Cinema Guide - Dundee Contemporary Arts

Transcription

Cinema
February – March 2015
welcome
For those of us who love the movies, February is a very special time
of year, full of anticipation about who is going to walk away with that
coveted prize. That’s right; DCA’s annual Oscar competition is back!
Who is going to guess the most awards successfully and win a golden
ticket – free cinema for the whole year? While we might not always agree
with the Academy’s choices (we still haven’t forgiven them for awarding
Best Film to Driving Miss Daisy) we always live in hope that this time they
will recognise our favourites. If you’d like to join in, turn to page 19 for all
the details.
American Sniper! Birdman! Boyhood! The Grand Budapest Hotel! The
Imitation Game! Selma! The Theory of Everything! Whiplash! These are
the eight films nominated by the Academy for Best Picture this year and
they have all played (or will be playing) at DCA. While this recognition is
wonderful news for our cinema programme, there was one nomination
which literally had the cinema team jumping with glee when the
announcement came. The Dam Keeper, included in the Best Animated
Short category screened earlier this year at the Discovery Film Festival.
This charming film about friendship captured our hearts and we will be
rooting for it come Oscar time in February.
Focus on Film is back with a new series of films and talks, this time
coinciding with ‘Roman Empire: Power and People', The McManus'
current exhibition from the British Museum. We’ve specially put
together a series of swords and sandals adaptations for you, from
Spartacus to Gladiator, each film giving you the chance to explore
this fascinating period in history.
We are also delighted to have the Japan Foundation Touring Film
Programme back on our screens. Based around Japanese cinema
and encounters, ‘It Only Happens in the Movies?’ includes five titles
ranging from animation to a Beat Takeshi classic.
And finally, the DCA cinema team will head off to the Berlin Film
Festival in February in search of new titles for your viewing pleasure.
It is admittedly hard work, but someone has to do it and we do, gladly.
Keep an eye on the website for a full Berlinale report!
Alice Black
Head of Cinema
Additional contributors: Brian Hoyle, Simon Lewis,
Christopher O'Neil, Mike Tait
Contents
New Films
Foxcatcher
Whiplash
American Sniper
A Most Violent Year
Trash
Inherent Vice
Ex-Machina
Selma
50 Shades of Grey
Amour Fou
Enemy
The Second Best Exotic Marigold Hotel
Jupiter Ascending
Love Is Strange
White God
The Turning
Cake
4
4
5
6
6
7
8
8
9
10
10
11
12
12
13
14
14
DCA Film Quiz
15
Dundead
Preview screening: Housebound
15
Artists’ Choice Screening
Enter the Void
19
Oscars Competition
19
Focus on Film
Ben Hur
Spartacus
Satyricon
Carry on Cleo
Gladiator
Centurion
20
20
20
21
21
21
Vintage films
Duck Soup
The Philadelphia Story
22
22
Holocaust Memorial
The Last of the Unjust
Au Revior les Enfants
23
23
Performance Screenings
Live from the Met: Les Contes D’Hoffmann
Live from the Met:
Iolanta & Duke Bluebeard’s Castle
English National Opera: La Traviata
NT Live: Behind the Beautiful Forevers
Live from the Met: La Donna del Lago
Coming soon: Hamlet with Maxine Peake
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24
25
25
25
Japan Foundations Films
A Letter to Momo
Carmen from Kawachi
Blood and Bones
Short Peace
Wood Job!
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26
27
27
27
Discovery Family Film Club
Shaun the Sheep
The Curse of the Were-Rabbit
Big Hero 6
28
29
29
Cine Sundays
30
24
3
New Films
Whiplash
Fri 23 January – Thu 5 February
Damien Chazelle’s Sundance prize-winning film features some
unorthodox teaching methods which blow Dead Poets
Society out of the water with a single drumbeat. This story of
artistic ambition played out between a jazz prodigy and his
abusive mentor is a battle of wills which will have you on the
edge of your seat throughout, and standing up applauding by
the end.
Foxcatcher
Lonely and deeply eccentric, millionaire John
Eleuthère du Pont (an unrecognisable Steve
Carell) lives with his ageing mother (Vanessa
Redgrave) on their sprawling estate. Known
primarily as an ornithologist, du Pont becomes
obsessed with the sport of wrestling and decides
to build a world-class elite athletic facility on the
family estate, Foxcatcher. To fulfill his dream, he
invites Olympic Gold Medallist Mike Shultz
(Channing Tatum) to join his camp and train for
the 1998 Seoul Olympics. Desperate to escape
the shadow of his older, more outgoing brother
Dave (Mark Ruffalo), Mike jumps at the offer.
Initially Foxcatcher seems like paradise as du
Pont gives the impressionable young man
everything he could want, but it’s not long before
the benefactor’s support crosses the line into
obsession.
While a lot will be made of Steve Carell's
prosthetic nose and creepy performance as the
troubled millionaire, Tatum's taciturn, at times
childlike, Mike is heartbreaking and Ruffalo's
easy-going charm makes Dave the older brother
everyone would want to have. Director Bennett
Miller allows the characters to develop slowly
and the result is a nuanced story of class and
privilege and the very real destruction of one
family's American dream. One of the best
contemporary films American cinema has to
offer, worthy of its four Oscar nominations.
Drummer Andrew (Miles Teller) attends a New York music
conservatory where he is determined to make his mark. His
focused practice draws the attention of Terence Fletcher
(J.K. Simmons), a legend in the jazz world whose ensemble
class is the prize goal of most students. Fletcher expects
perfection and has no problem bullying a performance out
of his group, and despite the blood, sweat and tears, Andrew
is ready to put up with almost anything in his pursuit of
greatness. While Fletcher may think the young man will crack
under pressure like all the others, Andrew proves to have a
few tricks up his own sleeve, and the two fight it out until the
bitter end.
Teller, who until now has been the best thing in some not
so great teen films, is a revelation. J. K. Simmons as Fletcher
is a mesmerising blend of pure ego, testosterone and keen
intelligence. Nominated for Best Supporting Actor at this
year’s Oscars, Simmons should start practicing his speech.
Dir: Damien Chazelle
USA 2013 / 1h45m / Digital / 15
Senior Citizen Kane Club screening Thu 5 February, 10:30
Bring a Baby screening Thu 5 February, 10:30
American Sniper
Based on the autobiography of Chris Kyle, this is the account of a man who served several tours in Iraq. Talented
with a rifle, Kyle was attributed the highest number of confirmed kills as a sniper, and in doing so, became known as
‘Legend’ amongst his comrades.
The story takes in the essentials of how soldiers are made soldiers: the boot camp, the bond between brothers in arms
and the baptism by fire of being placed in the centre of modern warfare. Bradley Cooper – who pursued the project
since discovering the book – is convincing as the larger-than-life Kyle in all of the situations, and his relationship with
wife Taya (Sienna Miller) is pivotal to the film, reflected frankly and honestly.
The sincerity of Cooper to tell this story has resulted in one of his most transformative performances. Taking the
Oscar-appealing route of gaining weight for the role and mastering the cadence of Kyle’s Texan drawl, the performance
has garnered Cooper his third Oscar nomination. With Clint Eastwood taking the director’s chair the film benefits
from traditional, but always-sophisticated production values. The prospect of Kyle’s story being told from the point
of view of the man who guided William Munny’s troubled gunslinger to the screen in Unforgiven is surely one worthy
of viewing.
Dir: Clint Eastwood
USA 2014 / 2h12m / Digital / 15
Dir: Bennett Miller
USA 2014 / 2h14m / Digital / 15
4 www.dca.org.uk
Tickets 01382 909 900 5
New Films
Trash
Fri 6 – Thu 19 February
With a script by Richard Curtis and Fernando Meirelles’ (City
of God) production company behind it, Trash manages the
impossible, perfectly blending gritty art-house with a feelgood shine. From director Stephen Daldry, Trash tells a story
that feels very authentic, but never exploitative.
A Most Violent Year
Writer-director J.C. Chandor refuses to be
pigeonholed. Last bringing us the man-lost-atsea thriller All Is Lost, his new feature is just as
intelligent and tautly constructed, yet deals with
a completely different story – the rise and fall of
an immigrant gangster in New York City circa
the 1980s.
