Cleveland`s newest and most spectacular movie house

NON-PROFIT ORGANIZATION
U . S . P O S TA G E
P
A
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PERMIT NO. 3639
CLEVELAND, OHIO
11 6 1 0 E U C L I D A V E N U E , C L E V E L A N D , O H 4 4 1 0 6
“Cleveland’s newest and most spectacular movie house.” –The Plain Dealer
WIM WENDERS:
ALICE IN THE CITIES
NOVEMBER / DECEMBER 2015
PORTRAITS ALONG THE ROAD
15 FILMS!
NEW DIGITAL RESTORATIONS!
NOV. 7 – DEC. 13
MOVING?
LET US KNOW.
T H E C L E V E L A N D I N S T I T U T E O F A R T C I N E M AT H E U E
11610 EUCLID AVENUE, UNIVERSITY CIRCLE, CLEVELAND OHIO 44106
The Cleveland Institute of Art Cinematheque is Cleveland’s alternative
film theater. Founded in 1986, the Cinematheque presents movies in
CIA’s Peter B. Lewis Theater at 11610 Euclid Avenue in the Uptown
district of University Circle. This new, 300-seat theater is equipped with
a 4K digital cinema projector, two 35mm film projectors, and 7.1 Dolby
Digital sound. Free, lighted parking for filmgoers is currently available
in two CIA lots located off E. 117th Street: Lot 73 and the Annex Lot.
(Those requiring disability parking should use Lot 73.) Enter the building through Entrance C (which faces E. 117th) or Entrance E (which
faces E. 115th). Unless noted, admission to each screening is $9;
Cinematheque members, CIA I.D. holders, and those age 25 & under
$7. A second film on the same day generally costs $7. For further information, visit cia.edu/cinematheque, call (216) 421-7450, or send an
email to cinema@cia.edu. Smoking is not permitted in the Institute.
FIGHTING ELEGY
EACH FILM $9
MEMBERS, CIA, AGE 25 & UNDER $7
ADDITIONAL FILM ON SAME DAY $7
C IA . ED U / C I N E M AT H E UE
FREE LIGHTED PARKING
TEL 216.421.74 50
3 0 T H A N N I V E R S A RY Y E A R !
S
PREMIERE SHOWCASE
October 31 – December 13 (11 films)
T
he first Cleveland showing of new films by Guy Maddin, Alex Ross
Perry, Michael Almereyda, Fatih Akin, Jem Cohen, François Ozon,
Ulrich Siedl, and others.
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10/31
11/1
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11/12
11/14
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11/19
11/20
11/29
12/3
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12/4
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12/10
12/13
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THE FORBIDDEN ROOM
PARADISE IS THERE
THE FORBIDDEN ROOM
QUEEN OF EARTH
QUEEN OF EARTH
BLIND
EXPERIMENTER
EXPERIMENTER
THE CUT
WELCOME TO LEITH
WELCOME TO LEITH
COUNTING
THE NEW GIRLFRIEND
BREATHE
BREATHE
THE NEW GIRLFRIEND
IN THE BASEMENT
IN THE BASEMENT
apanese genre filmmaker Seijun Suzuki (b. 1923) is one of the most
subversive artists in screen history. Hired as a contract director for
resurgent Nikkatsu studio in the 1950s, Suzuki dutifully turned out a
string of yakuza thrillers, softcore sex films, and other pulpy B-movie
melodramas for his employer. But he enlivened (and undercut) them with
outlandish visuals, irreverent gags, unorthodox continuity, and surrealistic
flourishes. Ephraim Katz’s The Film Encyclopedia posits that Suzuki’s
movies reflect “his perceived tension between mu (nothingness) and
keren (artifice).” Other commentators see his deliriously expressionist
style as a manifestation of 60s-era Pop Art. But Suzuki says he was just
trying to stand out from the pack.
And stand out he did. After repeatedly being warned by the studio
head to curb his excesses, Suzuki was finally fired in 1967 for making
“incomprehensible and unprofitable films.” The straw that broke the
camel’s back was Branded To Kill, his 40th film in 12 years for Nikkatsu
and now one of his most revered works. Large student demonstrations
protested his dismissal, but Suzuki was not reinstated and did not direct
again anywhere for ten years.
This series of eight of Suzuki’s best movies for Nikkatsu (all of them
in scope) is derived from an even larger retrospective organized by Tom
Vick, curator of film at the Smithsonian’s Freer and Sackler Galleries in
Washington, DC. The occasion is the publication of Vick’s Time and Place
Are Nonsense: The Films of Seijun Suzuki (University of Washington
Press, 2015), the first book-length study of the director in English. This
series is co-sponsored by The Japan Foundation (special thanks to
Kanako Shirasaki), which has provided all the 35mm prints that will be
shown.
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12/19
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YOUTH OF THE BEAST
TATTOOED LIFE
FIGHTING ELEGY
CARMEN FROM KAWACHI
TOKYO DRIFTER
TOKYO DRIFTER
KANTO WANDERER
BRANDED TO KILL
BRANDED TO KILL
GATE OF FLESH
THE SHIVER OF THE VAMPIRES
BRANDED TO KILL
THREE’S A CROWD
Vote “yes” on Issue 8, the renewal of the Cuyahoga County Arts & Culture
levy, on November 3. OK? OK!
November 14 – December 20 (8 films)
J
BY JOHN EWING, CINEMATHEQUE DIRECTOR
I’ve noticed that some regulars at the old Cinematheque are among those
who haven’t yet visited our new theater. I’m hoping their absence is just a temporary hiatus, and not a decision to get off the Cinematheque merry-go-round
for good. I realize that our move constituted a major turning point in our history and some longtime filmgoers (especially those enamored of our history,
tradition, and the retro-cool Aitken Auditorium) wish we hadn’t relocated. But I
hope these folks don’t see this as an opportunity to close the chapter on their
Cinematheque habit. After all, we’re still the same organization as before—
same friendly staff, same mix of memorable movies, same free candy and
giveaways, same love of art and fun. Anyone who enjoyed our films before
should enjoy them just as much now—maybe even more, given the enhanced
technical capabilities and comfort of our new space. I loved Aitken Auditorium
as much as anyone, but now I relish watching (and listening to) films in our
new theater. So if you’re a regular who has forsaken us since July, please
come back. Or at least give the Peter B. Lewis Theater a try. We miss you.
WINGS OF DESIRE
TA L K
ome of you reading this have not yet been to our new theater. What are
you waiting for? It’s been almost three months!
OK, so three months is not that long. Still plenty of time to attend, right?
Well, that’s what some people said about our old theater, the Russell B. Aitken
Auditorium in the former Cleveland Institute of Art building at the corner of
East Boulevard and Bellflower Road. And they said that for all 29 years that
we showed movies there, and then never did get around to catching one of
them. In 29 years! We want to be proactive this time around.
