The Cinematheque SEPT+OCT 2012 | Daisies

SEPT + OCT 2012

VERA CHYTILOVA’S

SHIRLEY CLARKE CHRIS KRAUS

THE COLOR WHEEL COME BACK, AFRICA WE WILL NOT O GROW OW O OLD TOGETHER O CALLE 54

KING KONG

VS.

GODZILLA

1131 HOWE STREET . VANCOUVER . CIN EMATHEQU E.BC.CA

www.vlaff.org

ADMI N ISTRATIVE O F F I C E 200 – 1131 Howe Street Vancouver, BC V6Z 2L7 tel 604.688.8202 • fax 604.688.8204 Email: info@cinematheque.bc.ca Web: www.cinematheque.bc.ca STAF F Executive and Artistic Director: Jim Sinclair Managing Director: Amber Orchard Communications Manager: steve chow Education Manager: Liz Schulze Operations & Marketing: Kate Wilkins Media Production Coordinator: Mitch Stookey Venue Operations Manager: Heather Johnston Assistant Theatre Managers: Sharon Cohen, Lora Haber, Dawna Brown, Nadiya Chettiar, Andrea Oberdieck, Shaun Inouye Head Projectionist: Al Reid Relief Projectionists: Peter Boyle, Stuart Carl, Ron Lacheur, Cassidy Penner, Amanda Thomson

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BOARD OF DIRECTO RS President: Mark Ostry Vice-President: Eleni Kassaris Secretary: Mark Tomek Treasurer: Wynford Owen Members: Jim Bindon, Luca Citton, Kim Guise, Moshe Mastai, Kathy Wang V O LUNTEERS Theatre Volunteers: Mike Archibald, Jason Barker, Michael Begg, Mark Beley, Eileen Brosnan, Jeremy Buhler, Nishant Chadha, Emily Chia, Andrew Clark, Jessica Clarke, Adam Cook, Rob Danielson, Ben Daswani, Steve Devereux, Ray Don, Ryan Ermacora, Chantelle Gates, Paul Griffiths, Joe Haigh, Dora Ho, Brad Iles, Krisandra Janowicz, Beng Khoo, Michael Kling, Ray Lai, Shannon Lentz, Liam McClure, Brittany McDuff, Vit Mlcoch, Kelley Montgomery, Danuta Musial, Julia Patey, Kailash Ragupathy, Duncan Ranslem, Chahram Riazi, Marc Ronnie, Hisayo Saito, Alexis Sogl, Derek Thomas, Amanda Thomson, Stephen Tweedale, Diane Wood, Nathalie Zeoli Distribution: Harry Wong, Scott Banakaiff, Michael Demers, Martin Lohmann, Michael Edillor, Hazel Ackner, John William, Lynn Martin, Sheila Adams, Magdalena Haussmann, Anna Xijing, Devin Wells, Allan Kollins, Horacio Bach, Roman Goldman Office: Jo Bergstrand, Betty-Lou Phillips, Zac Cocciolo, Shaun Inouye, Ratna Dhaliwal Education: Michael Edillor, Wesley Houston, Chloe McKnight, Nick McLean, Pat McSherry, Jennifer Somerstein, Michael van den Bos, Matthew Vatta, Donna Welstein

E X P E R I E N C E

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And a special thanks to all our spares!

PACIFIC C IN É MATH È Q U E PR O G RAM G U I D E Art Direction + Graphic Design: steve chow Program Notes: Jim Sinclair Advertising + Additional Ad Design: Kate Wilkins Proofreading: Kate Wilkins Published six times a year with a bi-monthly circulation of 15,000.

Printed by Van Press Printers.

ADVE RTISIN G To advertise in this Program Guide or in our theatre before screenings, please call 604.688.8202.

Pacific Cinémathèque is a not-for-profit arts society. We rely on financial support from public and private sources. Donations are gratefully accepted — a tax receipt will be issued for all donations of $30 or more. To make a donation or for more information, please call our administration office at 604.688.8202.

Pacific Cinémathèque gratefully acknowledges the financial support of the following agencies:

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E S S E N T I A L

C I N E M A

CINEMA SUNDAY

Summer Wars King Kong vs. Godzilla

Daisies We Will Not Grow Old Together CHAN CENTRE CONNECTS SERIES

Calle 54 DIM CINEMA

The Time We Killed A Literary Confession — Films by Chris Kraus FRAMES OF MIND

William Kurelek’s The Maze Death of a Superhero

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NOW PLAYING CALENDAR

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The Color Wheel Come Back, Africa

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The Connection Ornette: Made in America

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UNIVERSAL PICTURES Celebrating 100 Years

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Art for Consenting Adults Images Across Canada: The Images Festival 25th Anniversary Tour

Presented by Pacific Cinémathèque’s Education Department, Cinema Sunday is an afternoon film program for children and their families. We invite you to join us every month to watch outstanding movies and take part in follow-up discussions, activities, and games intended to be fun and stimulate critical and creative thinking. Our goal is to introduce you to some awesome new films, treasured classics, and other favourites — movies that keep you thinking and talking long after you leave the theatre. We hope you’ll join us and make Cinema Sunday a regular addition to your family outings!

Summer

Wars

(Samâ uôzu)

Japan 2009. Director: Mamoru Hosoda Voices: Michael Sinterniklaas, Brina Palencia, Pam Dougherty, Todd Haberkorn, J. Michael Tatum

From Japan’s Madhouse Studios and director Mamoru Hosoda (The Girl Who Leapt Through Time) comes a critically acclaimed, cautionary, and marvelously mind-bending tale combining real-world stories with virtualworld adventure. Kenji, an awkward teenage math wiz, spends most of his time as an avatar within OZ, a massive virtual world. When Natsuki, the most popular girl in school, invites him to her family’s country home to pose as her boyfriend, Kenji starts to enjoy the real world. Things soon take a highly unexpected turn: when Kenji solves a complex math challenge on his cell phone, it inadvertently compromises the security of OZ. Now a mysterious cyber villain known as Love Machine threatens to take control, and Kenji must save both the real and virtual worlds! A deliriously creative and modern story about teen crushes, technology, and family, this is eye-popping anime fun that showcases Hayao Miyazakistyle landscape animation in the “real” world and candy-coloured pop-art in the universe of OZ. “A sophisticated yet poignant family entertainment with an appeal beyond Japanese animation buffs” (Kevin Thomas, Los Angeles Times). Colour, HDCAM, English-language version, 109 mins.

PACIFIC CINÉMATHÈQUE MEMBERSHIP IS NOT REQUIRED FOR THESE EVENTS.

SUNDAY, SEPTEMBER 16 – 1:00 PM

ALL AGES WELCOME

Japan/USA 1962. Directors: Ishirô Honda Cast: Tadao Takashima, Kenji Sahara, Mie Hama, Yû Fujiki, Ichirô Arishima

Taking a wee break from our regular animated agenda, Cinema Sunday serves up some large (very large!) live-action adventure this Halloween season as two of the world’s greatest giant monsters face off in ultimate battle. Yes, we’re talking about Japan’s favourite radioactively mutated lizard and America’s most famous enormous ape, who meet — and don’t really like each other — in 1962’s light-hearted cult classic King Kong vs. Godzilla. A Japanese pharmaceutical company brings Kong to Japan to star in its commercials, only to have him escape and combat a massive octopus!

Meanwhile, Americans have accidentally revived the slumbering Godzilla and released him from the iceberg that has entrapped him for almost a decade. Havoc, hilarity, and destruction ensue as the two colossal beasts move closer and closer towards each other and Tokyo, eventually meeting at the top of Mount Fuji in the most epic, outrageous, and amusing showdown of the century. This is the first time either monster was filmed in colour, and the first time Toho Studios began to make their monster movies for family entertainment. Ridiculously fun, funny, and wildly preposterous, this is a monster hit for fans of all ages. Colour, 35mm, English-language version. 82 mins.

SUNDAY, OCTOBER 21 – 1:00 PM

GALA SCREENINGS AND AWARDS The TELUS Summer Visions Film Institute is an award-winning digital filmmaking program for youth ages 11-19 offered by Pacific Cinémathèque in partnership with Dream Big Productions at Vancouver’s Templeton Secondary. This summer, more than 160 young filmmakers from across the Lower Mainland worked in production teams during two-week sessions to write, shoot, and edit their own short videos. Always entertaining, frequently inspiring, and often provocative, these videos will premiere at our 13th annual TELUS Summer Visions Gala. Each evening concludes with an awards ceremony and reception to celebrate this next generation of emerging filmmakers in B.C. TUESDAY, SEPTEMBER 25 – 7:00 PM WEDNESDAY, SEPTEMBER 26 – 7:00 PM

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SAT OCT 13 / 8PM: ANGÉLIQUE KIDJO FRI NOV 2 / 8PM: CHUCHO VALDÉS QUINTET SAT NOV 24 / 8PM: PUNCH BROTHERS SAT FEB 16 / 8PM: PABLO ZIEGLER QUARTET WITH REGINA CARTER IN “TANGO MEETS JAZZ” SUN APR 21 / 7PM: LILA DOWNS SAT APR 27 / 8PM: SIMON SHAHEEN IN “THE CALL: SONGS OF LIBERATION”

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“Perhaps the most sensational film of the Czech film renaissance ... A mad, stylish, Dadaist comedy.”

“A visionary filmmaker ...

Daisies still explodes with an anarchic spirit that leaves comparable efforts far behind.”

DAVID THOMPSON, SIGHT AND SOUND

“An opportunity for a new audience to discover one of the great lions of international cinema ... ‘Love’ is a quicksilver thing, and no one pinned down more of its complexities and contradictions than Pialat.”

