The 8thCinema Italian Style series plays through the week at SIFF Cinema Uptown. It opens on Thursday, November 10 with Paolo Virzi’s Like Crazy with Valeria Bruni Tedeschi and ends a week later on Thursday, November 17 with closing night feature Opposites Attract, a romantic comedy directed by Max Croci, who is scheduled to attend the screening and the closing night party. Among the 15 features and documentaries are Anna (For Your Love), which earned Valeria Golina the Best Actress award at the Venice Film Festival, the romantic comedy Solo, written and directed by actress Laura Morante, the award-winning documentary Libera Nos about the continued practice of exorcism on the Italian Catholic Church, and a new restoration of Ettore Scola’s A Special Day (1977) starring Sophia Loren and Marcello Mastroianni. It continues for a week. Series and individual ticket available. Complete schedule and tickets here.
The 6th Seattle Shorts Film Festival opens on Friday, November 11 at SIFF Film Center with a feature film: Before I Disappear is Shawn Christensen’s feature-length adaptation of his 2012 Oscar-winning short film Curfew. The rest of the festival, which plays through the weekend at SIFF Film Center, presents 49 short films and music videos, including numerous Seattle premieres and works by local Seattle and Pacific Northwest filmmakers, and two panel discussions. Complete schedule and other information at the festival website here.
Miss Hokusai, an animated Japanese feature from director Keiichi Hara and the creators of Ghost in the Shell, opens for a week at SIFF Cinema Uptown.
Archival and revival screenings:
Grand Illusion presents two contemporary twists of the vampire film on 35mm this weekend and on Halloween night: The Hunger (1983), the feature debut of director Tony Scott featuring Catherine Deneuve and David Bowie, and Jim Jarmusch’s Only Lovers Left Alive (2013) with Tilda Swinton and Tom Hiddleston.
The Japanese horror classic Kuroneko (Black Cat) (1968), directed by Kaneto Shindo, is both an eerie ghost story and a ferocious horror tale of righteous revenge. Set in feudal Japan, in a bamboo forest perpetually shrouded in fog and shadow as ethereal as the ghosts that seem to float through it, the film chronicles the spirits of two women, raped and murdered by scruffy samurai who are more like feral bandits, driven to revenge themselves on all samurai, which they lure to their ghost house, itself a spirit that moves through the forest like a supernatural creature. It’s one of the greatest of Japanese ghost stories, a horror film of elemental drive, feminist rage and visual grace. It plays three shows at Grand Illusion this week from a 35mm print.
Also at Grand Illusion in 35mm is Masaki Kobayashi’s Kwaidan (1965), a quartet of ancient ghost stories. It may not be strictly speaking a horror film—it’s not scary or particularly unsettling apart for a few exquisitely created images—but it is breathtakingly lovely, visually composed like a painting, scored and sound designed by Toru Takemitsu with a spareness that leans on silence, and suffused in sadness, regret, and loss. The 160-minute film plays twice this week.
French Cinema Now kicks off a series of French language films from France and Canada at SIFF Cinema Uptown with on Thursday, September 29 with opening night feature Lost in Paris from filmmaking team Dominique Abel and Fiona Gordon. Among the highlights: the romantic comedy Two Friends from actor/director Louis Garrel, Don’t Tell Me the Boy was Mad from Robert Guediguian and set in 1970s Paris, the documentary Reset which takes viewers behind the scenes at the Opéra National de Paris, and the drama After Love with Be?re?nice Bejo and Ce?dric Kahn as a married couple sticking through a failing marriage for their kids. The series plays through Thursday, October 6. The complete schedule and ticket and festival pass information is here.
Mink Stole presents a midnight screening of the new restoration of John Waters’ trash classic Multiple Maniacs (1970) at SIFF Egyptian on Friday, September 30. The event is hosted by Peaches Christ and features a special performance by RainbowGore Cake.
Young Frankenstein (1971) returns to cinemas across the country for a special one-night-only screening on Wednesday, October 5 from Fathom Events. This screening features a live introduction by director Mel Brooks, who co-wrote the film with his star and good friend Gene Wilder. You can find participating theaters in your area here.
This week, Central Cinema goes classic with Singin’ in the Rain (1952) and crowd-pleasing with The Shawshank Redemption (1994). Showtimes here.
Back for another go: The Art of the Story: The Hero’s Journey is a workshop that looks at the power of myth and the hero’s journey in storytelling through Star Wars (1977) and its relationship to Joseph Campbell’s book The Hero with a Thousand Faces. Conducted by media educator Malory Graham. Sunday, October 2 at SIFF Film Center.
