwback to political thrillers of the 1970s. Jim Grant (Redford) is an established lawyer with a secret. What people do not know is that he’s a former 60’s radical. Once a member of the notorious Weather Underground, he’s been in hiding since a robbery gone terribly wrong. Now, decades later, a fellow member of the group has turned herself in. This tips off an inquisitive reporter (Shia LeBeouf), who begins to investigate. With the threat of discovery becoming reality, Jim decides to run for it. Along the way, he meets up with former members of the Underground who have managed to integrate back into society, and some who have not. The stellar cast includes Susan Sarandon, Richard Jenkins, Nick Nolte, and Julie Christie. Peter Travers of Rolling Stone says, “Redford builds a riveting, resonant political thriller that values the complexity of its characters and the intelligence of its audience.”
The Company You Keep
Dir.: Robert Redford / 2013 / US / 121 min / 35 mm film
The Company You Keep is a throwback to political thrillers of the 1970s. Jim Grant (Redford) is an established lawyer with a secret. What people do not know is that he’s a former 60’s radical. Once a member of the notorious Weather Underground, he’s been in hiding since a robbery gone terribly wrong. Now, decades later, a fellow member of the group has turned herself in. This tips off an inquisitive reporter (Shia LeBeouf), who begins to investigate. With the threat of discovery becoming reality, Jim decides to run for it. Along the way, he meets up with former members of the Underground who have managed to integrate back into society, and some who have not. The stellar cast includes Susan Sarandon, Richard Jenkins, Nick Nolte, and Julie Christie. Peter Travers of Rolling Stone says, “Redford builds a riveting, resonant political thriller that values the complexity of its characters and the intelligence of its audience.”
Dir.: Robert Redford / 2013 / US / 121 min / 35 mm film
The Company You Keep is a throwback to political thrillers of the 1970s. Jim Grant (Redford) is an established lawyer with a secret. What people do not know is that he’s a former 60’s radical. Once a member of the notorious Weather Underground, he’s been in hiding since a robbery gone terribly wrong. Now, decades later, a fellow member of the group has turned herself in. This tips off an inquisitive reporter (Shia LeBeouf), who begins to investigate. With the threat of discovery becoming reality, Jim decides to run for it. Along the way, he meets up with former members of the Underground who have managed to integrate back into society, and some who have not. The stellar cast includes Susan Sarandon, Richard Jenkins, Nick Nolte, and Julie Christie. Peter Travers of Rolling Stone says, “Redford builds a riveting, resonant political thriller that values the complexity of its characters and the intelligence of its audience.”
Stoker
Dir.: Park Chan-wook / 2013 / US/UK / 99 min / 35 mm film
From the innovative director of Oldboy comes Stoker, a measured study in the art of the bizarre in the guise of a family drama. India (Mia Wasikowska) is a stoic teenaged girl in mourning for her late father. With his recent passing, she and her mother, Evelyn (Nicole Kidman), feel adrift in their new lives. That’s why they’ve let Uncle Charlie move in. He’s come to offer comfort to the grieving pair, but with his arrival comes an unsettling feeling of unease. With his presence comes unearthed secrets and buried lies. There’s a sense of history between Evie and Charlie, and India must find out why. Meanwhile, she plays a sly game of cat-and-mouse with the new tenant that may result in her own demise. Dripping with a grim sense of expectation and wonder, Stoker is surely in the running to become a modern cult classic. Richard Roper of The Chicago Sun Times says, “It’s disturbingly good.”
Dir.: Park Chan-wook / 2013 / US/UK / 99 min / 35 mm film
From the innovative director of Oldboy comes Stoker, a measured study in the art of the bizarre in the guise of a family drama. India (Mia Wasikowska) is a stoic teenaged girl in mourning for her late father. With his recent passing, she and her mother, Evelyn (Nicole Kidman), feel adrift in their new lives. That’s why they’ve let Uncle Charlie move in. He’s come to offer comfort to the grieving pair, but with his arrival comes an unsettling feeling of unease. With his presence comes unearthed secrets and buried lies. There’s a sense of history between Evie and Charlie, and India must find out why. Meanwhile, she plays a sly game of cat-and-mouse with the new tenant that may result in her own demise. Dripping with a grim sense of expectation and wonder, Stoker is surely in the running to become a modern cult classic. Richard Roper of The Chicago Sun Times says, “It’s disturbingly good.”