“An extraordinary film that delves deeply ... Pialat displays penetrating perception.”

GENE MOSKOWITZ, VARIETY

NICK PINKERTON, VILLAGE VOICE

“My favourite Czech film, and surely one of the most exhilarating stylistic and psychedelic eruptions of the 1960s ... Subversive, bracing, energizing.”

“Extraordinary, exhilarating, radically mischievous ...

Full of colourful experiments, dazzling collage effects, and surrealist antics.”

“This sophomore feature from Pialat lays claim to his brilliance as a chronicler of battered humanism ... Neither Yanne nor Jobert has ever been better.”

“Critics’ Pick ... Don’t pass up the chance to catch it ... Be warned, though: It’s deeply unsettling, featuring the kind of emotional brutality we just don’t see in movies anymore.”

JONATHAN ROSENBAUM, CHICAGO READER

NICOLAS RAPOLD, NEW YORK TIMES

DAVID FEAR, TIME OUT NEW YORK

NEW YORK MAGAZINE

AMOS VOGEL, FILM AS A SUBVERSIVE ART

New 35mm Print!

(Se (S ed dm mikrá kráskyy) krásky

WE WILL NOT GROW OLD TOGETHER (Nous ne vieillirons pas ensemble)

NE E W 35mm 35 5 mm m m P RI R NT N !

Czechoslovakia 1966. Director: Veˇ ra Chytilová Cast: Jitka Cerhová, Ivana Karbanová, Julius Albert, Jan Klusák, Marie Cešková

France 1972. Director: Maurice Pialat Cast: Jean Yanne, Marlène Jobert, Macha Méril, Christine Fabréga, Jacques Galland

A daring, delirious landmark of psychedelic 1960s cinema, and one of the most memorable works of the Czech New Wave, Daisies is the film that established Veˇra Chytilová’s international reputation — but only after it had been banned for a year by shocked Czech authorities! Chytilová was the only major female Czech director of the period. Her sardonic, surrealist comedy chronicles the anarchic antics of two bored young women, blonde Marie and brunette Marie, who embark on an orgy of outrageous pranks, provocations, and destructive acts aimed at the mindless materialism and repressive sexism of their society. The sassy subversive spirit of the piece finds formal expression in an acid-trip array of bright expressive colours, crazy collages and superimpositions, visual distortions, and startling décor. The film was a major influence on Jacques Rivette’s 1974 opus Celine and Julie Go Boating. Daisies screens here in a beautiful new 35mm print struck from the original elements at National Film Archive in Prague and featuring new, freshly-translated subtitles. “A formally radical, surrealistic classic, Daisies remains a touchstone, transcending genre tags and any sort of definable labels ... The climatic food-fight sequence plays like Monty Python’s ‘Mr. Creosote’ skit as directed by Pier Paolo Pasolini” (Jordan Crank, Slant). Colour and B&W, 35mm, in Czech with English subtitles. 76 mins.

Gérard Depardieu, who appeared in four of his films, called Maurice Pialat “the only filmmaker who tells the truth about love.” One of the great French directors of the post-New Wave period, Pialat (who died in 2003) is known for an intimate, explosive, savagely honest, highly naturalistic cinema that recalls the work of John Cassavetes.

Pialat’s remarkable second feature, based on his own autobiographical novel, offers an uncompromising study of the break-up of a relationship. Jean Yanne (a Pialat look-alike) was named Best Actor at Cannes in 1972 for his performance as Jean, a selfish and domineering filmmaker still living with his estranged wife (Macha Méril), but involved for six years now with Catherine (Marlène Jobert), a younger working-class woman. The disintegration of this long-term affair is charted is a series of potent and perceptive episodes. Painful recriminations alternate with tearful reconciliations, and whatever feelings exist between Jean and Catherine are inevitably destroyed. “Brutally honest ...

An important feminist film by a male director” (Melissa Biggs, French Films). “Of Pialat’s 11 features, three — We Will Not Grow Old Together, À Nos Amours, and Van Gogh — are among the finest films made in France or any other country in the last half century” (Kent Jones, Film Comment). Colour, 35mm, in French with English subtitles. 110 mins.

FRIDAY, OCTOBER 19 – 6:30 PM SATURDAY, OCTOBER 20 – 8:35 PM SUNDAY, OCTOBER 21 – 6:30 PM MONDAY, OCTOBER 22 – 8:35 PM

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FRIDAY, OCTOBER 19 – 8:00 PM SATURDAY, OCTOBER 20 – 6:30 PM SUNDAY, OCTOBER 21 – 8:00 PM MONDAY, OCTOBER 22 – 6:30 PM WEDNESDAY, OCTOBER 24 – 6:30 PM & 8:35 PM

The Chan Centre Connects Series presents outreach activities related to visiting artists performing in the annual concert season at the Chan Centre for the Performing Arts at UBC. www.chancentre.com

THE CHAN CENTRE CONNECTS SERIES and PACIFIC CINÉMATHÈQUE present

Visible Verse, Pacific Cinémathèque’s annual festival of video poetry, moves this year from its customary November spot to a new, post-VIFF October date and goes really, really global!

Vancouver poet, author, musician, and media artist Heather Haley curates and hosts our celebration of this hybrid creative form, which integrates verse with media-art visuals produced by a camera or a computer. The 2012 festival will be selected from entries received from more than 50 international artists, who submitted nearly 100 video poems.

Submissions include works from Australia, Belgium, Denmark, France, Germany, Israel, Italy, Mexico, Norway, Portugal, Poland, Russia, the U.S., and Canada. And, for the first time, we are exchanging video poems with Argentina’s VideoBardo Festival and featuring a selection from their 2012 program. As well, we are happy to host Alberta artist Phillip Jagger, who will perform his poetry and also present “Reigning In Chaos: Words Into Video,” a hands-on workshop demonstrating the use of handcrafted video, a Kaos pad, iPod, and video jamming software.

Video poetry and poetry film festivals and sites are now popping up all over the world; Pacific Cinémathèque’s Visible Verse Festival is proud to maintain its position as North America’s sustaining venue for artistically significant video poetry. As founder of both the original Vancouver Videopoem Festival and Visible Verse, Heather Haley has provided a platform for the genre since 1999, and has also vigorously contributed to the theoretical knowledge of the form. Ms. Haley was recently honoured for her work with a 2012 Pandora’s Literary Award. She has also been invited to present a keynote address, on the subject “Videopoetry: New Perspectives on an Interdisciplinary Practice,” at the 4th VideoBardo Festival in Buenos Aires in November.

SATURDAY, OCTOBER 13 – AFTERNOON & EVENING EVENTS! Visit www.cinematheque.bc.ca for schedule and description of events.

Full details will be posted closer to the date.

BIO: Heather Haley is a Vancouver poet, author, musician, and artist who pushes boundaries by creating across disciplines, genres, and media. She is author of the poetry collections Sideways (2003) and Three Blocks West of Wonderland (2009); director of the video poems Dying for the Pleasure (2003), Purple Lipstick (2006), Bushwhack (2010) and Whore in the Eddy (2012); and as a musical artist has released a CD of spoken-word songs, Princess Nut (2008). Her poetry has been published in numerous journals and anthologies, her video poems screened at many international film festivals, and she has performed her poetry and music around the world.

Spain 2000. Director: Fernando Trueba With: Tito Puente, Paquito D’Rivera, Eliane Elias, Gato Barbieri, Chucho Valdés, Bebo Valdés, Cachao, Michel Camilo, Chano Domínguez, Jerry González, Chico O’Farrill

“As much a thrill to watch as it is to listen to” (Peter Howell, Toronto Star), Spanish director Fernando Trueba’s Calle 54 is a vibrant, loving, music-filled tribute to some of the greatest Latin jazz artists of our time. Enraptured viewers have compared Trueba’s wonderful film to two other glorious music documentaries, Buena Vista Social Club (screened in our Chan Centre Connects series earlier this year) and The Last Waltz.

Whether it’s created in hot backstreet clubs or recording studios from Miami to Havana, the Bronx to Andalusia, the pulsating sounds of Latin jazz capture the heart and soul of an entire culture. Calle 54 features Latin legends in a series of extraordinary performances; their immense musical talents weave an innovative tapestry of sound, style, and rhythm that becomes a passionate celebration of life. Trueba also directed the Academy Awardwinning Belle Epoch (Best Foreign Language Film, 1993) and, more recently, co-directed the Oscar-nominated animated feature Chico and Rita. The great artists showcased here include the late “godfather of Latin music” Tito Puente, barefoot Brazilian pianist Eliane Elias, Argentinean tenor sax great Gato Barbieri, Paquito D’Rivera, Chucho Valdés, and many more! “A landmark musical tribute” (Rolling Stone). 105 mins.

PRESENTS

THURSDAY, OCTOBER 25 – 7:00 PM This special screening of Calle 54 has been organized in conjunction with the Chan Centre’s presentation of multiple-Grammy Award-winner Chucho Valdés, “the Dean of Latin jazz” (New York Times), who performs with his Quintet at the Chan on Friday, November 2 at 8:00 pm.

COMPLETE INFO COMING SOON

cinematheque.bc.ca 7

A MONTHLY EVENING OF MOVING-IMAGE ART AND CINEMATIC EXPERIMENTS DIM presents Canadian and international artists and their moving-image practices in dialogue with cinema. DIM is curated by Amy Lynn Kazymerchyk, a Vancouver filmmaker, writer, and curator.

