DOCSLIB.ORG

March–April 2020 CMA Ticket Center

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

MARCH 1 1:30 Frankie CMA.ORG/FILMS TICKETS: 216-421-7350 or 1-888-CMA-0033 3 1:45 Frankie PARKING: CMA.ORG/PARKING 6 7:00 Vampyr 8 1:30 Vampyr 10 1:45 Lucian Freud: A Self Portrait FILM 13 7:00 Lucian Freud: A Self Portrait 15 1:30 Day of Wrath 17 1:45 Cunningham 20 7:00 Blow-Up 22 1:30 Blow-Up FRANKIE VAMPYR 24 1:45 Salomé 31 1:45 The Disappearance of My Mother APRIL 7 1:45 The Passion of Joan of Arc LUCIAN FREUD: DAY OF WRATH A SELF PORTRAIT 10 7:00 The Passion of Joan of Arc 14 1:45 Easter in Art 17 7:00 Easter in Art 19 1:30 Ordet (The Word) 21 1:45 Botero 24 7:00 Botero CUNNINGHAM BLOW-UP 26 1:30 The Killing Floor 28 1:45 Mr. Klein CMA AT THE FILMFEST Once again the museum is a commu- SALOMÉ THE DISAPPEARANCE OF MY MOTHER nity partner for an acclaimed new film showing at this year’s Cleveland International Film Festival, March 25 to April 5 at Tower City Cinemas and at other locations around town. For film title, location, dates, times, and advance tickets, visit clevelandfilm.org. THE PASSION BOTERO Use code “CMA” and receive $1 off the OF JOAN OF ARC ticket price for any regular CIFF screen- ORDET ing. Tickets are not available at the March–April 2020 CMA ticket center. Ordet (The Word) Sun/ Cunningham Tue/Mar 17, toration of the film, answers Fernando Botero Angulo, Apr 19, 1:30. Directed by 1:45. Directed by Alla Kovgan. audience questions after the one of the best-known living Carl Theodor Dreyer. A rural Legendary works from the screening. (USA, 1922, silent artists from Latin America, farm family whose members Merce Cunningham reper- with recorded music, b&w, famous for his “fat” render- harbor a variety of religious toire are re-created for the Blu-ray, 72 min.) Special ings of human subjects. beliefs experiences tragedy, camera by the last genera- admission $11, CMA members Cleveland premiere. (Canada, followed by a crippling crisis tion of Cunningham dancers free. 2018, color, Blu-ray, 82 min.) of faith, in this mesmerizing, in this new documentary The Disappearance of NEW transcendent masterpiece. that also features archival My Mother Tue/Mar 31, 1:45. DIGITAL RESTORATION! (Denmark, 1955, subtitles, footage of Cunningham, Directed by Beniamino The Killing Floor Sun/Apr DVD, 125 min.) John Cage, and Robert Barrese. In this new docu- 26, 1:30. Directed by Bill Rauschenberg. Shown in 2-D. mentary, reclusive former Duke. With Damien Leake, OTHER FILMS “Utterly transporting . fashion model Benedetta Alfre Woodard, and Dennis MR. KLEIN Radiate[s] the rapturous Farina. This acclaimed PBS Frankie Sun/Mar 1, 1:30. Tue/ Barzini, who became a power of dance” —Hollywood American Playhouse Mar 3, 1:45. Directed by Ira radical feminist in the 1970s Reporter. (Germany/France/ production recounts the All shown in Morley Lecture Day of Wrath Sun/Mar Sachs. With Isabelle Huppert, after serving as a muse to USA, 2019, color/b&w, little-known true story Hall. Unless noted, admission 15, 1:30. Directed by Carl Brendan Gleeson, Greg Warhol, Dalí, and Avedon Blu-ray, 93 min.) of the struggle to build an to each film is $10, CMA Theodor Dreyer. This Kinnear, and Marisa Tomei. during the 1960s, finds her interracial labor union in members $7. “psychological masterpiece The beautiful Portuguese Blow-Up Fri/Mar 20, 7:00. desire to “disappear” the multiethnic Chicago CMA members are free on suggesting a fusion resort town of Sintra is the Sun/Mar 22, 1:30.* Directed thwarted by her son’s intru- Stockyards during the early Tuesdays in March. of Hawthorne and Kafka” setting for this touching by Michelangelo Antonioni. sive video camera and his 20th century. The Village (Pauline Kael) is set in 1623 ensemble drama in which an With David Hemmings and dogged determination to re- Voice called the movie the CARL THEODOR Denmark. The beautiful ailing French actress con- Vanessa Redgrave. In this cord her life. “Both beguiles most “clear-eyed account DREYER: CINEMA’S young wife of a grim old venes her three-generation “mod” masterpiece set in and unsettles” —Screen of union organizing on film.” GREAT DANE pastor finds that her love for family for perhaps their