Danis Tanovic’s TRIAGE, starring Colin Farrell, Christopher Lee and Paz Vega, will screen as part of the Human Rights Watch Film Festival at TIFF Cinematheque in February. The festival runs February 24-March 6 and TRIAGE will screen at Jackman Hall on February 25, 2010 7:00 PM. To order tickets CLICK HERE

The film, Snake River, which I did in 2007, has a release date:
February 19, 20, 21 & 24, of 2010.
7 o’clock show at Cinematheque.
More details to follow (Thanks to Alf Kollinger for the update!).

About

Made by Maya Deren with her husband, cinematographer Alexander Hammid, Meshes of the Afternoon established the independent avant-garde movement in film in the United States, which is known as the New American Cinema.

]]> http://sullivandaniel.wordpress.com/2009/12/19/you-know-the-deal/ Sat, 19 Dec 2009 17:42:32 +0000 Dan Sullivan http://sullivandaniel.wordpress.com/2009/12/19/you-know-the-deal/

Chalk it up to my finals week aloofness: there’s an extremely worthwhile movie playing at the Cinematheque tonight—information that I totally neglected to share with you, dear reader, yesterday afternoon. No harm, no foul.

The ‘theque will conclude its Fall 2009 schedule as well as its short series of films directed by Alain Resnais with the musical “Same Old Song” (1997). Skip it at your own peril. If it’s half as good as Resnais’s 2003 musical “Not on the Lips,” ‘theque-goers are in for a genuinely enjoyable couple of hours. The screening will begin at 7:30PM. (So come after your 5:05-7:05PM final.)

Banished by her husband and her village, Katalin Varga is left with no other choice than to set out on a quest to find the real father of her son, Orbán. Taking Orbán with her under another pretence, Katalin travels through the Carpathians where she decides to reopen a sinister chapter from her past and take revenge. The hunt leads her to a place, she prayed eleven years prior, she would never set foot in again.

Another stacked (and frozen) weekend for patrons of UW’s invaluable Cinematheque. The ‘theque will screen two feature films by Alain Resnais: on Friday night (at 7:30PM), the iconic and unmissable “Last Year at Marienbad” (1961); on Saturday night (also—gasp—at 7:30PM), “Mon oncle d’Amérique” (1980). The former is, of course, one of the 20th century’s greatest works of art (no BS; it’s as shining an example of modernism’s inherent playfulness as is, say, Finnegans Wake); I haven’t seen the latter but Resnais’s later work never fails to interest with its formal idiosyncrasies and cleverly deployed eccentricities. The opportunity to see “Marienbad” on 35mm is something you really ought not to pass up—especially when tickets cost a mere $0.00.

Also, by way of reminder: It ain’t free but “Antichrist” opens at the Orpheum this afternoon. Can’t imagine that the theater’ll be very crowded for this one, but those who do go are undoubtedly in for an experience-and-a-half.

About

image: ‘No Promises’

My mind & body is feeling addled after a run-in with a Bernardo Bertolucci film. I feel it all hit at once like a slippery, rain-drenched rag, vibrant with colours, places visited, scents and conflicts. There are unequal parts in me: jealousy, angst, hope, misplaced hope, and a very generous helping of lust.

Jimi Hendrix Experience – Third Rock from the Sun
Are You Experienced? (MCA, 1967)

Liz Brady – Partie de Dames
Femmes de Paris Vol. 1 (Wagram, 2002)

Nouvelle Vague – Blue Monday
Bande à Part (PIAS Recordings, 2006)

Miles Davis – The Big Green Serpent
The Complete Bitches Brew Sessions (1998, Columbia/Sony)

Leonard Cohen – Dance with Me to the End of Love (Live in Zurich ‘93)
unreleased

Roxy Music – Pyjamarama
Kitsune Tabloid by Phoenix, (Kitsune, 2009)

Françoise Hardy – L’amour ne dure pas toujours
The Vogue Years (2001, BMG)

Air - Do the Joy
Love 2 (2009, Astralwerks)

::play::

******

Apologies to the audience, as technical delays have now been resolved and we will be resuming tonight’s fare: A list with cinema as its sound and mood,  mimicking the flavour of French New Wave, if that’s even conceivable. The style (or movement/collective) is interesting for its own purposes because it too, borrows as much from preceding film lineage as it has given to contemporary culture. Consider this an eclectic soundtrack for a film that may or may not yet already exist.