Featuring a stunning central performance by
Oscar Isaac (Inside Llewyn Davis) as Abel
Morales and Jessica Chastain as his smart and
sassy wife, the story sees Morales drawn into
the murky underworld as he tries to keep his
heating-oil company going. When rival armed
thugs threaten his drivers, Morales must find a
way to respond without putting at risk the bank
deal that he needs to stay afloat.
This isn't your traditional high-octane gangster
film, but rather a measured look at the dark side
of the American dream, a tale of how far one man
is wiling to go to hang onto everything that he
holds dear in his life. Shot in a murky palate by
cinematographer Bradford Young (responsible for
the gorgeous look of Ain't Them Bodies Saints)
and featuring rat-tat-tat dialogue that made
Chandor's debut film Margin Call a joy to watch,
A Most Violent Year signals that Chandor, no
longer the newcomer, is a firmly established,
card-carrying member of the great contemporary
American filmmakers guild.
Set in the favelas of Rio de Janeiro, this is a film about
survival in a tough world of political corruption. Three young
slum kids all work in a local dump, sifting through rubbish to
find anything of value that they can sell. When they stumble
across information that could bring down a corrupt local
official, the drama unfolds. Raphael (Rickson Tevis) finds a
wallet and shares the money with his friend Gardo (Eduardo
Luis), but, when a reward is announced for its safe return, the
rest of its contents begin to seem more valuable than at first
thought. When Rato (Gabriel Weistein) tells the boys that a key
inside belongs to the lockers at the train station, they are soon
on a dangerous quest to find out more. Hot on their heels is
police inspector Frederico, who will stop at nothing to make
sure his involvement in the shady campaign of a local mayor
remains undiscovered.
Daldry certainly has a reputation for working with young
actors, after all, this is the man who made Billy Elliot, and he
is blessed here with the three unknowns working under his
charge. Brimming with energy and drive, they make this an
absolute joy to watch.
Dir: Stephen Daldry
UK / Brazil 2014 / 1h53m / Digital / 15
Inherent Vice
Reuniting with Joaquin Phoenix for the first time since The Master, Paul Thomas Anderson bravely tackles the first ever
big-screen adaptation of a Thomas Pynchon novel; the neo-noir comic caper Inherent Vice.
Private eye Larry "Doc" Sportello (Phoenix) has his life thrown into turmoil when his ex-girlfriend shows up out of
nowhere with a story about her current billionaire boyfriend, and a plot by his wife to kidnap him. She desperately
asks her old flame for help, but it's the tail end of the psychedelic `60s and paranoia is running the day. Doc knows
that ‘love’ is another of those words going around at the time, like ‘trip’ or ‘groovy’, except for him, this one usually
leads to trouble. Witness a cast of characters that includes surfers, hustlers, dopers, rockers, a murderous loan shark,
LAPD detectives, a tenor sax player working undercover and a mysterious entity known as the Golden Fang, which
may only be a tax dodge set up by some dentists... Part surf noir, part psychedelic romp, this is all Thomas Pynchon.
Like Boogie Nights or Magnolia, Inherent Vice is crammed full of big names in its supporting roles, including Reese
Witherspoon as Doc’s uptight sometime squeeze and the always-watchable Benicio Del Toro as his laid-back marine
lawyer buddy. Taking a step away from the austere style that was The Master, Anderson’s new film is a whirlwind of
intrigue, bad fashions and bravado filmmaking – a real hoot.
Dir: Paul Thomas Anderson
USA 2014 / 2h28m / Digital / 15
Dir: J.C. Chandor
USA 2014 / 2h5m / Digital / 15
6 www.dca.org.uk
Tickets 01382 909 900 7
New Films
Selma
Given the recent events in Ferguson and other American
cities, Selma – although centred on a pivotal moment in the
1960s civil rights movement - seems more relevant then ever.
Ex-Machina
Screenwriter of Sunshine, 28 Days Later and
Dredd, Alex Garland finally makes his directorial
debut with this science-fiction thriller starring
Oscar Isaac (fast becoming one of the busiest
actors in Hollywood), Domhnall Gleeson (Frank)
and Alicia Vikander (Testament of Youth).
Caleb (Gleeson), a gifted young coder working
at the world's largest internet company, thinks
all his dreams have come true when he wins
a competition to spend a week at a private
mountain retreat belonging to Nathan (Isaac),
the reclusive CEO of the company. However,
when he arrives at the remote location, he finds
that he is there to participate in a strange and
fascinating experiment. Caleb has been chosen
as the human component in a Turing Test –
charging him with evaluating the capabilities,
and ultimately the consciousness, of Nathan’s
latest experiment in artificial intelligence. That
experiment is Ava (Vikander), a breathtaking
A.I. whose emotional intelligence proves more
sophisticated, and more deceptive, than the two
men could have imagined.
Garland, one of the most exciting and original
writers working in cinema today, has put his
stamp all over this film, and while artificial
intelligence has long been an important element
of the contemporary sci-fi genre, the cool and
creepy Ex-Machina is a welcome addition to
the canon.
Dir: Alex Garland
2015 / 1h48m/ Digital / 15
Nobel laureate Dr. Martin Luther King Jr. (British actor David
Oyelowo) along with his team of supporters traveled to Selma,
Alabama to support the local black population's right to vote
in the local election. Facing very real danger from those in
opposition, King's ethos of non-violent resistance lead to the
famous peaceful march from Selma to Montgomery. Then
on March 7th, nearly 600 demonstrators were attacked and
beaten on the Edmund Pettus Bridge. The brutal attacks,
rebuffed under the orders of Gov. George Wallace (Tim Roth),
were captured on television, awakening a nation to the
injustice it once had the luxury of ignoring. Two weeks later,
President Lyndon Johnson called in the Alabama National
Guard to protect the marchers on the 50-mile journey for a
third time and nearly 25,000 people amassed at the State
Capitol to hear King speak. Four and a half months later,
Johnson signed the Voting Rights Act of 1965.
Already a huge box office success in the US, and nominated
for this year’s Best Picture Oscar, Selma is a calling card for
young filmmaker Ava DuVernay.
Dir: Ava DuVernay
USA 2014 / 2h7m / Digital / 15
50 Shades of Grey
Fri 20 February – Thu 5 March
Fresh from its international premiere at the Berlin Film Festival, 50 Shades of Grey is one of the most anticipated
releases of the year, not least for the 70 million fans that will admit to reading the book. The film's production has not
however been without controversy, with last minute cast changes and more recently, publicity images deemed to risky
for the UK market.
When literature student Anastasia "Ana" Steele (Dakota Johnson, daughter of Melanie Griffith and Don Jonhson)
interviews the wealthy Christian Grey (Jamie Dornan) as a favour to her roommate, she encounters a handsome,
brilliant and intimidating man. The innocent and naive Ana is startled when she becomes desperate to get close to
him, despite his enigmatic reserve and advice. Not able to resist Ana’s beauty and independent spirit, Grey admits
he wants her too, but on his own terms. With hesitance, Ana begins to discover the singular tastes of Grey, and his
need to control everything. While the pair begin to get closer, Ana explores her desires, while Grey's secrets begin to
be revealed.
Dornan (who won the role of Grey after Charlie Hunnam dropped out) might be in slight danger of being type-cast after
his recent turn as the charismatic serial killer in the BBC television drama The Fall, but with Turner Prize-nominated
artist/filmmaker Sam Taylor-Johnson at the helm, there is every indication that 50 Shades of Grey might just surprise
even the most sceptical of critics.
Dir: Sam Taylor-Johnson
USA 2015 / time tbc / Digital / cert tbc
Bring a Baby Screening Thu 12 February, 10:30
8 www.dca.org.uk
Tickets 01382 909 900 9
New Films
Amour Fou
Fri 27 February – Sun 1 March
While the title of Jessica Hausner's new film Amour Fou
might give you the impression that this is a passionate,
bodice-ripping period drama, it is in fact a carefully controlled,
meticulously paced tale of societal manners and personal
freedom in early 19th century Germany.