Here’s what you’re missing by not attending a Cinematheque show in the
new Peter B. Lewis Theater at 11610 Euclid Avenue. You’re missing seeing
a handsome room with flawless sightlines, a large screen (25% bigger than
our old sheet), and a beautiful projected image coming from either a brand
new Christie 4K digital cinema projector or from two newly refurbished Kinoton 35mm film machines. You’re also not experiencing our awesome Dolby
Digital 5.1/7.1 sound, which runs through 15 amplifiers and 27 speaker enclosures. For ultra low frequencies, we have two subwoofers (not just one)—
which is two more than we had in Aitken Auditorium.
By shunning the Cinematheque you’re not marveling at our spacious new
lobby, our swanky washrooms, our new electronic ticketing system that even
accepts credit cards (and will soon offer online advance sales), and our auditorium chairs with padded seats and padded backs (and almost excessive leg
room in the front section of the theater).
But most of all, you are missing some great movies: timeless classics in
new restorations or original 35mm prints; acclaimed first-run films (foreign
and American) that you won’t see theatrically any place else in town; touring
retrospectives that play in only a handful of U.S. cities (Wim Wenders and
Seijun Suzuki are the focus in November and December); and special guests
like New England pianist Jeff Rapsis, who accompanies three silent film classics on December 11 and 12.
You’ve already missed three months of our eclectic programming, so put
off visiting us no longer. Get thee to the new Cinematheque—pronto! We’re
inside the new Cleveland Institute of Art George Gund building on Euclid Avenue between E. 115th Street and E. 117th Street. This is at the eastern edge
of University Circle’s happening Uptown district. (Uptown has many options
for dining, drinking, or even shopping before or after the movie.) The Peter B.
Lewis Theater has a distinctive blue façade (and illuminated sign) that faces
E. 115th Street south of Euclid.
There are many ways to get to the new Cinematheque—from walking
or biking to taking the Health Line to E. 115th St. or the Red Line to the new
Little Italy/University Circle station, which is only steps from our door. But if
you drive, know that free parking for filmgoers is available in two Institute lots
located off E. 117th Street between Euclid and Mayfield Road. Lot 73 is located
just behind the building on the left side of E. 117th as you drive from Mayfield
to Euclid. (Coming from Euclid, it’s the second lot on the right side of E. 117th.)
Look for the raised yellow gate. If Lot 73 is full, there is plenty of additional
free parking in the Institute’s Annex lot on the other side of E. 117th. Don’t be
scared away by a sign at the lot entrance threatening to tow or ticket your car
if you don’t have a hang tag. If you’re coming to a Cinematheque movie on
a weekend or a weeknight, you’re entitled to park in that lot. Entrance to the
building itself is now through either of two doors: Entrance C in the back of
the building, just off Lot 73, and Entrance E on East 115th Street. Entrance D
is now an exit only.
THE SUZUKI METHOD
THE CUT
CINEMA
LOCATION OF THE
PETER B. LEWIS
THEATER (PBL)
WIM WENDERS:
PORTRAITS ALONG THE ROAD
November 7 – December 13 (10 different programs)
G
erman film director Wim Wenders, and not country singer Roger
Miller, is the king of the road. Born in 1945, just after the end of WWII,
Wenders emerged in the 1970s as one of the leading lights of the New
German Cinema (along with Volker Schlöndorff, Werner Herzog, and
Rainer Werner Fassbinder, among others). Working often with Austrian
novelist Peter Handke and cinematographer Robby Müller, Wenders
created a series of peripatetic existential odysseys in which anxious
characters who were alienated from society took to the road in search of
rebirth or new identities. These works also expressed Wenders’ love of
American rock music and movies, especially the landscape-laden films of
John Ford. He even named his production company “Road Movies.”
Wenders is one of the most itinerant of film directors, and he has shot
narrative features and documentaries everywhere from Berlin, Lisbon, and
L.A. to Cuba, Moscow, Tokyo, and the Australian outback. This series,
organized and circulated by Janus Films, includes 15 of the best of them,
all in new digital restorations.
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3:45 PM
THE GOALIE’S ANXIETY AT THE PENALTY KICK
ALICE IN THE CITIES
ALICE IN THE CITIES
THE GOALIE’S ANXIETY AT THE PENALTY KICK
SHORT FILMS BY WIM WENDERS
KINGS OF THE ROAD
KINGS OF THE ROAD
UNTIL THE END OF THE WORLD: DIRECTOR’S CUT (PART 1)
UNTIL THE END OF THE WORLD: DIRECTOR’S CUT (PART 2)
UNTIL THE END OF THE WORLD: DIRECTOR’S CUT (PART 1)
UNTIL THE END OF THE WORLD: DIRECTOR’S CUT (PART 2)
THE AMERICAN FRIEND
THE AMERICAN FRIEND
PARIS, TEXAS
PARIS, TEXAS
THE STATE OF THINGS
TOKYO-GA
WINGS OF DESIRE
WINGS OF DESIRE
BECOME A CINEMATHEQUE MEMBER
OR A DONOR OR BOTH!
I want (check one or more):
A SECOND LOOK
CINÉMA FANTASTIQUE:
October 31 – December 19 (12 films)
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JEAN ROLLIN
lassics in original 35mm prints or new digital restorations, three secondrun films, and two silent features with live piano accompaniment.
10/31
10/31
11/1
11/5
11/6
11/6
11/19
11/20
11/28
11/29
12/11
12/12
12/18
12/18
12/19
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7:00 PM
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6:50 PM
HOUR OF THE WOLF
HALLOWEEN SURPRISE MOVIE
THE HOURGLASS SANATORIUM
SKY CAPTAIN AND THE WORLD OF TOMORROW
BIG HERO 6 introduced by Zack Petroc
SKY CAPTAIN AND THE WORLD OF TOMORROW
IRRATIONAL MAN
IRRATIONAL MAN
RIFIFI
RIFIFI
THREE’S A CROWD accompanied by Jeff Rapsis
PASSING FANCY accompanied by Jeff Rapsis
A LITTLE PRINCESS (1995)
TANGERINE
FANNY AND ALEXANDER
October 29-30 (4 films)
F
rench cult director Jean Rollin (1938-2010) made over 50 films in a
career that spanned over six decades. But he is best remembered
for a series of sexy and surrealistic vampire films made during the late
1960s and 1970s. These low-budget works, populated by seductive,
blood-sucking lovers and lesbians (often played by bad actors), were
exploitation films to be sure. (Rollin moved into hardcore pornography
later in his career). But they were also atmospheric, erotic, inventive,
and handsomely photographed, creating a distinctive mood of morbid
romanticism and lyrical horror. We show new digital restorations of four of
the very best of them during Halloween weekend.