WWW.DIMCINEMA.CA

heTime T WE KILLED USA 2004. Director: Jennifer Reeves Cast: Lisa Jarnot, Valeska Peschke, Rainer Dragon, Susan Arthur, Jennifer Reeves

“The Time We Killed portrays the inner life of a writer unable to leave her Brooklyn apartment on the brink of the U.S. invasion of Iraq. Robyn Taylor tries to kick her growing agoraphobia by re-imagining her past and contemplating world events of the present. As Robyn begins to overcome the amnesia that afflicted her as an adolescent, she fears coming down with ‘the amnesia of the American people’ ...

The talking cure of psychoanalysis is evoked as Robyn voices her personal history, fantasies, and observations with a wry sense of humor. As Robyn recounts her jump from a bridge, which left her with amnesia at the age of 17, she muses, ‘The bridge wasn’t high enough.’ Recollections of her days in a mental institution seem to predetermine her present-day compulsion to lock herself indoors. And as Robyn becomes increasingly disconnected from the world, flashbacks of her childhood visit her for the first time. Finally, the horror of the U.S. military ‘shock and awe’ campaign brings to light the terrible cost of self-absorption and passivity, and shakes Robyn out of her self-made isolation” (www.jenniferreevesfilm.com). International Critics’ Prize, Berlin (Forum of New Cinema), 2004. B&W, 16mm. 94 mins.

Jennifer Reeves is a New York-based filmmaker who has been making experimental films since 1990. Her personal, subjective films employ optical-printing and directon-film techniques and explore, from many different angles, themes of memory, mental health and recovery, feminism and sexuality, landscape, wildlife, and politics.

MONDAY, SEPTEMBER 17 – 7:30 PM

“Movie images are dim reflections of the beauty and ferocity in mankind.”

JAMES BROUGHTON

A LITERARY CONFESSION FILMS BY

Chris Kraus IN PERSON: CHRIS KRAUS

The novelist and critic Chris Kraus, author of I Love Dick (1997), Aliens and Anorexia (2000), Where Art Belongs (2011), and Summer of Hate (2012), has been called “one of our smartest and most original writers on contemporary art and culture” (Holland Cotter, New York Times). Before she wrote prose and criticism, Kraus made experimental films. Michael Snow’s Wavelength (1967) introduced her to film’s potential to sustain conceptual and dialectic complexity without defaulting to parody — a flaw she found in experimental performance. At the time she felt that theoretical language and philosophy resonated more in moving images and pictorial text than in poetry. Filmmaking became a form of pilgrimage for Kraus: an acute practice of following her compulsion for poetry, phenomenology, literature, nostalgia, and memory. Kraus makes her first laceration ‘through nostalgia into the future’ in In Order To Pass (1982), a film that features the printed text of philosopherturned-gynaecologist Irene Crofton. The mythology of modernist icon Antonin Artaud, and the 1980s fascination with Artaud, emerges in the bodies of clones in Foolproof Illusion (1986). Georges Bataille and Henry James meet in the back of a cab in Golden Bowl or Repression (1984/88), noted by photographer Nan Goldin for its dissection of “romance, mystification and the inability to connect.” How to Shoot a Crime (1986) is perhaps Kraus’ most densely dialectic film, conflating police crime scene videos, gentrification at the Fulton Street Seaport, and pop sadomasochism.

Warning: How to Shoot a Crime contains actual crime-scene footage which may be disturbing to some viewers.

Chris Kraus is a writer and art critic living in Los Angeles. She teaches writing at the European Graduate School (Switzerland) and is a co-editor of the journal Semiotext(e).

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In Order to Pass • USA 1982. 30 mins.

Voyage to Rodez • USA 1986. Co-director: Sylvère Lotringer. 14 mins.

How to Shoot a Crime • USA 1986. Co-director: Sylvère Lotringer. 30 mins.

Foolproof Illusion • USA 1986. 18 mins.

The Golden Bowl or Repression • USA 1984/88. 14 mins.

Terrorists in Love • USA 1983. 6 mins.

All titles 16mm transferred to DVD. Total running time: 112 mins. + intermission THURSDAY, NOVEMBER 1 – 7:00 PM SPECIAL START TIME

Co-presented with “Scrivener’s Monthly,” a “series of public presentations that explore the space between material practices and spoken words: a periodical that talks,” at Western Front. Chris Kraus will read from Summer of Hate (2012) on Friday, November 2, at 8:00 pm, at Western Front. On Monday, October 29, at 6:00 pm, she will speak about her book Where Art Belongs (2011) at the Emily Carr University of Art and Design, in the Lecture Theatre. Both events are free. www.front.bc.ca

Surrey Art Gallery Presents A MONTHLY MENTAL HEALTH FILM SERIES presented by PACIFIC CINÉMATHÈQUE and the INSTITUTE OF MENTAL HEALTH, UBC DEPARTMENT OF PSYCHIATRY Pacific Cinémathèque is pleased to join with the Institute of Mental Health, UBC Department of Psychiatry in presenting “Frames of Mind,” a monthly event utilizing film and video to promote professional and community education on issues pertaining to mental health and illness. Screenings, accompanied by presentations and audience discussions, are held on the third Wednesday of each month.

Series directed by DR. HARRY KARLINSKY, Director of Public Education, Department of Psychiatry, University of British Columbia.

Programmed by CAROLINE COUTTS, film curator, filmmaker, and programmer of “Frames of Mind” since its inception in September 2002.

FRAMESOFMIND.CA

William Kurelek’s

The Maze

USA 1969/2011. Directors: Robert M Young, David Grubin [Re-imagined by Nick Young, Zack Young]

Canadian painter William Kurelek (1927-1977) may be best known for his beautiful illustrations of bucolic children’s classics (Who Has Seen the Wind?, A Prairie Boy’s Winter) and his landscapes of Ukrainian-Canadian prairie life, but it is his disturbing early work and difficult upbringing that is the subject of this intriguing documentary. Born on a hardscrabble Alberta farm, the oldest of seven children of stern immigrant parents, the sensitive, artistic Kurelek was an outsider from an early age. Bullied at school and at home, especially by his fearsome father Dmytro, William left the farm as soon as he could. Settling in London in 1952, he sought help at the Maudsley Psychiatric Hospital, an institution at the forefront of the art therapy movement. Kurelek was provided not only with treatment but space in which to paint. He created terrifying works with nightmarish and surreal imagery reminiscent of Bosch and Bruegel — including, in 1953, “The Maze,” a depiction of his tortured youth. In 1969, the award-winning American filmmaker Robert M. Young codirected a short documentary on Kurelek and “psychotic art.”

Using original interviews, a new score, and modern digital animation techniques to give Kurelek’s paintings dimension and movement, filmmakers Nick and Zack Young have remastered and expanded their father’s original film into a comprehensive and insightful portrait of the artist as a young man. Colour, Bluray Disc. 60 mins.

“The Maze is a painting of the inside of my skull which I painted while I was in England as a patient in Maudsley and Netherne psychiatric hospitals. It is a story of my life … Well, in the sense that people tell stories by the fireplace to entertain their guests, trying to make them accept you. In this case, I wanted to be accepted as an interesting specimen.” WILLIAM KURELEK, 1969

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Post-screening discussion with Dr. Erin Michalak and Janet Oakes.

Dr. Erin Michalak is an Associate Professor in the Department of Psychiatry at UBC. She leads the “Collaborative RESearch Team for the study of psychosocial issues in Bipolar Disorder” (www.crestbd.ca), a CIHR-funded Canadian network whose research interests include the intersect between creativity and so-called “madness.” She has published over 50 scientific articles and several books and book chapters.

Janet Oakes, M.A., BC-ATP, FIPA, is a psychoanalyst in private practice in Vancouver. She is on the executive of the Western Branch of the Canadian Psychoanalytic Society and teaches in seminars presented by the Branch. Janet is an artist and has an ongoing interest in applied psychoanalysis relating to social conditions, literature, arts and culture.

Moderated by Dr. Harry Karlinsky, Clinical Professor, Department of Psychiatry, University of British Columbia.

WEDNESDAY, SEPTEMBER 19 – 7:30 PM

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Death of a

Join us for the exhibition launch!

Superhero

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Ireland/Germany 2011. Director: Ian Fitzgibbon Cast: Andy Serkis, Thomas Brodie-Sangster, Aisling Loftus, Michael McElhatton, Sharon Horgan, Jessica Schwarz

Fifteen-year-old Donald (Thomas Brodie-Sangster) lives with all the usual teenage concerns: fitting in at school, obsessing about losing his virginity, annoyingly overprotective parents — plus a unique one: he has terminal cancer. A talented artist, Donald withdraws more and more into the fantasy comic-book world he has created in his ever-present sketchbooks. In these drawings — brought to life in classic, hand-drawn 2-D animated sequences throughout the film — Donald is a brawny, invincible superhero battling a syringe-fingered mad scientist known as The Glove and his sexy, scantily-clad assistant. Donald’s concerned parents send their defensive, uncooperative son to unconventional psychologist Dr. King (Andy Serkis), a thanatologist (or “death doctor”) who challenges the young man to confront his fear and anger and make the best of the time he has left. With Dr. King’s support, Donald embarks on a tentative romance with fellow misfit Shelly (Aisling Loftus). In less talented hands this could be mawkish material; director Ian Fitzgibbon’s clever, genuinely moving film, adapted from Anthony McCarten’s novel, is infused with a biting humour, impressive visual flourishes, and wonderful performances. “Manages to turn the grimmest of grim subjects into something charming, raunchy, and improbably uplifting” (Andrew Lapin, NPR). “Intelligent, honest, and resonant” (Kenji Fukushima, Slant). Colour, HDCAM. 94 mins.

