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The Lady Eve

(1941, 94 mins, DVD)
Director:
CAST Barbara Stanwyck, Henry Fonda, Charles Coburn

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A couple meet on an ocean liner. Jean (Stanwyck) is a knock-out babe and a con artist. Charles (Fonda) is a nerdy heir, interested in the study of snakes and about to get fleeced. Jean’s father “The Colonel” (Coburn) zeroes in for the kill at the card table but the plan is abandoned when Jean falls for Charles. Stanwyck knew more about sexy than any actress today and with humour along for the ride, she shimmies her way in and out of Fonda’s heart. Sturges’ unique gifts for directing comedy and writing witty dialogue makes this yet another of his great romantic comedies that deserves its reputation as a classic.

 

John MacLachlan Gray is a multiple award-winning writer and composer for stage, television, film, radio and print. “Billy Bishop Goes to War” is one of the most famous and widely-produced plays in Canadian theatre, winning the Governor General’s Award for English Drama in 1983. Over the past four decades he has worked as a composer/librettist/director of nine stage musicals; as a satirist on CBC TV’s “The Journal;” as a columnist for The Globe and Mail and the Vancouver Sun; as a screenwriter of feature films; and as the author of two works of non-fiction and five acclaimed novels. He holds honorary doctorates from Mount Allison University and Dalhousie University, and is an Officer of the Order of Canada.

Vancouver’s beloved costume historian, Ivan Sayers, is bringing some personal items to THE LADY EVE screening to give us a 3-dimentional experience: two dresses from the personal collection of Barbara Stanwyck, bought at her estate auction.

We Are Here

(2013, 80 mins, DCP)
Director:
Classification:

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In 1945, 95% of the Jews in Poland were murdered during the Holocaust. In 2013, a Jewish museum is erected, a monument not just to the past, but to a New Poland. We Are Here is an important documentary looking at the complex and fragile Polish-Jewish relatinship through the eyes of five Jews living in Poland today.

Meet Ania, a young woman celebrating her newly discovered Jewish identity, dedicated to building her life in Warsaw. Meet Henryk, at ninety-seven he is one of two survivors in a small town that was once half Jewish. Meet Leslaw, he had to come out twice, as Jewish and as gay. Meet Larysa, who came out as a Jew in her forties and is haunted by the death that surrounds her. Meet Irena, a survivor of the Warsaw ghetto who lost her entire family and for fifty years chose to live her life as a non-Jew.

We Are Here is about how a country, a people, a community and individual families are impacted by the events of World War II.

This groundbreaking new film excavates the fragile, shaky rebirth of Polish Jewish life in the shadow of the Holocaust.

The Last of the Unjust

(Le dernier des injustes)
(2013, 220 mins, DCP)
In German, French
Director:
Classification:
Sunday April 27 is Holocaust Remembrance Day

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Claude Lanzmann, whose epic Shoah is certainly the definitive film about the Holocaust, returns to one of the subjects from that masterpiece to unravel the tale of the ‘model’ concentration camp, Theresienstadt, and the ambiguous leader of its Jewish Council, Benjamin Murmelstein.

A former rabbi from Vienna, Murmelstein spent the immediate pre-war years as Adolf Eichmann’s hand-picked representative of Austria’s Jewish community, and claimed to have saved 120,000 Jews from deportation and certain death by helping them escape to the US, Britain and Palestine. Once war began and Murmelstein was sent to the camp, he negotiated on a day-to-day basis with Eichmann over the fate of its inmates.

As Murmelstein puts it, “ they wanted a puppet, but I got to pull some of the strings.” His interviews with Lanzmann are undeniably riveting, as he recounts the realities of life in the camp with complete candor, alternately erudite, cunning and guileless. There are no easy answers here, and it’s hardly surprising that Lanzmann decided it was impossible to shoehorn this fascinating material into Shoah - nor that it should still exert such a pull on him that he has returned to the footage decades later.

