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Schedule for Tuesday, September 1
"Subtlety and nuance mark both the film's dialogue and performances. It's hard to see how Dancy and Byrne could be any better." (LA Times)
After moving into her new apartment, Beth, a broken-hearted teacher, finds herself drawn to Adam, her socially inept downstairs neighbor whose head seems lost in the stars. When he reveals that he has Asperger’s Syndrome, her parents (Peter Gallagher and Amy Irving) are understandably concerned, but she can’t deny their unique connection. Rose Byrne and Hugh Dancy deliver knockout performances, and Writer/Director Max Mayer examines the challenges of an exceptional modern relationship with a humorous and heartfelt touch.
Max Mayer. 2009. 99 m. PG-13. US. Fox Searchlight.5:00 PM
It’s a familiar story: The crook planning one big final score. The team of professionals assembled to pull it off. The scheming backstabber waiting to double-cross the robbers and make off with the loot. Yet in the hands of Stanley Kubrick, and with hard-as-grit dialogue by pulp novelist Jim Thompson, the B-movie material is made all too real. One of the last caper films of the classic noir era, it is also one of the most influential, from its offbeat characters to the elaborate time structure of the racetrack robbery sequence. After seeing The Killing, Orson Welles declared the 28-year-old Kubrick “a giant.”
Stanley Kubrick. 1956. 85 m. NR. US. MGM.5:15 PM 9:25 PM
The September Issue
“Lusciously revealing fly-on-the-wall portrait of Anna Wintour.” (Entertainment Weekly)
R.J. Cutler takes us behind the scenes of the making of Vogue’s 2007 September issue, the largest in the magazine’s history. While the film has its Devil Wears Prada moments—See Anna Wintour alienate her staff! Watch sycophants suck up to their queen! Behold as she shatters designers with a single stare!—it also delves deeper, revealing a skilled, complex woman who does not take her considerable power lightly. Cutler examines a Vogue office populated with a wide array of characters, including the fire-haired Creative Director Grace Coddington. It’s Anna’s world, but in many ways Grace is the real star here. She’s fascinating, larger-than-life, and downright cool; much like the magazine itself.
R.J. Cutler. 2009. 90 m. PG-13. US. Roadside Attractions .7:05 PM 9:05 PM
Branded to Kill
“Probably the strangest and most perverse ‘hit man’ story in cinema.” —Jim Jarmusch on Branded to Kill
Leave it to Seijun Suzuki to turn a standard hit-man movie on its head with a clash of provocative experimental styles unique to the director’s unlimited imagination. Such innovation got him fired (the studio cited him as delivering movies that “made no sense and made no money”), yet he produced a number of extraordinary films, including this one, in which an ambitious assassin’s rise to the top turns to certain doom as he is hunted down by the legendary Number One Killer.
Seijun Suzuki. 1967. 98 m. NR. Japan, Japanese with subtitles. Janus Films.7:15 PM
The Last Days of Disco
“[Stillman] nails his characters with perfectly heard dialogue and laconic satire.” (Roger Ebert)
“There’s something really sexy about Scrooge McDuck”, purrs Alice (Chloe Sevigny) , a publishing assistant searching for love, or something of the sort, in Whit Stillman’s highly regarded comedy about the waning disco era. Set in “the very early eighties”, Stillman’s proto-yuppies are a world away from the Saturday Night Fever working class heroes that jump started the disco craze; they’re more concerned about getting into the right club than cutting a rug on the dancefloor. But rather than mocking his characters, Stillman treats them with heartfelt, genuine affection. An insightful, charming film filled with his unique dry humor, it features a stone cold classic final shot that Andrew Sarris called “contagiously exhilarating”.
Q&A September 1st, 7:30 pm: Whit Stillman, writer and director, will be interviewed by New York Times critic Janet Maslin.
Whit Stillman. 1998. 113 m. R. USA. Universal Pictures.7:30 PM
Q&A w/ writer/director Whit Stillman & New York Times critic Janet Maslin
Tickets: $9 (members), $13 (nonmembers)