The Company You Keep
Dir.: Robert Redford / 2013 / US / 121 min / 35 mm film
The Company You Keep is a throwback to political thrillers of the 1970s. Jim Grant (Redford) is an established lawyer with a secret. What people do not know is that he’s a former 60’s radical. Once a member of the notorious Weather Underground, he’s been in hiding since a robbery gone terribly wrong. Now, decades later, a fellow member of the group has turned herself in. This tips off an inquisitive reporter (Shia LeBeouf), who begins to investigate. With the threat of discovery becoming reality, Jim decides to run for it. Along the way, he meets up with former members of the Underground who have managed to integrate back into society, and some who have not. The stellar cast includes Susan Sarandon, Richard Jenkins, Nick Nolte, and Julie Christie. Peter Travers of Rolling Stone says, “Redford builds a riveting, resonant political thriller that values the complexity of its characters and the intelligence of its audience.”
Dir.: Robert Redford / 2013 / US / 121 min / 35 mm film
The Company You Keep is a throwback to political thrillers of the 1970s. Jim Grant (Redford) is an established lawyer with a secret. What people do not know is that he’s a former 60’s radical. Once a member of the notorious Weather Underground, he’s been in hiding since a robbery gone terribly wrong. Now, decades later, a fellow member of the group has turned herself in. This tips off an inquisitive reporter (Shia LeBeouf), who begins to investigate. With the threat of discovery becoming reality, Jim decides to run for it. Along the way, he meets up with former members of the Underground who have managed to integrate back into society, and some who have not. The stellar cast includes Susan Sarandon, Richard Jenkins, Nick Nolte, and Julie Christie. Peter Travers of Rolling Stone says, “Redford builds a riveting, resonant political thriller that values the complexity of its characters and the intelligence of its audience.”
Stoker
Dir.: Park Chan-wook / 2013 / US/UK / 99 min / 35 mm film
From the innovative director of Oldboy comes Stoker, a measured study in the art of the bizarre in the guise of a family drama. India (Mia Wasikowska) is a stoic teenaged girl in mourning for her late father. With his recent passing, she and her mother, Evelyn (Nicole Kidman), feel adrift in their new lives. That’s why they’ve let Uncle Charlie move in. He’s come to offer comfort to the grieving pair, but with his arrival comes an unsettling feeling of unease. With his presence comes unearthed secrets and buried lies. There’s a sense of history between Evie and Charlie, and India must find out why. Meanwhile, she plays a sly game of cat-and-mouse with the new tenant that may result in her own demise. Dripping with a grim sense of expectation and wonder, Stoker is surely in the running to become a modern cult classic. Richard Roper of The Chicago Sun Times says, “It’s disturbingly good.”
Dir.: Park Chan-wook / 2013 / US/UK / 99 min / 35 mm film
From the innovative director of Oldboy comes Stoker, a measured study in the art of the bizarre in the guise of a family drama. India (Mia Wasikowska) is a stoic teenaged girl in mourning for her late father. With his recent passing, she and her mother, Evelyn (Nicole Kidman), feel adrift in their new lives. That’s why they’ve let Uncle Charlie move in. He’s come to offer comfort to the grieving pair, but with his arrival comes an unsettling feeling of unease. With his presence comes unearthed secrets and buried lies. There’s a sense of history between Evie and Charlie, and India must find out why. Meanwhile, she plays a sly game of cat-and-mouse with the new tenant that may result in her own demise. Dripping with a grim sense of expectation and wonder, Stoker is surely in the running to become a modern cult classic. Richard Roper of The Chicago Sun Times says, “It’s disturbingly good.”