The autumn movie calendar brings a handful of essential annual events to local screens—for instance, the Seattle Art Museum’s Film Noir series (kicking off Sept. 29) is the world’s longest-running showcase for noir, and SIFF presents its yearly French Cinema Now festival (also Sept. 29). An increasingly important mainstay is the Northwest Film Forum’s Local Sightings Film Festival. Launched in 1997, Local Sightings draws its roster from movies made throughout the Northwest, casting its net far enough to include Alaska and Montana as well as near-flung Canadian provinces.
The result is inevitably a mixed bag, but that’s part of the point. Some of the films are authentic finds, some are not ready for prime time. But all movies need air, and the festival provides a way to get these things onto a screen and exposed to audiences, where they can flourish or wither. Almost as important, Local Sightings surrounds a year’s worth of regional films with panels, workshops, and parties, all part of maintaining the we-can-do-this-here energy.
Cinerama’s 70mm Film Festival opens on Friday, September 9 with screenings of 2001: A Space Odyssey (1968) and Tron (1982) and continues through Monday, September 19. The offerings are wide ranging, from such large-gauge standbys as Lawrence of Arabia (1962) and Spartacus (1960) to modern 70mm event releases The Master (2012) and Interstellar (2014) to unconventional choices like Tobe Hooper’s Lifeforce (1985), John Carpenter’s Starman (1984), and Michael Cimino’s Year of the Dragon (1985). You’ll want to get your tickets in advance; it’s all reserved seating and the first two shows of 2001, the Saturday show of Lawrence, and both screenings of Aliens (1986) are already sold out. Embrace the old school standard for high-definition cinema and remind yourself what it looks like to see film projected on the big screen. Showtimes and tickets here.
Joseph L. Mankiewicz’s Suddenly, Last Summer (1959) starring Elizabeth Taylor, Katharine Hepburn and Montgomery Clift plays on 35mm at NWFF on Saturday, September 10.
Andy Warhol’s Lonesome Cowboys (1968) plays one show at NWFF on Sunday, September 11. It screens from a 16mm print, just like it did in its original release.
The American indie comedy Chatty Catties plays three shows over the next few weeks at NWFF. The first is screening is on Friday, September 9, and it plays again on Saturday, September 17 and Saturday, October 8.
WRETCHED WOMAN // Pig or Poet? showcases the video works by Chicago-based artist Emily Esperanza in a two-part program at NWFF on Sunday, September 11. All screened from VHS tapes with the artist in attendance.
Take Three 2016 is a showcase of experimental film and animation curated by Barbara Robertson, Joseph Pentheroudakis, and Janet Galore. It screens on Thursday, September 15 at NWFF. Some of the artists represented in the showcase will be at a pre-screening reception at 7pm.
Don’t Blink: Robert Frank, a documentary on the legendary photographer and filmmaker by Laura Israel, opens on Thursday, September 15 and plays through the weekend at NWFF.
Elio Petri’s A Quiet Place in the Country (1968), starring Franco Nero and Vanessa Redgrave, plays on 35mm at NWFF for two shows only on Saturday and Sunday this weekend.
Two films that played at SIFF open this weekend: Southside with You, a Before Sunrise with actors playing young Barack and Michelle on a first date in Chicago, opens at The Egyptian and The Intervention, the directorial debut of actress Clea DuVall, opens at Sundance Cinemas.
Breaking a Monster, a documentary about rock trio of 13-year-old boys whose mix of heavy metal and speed punk makes the jump for Times Square to major recording contract with the help of a 70-year-old manager, plays through Sunday at NWFF.
From South Korea comes Tunnel, a survival drama about a man trapped in a collapsed tunnel and the shifting public support as the rescue drags on and the media get distracted. Directed by Kim Seong-hun (A Hard Day). Opens at the AMC Alderwood and the Cinemark Century at Federal Way.
This week’s free outdoor movie at Cal Anderson Park is The Hitchhiker’s Guide to the Galaxy (2005). The screening begins at sunset on Friday, August 26, around 8:30pm, but viewers are encouraged to arrive early for a good seat, concessions, and entertainment by a DJ playing from 7pm.
The Rogers & Hammerstein musical The King and I (1956), starring Deborah Kerr, Yul Brynner, Rita Moreno, and the singing voice of Marni Nixon, plays on big screen in select theaters across the country for two nights this week through Fathom Events: Sunday, August 28 and Wednesday, August 31. You can find participating theaters in your area here.
