Fifteen years and 9 Antarctic winters in the making, Powell’s film gives a glimpse into what it is like to spend a full year living and working in the harshest place on the planet, presenting a never-before-seen insider’s view of the frozen south. It’s a dazzling movie, but never more so than in long, endless nights of the Antarctic winter, when the sun never rises, time stands still, and the aurora australis puts on a private show of heavenly dimensions. "An extraordinary achievement that reinvigorates our sense of wonder about the natural world." NZ Herald
You’ll think twice before using that overworked word “awesome” again after seeing Anthony Powell’s film […] There are moments when what Powell’s cameras have captured will bring you to tears. Which is why you need to see it in the dark, on a big screen." Helene Wong, The NZ Listener
The most impressive debut feature of the year also happens to be the scariest. This tale of an anguished single mom (an incredible performance from Essie Davies), her monstrous six-year-old, and the storybook bogeyman who terrorizes their home is guaranteed to chill you to the bone.
"One of the strongest, most effective horror films of recent years - with awards-quality lead work from Essie Davis, and a brilliantly designed new monster who could well become the break-out spook archetype of the decade." Kim Newman, Empire
"Managing to scare an audience silly with original imagery and non-formulaic jolts is no mean feat […] Managing to move us at the same time is close to miraculous." Tim Robey, Daily Telegraph
"Deeply disturbing and unusually beatiful." Variety
Toothy Texan noir (with a tip of the hat to pulp master Jim Thompson), this tale of three teenagers who find themselves on the wrong side of big trouble when a foolish prank backfires announces an exciting new talent (or two) in the Hawkins brothers, who combine an evocative sense of place, a shrewd grasp of character and an unerring eye for suspense.
"A crackling small town thriller that deserves to be sought out." James Marsh, Twitch
"This juicy tale of a reckless robbery and its spiraling bloody aftermath is enjoyably overripe pulp, steeped in grubby textures and flavorful atmosphere." David Rooney, The Hollywood Reporter
The French invented the term "film noir" and this adaptation of a slim, forceful novel by Georges Simenon certainly boasts idenfiable noir characteristics: the femme fatale who lures an all-too willing husband away from his marriage bed; the crime of passion and miscarriage of justice that ensue, all unfolding in a slippery mosaic of ambiguous flashbacks. As the title suggests, the dominant colour is blue, not black,and Amalric’s terrific movie shifts between carnal abandon and clinical claustrophobia.
"An elegant psychological freak-out about adultery and other madness, [a] dark, delectable, shivery tale." Manohla Dargis, The New York Times
"The Blue Room is a story about sexual desire as an overwhelming force, incapable of being ignored or mistaken, and about the ambiguity of almost everything else: memory, language, actions and motives." Stuart Klawans, The Nation
" A great little film… It has a headlong rhythm, skittering between timeframes with the skill of a pianist nailing Prokofiev…. Everything’s told in shards, and Amalric does very well to create a sense of emotional continuum amid all the procedural detail. His own performance is fantastic, jittery and disheveled.” Tim Robey, The Daily Telegraph
Ernest Mathijs, Professor of Film Studies at UBC, discusses horror, Canadian-style. This talk will touch on the Ginger Snaps series, Canadian horror-movie sequels, and the new Canadian hit show, Orphan Black (approx 1 hr).
Don José (Jonas Kaufmann) is a young soldier in the army in Seville. He intends to marry Micaëla, a girl from his home village, but when he meets the sensual and high-spirited Carmen (Anna Caterina Antonacci), his head is soon turned…Spanish heat and gypsy passion are brought to the stage in Francesca Zambello’s vivid production of Bizet’s famous opera.
Sung in French with English subtitles
Acts One and Two will last for about 1 hour 50 minutes, followed by a 15 minute interval. Act Three will last for about 1 hour 5 mins.
Cormac McCarthy (No Country for Old Men; The Road) may be the hardest boiled writer in contemporary American letters, and James Franco certainly wasn’t making things easy for himself in taking on his third novel, a bleak depiction of a violent social outcast who lurches from disaster to catastrophe.
Marking the 40th Anniversary of the release of this solid gold classic with a restored DCP screening, this is a rare chance to see one of the most acclaimed Hollywood movies of the last half century on the big screen. Jack Nicholson is LA private eye Jake Gittes, a two-bit snoop who stumbles on a crime (and a crook) so large it could be the last thing he ever learns.
"Flawless" Philip French, The Observer
"Unmissable." Peter Bradshaw, The Guardian
"Unforgettable." Neil Smith, Total Film
A slippery Texan corkscrew thriller in the tradition of the Coens’ Blood Simple and No Country for Old Men, this has Michael C Hall shooting a burglar and then dealing with the fall out when the victim’s father (Sam Shepard) shows up in town. Don Johnson is also on hand with a scene stealing turn as private eye.
"One of those movies that arrives every now and then with no fanfare but a canny sense of how to grab our attention and hold it in a tightening grip." Joe Morgenstern, Wall Street Journal
"A character-driven thriller with more twists than an off-the-map dirt road, awards-quality performances from the three leads, a rare sensitivity to the after-effects of horror and a sure directorial hand." Kim Newman, Empire
"It is a brutal, beautifully shot movie that starts out to be about revenge but then becomes something more, something even more primal and disturbing." Bill Goodykoontz, Arizona Republic
Kasper Holten, ROH Director of Opera, presents a mesmerizing new production of Mozart’s sublime tragicomedy. The impulsive and charismatic Don Giovanni travels through Europe seducing women, accompanied by his long-suffering servant Leporello. When he commits murder, he unleashes vengeance from beyond the grave.
