Where Is the Friend’s House? (1987) tells the simple story of a schoolboy in Iran’s hinterlands who accidentally brings a friend’s notebook home and then tries desperately to locate the boy in a neighbouring town in order to return it.
And Life Goes On (1992) follows a film director and his son who journey through the country in the aftermath of a major earthquake in search of survivors, including some of the nonprofessionals who acted in Where Is the Friend’s House? (1987).
In the final film in Kiarostami’s Koker Trilogy, a stonemason cast in a film within the film romantically pursues a young woman, who is also cast in said film. Despite the fact that the family consider him an ill-suited match, the stonemason continues to pursue his romantic quarry, bringing forward elements of the fictional world and the filmic world as they cross-pollinate in mysterious ways.
The film in which Kiarostami’s Persian poetic sensibility is most foregrounded, The Wind Will Carry Us (1999) follows journalist Behzad and a camera crew who have been sent to a remote Kurdish village where they are to wait for the death of a one-hundred-year-old woman so that they can subsequently film a traditional funeral ceremony.
Asako is a young woman living in Osaka who falls for an attractive and inscrutable young man named Baku. A fling ensues. Alas, the relationship terminates on account of Baku’s sudden, mysterious, and eerily matter-of-fact disappearance. Flash forward, just over two years later. Asako is working at a coffee shop in Tokyo when she meets a bland salaryman named Ryôhei who happens to exactly resemble Baku.
With a story that’s almost literally “ripped from the headlines,” Close-Up (1990) tells the real-life tale of a young working-class man named Hossein Sabzian who had impersonated legendary Iranian filmmaker Mohsen Makhmalbaf in order to insinuate himself into the lives of the Ahankhahs, a middle-class family living in Northern Tehran.
One of the last acknowledged masterpieces in Hitchcock’s career, Marnie (1964) stars Tippie Hedren as the eponymous character: a frigid woman with a mysterious past, a penchant for kleptomania and colour coordinated panic attacks. As her husband Mark (Sean Connery) gamely tries to manage and control Marnie’s aberrant and destructive drives, it slowly becomes clear that Mark may be harbouring as much pathological impulse as Marnie herself.
Featuring a star performance from Louise Brooks that has come to definitively embody silent cinema’s notions of femininity, charisma, and eroticism, Pandora’s Box (1929) follows the adventures of the fun-loving, Charlston-dancing temptress Lulu whose social world entirely falls prey to her effortless and vibrant magnetism.
Funeral Parade of Roses (1969) follows the underground travails of Tokyo transsexual coquette Eddie (played by renowned androgynous Japanese performer Peter) and her band of non-conforming friends in an unforgettable pageant of decadent, wild, and still-prescient ideas regarding the nature of sexual and cultural identity.
Aided by committed performances and a stirring soundtrack, Nicolas Roeg’s tale of dangerous passion that erupts between Milena Flaherty (Theresa Russell) and Dr. Alex Linden (Art Garfunkle) is as provocative, brash, and innovative as it was when it was originally released in 1980.
Establishing director Sally Potter as a daring cinematic force to be reckoned with and giving Tilda Swinton a role she was born to play, Orlando (1992) is set through 400 years of European history seen through the eyes of a protagonist who switches between genders as if it was “no difference at all.”
The third of Hou Hsiao-hsein’s “coming of age” trilogy, Dust in the Wind (1986) tells the universal and archetypal story of a young couple from a small village who decamp for the big city, little prepared for the struggles that they will encounter upon arrival.
Edward Yang’s dissonant, mysterious third feature Terrorizers (1986) charts the trajectories, near misses, and collisions between three sets of people in Taipei, animated by self-interest and unable (or perhaps unwilling) to connect with each other.
Daughter of the Nile (1987) centres around Lin Hsiao-yang (portrayed by pop star Lin Yang), a waitress in a fried chicken restaurant who yearns for a petty criminal and increasingly finds herself running a household without any help from the deadbeat males in her circle. Lin finds respite by retreating into the fantasy world of the Japanese comic book series Crest of the Royal Family.