NWFF is bringing the filmmakers this week. On Friday, July 15, Lewis Klahr presents his feature-length stop motion anthology Sixty-Six (2002-2015), on Saturday, July 16, filmmaker and musicians Rob Beloved & Eleni Binge present their theater/film/comedy/music hybrid #comments along with performances by local bands Black Giraffe and Ichi Bichi, and on Thursday, July 21, Robert Greene accompanies his 2014 fiction/documentary hybrid Actress.
A new restoration of Lucio Fulci’s Lizard in a Woman’s Skin plays at Grand Illusion on Friday and Saturday. Projected from the new Mondo Macabro Blu-ray, and Mondo Macabro will be there on Saturday night.
Also at Grand Illusion this week is Industrial Musicals, a collection of rare musical promotion films produced for corporate retreats and events, curated and presented by Steve Young. One night only on Thursday, July 21.
David Lynch’s Twin Peaks: Fire Walk With Me (1992) plays at the Seattle Art Museum in a 35mm print, along with some Lynch shorts, on Wednesday, July 20.
The Seattle Art Museum summer film series Cary Grant for President continues with The Philadelphia Story (1940), co-starring Katharine Hepburn and James Stewart. It screens on Thursday, July 21 at 7:30pm at Plestcheeff Auditorium and is shown on 35mm. Individual tickets are available on the day of show on a first come, first served basis. Details here.
NFFTY 2016 marks the 10th anniversary for the National Film Festival for Talented Youth. It launches on Thursday, April 28 with an event at the Cinerama, which is already sold out, but the festival continues with screenings and events at SIFF Uptown through Sunday, May 1. Complete schedule his here.
Gus Van Sant’s Elephant (2003) screens on Tuesday, April 26 at NWFF to mark the 17th anniversary of the Columbine High School massacre and the 9th anniversary of the Virginia Tech shooting with a pre-screening discussion with Professor Frederick P. Rivara, MD.
SIFF Uptown presents encore screenings of four films from the Wim Wenders retrospective—The American Friend (1977), Paris, Texas (1984), Wings of Desire (1988), and Until the End of the World: Director’s Cut (1988)—playing through Wednesday, April 27. Schedule here.
Fathom Events presents On the Waterfront (1954) on the big screen in select theaters across the country for two nights this week: Sunday, April 24 and Wednesday, April 27. You can find participating theaters in your area here.
The Things of Life (1969), directed by Claude Sautet and starring Michel Piccoli and Romy Schneider, plays on Thursday, April 28 at SAM’s Plestcheeff Auditorium. It’s the first of five films by Sautet featured in the series. Individual tickets are available on the day of show on a first come, first served basis.
Antonio Pietrangeli is the greatest Italian filmmaker of the sixties you’ve never heard of and his bittersweet I Knew Her Well (1965), starring Stefania Sandrelli as a country girl in Rome trying to break into show business, is his masterpiece. Young and beautiful, Adriana (Sandrelli) is able to get by on her looks, taking temporary jobs between modeling gigs and screen tests, and she’s savvy enough to understand that sex is a commodity to be traded for favors from press agents, managers, and minor celebrities. But she’s far from cynical, at least at first, as she plays the game and enjoys the nightlife, and she’s even a bit naïve, constantly hooking up with charming, good-looking cads who have a habit of abandoning her. It’s episodic by nature, a series of snapshots from her life, and directed with the light touch of a frothy Italian comedy that belies the mercenary society and cruel behavior of the rich and successful.
Pietrangeli co-wrote the film with Ettore Scola (among others) and they offer a satirical portrait of the shallow celebrity culture and Roman nightlife of La Dolce Vita with both a more vicious edge—the callous treatment of a washed up actor (played by Ugo Tognazzi) is truly painful—and a breezy, easy style. The simple irony of the title isn’t hard to fathom. None of the men ever bothers to get to know Adriana at all, dismissing her as a silly beauty good for a one night stand, and Sandrelli plays her as a seemingly frivolous, capricious young woman with nothing on her mind, kind of Italian Holly Golightly without the cynical calculation. Yet she’s more perceptive than anyone realizes as she navigates the mercenary world with energetic optimism before she grows disillusioned in the final act of the film. Sandrelli has a kind of blank, oblivious beauty that makes her great casting for simple, silly, not-too-bright characters (see The Conformist) in her youth, and Pietrangeli uses that surface frivolity beautifully. She’s simply heartbreaking.
