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  • September 28, 2017
    Young talk – Belle of Penang


    Date: Sep 28 (Thu)
    Time: 7:00pm
    Venue: 1/F Broadway Cinematheque
    Speakers: Wong Chi-Wah, Shu Kei

  • September 26, 2017
    Martin Scorsese’s Film School Talk – Germany Year Zero

    Time: 2017.09.26. (Tue) 7:00pm-10:00pm 
    Venue: Broadway Cinematheque 1/F 
    Guest: David Chan

    Germany Year Zero

    Director: Roberto Rossellini
    Writers: Roberto Rossellini、Carlo Lizzani、Max Colpet、Sergio Amidei
    Cinematographer: Robert Jullard
    Starring: Edmund Meschke, Ernst Pittschau, Ingetraud Hinze

    1947/ B&W/ 78 mins/Italian in English Subtitles

    The third panel of Rossellini’s war triptych (following Rome, Open City and Paisan) was, according to the director, “an attempt to discover the real reasons which had driven the Germans to act as they had done.” The film is cast in the likeness of its young central character, Edmund, and the devastated city in which he lives. Rossellini conceived the film around the final scenes of Edmund wandering in the ruins. This long final sequence marks the end of a narrative trajectory that begins in the mode of documentary reportage but becomes ever more hallucinatory, charting a journey through a strange, devastated landscape.

  • August 31, 2017
    Young talk – Too Late For Divorce


    Date: Aug 31 (Thu)

    Time: 7:00pm – 10:00pm 
    Venue: 1/F Broadway Cinematheque
    Speakers: Daniel Chan, David Chan

bc Sunday Sep: Beyond Erotica

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  • ' Mother '
    — Bong Joon-ho

    Mother poses a sinister corollary in its tale of a parent’s unwavering devotion to her child. After a night of drinking, Do Joon, an intellectually-challenged young man, attempts to pick up a young high school girl walking home alone. Shockingly, the next day Do Joon is arrested for the girl’s murder. His overbearing but deeply loving mother will go to pursue justice for her son whom, she believes, has been wrongly convicted of murder. Reminiscent of Alfred Hitchcock’s quirkier and more offbeat films, Mother is an intense, witty, and engaging psychological thriller with enigmatic characters.



  • ' 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.


  • ' Secret in Their Eyes '
    — Juan José Campanella

    Secret in Their Eyes uses a long-forgotten crime as a springboard for ruminations on love and memory, on the nature of time and the value of life. The retired detective Darín decides to write a novel about one case that has haunted him for years. As he revisits the case, he also uncovers old wounds and old love. This complex exploration of guilt and revenge is supported by a superb cast and precise film language, from production design to cinematography to the score.




  • ' Three Monkeys '
    — Nuri Bilge Ceylan

    See no evil, hear no evil, speak no evil – unfortunately that does not stop evilness from existing. Eyup’s boss killed a man in a car accident and pays him to be the scapegoat. While Eyup is in prison, his son gets into trouble and his wife becomes the politician’s mistress. How does Eyup family get broken, when the crime is not even committed by him? A dark drama with extraordinary visuals, Ceylan won the Best Director award at Cannes in 2008.


  • ' An Education '
    — Lone Scherfig

    Written by Nick Hornby and based on a memoir by Lynn Barber, An Education is a coming-of-age drama that sees a teenage girl in the early 1960s London hungry for adult life.When Jenny meets David, she sees him as a shortcut to all the beautiful things she hopes to obtain through an Oxford education and a lucrative career.This may look like a romance, but Jenny’s real romance is with the outside world. The film is a breath of fresh air in its non-judgmental approach, and Carey Mulligan’s self-assured performance establishes her firmly as another British actress to watch out for.

  • ' 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.


  • ' Like Grains of Sand '
    — Ryosuke Hashiguchi

    How much could happen when the love bug bites a group of high school students? A lot. While Yoshida cannot reciprocate Ito’s loving feelings, he is not exactly happy with the girl he is dating either. Instead he finds himself increasingly drawn to Aihara, the new girl in class. When Aihara disappears, Yoshida and Ito look for her until they find her in the beach town where she grew up. Will they finally manage to sort out their feelings and relationships?



  • ' 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.



  • ' Tokyo Story '
    — Yasujirō Ozu

     An elderly couple travel from their rural village to Tokyo to visit their children, who seem to be too busy with their urban lives to welcome their parents. Instead they sent the parents to a seaside resort. Soon after the parents return home, the mother dies. Still preoccupied with their lives in Tokyo, the children no long seem to have the capacity to mourn the loss of a parent. Ozu’s definitive classic never loses its charm, even after half a century. How his static camera and tatami angle observe and reveal about life and human relationships is something that filmmakers will continue to admire in awe.


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