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10/29
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10/30
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8:40 PM
8:30 PM
10:10 PM
THE SHIVER OF THE VAMPIRES
THE IRON ROSE
FASCINATION
LIPS OF BLOOD
___ to become a Cinematheque member and save at least $2 off regular admission
prices (and receive the Cinematheque calendar in the mail) for one full year. Memberships
cost $35 and are issued to individuals only. They are not transferable. Fill out the form below and
mail it, along with a check to the Cinematheque. A membership card good for a full year from the
date of purchase, will be mailed to you. $20 student and senior (65 and over) memberships are
also available, but only at the boxoffice, after presentation of proper I.D.
___ to become a Cinematheque donor and support the Cinematheque with a cash gift
over and above the cost of my membership—or in lieu of membership in order to receive
the Cinematheque calendar in the mail. Fill out the form below and mail it to the Cinematheque
along with your check. Those who donate at least $5 will receive the Cinematheque calendar
in the mail for one year.
Name _______________________________________________________________________
Address ______________________________________________________________________
City______________________________________________ State _______ Zip_____________
Email ________________________________________ Phone __________________________
Membership amount enclosed __________________ Donation Enclosed __________________
Make checks out and mail to: The Cleveland Institute of Art Cinematheque, 11610 Euclid Avenue,
Cleveland, OH, 44106. Thank you for your support!
THE CLEVELAND INSTITUTE OF ART CINEMATHEQUE
OCTOBER 29 – NOVEMBER 1
Thursday, October 29, at 6:45 pm
Cinéma Fantastique: Jean Rollin
THE SHIVER OF THE VAMPIRES
aka SEX AND THE VAMPIRE
LE FRISSON DES VAMPIRES
France, 1971, Jean Rollin
In one of Jean Rollin’s most inventive and erotic
movies, a honeymooning couple stops at a
castle to visit the bride’s cousins, only to learn
that they’ve recently died. But actually they’re
not dead; they’re undead, and they’re not alone.
The young marrieds soon become targets of the
fortress’s zombies. “Some of the most indelible
poetic images and surrealist sequences of the
horror cinema.” –Tim Lucas, Video Watchdog.
“Visually a feast…Quite sexy.” –Time Out Film
Guide. Adults only! Subtitles. Blu-ray. 95 min.
Thursday, October 29, at 8:40 pm
Cinéma Fantastique: Jean Rollin
THE IRON ROSE
LA ROSE DE FER
France, 1973, Jean Rollin
In “Jean Rollin’s first authentic masterpiece”
(Tim Lucas), a ballet dancer and a poet spend
an afternoon exploring an ancient French
graveyard, where they make love. But when
evening falls and they find themselves trapped
in the cemetery, even stranger things start to
happen. Adults only! Subtitles. Blu-ray. 80 min.
Friday, October 30, at 8:30 pm
Cinéma Fantastique: Jean Rollin
FASCINATION
France, 1971, Jean Rollin
In Jean Rollin’s stylish tale of bloodlust and
outré sexuality set in 1905, a thief on the run
from his vengeful gang hides out in a strange
chateau inhabited only by two nubile bisexual
chambermaids. But soon they are joined by a
Marchioness and her all-female retinue, which
might sound like heaven for the one man in their
midst—but isn’t. European porn star Brigitte
Lahaie stars in this movie that “is often recommended as the Rollin to see if you are seeing
only one” (Dave Kehr, The NY Times). Adults
only! Subtitles. Blu-ray. 81 min.
Friday, October 30, at 10:10 pm
Cinéma Fantastique: Jean Rollin
LIPS OF BLOOD
LÈVRES DE SANG
France, 1975, Jean Rollin
In “one of Rollin’s most perfectly realized films”
(Tim Lucas), a photograph of a castle triggers
a long dormant memory in a young man. Soon
he is escorted to this place by a beautiful and
mysterious woman who is both apparition and
protector, and his long repressed childhood
dream of the chateau turns out to be a reallife nightmare. The Rough Guide to Film calls
this atmospheric chiller “quintessential Rollin.”
Adults only! Subtitles. Blu-ray. 87 min.
Saturday, October 31, at 5:00 pm &
Sunday, November 1, at 8:10 pm
Halloween at the Art House
THE FORBIDDEN ROOM
Canada, 2015, Guy Maddin, Evan Johnson
“I’ve never taken LSD and wandered around a
film archive, but I imagine the experience might
be similar to The Forbidden Room.” So writes
Jordan Hoffman in The Guardian about the
crazy new feature by Canuck cinephiliac Guy
Maddin (The Heart of the World, My Winnipeg).
Maddin’s latest assault on sense and the senses is a compendium of absurdist mini-melodramas inspired by movies of the late-silent,
early-sound era, and rendered in distressed
visuals using the primitive, archaic techniques
of that bygone time. (Maddin’s movies seem
more “exhumed” than “released.”) The Forbidden Room treats viewers to a feverish, streamof-consciousness series of nested narratives: a
trapped submarine crew is running out of oxygen; a woodsman tries to rescue a kidnapped
young woman; a tropical volcano hungers for a
human sacrifice; a man undergoes a lobotomy
to curb his butt-pinching proclivities; and more!
This droll, funny, scary, strange work also has a
dream supporting cast: Mathieu Amalric, Geraldine Chaplin, Udo Kier, Maria de Medeiros, and
Charlotte Rampling, among others. “For cinephiles and aficionados of the singular, The Forbidden Room represents a very particular kind
of feast.” –The Hollywood Reporter. Cleveland
premiere. DCP. 120 min.
Saturday, October 31, at 7:30 pm
Halloween at the Art House
HOUR OF THE WOLF
VARGTIMMEN
Sweden, 1968, Ingmar Bergman
This visually dazzling psychological horror film
by Ingmar Bergman focuses on a painter (Max
von Sydow) who lives on a remote island with
his pregnant wife (Liv Ullmann), and who is
plagued by demons and nightmares. According
to the film’s original American poster, the Hour
of the Wolf “is the hour between night and dawn.
It is the hour when most people die, when sleep
is deepest, when nightmares are most real. It
is the hour when the sleepless are haunted by
their deepest fear, when ghosts and demons
are most powerful. The Hour of the Wolf is also
the hour when most children are born.” With Erland Josephson and Ingrid Thulin; cinematography by Sven Nykvist. “A must for fans of horror
and of Bergman. So good it makes you wish he
had dabbled in the genre a bit more often.” –
Kim Newman, Empire. Subtitles. 35mm. 88 min.
Saturday, October 31, at 9:20 pm
Halloween at the Art House
HALLOWEEN SURPRISE MOVIE
Trick or treat? A treat for sure—a classic horror movie, made during the last 40 years, that
we have never screened at the Cinematheque
and which will be shown in a rare 35mm archive
print. We can’t divulge the title, but there’s now a
good reason (aside from Halloween) to present
this film, which was popular enough in its day to
be followed by a sequel and later remade. No
one under 18 admitted! Approx. 90 min.