Filmography:

Sobibór, 14 octobre 1943, Israel, Why (Doc, 1973), Shoah (Doc, 1985), Tsahal (Doc, 1994), Un vivant qui passe (Doc, 1999) , 16 heures (Doc, 2001)

"A discursive, essential Shoah postscript centered on as fascinating and inconvenient a figure as may have survived Hitler’s annihilation." Michelle Orange, Village Voice

"Those who think this is a black-and-white issue will be surprised, as Lanzmann himself appears to have been, by what is said here." Michael Phillips, Chicago Tribune

“Utterly fascinating. A reminder of another way documentaries can be made: simply, agonizingly, without comedy or narcissism, and with unforgettable, almost unbearable power."

Stephen Marche, Esquire

What's New, Pussycat?

(1965, 108 mins, 35mm)
Director:
CAST Peter Sellers, Peter O’Toole, Woody Allen, Romy Schneider, Capucine, Paula Prentiss, Ursula Andress
Classification:
Introduced by film scholar and educator Michael van den Bos

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Admittedly, Woody’s first produced screenplay did not turn out the way he would have wanted. At 28, the nightclub comedian and movie nut was thrilled to be commissioned to write a script for (and about) Warren Beatty. But the more he wrote the larger his own role became, with less and less for Warren, until the Hollywood lothario lost interest .Instead the project was passed to Peter O’Toole, hot from his Lawrence of Arabia triumph.

But in what we might call a poetic injustice, Woody soon found himself written down in the pecking order when Peter Sellers started improvising, to the point where he turned his supporting role into the star part. Meanwhile producer Charles Feldman also insisted on a bigger role for his current protege ,Capucine.

In short, it’s not a masterpiece. But it is a fascinating time capsule back to the heart of the Swinging Sixties, a bit like Austen Powers without the Bondage. And they’re all so young and beautiful - well, maybe not Allen, but the rest of them - and the Tom Jones theme song remains as infectious as it ever was.

Design Is One: Lella & Massimo Vignelli

(2013, 79 mins)
Directors:
FEATURING Lelia and Massimo Vignelli, Paola Antonelli, Beatriz Cifuentes, Peter Eisenman, Yoshiki Waterhouse, Richard Meier, Milton Glaser, Michael Bierut, Jessica Helfand
Classification:

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Italian-born Massimo and Lella Vignelli are among the world’s most influential designers. Throughout their long career, their motto has been, ’If you can’t find it, design it.’ The work covers such a broad spectrum that one could say the Vignellis are known by everybody, even those who don’t know their names. From graphics to interiors to products and corporate identities, the film brings us into the work and everyday moments of the Vignellis’ world, capturing their intelligence and creativity, as well as their humanity, warmth, and humor.

"Design is One brilliantly documents the modernist design endeavors of the Vignellis and their lifetime passion for design. Throughout the film, it becomes clear that their design solutions are based on fundamental design principles, aesthetics, functionality and common sense… All designers (including graphic, interior, furniture, industrial and product) as well as all architects should see this enlightening film." – Barry Roseman

Mistaken for Strangers

(2013, 75 mins, DCP)
Director:
CAST The National, Matt Berninger, Tom Berninger
Classification:

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Hailed by Michael Moore as "one of the best documentaries about a band that I’ve ever seen" and by Pitchfork as "the funniest, most meta music movie since Spinal Tap," Mistaken For Strangers is as much a film about brothers as it is about music.

Matt Berninger, the lead singer of the critically acclaimed rock band The National, finally finds himself flush with success. Meanwhile his younger brother, Tom, is a loveable slacker - a filmmaker and metal-head still living with his parents in Cincinnati. On the eve of The National’s biggest tour to date, Matt invites Tom to work for the band as a roadie, unaware of Tom’s plan to film the entire adventure.

What starts as a rock documentary soon becomes a surprisingly honest portrait of a charged relationship between siblings, and the frustration of unfulfilled creative ambitions.