last swinging 1960s London, a International.. Cleveland pre- Cleveland revival premiere. her stepson causes her to be vacation together. “[Has a] fashion photographer acci- miere. (Italy, 2019, subtitles, Suffering, spirituality, and (USA, 1984, color, Blu-ray, branded a witch. (Denmark, classy old-school art house dentally captures possible color, Blu-ray, 94 min.) the supernatural are recur- 118 min.) Screening co- 1943, subtitles, b&w, DVD, veneer” —Hollywood evidence of a murder in one ring themes in four of the EXHIBITION ON SCREEN sponsored by the United 97 min.) Reporter. (France/Portugal, of his outdoor shots. (UK/ most celebrated and endur- Easter in Art Tue/Apr 14, Labor Agency and the The Passion of Joan of Arc 2019, color, Blu-ray, 100 min.) Italy/USA, 1966, color, 35mm, ing works of world cinema 1:45. Fri/Apr 17, 7:00. Directed North Shore Federation of Tue/Apr 7, 1:45. Fri/Apr 10, 111 min.) Special admission directed by Denmark’s EXHIBITION ON SCREEN by Phil Grabsky. The story of Labor; card-carrying union 7:00. Directed by Carl Theo- $12, CMA members $9. Carl Theodor Dreyer (1889– Lucian Freud: A Self Christ’s death and resurrec- members $7. *Sun/Mar 22, noon, PROOF 1968). Each film is $11, CMA dor Dreyer. This silent classic Portrait Tue/Mar 10, 1:45. tion has dominated Western NEW is a visually stunning re- Fri/Mar 13, 7:00. Directed by gallery talk. Free; ticket art for the past 2,000 years. members $8. DIGITAL RESTORATION! creation of the heresy trial David Bickerstaff. Britain’s required. Space is limited. This new film, shot on Mr. Klein Tue/Apr 28, 1:45. Vampyr Fri/Mar 6, 7:00. of the 15th-century French location in Jerusalem, Europe, Lucian Freud (1922–2011), THE WORLD OF Directed by Joseph Losey. Sun/Mar 8, 1:30. Directed freedom fighter, based LOUIS COMFORT TIFFANY. and the US, explores the among the greatest realist With Alain Delon and Jeanne by Carl Theodor Dreyer. The on actual court transcripts. COMPOSER IN PERSON! different ways the Easter painters of the 20th century, Moreau. One of the major re- most spectral—and perhaps It’s celebrated for its stark, Salomé Tue/Mar 24, 1:45. story has been depicted in depicts himself in more discoveries of the past year! creepiest—of all vampire stunning close-ups, and for Directed by Charles Bryant. art—from the time of the than 50 paintings, prints, Robert Klein, a Catholic art films tells of a stranger who Renée Falconetti’s sublime With Alla Nazimova. Perhaps early Christians to the pres- and drawings in this new dealer in Occupied Paris who arrives at a European village portrayal of Joan (which the apex of Art Nouveau on ent day. Cleveland premiere. movie derived from a show makes a comfortable living where the locals behave critic Pauline Kael called screen, this opulent silent (UK, 2020, color, Blu-ray, 85 of self-portraits organized by buying and selling art in a peculiar, sinister fash- “maybe the finest perfor- adaptation of Oscar Wilde’s min.) Special admission $15, by the Royal Academy owned by Jews desperate to ion. Haunting imagery and mance ever recorded on play about the seductive CMA members $11. of Arts in London and the flee France, is disturbed by a claustrophobic mood of film”). The movie’s music dancer who demands the Museum of Fine Arts, Boston. Botero Tue/Apr 21, 1:45. Fri/ the news that the city con- dread take precedence over track is Richard Einhorn’s head of John the Baptist Cleveland premiere. (UK, Apr 24, 7:00. Directed by tains another Robert Klein, narrative clarity. (France/ 1994 oratorio Voices of Light. on a platter was inspired by 2020, color, Blu-ray, 80 min.) Don Millar. This new docu- a Jew wanted by authorities. Germany, 1932, subtitles, “Magisterial cinema . Aubrey Beardsley drawings. Special admission $15, CMA mentary profiles Colombian- (France/Italy, 1976, subtitles, b&w, Blu-ray, 73 min.) Almost unbearably moving” Aleksandra Vrebalov, who members $11. born painter and sculptor color, Blu-ray, 123 min.) —Time Out Film Guide. composed the score that Special admission $11, CMA (France, 1928, English accompanies this new res- members $8. titles, b&w, Blu-ray, 82 min.).
Recommended publications
  • Al Pacino Receives Bfi Fellowship