Sunday, November 1, at 3:30 pm
Masterpieces of Polish Cinema
New Digital Restoration!
THE HOURGLASS SANATORIUM
aka THE SANDGLASS
SANATORIUM POD KLEPSYDRĄ
Poland, 1973, Wojciech Has
We’ve extended our series “Martin Scorsese
Presents: Masterpieces of Polish Cinema” to
include one more film. The add-on is the other
phantasmagorical head trip from the director of
the cult masterpiece The Saragossa Manuscript.
Based (like the Quay brothers’ Street of Crocodiles) on the writings of Bruno Schulz (18921942), The Hourglass Sanatorium tells of a young
Jewish man whose visit to his ailing father in a remote, crumbling sanatorium soon devolves into
a surreal journey through his own past, fears,
and fantasies. “A two-hour continuous fantasia
on the theme of a young Jew’s memories, childhood recollections, and complexes…A dazzling
work, Has’s masterpiece.” –Int’l Film Guide 1975.
Adults only! Subtitles. DCP. 124 min.
veteran goalkeeper who freezes while a penalty shot is scored. His alienation from soccer
soon spreads to other aspects of his existence,
and desperation gives way to much worse. This
spare, hypnotic, strikingly beautiful movie was
shot in color by the great Robby Müller. “Of all
the films I’ve seen by Germans of this generation, [this is] the film I like best.” –Stanley Kauffmann. Cleveland revival premiere. Subtitles.
DCP. 101 min.
Saturday, November 7, at 7:00 pm &
Sunday, November 8, at 6:30 pm
New Digital Restoration!
Wim Wenders: Portraits Along the Road
ALICE IN THE CITIES
ALICE IN DEN STÄDTEN
West Germany, 1974, Wim Wenders
A blocked German photojournalist (Rüdiger Vogler), visiting America for a story, becomes saddled with an inquisitive nine-year-old German
girl, Alice, on his way back to Europe. On the
continent they search for Alice’s grandmother,
with only a photograph of her front door to guide
them. Wenders’ early road movie is one of his
most charming and poetic works. Cinematography by Robby Müller. Cleveland revival premiere. Subtitles. DCP. 110 min.
Saturday, November 7, at 9:10 pm
QUEEN OF EARTH
See 11/5 at 6:45 for description
Sunday, November 1, at 6:30 pm
PARADISE IS THERE:
A MEMOIR BY NATALIE MERCHANT
USA, 2015, Natalie Merchant
In her new video self-portrait, singer-songwriter
Natalie Merchant looks back over her career
and influences as she re-records her first solo
album Tigerlilly for its 20th anniversary. Cleveland premiere. DCP. 80 min.
Sunday, November 1, at 8:10 pm
THE FORBIDDEN ROOM
See 10/31 at 5:00 for description
NOVEMBER 5 -8
Thursday, November 5, at 6:45 pm &
Saturday, November 7, at 9:10 pm
QUEEN OF EARTH
USA, 2015, Alex Ross Perry
Rising writer-director Alex Ross Perry follows
his acclaimed comedy-dramas The Color
Wheel and Listen Up Philip with a caustic,
funny/chilling portrait of a woman on the verge
of a nervous breakdown. Elisabeth Moss plays
that woman, a budding basket case whose father has committed suicide and whose lover
has dumped her. She retreats to the lakeside
house of her best friend (Katherine Waterston
of Inherent Vice). But the bucolic setting does
not provide the needed rest and recuperation.
“An unnerving, acidly funny work that fosters an
acute air of dread without ever fully announcing itself as a horror movie.” –Variety. Cleveland
premiere. DCP. 90 min.
Thursday, November 5, at 8:35 pm &
Friday, November 6, at 9:15 pm
SKY CAPTAIN AND THE WORLD
OF TOMORROW
USA/UK/Italy, 2004, Kerry Conran
The film that radically changed the way movies
were made in Hollywood was itself a box office
flop. This art deco action-adventure, in which
giant flying robots attack 1939 New York City,
was created entirely on blue screen, with its bigname stars (Gwyneth Paltrow, Jude Law, Angelina Jolie) inserted later. The result is a retrofuturistic marvel that, at the time, looked like no
other movie. (First time director Kerry Conran
called it “Raiders of the Lost Ark filtered through
Fritz Lang’s Metropolis.”) It also digitally resurrected the late Laurence Olivier. Cleveland
Institute of Art alum Zack Petroc, who appears
in person with Big Hero 6 on 11/6, was model
supervisor on this groundbreaking fantasy—his
entrée into the film industry. 35mm. 106 min.
Friday, November 6, at 9:15 pm
SKY CAPTAIN AND THE WORLD
OF TOMORROW
See 11/5 at 8:35 for description
Saturday, November 7, at 5:00 pm &
Sunday, November 8, at 8:40 pm
New 4K Digital Restoration!
Wim Wenders: Portraits Along the Road
THE GOALIE’S ANXIETY AT THE
PENALTY KICK
DIE ANGST DES TORMANNS BEIM ELFMETER
West Germany/Austria, 1972, Wim Wenders
Wim Wenders’ first non-student feature, based
on a novel by Peter Handke (who co-wrote the
screenplay), tells of an aging, angst-ridden,
PARKING & MORE INFO
Unless noted, admission to each film is $9;
members, CIA I.D. holders, and those age 25
& under $7. An additional film on the same
day costs an extra $7.
Free parking for filmgoers is available in
the Cleveland Institute of Art’s Lot 73 and
in the CIA Annex Lot. Both are accessed
from E. 117th Street, between Euclid
Avenue and Mayfield Road. (Handicapped
patrons should park in Lot 73.) Enter the
Cinematheque at CIA entrances C or E. For
further information, visit cia.edu, call (216)
421-7450, or email cinema@cia.edu
West Germany along the East German border,
trying to find themselves amid the cultural desolation. Cinematography by Robby Müller. “A film
of great depth and beauty, and its black and
white photography is worthy of comparison with
John Ford’s.” –Roger Ebert. Cleveland revival
premiere. Subtitles. DCP. 175 min. Special admission $10; members, CIA I.D. holders, age 25
& under $8; no passes, twofers, or radio winners.
