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Elena

(2014, 82 mins, DCP)
In English & Portugese
Director:
Classification: 19+

Showtimes

"A pained and gorgeous summoning, Petra Costa’s haunted doc Elena dances with death, memory, and family, seducing viewers and then breaking their hearts.

That you know what’s coming doesn’t offer much relief. Costa’s older sister, Elena, an actress and dancer seen in movingly decayed home video clips, lit out for New York from Brazil while Costa was still a child.

In the States, Elena, already a seasoned stage performer back home, fruitlessly tries to break into film. We see the recording of one promising audition: As in the footage of Elena’s dancing in Sao Paulo theatres — flamenco, butoh, and one lulu of a routine where she’s pursued offstage by rolling cable spools — the star that never quite was seems impossibly radiant, someone we can only look at in glimpses.

Glimpses dominate Costa’s absorbing film. Costa was only seven years old when Elena killed herself in New York. Her dreamy narration is addressed to her sister, a gentle interrogation: "You stay home, all day long at home. Doing what? Talking to whom?" Costa assembles scraps of Elena’s life — video of birthdays, years-later footage of the New York she lost herself in, an interview with a man who knew her, her suicide note.

The portrait is unbearably intimate, even with the guesswork. Eventually, tragically, the story turns to the survivors: the mother, still grieving, and Costa, learning to live without her sister’s example.

In her final letter, Elena wrote of her moments onstage, how afterward she felt disappointed, unsatisfied, even diminished: "Moments later, I no longer had their light." This mesmerizing portrait, flickering on a screen, immortalizes her even as it’s anguished. She’s light, forever."

—Alan Scherstuhl, Village Voice


"With its free-floating imagery, Elena unfolds like a cinematic dream whose central image is water, which symbolizes the washing away of grief."—Stephen Holden, The New York Times

“Filmmaking at its finest. Stunningly beautiful, achingly emotional … A mesmerizing, artful and emotional piece of filmmaking that consistently surprises and awes.”—The Playlist/IndieWire

Sorcerer

(1977, 122 mins, DCP)
Director:
CAST Roy Scheider, Francisco Rabal, Amidou, Bruno Cremer
Classification: 19+

Showtimes

Named by Quentin Tarantino as one of the 12 best films ever made, this legendary box office disaster was one of the movies that put an end to the era of directorial power in Hollywood. Yet its reputation has soared in recent years and with this new restoration supervised by William Friedkin himself, we have a chance to reevaluate a suspense thriller that cries out to be seen.

A professional hit in Vera Cruz; a terrorist bombing in Jerusalem; bank fraud and suicide in Paris; and a church robbery, priest wounding, and car crash in Jersey — Buñuel star Francisco Rabal, Amidou, Bruno Cremer, and French Connection’s Roy Scheider find themselves down and out in a nameless South American flea pit. How to get out? Easy. In the wake of an oil well explosion, just drive two rickety trucks carrying extremely unstable nitroglycerin through 200 miles of dense jungle to put it out. Following up his two successive smashes of The French Connection and The Exorcist, Friedkin’s spectacular remake of Clouzot’s classic The Wages of Fear grafts a whole lot more backstory and a whole different terrain onto the basic framework, with two hair-raising passages of heavy trucks driving in a tropical downpour on a decrepit, swaying suspension bridge over a raging river.


"An audacious masterpiece! Friedkin’s reinterpretation of Clouzot’s 1953 masterpiece is among his most daring works. Three sequences alone— a chaotic car crash in Boston, the unloading of charred bodies in a Central American village, and the explosives-laden trucks crossing a rickety storm-blown bridge — render Sorcerer a classic and retain their power to make audiences gasp. Released the same year as Star Wars, [it] represents the braver road abandoned by the studio system.”Haden Guest

Movies for Mommies: Breastmilk - the Movie

(2014, 90 mins)
Director:

Showtimes

With unexpected humor, with an unflinching camera, with some guilt and some pain, this film takes the unusual risk of examining what breast milk truly means.

We are often told that breast milk is better. Better for babies, better for mothers, better for nutrition, health, well-being, and society. Many accept this and yet there are still very few women who succeed in breastfeeding exclusively for the recommended six months and beyond. What would it take to change?

Movies for Mommies screenings are open to moms (and dads!) with accompanying infants. Please note that house lights are left partially on and sound levels are lower than for typical screenings.


