bc Latest News & Events

  • February 25, 2016
    Young Talk – My Tearful Life

    My Tearful Life

     

    Director: Cheung Ying
    Cast: Cheung Ying, Ha Ping
    Date: Feb 25 (Thu)
    Time: 7:00 – 10:00pm
    Venue: 1/F Broadway Cinematheque 
    Speaker: Anna 

  • February 23, 2016
    Martin Scorsese’s Film School – America, America

    America, America

     

    1963/ Black & White/ 174mins/ In English with English subtitles

    Director: Elia Kazan

    Cast: Stathis Giallelis, Frank Wolff, Elena Karam

     

    After concentrating for many years exclusively and with great success on American subjects and settings, Kazan turned abruptly away, towards his native land and family history, by adapting his own novelization of his Turkish uncle’s arduous journey from his small Anatolian village to Constantinople and ultimately to New York City. Using a cast of little known Greek and American actors and shooting exclusively on location in Greece and Turkey, Kazan set out to accurately recreate the bitter poverty and struggle faced by aspiring immigrants at the turn of the century. With a young Haskell Wexler bringing his signature hand-held cinematography and auteur editor Dede Allen quickening the pace, America, America offers a rare example of a spontaneous and richly energetic period film.

     

    Date: Feb 23 (Tue)
    Time: 6:30 – 10:00pm
    Venue: 1/F Broadway Cinematheque
    Speaker: Daniel Chan

  • January 28, 2016
    Young Talk – A Peaceful Family Will Prosper

    A Peaceful Family Will Prosper

     

    Director: Cheung Ying
    Cast: Cheung Ying, Pak Yin, Wong Man Lei, Guo Luo Tsuen
    Date: Jan 28 (Thu)
    Time: 7:00 – 10:00pm
    Venue: 1/F Broadway Cinematheque 
    Speaker: Honkaz Fung

bc Sunday Feb: 4 Intangible Senses in Love

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bc Archive

  • ' 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.

     

  • ' 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.

     

  • ' Don’t Move '
    — Sergio Castellitto

    A distinctly deglamourized Penélope Cruz gives one of her bravest performances as a destitute woman who has an affair with a married man. As top surgeon Timoteo watches his colleagues battle to save his teenage daughter who is seriously injured in a road accident, his mind flashes back to the sweltering summer when he met Italia, a tramp living on a building site, and their illicit romance. Timoteo has almost nothing in common with Italia, and yet he’s drawn to her, and the film captures well how lust slowly blossoms into affection. He promises Italia he’ll make the final split with his wife, but then fate strikes, with tragedy close behind…

  • ' 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.

     

     

     

  • ' Hana '
    — Hirokazu Koreeda

    This is not a samurai film featuring flashing swords or bodies leaping over walls. In Edo in 1702, the young samuari Soza, who can hardly handle a sword, comes to a small village to avenge for his late father. When he finally crosses paths with his father’s attacker, now a family man living with a widow and her child, he questions the Samurai code of honor and the ethics of revenge… combining philosophical thoughts and earthy humour, Hana also stuns with brilliant cinematography and flawless sets and costumes.

     

  • ' After Life '
    — Hirokazu Koreeda

    What is the ONE memory that you choose to carry into the afterlife? In this warm, evocative film, 22 people are given a week to answer this question. The chosen memory is re-created and filmed, and it will become their sole companion while the rest will be erased. The choices are a mix of expectation and surprises, perhaps just like life. Koreeda’s vision of limbo looks like an ordinary train station; in its ordinariness, the afterlife has never been more fascination.

     

  • ' 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.

     

     

     

  • ' Hidden '
    — Michael Haneke

     The premise of this quietly terrifying film is fiendishly simple: Parisian couple Georges and Anne start receiving videotapes of their home from an anonymous stalker. But there are many layers to this mystery. While some are traced back to Georges’ childhood, some are tied directly to France’s colonial past. Part paranoid thriller, part political allegory, Haneke raises questions of guilt, responsibility and complacency and won Best Director at Cannes 2005.

     

  • ' Fleeing by Night '
    — Hsu Li Kong

    Fleeing By Night is a lush period piece that follows the love triangle of three men against the backdrop of the Chinese opera. American-educated cellist Shaodong, albeit engaged to Ying’er, is attracted to the Peking opera star Lin Chung. Things get complicated when the wealthy Zilei also sets his eyes on Lin Chung. Set primarily in the late 1930s, the film effectively uses China’s pre-revolution cultural contrasts to parallel its characters’ own identity crises.

     

     

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