The Company You Keep
Dir.: Robert Redford / 2013 / US / 121 min / 35 mm film
The Company You Keep is a throwback to political thrillers of the 1970s. Jim Grant (Redford) is an established lawyer with a secret. What people do not know is that he’s a former 60’s radical. Once a member of the notorious Weather Underground, he’s been in hiding since a robbery gone terribly wrong. Now, decades later, a fellow member of the group has turned herself in. This tips off an inquisitive reporter (Shia LeBeouf), who begins to investigate. With the threat of discovery becoming reality, Jim decides to run for it. Along the way, he meets up with former members of the Underground who have managed to integrate back into society, and some who have not. The stellar cast includes Susan Sarandon, Richard Jenkins, Nick Nolte, and Julie Christie. Peter Travers of Rolling Stone says, “Redford builds a riveting, resonant political thriller that values the complexity of its characters and the intelligence of its audience.”
Dir.: Robert Redford / 2013 / US / 121 min / 35 mm film
The Company You Keep is a throwback to political thrillers of the 1970s. Jim Grant (Redford) is an established lawyer with a secret. What people do not know is that he’s a former 60’s radical. Once a member of the notorious Weather Underground, he’s been in hiding since a robbery gone terribly wrong. Now, decades later, a fellow member of the group has turned herself in. This tips off an inquisitive reporter (Shia LeBeouf), who begins to investigate. With the threat of discovery becoming reality, Jim decides to run for it. Along the way, he meets up with former members of the Underground who have managed to integrate back into society, and some who have not. The stellar cast includes Susan Sarandon, Richard Jenkins, Nick Nolte, and Julie Christie. Peter Travers of Rolling Stone says, “Redford builds a riveting, resonant political thriller that values the complexity of its characters and the intelligence of its audience.”
The Company You Keep
Dir.: Robert Redford / 2013 / US / 121 min / 35 mm film
The Company You Keep is a throwback to political thrillers of the 1970s. Jim Grant (Redford) is an established lawyer with a secret. What people do not know is that he’s a former 60’s radical. Once a member of the notorious Weather Underground, he’s been in hiding since a robbery gone terribly wrong. Now, decades later, a fellow member of the group has turned herself in. This tips off an inquisitive reporter (Shia LeBeouf), who begins to investigate. With the threat of discovery becoming reality, Jim decides to run for it. Along the way, he meets up with former members of the Underground who have managed to integrate back into society, and some who have not. The stellar cast includes Susan Sarandon, Richard Jenkins, Nick Nolte, and Julie Christie. Peter Travers of Rolling Stone says, “Redford builds a riveting, resonant political thriller that values the complexity of its characters and the intelligence of its audience.”
Dir.: Robert Redford / 2013 / US / 121 min / 35 mm film
The Company You Keep is a throwback to political thrillers of the 1970s. Jim Grant (Redford) is an established lawyer with a secret. What people do not know is that he’s a former 60’s radical. Once a member of the notorious Weather Underground, he’s been in hiding since a robbery gone terribly wrong. Now, decades later, a fellow member of the group has turned herself in. This tips off an inquisitive reporter (Shia LeBeouf), who begins to investigate. With the threat of discovery becoming reality, Jim decides to run for it. Along the way, he meets up with former members of the Underground who have managed to integrate back into society, and some who have not. The stellar cast includes Susan Sarandon, Richard Jenkins, Nick Nolte, and Julie Christie. Peter Travers of Rolling Stone says, “Redford builds a riveting, resonant political thriller that values the complexity of its characters and the intelligence of its audience.”
Stoker
Dir.: Park Chan-wook / 2013 / US/UK / 99 min / 35 mm film
From the innovative director of Oldboy comes Stoker, a measured study in the art of the bizarre in the guise of a family drama. India (Mia Wasikowska) is a stoic teenaged girl in mourning for her late father. With his recent passing, she and her mother, Evelyn (Nicole Kidman), feel adrift in their new lives. That’s why they’ve let Uncle Charlie move in. He’s come to offer comfort to the grieving pair, but with his arrival comes an unsettling feeling of unease. With his presence comes unearthed secrets and buried lies. There’s a sense of history between Evie and Charlie, and India must find out why. Meanwhile, she plays a sly game of cat-and-mouse with the new tenant that may result in her own demise. Dripping with a grim sense of expectation and wonder, Stoker is surely in the running to become a modern cult classic. Richard Roper of The Chicago Sun Times says, “It’s disturbingly good.”