    Al Pacino Receives Bfi Fellowship

    AL PACINO RECEIVES BFI FELLOWSHIP LONDON – 22:30, Wednesday 24 September 2014: Leading lights from the worlds of film, theatre and television gathered at the Corinthia Hotel London this evening to see legendary actor and director, Al Pacino receive a BFI Fellowship – the highest accolade the UK’s lead organisation for film can award. One of the world’s most popular and iconic stars of stage and screen, Pacino receives a BFI Fellowship in recognition of his outstanding achievement in film. The presentation was made this evening during an exclusive dinner hosted by BFI Chair, Greg Dyke and BFI CEO, Amanda Nevill, sponsored by Corinthia Hotel London and supported by Moët & Chandon, the official champagne partner of the Al Pacino BFI Fellowship Award Dinner. Speaking during the presentation, Al Pacino said: “This is such a great honour... the BFI is a wonderful thing, how it keeps films alive… it’s an honour to be here and receive this. I’m overwhelmed – people I’ve adored have received this award. I appreciate this so much, thank you.” BFI Chair, Greg Dyke said: “A true icon, Al Pacino is one of the greatest actors the world has ever seen, and a visionary director of stage and screen. His extraordinary body of work has made him one of the most recognisable and best-loved stars of the big screen, whose films enthral and delight audiences across the globe. We are thrilled to honour such a legend of cinema, and we thank the Corinthia Hotel London and Moët & Chandon for supporting this very special occasion.” Alongside BFI Chair Greg Dyke and BFI CEO Amanda Nevill, the Corinthia’s magnificent Ballroom was packed with talent from the worlds of film, theatre and television for Al Pacino’s BFI Fellowship presentation.
  • January 13, 2009 (XVIII:1) Carl Theodor Dreyer VAMPYR—DER TRAUM DES ALLAN GREY (1932, 75 Min)

    January 13, 2009 (XVIII:1) Carl Theodor Dreyer VAMPYR—DER TRAUM DES ALLAN GREY (1932, 75 Min)

