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MUN Cinema Series
All screenings are at 7:00 pm, Thursday, in
Studio 12 Cinemas in the Avalon Mall.
|Full season pass:
||$72.00 regular / $66.00 students and seniors
||$45.00 regular / $40.00 students and seniors
|| $10.00 regular / $9.00 students and seniors
All films are open to the public. MUN Cinema sets up a table near the Empire
Cinemas' box office about an hour before each MUN Cinema screening where
tickets and passes may be purchased. Tickets and passes cannot be purchased
at other times.
There is no guaranteed seating for passholders.
A pass may be used to admit at most two people to any single screening.
If two people are admitted on a single pass, the pass will be punched
Join our mailing list to receive email announcements and news about the MUN
Cinema Series. To subscribe, send a message to email@example.com. Your message
should contain a single line of text:
You will be asked to confirm your subscription request.
Questions? Consult our FAQ for answers to the most
frequently asked questions.
Follow the links to the
Internet Movie Database (IMDb)
for more information about the films.
January 17 Searching for Sugar Man (Sweden/UK 2012) 86 min.
Directed by Malik Bendjelloul
With Rodriguez, Steve Segerman, et al.
This hugely popular Sundance documentary is as riveting as it gets. The subject of inquiry is a sweet
disappearing act, Detroit folksinger Sixto Rodriguez who had a spurt of musical attention in the '70s.
Unbeknownst to him, his recorded music not only circulated but it has been thriving ever since in
South Africa where "Sugar Man" remains nothing less than a cult figure. The filmmakers set out to
find out if the guy actually exists or if he committed suicide, as legend had it, and then to explore
the nature of his immense popularity. The film is a fascinating mystery wrapped inside a humble enigma.
It kind of turns Waiting for Godot inside outwith way more surprises.
January 24 Anna Karenina (UK 2012) 129 min.
Directed by Joe Wright
With Keira Knightley, Jude Law, et al.
It takes chutzpah and a lot of imagination to translate one of the greatest Russian novels of
all time for the big screen. But leave your attitude at the door. This film works as an
independent work of art, a highly styled treatment written by the brilliant Tom Stoppard
whose language informs all the heavy-breathing characters. You know the story:
aristocratically married Tsar-era girl commits adultery. Throw in some closely watched
trains and consequences ensue. Yes, the story is timeless and achingly romantic, and this
rendition of it is a theatrical flight of genius. Director Wright relies heavily on the
self-consciousness of staging to underscore the artificiality of Anna's claustrophobic
life. Money can't buy you love. But it can get you some fabulous dresses and a lot
of domestic help.
January 31 Rust and Bone (France/Belgium 2012) 120 min.
Directed by Jacques Audiard
With Marion Cotillard, Matthias Schoenaerts, et al.
French with subtitles. [IMAGE]
You will remember the director's 2010 masterpiece The Prophet, one of the best films of that
year. This is his equally astonishing follow-up, also cast against the backdrop of French
culture and class. RUST AND BONE, as the title, suggests, is a raw depiction of life
on the margins. The Cote d'Azur never looked less familiar, but the film gets at a reality
we know is lurking right behind the palm trees and whitewashed buildings. A father and his
son who are escaping one nightmare end up sniffing out the possibility of others. Cotillard
plays a vulnerable acquaintance who turns into that much more, grounding the story in a
remarkable romance of violence and sensitivity. She suffers a horrible accident but yet
remains powerfully alive, drawing the runaways deep into her life, transforming everything
around her. The film created a large buzz at Cannes and was listed as an Oscar Best
Foreign Picture contender for good reason.
February 7 Amour (Austria/France/Germany 2012) 127 min.
Directed by Michael Haneke
With Jean-Louis Trintignant, Emmanuelle Riva, Isabelle Huppert, et al.
French with subtitles [IMAGE]
Really, can it get any better? Cannes, Golden Globes, OscarAMOUR fills up the whole
prize-winning shelf. Nothing less than the word masterpiece attends to this moving cinematic
essay on the beautiful indignities of aging. Georges and Anne inhabit their lovely French
apartment, a long-married, loyal couple who have lived a cultured, comfortable life. But
old age, as someone once said, is not something you want to be cured of. The film tracks
the inevitable erosion of life, offering us an unsentimental performance of infirmity.