Winner of the Golden Lion at the 1994 Venice Film Festival, Vive L’Amour focuses on three individuals connected provisionally by way of an unoccupied duplex that they each use for various trysts or as a kind of isolation cell, a retreat, or a zone of suspension.
We're heading back to 1967 for our final screening of the season! In The Young Girls of Rochefort, twin sisters Delphine (Catherine Deneuve) and Solange (Françoise Dorléac) both look for love when a fair comes to their sleepy port town. Join us for this charming French film that pays homage to Golden Age Hollywood musicals.
A profound and emotionally resonant film telling the intersecting stories of four characters in the north-east of China, An Elephant Sitting Still is both the debut and, tragically, the final feature film by filmmaker and novelist Hu Bo, who tragically passed away at the age of twenty-nine during postproduction on the film.
The Happiness of the Katakuris is Japanese provocateur Takashi Miike’s deliciously bizarre song-and-dance remake of the darkly comic Korean film The Quiet Family, telling the story of a family of innkeepers whose guests keep dying and need to be disposed of.
Winner of the FIPRESCI prize at the 2018 Cannes Film Festival, Burning is a loose adaption of the 1983 Haruki Murakami story “Barn Burning.” Informed by what director Lee Chang-dong has described as his growing concern with “the rage of young people,” the film presents a simmering love triangle and pyromaniacal acting out within the context of a corroding social fabric.
Join us for our season finale and wrap celebration on March 29!
With our final film we want to thank YOU, our wonderful, loyal, and adventurous audience, with a special wrap celebration at the Globe Cinema. Doors open and food served at 5:00 PM. Make sure to stay afterward for our door prize giveaways and conversation in the upstairs lobby!
JOHANNA D'ARC OF MONGOLIA | Dir. Ulrike Ottinger | 1989 | 165 min
Pre-screening reception at 5:00 PM, film begins at 6:00 PM
Oscillating between modes of lavish theatricality and patient ethnography, Ulrike Ottinger’s kaleidoscopic film Johanna d’Arc of Mongolia renders cultural contact with a dazzling, feminized, and above all singular vision.
Set against the rolling landscapes of the Trans-Siberian railway, Ottinger introduces us to an idiosyncratic band of travelers, including Lady Windermere (Delphine Seyrig, Jeanne Dielman, Last Year at Marienbad), a high-society intellectual and polyglot; several performers, all from wildly different theatre traditions (including Broadway, Russian, and Yiddish); a mousy German schoolteacher (Irm Hermann); and an adventurous backpacker (Inés Sastre). When the train arrives in Inner Mongolia however, they are taken captive by a group of all-female Mongolian warriors, led by Princess Ulan Iga (Xu Re Huar). Captives though they are, the travelers are subject to “sacred laws of hospitality”, finding themselves as guests, and before long, participants in a radically different conception of society.
A lush, poetic, and playful film, Johanna d’Arc of Mongolia marks a turning point in Ulrike Ottinger’s career, between the colourful, carnivalesque films of her early career and the rigorous, observational documentaries of her later career. Calgary Cinematheque is proud to present a film from an underseen, wildly inventive, and vital voice in queer German cinema.
Johanna d’Arc of Mongolia is the fifth and final selection in our FOCUS: LANDSCAPES series, and the final film of the 2017/18 season.
After our screening, stick around for our door prize giveaways. You could win one of the following:
A pair of tickets to Alberta Theatre Projects' hockey and dance extravaganza Glory,
A $50 gift certificate to the Criterion Collection,
A five-film punch pass to Calgary Cinematheque, valid for our future programming
We'll also be serving some sugary treats in the lobby afterward, so stay and chat films with us! We'd love to hear what you thought about the film, the series, or the season.
ZAMA | Dir. Lucrecia Martel | 2017 | 115 min
Presented in Spanish with English subtitles.
Lucrecia Martel’s long awaited cinematic return Zama is a feast for the senses. Based on Antonio di Benedetto’s classic 1956 Argentinean book of the same name, Martel has stamped her unique voice on the material and elevated proceedings by packing the film with cinematic and literary references. As a result, Zama brings fresh insights to the colonial narrative.