Enemy
Sun 15 – Thu 19 February
Almost immediately after they shot Prisoners
together, director Denis Villeneuve and his star
Jake Gyllenhaal reunited to make Enemy.
Very different in tone from their previous
collaboration, this film about doppelgangers is
a real enigma that will divide audiences, who will
either find it fascinating or infuriating. We’ll let you
be the judge.
Gyllenhaal is Adam Bell, a downbeat university
professor in Toronto. Relaxing after work
watching a not-so-good film on his laptop,
he notices a charactor in the background who
looks exactly like himself. Intrigued, he tracks
down actor Anthony Claire (also played by
Gyllenhaal, obviously) and their meeting is the
beginning of a very dark partnership.
Weird and wacky to its core, Enemy owes a debt
to the early work of Villeneuve’s compatriot,
Canadian filmmaker David Cronenberg; certainly
Toronto has never looked colder or more
uninviting, full of concrete parking lots and
imposing tower blocks. Gyllenhaal excels at
creating two very distinct characters and it is
a testament to his charisma that you’re never
quite sure which one you should root for.
There’s only one word to really describe this
film experience – unsettling.
Inspired by the suicide of poet Heinrich von Kleist in 1811,
director Hausner fashions this story around his unconventional
relationship with Henriette Vogel, the wife of a friend. When
the couple first meets, Kleist (Christian Friedel) thinks he has
found his soul mate, convincing himself that she must share
his extreme existential views that life is without purpose or
meaning. When he boldly proposes a suicide pact between
them, she, a doting mother, rejects the idea as nonsense.
However, when Henriette (Birte Schnoink) is diagnosed with
a terminal illness, the idea of choosing the time and place of
her death becomes important to her, and as Kleist's resolution
wavers, she becomes more determined.
Told through fixed tableaux scenes of salons and dinner
parties, this is a world where philosophical and political
discussions around self-determination were very much a
part of polite society. Amour Fou does not shy away from
these debates and offers them in a package that echoes the
era it portrays, full of observational details that say as much
about the period as the characters do.
Dir: Jessica Hausner
Austria / Germany / Luxembourg 2014 / 1h36m
Digital / German with English subtitles / 12A
Doing exactly what it says on the tin, The Second Best Exotic Marigold Hotel reunites screenwriter Ol Parker, director
John Madden and the wonderfully mature cast for another story that proves it is never too late for second chances.
Dreams of expansion and a new hotel are taking up more time than Sonny (Dev Patel) has available, with the imminent
marriage to his true love, Sunaina. His first venture, The Best Exotic Marigold Hotel for the Elderly and Beautiful, has
only a single remaining vacancy – posing a rooming predicament for the two fresh arrivals, Guy (Richard Gere) and
Lavinia (Tamsin Greig). Evelyn and Douglas (Judi Dench and Bill Nighy) have joined the Jaipur workforce and are
wondering where their regular dates for Chilla pancakes will lead, while Norman and Carol (Ronald Pickup and Diana
Hardcastle) are negotiating the tricky waters of an exclusive relationship, and Madge (Celia Imrie), she’s juggling two
eligible and very wealthy suitors. Perhaps the only one who may know the answers is newly installed co-manager of
the hotel, Muriel (Maggie Smith), the keeper of everyone's secrets. As the demands of a traditional Indian wedding
threaten to engulf them all, an unexpected way forward presents itself.
Funny and warm, but not overly sweet, this is the kind of cinematic reunion that is very welcome, especially in the
middle of a Scottish winter. Throw some of your cares away and join the residents of The Second Best Exotic Marigold
Hotel for some much-needed fun.
Dir: John Madden
UK / USA 2014 / 2h02m / Digital / PG
Senior Citizen Kane Club screening Thu 5 March, 10:30
Bring a Baby screening Thu 12 March, 10:30
Dir: Denis Villeneuve
Canada / Spain 2013 / 1h30m / 15
10 www.dca.org.uk
Tickets 01382 909 900 11
New Films
Love Is Strange
After 39 years together, Ben and George finally tie
the knot in an idyllic wedding ceremony in lower
Manhattan. When news of their marriage reaches
the Catholic school where George works, he is
fired from his job and the couple can no longer
afford their New York City apartment. As a
temporary solution George moves in with the two
gay cops next door, while Ben heads to Brooklyn
to live with his nephew, Eliot, along with Eliot’s
wife Kate and their teenage son. With Ben and
George struggling to secure a new apartment,
the pain of living apart – coupled with being in
two foreign households – tests the resilience and
relationships of all involved.
Jupiter Ascending
The Wachowskis, creators of The Matrix and Cloud Atlas,
turn their attention to a new space opera with dazzling visuals
and a cast of exciting young actors. This is exuberant fun
and perhaps the ideal breather from all the travails of awards
season seriousness.
Mila Kunis plays Jupiter, a lowly domestic on earth, unaware
that her DNA proves her lineage to a race that seeded the
Earth 100,000 years ago. She is in fact the descendant of the
Queen, destined to rule Earth. That’s if she can avoid capture
by her siblings who want to harvest Earth for themselves.
With Channing Tatum as a half-albino warrior assigned to
protect her, the scene is set for a great romp of a film with
noble good guys and sneering villains. Eddie Redmayne
particularly seems to enjoy airing his villainous side.
With great pedigree in creating stunning worlds and working
at the cutting edge of special effects (again collaborating
with effects master John Gaeta), the Wachowskis’ first
original screenplay since The Matrix is sure to entertain.
With a rousing score by Michael Giacchino, composer of
the Star Trek reboots and Up, Jupiter Ascending has all
the right ingredients.
Dir: Andy and Lana Wachowski
Propelled by exquisite performances from John
Lithgow (Ben) and Alfred Molina (George), this
subtle yet profound drama is suffused with gentle
humour. An updated version of the story told over
75 years ago in Make Way for Tomorrow, Love Is
Strange is a poignant and moving portrait of an
older couple desperate to stay together when
circumstances and society make that simple goal
almost impossible.
Dir: Ira Sachs
USA 2014 / 1h34m / Digital / 15
Bring a Baby screening Thu 5 March, 10:30
White God
Fehér Isten
Fri 6 – Thu 12 March
At this year's Cannes film festival, White God was the film that everyone was desperately trying to see, and its red
carpet wasn't filled with Hollywood stars, but with some special four-legged actors (later awarded the Palme Dog for
best canine performance). Essentially Spartacus, told with dogs, White God is a cautionary tale of intolerance and
racial hatred that imparts a dark message to contemporary society.
13-year-old Lili (Zsofia Psotta) is forced to live with her estranged father while her mother is away on business. With
relations already strained between the pair, things only get worse when Lili’s Dad (Sandor Zsoter) realises she has
brought her dog Hagen along. After several unpleasant encounters with a hateful neighbour, Hagen is left on the
highway to fend for himself. While Lili desperately rides her bike all over town to look for him, Hagen falls into the
hands of an evil gambler who drugs him and trains him for dogfights. Managing to escape, he is caught and sent to
the dog pound where he overcomes the guards and releases an entire kennel of dogs onto the streets, launching a
massive rebellion against the men responsible for their fate.
Miles away from Disney, Mundruczo never attempts to sentimentalise or anthropomorphise the animals in this film.
Superbly trained by Teresa Ann Miller, the two dogs who play Hagen hold themselves proud against the human cast,
as do the 280 dog extras. Not an easy watch for animal lovers (some of the fight scenes are brutal), White God is
certainly one of the most original films of the year – utterly unforgettable.
Dir: Kornel Mundruczo
Hungary / Germany 2014 / 2h / Digital / Hungarian with English subtitles / cert tbc
Senior Citizen Kane Club screening Thu 12 March, 10:30
USA 2014 / 2h5m / Digital 2D and 3D / cert tbc
12 www.dca.org.uk
Tickets 01382 909 900 13
New Films
DCA Film Quiz
The Turning
Thu 12 February, 18:30
Mon 2 – Thu 5 March
The DCA film quiz is back for another round of tests of
your filmic knowledge.
The Turning is the latest portmanteau film, a cinematic
adaptation of Australian Booker-nominated novelist
Tim Winton’s 2005 collection of 17 interlinked stories.
