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SPOTLIGHT: WILLIS & wexler


In a new direction for CCS, we're shining a spotlight on cinematographers, choosing two Americans, Gordon Willis and Haskell Wexler, and their politically charged films of the 1960s and 1970s. Willis brought a mantra of simplicity to his work, with the philosophy of never adding more when less could be better. With that approach, he became known as the "Prince of Darkness" for his willingness to allow shadow to predominate a frame. He was the favored collaborator of several directors, spanning multiple genres. Our series is dominated by his work on the political films of Alan J. Pakula, including All the President's Men and The Parallax View. Haskell Wexler brought a sensibiity attuned to subtle lighting in shades of grey, often working with soft bounced light. He was a political activist all his life, and in this series his work on films directed by Hal Ashby and Norman Jewison shows his artistry applied to strong political themes, but also on the emotional ride of Mike Nichols's Who's Afraid of Virginia Woolf?

SPOTLIGHT: WILLIS & wexler


In a new direction for CCS, we're shining a spotlight on cinematographers, choosing two Americans, Gordon Willis and Haskell Wexler, and their politically charged films of the 1960s and 1970s. Willis brought a mantra of simplicity to his work, with the philosophy of never adding more when less could be better. With that approach, he became known as the "Prince of Darkness" for his willingness to allow shadow to predominate a frame. He was the favored collaborator of several directors, spanning multiple genres. Our series is dominated by his work on the political films of Alan J. Pakula, including All the President's Men and The Parallax View. Haskell Wexler brought a sensibiity attuned to subtle lighting in shades of grey, often working with soft bounced light. He was a political activist all his life, and in this series his work on films directed by Hal Ashby and Norman Jewison shows his artistry applied to strong political themes, but also on the emotional ride of Mike Nichols's Who's Afraid of Virginia Woolf?

NEXT SCREENING

THURSDAY, JANUARY 11
6:45PM, THE GLOBE CINEMA

WHO'S AFRAID OF VIRGINIA WOOLF? | Dir. Mike Nichols | 1966 | 131 min

CONTROVERSY, A FIRST-TIME DIRECTOR AND COMBUSTIBLE STARS: 'WHO'S AFRAID OF VIRGINIA WOOLF?' WAS HARDLY A SURE THING

Fifty years ago last month, a lacerating, dark comedy-drama opened in theaters, helping change the landscape of American cinema. “Who’s Afraid of Virginia Woolf?” – based on Edward Albee’s Tony-winning play – not only captured that landmark American drama’s game-changing interpersonal dynamics, but also marked the film directing debut of Mike Nichols and helped topple the archaic Motion Picture Production Code.   

Released on Blu-ray in May by Warner Archives, the 1966 film was no sure thing as it made its way from stage to screen. An emotional horror story, both the play and the film triggered controversy and challenged the status quo.

The play, marking Albee's Broadway debut, opened Oct. 13, 1962, at the Billy Rose Theatre, was unfolding. The action takes place on a New England college campus in the home of middle-aged history professor George and his fiery wife, Martha, as they "entertain" – devour is more like it – a younger couple into the wee hours of the night. READ MORE, via LA Times, originally published Jun 30,2016.

Awards
ACADEMY AWARDS, USA 1967 - Won (Oscar, Best Actress in a Leading Role | Elizabeth Taylor, Best Actress in a Supporting Role | Sandy Dennis, Best Cinematography, Black-and-White | Haskell Wexler, Best Art Direction-Set Decoration, Black-and-White | Richard Sylbert, George James Hopkins, Best Costume Design, Black-and-White | Irene Sharaff), Nominated - (Oscar, Best Picture | Ernest Lehman, Best Actor in a Leading Role | Richard Burton, Best Actor in a Supporting Role | George Segal, Best Director | Mike Nichols, Best Writing, Screenplay Based on Material from Another Medium | Ernest Lehman, Best Sound | George Groves (Warner Bros. SSD), Best Film Editing | Sam O'Steen, Best Music, Original Music Score | Alex North)
GOLDEN GLOBES, USA 1967 - Nominated (Golden Globe, Best Motion Picture - Drama, Best Director | Mike Nichols, Best Actress - Drama | Elizabeth Taylor, Best Actor - Drama | Richard Burton, Best Supporting Actress | Sandy Dennis, Best Supporting Actor | George Segal, Best Screenplay | Ernest Lehman)
BAFTA AWARDS 1967 - Won (BAFTA Film Award, Best British Actress | Elizabeth Taylor, Best Film from any Source | Mike Nichols, Best British Actor | Richard Burton, For The Spy Who Came in from the Cold)
AMERICAN CINEMA EDITORS, USA 1967 - Nominated (Eddie, Best Edited Feature Film | Sam O'Steen)
BAMBI AWARDS 1968 - Won (Bambi, Best Actress - International | Elizabeth Taylor, Best Actor - International | Richard Burton)
DIRECTORS GUILD OF AMERICA, USA 1967 - Nominated (DGA Award, Outstanding Directorial Achievement in Motion Pictures | Mike Nichols)
GRAMMY AWARDS 1967 - Nominated (Grammy, Best Original Score Written for a Motion Picture or Television Show | Alex North)
KANSAS CITY FILM CRITICS CIRCLE AWARDS 1966 - Won (KCFCC Award, Best Film
Best Actress | Elizabeth Taylor)
LAUREL AWARDS 1967 - Won (Golden Laurel, Drama, Male Dramatic Performance | Richard Burton, Female Dramatic Performance | Elizabeth Taylor, Female Supporting Performance | Sandy Dennis), Nominated (Golden Laurel, Male Supporting Performance | George Segal)
NATIONAL BOARD OF REVIEW, USA 1967 - Won (NBR Award, Best Actress | Elizabeth Taylor), Top Ten Films
NATIONAL FILM PRESERVATION BOARD, USA 2013 - Won (National Film Registry)
National Society of Film Critics Awards, USA 1967 - Nominated (NSFC Award, Best Actor | Richard Burton. Tied with Max von Sydow for Hawaii (1966) in 2nd place, Best Film)
NEW YORK FILM CRITICS CIRCLE AWARDS 1966 - Won (NYFCC Award, Best Actress | Elizabeth Taylor, Tied with Lynn Redgrave for Georgy Girl (1966).), Nominated (NYFCC Award, Best Actor | Richard Burton, Best Film)
ONLINE FILM & TELEVISION ASSOCIATION AWARDS 2013 - Won (OFTA Film Hall of Fame, Motion Picture)
WRITERS GUILD OF AMERICA, USA 1967 - Won (WGA Award (Screen) , Best Written American Drama | Ernest Lehman)