In the late 18th century, Don Diego de Zama (Daniel Giménez Cacho) is an officer of the Spanish crown stationed in a remote South American town. He patiently goes about his daily tasks but his heart is set on a move to a more desired posting. Soon he realizes that in order to get his wish, he must put up with whatever is thrown his way, even if it comes at the cost of personal humiliation. To complicate matters, he slowly starts lusting after a noblewoman Luciana (Lola Dueñas, Broken Embraces, Volver) and that further torments him. Finally, there is the constant dread of Vicuña Porto, a famed bandit whose appears to be everywhere and nowhere at the same time. The heat, the lust, and the threat of Vicuña Porto all slowly start to unravel Zama to a point where reality, myth, and dreams collide.
Stunningly shot and boasting a hypnotic score, Zama is an immersive cinematic experience unlike any film made in the last few years!
Note: Zama is Martel’s first film since 2008's The Headless Woman, a film that was shown as part of Calgary Cinematheque’s Focus series on “21st Century Cinema of Argentina”.
Academy of Motion Picture Arts and Sciences of Argentina 2017 - Nominated (Award of the Argentinean Academy, Best Film | Lucrecia Martel, Best Director | Lucrecia Martel, Best Actor | Daniel Giménez Cacho, Best Supporting Actor | Juan Minujín, Best Screenplay, Adaptation | Lucrecia Martel, Best Cinematography | Rui Poças, Best Editing | Karen Harley, Miguel Schverdfinger, Best Art Direction | Renata Pinheiro, Best Costume Design | Julio Suárez, Best Make Up | Marisa Amenta, Alberto Moccia, Best Sound | Guido Berenblum)
Seville European Film Festival 2017 - Won (Special Jury Award | Lucrecia Martel
Zama is the fifth selection in our CONTEMPORARY WORLD CINEMA series.
ALL THE PRESIDENT'S MEN | Dir. Alan J. Pakula | 1976 | 138 min
Two Washington Post reporters, Bob Woodward (Robert Redford) and Carl Bernstein (Dustin Hoffman), research the botched 1972 burglary of the Democratic National Committee Headquarters at the Watergate complex. With the help of a mysterious source, code-named Deep Throat (Hal Holbrook), the two reporters make a connection between the botched crime and a White House staffer, following the money all the way to the top.
All the President’s Men is the final film that forms our Spotlight Series on American cinematographers Gordon Willis and Haskell Wexler. To learn more about this series, read our Whitepaper written by Cinematheque Board Member and Programmer Felicia Glatz:
EXCERPT: “In 1976, Gordon Willis and Alan J. Pakula tackled the story of Carl Bernstein and Bob Woodward, two Washington Post journalists responsible for breaking news of the Watergate scandal. A mix of newsreels, newspaper headlines, and pre-recorded voice-over cumulate as the two reporters dig deeper and deeper into Nixon’s conflicting presidential campaign. Themes formalize into visual flares, illuminating scenes and sentiments of our main characters. A dim parking garage quickly becomes a busy and sterile newsroom as “Deep Throat’s” clues make their way into the light of day; likewise, a spiraling camera emulates the abyss of information as Woodward and Bernstein sift through names in the congressional library. This is Willis’ way of thickening the narrative, a perfect example of his timeless dexterity.”
To read the full Whitepaper click HERE.