Each of the shorts had their own director, screenwriter,
cast and production company and although the
central members of the Lang Family – Vic, Gail, Bob
and Carol – appear in all the films, they are played by
different actors. Each of the stories focusses on an
awakening, incident, or emotional moment which
changes everything, while the style of each of the
segments varies, from realism to fantasy, depending
on the director.
What unites all the films are the marvellous locations
(the wide open Australian outback, staggering oceans,
and muddy swampland) and the who’s who of terrific
acting talent. Rose Byrne shines in a ‘trailer trash’
portrait; Cate Blanchett and Richard Roxburgh play Gail
and Vic, dealing with his difficult mother on Christmas
Day; and Hugo Weaving is Bob, tracked down by his
son after many years isolated in a remote tin shack.
Behind the camera too are some surprising names with
actors David Wenham and Mia Wasikowska making
their writing and directing debuts. The overall result
from this creative collaboration is a revealing cinematic
portrait of contemporary Australia and a very definite
sign that this country’s filmmaking is alive and well.
Dirs: Marieka Walsh, Warwick Thornton,
Jub Clerc, Robert Connolly, Anthony Lucas,
Rhys Graham, Ashlee Page, Tony Ayres,
Claire McCarthy, Stephen Page, Shaun Gladwell,
Mia Wasikowska, Simon Stone, David Wenham,
Jonathan auf der Heide, Justin Kurtzel,
Yaron Lifschitz, Ian Meadows.
Australia 2013 / 1h46m / Digital / 15
Come along, find a team and join us for a packed
night of film and prove you know a Wachowski from a
Warhorse. Whether it’s a chance to display your love of
rom-com, be animated about animation or wow us with
your detailed understanding of Interstellar, we’ll have
questions to tax you all, covering a multitude of genres
from art house to blockbusters.
The quiz will be held in the DCA meeting room.
Entry is £2 per person. Teams of up to five!
Dir: DCA Cinema Team
Dundee 2015 / 1h30m / mixed media / PG
Cake
Fri 6 – Thu 12 March
Showing that she is capable of so much more than
being the queen of TV sitcoms or disposable romantic
comedies, Jennifer Aniston puts on a brave (makeupfree) face in this tough American indie drama about
chronic pain, mental breakdown and grief.
We first meet Claire (Aniston) at a support group for
women coping with chronic pain. It is clear from the
scars on her face and her sarcastic demeanor that she
is not coping well after the tragic car accident that took
the life of her son. With her marriage in tatters, Claire’s
only companion is her long suffering, thick-skinned
housekeeper Silvana (the excellent Adriana Barazza),
who valiantly tries to care for a woman who spends her
time wallowing in self-loathing, numbed on painkillers
and alcohol. When Nina (Anna Kendrick), a young wife
and mother from Claire’s support group kills herself,
Claire becomes obsessed with her. Unexpectedly, it is
Nina's stoic widower Roy (Sam Worthington) who offers
her some much-needed solace.
While it might be easy to focus on Aniston's decision
to tackle an unglamorous role, she puts her heart, soul
and considerable acting talent into bringing a complex,
and at times, unlikable role to the screen. Maybe, like
trailblazer Matthew McConaughey before her, Aniston
can finally now be taken more seriously.
Dir: Daniel Barnz
USA 2014 / 1h42m / Digital / 15
14 www.dca.org.uk
Preview screening:
Housebound
Fri 20 February, 22:00
A huge hit with critics and audiences alike, Housebound
is the Kiwi comedy horror that has been picking up
awards at a variety of international film festivals and
Dundead is delighted to be hosting this special preview
screening ahead of its UK release.
Kylie Bucknell is placed under house arrest and confined
to the rickety old family home where she grew up. Her
punishment is made all the more unbearable by her
mother – a well-intentioned blabbermouth who’s
convinced that the house is haunted. Initially dismissive
of her mother’s claims, Kylie soon starts noticing
unsettling whispers and strange bumps in the night.
Gerard Johnstone neatly balances comedy and horror
in his feature debut and this is achieved in no small part
thanks to Morgana O’Reilly as the rebellious Kylie, and
Rima Te Wiata as her long-suffering mother. With What We Do in the Shadows (seen on our screens in November) and
now Housebound, the horror movie scene in New Zealand is proving to be a force to be reckoned with.
Dir: Gerard Johnstone
New Zealand 2014 / 1h49m / Digital / 15
Tickets 01382 909 900 15
diary
Day / Film
Fri 30 January
Foxcatcher
A Most Violent Year
Whiplash
American Sniper
Times
Day / Film
Times
12:45/18:00
13:00/18:30
15:30/20:45
15:45/21:00
Sat 7 February
Trash
Ex-Machina
Inherent Vice
A Most Violent Year
12:45/18:30
13:00
18:00
15:15/21:00
15:30/20:30
Sun 8 February
Focus on Film: Ben Hur
Trash
Ex-Machina
A Most Violent Year
Inherent Vice
11:00
11:00/18:30
13:15/18:00
15:30/20:30
15:30/21:00
Mon 9 February
Trash
Ex-Machina
Inherent Vice
A Most Violent Year
12:45/18:30
13:00/18:00
15:15/21:00
15:30/20:30
Tue 10 February
Trash
A Most Violent Year
Inherent Vice
Ex-Machina
12:45/18:30
13:00/18:00
15:15/21:00
15:45/20:30
Sat 31 January
Foxcatcher
A Most Violent Year
American Sniper
Live from the Met:
Les Contes D’Hoffman
Whiplash
17:55
20:45
Sun 1 February
A Most Violent Year
Duck Soup
Foxcatcher
Whiplash
American Sniper
11:00/18:30
12:00
14:00
18:15
16:00/21:00
15:45/21:00
Mon 2 February
Foxcatcher
A Most Violent Year
Whiplash
American Sniper
Tue 3 February
Foxcatcher
A Most Violent Year
Whiplash
American Sniper
Wed 4 February
Whiplash
Foxcatcher
A Most Violent Year
American Sniper
Thu 5 February
Whiplash
Foxcatcher
A Most Violent Year
American Sniper
Fri 6 February
Trash
Ex-Machina
Inherent Vice
A Most Violent Year
16 www.dca.org.uk
Key
Bring a Baby
Senior Citizen Kane Club
Performance Screening
Subtitled
Ciné Sunday
12:30/15:15
12:30/18:00
15:00/22:00
12:45/18:00
13:00/18:30
15:30/20:45
15:45/21:00
12:45/18:00
13:00/18:30
15:30/20:45
15:45/21:00
15:30/20:45
12:45/18:00
13:00/18:30
15:45/21:00
10:30/10:30
15:30/20:45
12:45/18:00
13:00/18:30
15:45/21:00
12:45/18:30
13:00/18:00
15:15/21:00
15:30/20:30
Day / Film
Times
Sun 15 February
Shaun the Sheep
Focus on Film: Spartacus
Selma
Inherent Vice
Trash
Enemy
10:30/15:00/18:00
11:00
12:45/18:15
15:15/21:00
19:45
22:00
Mon 16 February
Shaun the Sheep
Selma
Inherent Vice
Trash
Enemy
Times
Mon 23 February
Shaun the Sheep
Selma
50 Shades of Grey
Jupiter Ascending
Blood and Bones
13:00/15:15
13:00/18:15
15:45/20:45
18:00 2D
20:30
12:00/14:00/18:00
12:30/18:15
15:15/21:00
19:45
22:00
Tue 24 February
Shaun the Sheep
Selma
Jupiter Ascending
50 Shades of Grey
Short Peace
13:00/18:00
13:00/18:15
15:00 3D/21:45 2D
15:45/20:45
20:00
Tue 17 February
Shaun the Sheep
Selma
Trash
Inherent Vice
Enemy
12:00/16:15/18:00
12:30/18:15
14:00/19:45
15:15/21:00
22:00
Wed 25 February
Shaun the Sheep
Selma
Jupiter Ascending
50 Shades of Grey
Wood Job!
