Film Fest Port Alberni Is a Fundraising Initiative of the Alberni WINTER 2017 Valley Museum

Sunday, April 23 SUPPORTED BY: 5:00 pm Watch for our announcement of the last film Landmark Cinemas we are working towards bringing in a special film in for this time slot! Film Fest Port Alberni is a fundraising initiative of the Alberni WINTER 2017 Valley Museum. The Films are distributed through The Film Circuit a Division of the FILM SERIES Toronto International Film Festival. It is our intent to provide our community with quality films that would not otherwise be The Film Circuit available to the local theatre. Each series of films will feature a Canadian and a Foreign FILM FEST production. Funds raised support museum school and outreach programs. Thank-you PORT for supporting our efforts. ALBERNI Fees: Seasons Pass: $35.00 Single Film: $10.00 per person Seasons Passes and Tickets are available in advance at : Alberni Valley Museum Single tickets sold at the door on show The City of Port Alberni nights. Presented by the: Film Fest Port Alberni Alberni Valley Museum C/O Alberni Valley Museum, 4255 Wallace BC Arts Council Street Port Alberni, BC V9Y 3Y6 Sunday, January 29 Sunday, February 26 Sunday, March 26 5:00 pm 5:00 pm 5:00 pm MALIGLUTIT - SEARCHERS OLD STONE TULIP FEVER Fifteen years after winning the prestigious Caméra Winner of the Toronto International Film Festival’s Based on the novel by celebrated author Deborah d’Or for Best First Feature at Cannes for his debut At- City of Toronto Award for Best Canadian First Fea- Moggach (These Foolish Things), Tulip Fever tells anarjuat: The Fast Runner, Inuk filmmaker Zacharias ture, Johnny Ma’s (director of Film Circuit favourite the tale of a torrid romance between a painter and a Kunuk (The Journals of Knud Rassmussen) returns shorts A Grand Canal and The Genius from Quintino) beautiful, young married woman at the height of with this Arctic epic, inspired by the classic John Ford thrilling feature debut — about a taxi driver plunged tulip mania in 17th-century Amsterdam. Drawing western The Searchers, in which a vengeful husband into a bureaucratic nightmare when he takes an injured from an adapted screenplay by playwright Sir sets off in pursuit of the men who kidnapped his wife. man to the hospital — takes us on an unnerving trip Tom Stoppard (Shakespeare in Love, Anna While Kunuk and his collaborator Natar Ungalaaq through China’s social strata and their corresponding Karenina), director Justin Chadwick (The Other (The Journals of Knud Rassmussen, Atanarjuat: The levels of "justice.” For Lao Shi (Chen Gang), a hard- Boleyn Girl) once again employs his masterful eye Fast Runner) hew closely to the basic scenario of the working cabbie in a bustling metropolis, every day of for detail to bring this period drama to vivid life. Ford original — wherein a white girl is abducted by work is a fight for his family’s basic economic surviv- When wealthy merchant Cornelis (Christoph Waltz, members of the Comanche nation, sparking a seven- al. One day, swerving his car because his arm is Big Eyes, Inglorious Basterds) commissions a por- year search by her obsessed uncle, they have made a grabbed by a reckless drunken passenger, he acci- trait of his beautiful wife Sophia (Alicia Vikander, film that is very different in tone and feel. In the vast dentally hits a motorcyclist. Passersby observe and The Danish Girl, Testament of Youth), an irrepressi- spaces of the Arctic, a family is torn apart when ma- take photos but don’t intervene, and when the ambu- ble passion begins to bloom between Sophia and the rauding men break into an igloo and abduct a young lance takes too long to arrive, he decides to take the talented young artist (Dane DeHaan, Two Lovers woman. When the woman’s husband returns to find his injured man to the hospital, where his honest act is and a Bear, Devil’s Knot) hired to commit her beau- home ransacked and his wife vanished, he vows re- promptly turned against him. Unfamiliar with the laws, ty to canvas. The young star-crossed lovers hinge venge. Gathering together a band of maliglutit Shi is acting on instinct. But after checking the man in, their future together on an investment in the risky (“followers”), the man sets out to rescue the captives. he finds that he’s become legally responsible for the tulip market, tensions build and deceptions abound During the arduous journey across the tundra, Kunuk hospital bills. He appeals to all available levels of gov- as the stakes grow higher. Beautifully shot in muted slowly transforms his theme from justified retribution ernment, but is consistently shut down and rendered all palettes reminiscent of Vermeer, Tulip Fever fea- to self-examination, as the film questions whether but voiceless. Faced with the possibility of losing eve- tures quietly powerful performances from its two these hunters, ostensibly the heroes, have begun to act rything, he descends into a kind of madness and begins leads, as well as another wonderfully ominous turn like those who have violated their family. As with to think that his only possible response to such a thank- from the Academy Award–winning Waltz. Dame Ford’s The Searchers, Maliglutit (Searchers) explores less social system might be retribution. Ma’s film be- Judi Dench also brings her infamously dry wit to the repercussions of acts of viol-ence within a commu- gins as a carefully observed social-realist drama — and the role of a surprisingly cheeky abbess. Tulip Fever nity, and how righteous indignation can all too easily gradually transforms into a furious noir that takes us interweaves the narrative of one of the most aston- become wanton brutality in its own right. But Kunuk’s out of the city and onto the dark roads at its outskirts. ishing economic events in European history with a film goes beyond Ford’s as it forces us not only to in- Chen’s extraordinary and sympathetic performance is deeply intimate tale of desire, betrayal, and perilous terrogate the colonial ideology inherent to the western essential to the film’s mission: juxtaposing Shi’s prac- ambition. As the young lovers become ever more genre, but also to consider the very possibility of jus- tically anachronistic honesty with society’s greedy daring in their commitment, both to one another and tice in a seemingly unjust world. With this tale as time- individualism. Even as Old Stone goes into full cine- towards a shared future, we are reminded of that less as the landscape in which it is set, one of Canada’s matic overdrive, it does so with an engine that runs on universal truth: the course of true love never did run foremost filmmakers has provided us with another humanism and empathy, carefully examining the cost smooth. classic. of doing the right thing. Country: UK/USA Country: Canada Country: Canada/China Running Time: 107 minutes Running Time: 94 minutes Running Time: 90 minutes ALL FILMS SHOWING AT THE THEATRE LANDMARK CINEMAS PARAMOUNT *Make sure you visit the well stocked concession for your movie snacks* .

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