    January 13, 2009 (XVIII:1) Carl Theodor Dreyer VAMPYR—DER TRAUM DES ALLAN GREY (1932, 75 min) Directed by Carl Theodor Dreyer Produced by Carl Theodor Dreyer and Julian West Cinematography by Rudolph Maté and Louis Née Original music by Wolfgang Zeller Film editing by Tonka Taldy Art direction by Hermann Warm Special effects by Henri Armand Allan Grey…Julian West Der Schlossherr (Lord of the Manor)…Maurice Schutz Gisèle…Rena Mandel Léone…Sybille Schmitz Village Doctor…Jan Heironimko The Woman from the Cemetery…Henriette Gérard Old Servant…Albert Bras Foreign Correspondent (1940). Some of the other films he shot His Wife….N. Barbanini were The Lady from Shanghai (1947), It Had to Be You (1947), Down to Earth (1947), Gilda (1946), They Got Me Covered CARL THEODOR DREYER (February 3, 1889, Copenhagen, (1943), To Be or Not to Be (1942), It Started with Eve (1941), Denmark—March 20, 1968, Copenhagen, Denmark) has 23 Love Affair (1939), The Adventures of Marco Polo (1938), Stella Directing credits, among them Gertrud (1964), Ordet/The Word Dallas (1937), Come and Get It (1936), Dodsworth (1936), A (1955), Et Slot i et slot/The Castle Within the Castle (1955), Message to Garcia (1936), Charlie Chan's Secret (1936), Storstrømsbroen/The Storstrom Bridge (1950), Thorvaldsen Metropolitan (1935), Dressed to Thrill (1935), Dante's Inferno (1949), De nåede færgen/They Caught the Ferry (1948), (1935), Le Dernier milliardaire/The Last Billionaire/The Last Landsbykirken/The Danish Church (1947), Kampen mod Millionaire (1934), Liliom (1934), Paprika (1933),
  • Metaphysics – Transcendence – Atheism

    Metaphysics – Transcendence – Atheism

    "IMAGES" 2021, Vol. XXX, No. 39 METAPHYSICS – TRANSCENDENCE – ATHEISM A product of the nineteenth century, the cinematic arts were born to capture the very material reality present in front of the lens. Erwin Panofsky called this reality “profilmic,” while André Bazin argued that recording the existence of material objects on film fulfilled what he called mankind’s “mummy complex,” the desire to immortalize fleeting entities in the form of images. With time, film outgrew this initial function and began making attempts to depict spiritual realities as well (with films by Carl Theodor Dreyer, Ingmar Bergman, Andrei Tarkovsky, Krzysztof Zanussi, and other artists). First coined by American director and film theorist Paul Schrader to describe the work of Dreyer, Bresson, and Ozu, the phrase “transcendental style” (itself a misnomer, as the term “transcendent style” would be much more fitting here) was soon picked up by fellow authors, who used it to interrogate the transcendent in the work of the three aforementioned directors and other filmmakers (vide: Seweryn Kuśmierczyk’s essay on Tarkovsky and the rich body of literature written on the director). A counterstrain, however, coalesced around neoformalist and cognitivist David Bordwell, who contended that the particular “parametric form,” its style autonomous and autotelic, compelled critics to seek within it a metaphysics that he did not believe could be found in the work of Ozu, Dreyer, or Bresson—a position he elaborated on extensively in his monographs on the work of the former two and essays on films by the latter. Recent Bresson scholarship (vide: Colin Burnett’s monograph) has questioned the validity of this “Schraderian” option even further.
  • Lesbianism and the Uncanny in Sheridan Le Fanu's Carmilla

    Lesbianism and the Uncanny in Sheridan Le Fanu's Carmilla

    Lesbianism and the Uncanny in Sheridan Le Fanu’s Carmilla Sergio Ramos Torres Trabajo de Fin de Grado en Estudios Ingleses Supervised by Constanza del Río Álvaro Diciembre 2016 Universidad de Zaragoza 0 Contents Introduction 2 1. The vampire in literature and popular culture 5 1.1 Female vampires 10 2. Lesbianism and the uncanny in Carmilla 13 2.1 Contextualisation 13 2.2 Lesbianism and the Uncanny in Carmilla 16 Conclusion 23 Works Cited 25 1 Introduction The figure of the vampire has been present in most cultures, and the meanings and feelings these supernatural creatures represent have been similar across time and space. For human beings they have been a source of fear and superstition, their significance acquiring religious connotations all over the world. The passing of time has modified this ancient horror and the myth has changed little by little, most of the time being softened, giving birth to diverse conceptions and representations that differ a lot from the evil spawn – originating in myth, legend and folklore – that ancient people were afraid of. These creatures have been represented not as part of the human being, but as a nemesis, as the “other”, and as something that is dead but, at the same time, alive, threatening the pure existence of the human by disrupting the carefully constructed borders that civilization has erected between the self and the other, the human and the animal, between life and death. They are, like Rosemary Jackson said, “our relation to death made concrete” (68) and thus, they “disrupt the crucial defining line which separates real life from the unreality of death” (69).
  • Company Profile Fenix Entertainment About Us