Academy Awards, USA 1977 - Won (Oscar, Best Actor in a Supporting Role | Jason Robards, Best Writing, Screenplay Based on Material from Another Medium | William Goldman, Best Art Direction-Set Decoration | George Jenkins, George Gaines, Best Sound | Arthur Piantadosi, Les Fresholtz, Rick Alexander (as Dick Alexander), James E. Webb), Nominated (Oscar, Best Picture | Walter Coblenz, Best Actress in a Supporting Role | Jane Alexander, Best Director | Alan J. Pakula, Best Film Editing | Robert L. Wolfe)
Golden Globes, USA 1977 - Nominated (Golden Globe, Best Motion Picture - Drama, Best Director - Motion Picture | Alan J. Pakula, Best Actor in a Supporting Role - Motion Picture | Jason Robards, Best Screenplay - Motion Picture | William Goldman)
BAFTA Awards 1977 - Nominated (BAFTA Film Award, Best Actor | Dustin Hoffman, For Marathon Man, Best Cinematography | Gordon Willis, Best Direction | Alan J. Pakula, Best Film, Best Film Editing | Robert L. Wolfe, Best Production Design/Art Direction | George Jenkins, Best Screenplay | William Goldman, Best Sound Track | Milton C. Burrow, James E. Webb, Les Fresholtz, Arthur Piantadosi, Rick Alexander, Best Supporting Actor | Martin Balsam, Best Supporting Actor | Jason Robards)
American Cinema Editors, USA 1977 - Nominated (Eddie, Best Edited Feature Film | Robert L. Wolfe)
Directors Guild of America, USA 1977 - Nominated (DGA Award, Outstanding Directorial Achievement in Motion Pictures | Alan J. Pakula)
Kansas City Film Critics Circle Awards 1976 - Won (KCFCC Award, Best Supporting Actor | Jason Robards)
National Board of Review, USA 1976 - Won (NBR Award, Best Film, Best Director | Alan J. Pakula, Best Supporting Actor | Jason Robards)
National Film Preservation Board, USA 2010 - Won (National Film Registry)
National Society of Film Critics Awards, USA 1977 - Won (NSFC Award, Best Film
Best Supporting Actor | Jason Robards), Nominated (NSFC Award, Best Director | Alan J. Pakula)
New York Film Critics Circle Awards 1977 - Won (NYFCC Award, Best Film, Best Director | Alan J. Pakula, Best Supporting Actor | Jason Robards)
Online Film & Television Association 2017 - Won (OFTA Film Hall of Fame, Motion Picture)
Writers Guild of America, USA 1977 - Won (WGA Award (Screen), Best Drama Adapted from Another Medium | William Goldman)
All the President's Men is the sixth selection in our SPOTLIGHT: WILLIS AND WEXLER series.
THE PARALLAX VIEW | Dir. Alan J. Pakula | 1974 | 102 min
Investigative reporter Joe Frady (Warren Beatty) discovers that the assassination of a US senator wasn’t an isolated incident. His investigation leads him to suspect the Parallax Corporation was involved and soon, Frady finds himself in a larger than life conspiracy.
The Parallax View is the second “Willis” film that forms our Spotlight Series on American cinematographers Gordon Willis and Haskell Wexler. To learn more about this series, read our Whitepaper written by Cinematheque Board Member and Programmer Felicia Glatz:
EXCERPT: “Gordon Willis carefully dissects the screen, relegating action to miniscule but sterilely lit portions of his frame. These highly dichotomous compositions lead us to the most literal and significant interpretations, something he has mastered and recurrently exercises for maximal impact. Joseph Frady (Warren Beatty) a journalist on the run divulges classified and dangerous information to his editor Bill Rintels (Hume Cronyn) in his tiny glass office, a vivarium floating in a dark newspaper room. Frady, who has penetrated an elite assassin’s recruitment facility, follows them into the shadows where they carry out their orders robotically. Their world is opaque and all consuming; likewise, Willis’s darkness gradually strangles the light into submission. The second of three collaborations between himself and Alan J Pakula, The Parallax View (1974) synthesizes the most politically subversive themes with finely tuned formal delivery. A collective suspicion stemming from the highly investigated and even more so theorized JFK assassination, humors Pakula’s critique of a lone patsy narrative.”
To read the full Whitepaper click HERE.
Avoriaz Fantastic Film Festival 1975 - Won (Critics Award | Alan J. Pakula)
Edgar Allan Poe Awards 1975 - Nominated (Edgar, Best Motion Picture | David Giler, Lorenzo Semple Jr.)
National Society of Film Critics Awards, USA 1975 - Won (NSFC Award, Best Cinematography | Gordon Willis).
Writers Guild of America, USA 1975 - Nominated (WGA Award (Screen), Best Drama Adapted from Another Medium | David Giler, Lorenzo Semple Jr. )
The Parallax View is the fifth selection in our SPOTLIGHT: WILLIS AND WEXLER series.