,0)&fc 6gi^hi 8Vgda HVlnZg iVa`h VWdji i]Z XdccZXi^dch WZilZZc e]did\gVe]n VcY ÒXi^dc! eZg[dgbVcXZ! bZbdgn! VcY ]^hidgn ^c ]Zg eVhi VcY XjggZci Vgi egVXi^XZ# -0)& Å /0)&fc DeZc^c\ GZXZei^dc Post-screening discussion with Dr. Jocelyne Lessard, PhD, RPsych, a psychologist for the oncology service at B.C. Children’s Hospital, where she offers assessment, consultation, and therapy to patients and their family members. She also has a small private practice in Vancouver. Dr. Lessard is passionate about understanding how our close relationships allow us to build resilience and manage grief, loss, and trauma.

Moderated by Dr. Harry Karlinsky, Clinical Professor, Department of Psychiatry, University of British Columbia.

For more events visit surrey.ca/arts (Surrey Art Gallery/Events) 13750 – 88 Ave, Surrey, BC, Canada t 604.501.5566 e artgallery@surrey.ca surrey.ca/arts | surreytechlab.ca admission by donation

WEDNESDAY, OCTOBER 17 – 7:30 PM

>bV\Z/ 8Vgda HVlnZg! Last Known Photograph of Natalie Brettschneider!

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SENIOR/ STUDENT

Tickets go on sale at the Box Office 30 minutes before the first show of the evening. Advance tickets are available for credit card purchase at www.cinematheque.bc.ca. Events, times, and prices are subject to change without notice.

HOW TO BUY TICKETS

unless otherwise indicated

ADULT (18+)

Film Arts: Jan - Aug 2013 www.langara.bc.ca/filmarts

SCREENWRITING PROGRAM

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23

30 OCTOBER

Show Boat (p 16)

1

8:30pm

8:40pm

UNIVERSAL 100 YEARS

6:30pm

7:00pm

7:00pm

3

TELUS SUMMER VISIONS GALA SCREENINGS AND AWARDS (p 4)

26

6:30pm

20

Imitation of Life (p 16)

8:40pm

Show Boat (p 16)

4

27

UNIVERSAL 100 YEARS

VANCOUVER INTERNATIONAL FILM FESTIVAL

2

TELUS SUMMER VISIONS GALA SCREENINGS AND AWARDS (p 4)

The Time We Killed (p 8)

Little Man, What Now? (p 17)

Little Man, What Now? (p 17)

25

William Kurelek’s The Maze (p 9)

24

7:30pm

FRAMES OF MIND

DIM CINEMA

7:30pm

17

19

To Kill a Mockingbird (p 15)

Blind Husbands (p 15)

Phantom of the Opera (p 15)

8:45pm

8:00pm

8:15pm

Do the Right Thing (p 15)

Phantom of the Opera (p 15)

6:30pm

6

13

UNIVERSAL 100 YEARS

Blind Husbands (p 15)

6:30pm

12

UNIVERSAL 100 YEARS

6:30pm

w w w. vlaff. o rg

VANCOUVER LATIN AMERICAN FILM FESTIVAL

5

FRIDAY

7

14

21

Winchester ’73 (p 17)

5

8:30pm

High Plains Drifter (p 17) High Plains Drifter (p 17)

28

6:30pm

6

29

UNIVERSAL 100 YEARS

22

Magnificent Obsession (p 16)

8:35pm

Pillow Talk (p 16)

8

1

15

UNIVERSAL 100 YEARS

6:30pm

SEPTEMBER

SATURDAY

8:20pm

Winchester ’73 (p 17)

UNIVERSAL 100 YEARS

6:30pm

Pillow Talk (p 16)

8:35pm

Magnificent Obsession (p 16)

UNIVERSAL 100 YEARS

6:30pm

theCinematheq ue. tumb lr. co m

w w w. tw itter. co m/theCinemath e q u e

UNIVERSAL 100 YEARS

10

3

Imitation of Life (p 16)

6:30pm

Show Boat (p 16)

4:15pm

UNIVERSAL 100 YEARS

Do the Right Thing (p 15)

7:00pm

To Kill a Mockingbird (p 15)

4:30pm

UNIVERSAL 100 YEARS

Summer Wars (p 4)

1:00pm

16

9

2

604.688.8202 • theatre@cinematheque.bc.ca

More info: www.cinematheque.bc.ca/venue

4

THURSDAY

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WEDNESDAY

KEEP IN TOUCH!

TUESDAY

HOST YOUR EVENT HERE!

MONDAY

Pacific Cinémathèque’s theatre can be rented on Tuesday nights and during the day seven days a week.

SUNDAY

NOW PLAYING

CINEMA SUNDAY

SEPT+OCT

1131 HOWE STREET

www.cinematheque.bc.ca

U P D AT E S & A D V A N C E T I C K E T S

28

21

8:20pm

29

22

15

8

The Connection (p 13)

8:10pm

SHIRLEY CLARKE

THE COLOR WHEEL (p 12)

6:30pm

8:35pm

DAISIES (p 6)

6:30pm

WE WILL NOT GROW OLD TOGETHER (p 6)

8:00pm

ART FOR CONSENTING ADULTS (p 18)

belkin.ubc.ca

THE COLOR WHEEL (p 12)

6:30pm

(p 12)

COME BACK, AFRICA

The Connection (p 13)

4:30pm

SHIRLEY CLARKE

8:00pm

WE WILL NOT GROW OLD TOGETHER (p 6)

6:30pm

DAISIES (p 6)

King Kong vs. Godzilla (p 4)

1:00pm

CINEMA SUNDAY

7

22

9

17

10

The Connection (p 13)

8:10pm

(p 13)

Ornette: Made in America

6:30pm

SHIRLEY CLARKE

6:30pm + 8:35pm

WE WILL NOT GROW OLD TOGETHER (p 6)

7:00pm

18

11

Calle 54 (p 7)

7:00pm

CHAN CENTRE CONNECTS SERIES

(p 8)

A Literary Confession Films by Chris Kraus

7:00pm

DIM CINEMA

1

25

A Letter to the Living (p 18)

8:30pm

1988 (p 18)

IMAGES ACROSS CANADA: THE IMAGES FESTIVAL 25TH ANNIVERSARY TOUR

31 NOVEMBER

24

Death of a Superhero (p 9)

7:30pm

FRAMES OF MIND

w w w. viff. o rg

26

1825 Main Mall, UBC, Vancouver BC Open 10-5 Tue-Fri, 12-5 Sat-Sun, Closed Holidays

FREE ADMISSION

(p 13)

Ornette: Made in America

8:10pm

8:30pm

27

(p 12)

The Connection (p 13)

6:30pm

SHIRLEY CLARKE

4:30pm

(p 12)

COME BACK, AFRICA

8:35pm

DAISIES (p 6)

6:30pm

WE WILL NOT GROW OLD TOGETHER (p 6)

20

Afternoon & Evening Events Visit www.cinematheque.bc.ca for schedule and descriptions

VISIBLE VERSE 2012 FESTIVAL (p 7)

13

COME BACK, AFRICA

THE COLOR WHEEL (p 12)

6:30pm

8:00pm

WE WILL NOT GROW OLD TOGETHER (p 6)

6:30pm

DAISIES (p 6)

19

12

TRUE INDEPENDENTS

“THE MOST ENTERTAINING UNPLEASANT FILM I’VE SEEN IN YEARS.” DAVID EDELSTEIN, NEW YORK MAGAZINE

“THE MOST LOATHSOMELY LOVABLE BROTHER-AND-SISTER DUO IN THE HISTORY OF CINEMA ... MORE PURELY ENTERTAINING THAN ANYTHING SORKIN OR MAMET HAS EVER WRITTEN.” PHIL COLDIRON, LA WEEKLY

“HARD TO SWALLOW BUT IMPOSSIBLE TO IGNORE, THIS NIHILISTIC COMEDY MAY EMERGE AS A CULT TOUCHSTONE.” RONNIE SCHEIB, VARIETY

“A MOVABLE FEAST OF LACERATING WIT AND VISUAL SOPHISTICATION ... RECALLS THE SCATHING AUDACITY OF THE GRADUATE SOME 45 YEARS AGO.”

“A FILM OF TERRIBLE BEAUTY ... A PRECIOUS RECORD ... THE MUSICAL CULTURE OF THE TOWNSHIPS AT THIS TIME WAS COMPLETELY NEW TO MOST OF US AROUND THE WORLD ... THIS PICTURE OPENED THE EYES OF MANY PEOPLE TO APARTHEID — MYSELF INCLUDED.” MARTIN SCORSESE

”A WORK OF AMAZING GRACE AND A FORGOTTEN TREASURE.” SAM ADAMS, TIME OUT NEW YORK

“POETIC AND ELECTRIFYING ... A MOVIE WHOSE VERY EXISTENCE SEEMS A MIRACLE.” NEW YORK MAGAZINE

JEFF SHANNON, SEATTLE TIMES

NEW 35mm RESTORATION!

COME BACK, AFRICA

FROM THE DIRECTOR OF ON THE BOWERY

USA/South Africa 1959. Director: Lionel Rogosin With: Zacharia Mgabi, Vinah Bendile, George Malebye, Miriam Makeba, Morris Hugh

USA 2011. Director: Alex Ross Perry Cast: Carlen Altman, Alex Ross Perry, Bob Byington, Kate Lyn Sheil, Anna Bak-Kvapil, Ry Russo-Young.