13:00
13:00/18:15
15:15 3D/20:30 2D
15:45/20:45
18:00
Wed 18 February
Shaun the Sheep
Selma
Trash
Inherent Vice
Enemy
12:00/16:15/18:00
12:30/18:15
14:00/19:45
15:15/21:00
22:00
Selma
Jupiter Ascending
10:30/13:00/15:30
10:30/15:45
18:00/20:45
13:00/18:15
20:30 2D
Thu 19 February
Selma
Shaun the Sheep
Trash
Inherent Vice
Enemy
10:30/14:00/18:00
12:00/16:15/18:00
14:00/19:45
20:45
22:00
Fri 27 February
Shaun the Sheep
Love Is Strange
50 Shades of Grey
Amour Fou
13:00
13:00/18:00
15:15/18:00
15:30/20:30
20:15
Sat 28 February
Shaun the Sheep
Au Revoir les Enfants
50 Shades of Grey
Love Is Strange
Amour Fou
13:00
13:00/18:00
15:15
15:30/20:30
18:00
20:15
Sun 1 March
Focus on Film: Carry on Cleo
Shaun the Sheep
Amour Fou
50 Shades of Grey
Love Is Strange
10:30/13:00/18:00
11:00
13:00
15:15/20:15
15:30/20:30
18:00
Mon 2 March
Love Is Strange
The Turning
50 Shades of Grey
13:00/18:00
13:00/18:15
15:15/20:30
15:30/20:30
Wed 11 February
Trash
A Most Violent Year
Inherent Vice
Ex-Machina
12:45/18:30
13:00/18:00
15:15/21:00
15:45/20:30
Thu 12 February
Trash
Ex-Machina
A Most Violent Year
Inherent Vice
DCA Film Quiz
10:30/13:15/18:30
10:30/15:45/20:30
13:00/18:00
15:30/21:00
18:30
Fri 20 February
Shaun the Sheep
50 Shades of Grey
Selma
Jupiter Ascending
Dundead: Housebound preview
13:00/18:00
13:00/15:45/20:45
15:00/18:15
19:45 3D
22:00
Selma
Inherent Vice
Trash
12:00/14:00
16:15/18:00
12:45/18:15
15:15/21:00
20:30
Sat 21 February
Shaun the Sheep
50 Shades of Grey
A Letter to Momo
Selma
Jupiter Ascending
13:00/18:00
13:00/15:45/20:45
15:30
18:15
20:30 3D
Sat 14 February
Shaun the Sheep
Selma
Inherent Vice
Live from the Met: Iolanta
Trash
12:00/14:00/16:15
12:00/18:15
14:30/21:45
17:30
20:45
Sun 22 February
50 Shades of Grey
Focus on Film: Satyricon
Selma
Shaun the Sheep
Carmen from Kawachi
Jupiter Ascending
10:30/15:45/20:45
11:00
13:00/18:15
14:00/18:00
16:00
20:30 2D
Fri 13 February
Shaun the Sheep
Day / Film
Thu 26 February
Shaun the Sheep
50 Shades of Grey
Tickets 01382 909 900 17
Day / Film
Times
Tue 3 March
The Second Best
Exotic Marigold Hotel
Love Is Strange
The Turning
50 Shades of Grey
13:00/18:00
13:00/18:15
15:15/20:30
15:30/20:30
Wed 4 March
The Second Best
Love Is Strange
The Turning
50 Shades of Grey
13:00/18:00
13:00/18:15
15:15/20:30
15:30/20:30
Thu 5 March
The Second Best
Love Is Strange
The Turning
50 Shades of Grey
Fri 6 March
The Second Best
White God
Cake
Sat 7 March
The Second Best
Big Hero 6
White God
Cake
10:30/13:00/18:00
10:30/13:00/18:15
15:15/20:30
15:30/20:30
13:00/15:45/18:00
15:30/20:30
13:15/18:30/20:45
13:00/18:00
13:00
15:30/20:30
15:30/20:30
18:00
Day / Film
Sun 8 March
White God
Focus on Film: Gladiator
The Second Best
Big Hero 6
Cake
Mon 9 March
The Second Best
White God
Cake
Tue 10 March
The Second Best
White God
Cake
Artists’ Choice Screening:
Enter the Void
Wed 11 March
The Second Best
White God
Cake
English National Opera:
La Traviata
Thu 12 March
White God
The Second Best
Cake
NT Live:
Behind the Beautiful Forevers
Times
10:30/15:30/20:30
11:00
13:00/18:00
15:00
18:15/20:45
13:00/15:45/18:00
15:30/20:30
13:15/18:30/20:45
13:00/18:00
13:15/15:30/20:30
15:45/18:15
20:30
Artists’ Choice Screening
For each DCA exhibition we ask the artist to choose a film to screen in the cinema, to coincide with
their show. Florian and Michael Quistrebert have selected Gasper Noé’s epic Enter the Void – the
intense use of pulsing visuals and the overall palette of the hallucinatory film chimes with their work
in exhibition Visions of Void, which you can see in the DCA galleries now.
Enter the Void
Tue 10 March, 20:30
Enter the Void is shot entirely from the point of view of its central character
as he lives, dies, and is reborn in the neon haze of Tokyo’s seedy
underbelly. Separated as children, drug dealer Oscar now lives in the city
with his sister Linda, a stripper. When Oscar is shot and killed in a drug deal
gone wrong, his disembodied self follows Linda and his friend Alex as their
lives continue without him, all portrayed in a series of dizzyingly complex,
balletic camera moves.
Dir: Gasper Noé
France / Germany / Italy 2009 / 2h23m / 35mm / English and
Japanese with English subtitles / 18
13:00/18:00
13:15/15:30/21:45
15:45/20:30
19:30
10:30/13:15/15:30/22:00
10:30/13:00/18:00
15:45/20:30
19:00
Accessible Screenings
Audio description is available for all screenings of Whiplash, A Most Violent Year, Inherent Vice,
Trash, Selma and Cake. The following screenings will also have subtitles:
Whiplash Mon 2 February, 20:45
A Most Violent Year Tue 10 February, 18:00
Inherent Vice Sat 14 February, 14:30
Trash Mon 16 February, 19:45
Selma Mon 23 February, 18:15
Cake Mon 9 March, 18:30
18 www.dca.org.uk
Tickets 01382 909 900 19
Focus on Film:
Swords and Sandals
To coincide with The McManus' current exhibition, 'Roman Empire: Power and People', we've
programmed a series of swords and sandals screenings that will give you a chance to explore
this fascinating period in history. Each film is accompanied by a talk from Brian Hoyle of Dundee
University. Reading materials will be provided. Course fee £48 (£35 student). Access to films
without talks, £6 per screening (£5 student).
Ben Hur
Spartacus
Satyricon
Carry on Cleo
Gladiator
Centurion
Sun 8 February, 11:00
Sun 1 March, 11:00
Sun 8 March, 11:00
Sun 15 March, 11:00
It is easy to take Ben Hur and its
record-breaking 11 Oscars for
granted. However, it is easily the finest
Hollywood epic of the 50s and 60s.
There are many reasons for this, not
least the fine performances and
unusually strong script (with
contributions from Christopher Fry and
Gore Vidal). However, what really sets
this film apart is the way that director
William Wyler balances sheer spectacle
(the chariot race is still one of the most
impressive action set pieces ever
filmed) with moments of great intimacy.
Everyone should see this on the big
screen at least once – here’s your
chance.
Easily the second best Hollywood epic
of the period, Spartacus somehow
transcended its origins as a vanity
project for its producer-star (Kirk
Douglas) and a very troubled
production to become a genuine
classic. The credit partly goes to
Stanley Kubrick, whose obsessive
attention to detail is evident in the
spectacular set pieces, to Dalton
Trumbo’s literate script, and to a cohort
of British thespians including Laurence
Olivier, Charles Laughton and Jean
Simmons, who lends the films some
badly needed heart. However, the film
is stolen by Peter Ustinov in Oscarwinning turn as a delightfully
loquacious slave trader.
