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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.

For our 2017/2018 FOCUS Series we have chosen four films that propose landscape as a primary and reflexive organ in their anatomy. As emblematic examples we are pleased to include RED DESERT (Michelangelo Antonioni, 1964), WALKABOUT (Nicolas Roeg, 1971), BADLANDS (Terence Malick, 1973), and I AM CUBA (Mikhail Kalatozov, 1964) in a collection bringing about a renewed perspective on cinematic space, its forms, and its ability to combine our sense of place with our sense of story.

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.

For our 2017/2018 FOCUS Series we have chosen four films that propose landscape as a primary and reflexive organ in their anatomy. As emblematic examples we are pleased to include RED DESERT (Michelangelo Antonioni, 1964), WALKABOUT (Nicolas Roeg, 1971), BADLANDS (Terence Malick, 1973), and I AM CUBA (Mikhail Kalatozov, 1964) in a collection bringing about a renewed perspective on cinematic space, its forms, and its ability to combine our sense of place with our sense of story.

NEXT SCREENING

WALKABOUT | Dir. Nicolas Roeg | 1971 | 100 min

For many years now, one legendary film has appeared on every list of fine movies that are missing from distribution and home video. That film is Nicolas Roeg’s Walkabout, the 1971 drama about a fourteen-year-old girl and her little brother, who are lost in the Australian outback and are saved by a young Aborigine who is, indeed, walking about as his rite of passage into manhood. No one who saw Walkabout has ever forgotten it. READ MORE

This film is the second title in our FOCUS: LANDSCAPES series.

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CRITICAL CINEMA SERIES


We've partnered this season with the Calgary Public Library for a unique series of Sunday afternoon cinema experiences from 2-4PM at the John Dutton Theatre (Central Public Library). Register for FREE on their website by clicking HERE

Sunday, October 22: In the Mood for Love (2000)
Sunday, October 29: Who's Afraid of Virginia Woolf? (1966)
Sunday, November 5: Badlands (1973)

*Registration for the November 5 screening will be available October 16.

CRITICAL CINEMA SERIES


We've partnered this season with the Calgary Public Library for a unique series of Sunday afternoon cinema experiences from 2-4PM at the John Dutton Theatre (Central Public Library). Register for FREE on their website by clicking HERE

Sunday, October 22: In the Mood for Love (2000)
Sunday, October 29: Who's Afraid of Virginia Woolf? (1966)
Sunday, November 5: Badlands (1973)

*Registration for the November 5 screening will be available October 16.

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.

Season 11 whitepapers to be published in early October.

Season 11 whitepapers to be published in early October.

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.

Season 11 whitepapers to be published in early October.

Season 11 whitepapers to be published in early October.

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.

 

 

Season 11 whitepapers to be published in early October.

Season 11 whitepapers to be published in early October.

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