Writer-director Alex Ross Perry’s sibling-rivalry screwball comedy/road movie is one neat, nasty achievement: a misanthropic, transgressive work of post-mumblecore cinema that double-dares you to like its obnoxious protagonists and keep pace with their rapid-fire Hawskian dialogue. Viewers have been simultaneously appalled and much impressed: “I hated every minute and was glued to my seat, unable to take my eyes from the screen,” wrote New York Times critic A. O. Scott, who ultimately found the film “sly, daring, genuinely original and at times perversely brilliant” — but only after seeing it a second time! Perry and co-writer Carlen Altman play Colin and JR, semi-estranged siblings. JR, a broadcasting student, has just parted ways with the professor she’s been sleeping with; Colin agrees to accompany her on a trip to retrieve her belongings. Their journey unfolds as an onslaught of caustic insults, withering sarcasm, and pent-up resentments zinging back-and-forth between two vitriolic souls. There are humiliating, often hilarious encounters with other people along the way, before a final act even more unsettling and unexpected than the rest of this audacious film. Perry has invoked an unholy trinity of Phillip Roth, Jerry Lewis, and Vincent Gallo to reference the self-loathing egomania on display; the monochrome images evoke the downbeat Americana of photographer Robert Frank. Voted “best undistributed film of 2011” in polls conducted by Indiewire and the Village Voice. B&W, 35mm. 83 mins.

FRIDAY, OCTOBER 26 – 6:30 PM SUNDAY, OCTOBER 28 – 8:20 PM MONDAY, OCTOBER 29 – 6:30 PM

12

“A heroic film” (Martin Scorsese), Lionel Rogosin’s poignant, poetic account of life in 1959 Johannesburg was one of cinema’s first exposés of the realities of apartheid. Rogosin, one of American independent cinema’s pioneers, had a fierce commitment to social justice and a hybrid, neorealist-inspired style combining documentary and drama. His first feature, 1956’s On the Bowery (screened, in a new restoration, at Pacific Cinémathèque last year) was a powerful chronicle of alcoholism and poverty in Lower Manhattan. Come Back, Africa, his second feature, was made clandestinely; the authorities were told Rogosin was making a travelogue about South African music. Music does figure very prominently, but this was no travelogue: the film details a litany of restrictive pass laws, menial jobs, segregated communities, separated families, and offhand racist cruelty as it tells the affecting story of Zacharia, a Zulu man who has arrived in Johannesburg in search of work.

The cast is made up of non-professionals; many of them — including the whites playing disagreeable white characters — were anti-apartheid activists. Singer Miriam Makeba is among the performers; her appearance here helped launch her storied international career. Much of the movie was shot in the township of Sophiatown, a vibrant centre of black cultural and intellectual life that was soon to be razed for a whites-only suburb. B&W, 35mm in English and Afrikaans with English subtitles. 95 mins.

FRIDAY, OCTOBER 26 – 8:10 PM SATURDAY, OCTOBER 27 – 4:30 PM SUNDAY, OCTOBER 28 – 6:30 PM

TRUE INDEPENDENTS

SHIRLEY CLARKE TWO BY

“GORGEOUSLY PRESERVED ... JUST MAYBE THE CONNECTION WILL AGAIN BRING SHIRLEY CLARKE THE ACCLAIM SHE HAS ALWAYS DESERVED.” MANOHLA DARGIS, NEW YORK TIMES

“STUNNINGLY RESTORED ...

ONE OF THE MOST VITAL AND FASCINATING OF ALL AMERICAN INDEPENDENT FILMS.” IFC CENTER, NEW YORK

“An important pioneer ... An iconoclastic artist who is vital to the development of the medium ... Shirley Clarke’s work should continue to be screened, studied, and discussed.”

WILLIAM BLICK, SENSES OF CINEMA

“Shirley Clarke is one of the great undertold stories of American independent cinema.

A woman working in a predominantly male world, a white director who turned her camera on black subjects, a Park Avenue rich girl who willed herself to become a dancer and a filmmaker, ran away to bohemia, hung out with the Beats, and held to her own vision in triumph and defeat. She helped inspire a new film movement and made urgently vibrant work that blurs fiction and nonfiction, only to be marginalized ... She died in 1997 at 77 and is long overdue for a reappraisal.”

MANOHLA DARGIS, NEW YORK TIMES

“ESSENTIAL VIEWING FOR ANY JAZZ AFICIONADO ... THE MUSICAL CONTENT IN THIS DOCUMENTARY ABOUT MODERN JAZZ’S GREATEST ICONOCLAST IS SUPERB.” GEOFF ANDREW, TIME OUT

“THE COMBINATION OF SHIRLEY CLARKE’S INGENUITY AND THE COOL INTELLIGENCE OF SAXMAN ORNETTE COLEMAN MAKES FOR A STUNNING DOCUMENTARY.” VARIETY

ORNETTE MADE IN AMERICA

NEW 35mm PRINT!

NEW, RESTORED 35mm PRINT!

“A DISTURBING META-MOVIE ... AT THE CORE OF CLARKE’S INTROSPECTION IS THE QUESTION “A TOUR DE FORCE ... THE CONNECTION OF WHY MODERN JAZZ SEEMS SHOWS THAT AMERICA CAN MAKE ITS INSEPARABLE FROM DRUGS.” OWN ART FILMS.” USA 1961. Director: Shirley Clarke Cast: Warren Finnerty, Garry Goodrow, William Redfield, Jerome Raphael, James Anderson

RICHARD BRODY, THE NEW YORKER

GENE MOSKOWITZ, VARIETY, 1961

Beat-era jazz musicians and junkies are waiting for their man in 1961’s The Connection, the legendary first feature by Shirley Clarke, a leading figure (and the leading woman) in the ’60s independent/underground movement known as New American Cinema. Clarke’s striking, gritty film is adapted from Jack Gelber’s controversial 1959 play, produced by New York’s Living Theatre, in which a writer and a producer mount a stage play about drug culture using “real addicts” in the leads. In Clarke’s version, featuring most of the original stage cast (including several prominent jazz artists), the play-within-a-play structure becomes a film-within-a-film. Here, a hapless white director and a black cinematographer are shooting a documentary about a group of heroin addicts and hipsters gathered in a squalid Greenwich Village loft to await the arrival of their dealer. One of Clarke’s intentions, here and elsewhere, is to challenge claims that cinéma vérité can capture “truth” or “reality.”

The Connection debuted at Cannes in 1961, where it was championed by Allen Ginsberg, but was banned at home, where its use of the word “shit” and a glimpse of a girlie magazine were deemed obscene. A landmark court case allowed an eventual New York release in 1962. This restoration of Clarke’s landmark film is the first release of Milestone Films’ Shirley Clarke Project, which aims to restore and reissue Clarke’s pioneering work. B&W, 35mm.

103 mins.

SATURDAY, OCTOBER 27 – 6:30 PM SUNDAY, OCTOBER 28 – 4:30 PM MONDAY, OCTOBER 29 – 8:10 PM WEDNESDAY, OCTOBER 31 – 8:10 PM

USA 1985. Director: Shirley Clarke With: Ornette Coleman, William S. Burroughs, Don Cherry, Denardo Coleman, Charlie Haden, Brion Gysin

The rhythms of jazz often play important parts in the films of New American Cinema luminary Shirley Clarke. A quarter-century after The Connection, her edgy, jazz-infused debut feature, Clarke fashioned this unorthodox documentary/avant-garde hybrid, a portrait of the great saxophonist and free jazz pioneer Ornette Coleman. Clarke’s film, freeform and fanciful, attempts to capture something of the radical spirit of Coleman’s sonic experiments. In its kaleidoscopic approach to an iconic musical subject, it could also be something of a prototype for I’m Not There, Todd Haynes’s brilliantly unconventional take on Bob Dylan. (The two movies happen to share a cinematographer, noted indiefilm veteran Edward Lachman.) Structured around a 1983 performance of Coleman’s “Skies of America” suite with the Fort Worth Symphony (Coleman’s a Forth Worth native), Ornette: Made in America interweaves archival footage, psychedelic sequences, dramatic re-enactments, interviews with jazz critics and musicians, appearances by William S. Burroughs and Buckminster Fuller, and Clarke’s playful (and characteristic) questioning of documentary practice. Coleman himself is a fascinating and commanding presence throughout. This was Clarke’s last film. “Whatever the idea is, it’s never something you can just tell to another person and be sure that they know what you mean, so ... just play the music” (Ornette Coleman). Colour, 35mm. 85 mins.

SATURDAY, OCTOBER 27 – 8:30 PM WEDNESDAY, OCTOBER 31 – 6:30 PM

13

The Universal Film Manufacturing Company incorporated on April 30, 1912, the result of a merger between a number of independent companies that had been battling Thomas Edison’s Motion Picture Patents Trust.

Universal would go on to become the oldest continuously operating film producer and distributor in the United States. In an industry defined by change, Universal’s spinning globe logo has remained, along with its back lot, and tour, in Universal City, California.

From its beginnings under Carl Laemmle, there existed a tension between Universal’s need to produce low-budget “programmers” and the “major minor’s” desire to compete alongside better-capitalized studios — with their national theatre chains — on the level of big-budget A pictures. Ironically, while several of Universal’s early “prestige” titles are beloved classics today, including All Quiet on the Western Front (1930), it remains the B pictures, including its iconic 1930s horror cycle (Frankenstein, Dracula, The Mummy), that epitomize its contribution to film art and commerce.

This irony informs Universal’s post-war emergence as a global entertainment power.

After anti-trust actions levelled the playing field in the 1940s, Universal moved into the A-list with superlative mass entertainment that ennobled populist genres, including melodramas (Magnificent Obsession), sex farces (Pillow Talk), and homespun comedies (the Francis the Talking Mule series). Universal also innovated new industry practices, pioneering the “percentage deal” and embracing television production. It changed the game again with Jaws (1975), which established the “blockbuster” formula that still dominates the industry today.

Throughout its history, Universal has translated economic necessity into a uniquely American challenge to the distinctions between prestigious and popular entertainment. We are pleased to celebrate Universal Pictures’ hundred-year legacy.