    Company Profile Fenix Entertainment About Us

    COMPANY PROFILE FENIX ENTERTAINMENT ABOUT US Fenix Entertainment is a production company active also in the music industry, listed on the stock exchange since August 2020, best newcomer in Italy in the AIM-PRO segment of the AIM ITALIA price list managed by Borsa Italiana Spa. Its original, personalized and cutting-edge approach are its defining features. The company was founded towards the end of 2016 by entrepreneurs Riccardo di Pasquale, a former bank and asset manager and Matteo Di Pasquale formerly specializing in HR management and organization in collaboration with prominent film and television actress Roberta Giarrusso. A COMBINATION OF MANY SKILLS AT THE SERVICE OF ONE PASSION. MILESTONE 3 Listed on the stock exchange since 14 Produces the soundtrack of Ferzan Produces the film ‘’Burraco Fatale‘’. August 2020, best newcomer in Italy in Ozpetek's “Napoli Velata” the AIM-PRO segment of the AIM ITALIA price list managed by Borsa Italiana Spa First co-productions Produces the soundtrack "A Fenix Entertainment cinematographic mano disarmata" by Claudio Distribution is born Bonivento Acquisitions of the former Produces the television Produces the film works in the library series 'That’s Amore' “Ostaggi” Costitution Fenix Attend the Cannes Film Festival Co-produces the film ‘’Up & Produces the “DNA” International and the International Venice Film Down – Un Film Normale‘’ film ‘Dietro la product acquisition Festival notte‘’ 2016 2017 2018 2019 2020 “LA LUCIDA FOLLIA DI MARCO FERRERI” “UP&DOWN. UN FILM “NAPOLI VELATA” original “BEST REVELATION” for Fenix Entertainment • David di Donatello for Best Documentary NORMALE” Kineo award soundtrack Pasquale Catalano Anna Magnani Award to the production team • Nastro d’Argento for Best Film about Cinema for Best Social Docu-Film nominated: • David di Donatello for Best Musician • Best Soundtrack Nastri D’Argento “STIAMO TUTTI BENE” by Mirkoeilcane “DIVA!” Nastro D’Argento for the Best “UP&DOWN.
  • And the Ship Sails On

    And the Ship Sails On

    And The Ship Sails On by Serge Toubiana at the occasion of the end of his term as Director-General of the Cinémathèque française. Within just a few days, I shall come to the end of my term as Director-General of the Cinémathèque française. As of February 1st, 2016, Frédéric Bonnaud will take up the reins and assume full responsibility for this great institution. We shall have spent a great deal of time in each other's company over the past month, with a view to inducting Frédéric into the way the place works. He has been able to learn the range of our activities, meet the teams and discover all our on-going projects. This friendly transition from one director-general to the next is designed to allow Frédéric to function at full-steam from day one. The handover will have been, both in reality and in the perception, a peaceful moment in the life of the Cinémathèque, perhaps the first easy handover in its long and sometimes turbulent history. That's the way we want it - we being Costa-Gavras, chairman of our board, and the regulatory authority, represented by Fleur Pellerin, Minister of Culture and Communication, and Frédérique Bredin, Chairperson of the CNC, France's National Centre for Cinema and Animation. The peaceful nature of this handover offers further proof that the Cinémathèque has entered into a period of maturity and is now sufficiently grounded and self-confident to start out on the next chapter without trepidation. But let me step back in time. Since moving into the Frank Gehry building at 51 rue de Bercy, at the behest of the Ministry of Culture, the Cinémathèque française has undergone a profound transformation.
  • Feature Films