Dir.: Park Chan-wook / 2013 / US/UK / 99 min / 35 mm film
From the innovative director of Oldboy comes Stoker, a measured study in the art of the bizarre in the guise of a family drama. India (Mia Wasikowska) is a stoic teenaged girl in mourning for her late father. With his recent passing, she and her mother, Evelyn (Nicole Kidman), feel adrift in their new lives. That’s why they’ve let Uncle Charlie move in. He’s come to offer comfort to the grieving pair, but with his arrival comes an unsettling feeling of unease. With his presence comes unearthed secrets and buried lies. There’s a sense of history between Evie and Charlie, and India must find out why. Meanwhile, she plays a sly game of cat-and-mouse with the new tenant that may result in her own demise. Dripping with a grim sense of expectation and wonder, Stoker is surely in the running to become a modern cult classic. Richard Roper of The Chicago Sun Times says, “It’s disturbingly good.”
Stoker
Dir.: Park Chan-wook / 2013 / US/UK / 99 min / 35 mm film
From the innovative director of Oldboy comes Stoker, a measured study in the art of the bizarre in the guise of a family drama. India (Mia Wasikowska) is a stoic teenaged girl in mourning for her late father. With his recent passing, she and her mother, Evelyn (Nicole Kidman), feel adrift in their new lives. That’s why they’ve let Uncle Charlie move in. He’s come to offer comfort to the grieving pair, but with his arrival comes an unsettling feeling of unease. With his presence comes unearthed secrets and buried lies. There’s a sense of history between Evie and Charlie, and India must find out why. Meanwhile, she plays a sly game of cat-and-mouse with the new tenant that may result in her own demise. Dripping with a grim sense of expectation and wonder, Stoker is surely in the running to become a modern cult classic. Richard Roper of The Chicago Sun Times says, “It’s disturbingly good.”
Dir.: Park Chan-wook / 2013 / US/UK / 99 min / 35 mm film
From the innovative director of Oldboy comes Stoker, a measured study in the art of the bizarre in the guise of a family drama. India (Mia Wasikowska) is a stoic teenaged girl in mourning for her late father. With his recent passing, she and her mother, Evelyn (Nicole Kidman), feel adrift in their new lives. That’s why they’ve let Uncle Charlie move in. He’s come to offer comfort to the grieving pair, but with his arrival comes an unsettling feeling of unease. With his presence comes unearthed secrets and buried lies. There’s a sense of history between Evie and Charlie, and India must find out why. Meanwhile, she plays a sly game of cat-and-mouse with the new tenant that may result in her own demise. Dripping with a grim sense of expectation and wonder, Stoker is surely in the running to become a modern cult classic. Richard Roper of The Chicago Sun Times says, “It’s disturbingly good.”
The Company You Keep
Dir.: Robert Redford / 2013 / US / 121 min / 35 mm film
The Company You Keep is a throwback to political thrillers of the 1970s. Jim Grant (Redford) is an established lawyer with a secret. What people do not know is that he’s a former 60’s radical. Once a member of the notorious Weather Underground, he’s been in hiding since a robbery gone terribly wrong. Now, decades later, a fellow member of the group has turned herself in. This tips off an inquisitive reporter (Shia LeBeouf), who begins to investigate. With the threat of discovery becoming reality, Jim decides to run for it. Along the way, he meets up with former members of the Underground who have managed to integrate back into society, and some who have not. The stellar cast includes Susan Sarandon, Richard Jenkins, Nick Nolte, and Julie Christie. Peter Travers of Rolling Stone says, “Redford builds a riveting, resonant political thriller that values the complexity of its characters and the intelligence of its audience.”