UCLA FILM AND TELEVISION ARCHIVE

Acknowledgements: “Universal Pictures: Celebrating 100 Years” is organized by Universal Pictures and the UCLA Film and Television Archive and presented by American Express. The program was curated by UCLA, where it was first presented in May and June, and is touring to New York, Chicago, Berkeley, Vancouver, Seattle, Cambridge MA, Columbus, Portland OR, Houston, Ithaca NY, Atlanta, and Washington DC. For their kind assistance in making our Vancouver presentation possible, Pacific Cinémathèque is very grateful to Shannon Kelley, Head of Public Programs, UCLA Film and Television Archive, and Paul Ginsburg, Vice President, Film Distribution, NBC Universal.

www.universal100th.com

14

Do the Right Thing

USA 1989. Director: Spike Lee Cast: Danny Aiello, Ossie Davis, Ruby Dee, Giancarlo Esposito, Spike Lee, John Turturro

Blind Husbands

USA 1919. Director: Erich von Stroheim Cast: Sam De Grasse, Francelia Billington, Erich von Stroheim, Gibson Gowland, Fay Holderness

The directorial debut of legendary actor-turned-filmmaker Erich von Stroheim (Foolish Wives, Greed) is a sophisticated tale of adultery set in the Tyrolean Alps — and one of the rare films by the notoriously obsessive, extravagant, and profligate auteur to be released without studio mutilation! Von Stroheim also wrote, designed, and starred; in a characteristic role, he plays a fastidious Austrian military officer and serial seducer who becomes entangled with a vacationing American couple. Von Stroheim had to persuade reluctant studio chief Carl Laemmle, head of Universal, to let him direct a feature; the movie’s ballooning budget was an augur of future von Stroheim misfortunes, but Blind Husbands proved a significant critical and commercial success, thus launching one of Hollywood’s most extraordinary — and extraordinarily troubled — directing careers. (Von Stroheim’s celebrated acting career later included memorable roles in Renoir’s Grand Illusion and Wilder’s Sunset Boulevard.) “The subtlest, wittiest, and most sophisticated sex drama presented on the American screen to that date ... Critics noticed the careful attention to detail in the décor, the costumes, the gestures of the actors, and the keen psychological observation of the characters” (Ephraim Katz). “You certainly can’t mistake it for a film by any other director” (Pauline Kael). B&W, 35mm, silent. 92 mins.

Spike Lee’s seriocomic portrait of simmering racial tensions was one of most controversial — and one of the best — American films of the 1980s, and may be the director’s greatest triumph. Set in central Brooklyn on the hottest day of the year, and centring on a white-owned pizzeria in a black neighbourhood, Do the Right Thing builds to a shattering climax that provoked intense debate and left audiences deeply shaken.

Some alarmed critics feared the film would incite race riots! Lee’s colourful, complex, confrontational movie is daring in its refusal to tell us what to think: all of his characters have their reasons, and their flaws; the imperative demanded by the title — do the right thing!

— remains shrouded in ambiguity. The conflicted, seemingly self-contradictory impulses at work are neatly summed up in the two apparently irreconcilable quotes, from Martin Luther King and from Malcolm X, with which Do the Right Thing concludes. When the film was snubbed at the Oscars the same year Driving Miss Daisy won big, Lee suggested that many Americans were more comfortable with a black man who is a chauffeur than with his own complex, volatile, and often inscrutable characters! “A film of astonishing power and originality ... There are no easy answers to the questions that this film poses with such artistry and grace” (James Monaco). Colour, 35mm. 120 mins.

THURSDAY, SEPTEMBER 13 – 6:30 PM SUNDAY, SEPTEMBER 16 – 7:00 PM

UNDER 14 REQUIRES ADULT ACCOMPANIMENT

Advisory: frequent very coarse language; occasional violence and nudity.

Membership required for those 18+

MONDAY, SEPTEMBER 10 – 6:30 PM WEDNESDAY, SEPTEMBER 12 – 8:00 PM

Phantom of the Opera

USA 1925. Director: Rupert Julian Cast: Lon Chaney, Mary Philbin, Norman Kerry, Snitz Edwards, Gibson Gowland

Lon Chaney, star of Universal’s classic 1925 production of Gaston Leroux’s lurid gothic tale, remains cinema’s most memorable and mesmerizing Phantom. “A former Universal stock player, Chaney was a sensation in Universal’s The Hunchback of Notre Dame (1923) and two years later The Phantom of the Opera confirmed him as the silent era’s leading interpreter of horror roles. As Erik, the deformed ‘Phantom’ who lurks in catacombs beneath the Paris Opera, Chaney conceived a legendary, grotesque character, famously employing wire hooks and other effects to give his face a pinched, skull-like quality that terrified 1925 audiences. A master of pantomime, Chaney played effectively to the story’s over-ripe air of Grand Guignol, surreptitiously offering vocal instruction to a young opera understudy (Mary Philbin) from behind a wall, then spiriting her away to his underground lair in the vain hope of winning her love” (UCLA Film and Television Archive). The sets, costumes, and Chaney’s incredible makeup are stand-outs; the direction is credited to silent-era veteran Rupert Julian, who was replaced at some point during the troubled production. (Two years earlier, Julian had taken over direction of the lavish Viennese romance Merry-Go-Round after Erich von Stroheim was fired by Universal’s Irving Thalberg). B&W, 35mm, silent. 76 mins.

MONDAY, SEPTEMBER 10 – 8:15 PM WEDNESDAY, SEPTEMBER 12 – 6:30 PM

New 35mm Print

50th To Kill a Mockingbird

Anniversary

USA 1962. Director: Robert Mulligan Cast: Gregory Peck, Mary Badham, Phillip Alford, Brock Peters, Robert Duvall

Directed by Robert Mulligan and scripted by Horton Foote, Universal Pictures’ sterling adaptation of Harper Lee’s Pulitzer Prize-winning novel mixes Southern Gothic eccentricity, lyrical coming-of-age tale, and powerful racial-injustice drama to memorable effect, and remains one of Hollywood’s most beloved movies. The film is set in a dusty, Depression-era Alabama town. Gregory Peck, in perhaps the signature performance of his career, plays principled lawyer Atticus Finch, who agrees to defend a black man (Brock Peters) accused of raping a white woman. Events unfold through the eyes of Scout (Mary Badham) and Jem (Phillip Alford), Finch’s young children, who learn much about their community’s fears and prejudices as the trial proceeds — and much about their own fears and prejudices through their encounters with mysterious neighbour Boo Radley (Robert Duvall, in his film debut). Peck earned the best actor Oscar for his performance; To Kill a Mockingbird also won Academy Awards for adapted screenplay and art direction, and was nominated in five other categories. “A bewitching indication of the excitement and thrill of being a child” (Bosley Crowther, New York Times). “Few films make a more searching plea for childlike innocence in the modern world” (Richard Armstrong, The Rough Guide to Film). B&W, 35mm. 130 mins.

THURSDAY, SEPTEMBER 13 – 8:45 PM SUNDAY, SEPTEMBER 16 – 4:30 PM

ALL AGES WELCOME Membership required for those 18+

15

Magnificent Obsession

USA 1954. Director: Douglas Sirk Cast: Jane Wyman, Rock Hudson, Agnes Moorehead, Barbara Rush, Otto Kruger

Douglas Sirk’s extravagant, extraordinary 1950s melodramas — All That Heaven Allows, Written on the Wind, Imitation of Life et al — constitute one of the most piercing critiques of American society to be found in classic Hollywood cinema — an achievement largely unappreciated in its day because it came in the form of a much derided (but hugely popular) genre: the “women’s picture,” or “weepie.” Sirk described Magnificent Obsession as the “craziest” of his films — and that might be an understatement! The delirious plot has Rock Hudson as an irresponsible playboy who indirectly causes the death of a revered philanthropic doctor, maims the dead man’s widow (played by Jane Wyman, the former Mrs. Ronald Reagan) in another accident, and then ... Well, suffice it to say that the jawdropping incredibility of the storyline is a magnificent part of the fun. Magnificent Obsession was Sirk’s first big commercial success, and the first of the gloriously stylish, over-the-top, colour-drenched melodramas on which much of his enormous critical reputation rests.

It’s also the movie that made Rock Hudson a star. “Magnificent Obsession shows Sirk’s daring, his willingness to take on the most outrageous material and work on it with the deep irony which was one of the most important gifts he brought with him to Hollywood” (Jon Halliday). Colour, 35mm. 107 mins.

FRIDAY, SEPTEMBER 14 – 6:30 PM SATURDAY, SEPTEMBER 15 – 8:35 PM

NEW 35mm PRINT!

Pillow Talk

USA 1959. Director: Michael Gordon Cast: Rock Hudson, Doris Day, Tony Randall, Thelma Ritter, Nick Adams

A colossal hit at the late-1950s boxoffice, the bedroom farce Pillow Talk was the first of three coy, colourful s-e-x comedies starring Doris Day and Rock Hudson. Hudson, in his first comedy (producer Ross Hunter, also responsible for Sirk’s Magnificent Obsession, thought the actor had comic potential) is Manhattan playboy Brad; Day (here earning the only Oscar nomination of her career) is interior designer Jan. The two have never met, but share a party line (a telephone landline shared by more than one household). To Jan’s disgust, Brad’s constant womanizing means the line is never free; to Brad’s surprise, when he finally lays eyes on her, Jan is not some spinsterish square but a stylin’ fox. Is Doris Day really the chaste, squeaky-clean prude of conventional wisdom, or a proto-feminist career woman who values her sexual independence? Gender studies majors have had a field day with Pillow Talk (there’s even an allusion to Hudson’s closeted sexuality), but this stylish film is also a feast for the eyes, replete with CinemaScope compositions, split screens, bright colours, plush sets, and fabulous couture. Tony Randall (who appeared in all three of the Day-Hudson rom-coms) and Thelma Ritter co-star. Colour, 35mm.