    Feature Films

    Libraries FEATURE FILMS The Media and Reserve Library, located in the lower level of the west wing, has over 9,000 videotapes, DVDs and audiobooks covering a multitude of subjects. For more information on these titles, consult the Libraries' online catalog. 0.5mm DVD-8746 2012 DVD-4759 10 Things I Hate About You DVD-0812 21 Grams DVD-8358 1000 Eyes of Dr. Mabuse DVD-0048 21 Up South Africa DVD-3691 10th Victim DVD-5591 24 Hour Party People DVD-8359 12 DVD-1200 24 Season 1 (Discs 1-3) DVD-2780 Discs 12 and Holding DVD-5110 25th Hour DVD-2291 12 Angry Men DVD-0850 25th Hour c.2 DVD-2291 c.2 12 Monkeys DVD-8358 25th Hour c.3 DVD-2291 c.3 DVD-3375 27 Dresses DVD-8204 12 Years a Slave DVD-7691 28 Days Later DVD-4333 13 Going on 30 DVD-8704 28 Days Later c.2 DVD-4333 c.2 1776 DVD-0397 28 Days Later c.3 DVD-4333 c.3 1900 DVD-4443 28 Weeks Later c.2 DVD-4805 c.2 1984 (Hurt) DVD-6795 3 Days of the Condor DVD-8360 DVD-4640 3 Women DVD-4850 1984 (O'Brien) DVD-6971 3 Worlds of Gulliver DVD-4239 2 Autumns, 3 Summers DVD-7930 3:10 to Yuma DVD-4340 2 or 3 Things I Know About Her DVD-6091 30 Days of Night DVD-4812 20 Million Miles to Earth DVD-3608 300 DVD-9078 20,000 Leagues Under the Sea DVD-8356 DVD-6064 2001: A Space Odyssey DVD-8357 300: Rise of the Empire DVD-9092 DVD-0260 35 Shots of Rum DVD-4729 2010: The Year We Make Contact DVD-3418 36th Chamber of Shaolin DVD-9181 1/25/2018 39 Steps DVD-0337 About Last Night DVD-0928 39 Steps c.2 DVD-0337 c.2 Abraham (Bible Collection) DVD-0602 4 Films by Virgil Wildrich DVD-8361 Absence of Malice DVD-8243
  • Isabelle Huppert

    Isabelle Huppert

    Les Visiteurs du Soir présente ISABELLE HUPPERT LIT SADE Juliette et Justine, le vice et la vertu © Peter Lindbergh Textes réunis par Raphaël Enthoven Création le 27 janvier 2013 Palais des Beaux-Arts de Bruxelles (Bozar) En tournée en 2013-2014 Booking - Fabienne Calonier 01 44 93 02 02 / [email protected] PRÉSENTATION On présente souvent l’œuvre de Sade comme une «antiutopie», une dystopie où le meurtre, la violence sexuelle, l’anthropophagie sont loués pourvu qu’ils permettent aux puissants de jouir sans entrave. Isabelle Huppert prête sa voix à deux figures emblématiques de l’œuvre de Sade : Justine et Juliette, deux sœurs aux destins opposés, l’une perdue par la vertu, l’autre triomphant par le vice. À travers elles, Raphaël Enthoven interroge le malaise qui pèse sur la production littéraire et le message du sulfureux écrivain : « Je ne m'explique pas la raison pour laquelle le Marquis de Sade continue - légitimement - de nous choquer. (…) Son éloge du vice et l'outrance des orgies qu'il décrit ne suffisent pas à comprendre la persistance du dégoût qu'il inspire. Le mal vient de plus loin. Sade, c'est l'ombre des Lumières, la face cachée du soleil. Son immoralisme est d'abord un amoralisme. Sous les imprécations du mécréant contre la « chimère déifique », il faut entendre le refus de croire que le monde est là pour nous faire plaisir. C'est peut-être là qu'il est indigeste : dans la constance avec laquelle il construit une philosophie - et même une éthique - sur le socle d'un monde glacial et inhumain ».
  • Persons Nominated for Foreign Language (Non-English) Performances