Director Haneke is one of the greatest artists alive today. His other unflinching portraits
of culture and society (WHITE RIBBONS, CACHE) are astonishing achievements, sure,
but AMOUR takes his craft to a whole new level of intimacy and meaning. As he said himself,
he owes the power and success of the film to the two actors at its centre, the incomparable
Trintignant and Riva. If you know your New Wave French cinema you might also see the
film as homage to that movement. Whatever you make of it, AMOUR is profound in every way.
You'll feel more human just by watching it.
February 14 A Late Quartet (USA 2012) 105 min.
Directed by Yarn Zilberman
With Philip Seymour Hoffman, Catherine Keener, Christopher Walken, et al.
With a cast like this who needs a blurb? Like ships of fools, orchestral groups often
work nicely as metaphors for the human condition. There's something about all that
fine tuning that brings out the best and worst in the participants. Indeed, as an
essay on the vicissitudes of the artistic soul, LATE QUARTET is right up there with
the best of the genre. The drama is generated when the cellist (Walken) informs his
colleagues that he needs to step out of the group. A vacuum opens up, into which
surges lots of pent-up slights, assumptions, and long-held secrets. This is a
wonderfully wrought exercise in acting as well as a musical performance, and your
eyes will be as happy as your ears. Consider the soundtrack of Haydn, Bach and Strauss,
not to mention the central place occupied by Beethoven's String Quartet No. 14
in C-sharp Minor, Op. 131, and you know you have a lot to live for.
February 21 A Royal Affair (Denmark/Sweden/Czech Republic 2012) 137 min.
Directed by Nikolaj Arcel
With Mads Mikkelson, Alicia Vikander, Mikkel Boe Følsgaard
Danish with subtitles [IMAGE]
What a totally yummy production this is, almost certain to be Oscar nominated for Best
Foreign Film. Based on a widely read and much adored written work, the film tracks the
illicit love affair between the lovely British-born Queen Caroline, married to an odd
duck of a Danish King, and his German physician, Struensee. The good doctor is a
perfect product of Enlightenment thinking. It's the 18th century and anyone with half
a brain has fallen in love with the writings of Voltaire and Rousseau. Caroline falls
for the man and for the ideas he brings to the conservative Danish court. As the movie
would have it, between them they forever changed the course of Danishand by
extensionEuropean thought. It's an interesting argument for adultery, to be sure,
but, seriously, A ROYAL AFFAIR has it all going on: politics, intrigue, scandal,
betrayal, sex. Certainly, you'll feel enlightened afterwards.
February 28 The Deep Blue Sea (USA/UK 2011) 98 min.
Directed by Terence Davies
With Rachel Weisz, Tom Hiddleston, Simon Russell Beale, et al.
We're not sure why but a recurring theme in this season's offerings is adulteryup
close and personal. We especially love the acting in this post-war drama, based on
a stage play and directed by the guy who gave us the remarkable Distant Voices,
Still Lives. The always stunningly credible Weisz plays the central character, a
woman bored with her judge of a husband and all the stiff trappings of upper-class
privilege. Attracted to a handsome and passionate RAF pilot, she trades places in
the class system, determined to follow her heart. Brilliantly, the film tracks what
happens in the aftermath of that radical decision. Mmmm, London in the 'fifties
without central heating: can love alone keep you happy and warm? See for yourself
if you want "Deep Blue Sea" as your next ringtone.
March 7 Stories We Tell (Canada 2012) 108 min.
Directed by Sarah Polley
We have nothing but superlatives for this most excellent documentary by Canadian
über-talent Polley. She just won the biggest prize in Canadian cinema for
this achievement and so you'd be a bit of an idiot if you missed it. It's
totally absorbing. Adultery figures here, too, surprise surprise, as Polley
seeks to get to the bottomless identity of her glamorous mother. This is a
search for truth that turns into a documentary journey all of its own.
On-camera revelations are a bonus in a film that shows so much artful
confidence in its mission. Polley affects the innocent gaze of the baby in the
family, keen to let everyone have a say while diligently pursuing the truth
behind the alibis and excuses. We can only imagine how this film changed her life.
Every unhappy family is unhappy in its own way. See Anna Karenina, above.
March 14 Hyde Park on Hudson (UK 2012) 94 min.
Directed by Roger Michell
With Bill Murray, Laura Linney, et al.
