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

Nov. 17: Tokyo Story

Tokyo Story
Nov 17, 9:05 p.m.
In Japanese with English subtitles
Yasujirô Ozu, 1953, 136 min.
Chishû Ryû, Chieko Higashiyama, Setsuko Hara

Masterpiece of Japanese cinema, Tokyo Story, directed by Yasujirō Ozu, will be shown Saturday night at City Cinema.
The British Film Institute ranked it 3rd on the list of best films of all time, it had the first spot on a list build by a survey made with nearly 200 filmmakers. This fall BBC ranked it 3rd on a list of the best non-English films of all time

Tokyo Story tell the story of an old couple visiting their children and grandchildren in the city; but the children have little time for them.

”Beautifully directed by the prolific Japanese master, Ozu (1903-63), who worked entirely through fastidiously composed, deep-focus shots and never moved his camera up, down, forwards or sideways, this 1953 classic is one of the cinema’s most profound and moving studies of married love, ageing and the relations between parents and children. It is flawless and rewards numerous viewings.” Philip French – The Guardian

Nov. 16: Blade Runner

Blade Runner 2049
Nov 16, 9:05 p.m.
Denis Villeneuve, 2017, 164 min.
Harrison Ford, Ryan Gosling, Ana de Armas

City Cinema; Admission $10
A sequel to the 1982 film Blade Runner, the film stars Ryan Gosling and Harrison Ford, Set thirty years after the first film, Gosling plays K, a blade runner who uncovers a secret that threatens to instigate a war between humans and replicants.

Blade Runner 2049 received five nominations at the 90th Academy Awards, winning Best Cinematography and Best Visual Effects.

Nov. 14: Blade Runner – The Final Cut

Blade Runner: The Final Cut
Nov 14, 8:05 p.m.
Ridley Scott, 1982, 117 min
Harrison Ford, Rutger Hauer, Sean Young

City Cinema; Admission $10
The film is set in a dystopian future Los Angeles of 2019, in which synthetic humans known as replicants. They are bio-engineered by the powerful Tyrell Corporation to work on off-world colonies. A Fugitive group of replicants led by Roy Batty (Hauer) escapes back to Earth. But burnt-out cop Rick Deckard (Ford) reluctantly agrees to hunt them down while questioning his and the replicants’ humanity through his relationship with an advanced model, Rachael (Young).

Of all the versions of the film to exist, we have chosen to present The Final Cut. A version that Ridley Scott himself reworked the year of the 25th anniversary of its initial release.

Nov. 12: Mozart’s Don Giovanni

Mozart’s Don Giovanni
Nov. 12, 1:30 p.m.
Joseph Losey, 1979
Ruggero Raimondi,  John Macurdy,  Edda Moser

Contrary to broadway musicals, not that many opera have been brought to the screen. In 1979, Joseph Losey American director, then working mostly in Europe successfully adapted one of Mozart’s most famous work, Don Giovanni.

Don Giovanni, the infamous womanizer, makes one conquest after another until the ghost of Donna Anna’s father, the Commendatore, (whom Giovanni killed) makes his appearance. He offers Giovanni one last chance to repent for his multitudinous improprieties.

“This lavish production nicely walks the line between a filmed play and an adulterated, cinema-fied opera: It’s essentially the full opera, but played out with a huge cast in rich, gorgeous Italian settings (…) as an introduction to the opera, particular for those who don’t live somewhere where they can readily see a staged version, it’s a solid choice, for its completism with the music, its strong musical performances, and its eye-candy approach to the scenery everyone’s chewing.” Tasha Robinson – The Verge

Nov 10: Solaris

Nov 10, 9:05 p.m.
City Cinema – Admission $10
In Russian with English Subtitles
Andrei Tarkovsky, 1971
Natalya Bondarchuk, Donatas Banionis, Jüri Järvet
Switching it up on Saturday, we will show a movie by the legendary Russian director, Andrei Tarkovsky.

With Solaris, Andrei Tarkovsky created a brilliantly original science-fiction epic that challenges our conceptions about love, truth, and humanity itself.

Ground control has been receiving mysterious transmissions from the three remaining residents of the Solaris space station. When cosmonaut and psychologist Kris Kelvin is dispatched to investigate, he experiences the same strange phenomena that afflict the Solaris crew. It sends him on a voyage into the darkest recesses of his consciousness.

”Tarkovsky regularly takes us to task on such fundamentally upsetting ideas, challenging the fact that we may not be the centre of everything after all. We may not even be the edges, but rather some subatomic notion of everything. Solaris is a film that doesn’t just stagger and confound with its visual beauty and striking set design, but the ideas behind every frame add up to far more than the constituent parts. It is not simply the magnum opus of an acclaimed director, but the benchmark against which all sci-fi should be held accountable. No film before or since has placed such devastatingly human ideas into a place so devoid of life.” – William Carroll

Nov 9: Pulp Fiction

Friday, we film  what is perhabs the most beloved film of the ‘90’s, a film that won the Golden Palm at Cannes but was ignored by the Academy Awards, winning only the Oscar for the best scenario. But now, nearly 25 years later, Pulp Fiction gained the status of a cult classic!

The lives of two mob hit men, a boxer, a gangster’s wife, and a pair of diner bandits intertwine in four tales of violence and redemption.

”The first masterwork of the post-modern pop culture generation…gets better with every viewing, and like good rock n’ roll, needs to be played loud!” Film Threat- Brad Laidman