Dir.: Robert Redford / 2013 / US / 121 min / 35 mm film
The Company You Keep is a throwback to political thrillers of the 1970s. Jim Grant (Redford) is an established lawyer with a secret. What people do not know is that he’s a former 60’s radical. Once a member of the notorious Weather Underground, he’s been in hiding since a robbery gone terribly wrong. Now, decades later, a fellow member of the group has turned herself in. This tips off an inquisitive reporter (Shia LeBeouf), who begins to investigate. With the threat of discovery becoming reality, Jim decides to run for it. Along the way, he meets up with former members of the Underground who have managed to integrate back into society, and some who have not. The stellar cast includes Susan Sarandon, Richard Jenkins, Nick Nolte, and Julie Christie. Peter Travers of Rolling Stone says, “Redford builds a riveting, resonant political thriller that values the complexity of its characters and the intelligence of its audience.”
Stoker
Dir.: Park Chan-wook / 2013 / US/UK / 99 min / 35 mm film
From the innovative director of Oldboy comes Stoker, a measured study in the art of the bizarre in the guise of a family drama. India (Mia Wasikowska) is a stoic teenaged girl in mourning for her late father. With his recent passing, she and her mother, Evelyn (Nicole Kidman), feel adrift in their new lives. That’s why they’ve let Uncle Charlie move in. He’s come to offer comfort to the grieving pair, but with his arrival comes an unsettling feeling of unease. With his presence comes unearthed secrets and buried lies. There’s a sense of history between Evie and Charlie, and India must find out why. Meanwhile, she plays a sly game of cat-and-mouse with the new tenant that may result in her own demise. Dripping with a grim sense of expectation and wonder, Stoker is surely in the running to become a modern cult classic. Richard Roper of The Chicago Sun Times says, “It’s disturbingly good.”
Dir.: Park Chan-wook / 2013 / US/UK / 99 min / 35 mm film
From the innovative director of Oldboy comes Stoker, a measured study in the art of the bizarre in the guise of a family drama. India (Mia Wasikowska) is a stoic teenaged girl in mourning for her late father. With his recent passing, she and her mother, Evelyn (Nicole Kidman), feel adrift in their new lives. That’s why they’ve let Uncle Charlie move in. He’s come to offer comfort to the grieving pair, but with his arrival comes an unsettling feeling of unease. With his presence comes unearthed secrets and buried lies. There’s a sense of history between Evie and Charlie, and India must find out why. Meanwhile, she plays a sly game of cat-and-mouse with the new tenant that may result in her own demise. Dripping with a grim sense of expectation and wonder, Stoker is surely in the running to become a modern cult classic. Richard Roper of The Chicago Sun Times says, “It’s disturbingly good.”
The Company You Keep
Dir.: Robert Redford / 2013 / US / 121 min / 35 mm film
The Company You Keep is a throwback to political thrillers of the 1970s. Jim Grant (Redford) is an established lawyer with a secret. What people do not know is that he’s a former 60’s radical. Once a member of the notorious Weather Underground, he’s been in hiding since a robbery gone terribly wrong. Now, decades later, a fellow member of the group has turned herself in. This tips off an inquisitive reporter (Shia LeBeouf), who begins to investigate. With the threat of discovery becoming reality, Jim decides to run for it. Along the way, he meets up with former members of the Underground who have managed to integrate back into society, and some who have not. The stellar cast includes Susan Sarandon, Richard Jenkins, Nick Nolte, and Julie Christie. Peter Travers of Rolling Stone says, “Redford builds a riveting, resonant political thriller that values the complexity of its characters and the intelligence of its audience.”
