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  • December 28, 2017
    Young talk – 《林黛玉魂歸離恨天》(又名《大觀園下集》)

    Date: Dec 28 (Thu)
    Time: 7:00pm
    Venue: 1/F Broadway Cinematheque
    Speakers: Shu Kei, Horace Chan

  • December 27, 2017
    Martin Scorsese’s Film School Talk – Journey to Italy

    Time: 2017.12.27. (Wed) 7:00pm-10:00pm 
    Venue: Broadway Cinematheque 1/F 

     Journey to Italy

    Director: Roberto Rossellini
    Writers: Roberto Rossellini、Vitaliano Brancati
    Cinematographer: Enzo Serafin
    Starring: Ingrid Bergman, George Sanders
    1954/ B&W/ 97 mins/Italian in English Subtitles

    Tensions pile up in Rossellini’s deeply moving and beautifully nuanced story of a frustrated and bored British couple (Bergman and Sanders) who struggle to keep their marriage alive. The film resembles a diary as it meditates on the problems of the jaded communication between the spouses on their visit to Naples. As Rossellini has stated, “it was very important for me to show Italy, Naples, and that strange atmosphere in which is found a very real, very immediate feeling: the feeling of eternal life, something that has entirely disappeared from the world.”

  • October 31, 2017
    Martin Scorsese’s Film School Talk – Europe ‘51

    Time: 2017.10.31. (Tue) 7:00pm-10:00pm 
    Venue: Broadway Cinematheque 1/F 

    Europe ‘51

    Director: Roberto Rossellini
    Writers: Roberto Rossellini、Sandro De Feo、Mario Pannunzio、Ivo Perilli、Brunello Rondi
    Cinematographer: Aldo Tonti
    Starring: Ingrid Bergman, Alexander Knox, Ettore Giannini

    1952/ B&W/ 118 mins/Italian in English Subtitles

    Ingrid Bergman plays a wealthy, self-absorbed Rome socialite racked by guilt over the shocking death of her young son. As a way of dealing with her grief and finding meaning in her life, she decides to devote her time and money to the city’s poor and sick. Her newfound, single-minded activism leads to conflicts with her husband and questions about her sanity. The intense, often overlooked Europe ’51 was, according to Rossellini, a retelling of his own The Flowers of St. Francis from a female perspective. This unabashedly political but sensitively conducted investigation.

bc Archive

  • ' Greenberg '
    — Noah Baumbach

    Noah Baumbach’s favorite terrain is deconstructing life’s emotional ups and downs with characters so narcissistic and self-delusional they make everyone uncomfortable. In Greenberg, he finds the ugly selfishness of neurosis. Playing a rarely seen non-comic role, Ben Stiller is Roger Greenberg, who once dumped his band, fled Los Angeles and went to New York. Now, recovering from a breakdown, Greenberg returns to LA. As he house-sits his brother’s house and looks after the dog, he meets the family’s assistant Florence and the two develop a relationship that can be defined neither as friendship or romance.



  • ' The Quiet Family '
    — Kim Ji-woon

     Kim Ji-woon’s 2003 success A Tale of Two Sister probably takes much reference from this first feature of his: a house isolated in the countryside, a somewhat dysfunctional family with two sisters, and the suspicion of the existence of something supernatural…featuring some eclectic soundtracks, The Quiet Family possesses a fine, mordant wit while its narrative progresses through a succession of unlikely events: accidents, identity confusions, and bodies piling up. The humour, dark and decidedly deadpan, is also built from the interaction between the family members.




  • ' 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.


  • ' 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.

  • ' Talk to Her '
    — Pedro Almodóvar Caballero

    For those who came to know the great Pina Bausch a tad too late, here’s one reason to see Talk to Her. Marco and Benigno are both in the audience of a Pina Bausch performance, but neither is aware of the other’s presence. A few months’ later, they meet in a private clinic, both concerned about a woman in coma. For someone who supposedly can’t hear you, what can you say to her? You simply keep talking, because you don’t stop loving her regardless she is conscious or not. One of Almodova’s most emotionally affective films.


  • ' At the End of Daybreak '
    — Yuhang Ho

    Twenty three year old Tuck Chai drifts along in life, spending his days helping out in his mother’s shop and nights riding his motorcycle and shooting pool with friends. Nothing excites him much except for Ying, a wealthy teenager Tuck is secretly dating. When their relationship is discovered, lives of the two families are thrown into turmoil. Inspired by a tabloid crime story, At the End of Daybreak is a tale of class divides, tragic love and the loss of innocence. Wai Ying-hung shows great emotional depth as the well-meaning yet inadequate whiskey-loving single mother.


  • ' Moe No Suzaku '
    — Naomi Kawase

     Naomi Kawase, a renowned documentary filmmaker sets her first drama feature in her own province of Nara. In a small hamlet that is steadily losing population after a railroad project was canceled, the Kozo family stays on. Instead of the socio-economic changes, Kawase’s focus lies on the relationships within the family that slowly disintegrates over 15 years. Acted almost entirely by amateurs and presented by stunning cinematography, this is a delicate slice of life so true to reality that dialogue and narrative action are hardly necessary.


  • ' Seraphine '
    — Martin Provost

    Seraphine de Senlis, an aging, overweight, penniless house cleaner in a small French town, was also a painter who believed she was channeling divine messages. The fruits and flowers she painted at first look merely decorative, but that on closer examination are charged with a marvelous and unsettling power. Martin Provost’s interpretation begins from the point just before her discovery, in the early 1910s, by the German critic and collector Wilhelm Uhde. Yolande Moreau’s passionate and fascinating performance won her a Cesar (Best Actress), one of the seven Cesars Seraphine was awarded.


  • ' Drifting Flowers '
    — Zero Chou

    Through three stories, director Zero Chou explores three kinds of love. The young Meigo lives with her blind sister the lounge singer Ging. While the androgynous accordionist Chalkie falls for Ging, Meigo’s young heart beats for Chalkie. Lily loves a certain woman, but she is married to Yen, who loves men. In their peculiar way, the two takes care of each other and form a strong bond. The last story concerns the young Chalkie and how she eventually understands her sexuality.

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