About

Quite a weekend for those of you who don’t neglect the robust film scene here at UW.

Tonight at the Cinematheque: the final film in the ‘theque’s Vincente Minnelli retrospective, Home From the Hill (1960), starring none other than Hollywood’s original Hercules, Robert Mitchum. The Minnelli series has really been one home run after another, so I’m inclined to believe that Home From the Hill will be every bit as engaging and borderline psychedelic as the rest of V.M.’s Technicolor melodramas. I haven’t personally seen this one, but here’s Jonathan Rosenbaum’s capsule review (courtesy of his website):

One of Vincente Minnelli’s best ‘Scope and color melodramas (1960), adapted by Irving Ravetch and Harriet Frank from William Humphrey’s novel. Set in a small town in Texas, the plot centers on a troubled family: a promiscuous patriarch (Robert Mitchum) and his frigid wife (Eleanor Parker) compete for the loyalty of their son (George Hamilton), who discovers that he has an illegitimate half brother (George Peppard). With Luana Patten, Everett Sloane, and Constance Ford. 150 min.

The screening begins, as always, at 7:30PM.

Saturday night at the Cinematheque: a trio of documentary shorts by Alain Resnais entitled Art/History. The triptych will consist of Guernica (1950), Les statues meurent aussi (1953) and the paradigm-shifting Nuit et brouillard (1955). More information on the Cinematheque’s series of six films (directed) by Resnais can be found here. In my mind, this is the main event of the Cinematheque’s Fall schedule; seeing Nuit et brouillard at least once in one’s life is something of a moral imperative. Resnais may be known primarily for his excursions into the territories of high modernism (such as Hiroshima mon amour, Muriel and L’année dernière à Marienbad [which the 'theque is screening next week]) and high theatricality (Mélo, Privates Fears in Public Places), but these documentaries constitute an essential chapter in the oeuvre of one of cinema’s all-time innovators. Your attendance at this screening (which begins, believe it or not, at 7:30PM) is mandatory, as far as I’m concerned.

And now for something totally different: South African sci-fi flick District 9 (2009) is screening at the Play Circle Theater in Memorial Union on both Friday and Saturday nights at 7:00PM and 9:30PM. Didn’t get a chance to see this one myself but the buzz was surprisingly ecstatic, so you could definitely do worse than to swing by.

As impressive as this roster may seem, I’m undoubtedly omitting a screening or two. Looks to me as though you’ve got a lot to consider, Madison.

No less than the virtually de rigeur pushing into queues here, the saving of spaces in them with unmanned shopping trolleys (see also Parking Shields), and the continual, blatant invasions of personal space – most infuriatingly, the crowding and looking-over-shoulders at ATMs – the lack of decorum in Israel’s cinemas is a phenomenon that no ex-pat Englishman can ever get used to.     

No, going to the movies in this country is not, as in others, an “escape” . . . merely a reminder.                           

Talking loudly during films is seemingly compulsory here. So, whenever I have the opportunity of selecting my seat once inside the auditorium, my decision is based not on its position in relation to the screen, but its proximity to clusters of Israeli women already seated . . . and talking.                           

In fact, tell an Israeli about the release of the first “talkie” – The Jazz Singer, in 1927 – and he will probably enquire as to why talking was not allowed in cinemas before that.                           

Last Saturday, for the last leg of an unusually agreeable first date, I took the lucky girl – who cannot have failed to have been impressed by my sophistication – to see Ingmar Bergman’s Fanny and Alexander at the Tel Aviv Cinematheque (local women being the fickle, unpredictable creatures that they are, however, I would not recommend the purchase of any new hats just yet . . . though Fanny on a first date might, perhaps, be a good sign).                

Despite my success in ignoring the proclivity of the projectionist to, without warning, cut from the middle of one scene to some unrelated point in the next – a long-favoured pastime amongst Israeli projectionists – I could do little about the loud belching from the left side of the auditorium which peppered the three-hour epic.           

And my date, who had seemed a rather demure soul until that point, earned numerous brownie points for her savage verbal assault on the bloke in the row behind us who had forgotten to turn off his mobile phone.              

A quiet Israeli cinema (Lev Smadar, Jerusalem)

Whilst I am not generally prone to acts of violence, the possibility that I might, one day, twat someone in the cinema here cannot be altogether ruled out.                         