Dir.: Robert Redford / 2013 / US / 121 min / 35 mm film
The Company You Keep is a throwback to political thrillers of the 1970s. Jim Grant (Redford) is an established lawyer with a secret. What people do not know is that he’s a former 60’s radical. Once a member of the notorious Weather Underground, he’s been in hiding since a robbery gone terribly wrong. Now, decades later, a fellow member of the group has turned herself in. This tips off an inquisitive reporter (Shia LeBeouf), who begins to investigate. With the threat of discovery becoming reality, Jim decides to run for it. Along the way, he meets up with former members of the Underground who have managed to integrate back into society, and some who have not. The stellar cast includes Susan Sarandon, Richard Jenkins, Nick Nolte, and Julie Christie. Peter Travers of Rolling Stone says, “Redford builds a riveting, resonant political thriller that values the complexity of its characters and the intelligence of its audience.”
Stoker
Dir.: Park Chan-wook / 2013 / US/UK / 99 min / 35 mm film
From the innovative director of Oldboy comes Stoker, a measured study in the art of the bizarre in the guise of a family drama. India (Mia Wasikowska) is a stoic teenaged girl in mourning for her late father. With his recent passing, she and her mother, Evelyn (Nicole Kidman), feel adrift in their new lives. That’s why they’ve let Uncle Charlie move in. He’s come to offer comfort to the grieving pair, but with his arrival comes an unsettling feeling of unease. With his presence comes unearthed secrets and buried lies. There’s a sense of history between Evie and Charlie, and India must find out why. Meanwhile, she plays a sly game of cat-and-mouse with the new tenant that may result in her own demise. Dripping with a grim sense of expectation and wonder, Stoker is surely in the running to become a modern cult classic. Richard Roper of The Chicago Sun Times says, “It’s disturbingly good.”
Dir.: Park Chan-wook / 2013 / US/UK / 99 min / 35 mm film
From the innovative director of Oldboy comes Stoker, a measured study in the art of the bizarre in the guise of a family drama. India (Mia Wasikowska) is a stoic teenaged girl in mourning for her late father. With his recent passing, she and her mother, Evelyn (Nicole Kidman), feel adrift in their new lives. That’s why they’ve let Uncle Charlie move in. He’s come to offer comfort to the grieving pair, but with his arrival comes an unsettling feeling of unease. With his presence comes unearthed secrets and buried lies. There’s a sense of history between Evie and Charlie, and India must find out why. Meanwhile, she plays a sly game of cat-and-mouse with the new tenant that may result in her own demise. Dripping with a grim sense of expectation and wonder, Stoker is surely in the running to become a modern cult classic. Richard Roper of The Chicago Sun Times says, “It’s disturbingly good.”
The Sapphires
Dir.: Wayne Blair / 2013 / Australia / 103 min / 35mm film
This award-winning film festival favorite from Australia takes us back to the 60’s and the era of girl groups in popular music. Earning comparisons with Dreamgirls for its musicality and rags-to-riches theme, The Sapphires follows the adventures of a four-piece aboriginal soul quartet trying to make it at a time when racism was even worse and the Vietnam War kept intruding on everyone’s experience, a time when, somehow, everyone was ready for something new. The four girls in The Sapphires meet up with a manager who really believes in them and then take their lively act to Vietnam to entertain the troops, hoping to make it big. It may be a tried and true formula for crazy kids trying to make it in show biz, but along the way it finds any number of ways to endear itself. Peter Travers of Rolling Stone enthuses, “Even falling bombs... can’t detract from The Sapphires as they stride onstage in sequins singing Motown classics. What glory abides in their voices. And what a treat awaits you watching their dreams play out.”
Dir.: Wayne Blair / 2013 / Australia / 103 min / 35mm film
This award-winning film festival favorite from Australia takes us back to the 60’s and the era of girl groups in popular music. Earning comparisons with Dreamgirls for its musicality and rags-to-riches theme, The Sapphires follows the adventures of a four-piece aboriginal soul quartet trying to make it at a time when racism was even worse and the Vietnam War kept intruding on everyone’s experience, a time when, somehow, everyone was ready for something new. The four girls in The Sapphires meet up with a manager who really believes in them and then take their lively act to Vietnam to entertain the troops, hoping to make it big. It may be a tried and true formula for crazy kids trying to make it in show biz, but along the way it finds any number of ways to endear itself. Peter Travers of Rolling Stone enthuses, “Even falling bombs... can’t detract from The Sapphires as they stride onstage in sequins singing Motown classics. What glory abides in their voices. And what a treat awaits you watching their dreams play out.”