    Persons Nominated for Foreign Language (Non-English) Performances

    PERSONS NOMINATED FOR FOREIGN LANGUAGE (NON-ENGLISH) PERFORMANCES * Denotes winner [Updated thru 88th Awards (2/16)] 1961 (34th) * Sophia Loren – Actress, Two Women [Italian] 1962 (35th) Marcello Mastroianni – Actor, Divorce - Italian Style [Italian] 1964 (37th) Sophia Loren – Actress, Marriage Italian Style [Italian] 1966 (39th) Anouk Aimee – Actress, A Man and a Woman [French] Ida Kaminska – Actress, The Shop on Main Street [Czech] 1972 (45th) Liv Ullmann – Actress, The Emigrants [Swedish] 1974 (47th) Valentina Cortese – Supporting Actress, Day for Night [French] * Robert De Niro – Supporting Actor, The Godfather Part II [Italian] 1975 (48th) Isabelle Adjani – Actress, The Story of Adele H. [French] 1976 (49th) Marie-Christine Barrault – Actress, Cousin, Cousine [French] Giancarlo Giannini – Actor, Seven Beauties [Italian] Liv Ullmann – Actress, Face to Face [Swedish] 1977 (50th) Marcello Mastroianni – Actor, A Special Day [Italian] 1978 (51st) Ingrid Bergman – Actress, Autumn Sonata [Swedish] 1986 (59th) * Marlee Matlin – Actress, Children of a Lesser God [American Sign Language] 1987 (60th) Marcello Mastroianni – Actor, Dark Eyes [Italian] 1988 (61st) Max von Sydow – Actor, Pelle the Conqueror [Swedish] 1989 (62nd) Isabelle Adjani – Actress, Camille Claudel [French] 1990 (63rd) Gerard Depardieu – Actor, Cyrano de Bergerac [French] Graham Greene – Supporting Actor, Dances With Wolves [Lakota Sioux] 1992 (65th) Catherine Deneuve – Actress, Indochine [French] 1995 (68th) Massimo Troisi – Actor, The Postman (Il Postino) [Italian] 1998 (71st) * Roberto Benigni – Actor, Life Is Beautiful [Italian] Fernanda Montenegro – Actress, Central Station [Portuguese] 2000 (73rd) * Benicio Del Toro – Supporting Actor, Traffic [Spanish] 2004 (77th) Catalina Sandino Moreno – Actress, Maria Full of Grace [Spanish] 2006 (79th) Penélope Cruz – Actress, Volver [Spanish] Rinko Kikuchi – Supporting Actress, Babel [Japanese Sign Language] 2007 (80th) * Marion Cotillard – Actress, La Vie en Rose [French] © Academy of Motion Picture Arts and Sciences.
  • We're Back! Number 8 Spring 2021 Reopening Programme

    We're Back! Number 8 Spring 2021 Reopening Programme

    We’re Back! Number 8 Spring 2021 Reopening Programme EVENTS FILMS 42nd Street - The Musical Raya & the Last Dragon (PG) Thu 3 Jun - 7.30pm; Sat 12 Jun - 2.30pm Sat 29 May & Thu 3 Jun - 2.30pm The story of a talented young performer who gets her big An exciting animated adventure set in the fantasy world break on Broadway, this is the largest ever staging of the of Kumandra following Raya, a lone warrior on a quest to award-winning musical, filmed at the Theatre Royal, track down the legendary last dragon. Directed by Don London in 2018. Starring Bonnie Langford as Dorothy Hall, 1hr 43mins. Tickets just £5 Brock, alongside a show-stopping ensemble cast. Pure musical magic - entertainment doesn’t get bigger than The Secret Garden (PG) this! 2hrs 22mins. £14, 16 & under £10 Tue 1 Jun - 2.30pm; Sat 5 Jun - 7.30pm; Mon 7 & Thu 10 Jun - 2.30pm The Human Voice + Q&A A new adaptation of the Frances Hodgson Thu 17 Jun - 7.30pm Burnett classic. Orphaned Mary (Dixie Egerickx) is sent A screening of Pedro Almodóvar’s first film in the English to live with her uncle (Colin Firth) on his Yorkshire estate. language, accompanied by a pre-recorded Q&A with Despite the watchful eye of housekeeper Mrs Medlock Almodóvar and star Tilda Swinton, hosted by film critic (Julie Walters), Mary and her sickly cousin Colin discover Mark Kermode. The short film was shot in Madrid in July a wondrous secret garden. Directed by Marc Munden, 2020 and premiered to acclaim at the Venice Film 1hr 36mins, AD))) Festival.
  • Cannes 2001 Report