Sunday, November 8, at 6:30 pm
ALICE IN THE CITIES
See 11/7 at 7:00 for description
Sunday, November 8, at 8:40 pm
THE GOALIE’S ANXIETY AT THE
PENALTY KICK
See 11/7 at 5:00 for description
Sunday, November 15, at 3:30 pm
THE CUT
Germany/France/Italy/Russia/Poland/Canada/
Turkey/Jordan, 2014, Fatih Akin
Prominent Turkish-German filmmaker Fatih
Akin (In July, Head-On) commemorates the
100th anniversary of the Armenian genocide
with this expansive historical epic. An Armenian
man from a small town in the Ottoman Empire
is separated from his wife and twin daughters
when the Ottomans enter WWI, but he survives
the mass killings of 1915. After the war he hears
that his daughters are still alive, so he embarks
on an epic quest to Cuba and America to find
them. “Has great intensity, beauty and sweeping grandeur.” –Martin Scorsese. Cleveland
premiere. Subtitles. DCP. 138 min.
Thursday, November 19, at 6:45 pm &
Friday, November 20, at 9:15 pm
IRRATIONAL MAN
USA, 2014, Woody Allen
Despite generally mixed reviews and disappointing box office results, this fleet, philosophical new film by Woody Allen is one of his
best recent movies. Joaquin Phoenix plays
a tormented college professor—and campus
heartthrob—who becomes involved with both
a student (Emma Stone) and an older colleague (Parker Posey) but finds real clarity and
purpose when he decides to commit a morally reprehensible “meaningful act” that he feels
will bring some justice and happiness into the
world. 4K DCP. 95 min.
N OV E M BE R 12 -15
Thursday, November 12, at 6:45 pm
New Digital Restorations!
Wim Wenders: Portraits Along the Road
SHORT FILMS BY WIM WENDERS
West Germany, 1968-82, Wim Wenders
Five early shorts that Wim Wenders made during film school or for television, plus one made
during his problem-plagued production of Hammett for Francis Coppola. Program includes:
Same Player Shoots Again (1968); Silver City
Revisited (1969); Police Film (1969); Alabama –
2000 Light Years (1970); 3 American LPs (1969);
and Reverse Angle (1982). DCP. Total 99 min.
Thursday, November 19, at 8:40 pm &
Friday, November 20, at 7:30 pm
WELCOME TO LEITH
USA, 2015, Michael Beach Nichols,
Christopher K. Walker
In 2012, a notorious white supremacist tried to
take over a distressed North Dakota small town,
buying up property to establish an ultra-rightwing settlement there. His push, and the community’s push back, are captured in this chilling documentary that The Hollywood Reporter
called “a nail-biter from start to finish.” Cleveland premiere. DCP. 85 min.
Friday, November 20, at 9:15 pm
IRRATIONAL MAN
See 11/19 at 6:45 for description
Thursday, November 12, at 8:45 pm &
Saturday, November 14, at 6:55 pm
EXPERIMENTER
USA, 2015, Michael Almereyda
Peter Sarsgaard and Winona Ryder star in this
acclaimed drama inspired by a notorious experiment conducted by Yale social psychologist
Stanley Milgram in 1961. Milgram demonstrated
that ordinary people would administer electric
shocks to distressed strangers if ordered to
do so by an authority figure. With Taryn Manning, Anton Yelchin, Jim Gaffigan, et al. “A kind
of cinematic Rorschach test, prodding viewers
to consider what they would do if sitting in the
same seat as Milgram’s subjects.” –Screen Int’l.
Cleveland theatrical premiere. DCP. 90 min.
Saturday, November 14, at 5:00 pm
The Suzuki Method
YOUTH OF THE BEAST
YAJÛ NO SEISHUN
Japan, 1963, Seijun Suzuki
Seijun Suzuki’s breakthrough film was this
hyperbolic yakuza thriller about a man who
infiltrates two rival Tokyo gangs and pits them
against each other. “You’ll need to sit well back
from the startling visuals, the outré designs and
the florid action.” –Tony Rayns. 35mm color &
scope print! Subtitles. 91 min. Special admission $10; members, CIA I.D. holders, age 25 &
under $8; no passes, twofers, or radio winners.
Saturday, November 14, at 6:55 pm
EXPERIMENTER
See 11/12 at 8:45 for description
Saturday, November 14, at 8:45 pm &
Sunday, November 15, at 6:30 pm
New 4K Digital Restoration!
Wim Wenders: Portraits Along the Road
KINGS OF THE ROAD
IM LAUF DER ZEIT
West Germany, 1976, Wim Wenders
Wim Wenders’ masterful road movie stars Rüdiger Vogler as a traveling motion picture projector repairman who meets up one day with a bereft child psychologist (Hans Zischler) who has
wrecked his car. Together they traverse rural
Saturday, November 21, at 9:25 pm &
Sunday, November 22, at 6:30 pm
UNTIL THE END OF THE WORLD:
DIRECTOR’S CUT (PART 2)
See 11/21 at 6:50 for description. 155 min.
Sunday, November 22, at 3:30 pm
UNTIL THE END OF THE WORLD:
DIRECTOR’S CUT (PART 1)
See 11/21 at 6:50 for description
NOVEMBER 19 -22
NO FILMS FRI., 11/13
Friday, November 6, at 7:00 pm
Zack Petroc introduces
BIG HERO 6
USA, 2014, Don Hall, Chris Williams
Cleveland Institute of Art graduate Zack Petroc
was the model supervisor on this Oscar-winning Disney animated gem, in which a young
technology prodigy, aided by a large inflatable
robot, turns his nerdy friends into do-gooding
superheroes. Petroc will appear in person to
introduce tonight’s screening of this delightful
film that overflows with both humor and heart.
2D DCP. 102 min. Another film on which Zack
Petroc served as model supervisor, Sky Captain
and the World of Tomorrow, shows on 11/5 & 6.
ADMISSION PRICES
Sunday, November 15, at 6:30 pm
KINGS OF THE ROAD
See 11/14 at 8:45 for description
Sunday, November 8, at 4:15 pm
BLIND
Norway/Netherlands, 2014, Eskil Vogt
A newly blind woman in her 30s, holed up in the
familiar high rise apartment she shares with her
architect husband, finds her erotic fantasy life
taking over her perceptions. This acclaimed
movie is the first film written and directed by the
co-writer of Joachim Trier’s Reprise and Oslo,
August 31. It’s a playful, mischievous, puzzling
work that shuffles the objective and the subjective. “Critics’ pick...A dreamy, dour fusion of
Charlie Kaufman and Ingmar Bergman. Its few
flashes of wry humor are outweighed by mystically beautiful images.” –The NY Times. No one
under 18 admitted! Cleveland premiere. Subtitles. DCP. 96 min.
THE CLEVELAND INSTITUTE OF ART CINEMATHEQUE
Saturday, November 21, at 5:00 pm
The Suzuki Method
TATTOOED LIFE
IREZUMI ICHIDAI
Japan, 1965, Seijun Suzuki
A yakuza hit man and his peace-loving younger
brother, an artist, flee to the Japanese countryside after a betrayal and a murder. They take
construction jobs, but the art student becomes
dangerously obsessed with doing nude studies
of their boss’s wife. This 1920s-set thriller boasts
an over-the-top finale that sees the screen go
entirely red at one point. Subtitles. 35mm color
& scope print! 87 min. Special admission $10;
members, CIA I.D. holders, age 25 & under $8;
no passes, twofers, or radio winners.