It is not just the incessant loud chatter that so infuriates, but the seeming deep-seated need of Israeli cinemagoers to commentate on what they are seeing. During Saturday’s film, on every occasion that the striking Emilie Ekdahl character appeared on screen, an elderly woman seated behind us seemed to consider it incumbent upon her to exclaim “Eizeh einayim!” (“What eyes!”)        

And, as if they don’t see enough Jews here, the entry of any Jewish character (Isak Jacobi on Saturday) or theme, however remote, into a film is always the cue for an excited buzz amongst Israeli audiences. Indeed, the always animated reaction to a movie’s protagonists and plot often renders the Israeli cinematic experience more akin to pantomime.                                 

Audience reactions here are also markedly unpredictable. I have sat through terribly sad films that have provoked mirth, and hilarious ones which have passed without so much as a titter. This owes rather less to the language gap (in the case of foreign films) than to the unusual – or, to be less kind, f*cked-up – Israeli psyche.                                 

I must also give mention to the old boy, a Cinematheque regular, who would appear to have somewhat misconstrued the concept of home cinema, barking out his temperature comfort requirements to the usher – and to the entire cinema – in mid-movie. I don’t know why they don’t just give him the air conditioner remote and have done with!                            

And the extremes of Israeli behaviour do not end in the cinema auditorium. At the foyer reception to mark the opening of last year’s British Film Festival (also at the Cinematheque), in the presence of the British Ambassador to Israel, I cringed in horror as the refreshments were gobbled up – and even stuffed into pockets – in a display that would not even be witnessed at a Hendon Adass kiddush (synagogue reception).                                 

The Israeli cinematic experience is a microcosm of life here. From the discomfort of your seat, you can view – and in 3D – all the chutzpah, bad manners and neuroses that Israelis have to offer. And, for a mere 35 shekels, it represents extraordinarily good value!

Wenn die Welt morgen von Zombies bevölkert wäre, was würde Ihnen am meisten fehlen? Vielleicht die Menschen selbst, ein wenig Gesellschaft ab und an, die nicht darin besteht von Menschen fressenden Untoten gejagt zu werden? Ein ungefährlicher Schlafplatz, der nicht beim ersten Wegnicken zum Schauplatz bestialischer Blutorgien wird? Oder doch etwas so lebensnotwendiges wie Nahrung, Menschen ausgeschlossen?

Filmkritik zu Zombieland auf Filmriss.

Hello!

The European Union Film Festival starts in Vancouver at Cinematheque on Howe Street. Many great movies are going to be screening during next two weeks. I have had a chance to interview with Corinna Avraamidou, director of “The Last Homecoming” (Cyprus). This film screens on November 30.

“The Last Homecoming” won several awards in 2009 – for Best Feature Film at the London Greek Film Festival and for Best Newcomer Director at the Alexandria International Film Festival. This film was also an official finalist at the Canada International Film Festival in 2009.

I would like to share now some of my interview with Corrinna Avraamidou. The entire interview has been published in the Russian newspaper Vancouver Express.

- The “Last Homecoming” is your first feature film. Tell me a little about your previous work.

- In 2001 I wrote and directed a 25 min short film with the title “The Secret of the First Day” which was a psychological study of a young man’s frustrated life and his complex relationship with his disabled mother. It won Best Screenplay at the Cyprus Short Film Festival. Since 1992 until today I have been working in the Cyprus Broadcasting Corporation as a director, mainly of serials and television movies. So my strongest experience comes from the background of television.

- What prompted you to make this film?

- I always wanted to make films, ever since I can remember. Also, when growing up, the sorrow and memories of the 1974 events in Cyprus “haunted” my childhood, in such a way, that artistically I needed to find a way to “exorcise” my country’s tragedy through my work. My mother’s family house was in Kyrenia; she was born and raised in that beautiful seaside town that has been under Turkish occupation ever since. So the idea of a family reuniting just before the break up of war during that specific summer of 1974 started to develop, with the characters becoming more and more alive, full of their own passions and secrets.

- How long did it take to complete “The Last Homecoming,” from the time you began to write the script? Did you experience any difficulty during making the film?

- I wrote the script in 2003 and went through script development until the day I shot it in the summer of 2007. The main difficulties we experienced had to do with the funding of the project. Cinema is a very expensive “hobby” and especially in Cyprus where the funds are limited and Cyprus cinema is at its early stages we fought some difficult battles in order to be able to gather the amount to start production. In 2008 the film was completed and was ready to face the world!