Fellini’s free-form adaptation of
Petronius is typical of il maestro. It is
sprawling, maddening, self-indulgent,
and very flamboyant. It is also an
intellectually challenging and visually
stunning masterpiece. Described by
Fellini as a “science fiction film set in
the past”, Satyricon does not even
pretend to present its audience with a
depiction of the historical Rome, but
rather offers a series of fairy-tale-like
vignettes, some exuberant, some
funny, some dark, but all lavishly
mounted and very much for adults.
At once a celebration of storytelling and
a chilling examination of a debauched
culture, there’s nothing else quite like it.
“Infamy, infamy, they’ve all got it in for
me!” The tenth Carry On film (based on
“an idea by William Shakespeare” no
less) is one of the high points of low
comedy. The sets and costumes, which
were left over from the Talyor-Burton
Cleopatra mean the production values
are somewhat higher than usual. The
main thing, however, is that Sid James,
Kenneth Williams and Joan Sims are on
delightful form. Top of the heap though
is Charles Hawtrey’s Seneca, who
somehow even manages to make
pottery funny. Set taste aside and
come and enjoy a British institution at
its best.
The sword and sandals genre was all
but dead until this Oscar-winning film
by Ridley Scott single-handedly revived
it. The story was hardly new, but the
sheer energy of Scott’s direction, the
hyperactive editing, the gory battles
and the sheer intelligence and charisma
of Russell Crowe’s lead performance
made everything seem very fresh.
However, the real reason to see this
film is to catch the performances of
British cinema’s legendary hell-raisers,
Richard Harris and Oliver Reed. Both
actors (and Reed especially) lend the
film tremendous gravity and dignity
and show what extraordinary and
undervalued actors they were.
In a stark contrast to the rather dour
The Eagle, Neil Marshall’s film about the
mysterious fate of the fabled 9th Legion
in Caledonia is lean, mean and as
delightfully pulpy as you would expect
from the director of Dog Soldiers and
The Descent. Paying homage to Walter
Hill’s The Warriors, Centurion follows a
rag-tag group of Romans who survive
a bloody battle and try to make it back
to Hadrian’s Wall, whilst being pursued
by some very angry Picts. The cast
of British and Irish character actors,
including Michael Fassbender, Dominic
West and Liam Cunningham are all
superb.
Dir: William Wyler
USA 1959 / 3h4m / Digital / PG
20 www.dca.org.uk
Dir: Stanley Kubrick
Dir: Frederico Fellini
Italy 1969 / 2h9m / Digital / Italian
with English subtitles / 18
Dir: Gerald Thomas
UK 1964 / 1h32m / Digital / PG
Dir: Ridley Scott
USA / UK 2000 / 2h35m / Digital / 15
Dir: Neil Marshall
UK / France 2010 / 1h37m
Digital / 15
Tickets 01382 909 900 21
Vintage film
Holocaust memorial screenings
Duck Soup
Le dernier des injustes
Duck Soup is not only the Marx Brothers’ finest hour
(and five minutes), it is also arguably the funniest and
certainly the most anarchic comedy ever made. The plot,
in which Groucho becomes the megalomaniacal leader
of the fictional state of Freedonia, is often as nonsensical
and surreal as the film’s title - the brothers always denied
that the film was intended as a satire. However, there
were enough swipes at warmongering dictators and
political corruption for Mussolini to declare the film a
personal insult (high praise indeed). Oddly, in 1933,
some critics argued that jokes about dictators were
old hat. Only a few years later, however, the film would
seem remarkably prescient, and serve as an important
reminder of the political power of laughter. But Fascism
is just the tip of the iceberg in a work in which absolutely
nothing (not least Margaret Dumont’s rear) is safe from
Groucho’s acid wit, Chico’s puns or the destructive
urges of Harpo.
If you’ve never seen the Marx Brothers in action, prepare
to be astonished. If you have, come see a masterpiece
that never gets old and revel in some of the finest comic
scenes ever filmed: including the amazing mirror gag,
a hat swapping routine that Samuel Beckett borrowed
for Waiting for Godot and the most deranged battle
in movie history. “Remember men, we’re fighting for
this woman’s honour, which is probably more than she
ever did”.
Dir: Leo McCarey
USA 1933 / 1h5m / Digital / U
1975. In Rome, Claude Lanzmann filmed a series of
interviews with Benjamin Murmelstein, the last President
of the Jewish Council in the Theresienstadt ghetto in
Czechoslovakia. He was the only "Elder of the Jews"
not to have been killed during the war. A rabbi in Vienna,
following the annexation of Austria by Germany in 1938,
Murmelstein fought bitterly with Adolf Eichmann, week
after week for seven years, managing to help around
121,000 Jews leave the country, and preventing the
liquidation of the ghetto.
Sat 7 March, 18:00
Director George Cukor and screenwriter Donald Ogden
Steward’s evergreen version of Phillip Barry’s romantic
farce – centering on a socialite wedding threatened by
scandal – is a delight from start to finish, with everyone
involved on peak form.
Katherine Hepburn's the ice maiden, recently divorced
from an irresponsible millionaire (Cary Grant) and just
about to marry a truly dull but supposedly more
considerate type. Enter Grant, importune and distinctly
sceptical. Also enter James Stewart and Ruth Hussey,
snoopers from Spy magazine, to cover the society event
of the year and throw another spanner in the works. The
film is a marvel of timing and understated performances,
effortlessly transcending its stage origins without ever
feeling the need to 'open out' in any way. The wit still
sparkles; the ambivalent attitude towards the rich and
idle is still resonant; and the moments between Stewart
and Hepburn, drunk and flirty on the moonlit terrace,
tingle with a real, if rarely explicit, eroticism.
Dir: George Cukor
USA 1940 / 1h42m / Digital / U
22 www.dca.org.uk
2012. Claude Lanzmann, at 87 – without masking
anything of the passage of time on men, but showing
the incredible permanence of the locations involved –
exhumes these interviews shot in Rome, returning to
Theresienstadt, the town “given to the Jews by Hitler”,
a so-called model ghetto, but a ghetto of deceit chosen
by Adolf Eichmann to dupe the world. We discover the
extraordinary personality of Benjamin Murmelstein: a
man blessed with a dazzling intelligence and a true
courage, which, along with an unrivaled memory, makes
him a wonderfully wry, sardonic and authentic storyteller.
Through these three periods, from Nisko in Poland to
Theresienstadt, and from Vienna to Rome, the film
provides an unprecedented insight into the genesis of
the Final Solution. It reveals the true face of Eichmann,
and exposes without artifice the savage contradictions
of the Jewish Councils.
Dir: Claude Lanzmann
France / Austria 2013 / 3h40m / Digital / German and
French with English subtitles / cert tbc
Au Revoir les Enfants
Sat 28 February, 15:15
Louis Malle was always the wild card in the deck of
post-war French cinema. Never allowing himself to be
labelled a member of the nouvelle vague, despite being
of the right age, he also confounded audiences and
critics by refusing to repeat himself and by restlessly
moving between France and America, making both
documentaries and feature films in an incredible array
of genres. However, the body of work he left behind is
one of the most substantial, and underrated, of any
European filmmaker, and Au Revoir les Enfants is not
only one of his masterpieces, it is one of the great films
about childhood and memory.
The story, which is set in a provincial French boarding
school in the winter of 1943, is all the more chilling for
being autobiographical. Julien (Malle’s surrogate) is a
tough-acting Mama’s boy who comes to befriend an
awkward new boy named Jean, who he later discovers
is actually a Jew hiding with the help of the school’s
headmaster. What follows is an extraordinary portrait
of friendship and the banality of evil that, unlike most
films about either children or the holocaust, studiously
avoids sentimentality. Malle also sternly refuses to
judge. Indeed, the cruel whims of childhood have
rarely been as well depicted as they are here, and the
performances of the two central boys are immaculate.
Everything about this film, from the steely hues of the
cinematography to the music (mainly Schubert and
Saint-Saëns) is perfectly judged. This is a total
masterpiece.
Dir: Louis Malle
France / Germany / Italy 1987 / 1h44m / Digital /
French and German with English subtitles / PG
Tickets 01382 909 900 23
Performance Screenings
Live from the Met:
Les Contes
D’Hoffmann
Sat 31 January, 17:55
The magnetic tenor Vittorio Grigolo
takes on the tortured poet and
unwitting adventurer of the title of
Offenbach’s operatic masterpiece,
in this wild, kaleidoscopic production
from the Met.