The new 4K restoration of Ran (1985), Akira Kurosawa’s epic re-imagining of Shakespeare’s King Lear in sixteenth-century Japan, runs for a week at SIFF Cinema Uptown. Tatsuya Nakadai plays the aging warlord who divides his empire among his three sons and slips into madness as he is neglected, betrayed, and stripped of his dignity. Kurosawa is not merely true to Shakespeare’s story, he brings scenes alive with a cultural twist and a visual mastery, from the pageantry of warriors filling vast fields of green with red and white flags and uniforms to the howling storm that strikes during the warlord’s spiral into madness. The spectacle is brought home with delicately observed performances and beautifully sculpted relationships, an intimacy that gives the epic its soul. I haven’t seen the restoration but I imagine those colors are more vivid than ever. Chris Marker’s documentary A.K.: The Making of Akira Kurosawa’s Ran (1985), a profile of Kurosawa on the set of the film, also plays at SIFF Film Center.
Jacques Becker’s Antoine and Antoinette (1947), the first film in SAM’s “Cinema de Paris” series, plays on Thursday, March 31 at Plestcheeff Auditorium. Individual tickets are available on the day of show on a first come, first served basis. Details here.
The Cinerama is one of the only ten theaters in the country to show Batman v Superman: Dawn of Justice in a 70mm film print. It will run for a week on film, and then revert to DCP on Friday, April 1, so celluloid junkies should make a plan for that first week. And remember: the Cinerama sells reserved seating so you may want to purchase in advance. The Cinerama webpage is here.
Fandor co-founder Jonathan Marlow and director Lynn Shelton are in attendance at Northwest Film Forum’s Local Sightings Film Festival on Saturday, September 26 to present a 35mm screenings of Shelton’s debut feature, We Go Way Back, the same day it makes its streaming debut on Fandor. It’s a preview of the tenth anniversary theatrical release that’ll occur early in 2016, presented by Fandor and Factory 25. – Ed.
Lynn Shelton made her debut feature, We Go Way Back, after a decade of honing her skills. With a master’s degree in photography and years of experience as a stage actress, the Seattle-based artist taught herself filmmaking by making experimental films and documentaries and editing the features of other local filmmakers. She credits Claire Denis with inspiring her, at the age of thirty-seven, to have the faith to follow her muse and make a feature film. With financing from a Seattle non-profit production company, she made We Go Way Back on a tiny budget and with a cast and crew of professionals from her Seattle home. It won the Jury Prize at Slamdance in 2006 and launched a career that, to date, has remained defiantly independent. Her budgets have since gotten bigger and her casts more famous (Emily Blunt and Rosemary DeWitt in Your Sister’s Sister, Keira Knightley and Chloë Grace Moretz in Laggies) yet she has remained not only independent but local, shooting in Seattle with area crews. At least for her features. Between movies she, like many fellow indie filmmakers, directs episodes of TV shows, from Mad Men to The Mindy Project andFresh Off the Boat.
We Go Way Back is the story of a young actress in her twenties (Amber Hubert) who is in a kind of emotional stupor as she struggles to make her way as a professional actress at the expense of her own sense of self. But Shelton tosses in a high concept twist: her thirteen-year-old self, present in letters full of confidence and creativity and ambition that she wrote to her future self, arrives in the flesh. What could be a Lynch-ian bend in time and space and identity, however, is played with naturalistic calm. She’s not here to judge, only to heal and center her emotionally fractured older self.
I first interviewed Shelton in 2008, soon after her second feature, My Effortless Brilliance, premiered at SXSW. I had just seen We Go Way Back and was excited to discuss it with her. We’ve talked many times since but this is the only time we really delved into her first film.
Sean Axmaker: You came out of theater, and you had edited some features before you directed We Go Way Back, including Hedda Gabler. In We Go Way Back, the main character, Kate (Amber Hubert), is cast in the lead of ‘Hedda Gabler’ and it’s a production that is going right off the rails. Is there anything autobiographical in that, or is this just your nightmare of the worst possible theater experience that you could think of?
Lynn Shelton: [Laughs.] The director is an amalgamation of many acting teachers and directors that I’ve encountered. I started acting when I was about eleven and kept on acting through my twenties and it was like an addiction. I was always in a show, so I encountered lots and lots of different personalities through the years. None of them were quite as misguided as poor Bob’s character but there is also some practicality to it. I needed a role in western classic theater that might be recognizable to a certain set so that it would be a big deal—because this is her first big role, so she needs to be offered this great part, and I needed to write the script in five weeks and I knew that play really, really well. I knew the lines by heart, so it was expedient. But there are a lot of interesting challenges to playing Hedda anyway. This is obviously very condensed and exaggerated but the kernel of the story is totally autobiographical.