- Producer Kyriacos Tofarides said in one of his interviews that movies are made either with big money or big love. If this movie wasn’t made with big money what was your big love? Cinematography? Cyprus? Something else?

- Our great love was and will always be the art of making films. That and our need to make films that are Cypriot, that have the smell, colours and “taste” of the Mediterranean island that we call home. As Theo Angelopoulos once said the more specific and local one film is the more universal it becomes.

- Tell me about the name of the film? Why is it the last homecoming?

- Because for the characters it signifies the end of their life as they had known it up to that moment. The war changes their country, their home forever. It draws a dividing line between the two communities, nothing is the same after the disaster.

- Why don’t we know what happened with Alexandra and the two brothers after the war? Were these also their final days in the homeland?

- It is open to interpretation. The fact is that the betrayal, both in their personal life and in the level of their country was what had such a strong impact on them. What happens after, will always have the dark shadow of their loss haunting them. They can never be innocent again, the way both Cyprus and their youth were innocent. They have matured, pain has made them stronger, maybe more sad, but definitely wiser. So they are not the same and their choices would be more unpredictable.

- Despina Bebedeli said that art in Cyprus today is a weapon, both offensive and defensive, of a peaceful attack. She also thinks that art works as a tool of enlightenment. Is the The Last Homecoming a weapon, or a lesson, or both?

- I would hope as Despina Bebedeli says that the film is seen as a way to open a window, to make a point in the peaceful way that art makes a point, to be able to let people in Europe and elsewhere understand what happened in Cyprus, the way it affected our world and hopefully help us find a way to resolve our differences and move on. That would be a real blessing…

- In the end of the film one of heroes said “The world is sometimes so beautiful that my heart aches”. Are these your words: is it your heart that aches?

- Yes, indeed, my heart aches for a world that is no longer…

- What are your future plans? Are you currently working on any other films? (If so: Would you care to share anything about your next project?)

- For now me and Kyriacos Tofarides are working as co-directors in the development of a new feature film called “Home, Sweet Home”, which is a political comedy. We are working with the development of the script as well as trying to find money for the production-again! It is a never ending struggle, but… it’s great!

To see you.

]]> http://ideologic.wordpress.com/2009/11/28/schizopolis/ Sat, 28 Nov 2009 16:01:18 +0000 ideologic http://ideologic.wordpress.com/2009/11/28/schizopolis/

If you dont understand this film, its your fault and not ours), writer/director/editor/cameraman Soderbergh presents a deranged comedy of confused identity, doublespeak, and white-knuckled corporate intrigue, confirming his status as one of Americas most daring and unpredictable filmmakers.

Here’s a Saturday treat for you all! Claire Denis tapes Serge Daney interviewing Jacques Rivette on his early interest in filmmaking, his days with Cahiers du cinéma, and his first meetings with Jean-Luc Godard, François Truffaut, and Eric Rohmer. A must watch for those who haven’t yet seen Denis’s

Jacque Rivette, The Watchman.

Woody Allen ist zurück in heimischen Gefilden. Nach fünf langen Jahren in Europas Großtsädten, meldet er sich mit einem Tribut an seine Heimatstadt zurück. Yeah, New York. Allen lässt “seine” Stadt im besten Licht brillieren, die Charaktere seines neuesten Films “Whatever Works” dagegen sind verschwurbelt wie immer, jedoch nicht weniger sympathisch.

Boris Yellnikov (Larry David) ist das Paradebeispiel eines Misanthropen: jedem gegenüber verachtungsvoll (selbst seinen Freunden), unfreundlich bis auf die Knochen, man möchte meinen er habe den Nihilismus mit der Muttermilch aufgesaugt. Selbst Molieres Menschenfeind ist dagegen ein gutmütiger Zeitgenosse, gar Hedonist. Auf diesen zwar hochintelligenten (ihm wurde fast der Nobelpreis verliehen), aber unwirschen, alten Kautz, der seine perfekte Ehe hinwarf, um nach einem Selbstmordversuch dem Tod von der Schippe bzw. dem Vordach des Hauseinganges zu springen, trifft eines Abends das knapp 20-jährige Landei Melodie (Evan Rachel Wood). Ausgehungert und abgemagert, nicht nur körperlich, auch psychisch. Die etwas dumme Nuss spornt Yellnikov zu zynischen Glanzleistungen und höhnischen Bemerkungen über seine Mitbürger an, aber nimmt sie dennoch zu sich auf, denn wie viele andere, lässt auch sie sich nicht davon abbringen ihr Glück im Big Apple zu suchen. Mit wunderlichen Wendungen für die Beziehung dieses ungleichen Paars.
Auf Filmriss weiterlesen.

