2019 Spring viweings

Six big hitters for SW Viewing Days.

Eastern event: Sunday 7 April at Shipham Community Cinema, Somerset.
Location map Address: Shipham Village Hall, New Rd, Shipham BS25 1SG
Parking: There is plenty of parking in the car park attached to the hall.

Western event: Sunday 28 April at Launceston Town Hall, Cornwall.
Location map Address: Western Rd, Launceston, PL15 7AR
Parking: A multi story car park in Westgate St is adjacent to the Town hall. Parking on Sunday is free.
For both events: Registration and coffee from 10.00 am. Programme starts at 10.30.

SHOPLIFTERS (15)

Japan, 2018, 121 minutes, sub-titles, drama, Cannes 2018 Palme d’Or winner.
Hirokazu Kore-eda’s (Still Walking, I Wish, Our Little Sister) new film is a complex and exceptional drama about the forces that hold family together. Living on the edge of society in Tokyo, the Shibatas use petty thieving to make ends meet. After one of their shoplifting sessions, father Osamu and son Shota chance upon a neglected little girl and take her in. A rare depiction of Japanese society’s urban poor, Shoplifters is a deeply satisfying film, exquisitely drawn and full of Kore-eda’s trademark subtlety, nuanced moral inquiry and, of course, the bonding quality of food.
“a film that exists in that strange netherworld between crime drama and family story. It’s an eerily moving piece, masterfully blurring the divide between the unforgivable and understandable, finding tenderness in the bleakest and most traumatic of circumstances.” Mark Kermode.

GREEN BOOK (12A)

USA, 2018, 130 minutes, period drama, Oscars 2019: Best Picture.

Green Book brings together Mahershala Ali (Oscar winner, Moonlight) and Viggo Mortensen in an upbeat true story of an unlikely friendship. In 1962, Italian-American Tony Lip is hired as chauffeur and bodyguard to African-American pianist, Dr Don Shirley on a concert tour through the Deep South.
Despite Tony’s own problematic racial views, the pair embark on a road trip with the potential to change both of their lives. There is smart comedy as you’d expect from the co-director of Dumb and Dumber and There’s Something About Mary but, eminently watchable though it is, the film does not sugar coat the racial tensions of the ‘60s and serves as a reminder of the persistent bigotry of our own times.
“’Green Book’ can’t heal racism, but it’s a reminder that spending time with people different from ourselves, even if only in the dark on a movie screen, can be the key to combating prejudice.” Peter Debruge, Variety.

THE GUILTY (15)

2018, Denmark, 85m, sub-titles, police thriller, winner of many awards

A treat for fans of Nordic noir, this high-concept, low budget debut is a deft, taut, nail-biting crime story shot in real time. In a police station somewhere in Denmark, officer Asger has been consigned to phone duties – reluctantly so until he takes a shivery, cryptic call from Iben. Before the call is abruptly disconnected, Asger ascertains that she’s been kidnapped. But confined to the police station, what can he do?
Unrelenting and brilliantly performed, Möller’s effective thriller generates maximum suspense from the elements at his disposal. “Echoes of Dog Day Afternoon and Locke reverberate around this claustrophobic thriller, which is tautly plotted, precisely paced and grippingly played by Jakob Cedergren and his unseen co-stars.” David Parkinson Empire Magazine.

WILDLIFE (12A)

2018, USA, 2018, USA, 104 minutes, drama, nominee at Sundance 2018

Wildlife is the tale of a 1960s nuclear family — mum, dad, teenage son — whose lives blow up like an atomic bomb. We see things through the eyes of young Joe: the sensitive teen watches aghast as first his father, Jerry (Gyllenhaal), freshly fired from a menial job at a golf course, heads off to fight a forest fire in an attempt to reassert his masculinity, then as his mother, Jeanette (Mulligan), begins to hit the bottle, embarking on a startling downwards spiral. Jerry’s off fighting flames, but the real inferno is sparking to life in the family home.
“Wildlife isn’t any kind of feel good romp, but it has an emotional richness and subtlety you simply don’t find in most movies about the growing pains of American teenagers. In his performances in films such as There Will Be Blood and Love & Mercy, Dano has long excelled at playing awkward, oddball visionary types. His spiky style behind the camera matches his acting. In a directorial debut of immense promise, he never makes the obvious decision, instead trying to get under the skin of his characters.”
Geoffrey Macnab. The Independent.

FACES PLACES (12A)

2017, France, 92 minutes, subtitles, documentary, Oscars 2018 nominee, Cannes 2017 winner.

Maestro of French cinema Agnès Varda (The Gleaners and I, The Beaches of Agnès) joins forces with street artist and self-styled photograffeur JR in this magnificently moving and funny Oscar-nominated documentary.
Together, this odd couple explores France, using JR’s camera van (which spits out huge Polaroid-like posters) to create photographs of the people they meet – factory workers, farmers, waitresses and dockworkers in locations both rural and industrial – and honour them on a vast visual scale. Varda’s first co-directed film is a triumph, a multimedia celebration
of creativity and the quiet heroism of her fellow citizens’ everyday lives.
“[Varda’s] past surges forth into her films with a sense of equilibrium, attachment, and gratitude.”
The New Yorker.

THE DIVINE ORDER (12)

2017, Switzerland, 94 minutes, subtitles, period drama/comedy, CfA booking scheme.

Switzerland, 1971: Nora is a young housewife and mother who lives with
her husband, their two sons and her father-in-law in a little village. Here, in the Swiss countryside, little or nothing is felt of the huge social upheavals that the movement of May 1968 has caused. Nora’s life, too, has been unaffected; she is a retiring, quiet person, well liked by everyone – until she begins to campaign publicly and pugnaciously for women’s right to vote, an issue that will be put before the male voters on February 7th, 1971.
“The humour may be broad, but there’s no denying the power of this story in which a housewife finds liberation in 1970s Switzerland”. Cath Clarke The Guardian.

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