Sunday, November 22, at 6:30 pm
UNTIL THE END OF THE WORLD:
DIRECTOR’S CUT (PART 2)
See 11/21 at 9:25 for description
NOVEMBER 26 -29
Thursday, December 3, at 8:55 pm &
Friday, December 4, at 7:30 pm
BREATHE
RESPIRE
France, 2014, Mélanie Laurent
The second film directed by French actress
Mélanie Laurent (best known for her role in
Inglorious Basterds) charts the relationship between a 17-year-old French schoolgirl and a rebellious and charismatic new transfer student.
Their platonic friendship soon grows toxic, and
tenderness gives way to terror. “A compelling,
superbly acted portrait of an adolescent friendship perched on the brink of obsession.” –Variety. Cleveland premiere. Subtitles. DCP. 91 min.
against their own gangs. Subtitles. 35mm color
& scope print! 92 min. Special admission $10;
members, CIA I.D. holders, age 25 & under $8;
no passes, twofers, or radio winners.
Thursday, December 10, at 8:40 pm &
Sunday, December 13, at 8:20 pm
IN THE BASEMENT
IM KELLER
Austria, 2014, Ulrich Seidl
What do people do in the privacy of their own
basements? You may not want to know! The
latest ethnographic exposé and shocker from
inveterate button pusher Ulrich Seidl (Animal Love, Import/Export, the Paradise trilogy)
shows that certain subterranean dens are furnished with more than workbenches, washing
machines, and wet bars—at least in Austria.
No one under 18 admitted! Cleveland premiere.
Subtitles. DCP. 81 min.
Friday, December 4, at 9:20 pm
THE NEW GIRLFRIEND
See 12/3 at 6:45 for description
Saturday, December 12, at 9:15 pm &
Sunday, December 13, at 3:30 pm
Wim Wenders: Portraits Along the Road
New Digital Restoration!
WINGS OF DESIRE
DER HIMMEL ÜBER BERLIN
West Germany/France, 1987, Wim Wenders
“A sublimely beautiful, deeply romantic film for
our times” is what Variety called Wim Wenders’
exhilarating, magical tale of an angel (Bruno
Ganz) whose love for a beautiful trapeze artist
(Solveig Dommartin) allows him to become human. One of the most beloved modern movies,
Wenders’ haunting love story, filmed in a richly
expressive mix of black and white and color, is
a serene hymn to humanity. With Peter Falk; cowritten by Peter Handke. Cleveland revival premiere. Subtitles. DCP. 130 min. Special admission $10; members, CIA I.D. holders, age 25 &
under $8; no passes, twofers, or radio winners.
Sunday, December 13, at 6:30 pm
BRANDED TO KILL
See 12/11 at 9:30 for description
NO FILMS 11/26 & 27;
HAPPY THANKSGIVING!
Sunday, December 13, at 8:20 pm
IN THE BASEMENT
See 12/10 at 8:40 for description
D ECE M BE R 18 -19
Saturday, November 28, at 5:00 pm
The Suzuki Method
FIGHTING ELEGY
KENKA EREJÎ
Japan, 1966, Seijun Suzuki
A high school student in 1935 Japan turns to
fighting when he is unable to express his feelings for a virginal young girl. An antimilitarist
masterpiece! 35mm scope print! Subtitles. 86
min. Special admission $10; members, CIA I.D.
holders, age 25 & under $8; no passes, twofers,
or radio winners.
Saturday, November 28, at 6:50 pm &
Sunday, November 29, at 8:40 pm
New 4K Digital Restoration!
Wim Wenders: Portraits Along the Road
THE AMERICAN FRIEND
DER AMERIKANISCHE FREUND
West Germany/France, 1977, Wim Wenders
In Wim Wenders’ terrific neo-noir thriller based
on Patricia Highsmith’s Ripley’s Game, an
enigmatic American living in Hamburg (Dennis
Hopper) tries to coerce a terminally ill German
picture framer (Bruno Ganz) into becoming
a hired assassin. Cinematography by Robby
Müller. “The best acted, the most beautifully
photographed, the most exciting and entertaining work of the New German Cinema yet to be
shown in this country.” –David Denby. Cleveland revival premiere. Subtitles. DCP. 127 min.
Saturday, November 28, at 9:20 pm &
Sunday, November 29, at 3:45 pm
New Digital Restoration!
RIFIFI
DU RIFIFI CHEZ LES HOMMES
France, 1954, Jules Dassin
Here’s a new digital restoration of the granddaddy of all caper/heist movies, made in France
by American Jules Dassin when he was blacklisted in the U.S. A motley bunch of Paris jewel
thieves band together for one big job, then experience a falling out over the loot. This classic
is most famous for its wordless, 30-min. robbery sequence. “The best film noir I have ever
seen.” –François Truffaut. Cleveland revival
premiere. 115 min.
Sunday, November 29, at 6:30 pm
COUNTING
USA, 2015, Jem Cohen
Jem Cohen’s first feature since his sublime
Museum Hours is a poetic collection of shots
and scenes captured in cities from New York to
Moscow to Istanbul and arranged in 15 chapters. This combination city symphony, film diary,
essay film, and polemic finds the inveterate, itinerant independent NYC filmmaker doing what
he does best: capturing the world through his
unique lens. “This is the kind of contemplative
cinematheque piece that washes pleasurably
over you, inviting the viewer to tune in or out, to
free-associate or locate the subtle connections
and recurring themes as Cohen trains his restless, inquisitive gaze on faces and features that
represent a wide spectrum of life.” –Hollywood
Reporter. Cleveland premiere. DCP. 111 min.
Sunday, November 29, at 8:40 pm
THE AMERICAN FRIEND
See 11/28 at 6:50 for description
DECEMBER 3-6
Saturday, November 21, at 6:50 pm &
Sunday, November 22, at 3:30 pm
New 4K Digital Restoration!
Wim Wenders: Portraits Along the Road
UNTIL THE END OF THE WORLD:
DIRECTOR’S CUT (PART 1)
BIS ANS ENDE DER WELT
Germany/France/Australia/USA, 1991,
Wim Wenders
Shot in 15 cities on four continents and intended as his Ultimate Road Movie, Wim Wenders’
all-star sci-fi epic proved a critical and commercial flop in the 158-min. version released
in 1991. But here’s his intended 295-min. cut,
which we’ve wanted to show for 24 years! Set in
1999, the film stars William Hurt as a man with
a revolutionary camera that can help the blind
see. On the run from the CIA, he meets another
fugitive (Solveig Dommartin of Wings of Desire)
with whom he crisscrosses the globe on his way
to his father’s research facility in Australia. The
all-star supporting cast includes David Byrne,
Allen Garfield, David Gulpilil, Jeanne Moreau,
Sam Neill, Max von Sydow, Rüdiger Vogler, Tom
Waits, and Chishu Ryu. Cleveland premiere.