Folgorazione

Quanti film parlano d’amore? Tantissimi; ma quanti in realtà riescono a descrivere realisticamente ciò che provano i protagonisti, in modo tale da suscitare una totale immedesimazione tra spettatore e attore? Molto pochi. (500) days of summer ( e non quello schifo di titolo italiano, (500) giorni insieme, che ovviamente fa perdere il riferimento al nome della protagonista e l’idea di unicità dietro quel numero) colpisce direttamente al cuore come solo le commedie dolci-amare del cinema indipendente americano degli ultimi anni sanno fare.

Tom è laureato in architettura ma lavora per un editore di biglietti d’auguri e usa così il suo talento creativo per la creazione di frasi ad effetto per occasioni speciali. Non un gran lavoro in realtà. Un giorno viene assunta Summer, una ragazza dal viso dolce e dall’infanzia un po’ travagliata; è l’8 gennaio e per Tom la vita non sarà più la stessa.
Da qui in poi il film è un racconto dei 500 giorni seguenti attraverso i quali i due si conosceranno, si scambieranno baci nella stanza delle fotocopie,si rincorreranno attraverso i sogni di un futuro comune, faranno l’amore, litigheranno, si allontaneranno, si ritroveranno per un momento e si perderanno di nuovo lungo strade diverse. Detta così potrebbe sembrare una classica storia d’amore ma non è così. Il realismo delle situazioni e la spontaneità dei due personaggi fanno sì che la loro storia sia quasi palpabile e se a ciò associamo il divertimento di alcune situazioni, diventa un mix perfetto.

Il punto di vista narrativo è quello maschile di Tom (e che lo sarebbe stato lo si capisce anche dalla frase iniziale del film..) che, ribaltando un po’ i canoni a cui eravamo abituati, è innamorato dell’amore, crede che esista l’amore eterno e soprattutto crede di averlo trovato in Summer. Lei al contrario è abbastanza disillusa, atteggiamento riconducibile, se vogliamo, alle immagini di inizio film della sua infanzia; Summer sembra incarnare quell’atteggiamento “moderno” del vivere senza legami fissi e impegni duraturi. Tom al contrario ha bisogno di sicurezza in amore e ha bisogno di sapere di fare parte di una coppia e soprattutto ha bisogno di essere ricambiato. Per lui andare all’Ikea, attraversare le varie stanze e fare finta di essere a casa, non è solo un divertente passatempo, per lei sì.

Analizzato tecnicamente, il film, acquista ancora di più valore. Perchè se è vero che tutti, prima o poi, siamo rimasti scottati da una storia d’amore è il modo di raccontarla che la rende più interessante. Il regista, Marc Webb, con un passato nei videoclip sa come dare ritmo ad una narrazione. La storia quindi non segue una linearità, dal giorno 1 al 500, ma inizia dal 488 e procede indietro e avanti lungo tutti i giorni come se seguisse gli sbalzi di umore del protagonista.
La tecnica del regista assume ancora di più consapevolezza nel momento in cui deve descrivere la contrapposizione tra ciò che Tom vorrebbe e ciò che invece è la realtà. In una scena Tom sta andando ad una festa a casa di Summer. Lo schermo viene diviso in due e lo spettatore si trova così a guardare da un lato quello che Tom vorrebbe che accadesse mentre l’altro lato dello schermo mostra come in realtà si svolge la festa. Chi di noi prima di un appuntamento non ne ha mai immaginato, passo per passo, lo svolgersi per poi rimanere magari deluso?
Altro retaggio dei videoclip è l’uso di belle grafiche per scandire i giorni che passano, come fossero dei capitoli, e la rappresentazione sotto forma di musical della felicità di Tom il giorno dopo il loro, non mostrato, incontro amoroso. Interessante anche la scelta appunto di non mostrare la scena di sesso che normalmente, per un film così, ci aspetteremmo.