This is a lot of fun, as almost anything with Bill Murray usually is. You might say
this is The King's Speech turned inside out, an irreverent take on what happened when
the Great Stutterer, King George 'Bertie' VI, and his wife Queen Elizabeth visited FDR
at their summer retreat for some hi-level diplomacy and, unknowingly, some startling
hi-jinks. You have to have an appreciation for American comedy to get the totally campy,
vulgar appeal of this made-in-America treatment of royalty and international relations.
If The King's Speech was all about overcoming obstacles, replete with swelling
orchestra and sentiment, then HYDE PARK ON HUDSON deflates the pomp,
underscores the sheer wackiness of history, and applauds good ol' American ingenuity.
How much fun was it to stage the Roosevelts and the Windsors at home, eavesdropping
on their imagined conversations. If FDR ever was this randy then it's a wonder we
all got through the last century. Bill Clinton, eat your heart out.
March 21 Holy Motors (France/Germany 2012) 115 min.
Directed by Leos Carax
With Denis Lavant, Edith Scob, et al.
French with subtitles [IMAGE]
There's been an enormous amount of buzz about this enigmatic cinematic dream.
To see it is to debate its meaning and effect. The central character, M. Oscar,
is a shape-shifter, an embodiment of cinema itself. He walks through things,
inhabits a limousine, engages in pretty anarchic sex, dining, conversing,
observing, and seems to move seamlessly from one movie scenario into another.
No, this is not Cronenberg's Cosmopolis on acid, but it does use the limo as
an agent of transition. There is much irrational story-telling going on here,
and audiences will sustain a WTF view of the proceedings, but the entertainment
quotient is high: lots of laughs and weirdness, a good night out for the
March 28 Diana Vreeland: The Eye Has to Travel (USA 2011) 86 min.
Directed by Lisa Immordino Vreeland, Bent-Jorgen Perlmutt and Frédéric Tcheng
With Diana Vreeland et al.
Some of us were willingly held captive by Diana Vreeland, long-time editor of
fashion's most influential magazine, Vogue. She looked like an alien and
uttered hilarious aphorisms that have become part of the vocabulary of pop culture.
She was caustic, edgy, glamorous, uncompromising, and provocatively philosophical.
She was never vulgar or crass, but she believed fully in the power of artifice
and the construction of style. She embodied it. Vreeland anticipated but
would never have embraced a world dominated by a Kardashian. She was smarter,
better, wittier, and better than all that. Ah, those were the daysVreeland
and Warhol on the cusp of a new ethos. Wonder what they would make of it all now.
A person who doesn't like fashion just doesn't get lifeor this rich doc for
our times. Documentaries are the new black, for sure.
April 4 On the Road (France/UK/USA/Brazil 2012) 124 min.
Directed by Walter Salles
With Sam Riley, Garrett Hedlund, Kristen Stewart, et al.
And before the Vreeland generation (see above) there were the Beats. Jack Kerouac's
perennially popular 1957 novel gets respectful treatment on the big screen.
On The Road was so influential it practically created the acid-tripping culture
of San Francisco. What the movie does, however, is actually show you the road
and all its glories. America has rarely looked more beautiful, from the Edward
Hopper-lit bars of New York City to all the wide open spaces between there
and the California coast to which they are headed. You know the storyline:
two writer friends standing in for Kerouac and Neal Cassady hit the road with
ambition and post-war optimism, Beat poets of the macadam. Their journey is
fueled by a lot of sex and drugs. Lucky for us, good writing follows.
April 11 The Gatekeepers (Israel/France/Germany/Belgium 2012) 101 min.
Directed by Dror Moreh
This riveting doc has generated a lot of critical acclaim. It's timely
and, as the NY Times put it, both "amazing" and "unsettling." The
focus is on six men, all of similar ages and class, who reveal through
remarkably candid interviews just exactly what they did as former heads
of the Israel security agency known as Shin Bet. Since 1967 the agency
has turned to counterterrorism of an especially troubling kind.
It's not that we don't know such agencies are doing dirty deeds
(hello Zero Dark Thirty); it's that the film reveals an entire
cultural and political context through character, focusing
specifically on the six men being interviewedtheir body language,
their voices, their regrets, insights, admissions, and confessions.
The camera shows us so much more than even they tell us. Not only is
what they tell us is astonishing; it's how they tell us. Variety
Magazine wisely states that this is a "provocative must-see for
the discerning and topically inclined." That's you, right?
Our thanks to Paul Fardy for designing and maintaining the
MUN Cinema Series web pages from 1997 to 2004.
For more information contact:
- Noreen Golfman
- phone: 864-2478