Path Alias: 

Before Midnight

(2013, 109 mins, DCP)
CAST Ethan Hawke, Julie Delpy, Ariane Labed, Athina Rachel Tsangari, Walter lassally
Classification: 14A


The first in a double bill featuring two of the most highly acclaimed US features of the year, Before Midnight is Richard Linklater’s bittersweet study of a love affair languishing in middle-age - his follow up to generational touchstones Before Sunrise and Before Sunset.

Here again we meet Jesse and Celine (Ethan Hawke and Julie Delpy), the lovers from the earlier films. But nine years since their chance encounter in Paris the romance has gone a little flat. Life - and kids - and ex wives - will do that. Still, they are together, and in a beautiful setting, one of the Greek islands where they are guests of a famous novelist and very much among friends. In such a setting, surely the embers of their affection can still raise a spark or two?

"This wise and mature follow-up to Before Sunrise (1995) and Before Sunset (2004) is a wonderful film whether or not you’ve seen the previous installments. […] Hawke and Delpy inhabit these people so deeply that the wordy dialogue seems as natural as something overheard from the next apartment.

The labor of pairing off is a classic theme for a movie, with a comforting finish when love triumphs. But finding romance is easy. Staying together is hard. Making a movie this warm, funny, and rigorously truthful about lovers trying to remain partners is even harder." Farran Smith Nehme, New York Post

Before Midnight is a wonderful paradox: a movie passionately committed to the ideal of imperfection that is itself very close to perfect." AO Scott, New York Times

Ginger Snaps

(2000, 108 mins, 35mm)
CAST Emily Perkins, Katherine Isabelle, Kris Lemche, Mimi Rogers


The best Canadian horror movie of the noughties? John Fawcett set the bar high right in year zero with this energetic feminist twist on a tried and tested lore. Vampires, zombies and cat people may have their feminine side, but werewolves are almost always male. So when 16-year-old late-developer Ginger Fitzgerald starts experiencing heavy shit a couple of days after a hairy encounter with a savage dog, she automatically assumes it’s related to menstruation. But her kid sister Brigitte realises the true nature of Ginger’s lunar cycle, aghast as her former best friend in the whole world starts running wild with boys, staying out all night and leaving a trail of blood behind her. The film uncovers virgin territory in a genre we all thought had been flogged to death. It begins by establishing a bummed-out mood of suburban teen disaffection: Bailey Downs is a torpidly nondescript north American burg, hardly flattered by Fawcett’s forceful low budget handiwork. Just as the Fitzgerald sisters get their kicks by photographing each other in staged suicide scenes, the movie gives off an exploitation movie buzz belied by its obvious intelligence. From Brigitte’s 15-year-old perspective, lycanthropy is just a more extreme example of the gross hormonal hula hoops adolescence has in store; for Ginger, it’s confusing - she feels she’s grown a tail between her legs - but also liberating: ’I’ve got this ache, and I thought it was for sex, but it’s to tear everything to fucking pieces.’ With a trio of strong female performances (Isabelle is Ginger, Perkins her sister, Rogers her mom) and enough suspense to camouflage some dodgy special effects, this isn’t just a good horror movie, it’s a good movie.

Introduced by UBC Film Professor Ernest Mathijs, author of the recently published book "John Fawcett’s Ginger Snaps". The first book-length study of this popular film, John Fawcett’s Ginger Snaps is based on the author’s privileged access to most of its cast and crew and to its enthusiasts around the world. Examining themes of genre, feminism, identity, and adolescent belonging, Mathijs concludes that Ginger Snaps deserves to be recognized as part of the Canadian canon, and that it is a model example of the kind of crossover cult film that remains unjustly undervalued by film scholars.

The Trials of Muhammad Ali

(2013, 94 mins, DCP)
FEATURING Rahaman Ali, Gordon Davidson, Louis Farrakhan, Salim Muwakkil, Robert Lipsyte, Khalilah Camacho-Ali, John Carlos, Hana Ali, Abdul Rahman Muhammad, Abdul Bey Muhammad


Heroes don’t come more gold-plated than Muhammad Ali. But if you’re too young to remember the 1960s then you may be shocked to discover how controversial the heavyweight champion was in his heyday. Indeed, he was a constant thorn in the side of the establishment, and a hate figure for much of the mainstream media.

