Dec. 2: Porco Rosso

Porco Rosso
Dec 2, 1:30 p.m., In English
Dec 1 & 2,  9:10 p.m., In Japanese with English subtitles
Hayao Miyazaki, 1992

Before making Princess Mononoke, Hayao Miyazaki made a movie about his favourite subject, aviation!  The film is fantastic, poetic and realistic all at once. He signs here a personal work adapting a manga that he himself wrote. If this is not his best-known film, it’s clearly one of his most beautiful!

In 1930s Italy, a veteran World War I pilot is cursed to look like an anthropomorphic pig.

“Not only does this rank among Miyazaki’s finest achievements, it reflects his personal love of aviation, his political concerns and his fullest expression to date of a non-fantasy world resembling our own.” – Robert Koehler, Variety

Tickets at the door, cash only, all seats $10, or visit here for advance tickets. For movies in the same week (in the special program by L’Ipéen & The Charlottetown Film Society), keep your ticket from the first show you see for a $5 discount on the others.

Nov. 30: Goodfellas

Nov 30, 9:10 p.m., 18A, coarse language, violence
Martin Scorsese, 1990.
Robert De Niro, Ray Liotta, Joe Pesci

City Cinema; Admission $10
The true story of Henry Hill, a half-Irish, half-Sicilian Brooklyn kid who is adopted by neighbourhood gangsters at an early age. He climbs the ranks of a Mafia family under the guidance of Jimmy Conway.

Goodfellas is filmmaking church. One of the greatest mob films, one of the greatest Scorsese films, and all things considered, one of the all time greatest films ever made!
A perfect cast, an amazing director, a rocking soundtrack, and a mafia story unlike any other make this movie the legendary experience it’s regarded as today. ”  Patrick Riley

Nov. 29: Laura

Nov. 29, 9:10 p.m.
Otto Preminger, 1944
Gene Tierney, Dana Andrews, Clifton Webb

City Cinema; Admission $10
A police detective falls in love with the woman whose murder he is investigating.

”To say anything more about the specifics of the plot would be a disservice to those who’ve yet to see the movie, but suffice it to say that what begins as a murder mystery soon becomes something else entirely, a kind of coldly romantic psychological thriller. From it’s wicked-smart dialogue and whiplash twists to David LaShelle’s Academy Award-winning cinematography and Otto Preminger’s objective staging—his wide, open mis-en-scene never dictates how we should feel about the characters—Laura is all-around masterful and one of most iconic noir films of the 1940s.” Casey Broadwater

Academy Awards for the Best Cinematography.

In 1999, Laura was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant”. The American Film Institute named it one of the 10 best mystery films of all time. It also appears on Roger Ebert’s “Great Movies” series.

Nov. 28: A Man Escaped

A Man Escaped (Un condamné à mort s’est échappé)
Nov 28, 8:10 p.m.; City Cinema
In French with English subtitles
Robert Bresson, 1956
François Leterrier, Charles Le Clainche, Maurice Beerbloc

For the curious who would like to discover the unique style of Bresson, we include this film in our ” discovery series ”, so it will be a screening without fixed price of admission, on donations only.

A captured French Resistance fighter during WWII engineers a daunting escape from a Nazi prison in France.

A Man Escaped (Un condamné à mort s’est échappé ou Le vent souffle où il veut) was named by the National Board of Review as one of the best foreign films of 1956. Bresson won Best Director at the 1957 Cannes Film Festival.

A Man Escaped is like a pristine product of the steam age, a machine that can be admired as much for its engineering as for how well it executes the task for which it was constructed. There are editing decisions here – specifically the decision to hold on specific shots for far longer than expected in order to communicate the tension of having to wait for the right moment to take action – that were seriously ahead of their time in 1956 and still look innovative today, and in both cinematic and dramatic terms the films has aged handsomely. For many reasons it’s a film to be admired, but crucially it’s one to also be enthralled and ultimately moved by.” Slarek – Cinema Outsider.

Nov. 25: Harold and Maude

Harold and Maude
Nov 25, 9:15 p.m.
Hal Ashby,  1971
Ruth Gordon, Bud Cort
City Cinema; Admission $10
With the idiosyncratic American fable Harold and Maude, countercultural director Hal Ashby fashioned what would become the cult classic of its era.

Working from a script by Colin Higgins, Ashby tells the story of the emotional and romantic bond between a death-obsessed young man (Bud Cort) from a wealthy family and a devil-may-care, bohemian octogenarian (Ruth Gordon).

Equal parts gallows humour and romantic innocence, Harold and Maude dissolves the line between darkness and light along with the ones that separate people by class, gender, and age. It features indelible performances and a remarkable soundtrack by Cat Stevens.