Soprano Hibla Gerzmava faces
the operatic hurdle of singing all
three heroines – each an idealised
embodiment of some aspect of
Hoffmann’s desire. Thomas
Hampson portrays the shadowy
Four Villains, and Yves Abel
conducts the sparkling score.
Approximate running time: 3h25m
Tickets £20 (£10 under 21s)
24 www.dca.org.uk
Live from the Met: ENO: La Traviata
Iolanta and
Wed 11 March, 19:30
Duke Bluebeard’s La Traviata tells the moving story
of how the beautiful but fragile
Castle
On the heels of her triumphant Met
performance in Eugene Onegin,
soprano Anna Netrebko takes on
another Tchaikovsky heroine in the
first opera of this intriguing doublebill, consisting of an enchanting
fairy tale (Iolanta) followed by an
erotic psychological thriller (Duke
Bluebeard’s Castle).
courtesan Violetta is coerced into
sacrificing her one hope of personal
happiness for the sake of her lover’s
reputation.
Netrebko stars as the beautiful blind
girl who experiences love for the first
time in Iolanta, while Nadja Michael
is the unwitting victim of the
diabolical Bluebeard, played by
Mikhail Petrenko. Mariusz Trelinski,
who took inspiration from classic
noir films of the 1940s, directs both
operas.
A tragic and resonant tale of society
and morality, Verdi’s masterpiece
combines compelling characters
with hugely powerful, moving and
instantly recognisable melodies,
making it one of the most
emotionally engaging and
popular operas of all time.
Peter Konwitschny’s celebrated
production of La Traviata returns
to ENO, cutting to the very heart
of the opera’s themes of passionate
love and tragic death. With modern
and uncluttered staging, and a
running time of less than two
hours, this is ideal for newcomers
to the genre.
Live from the Met: Coming Soon:
NT Live:
La Donna del Lago Hamlet with
Behind the
Maxine Peake
Beautiful Forevers Sat 14 March, 16:55
Thu 12 March, 19:00
Sun 29 March, 11:00 (encore)
Meera Syal (The Kumars) returns
to the National Theatre in this play
based on Pulitzer Prize-winner
Katherine Boo’s book, which
recounts the three years she spent
in Annawadi recording the lives of
its residents.
India is surging with global ambition.
But beyond Mumbai airport lies a
makeshift slum, full of people with
plans of their own. Recycling enough
rubbish to buy a house, stealing
government anti-poverty money for
a better life, and studying to try and
graduate, they all have goals. But
their schemes are fragile; global
recession threatens the garbage
trade, and another slum-dweller is
about to make an accusation that
will shatter the neighbourhood.
Approximate running time: 3h
Bel canto superstars Joyce
DiDonato and Juan Diego Flórez join
forces for this Rossini showcase of
vocal virtuosity set in the medieval
Scottish highlands and based on a
beloved novel by Sir Walter Scott.
DiDonato is the “lady of the lake” of
the title, and Flórez is the king who
relentlessly pursues her, their vocal
fireworks embellishing the romantic
plot in this Met premiere production.
Michele Mariotti conducts debuting
Scottish director Paul Curran’s
staging, a co-production with
Santa Fe Opera, where it premiered
in 2013.
Mon 23 March, 18:00
From its sell-out run at Manchester's
Royal Exchange Theatre comes this
unique and critically acclaimed
production of Shakespeare's tragic
Hamlet. In this stripped-back, fresh
and fast-paced version, BAFTA
nominee Maxine Peake creates
a Hamlet for now, giving a
performance hailed as "delicately
ferocious" by The Guardian and
"a milestone Hamlet" by the
Manchester Evening News.
Hamlet is Shakespeare’s most iconic
work. The play explodes with big
ideas and is the ultimate story of
loyalty, love, betrayal, murder and
madness. Hamlet's father is dead
and Denmark has crowned a new
king. Consumed by grief, Hamlet
struggles to exact revenge, with
devastating consequences.
Tickets £15 (£12 under 21s and
students)
Tickets 01382 909 900 25
Supported by the Great Britain Sasakawa Foundation and Japan Airlines.
Japan Foundation
Touring Film Programme
Image © 2004 BE-WILD, ARTIST FILM, TOSHIBA ENTERTAINMENT,
EISEI GEKIJYO, ASAHI BROADCASTING, XANADEUX
It Only Happens in the Movies?
Japanese Cinema and Encounters
Brought to us by Japan Foundation Touring Film Programme, we are thrilled to screen this selection of
films under the narrative of ‘encounters’. Showcasing a vast variety of styles and tones, from popular
contemporary films to classics and animation, the characters in these stories experience unusual
meetings, plunge into unexpected circumstances and new environments, as well as collide with
different generations, ideals and ideas. Join us and experience Japan through cinema.
A Letter to Momo
ももへの手紙 Momo e no Tegami
Blood and Bones
血と骨
Momo is an 11-year-old girl growing up in a big city.
After the loss of her father, she moves to the old family
house on a remote island where time has stopped: old
wooden buildings, holy shrines and no big shops in
sight. Not too fond of her new habitat, Momo’s heart is
feeling uneasy about an unfinished letter her father left
behind with only two words: “Dear Momo.” One day,
exploring the attic of her new big house, she finds an
antique book and is visited by three bizarre creatures...
Chi to hone
Mon 23 February, 20:30
Dir: Hiroyuki Okiura
Japan 2012 / 2h / Digital / Japanese with English
subtitles
Image © 1966 Nikkatsu Corporation
A Letter to Momo is the highly anticipated second
directorial effort by world-acclaimed anime director
Hiroyuki Okiura (Jin-Roh: The Wolf Brigade). Seven
years in the making and supported by a top-class team
of skilled creators, the film combines state-of-the-art
traditional hand drawn animation with heart-warming,
emotional storytelling for children and adults alike.
Carmen from Kawachi
河内カルメン Kawachi Karumen
Image © 2012 "A Letter to Momo" Film Partners
26 www.dca.org.uk
Swapping country life for the big city, young Carmen
escapes her miserable life at home to travel to Osaka,
becoming a hugely popular nightclub singer with men
falling at her feet. This experimental, new wave film by
iconoclastic director Seijun Suzuki (Tokyo Drifter,
Branded to Kill), is the third and final part of his womencentered ‘Flesh Trilogy’ (along with Gate of Flesh and
Story of a Prostitute) and stars Yumiko Nogawa, Suzuki’s
favourite collaborator as the titular Carmen.
Dir: Seijun Suzuki
Japan 1966 / 1h29m / 35mm / Japanese with
English subtitles
Blood and Bones paints an
unflinching portrait of a man
struggling to make a name for
himself in a foreign country and the
web of turmoil his wife, mistress,
children, relatives and all those
around him are drawn into.
In 1923, Shun-pei Kim (legendary
Japanese actor ‘Beat’ Takeshi
Kitano) leaves Cheju, an isolated
island in the far South of Korea, for
Osaka, Japan, dreaming of making
his fortune. Contrary to his hopes,
waiting for him in Japan is a brutal
life of discrimination and hard labour.
With remarkable physical strength,
cunning and ruthlessness, Shun-pei
overcomes the odds to open a
kamaboko (steamed fish cake)
factory, which before long is a
success. However, with no limit to
his obsession for money, Shun-pei
gradually transforms himself into a
ruthless loan shark.
Dir: Yoichi Sai
Japan 2004 / 2h24m / 35mm
Japanese with English subtitles
Short Peace
ショート・ピース
Tue 24 February, 20:00
Short Peace is an anthology of four
short animated films from Japan’s
most talented creators. The
brainchild of renowned animation
filmmaker Katsuhiro Otomo (Akira),
the four dystopian tales represent
a crossover between anime and
traditional artistic traditions, based
around the central theme of ‘Japan’.