The evidence is in the archives: for years, reporters refused to accept Ali’s name change (he was born Cassius Clay). His refusal to play the white negro, and outspoken advocacy for Malcolm X and the Nation of Islam dismayed liberals. The last straw came when he refused to fight in Vietnam. The authorities stripped him of his heavyweight title and banned him from boxing. It was at that point Ali embarked on the greatest fight of his life, the fight outside the ring for recognition of his basic human rights.

"The best Muhammad Ali doc I’ve ever seen and - dare I say - I’ve seen ’em all.” Dave Zirin, The Nation

"A wholly illuminating look at Muhammad Ali in all his complexity, providing a surprisingly fresh and vivid portrait of a man who played rope-a-dope with history, religion and sport." Kevin Jagernauth, The Playlist

"Bill Siegel’s audacious documentary puts new heat and focus on what an extraordinary figure Muhammad Ali was outside the boxing ring. No film has probed this deeply into the fallout from his name change or his complex bond with Malcolm X and the Nation of Islam. And the saga of Ali’s refusal to be drafted during Vietnam becomes a profile in courage — a tale of shocking vilification and faith lost and found. A-" Owen Gleiberman, Entertainment Weekly

The Crash Reel

(2013, 108 mins, Blu-ray Disc)
FEATURING Kevin Pearce, Shaun White, Mason Aguirre
Classification: 14A


"Faster, higher, stronger" proclaims the Olympics motto. But in the case of extreme winter sports, we’re still discovering the limits of how fast and how high the human body can be pushed - and still land safely. In the run up to the Vancouver Olympics, the sport of snowboarding was dominated by the accomplishments of superstar Shaun White. But White had a rival, also an American, by the name of Kevin Pearce. In fact through the 2007-2008 season, it was Pearce who was blazing the trail with his breathtaking, gravity-defying stunts.

That all changed on 31 December, 2009, when Pearce failed to land one of his jumps and struck his head on the pipe It was a near fatal accident resulting in serious brain trauma, and Pearce spent the Vancouver Games in critical care.

The other side of gung-ho extreme sports docs like Dogtown and Z Boys, the latest from Lucy Walker (Wasteland; Blindsight), The Crash Reel flips from breathtaking stunt footage to show the painful, emotionally wrought process of picking up the pieces after terrible injury. Overnight, a celebrity athlete becomes a pale shadow of his former self. His parents and loved ones can only stand patiently by and watch as Kevin has to relearn everything from speech to walking. Even then, his hardest lessons are still to come, when he must accept the dire risk that any further concussion poses.

"By turns pulse-quickening and contemplative… Thorougly winning… A spectacular feat." Variety

"Lucy Walker has assembled one of the great sporting docs - partly because its scope extends beyond the slopes." Trevor Johnston, Time Out

"Captures a seesaw exhilaration between the thrill of pushing one’s limits and the pain of dreams cut short." Robert Abele, LA Times

Hellenic Studies Live Reading

Films in Program

From the Shadows

Films in Program

Dia de los Muertos

Program Running Time 150 min.

Films in Program

(Day of the Dead Festival)
(Mexico, 150 mins, DVD)

This special event features film, music, painting, prayer and hot chocolate, all in honour of Mexico’s traditional holiday, "Dia de los Muertos."


From 6:15 p.m. Art exhibit and Altar with photos of deceased loved ones.

7:00 p.m. Film introduction and explanation of the day of the dead custom.

Followed by Film screening: Macario This 1960 classic of Mexican cinema is based on a novel by B. Traven (The Treasure of the Sierra Madre), itself based on a folk tale. Ignacio Tarso plays a peasant who goes on hunger strike in the hope of a turkey dinner. He gets more than he bargained for when the Grim Reaper (Enrique Lucerio) strikes a deal with him.

8:40 p.m. Hot chocolate and prayer for the departed.

Followed by a short set of traditional songs performed by Mariachi Los Dorados.


Program Running Time 120 min.

Films in Program

(2013, 120 mins)

RADAR: Exchanges in Dance Film Frequencies is a program dedicated to the exploration and evolution of dance film through connecting artists scene by scene. Curated by filmmaker/curator Adam Sekuler and choreographer Shannon Stewart, RADAR features movement based films of many budgets, styles and perspectives, creating a platform of local/national and international exchange that allows artists to publicly screen their work, discuss, get feedback, and meet other artists working in the same form. Presented by Vancity Theatre in association with The Dance Centre.