bc Latest News & Events

  • September 30, 2015
    MOViE MOViE Festival Life is Art Giveaway

    How can bchiphile miss the MOViE MOViE Festival: Life is Art? Upon presenting 5 ticket stubs of different movies in MOViE MOViE Festival: Life is Art at bcinephile counter, you can redeem a John Ho x MOViE MOViE Festival: Life is Art folder.


    Besides, with 5 ticket stubs of different movies in MOViE MOViE Festival: Life is Art, sharing your review of one of the movies in MOViE MOViE Festival: Life is Art and email to membership@cinema.com.hk with your BC VIP no. and state “MOViE MOViE Festival: Life is Art film review” as the email subject. Member with the best review will stand a chance to win one adlib portable charger. Email us by Sep 30, 2015 (Wed) 11:59pm. Winner will be announced in bc.cinema.com.hk on Oct 2, 2015 (Fri). Winner will receive a confirmation email for prize collection.


    adlib charger

  • August 25, 2015
    Martin Scorsese’s Film School – An American in Paris

    An American in Paris


    An American in Paris


    1951/Color/113mins/English with English subtitle
    Director: Vincente Minnelli
    Cast: Gene Kelly, Leslie Caron, Oscar Levant


    Vincente Minnelli’s canonical musical is an exhilarating interpretation of the Gershwin songbook, starring Gene Kelly as a bohemian expatriate living in Montmartre on the G.I. Bill, and painting in anonymity, while romantically torn between the beautiful and gamine Leslie Caron and his benefactress, the rich and stable art collector Nina Foch. The film’s climactic 17-minute ballet sequence is one of the most expensive and sophisticated dance numbers ever produced in Hollywood. Choreographed, and directed in part, by Gene Kelly, and ingeniously photographed by John Alton, it features Kelly and Caron in a pas de deux on sets that magically transform themselves into paintings by masters of French modernism, Dufy, Renoir, Toulouse-Lautrec, Rousseau, and Utrillo.

    - MoMA https://www.moma.org/m/calendar/film_screenings/2882?locale=en


    Date: Aug 25 (Tue)
    Time: 7:00 – 10:00pm
    Venue: 1/F Broadway Cinematheque
    Speaker: Mr Chan Kwong Lung

  • August 25, 2015
    Martin Scorsese’s Film School – The Band Wagon

    The Band Wagon


    The Band Wagon


    1953/Color/111mins/English with English & Chinese subtitle
    Director: Vincente Minnelli
    Cast: Fred Astaire, Cyd Charisse


    One of Minnelli’s best musicals, with an ingenious book which has Buchanan as a highbrow producer trying to turn Astaire’s comeback show into an art house ‘Faust’, while Astaire and Charisse are meantime resolving the problem of whether their dancing styles can meld into a partnership. More importantly, it parades a streamof brilliant Howard Dietz-Arthur Schwartznumbers. Astaire is superlative in several items, notably ‘By Myself’ (a solitary introspection which opens the show with a purr), ‘A Shine on Your Shoes’, and (with Charisse) the gorgeous ‘Dancing in the Dark’. So he can be forgiven for trying to do a Gene Kelly in the ‘Girl Hunt’ ballet ( a parody of Mickey Spillane sleaze more notable for Michael Kidd’s choreography and Charisse’s startlingly sinuous femme fatale). All this and witty dialogue too


    Date: Sep 29 (Tue)
    Time: 7:00 – 10:00pm
    Venue: 1/F Broadway Cinematheque
    Speaker: Mr Shu Kei, Mr. Lam Sin

bc Archive

  • ' 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.

  • ' Soundless Wind Chime '
    — Kit Hung

    Nominated for the 2009 Berlin Film Festival Teddy Award, Soundless Wind Chime chronicles the story between Ricky, a Chinese, and Pascal, a Swiss. Like any other couple they struggle though good times and rough patches. Years after the relationship ended, Ricky goes to Switzerland and encounters Ueli who looks just like Pascal. As this new relationship grows, we also learn about what really happened to Pascal and Ricky….


  • ' Transamerica '
    — Duncan Tucker

    In about a week’s time, pre-operative transsexual Bree will undergo the final operation that will complete her transition from a man to a woman. Just at this critical time, she learns that she has a son named Toby, and he is in trouble. Going all the way to New York, Bree bails Toby and the two of them set off on a trip back to Los Angeles, without Toby realising that Bree is his biological father. As Bree, Felicity Huffman’s awkward mix of male/female mannerisms is so on-target. Her edgy, raw, and carefully contained performance made her winner of the Golden Globe Best Actress award.



  • ' Time to Leave '
    — François Ozon

     When fashion photographer Romain is diagnosed with terminal cancer, he confronts his impending death by shutting everyone out of his life – his partner, his family and even his doctor. The only person he confides in is his grandmother Laura (the legendary Jeanne Moreau). As death approaches, an usual request from a friendly waitress could mean a form of salvation for the self-absorbed Romain. Touching and haunting, this is Ozon’s darkest film of late.


  • ' Swallowtail Butterfly '
    — Shunji Iwai

    This is the story of Yentown, a Tokyo ghetto inhabited by immigrants from all over Asia. The story revolves around a group of poverty-stricken immigrants, to whom a sudden twist of fate gives the opportunity to literally make money and thus realize their dreams. Shot with handheld camera, tinted with laughter, violence, sadness and imagination, Swallowtail Butterfly is impossible to be pinned down to a single genre. Juxtaposing the music of Frank Sinatra and Yentown Band is only of the many eccentricities found in the film.


  • ' The Science of Sleep '
    — Michel Gondry

    French filmmaker Michel Gondry proves that his eccentric imagination remains intact even without Charlie Kaufman (Eternal Sunshine of the Spotless Mind) as a collaborator. This is a love story involving Stephane and Stephanie, both aspiring artists working at menial jobs. Whimsical and irrepressibly inventive, the film is dominated by its extraordinary dream sequels expressed in stop-motion animations that echo Terry Gilliam. Call it weird, but you can’t help loving it.



  • ' Exam '
    — 史都華海澤丁

    Sequestered in a room, eight candidates are asked to complete the final test for a mysterious job. In Reservoir Dogs like fashion, each is given a nickname according to skin/haircolour. Hazeldine uses his characters to explore how people turn against each other in pressurized environments. Razor sharp editing of the events that unfold in a slick, pristine exam room bathed in ever-changing colours, Hazeldine’s debut is intriguing and nerve-wrecking. The Apprentice? That’s so Disneyland.


  • ' Air Doll '
    — Hirokazu Koreeda

    Based on a short manga, Air Doll is an urban fable of an life-size vinyl sex doll in Tokyo that comes to life. Dressed in a French maid’s outfit, she leaves the flat, finds a job at a video store and slowly begins learning about life. Through her encounters with people, it becomes obvious that humans and dolls are perhaps not that different – despite our flesh and blood, humans can feel just as hollow inside and we find ways to fill the voids. Bae Doona’s performance is gentle and charming.

  • ' Dogville '
    — Lars von Trier

    Dogville is a tiny town in the Colorado Rockies during the 1930s with a tiny population. The beautiful Grace, on the run from gangsters, convinces the community to accept her. But when they find out that Grace is fugitive from justice, the villagers make her their slave. At the end, as Grace’s true identity is revealed, she repays those who have mistreated her. Lars von Trier’s experimental picture is set on a near-bare stage, with buildings drawn in chalk outlines on the floor and actors miming their everyday actions. There is a story but it is not drama that von Trier is after. You can dismiss it as pretentious and self-indulgent but you cannot deny that it is as unsettling as it is compelling.


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