DCP. 132 min. Special admission to the whole
five-hour film $14; members, CIA I.D. holders,
age 25 & under $10; tickets to both parts must
be purchased at the same time. Regular admission fees apply to tickets for individual parts. No
passes, twofers, or radio winners.
surable effect.” -Variety. Adults only! Cleveland
premiere. DCP. 109 min.
Thursday, December 3, at 6:45 pm &
Friday, December 4, at 9:20 pm
THE NEW GIRLFRIEND
UNE NOUVELLE AMIE
France, 2014, François Ozon
The subversive new film by François Ozon
(Swimming Pool, In the House) begins with the
untimely death of a beautiful young wife and
mother. At the funeral, her best friend vows
to watch over the deceased’s infant daughter
and widowed husband (Romain Duris). But
she soon discovers that the husband leads a
shocking secret life. From a Ruth Rendell story.
“An air of Hitchcockian menace and free-floating sexual perversity is by now nothing new
for François Ozon, but rarely has this French
master analyzed the cracks in his characters’
bourgeois facades to such smooth and plea-
CINEMATHEQUE STAFF
Director: John Ewing
Assistant Director: Tim Harry
Projectionists: Mike Glazer,
Tom Sedlak, Les Vince
Box Office: Jeff Blazek, Steve Fitch,
Gloria Pridemore, Genevieve Schwartz,
Daniel Sevcik, MJ Tigert
Saturday, December 5, at 5:00 pm
The Suzuki Method
CARMEN FROM KAWACHI
KAWACHI KARUMEN
Japan, 1966, Seijun Suzuki
Loosely inspired by the French opera, this sardonic sex comedy tells of a seductive young
Japanese woman who moves from her sordid
small town to Osaka, where she takes a string
of demeaning, exploitative jobs: bar hostess,
fashion model, kept woman, porn actress. Suzuki’s eye and methods are as unorthodox and
outrageous as ever. Subtitles. 35mm. 89 min.
Special admission $10; members, CIA I.D. holders, age 25 & under $8; no passes, twofers, or
radio winners.
Saturday, December 5, at 6:50 pm &
Sunday, December 6, at 8:50 pm
The Suzuki Method
New Digital Restoration!
TOKYO DRIFTER
TOKYO NAGAREMONO
Japan, 1966, Seijun Suzuki
Seijun Suzuki’s wildest color film is a breathtaking action masterpiece about a lone yakuza
caught up in gang warfare. But the plot is just
a pretext for Suzuki’s true purpose—the shattering of genre conventions with flashy camerawork, dark comedy, and expressionistic flourishes. In this movie, wind and lightning erupt out
of nowhere to enhance dramatic effect. Seasons are scrambled. A nightclub is rendered
all white in order to offset the inevitable pools
of blood that will appear there. Topping it all off
is a heavy dose of retro-cool, 1960s pop culture artifacts (sun glasses, Sans-A-Belt slacks,
etc.). “One of the most brilliant genre movies
ever made.” -Tony Rayns. Subtitles. DCP. 83
min. Special admission $10; members, CIA I.D.
holders, age 25 & under $8; no passes, twofers,
or radio winners.
Saturday, December 5, at 8:35 pm &
Sunday, December 6, at 3:30 pm
Wim Wenders: Portraits Along the Road
New Digital Restoration!
PARIS, TEXAS
West Germany/France/UK/USA, 1984,
Wim Wenders
Winner of the Palme d’Or at the 1984 Cannes
Film Festival, Wim Wenders’ drama stars Harry
Dean Stanton as an amnesiac, missing and
wandering for four years, who seeks reconciliation with his young son and estranged wife
(Nastassja Kinski). Written by L. M. Kit Carson
and Sam Shepard; music by Ry Cooder; cinematography by Robby Müller. Cleveland revival
premiere. DCP. 148 min. Special admission $10;
members, CIA I.D. holders, age 25 & under $8;
no passes, twofers, or radio winners.
Sunday, December 6, at 6:30 pm
Wim Wenders: Portraits Along the Road
New 4K Digital Restoration!
THE STATE OF THINGS
DER STANDE DER DINGE
West Germany/Portugal/USA/France/Spain/
Netherlands/UK, 1982, Wim Wenders
A respected European filmmaker (Patrick
Bauchau) shooting an American remake of a
low-budget science fiction film finds himself, his
cast, and his crew stranded on a remote Portuguese location while the movie’s nutty producer
(Allen Garfield) drives around L.A. in a motor
home looking for money to finish the picture.
Wim Wenders’ bleak and funny view of the
movie industry—made while the production of
his own American film Hammett was stalled—
won the top prize at the 1982 Venice Film Festival. With Sam Fuller and Viva. Cleveland revival
premiere. In English. DCP. 121 min.
Friday, December 11, at 7:30 pm
A Special Event!
Silent Film with Live Music!
Jeff Rapsis accompanies
THREE’S A CROWD
USA, 1927, Harry Langdon
New Hampshire-based pianist Jeff Rapsis is
one of the busiest silent film musicians in New
England (and beyond)! Tonight he makes his
Cleveland debut by scoring and accompanying
two silent comedy classics in a special holiday
program. Three’s a Crowd was the directorial
debut of Harry Langdon, the baby-faced comedian who is considered the fourth great clown
(after Chaplin, Keaton, and Harold Lloyd) of the
American silent screen. Langdon also stars in
the picture, a little-known, under-rated, Chaplinesque mix of comedy and pathos. It tells of
a lovelorn man who, one cold and snowy night,
takes in a pregnant woman who has walked out
on her hard-drinking husband. He cares for this
outcast and her child as if they were his own
family. “Worthy of Beckett, rivals the best of
Chaplin…THE unjustly maligned, hopelessly
misunderstood, dark horse masterpiece of silent cinema. –Alfred Eaker. 35mm. 63 min. Preceded at 7:30 by Laurel and Hardy’s celebrated
19-min. short “Big Business” (USA, 1929, dir.
J. Wesley Horne, Leo McCarey), in which Stan
and Ollie play door-to-door Christmas tree
salesmen who deal badly with an unsatisfied
customer (James Finlayson). Special admission $12; members, CIA I.D. holders, age 25 &
under $9; no passes, twofers, or radio winners.
Jeff Rapsis accompanies another silent film tomorrow night at 6:55 pm.
Friday, December 11, at 9:30 pm &
Sunday, December 13, at 6:30 pm
The Suzuki Method
New Digital Restoration!