Nov. 24: Rio Bravo

Rio Bravo
Nov 24, 9:15 p.m.
Howard Hawks, 1959
John Wayne, Dean Martin, Ricky Nelson

City Cinema; Admission $10
Saturday night at the City Cinema, Rio Bravo, one of the most iconic westerns ever made, with John Wayne at his peak and Dean Martin who never been better.

A small-town sheriff in the American West enlists the help of a cripple, a drunk, and a young gunfighter in his efforts to hold in jail the brother of the local bad guy.

‘Howard Hawks didn’t direct a film for four years after the failure of his “Land of the Pharaohs” in 1955. He thought maybe he had lost it. When he came back to work on “Rio Bravo” in 1958, he was 62 years old, working on his 41st film. He was so nervous on the first day of shooting that he stood behind a set and vomited. Then he walked out and directed a masterpiece.

“To watch “Rio Bravo” is to see a master craftsman at work. The film is seamless. There is not a shot that is wrong. It is uncommonly absorbing, and the 141-minute running time flows past like running water. It contains one of John Wayne’s best performances. It has surprisingly warm romantic chemistry between Wayne and Angie Dickinson. Dean Martin is touching. Ricky Nelson, then a rival of Elvis’ and with a pompadour that would have been laughed out of the Old West, improbably works in the role of a kid gunslinger. Old Walter Brennan, as the peg-legged deputy, provides comic support that never oversteps…” –Rogert Ebert

Nov. 23: Tim Burton’s Batman

Burton’s Batman
Nov 23,  9:15 p.m.
Tim Burton, 1989
Michael Keaton, Jack Nicholson, Kim Basinger
City Cinema; Admission $10
The Dark Knight of Gotham City begins his war on crime with his first major enemy being the clownishly homicidal Joker.

”Dark, haunting and poetic, Tim Burton’s “Batman” is a magnificent living comic book. From its opening shots, as the camera descends into the grim, teeming streets of Gotham City, the movie fixes you in its gravitational pull. It’s an enveloping, walk-in vision. You enter into it as you would a magical forest in a fairy tale, and the deeper you’re drawn into it, the more frighteningly vivid it becomes.” Hal Hinson – Washington Post

Nov. 22: Barton Fink

Barton Fink
Nov 22, 9:15 p.m.
Joel Coen & Ethan Coen, 1991
John Turturro, John Goodman, Judy Davis

City Cinema; Admission $10
Barton Fink is the fourth film of the Coen brothers. This is the film that made them win the Palme D’Or at the Cannes Film Festival, allowing them to confirm their domination of the “independent” American cinema.

Twenty-seven years later, this tale of an earnest New York playwright who struggles to complete his first screen-writing contract has not lost its relevance and its effrontery.

Nov. 21: The Silence

The Silence
Nov 21, 8:30 p.m.
Mohsen Makhmalbaf, 1998
Tahmineh Normatova, Nadereh Abdelahyeva, Goibibi Ziadolahyeva
City Cinema; Admission $10

Big week of Cinema in front of us! It begins Wednesday with the inauguration of our “discovery” series with a free projection of an Iranian film, The Silence directed by Mohsen Makhmalbaf.
”From one of Iran’s most celebrated filmmakers, comes The Silence, a hypnotic symphony of visual and aural rhythms. The Silence follows the life of Khorshid, a blind 10-year- old boy who experiences the world through sound. Living with his mother in a small village in Tajikistan, Khorshid earns money tuning musical instruments.(…) that this film is poetry taking pure cinematic form and cinema taking pure poetic form. It cannot be explained, only way it can be understood is through heart” Still Here

This is part of our new Discovery Series, it’s a free screening with donations at the door

It will be screened in Persian with English subtitles

Nov. 18: The Grapes of Wrath

The Grapes of Wrath
Nov 18, 1:30 p.m., PG
John Ford, 1940, 126 min.
Henry Fonda, Jane Darwell, John Carradine

In 1989, this film was one of the first 25 films to be selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant.”

It was based on John Steinbeck’s 1939 Pulitzer Prize-winning novel of the same name.

A poor Midwest family is forced off their land. They travel to California, suffering the misfortunes of the homeless in the Great Depression.

”An outstanding adaptation of an iconic book of dubious merit. John Ford, master of the American Western, takes a 20th century odyssey and portrays it flawlessly. The Grapes of Wrath is harrowing and relentless in the way it attacks the characters and viewers with harsh reality. But it is also a powerful tribute to the grit and perseverance of the salt of the earth.” Aaron Hubbard

Academy Awards:

Best Supporting Actress, Jane Darwell as Ma Joad.
Best Director, John Ford.

$10 at the door or on ($5 for children Under 14)
– If you come to see more than one movie in the same week, it will cost you $ 10 the first time, but only $ 5 for the other screenings of that week