The Elizabeth Bagshaw Women’s Clinic’s fundraiser screens Obvious Child, a rom-com like no other, followed by a silent auction. Obvious Child follows a budding stand-up comedian and the challenges she encounters.
Tickets can be purchased at http://ebwc.brownpapertickets.com for $15 in advance and $20 at the door (cash only)
Award winning Vancouver filmmaker Julia Kwan trains her eye on our own backyard, Chinatown, Pender, Hastings and Main St, and no matter how well you think you know this area, you’re bound to come away with new insights into the people and businesses that make up this once vibrant community. It’s a neighbourhood in transition, a culture in decline - or on the cusp of gentrification. This isn’t an advocacy doc, but a wise, ruminative portrait, an elegy perhaps, but also a celebration of entrepreneurial energy, resilience and creativity.
How does a 16-year-old evolve into a bank robber?
"Vital, thoughtful, and deeply personal, first-timer Darius Clark Monroe’s autobiographical doc stands as a testament to the power of movies to stir empathy. At age 16, honor-student Monroe had dabbled in employee-theft at the Venture store where he worked after school. Next, restless and foolhardy, he set his criminal sights higher, corralling a couple of friends and busting into a Stafford, Texas, Bank of America. Monroe wore a skeleton mask, one accomplice wielded a sawed-off shotgun, and a couple hours later Monroe’s mother found a shoebox on her bed filled with thirty grand. Monroe’s film is an inquiry into who he was becoming — and who he became during a five-year prison sentence." Alan Scherstuhl, Village Voice
From the Canadian anthology horror series Friday the 13th, David Cronenberg’s episode is widely regarded as the most intense and memorable of the series, about a washed-up faith healer who acquires the Sforza Glove, which turns him into an actual healer when the glove is worn - by transferring the ailments from one person to another.
Legendary Nigerian Afrobeat pioneer and political dissident Fela Kuti is brought to life in Oscar-winner Alex Gibney’s (Taxi to the Dark Side) stirring evocation of the man and his music. Kuti’s raw charisma, many wives, mesmerizing musical performances and political aspirations and persecution have been covered before, but Gibney’s decision to fold in behind-the-scenes documentation of the 2009 Broadway musical Fela! makes this kaleidoscopic film as protean and rousing as Kuti himself was.
"There’s nothing like seeing Fela himself - blowing his sax, expressing his unbridled sexuality and living a life like no other." New York Daily News
One of the most popular movies at this year’s VIFF, this is both an acute psychological study and a deadpan comedy of manners, a portrait of a family riven by the father’s instinctive act of cowardice in the face of an avalanche during a skiing holiday. For all his attempts to pretend that nothing has happened, everything has changed. But what to do about it?
"An ice cold knockout. Brilliantly perceptive and frostily funny." Aaron Hills, Village Voice
"Damning, frequently hilarious study of imploding male ego." AV Club
"Visually stunning. Emotionally perceptive." Variety
"The biggest crime story of the century!" That’s how Sam Fuller described WWII, a typically punchy declaration from a guy who knew what he was talking about: Fuller was a tabloid reporter and crime novelist before joining the infantry in time for D-Day. He returned to Hollywood and made noir thrillers (Pickup on South Street; Underworld USA), war pictures (Verboten!; Steel Helmet) and B westerns (40 Guns) with singular conviction. This is his story - as told by his daughter Samantha. Samantha Fuller will join us for a Q&A after this screening.
"If you don’t like Sam Fuller, you just don’t like cinema.” - Martin Scorsese
"Those intrigued by an indelibly influential persona that combined showman-like flamboyance, old-school masculinity and die-hard personal integrity to disarming and intoxicating degrees, will find much to chew on here." Neil Young, The Hollywood Reporter
Emily Perkins (Ginger Snaps) and Tatiana Maslany (Orphan Black) star in Brett Sullivan’s darkly humourous follow-up to the Canadian cult hit. Brigitte (Perkins), the sister of the now-dead Ginger, is hauled off to a rehab center, where bizarrely suggestive hallucinations and some gory lycanthropic shenanigans abound.
Bud Gordon (Corey Stoll - from House of Cards and Midnight in Paris) once had it all—a nice apartment, fame, public love and admiration—but a quick jab to the chin wiped that slate. Now living in a dingy studio with no business, no fans and no purpose except to help train an up-and-coming boxer. Noah Buschel writes and directs Glass Chin with a distinctive, vibrant style that channels pulp film noir into something both familiar and strange.
"Buschel may be mining classic B-movie territory, but between his script and Stoll’s performance, Glass Chin finds fresh humanity in a seemingly exhausted genre." Peter Debruge, Variety
"Buschel’s micro-noir has a rare and potent sense of menace […] viscerally direct and spontaneous, like that last, swift jab that puts an opponent on the mat." Chris Cabin, Slant
"In a starring turn of suppressed despondence and frustration, the charismatic Stoll makes a strong bid for earning his own shot at superstardom." Nick Schager, Village Voice
When a homicide detective makes the fateful decision to cover up a hit-and-run accident which kills a man, he invites karmic retribution on a grand scale in this wickedly ingenious suspense thriller.
“A masterclass in throat-squeezing, stomach-knotting suspense loaded with smart plot twists, dark humor and high-gloss visuals." Stephen Dalton, The Hollywood Reporter
“A masterclass in throat-squeezing, stomach-knotting suspense loaded with smart plot twists, dark humor and high-gloss visuals. . .A Hard Day is full of smart surprises and darkly funny lurches." Stephen Dalton, The Hollywood Reporter
"A total blast." Jessica Kiang, Playlist (Indiewire)