bc Latest News & Events

  • December 29, 2016
    Young talk – 孝女還珠記How the Filial Daughter Returned the Pearl

     Dec Young talk – 孝女還珠記

     Date: Dec 29 (Thu)

    Time: 7:00pm – 10:00pm 
    Venue: 1/F Broadway Cinematheque
    Speaker: Eric Tsang

  • December 27, 2016
    Marin Scorsese’s Film School Talk – The Four Horsemen of the Apocalypse

     The Four Horsemen of the Apocalypse

    1921 / 133mins / B&W / Silent film

    Rex Ingram’s powerful anti-war film made a star out of its sexy leading man, Rudolph Valentino, and elevated June Mathis, the screenwriter who championed him, to a platform of power in the industry. Her name will recur in the story of the silent epic. It also launched the career of director Ingram in earnest. He had aimed high with this film, an adaptation of a hit Spanish novel about the First World War, intending “to picture not only the dramatic action, but to give it some of the merit of art”. Best remembered now for the star-making tango sequence near the beginning, this intergenerational, cross-continental story held powerful resonances for audiences when it was released just three years after the end of the war. The enthusiasm of critics and the public guaranteed it a box office return, and prompted a run of Hollywood epics, including similarly bold war films such as The Big Parade (1925) and Wings (1927).

    Date: Dec 27 (Tue) 
    Time: 7:00pm – 10:00pm 
    Venue: 1/F Broadway Cinematheque
    Speaker: Shu Kei

  • November 29, 2016
    Marin Scorsese’s Film School Talk – The Fall of the Roman Empire

    The Fall of the Roman Empire

    1964 / 188mins / In English with English subtitles
    Director : Anthony Mann Cast: Sophia Loren, Alec Guinness, Stephen Boyd A darker, tougher companion piece to El Cid, The Fall of the Roman Empire has always been unfairly overshadowed not only by its more popular predecessor, but also by the fall of its own behind-the-scenes empire. Both films benefit immensely from the sobriety and rigor Anthony Mann brings to a genre usually governed by mindless spectacle, though Fall hems closer to the director’s obsessive theme of the system collapsing from within. In Mann’s epic, the seeds of Rome’s collapse are planted with the demise of Emperor Marcus Aurelius (Alec Guinness), whose dream of a unified Pax Romana gives way to the bitter conflict between his corrupt son Commodus (Christopher Plummer) and heroic general Livius (Stephen Boyd). Their brotherly bond turned to bloody rivalry, Livius seeks refuge in romance with his beloved Lucilla (Sophia Loren) while Commodus toys with his crown of laurels and barbarians prepare to cross the frontiers.

     

    Date: Nov 29 (Tue)
    Time: 6:30pm* – 10:00pm
    Venue: 1/F Broadway Cinematheque Speaker: Daniel Chan

     

    *Please be noted that November’s Martin Scorsese’s Film School talk will be held 30 minutes earlier than usual

bc Sunday Dec: Dust of time

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  • United States

bc Archive

  • ' Baby Love '
    — Vincent Garenq

     Manu and Philippe face a dilemma that has challenged many other couples, gay or straight: one wants a baby, the other doesn’t. Since gay adoption is not an option in France, Manu convinces Fina, an illegal Argentinean to enter into a marriage of convenience with him. Fina will be a surrogate mother to Manu’s baby, and she gets her permit to live in France. The plan sounds fine, except that in life, things often do not turn out the way they’re planned. Featuring two marginalized social groups (gays and immigrants),Baby Love certainly is a romantic comedy with a twist.

     

  • ' 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…

  • ' 20, 30, 40 '
    — Sylvia Chang

    Three different women, at three different stages in their lives, allow their relationships to live out in Taipei – an aspiring pop star, a flighty air hostess and a flower shop owner. Sylvia Chang,has taken stories created by the three leads and created a film of refreshingly non-intertwining stories.Their conflicts vary, but touch on very basic, common themes: identity, belonging, the quest for companionship, and simply getting by in the mixed-up modern world. 

     

     

  • ' 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.

     

  • ' Waltz with Bashir '
    — Ari Folman

    Ari Folman was a soldier, and the animated Waltz with Bashir is a confessional account of his experience as a young soldier during the 1982 Israeli-Lebanese war. Structured like a conventional documentary, with Folman visiting old army friends and piecing together what they saw and remember, he gradually fits together a puzzle with the massacre at the center and his witnesses in concentric rinds at various distances. This is a brilliant piece showing the psychic damage of war.

     

     

  • ' 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.

     

  • ' Black Ice '
    — Petri Kotwica

     Black ice is a reference to that almost invisible layer of ice that forms on roads and can send you spinning into a snowbank when you least expect it. Relationships are a bit like that in the Finnish director Petri Kotwica’s third feature, which won five major Finnish Jussi awards including Best Actress for OutiMäenpää as Saara, a gynecologist who engineers her way into her husband’s affair.By conjuring an atmosphere as chilling as the frozen landscape, Kotwica vigilantly turns soap opera material into an engaging psychological thriller.

  • ' Diving Bell and Butterfly '
    — Julian Schnabel

    Jean-Dominique Bauby led a glamorous life as editor of the French Elle until the day he was hit by a massive stroke, which left him completely paralysed – except for his brain and one good eye. Starting with one blink for “yes” and two for “no”, Bauby gradually developed a communication system with the help of a speech therapist. Using his blinks, he spent over a year dictating his thoughts to an editor, and the result is the novel The Diving Bell and the Butterfly – the basis for Julian Schnabel’s life-affirming, award-winning (Best Director at Cannes) film.

     

     

  • ' 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.

     

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