110 mins.

FRIDAY, SEPTEMBER 14 – 8:35 PM SATURDAY, SEPTEMBER 15 – 6:30 PM

NEW 35mm PRINT!

Show Boat

USA 1936. Director: James Whale Cast: Irene Dunne, Allan Jones, Charles Winninger, Paul Robeson, Helen Morgan

“This was Universal’s second attempt at bringing Jerome Kern and Oscar Hammerstein’s Broadway sensation to the screen and it still shines as Hollywood’s best adaptation.

Director James Whale (Frankenstein) channels the play’s frank depictions of gambling, alcoholism, and racism into brooding, Expressionist compositions while giving ample sweep and bounce to riveting musical numbers — including Paul Robeson’s always stirring rendition of ‘Ol’ Man River’ and Helen Morgan’s heartbreaking ‘Bill.’” (UCLA Film and Television Archive). “Splendid ... Universal really poured its money into this film, and it shows in the lovely set designs, sumptuous cinematography, and the actual riverboat built for the film ... Show Boat’s many-tiered plot is secondary to its extraordinary score, but it does make for some beguiling romance, delightful comedy, and potent dramatics. Whale, here essaying his first musical, does some typically marvellous things with the camera and the mise-en-scène and gets wonderful performances from his cast ... Robeson’s immortal rendition of “Ol’ Man River” is stunningly staged ... When Morgan sings ‘Bill,’ one feels privileged to witness one of the greatest filmed performances of a song in the history of cinema” (James Monaco).

B&W, 35mm. 115 mins.

THURSDAY, SEPTEMBER 20 – 6:30 PM SUNDAY, SEPTEMBER 23 – 4:15 PM MONDAY, SEPTEMBER 24 – 8:30 PM A Note on the New Print: The original film elements of 1936’s Show Boat, one of Hollywood’s greatest and most important musicals, have long been lost. This new 35mm print, prepared by the UCLA Film and Television Archive, has been struck from the best-available materials in the vaults of Warner Brothers, the film’s current rights holder.

Imitation of Life (1934)

USA 1934. Director: John M. Stahl Cast: Claudette Colbert, Louise Beavers, Fredi Washington, Warren William, Rochelle Hudson

Douglas Sirk fashioned a memorably lavish 1959 remake (with Lana Turner), but director John Stahl’s Oscar-nominated 1934 weepie was the original screen version of Fannie Hurst’s popular novel, a tear-jerking tale of racial barriers, troubled motherand-daughter relationships, and ragsto-riches female empowerment. (No fewer than three of Stahl’s 1930s films were remade in the ’50s by melodrama master Sirk: Imitation of Life, Magnificent Obsession, and When Tomorrow Comes, which became Sirk’s Interlude). Claudette Colbert and Louise Beavers play, respectively, Bea, a penniless young widow, and Delilah, her African-American housemaid. Bea parlays Delilah’s special pancake recipe into a formidable business empire, but neither women can lessen the tragic self-torment of Delilah’s light-skinned daughter Peola (Fredi Washington), who attempts to pass for white. If Imitation of Life seems, to contemporary eyes, suffused with stereotypes, it was also something of a Hollywood landmark: its portrait of black-white friendship was highly unusual, as was its hint of real racial problems in America. The film struck a chord with black audiences, which contributed to its enormous box-office success.

Actress Washington, later a civil rights activist, impresses as Peola (a white actress, Susan Kohner, played the equivalent role in Sirk’s remake). “Classic and compulsively watchable” (Pauline Kael). B&W, 35mm. 116 mins.

THURSDAY, SEPTEMBER 20 – 8:40 PM SUNDAY, SEPTEMBER 23 – 6:30 PM

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Little Man, What Now? USA 1934. Director: Frank Borzage Cast: Margaret Sullavan, Douglass Montgomery, Alan Hale, Catharine Doucet, DeWitt Jennings

Winchester ‘73

USA 1950. Director: Anthony Mann Cast: James Stewart, Shelley Winters, Dan Duryea, Stephen McNally, Rock Hudson

The great, groundbreaking Westerns made in the 1950s by Anthony Mann and James Stewart — one of the foremost director-star collaborations in Hollywood history — are milestones of the genre in its “mature” or “psychological” phase. Imbued with a dark, film noir-like sensibility (Mann directed noirs in the 1940s), they are noted for their psychological complexity, adult themes, spectacular (and dramatically integral) use of landscape, and neurotic, vengeance-obsessed, violence-prone protagonists. In Winchester ’73, the first of the Mann-Stewart Westerns, Stewart is driven antihero Lin McAdam, out to avenge the heinous murder of his father — and, in a parallel pursuit, to recover a much-coveted stolen rifle, now passing from hand to hand. It all leads to “one of the most neurotic shootouts in the history of the Western” (Phil Hardy, Time Out).

The project was originally to be directed by Fritz Lang; the excellent cast includes Rock Hudson and Tony Curtis in early roles. “One of Stewart’s greatest performances” (James Monaco). “Inspired ... Mann pursues his revenge theme with Elizabethan fury ... He transforms a jagged landscape into a highly charged psychological battleground” (Dave Kehr, Chicago Reader). B&W, 35mm. 92 mins.

FRIDAY, SEPTEMBER 21 – 6:30 PM SATURDAY, SEPTEMBER 22 – 8:30 PM

High Plains Drifter USA 1973. Director: Clint Eastwood Cast: Clint Eastwood, Verna Bloom, Marianna Hill, Mitchell Ryan, Jack Ging

Clint Eastwood paints the town red (literally!) and pays tribute to mentors Sergio Leone and Don Siegel in the stylish, spooky High Plains Drifter, his second film — and first Western — as a director. Eastwood, in an archetypal role, also stars: he’s the mysterious Stranger (a Man with No Name, natch) who rides into a dusty, Dante-esque town and proceeds to make it a living Hell for anyone worthy of his wrath. “Eastwood’s fond adieu to the worlds of Leone and Siegel cuts the operatic excess of the former with the punchy economy of the latter. Yet the almost surreal images and ghostly plot twists suggest nothing so much as Eastwood returning for reference to the popular Japanese cinema from which Leone himself first borrowed for the Dollars films ... There’s a boldness, confident stylisation, and genuine weirdness to the movie that totally escaped other postspaghetti American Westerns” (Paul Taylor, Time Out). “As with Eastwood’s later quasi-religious Western Pale Rider (1985), High Plains Drifter leaves it unclear whether The Stranger is a fleshand-blood human being or a ghost ... High Plains Drifter is now considered one of Eastwood’s masterpieces “ (UCLA Film and Television Archive). Colour, 35mm. 105 mins.

One of the first (and few) Hollywood films of its day to address the growing shadow of Nazism (Hollywood was averse to controversy and reluctant to offend the German market) was directed by the great romanticist Frank Borzage, a still-underappreciated master whose radiant films are known for their pictorial lyricism and their portraits of the transcendent, transformative power of love in the face of adversity. Margaret Sullavan (a Borzage favourite) and Douglass Montgomery play newlyweds, expecting their first child, who struggle to make ends meet in the economic and political chaos of Depressionera Germany. Borzage’s deeply-felt film is based on a bestselling novel by Hans Fallada. “One of Borzage’s remarkable romantic weepies, dealing — like A Farewell to Arms, Three Comrades, and The Mortal Storm — with the transcendent power of love to survive in times of horrific spiritual and economic poverty ... Beautiful, committed, and deeply moving, it’s the sort of film that it would be virtually impossible to make today without falling into banality” (Geoff Andrew, Time Out). “An intimate, delicate film, set off by a brutal background ... Sullavan was never more magical in the movies than she was in the films of Borzage” (Dave Kehr, Chicago Reader). B&W, 35mm. 98 mins.

SUNDAY, SEPTEMBER 23 – 8:40 PM MONDAY, SEPTEMBER 24 – 6:30 PM

FRIDAY, SEPTEMBER 21 – 8:20 PM SATURDAY, SEPTEMBER 22 – 6:30 PM

Screened in August: ALL QUIET ON THE WESTERN FRONT (Lewis Milestone, 1930) • DRACULA (Tod Browning, 1931) • FRANKENSTEIN (James Whale, 1932) • THE MUMMY (Karl Freund, 1932) • INGLOURIOUS BASTERDS (Quentin Tarantino, 2009) • THE BIRDS (Alfred Hitchcock, 1963) • JAWS (Steven Spielberg, 1975) • NEVER GIVE A SUCKER AN EVEN BREAK (Edward Cline, 1940) • THE BLACK CAT (Edgar G. Ulmer, 1934) • COBRA WOMAN (Robert Siodmak, 1944) • THE INCREDIBLE SHRINKING MAN (Jack Arnold, 1957)

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SPECIAL GUEST

Kate MacKay

Interim Artistic Director Images Festival

IMAGES ACROSS CANADA:

the Images Festival 25th ANNIVERSARY TOUR

Art for Consenting Adults Presented by CINEWORKS INDEPENDENT FILMMAKERS SOCIETY and PACIFIC CINÉMATHÈQUE Curated by JENNIFER CANE “Art for Consenting Adults” re-ignites a key moment in the history of film censorship in Canada more than 30 years ago: in 1981, Vancouver experimental filmmaker and Cineworks founding member Al Razutis and three organizers of the Canadian Images Film Festival in Peterborough, Ontario, were charged with violation of Ontario’s Theatres Act after the festival presented Razutis’s film A Message from Our Sponsor (1979).