BRANDED TO KILL
KOROSHI NO RAKUIN
Japan, 1967, Seijun Suzuki
The film that got director Seijun Suzuki fired
from Nikkatsu studio (for making “incomprehensible” movies) is frequently cited as his
greatest achievement. Its ardent fans include
Quentin Tarantino, Jim Jarmusch, Wong Karwai, and John Woo, and it has been variously
hailed as an absurdist masterpiece, an avantgarde classic, and a stylistic precursor to the
Japanese New Wave. The movie is an extreme
and flamboyant yakuza thriller in which the hitman regarded as Tokyo’s Number Three Killer
gives his all to become Number One. Subtitles.
Scope DCP. 91 min. Special admission $10;
members, CIA I.D. holders, age 25 & under $8;
no passes, twofers, or radio winners.
Saturday, December 12, at 5:00 pm
Wim Wenders: Portraits Along the Road
New Digital Restoration!
TOKYO-GA
USA/West Germany, 1985, Wim Wenders
Wim Wenders pays tribute to one of his idols—
master Japanese filmmaker Yasujiro Ozu
(1903-1963)—in this self-described “diary on
film.” Wenders journeys to Japan to interview
Ozu’s perennial star Chishu Ryu and his longtime cameraman Yuharu Atsuda, while also
musing on aspects of modern Japanese life.
Wonderful! Cleveland revival premiere. Subtitles. DCP. 92 min. See next blurb for a film
directed by Yasujiro Ozu.
Sunday, December 6, at 8:50 pm
TOKYO DRIFTER
See 12/5 at 6:50 for description
D ECE M BE R 10 -13
Thursday, December 10, at 6:45 pm
The Suzuki Method
KANTO WANDERER
KANTÔ MUSHUKU
Japan, 1963, Seijun Suzuki
In this visually dazzling yakuza thriller, two lovesick killers, torn between lust and loyalty, rebel
Saturday, December 12, at 6:55 pm
A Special Event!
Silent Film with Live Music!
Jeff Rapsis accompanies
PASSING FANCY
DEKIGOKORU
Japan, 1933, Yasujiro Ozu
Composer and pianist Jeff Rapsis (see 12/11 at
7:30) accompanies one of Yasujiro Ozu’s last—
and best—silent films. Winner of Japan’s Kinema Junpo Award for best film of 1933, Passing
Fancy is a touching tale of a poor, widowed, illiterate, middle-aged (but warm-hearted) brewery worker, his feisty 8-year-old son whom he is
raising alone, and a young woman who comes
between them. With Chishu Ryu. Subtitles.
35mm. 103 min. Special admission $12; members, CIA I.D. holders, age 25 & under $9; no
passes, twofers, or radio winners.
Friday, December 18, at 7:00 pm
World War I + 100
A LITTLE PRINCESS
USA, 1995, Alfonso Cuarón
Before he made Y Tu Mamá También, Harry
Potter and the Prisoner of Azkaban, Children
of Men, and Gravity, the great Mexican director Alfonso Cuarón made this lovely, little-seen
adaptation of a novel by Frances Hodgson Burnett (The Secret Garden). It tells of a privileged
10-year-old girl, raised in India by her British
father, who is sent to live in a lavish New York
City boarding school when her father goes off
to World War I. But this popular student soon
butts heads with the school’s stern headmistress (Eleanor Bron), and a sudden reversal of
fortune makes her life even more miserable. A
rare chance to see one of the most overlooked
treasures of the past two decades on the big
screen! Rated G. 35mm. 97 min. Special admission $10; members, CIA I.D. holders, age 25 &
under $8; no passes, twofers, or radio winners.
Friday, December 18, at 9:00 pm
TANGERINE
USA, 2015, Sean Baker
In this delightful, energetic comedy set in Tinseltown on Christmas Eve, a trans woman sex
worker (Kitana Kiki Rodriguez), back on the
streets after 28 days in prison, goes ballistic
when she learns that her pimp boyfriend cheated on her while she was locked up (and with a
heterosexual female no less). She storms off
looking for this “bitch,” and in the process others
(her trans BFF, an Armenian cab driver, an Asian
donut shop owner, et al.) are unwittingly sucked
into the vortex of her fury. This is one of the best
reviewed—and best—movies of 2015, and it was
shot completely on an iPhone 5s! “Jumps off the
screen and wows you like nobody’s business…A
groundbreaking film that leaves you in stitches
while quietly breaking your heart…A visually innovative knockout that grabs you from the first
frame.” –Rolling Stone. Adults only! East Side
Cleveland premiere. Blu-ray. 88 min.
Saturday, December 19, at 5:00 pm
The Suzuki Method
GATE OF FLESH
NIKUTAI NO MON
Japan, 1964, Seijun Suzuki
Seijun Suzuki’s soft-porn masterpiece is a lurid, anti-American tale of prostitutes and black
marketeers in the bombed-out slums of postwar
Tokyo. In another’s hands, this subject might
have called for black and white cinematography
and a gritty newsreel aesthetic (à la Italian neorealism). But Suzuki employs garish colors and
cinemascope to heighten the harshness of his
vision—“like the blush and lipstick in a funeral
home that somehow make the dead look even
deader” (David Chute). Subtitles. 35mm. 90
min. Special admission $10; members, CIA I.D.
holders, age 25 & under $8; no passes, twofers,
or radio winners.
Saturday, December 19, at 6:50 pm
FANNY AND ALEXANDER
FANNY OCH ALEXANDER
Sweden, 1982, Ingmar Bergman
Ingmar Bergman’s sumptuous family epic is a
magnificent summation of the themes (love and
loneliness; dreams and nightmares; pain and
ecstasy; God and emptiness; reality and illusion;
theatre and cinema) that preoccupied the great
filmmaker throughout his long career. Set in
early 20th-century Sweden, the film focuses on
a young brother and sister who must leave the
bosom of their warm and loving theatrical family
for a severe, Spartan existence with a stern minister, their mother’s new husband. Winner of four
Oscars, Fanny and Alexander is alternately a
dazzling Christmas pageant, a harrowing horror
film, a magical-realist mystery, and a generous
celebration of family and friends. The stunningly
beautiful color cinematography is by the late,
great Sven Nykvist. “Bergman’s most optimistic
film…Pure enchantment…Comedy, tragedy, romance, realism and fantasy blend into a perfect
evocation of childhood, place and period…A
superlative culmination of (Bergman’s) 37 years
as one of the cinema’s greatest artists.” –Holt
Foreign Film Guide. Subtitles. 35mm. 188 min.
Special admission $10; members, CIA I.D. holders, age 25 & under $8; no passes, twofers, or
radio winners.
NO FILMS DEC. 20 – JAN. 6;
HAPPY HOLIDAYS!