"There are Portlandia-worthy moments amid the talk of breast pumps, latching and engorgement, and also surprising insights with implications beyond the nursery."Sheri Linden, LA Times

"Gently affecting and insightful."Variety

The Internet's Own Boy: The Story of Aaron Swartz

(2014, 105 mins, DCP)
Director:
FEATURING Tim Berners-Lee, Cory Doctorow, Lawrence Lessig

Showtimes

As a teenager, Aaron Swartz took the Internet community by storm with capabilities, intellect and understanding that matched its most seasoned members. He helped found or develop countless household-name technologies and companies—including Reddit—in the time it takes most people to finish college. Aaron was a pioneer in Internet activism, and stood at the forefront of the SOPA and PIPA victories. He looked towards a limitless future—but his life took a dramatic turn. In 2011 and 2012, he was indicted by prosecutors who charged him with a staggering number of felonies. Aaron found himself facing 35 years in prison, and at the age of 26 was found dead in his apartment, from an apparent suicide. As we hear from those closest to Aaron, this incredibly inspirational and moving story shows how one of the most promising minds of a generation found himself staring down a government prosecuting him under the very laws he was fighting against. (Charlotte Cook)

The June 30 screening of The Internet's Own Boy is in partnership with Reel Causes.


"As engrossing as it is important. 4 stars."NOW magazine

"Spellbinding."Variety

"Engrossing, illuminating."Austin Chronicle

Tosca, from The Royal Opera House

(2014, 155 mins, DCP)
In Italian with English subtitles
CAST Angela Gheorghiu, Jonas Kaufmann, Bryn Terfel. Directed by Jonathan Kent.
Classification: PG

Showtimes

Drama, passion and fabulous musicTosca is one of the great evenings of opera. Jonathan Kent’s production is set against the turbulent backdrop of Rome in 1800.

Powerful music, a gripping story and a tragic end: Puccini’s ever-popular Tosca performed at the Royal Opera House with a fabulous cast. Among the star singers in this revival are Angela Gheorghiu, Jonas Kaufmann and Bryn Terfel. Jonathan Kent’s detailed production draws to the full on the historical backdrop of Rome in 1800, a political world of control and suspicion, beautifully evoked in Paul Brown’s lavish designs. The pageantry of church ritual, the darkness of a brooding study with its hidden torture chamber and the false optimism of the light of a Roman dawnall throw into relief the love of the beautiful diva Tosca, the idealism of her lover Cavaradossi and the deadly, destructive obsession of the malevolent Chief of Police, Scarpia.

155 minute running time includes two intermissions.

Tickets $22. Popcorn is not permitted in the theatre for opera shows.

FIFA World Cup Semi Final

(130 mins)
Classification: All Ages

Showtimes

FREE FAMILY FRIENDLY WORLD CUP SOCCER ALL AGES WELCOME!

The Beautiful Game: Heleno

(2014, 116 mins, DVD)
In Portuguese with English subtitles
Director:
CAST Rodrigo Santoro
Classification:

Showtimes

He was the soccer player Pele idolized in the 1940s, Brazil’s best striker, a dashing, cavalier talent with movie star looks and a burning desire to win. But Heleno was also an erratic talent, plagued with psychological problems, and despised by some of his teammates. His career was brilliant, but cut brutally short. As the Uruguayan poet Eduardo Galeano put it, "He had Rudolph Valentino’s face and the temper of a mad dog. On the playing field he sparkled. One night, in a casino, he lost all his money. Another night, who knows where, he lost all his desire to live."

"José Henrique Fonseca’s handsome black-and-white, impressionistic bio-drama goes very Raging Bull-ish, to tell a piece of the story of Heleno de Freitas, a Brazilian soccer star with matinee-idol charisma. He lived wild, played hard, brought sports glory to his country, and died at the age of 39 in 1959, deranged by syphilis. Rodrigo Santoro (Paulo on Lost, Xerxes in 300, and even better, Raúl Castro in Che) is mighty matinee-idol charismatic himself in the title role, alternating between swaggering lady-killer and ravaged victim of self-destruction. B+"

Lisa Schwarzbaum, Entertainment Weekly

"Powerfully acted and dazzlingly shot in heavenly black and white, Heleno is a feverish opera…. The road to ruin is blindingly beautiful." Jeanette Catsoulis, New York Times

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