The film had been banned by the province’s censor board after previous screenings at arts spaces in Ottawa and Toronto; the Peterborough screening had been a deliberate act of civil disobedience in support of freedom of expression. In Vancouver, the Cineworks Independent Filmmakers Society responded by developing “Art for Consenting Adults,” a national touring package including A Message from Our Sponsor and other works that pushed the issue of censorship in Canada to the fore. As well, Cineworks and other independent film and video organizations across the country adopted a categorical anti-censorship stance, and boycotted exhibition spaces that allowed artists’ works to be censored. In conjunction with the “Institutions by Artists” convention (Vancouver, October 12 -14, 2012), Cineworks and Pacific Cinémathèque look back to this landmark instance of charged confrontation between censors boards, institutions, and artists with a select program of West Coast independent short films from the original “Art for Consenting Adults” package.

A Message from Our Sponsor • Al Razutis, 1979. 9 mins.

Lumiere’s Train (Arriving at the Station) • Al Razutis, 1979.

8 mins.

Nine O’Clock Gun • Chris Gallagher, 1980. 8 mins.

In Black and White • Michael McGarry, 1979. 10 mins.

Labyrinth • Shelley McIntosh, 1978. 3 mins.

Spare Parts • Peter Lipskis, 1976. 10 mins.

Wave Prelude • Gordon Kidd, 1975. 5 mins.

Diminished • Richard Martin, 1979. 7 mins.

Al Neil/A Portrait • David Rimmer, 1979. 40 mins.

TICKETS: $10.50 Regular / $9 Students & Seniors Membership in the Pacific Cinémathèque or Cineworks will be accepted for this event.

MONDAY, OCTOBER 15 – 8:00 PM “Art for Consenting Adults” is presented as part of “Institutions

by Artists” (October 12-14, 2012), an international event in Vancouver that evaluates and activates the performance and promise of contemporary artist-run centres and initiatives.

Curator Jennifer Cane and filmmaker Al Razutis will discuss censorship, funding, and the trajectory of institutional dynamics in Canada on the panel “Institutional Time: Facts and Fictions” on October 12, 2012.

arcpost.ca/conference 18

The Images Festival, held annually in Toronto, is the largest festival in North America for experimental and independent moving-image culture, showcasing the innovative edge of international media art both on and off the screen. To celebrate 25 years of programming, Images has organized its first-ever cross-Canada tour. This Vancouver presentation, co-hosted

by Pacific Cinémathèque and the Cineworks Independent Filmmakers Society, features two special programs from the 25th Images Festival, held in April. The first program includes select works from the inaugural Images Festival in 1988; the second is made up of new works, including a newly-restored, never-before-released film the by late, great San Francisco experimental filmmaker Chick Strand.

TICKETS FOR THE EVENING (one or both screenings): $10.50 Regular / $9 Students & Seniors Membership in the Pacific Cinémathèque or Cineworks will be accepted for this event.

1988

The first Images Festival, organized as an alternative to the Toronto International Film Festival, was held over four nights in June 1988. A total of 51 films and videos by artists from across Canada were screened in four programs. This year, to celebrate 25 years of programming, the Images Festival invited founding board members and programmers to select works from that first festival that had the most impact for them. Cameron Bailey chose Last Days of Contrition by Richard Kerr, Annette Mangaard picked Orientation Express

by Frances Leeming, and Ross Turnbull selected Sirensong by Jan Peacock — all three now considered key works by major figures in Canadian experimental film or video art.

Last Days of Contrition • With Contrition, Richard Kerr continues to display his unique talents as one of Canada’s strongest independent filmmakers. Stunning photography here evokes the concern for light and shadow more often displayed by still photographers. Kerr travels, physically, from Venice, California, through the badlands of Alberta to a baseball stadium in Buffalo and psychically from a mid-sixties, anti-Vietnam perspective to a mid-eighties sense of urban despair. Jingoism and the connection in American culture between games and war are deftly drawn in what is surely Kerr’s strongest, most political film to date. Richard Kerr/ Canada 1987. 16mm, 35 mins.

Sirensong • “You are lured into seeing the place, except it’s no longer a place — it’s a scene, a point of interest.”

The Moon and Monument Valley are known to us more as icons of representation than as geographical locations. This beautifully executed tape questions our ability to see beyond clichés, in an age of media saturation. Jan Peacock/Canada 1987. Video, 8 mins.

A Letter to the Living A series of reflections on states of being and ending. Working with the real, the imagined, and the remembered, the artists in this program address death in both literal and figurative ways.

S.T.T.L • As a woman folds laundry at a laundromat, she delivers a detailed clinical account of the physical transformations that occur in the human body as it succumbs to cancer. Elisabeth Smolarz/USA 2011. Video, 4 mins.

The Well of Representation • From 16mm to 16 bit! Using Hollis Frampton’s Gloria! as a foundation, Representation is a remake and reconsideration of that avant-garde classic from 1979. Here, hacked vintage video-game imagery is used to echo both the formal and narrative elements in Frampton’s original film: a collision of new and old technologies and a rumination on mortality. Evan Meaney/USA 2012. Video, 7 mins.

Algonquin • A brutal and poetic story of a wolf reincarnated in the world as a man. Travis Shilling/Canada 2011. Video, 4 mins.

To Mark the Shape • A fleeting portrait of a snowy landscape shot on expired film stock with a broken-down camera. JB Mabe/USA 2011. 16mm, silent, 3 mins.

Under the Shadow of Marcus Mountain • With Marcus Mountain, Robert Schaller continues looking at landscape and affixing its indexical image to emulsion employing original photographic techniques. Schaller’s stripped-down 16mm filmmaking is the epitome of independent cinema; he uses manual processing, custom-made emulsions and chemicals, and shoots with pinhole cameras and other handmade devices. The resulting images are simultaneously immediate, ephemeral and timeless. Robert Schaller/USA 2011. 16mm, silent, 6 mins.

Hoof, Tooth & Claw • An affecting and sympathetic portrait of 86-year-old farmer Betty French, her land, and the various animals in her care: horses, cattle, and a gnarled and greying pack of sheep. A visit from the ministry of agriculture transforms the disorderly order of Betty’s daily life. Adam Gutch, Chu-Li Shewring/Great Britain 2011. Video, 17 mins. where she stood in the first place. • Situated at the geographic centre of Canada, Baker Lake, Nunavut, is the only inland settlement in the Canadian Arctic. Fixing its gaze on this stark landscape, McIntyre’s haunting and sparse film uses hand-wrought black-and-white 16mm film in a meditation on place and personal histories. Lindsay McIntyre/Canada 2010.

Video, 10 mins.

Orientation Express • Product logos, magazine cut-outs, and photographs are animated in this hilarious, acerbic, and incisive film that “challenge(s) the arrogance of a culture depicting women’s lives as less than a three-dimensional experience” (Frances Leeming). Leeming’s postmodernist animation appropriates dominant cultural imagery, turning it on its ear and demonstrating that context is everything, that patriarchal capitalism’s desire to induce consumerism can be transformed into a reflexive inducement to laughter and reflection. Frances Leeming/Canada 1988. 16mm, 15 mins.

Señora con flores (Woman of Flowers) • Chick Strand’s unreleased, newly restored film, a portrait of a Mexican flower vendor, is a perfect example of her empathetic ethnography.

Strand combines delicate close-ups of the woman’s surroundings as she goes through her daily routine, which are accompanied by her description of decades of suffering abuse at the hands of her alcoholic husband. A testament to patience and endurance, Strand reveals the beauty and grace of her modest subject. Post-production, preservation, and print courtesy of the Academy Film Archive. Chick Strand/ USA-Mexico 1995/2011. 16mm, 15 mins.

Film descriptions from 1988 Images Festival catalogue.

Film descriptions from 2012 Images Festival catalogue.

THURSDAY, OCTOBER 18 – 7:00 PM

THURSDAY, OCTOBER 18 – 8:30 PM

Acting.

Writing.

Directing.

FILM ARTS PROGRAM AT LANGARA

An intensive program where aspiring actors, writers, and directors learn and collaborate on and off the set. Get trained from January to August.

Studio Stage

Learn more.

604.323.5024 gfisher@langara.bc.ca www.langara.bc.ca/filmarts

Reserved Seating • $21 to $40 To Sept 22 • Under the Tents in Vanier Park 604-739-0559 • bardonthebeach.org

OCT 16 –21, 2012 Books. Writers. Ideas. Action!

One hundred writers from around the world in events for readers.

MARTIN AMIS*

MARGARET ATWOOD

DAVID BIDINI

IVAN E. COYOTE

JUNOT DÍAZ

CORY DOCTOROW

TIM FLANNERY

CHIP KIDD

ANNABEL LYON

PASHA MALLA

ZAKES MDA

GORDON PINSENT

DAVID SUZUKI

LINDA SVENDSEN

*SPECIAL EVENT

Tickets: vancouvertix.com or 604.629.8849 writersfest.bc.ca

Tribute to the Thrills & Chills 09.18

10.30 The Polanski masterpiece that changed horror cinema forever. For the first time on Blu-ray.

Michael Douglas and Sean Penn, in David Fincher’s stylish thriller. For the first time on Blu-ray.

The Game

Rosemary’s Baby

09.04

Umberto D.

09.18

09.18

Les Visiteurs du Soir

10.02

In The Mood for Love

Children of Paradise

10.09

Eclipse Series 36: Three Wicked Melodramas from Gainsborough Pictures

09.25

Eating Raoul

10.23

Sunday Bloody Sunday

Available online

© 2012 Entertainment One Films Canada Inc. All Rights Reserved. Distributed Exclusively in Canada by Entertainment One.