I due attori giovani hanno quell’aria di normalità che li rende assolutamente credibili. Sono molto ben caratterizzati, sono tipi trendy e “alternativi”, ascoltano gli Smiths e lei adora Ringo Starr perchè non piace a nessuno. Summer, che nella realtà ha un nome improbabile, Zooey Deschanel, ha una bellezza naturale e “difettosa” ed è dotata di quel “summer effect” (come descritto all’inizio del film) del quale è impossibile non innamorarsi. Recita in modo quasi “minimalista” usando la dolcezza del suo viso, senza eccessi, in perfetta linea con il personaggio.
Interessante la trovata della sorella minore di Tom che, poco più che teenager e già disillusa dall’amore, ha il ruolo di consigliere e confessore dei problemi del fratello. Visione un po’ pessimista per le future generazioni forse.

Non c’è che dire, (500) days of summer, già super campione d’incassi in America, è destinato a diventare un piccolo cult anche qui in Italia. Ha decisamente tutti gli ingredienti giusti, un’onestà fuori dal comune e anche una bellissima colonna sonora. Una nota di merito va senza dubbio alla Fox Searchlight (sezione della Fox che si occupa dei film indipendenti) che ancora una volta ha visto giusto, dopo piccoli capolavori come Little miss sunshine e Juno, ha tirato fuori dal cilindro la miglior commedia romantica dell’anno.

Perchè ci sono giorni che si ricordano e altri no, ma non per questo inutili.

500 giorni, dal primo all’ultimo intensamente.

Don Johnston a fost toata viata sa un afemeiat, evitand sa-si intemeieze o familie. Din aceasta cauza o pierde si pe actuala lui prietena, Sherry. Intr-o zi primeste o scrisoare anonima de la una din vechile sale cuceriri si este instiintat ca este tata, avand un fiu care a plecat de acasa sa-l caute. Prietenul si vecinul sau, Winston, pasionat de romane politiste, ii stabileste un plan care sa-l ajute pe Don sa-si viziteze toate fostele prietene ca sa descopere cine a fost cea care a scris misterioasa scrisoare. Revazand femeile din tineretea sa, batranul Don Juan isi reevalueaza viata.

more: here

O cantor e compositor Marcelo Costa Santos, sucesso nos anos 80 e 90,
retorna ao palco do Cinematheque, no  sábado, dia 21 de novembro,
depois da bem-sucedida temporada em junho, para única apresentação.
LEIA MAIS NOS SITES
:: SORTIMENTOS :: http://www.sortimentos.net/?p=4713
:: GEBBEG VARIEDADES :: http://gebbeg.com.br/?p=7587

.

There are only two screenings on campus this weekend that strike me as being absolute must-sees, and both of them are part of the Cinematheque’s ongoing Vincente Minnelli retrospective: tonight it’s The Cobweb (1955) and tomorrow night it’s Some Came Running (1958), and both will begin at 7:30PM.

I haven’t seen The Cobweb but it’s certainly got a strong-looking cast (Gloria Grahame, Lauren Bacall and Richard Widmark); Some Came Running, on the other hand, I have seen—on TCM—and am really looking forward to being able to see it on the silver screen that will doubtlessly do it the justice that my 13-inch TV couldn’t.

Some Came Running is undoubtedly one of Minnelli’s most endearing melodramas, as well as his most literary, even if Frank Sinatra isn’t 100% believable as an angst-ridden writer who turns to drink and private yet theatrical displays of affection to cope with his inability to compose the mythical “great American novel” (which, truth be told, was probably written by a Russian). Despite this slight problem of believability, Sinatra’s Dave is a much less repulsive character than is, say, Jeff Daniels’s creative writing professor/professional snob from Noah Baumbach’s The Squid and the Whale.

Aside from Sinatra, whose star burns too bright for my generation to be able to suspend our collective disbelief and view him as anyone other than Frank Sinatra, Some Came Running also features a strong-as-four-day-old-coffee performance by Dean Martin (the same performance that Michel Piccoli’s character references in Le Mépris) and Shirley MacLaine as a thoroughly sympathetic but thoroughly pathetic woman who can’t take a hint until she proves she can take a hint (and read a short story)—but at that point it’s too late and her fate has been sealed like a twice-licked letter.

Thus, there’s a lot to look forward to at the Cinematheque this weekend. If you’re not presently embroiled in an unfathomably thick situation vis-à-vis schoolwork, you should definitely consider checking these two out.