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NEW RESTORATIONS “An astonishing movie – so ferocious, so haunting, and so unlike anything we’d ever seen.” – Martin Scorsese

“Remains a cultist legend that’s never received the attention it deserves.” – Jonathan Rosenbaum, Chicago Reader

“Dense with cool fury . . . Five decades after its premiere, the movie, like all of Sembène’s work, remains too little seen.” – Melissa Anderson, Village Voice

The Shooting

Black Girl (La Noire de…)

Senegal/France 1966. Dir: Ousmane Sembène. 65 min. DCP

A landmark of the African cinema celebrates its 50th anniversary with a new restoration! Black Girl, the eye-opening debut feature of Senegalese novelist and master filmmaker Ousmane Sembène (Xala, Ceddo, Moolaadé), the “Father of African Cinema,” is credited with being first feature made in sub-Saharan Africa by a black African director. When Diouana (Mbissine Thérèse Diop), a naïve young Dakar housemaid, relocates to the French Riviera with the French family she works for, her dreams of an exiting new life are quickly supplanted by the realities of domestic drudgery and racist and colonialist attitudes. Diop, in her first role, shines in Sembène’s incisive, deceptively simple character study. The film’s luminous black-and-white images have great expressive power. Black Girl won France’s Prix Jean Vigo, awarded for “independence of spirit and originality of style,” and launched the career of one of world cinema’s essential talents.

preceded by

Borom Sarret (The Wagoner)

Senegal 1963. Dir: Ousmane Sembène. 20 min. DCP

A poor man tries to eke out a living as a cart driver in Dakar in Ousmane Sembène’s striking neorealist short, said to be the first film ever made by a black African. “It isn’t just a milestone, it’s an outstanding work: funny, insightful, beautifully shot, and heartbreaking” (Jordan Hoffman, The Guardian). WEDNESDAY, JANUARY 4 – 6:30 PM THURSDAY, JANUARY 5 – 8:15 PM MONDAY, JANUARY 9 – 6:30 PM

"One of the greatest of last films; Bresson slammed the door on his way out.” – Richard Brody, The New Yorker “Bresson once again makes us realize how little most films make of the resources of cinema. A masterpiece.” – Dave Kehr, Chicago Reader


France 1983. Dir: Robert Bresson. 84 min. DCP

The awe-inspiring farewell film of Robert Bresson, one of cinema’s immortals, freely adopts a Tolstoy novella (“The Forged Coupon") and transposes it to contemporary France. L’Argent (“Money”) charts the circulation of a counterfeit 500-franc bill and the contagion of evil it spreads as it passes from hand to hand. When an innocent man unwittingly uses it to pay for a meal, the consequences prove disastrous. As in all Bresson’s major works, the real drama here is internal, spiritual, metaphysical; it derives not from plot or character but emanates from a rigorous austerity and intensity, from a meticulous accumulation of detail. In Bresson, objects and gestures miraculously transform into manifestations of the transcendent! L’Argent is one of Bresson’s best and most beautiful films – and one of his most harrowing indictments of modernity’s spiritual bankruptcy. It shared the Best Director prize at Cannes in 1983 with Tarkovsky’s Nostalghia. WEDNESDAY, JANUARY 4 – 8:15 PM THURSDAY, JANUARY 5 – 6:30 PM MONDAY, JANUARY 9 – 8:15 PM THURSDAY, JANUARY 12 – 6:30 PM



USA 1966. Dir: Monte Hellman. 81 min. DCP

Indie stalwart Roger Corman did incalculable good for American cinema. One example came in the form of $150,000 for a relatively untested director (Monte Hellman) and his acting friend (Jack Nicholson) to go into the Utah desert to shoot two quick-and-dirty Westerns back to back. The Shooting emerged as the more elliptical, philosophical, and accomplished of the pair (though the other, Ride in the Whirlwind, is nothing to sneeze at). With Jean-Paul Sartre and Albert Camus as avowed influences, the odd, existential Western – written by Five Easy Pieces’ Carole Eastman – casts Warren Oates as an ex-bounty hunter escorting a mysterious woman (Millie Perkins) across the desert to settle a score; Nicholson is the black-clad gunslinger trailing them. Lionized by the nouvelle vague in France, but relegated to a TV release in the U.S., Hellman’s arty cult masterpiece ushered in a new, alternative take on genre: the acid Western! SATURDAY, JANUARY 7 – 6:30 PM WEDNESDAY, JANUARY 11 – 6:30 PM THURSDAY, JANUARY 12 – 8:15 PM

“One-Eyed Jacks is one of my favourite Westerns and it was more than a privilege to be on the team that restored it for audiences around the world to rediscover or fall under its spell for the first time.” – Steven Spielberg

One-Eyed Jacks USA 1961. Dir: Marlon Brando. 141 min. DCP

Screen legend Marlon Brando stepped behind the camera (for the first and last time) to direct himself as a bandit with a bone to pick in this lush, landmark revenge Western, one of the genre’s most brilliant, baffling, production-plagued masterworks. Beset by problems from the get-go – director Stanley Kubrick jumped ship for England and Lolita; Sam Peckinpah’s script was scrapped – it marched valiantly on with actor-(now)director Brando at the helm.  The result: a wildly over-budget, longdelayed, “method” Western set perplexingly by the sea - and running nearly five-hours long in Brando’s final cut.  Paramount trimmed it for release; it tanked at the box office. Vindicated in recent years by, among others, Martin Scorsese and Steven Spielberg – the two oversaw this 4K digital restoration – it features a riveting, calculated performance by Brando as a betrayed bank robber hell-bent on revenge against his former partner (Karl Malden), now a sheriff.  The gorgeous VistaVision cinematography earned an Oscar nomination. SATURDAY, JANUARY 7 – 8:10 PM SUNDAY, JANUARY 8 – 7:00 PM WEDNESDAY, JANUARY 11 – 8:10 PM

The Cinematheque JAN + FEB 2017  

Canada's Top Ten Film Festival・Maren Ade・BC Film History・Canada On Screen・Takeshi Kitano・Chan Centre Connects・DOXA and The Cinematheque

The Cinematheque JAN + FEB 2017  

Canada's Top Ten Film Festival・Maren Ade・BC Film History・Canada On Screen・Takeshi Kitano・Chan Centre Connects・DOXA and The Cinematheque