The animations include Combustible,
a depiction of a huge fire in Edo by
Katsuhiro Otomo; A Farewell to
Weapons, a dystopian action film
written by Otomo and directed by
mechanical designer Hajime Katoki,
highly regarded for his work on the
Gundam series; Gambo about a
legendary battle between a demon
and white bear by Hiroaki Ando;
and Possessions, Shuhei Morita’s
Academy Award for Best Animated
Short Film nominated film.
Dirs: Katsuhiro Otomo,
Shuhei Morita, Hiroaki Ando,
Hajime Katoki
Japan 2013 / 1h28m / Digital
Wood Job!
(ウッジョブ) ～神
去なあなあ日常～
Wood Job! Kamusari
Nana Nichijo
Wed 25 February, 18:00
Wood Job! is a coming-of-age story
by Shinobu Yaguchi, the director
behind the Japanese box office
smash hits Waterboys and
Swing Girls.
Having flunked his university
entrance exams, 18-year-old Yuki
Hirano (Shota Sometani) abruptly
decides to leave the city behind to
take part in a one-year forestry
programme, swayed not by a
passion for all things lumberjackrelated, but simply the attractive
girl on the programme’s brochure
(Masami Nagasawa). Knowing little
of what lies ahead, Yuki winds up in
rural Kamusari, a small village deep
in the mountains. Far away from
convenience stores or mobile phone
reception and facing an entirely
new way of life, he begins to find
out that the job is a lot tougher than
he imagined.
Dir: Shinobu Yaguchi
Japan 2014 / 1h56m / Digital
Tickets 01382 909 900 27
DISCOVERY FAMILY FILM CLUB
Tickets are £4.50 for under 21s / £5.50 for adults, or a family ticket for four costs £15. Children under the
age of 12 must be accompanied by a parent or guardian. Workshops are free with your cinema ticket,
but places are limited so please book in advance on 01382 909 900.
With Shaun the Sheep – The Movie hitting our screens,
we thought it was a perfect time to remind ourselves of
two of Aardman Studios greatest comic creations,
Wallace and Gromit! No strangers to winning awards,
this 2005 outing brought them their third Oscar win
(following The Wrong Trousers and A Close Shave),
and is lovingly referred to as the world’s first vegetarian
horror film...
Shaun the Sheep – The Movie
Fri 13 February – Sun 1 March
Following hot on the heels of his compadres Postman Pat and Paddington, CBBC’s Shaun the Sheep is the latest TV
character to make his big screen debut. It’s been a busy year for Shaun, who recently won the title of favourite BBC
children's character of the last 70 years (in a British Film Institute poll), and this full length animated movie is bound to
delight the many thousands of people who voted for him.
A small Shaun-inspired accident featuring the sleeping Farmer, a no longer quite so static caravan and a very steep
hill shatters the peace and quiet of Mossy Bottom Farm and sends our flock of heroes off to the Big City to find the
Farmer and get things back to normal. Along the way they must outwit the evil animal warden Trumper and his range
of high-tech hunting gadgetry, all the while blending in with the strange world of human behaviour in the city. Can they
find the Farmer and all get back to Mossy Bottom before tragedy strikes?
The track record of Bristol-based Aardman Studios speaks for itself. With animated classics Chicken Run, Flushed
Away and The Pirates! In An Adventure With Scientists already on their books, this latest adventure continues their
winning blend of great characters, terrific storytelling and glorious visual detail. Shaun has come a long way since
his first appearance alongside Wallace and Gromit in The Close Shave back in 1995, doing extremely well for a
comic character who can’t actually speak. Together with Timmy, Shirley, Hazel and the rest of the flock, plus Bitzer,
the Farmer’s longsuffering canine companion, Shaun’s ram-paging adventures promise a baa-rrel of laughs to
entertain ewe...
Dirs: Mark Burton and Richard Starzak
UK / France 2015 / 1h25m / Digital / Ewe
Bring a Baby screening Thu 26 February, 10:30
Workshop: Sat 21 February, 12:00
Join the flock with some fluffy headwear to wear home, plus enjoy our drawing activities for
budding cartoonists.
28 www.dca.org.uk
With the local Giant Vegetable Competition only a few
days away, Wallace and his faithful sidekick Gromit
are making a fortune with their humane pest control
process, Anti-Pesto. Trouble is, their own house is
now rapidly filling up with all the rabbits they have been
capturing, and, to make matters even worse, a huge
mysterious beast is now attacking all the vegetable plots
in the area. Can Wallace and Gromit and their Anti-Pesto
track down and apprehend this vegetable-sabotaging
monster before it is too late?
Big Hero 6
Dirs: Nick Park and Steve Box
Sat 7 March, 13:00 & Sun 8 March, 15:00
UK 2005 / 1h25m / Digital / U
Workshop: Sat 7 February, 12:00
Grow some kitsch and colourful giant
vegetables to help fill our Activity Room patch!
The 54th feature to come from the Walt Disney
Animation Studio – whose most recent release was a
little film called Frozen – comes this animated action
story based on the Marvel comic character of the same
name. Combining a Disneyesque tone with a very
Japanese visual style and setting, resulting in a unique
film that has already had great success at several
animation festivals, with audience approval ratings
to match.
14 years old and a genius at all things robotic, Hiro
Hamada lives in the futuristic city of San Fransokyo.
Joining his older brother Tadashi at the local Institute of
Technology one day, he meets Tadashi's friends, GoGo,
Wasabi, Honey Lemon, and Fred, along with Baymax,
an inflatable (and consequently very huggable) robot that
Tadashi has created. Stumbling across a plot combining
industrial espionage and attempted murder, Hiro and
his new friends band together to prevent the (inevitably
masked) villain from triumphing. Along the way to reestablishing law and order, Hiro learns the importance
of, amongst other things, carbon fibre underpants.
Dirs: Don Hall and Chris Williams
Workshop: Sat 7 March, 12:00
Try our construction challenges and create a soft
Baymax figure and origami papercraft.
Tickets 01382 909 900 29
Access
DCA welcomes everyone and we are committed to making our programme
and facilities accessible. We accept the CEA card. Application forms and further
details are available from Box Office as well as large print copies of DCA print
material. Guide Dogs are welcome in our cinemas. Details of audio-described
and subtitled screenings are listed in our print and online at our website.
For further information on access please contact us on 01382 909 900.
DCA Cinema is supported by:
DCA follows BBFC recommendations. For further details about film classification or for extended film
information, please refer to www.bbfc.co.uk
01382 909 900
www.dca.org.uk
DCA Box Office is open daily from 10:00 until 15 minutes after
the start of the final film.
All week
£6 before 17:00
£7 from 17:00*
£1.50 additional fee for all 3D films*
Special Prices**
Seniors
Mon £5 all day
Tue – Fri £5 before 17:00
Students
Sun £5 all day
Mon – Fri £5 before 17:00
Un-waged
Mon £5 all day
Mon – Fri £5 before 17:00
Under 15s
Sun £4.50 all day
Mon – Fri £4.50 before 17:00
Disability
Free carer’s ticket on production of valid CEA card
* There are some pricing exceptions, please see film information for further information
**Please bring proof of your status to DCA when purchasing or picking up reduced tickets.
Special Screenings:
Senior Citizen Kane Club
A chance for cinema-goers over 60 to gather and enjoy film together – £4.50
Bring a Baby Screenings
For those with babies under 12 months old – £4.50
£4.50 under 21s
£5.50 over 21s
Family ticket for four people £15.00
Tickets cannot be exchanged or refunded after purchase except in the case
of a cancelled performance.
Ticket offers are subject to availability and may not be used in conjunction with any other offer.
All tickets must be paid for at point of booking.
Whilst every effort is taken to ensure the accuracy of information within this guide, mistakes
do happen. DCA reserves the right to make changes to the programme as necessary.
DCA reserves the right to refuse admission.
DCA asks all customers to refrain from using mobile phones in the cinema.
Customers are welcome to take their drinks into our Cinemas, but are asked to refrain from going
back to the bar during the screening.
Dundee Contemporary Arts
152 Nethergate
Dundee DD1 4DY
Tel 01382 909 900
Email [email protected]
Web www.dca.org.uk
Registered Charity no: SC026631
White God p13
Bookings:

Cinema Guide - Dundee Contemporary Arts

Transcription

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