Barbara
Dir.: Christian Petzold / 2013 / Germany / 105 min / German w/ English subtitles / 35 mm film
The winner of several international awards including The Golden Lion at the Berlin Film Festival, Barbara is a portrait of one woman’s perilous life behind the Iron Curtain. Set in 1980, the barrier between East and West Germany is fully ingrained. Barbara is a doctor in the East, who has been banished to a remote clinic for unspecified reasons. As she resumes her practice, Barbara must suffer many hardships. These include being under constant surveillance, which entails tolerating humiliating searches that can occur at any time. No one can be trusted, though some try to forge a connection. Andre, a fellow doctor, shows an interest, but her suspicion surrounding his motivation may be justified. All the while, Barbara holds an enduring affinity for the West, which may contain the secret to her yearned-for happiness. Kenneth Turan of The Los Angeles Times says, “It’s one terrific film, ... smart, thoughtful and emotionally involving.”
Dir.: Christian Petzold / 2013 / Germany / 105 min / German w/ English subtitles / 35 mm film
The winner of several international awards including The Golden Lion at the Berlin Film Festival, Barbara is a portrait of one woman’s perilous life behind the Iron Curtain. Set in 1980, the barrier between East and West Germany is fully ingrained. Barbara is a doctor in the East, who has been banished to a remote clinic for unspecified reasons. As she resumes her practice, Barbara must suffer many hardships. These include being under constant surveillance, which entails tolerating humiliating searches that can occur at any time. No one can be trusted, though some try to forge a connection. Andre, a fellow doctor, shows an interest, but her suspicion surrounding his motivation may be justified. All the while, Barbara holds an enduring affinity for the West, which may contain the secret to her yearned-for happiness. Kenneth Turan of The Los Angeles Times says, “It’s one terrific film, ... smart, thoughtful and emotionally involving.”
The Sapphires
Dir.: Wayne Blair / 2013 / Australia / 103 min / 35mm film
This award-winning film festival favorite from Australia takes us back to the 60’s and the era of girl groups in popular music. Earning comparisons with Dreamgirls for its musicality and rags-to-riches theme, The Sapphires follows the adventures of a four-piece aboriginal soul quartet trying to make it at a time when racism was even worse and the Vietnam War kept intruding on everyone’s experience, a time when, somehow, everyone was ready for something new. The four girls in The Sapphires meet up with a manager who really believes in them and then take their lively act to Vietnam to entertain the troops, hoping to make it big. It may be a tried and true formula for crazy kids trying to make it in show biz, but along the way it finds any number of ways to endear itself. Peter Travers of Rolling Stone enthuses, “Even falling bombs... can’t detract from The Sapphires as they stride onstage in sequins singing Motown classics. What glory abides in their voices. And what a treat awaits you watching their dreams play out.”
Dir.: Wayne Blair / 2013 / Australia / 103 min / 35mm film
This award-winning film festival favorite from Australia takes us back to the 60’s and the era of girl groups in popular music. Earning comparisons with Dreamgirls for its musicality and rags-to-riches theme, The Sapphires follows the adventures of a four-piece aboriginal soul quartet trying to make it at a time when racism was even worse and the Vietnam War kept intruding on everyone’s experience, a time when, somehow, everyone was ready for something new. The four girls in The Sapphires meet up with a manager who really believes in them and then take their lively act to Vietnam to entertain the troops, hoping to make it big. It may be a tried and true formula for crazy kids trying to make it in show biz, but along the way it finds any number of ways to endear itself. Peter Travers of Rolling Stone enthuses, “Even falling bombs... can’t detract from The Sapphires as they stride onstage in sequins singing Motown classics. What glory abides in their voices. And what a treat awaits you watching their dreams play out.”