    Cannes 2001 Report

    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Waterloo Library Journal Publishing Service (University of Waterloo, Canada) Cannes 2001 Report By Ron Holloway Fall 2001 Issue of KINEMA CANNES INTERNATIONAL FILM FESTIVAL 2001 Two events devotee of made the 54th Festival International du Film (9-20 May 2001) particularly memorable. The first was the news that, after 22 years as délégué général, Gilles Jacob stepped up to become Président while handing down the reins to Thierry Frémaux, the latter now divides his time between Cannes and duties as head of the Institute Lumière in Lyons. The other was the presence on the Croisette of seven previous Palme d’Or directors: Francis Ford Coppola (The Conversation, 1974, and Apocalypse Now, 1979), Ermanno Olmi (The Tree of Wooden Clogs, 1978), Shohei Imamura (The Ballad of Narayama, 1983, and The Eel, 1997), David Lynch (Wild at Heart, 1990), Joel and Ethan Coen (Barton Fink, 1991), and Abbas Kiarostami (The Taste of Cherries, 1997). One might add, too, that over the past quarter century each of their eight award-winning films helped considerably to set the tone and style of the world’s mostrevered film festival. Apocalypse Now Redux In the case of Apocalypse Now -- aka Apocalypse Now Redux, to denote a new version of an old film -- Francis Ford Coppola returned to Cannes with the completed version of his work-in-progress presented here 22 years ago. No less than 53 minutes were added to the re-edited 203-minute version, in addition to a re-mastered Technicolor transfer and a re-mastered soundtrack.
  • 2. the Slow Pulse of the Era: Carl Th. Dreyer's Film Style

    2. the Slow Pulse of the Era: Carl Th. Dreyer's Film Style

    2. THE SLOW PULSE OF THE ERA: CARL TH. DREYER’S FILM STYLE C. Claire Thomson Introduction The very last shot of Carl Th. Dreyer’s very last film, Gertrud (1964), devotes forty-five seconds to the contemplation of a panelled door behind which the eponymous heroine has retreated with a wave to her erstwhile lover. The camera creeps backwards to establish Dreyer’s valedictory tableau on which it lingers, immobile, for almost thirty seconds: the door and a small wooden stool beside it. The composition is of such inert, grey geometry that, in its closing moments, this film resembles nothing so much as a Vilhelm Hammershøi painting, investing empty domestic space with the presences that have passed through its doors and hallways. If, in this shot, the cinematic image fleetingly achieves the condition of painting, it is the culmination of a directorial career predicated on the productive tension between movement and stillness, sound and silence, rhythm and slowness. At the end of Gertrud, where the image itself slows into calm equilibrium, we witness the end point of an entropic career. As Dreyer’s film style slowed, so, too, did his rate of production. The intervals between his last four major films – the productions that write Dreyer into slow cinema’s prehistory – are measured in decades, not years: Vampyr (1932), Vredens Dag (Day of Wrath, 1943), Ordet (The Word, 1955), Gertrud (1964).1 Studios were reluctant to engage a director who made such difficult films so inefficiently or, rather, made such slow films so slowly. The fallow periods between feature films, however, obliged Dreyer to undertake other kinds of work.