"Activism is the rent I pay for living on the planet." So says Alice Walker. One of the key writers of our times, Walker was born in a shack in the cotton fields of Georgia and became the first black woman to win a Pulitzer Prize, for her groundbreaking novel, The Color Purple. Promotional Partner - Vancouver Writers Festival
"If Pratibha Parmar’s documentary on the life’s work of Alice Walker is the director’s invitation to exalt with connected, layered complexity the artist, the activist, the woman, the person of colour as cultural icon, - then the parting words of Alice Walker invoke a simpler message of connectedness to her own art, her beauty and her truth. In Walker’s words:’Earth was meant for joy. And as an artist, connect with that joy. And you will be forever fed by it.’” Jana Sante, Indiewire
ITALIAN FILM FESTIVAL OPENING NIGHT GALA
The opening night gala for the inaugura Vancouverl Italian Film Festival includes an exhibition of drawings by Federico Fellini inspired by his love of food; live music by Roy & Rosemary; catered reception with Italian wine and food, and the Canadian premiere of the documentary short Federico of the Spirits, plus a special screening of one Fellini’s most beloved masterpieces, Amarcord, in 35mm.
Fellini exhibition: Live music (Roy & Rosemary). Wine, hors d’oeuvres
6.00, 6.30 FEDERICO OF THE SPIRITS (20 min)
7.00 Introductory remarks + film screening: AMARCORD
9.15 Catered reception. Live music.
Shortly after turning 50 and at the height of his career, Federico Fellini returned to the seaside town of Rimini, where he grew up, to make Amarcord (a neologism that suggests "mi ricordo" in the Emiliano-Romagnolo dialect: I remember).
Set in the 1930s, the film has the free-wheeling form that became one of Fellini’s hallmarks. It allows him to swing back and forth between ribald comedy, fantasy and melancholy.
"Amarcord is the least grandiose and most immediate of the maestro’s later films and deserves to be rated among the finest screen memoirs of the 20th century. It offers an extraordinarily lyrical and vivid succession of vignettes, inside the most subtly rigorous narrative structure of Fellini’s career. […] Although the figure of the boy Titta is obviously his alter ego, Fellini builds a generously fractured mosaic that belongs to no one central character or even the on-screen narrator… Like many autobiographical tales written or filmed, this one weaves the innocent, limited viewpoint of children into its wider social context, which here heralds the reign of fascism in Italy in the 30s. Poignant indeed is the gap, gradually revealed to the viewer, between the hints of violence and social exclusion to come (especially in relation to the Jewish population), and the life-affirming antics of youth. […] Fellini’s comedy, refreshingly, goes to the outer limits of vulgarity in a number of hilarious scenes. His style is streamlined here into a pure, exalted poetry of mist, flowing camera movements, pastel colours, and lightly artificial set design. A triumph of artistic form, its emotions are direct and affecting." Adrian Martin
Nunavut means "Our Land". But does that include us? After decades of what might generously be described as benign neglect, Canada seems more invested in the north than ever (no prizes for guessing why). Documentarian John Walker (A Drummer’s Dream) traces the long, often fractious relationship between the Inuit and the rest of the country, marvels at the beauty and hardship of this place, and reflects on his own experiences, revisiting the arctic for the first time since the 60s.
Summer of 1943. In an occupied France, not far away from the Spanish border, a famous old sculptor who is tired of life and wars finds the desire to work on his last masterpiece when a beautiful young Spanish girl comes knocking after escaping a refugee camp in the South of France.
Gala screening Feb 21 includes a performance by Flamenco Rosario, a glass of wine and free admission to 9.30 show Serrat y Sabina: Two for the Road. Tickets $20 (members)
"A highly seductive piece… an exquisitely crafted reflection on the “big three” - life, death and art." Finn Halligan, Screen International
"Lovely and poignant [with] rich characters and complex themes… Daniel Vilar’s evocative black-and-white photography adds grace and authenticity to this unhurried, highly memorable tale." Gary Goldstein, LA Times
"Magesterial… An impeccably played gem whose ideas are as potent as its imagery." David Parkinson, Empire