"Poignant and hilarious." NME

"Brutal, hilarious, unexpectedly honest." The Hollywood Reporter

"The best documentary we have seen all year." The New York Observer

The Unknown Known

(2013, 96 mins, DCP)
Director:
FEATURING Donald Rumsfeld
Classification:

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Master non-fiction filmmaker Errol Morris (The Thin Blue Line; Tabloid; Fast, Loose & Out of Control) returns to the political sphere and the unblinking focus of The Fog of War with this feature-length investigation into the mind of former US Secretary of State Donald Rumsfeld. Not an exercise in gotcha journalism, the film is really a ruefully funny/horrified treatise on the constraints of political discourse, and indeed, human comprehension.

"Over the last 10 years, documentary filmmaker Errol Morris has been preoccupied with the methodology behind warfare, specifically investigating the mismanagement of American armed conflicts from Vietnam to Iraq. With the exception of his fascinating 2010 crime doc Tabloid, his output over the last decade has been a sober postmortem on our recent overseas failures: The Fog of War, Standard Operating Procedure and now The Unknown Known, which is the best of the bunch. Where his earlier documentaries looked at aspects of the military mindset, his newest feels nearly definitive, putting a face to hawkish policies." Tim Grierson, Paste

Nymphomaniac Vol. II

(2014, 130 mins, DCP)
Director:
CAST Charlotte Gainsbourgh, Stellan Skarsgaard, Shia LaBeouf, Christian Slater
Classification:

Showtimes

Nymphomaniac is the wild and poetic story of a woman’s journey from birth to the age of 50 as told by the main character, the self-diagnosed nymphomaniac, Joe (Charlotte Gainsbourg). On a cold winter’s evening the old, charming bachelor, Seligman (Stellan Skarsgård), finds Joe beaten up in an alley. He brings her home to his flat where he cares for her wounds while asking her about her life. He listens intently as Joe over the next 8 chapters recounts the lushy branched-out and multifaceted story of her life, rich in associations and interjecting incidents.

Lars von Trier tests the limits in this whip-smart, explicit, often brutally anti-erotic comedy about psychology and sexuality. Screening in two parts, each about two hours long, Nymphomaniac is bound to challenge taboos, confront and confound - we should expect nothing less from the director of Melancholia, Antichrist, Dogville and Breaking the Waves - but it’s also a sensationally entertaining slice of cinematic bravado, a must-see movie that dares you to look away.

Neurons to Nirvana

Program Running Time 108 min.

Films in Program

Directed By: Oliver Hockenhull
(Canada, 2013, 108 mins)

What if everything you thought you knew about drugs was wrong? What if society has misread - or been misled - about what science says about psychedelic substances? What if prohibition only exists to safeguard social inhibition (and big pharma profits)? Through interviews with the world’s foremost researchers, writers, psychologists and pioneers in psychedelic psychotherapy, Vancouver filmmaker Oliver Hockenhull explores the history of five powerful psychedelic substances (LSD, Psilocybin, MDMA, Ayahuasca and Cannabis) and their now established medicinal potential.

"Fuses science, art and spirituality into a seamless whole." Geoff Olson, Vancouver Courier

Blue Ruin

Program Running Time 90 min.

Films in Program

Directed By: Jeremy Saulnier
(USA, 2013, 90 mins, DCP)

Critics have been pulling out comparisons to the Coens for this lean, mean revenge thriller, a scintillating debut by writer-director Jeremy Saulnier (it’s currently 100% Fresh on Rotten Tomatoes). Living a seemingly pointless existence, Dwight suddenly snaps into action when he learns of the imminent release of state prisoner, Will Cleland. With a score to settle he returns to his home town, swapping the big blue for bloodshed. Delighting lovers of genre film and American Indie, Blue Ruin’s filmmaking is clean and efficient but the killing isn’t. Thrilling, devastating and even humiliating at times, Dwight’s plight manages to hit the sweet spot between idiot and amateur, predator and prey.

"Easily the most suspenseful American film of the year, a thriller that feels like lightning across a quiet night sky; sudden, terrifying, and excitingly singular." Gabe Toro, The Playlist

"Intelligent and thrilling. Recalls the dark wit of the Coens." 4 stars Total Film

"A feral and staggeringly well-conceived revenge saga." David Ehrlich, Film.com

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