Who's Afraid of Virginia Woolf? is the first selection in our SPOTLIGHT: WILLIS & WEXLER series.  (Click here to see remaining screenings for the 2017/2018 season

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2017 WHITEPAPERS


Each season, our experienced board of experts, filmmakers, and cinephiles distill their knowledge into a series of whitepapers that reflect our season's themes. 

FEATURED WHITEPAPER | SPOTLIGHT: WILLIS & WEXLER
Board member and programmer, Felicia Glatz explores the style and form of a true Auteur, via the works of Gordon Willis and Haskell Wexler.

For this season’s spotlight series, we are taking a two-fold departure from our normal format, that is, we are incorporating two figures into a series dedicated to the art cinematography.

Unable to choose between two Americans respectively decorated as legendary contributors to the American cinema landscape, we’ve combined their works into a politically charged and visually compelling collection from the 1960s and the 1970s. - READ MORE

 

2017 WHITEPAPERS


Each season, our experienced board of experts, filmmakers, and cinephiles distill their knowledge into a series of whitepapers that reflect our season's themes. 

FEATURED WHITEPAPER | SPOTLIGHT: WILLIS & WEXLER
Board member and programmer, Felicia Glatz explores the style and form of a true Auteur, via the works of Gordon Willis and Haskell Wexler.

For this season’s spotlight series, we are taking a two-fold departure from our normal format, that is, we are incorporating two figures into a series dedicated to the art cinematography.

Unable to choose between two Americans respectively decorated as legendary contributors to the American cinema landscape, we’ve combined their works into a politically charged and visually compelling collection from the 1960s and the 1970s. - READ MORE

 

2017-18 Program Preview

We are pleased to announce the following series as part of our 11th season, which runs October 2017 through March 2018. In addition to these three series, our Contemporary World Cinema series returns with bold and diverse films from different regions of the world.

View our growing CALENDAR here of upcoming screenings and events! Click on our MEMBERSHIP page for more details and to get our newsletter.

MASTERS: WONG KAR-WAI

The Calgary Cinematheque is proud to showcase the films of Wong Kar-Wai as part of the Masters series. Wong Kar-Wai is a genuine auteur whose signature style is instantly recognizable in his films due to the presence of eye-popping visuals, memorable music and characters that linger long in the memory.

CLICK IMAGE TO READ WHITEPAPER

SPOTLIGHT: WEXLER & WILLIS

In a new direction for CCS, we're shining a spotlight on cinematographers, choosing two Americans, Gordon Willis and Haskell Wexler, and their politically charged films of the 1960s and 1970s.

CLICK IMAGE TO READ WHITEPAPER

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FOCUS: LANDSCAPES

More than a mere setting , a landscape and the representation of it undergoes differing treatments in cinema. At the intersection of topography and narrative, there are films that evoke, and exercise a landscape’s capacity as a kinetic and tactile character.


OVER TEN YEARS OF CRITICAL CINEMa CULTURE IN CALGARY

Calgary Cinematheque brings people together to foster a critical cinema culture.

See our current listings: SCREENINGS

We are Calgary’s year-round champion of challenging and under-represented global cinema. Our eclectic programming features selected films that expand Calgary’s movie-going options to include benchmark retrospectives, classic restorations, masterworks, and acclaimed screen rarities. We curate programs constructed around thematic links, historical or current movements, and the work of individual artists. Our programming includes overlooked contemporary world cinema, discussion sessions with guest speakers, and community events. We frequently collaborate with other organizations including the University of Calgary, Calgary International Film Festival, Calgary Underground Film Festival, containR, and Theatre Junction.

As a local hub for cinema as an art form, Calgary Cinematheque has a dedicated member base and 800+ subscribers ranging from passionate cinephiles to the simply curious and adventurous among the filmgoing public. We offer Calgarians the chance to experience significant cinema in its full grandeur: on the big screen surrounded by an audience of film lovers. We build community around the enjoyment of cinema art in a shared theatrical experience.

 

Film is more than the twentieth-century art. It's another part of the twentieth-century mind. It's the world seen from inside. We've come to a certain point in the history of film. If a thing can be filmed, the film is implied in the thing itself. This is where we are. The twentieth century is on film. You have to ask yourself if there's anything about us more important than the fact that we're constantly on film, constantly watching ourselves.  - Don Delillo

Does art reflect life? In movies, yes. Because more than any other art form, films have been a mirror held up to society's porous face. - Marjorie Rosen