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    • June 29, 2017
      Young talk – Honeymoon

       MAY_Young Talk

      Date: Jun 29 (Thu)

      Time: 7:00pm – 10:00pm 
      Venue: 1/F Broadway Cinematheque
      Speakers: Shu Kei

    • May 30, 2017
      Martin Scorsese’s Film School Talk – Il Messia

      Martin Scorsese’s Film School Talk – Il Messia

      Time: 2017.05.30. (Tue) 7:00pm-10:00pm
      Venue: Broadway Cinematheque 1/F
      Guest: Daniel Chan 

      Il Messia
      Director: Roberto Rossellini
      Writers: Roberto Rossellini、Silvia D’Amico Bendico
      Cinematographer: Mario Montuori Starring: Pier Maria Rossi、Mita Ungaro、Carlos de Carvalho
      1975/ Colour/ 140 mins/Italian in English Subtitles

      Young mother, is that of a courageous, socially disobedient man whose words and actions, not necessarily his miracles, were revolutionary. “But he who said ‘the Sabbath is made for man, not man for the Sabbath’ has made a political discourse of fundamental importance” (Rossellini).

    • May 28, 2017
      「逾越,愉悅–兩個人,逾越幾個世界,撿拾幾多愉悅」 座談會

      BC TALK-逾越,愉悅

      Date: May 28 (Sun)
      Time: 3:00pm – 4:30pm 
      Venue: 1/F Broadway Cinematheque

    bc Sunday May: Hong Kong Film

    • Hong Kong

    bc Archive

    • ' Ricky '
      — François Ozon

       A new chapter in life begins for single mother Katie and her 7-year old daughter Lisa when Katie falls in love with Paco and gives birth to their son Ricky. Extraordinary things begin to develop as Ricky grows up. The bruises on his body lead Katie to suspect Paco abuses their son, when later it is revealed that Ricky is a baby with something extra – wings! If it is an exhausting task to care for a newborn, imagine how much harder it gets when the baby can fly at any second. Bewildering idea, indeed; but as an Ozon film, such imagination somehow feels just right.


    • ' A Summer’s Tale '
      — Éric Rohmer

      The third film in Rohmer’s Tale of Four Seasons cycle covers a few summer weeks in Gaspard’s life and his encounters with three women: Margot who isn’t interested in more than a friendship, Solene who wants an exclusive relationship, and Lena whose ambiguous romantic attitude keeps him in a state of constant consternation. In a non-patronising way, Rohmer throws four people into a mixing pot and explores what happens when that traditional happy ending is not mandated.


    • ' Water Drops on the Burning Rocks '
      — François Ozon

      Adapted from a play written by German auteur Fassbinder when he was 19 years old Ozon has kept to a theatrical structure, dividing the film into four acts. Two men and two women enter the claustrophobic apartment where all the action takes place, but the only way one of them will be able to leave is feet first. Ozon uses constraints of a single set as an opportunity for dexterous camera work. The décor is amazingly evocative down to the smallest detail. But the impromptu dance ensemble in the last act is definitely the highlight of this nasty, provocative comedy.


    • ' Nobody Knows '
      — Hirokazu Koreeda

      In a quiet and dreamlike fashion, Koreede depicts a year in life of four young children who are abandoned by their mother and unknown to the world. The film is a fiction inspired by a real-life case of child abandonement that scanalised Japan in the 1980s. Koreeda crafted the film over the course of nearly a year, which hightens the film’s documentary effect. The four children are portrayed with great sincerity by four non-professional child actors, with Yuya Yagira (playing the eldest son Akira) chosen as the Best Actor at Cannes 2004.


    • ' Candy Rain '
      — Chen Hung-i

      A multitude of styles shifting between delicate sensitivity and over-the-top comedy, the four stories in the film are connected by a packet addressed to somebody called Candy Rain. The four relationships depicted here work and fail to work for different reasons, and it goes to show there simply is no fool-proof formula for love. Sandrine Pinna nails the quirkiness of her OCD character, while Karena Lam displays her neurotic comic side.

    • ' 500 Days of Summer '
      — 馬克·韋布

      She loves you. Truly. But not forever. That is what Tom has to come to terms with. Writing copies for greeting cards, the aspiring architect Tom finds his everlasting love when Summer shows up at work as his boss’ assistant. As hinted in the title, their story lasts for not more than 500 days. What’s more important though, is the journey and not the destination, right? That how Marc Webb thinks anyway, and that’s why he chooses to tell us the story in a shuffled order. It is not confusing; it is nothing by honest, because that’s how remembrance works. Marc Webb’s debut is an absolute charmer.



    • ' Departures '
      — Yasujirō Ozu

      In this 2009 Oscar winner of Best Foreign Film, an unemployed cello player Daigo finds a new life purpose in the encoffinment business – preparing bodies for cremation. It is considered unclean and low vocation, to the degree that Daigo tries to hide it from his wife. Eventually, he understands the deeper meaning of the rituals: performed with delicacy and precision, they help the bereaved to find peace. At the end of the day, death affects the living more than the dead.


    • ' The Refuge '
      — François Ozon

       What would you do when you wake up one morning and find out your boyfriend is dead and you are pregnant? The setting of Refuge is typically melodramatic, but Ozon has approached it in a surprisingly subdued manner. The protagonist Mousse chooses to move into a chateau owned by an old acquaintance, to kick off her drug addiction and to prepare for the arrival of her baby. Casting Isabelle Carre,who was pregnant during the filming, to play a pregnant woman, Ozon intriguing overlaps fact and fiction.


    • ' Blue Gate Crossing '
      — Yee Chih-yen

      “I’m a girl, I love boys…” At 17, Kerou tries to convince herself that as a girl, she should love boys. At 17, Shihao loves swimming, and he’s convinced that he likes Kerou. There is a kiss, but it does not lead to a boyfriend-and-girlfriend… at least not yet. Yee Chih-Yen’s second film deals with growing up and sexual initiation with a courage that is rarely seen in Taiwan cinema. Seldom has innocence been captured with such unsentimental intelligence.


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