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From April 27 2018
To April 28 2018
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Modern Times
6+

By Charlie Chaplin
With : Charlie Chaplin, Paulette Goddard, Chester Conklin

This episodic satire of the Machine Age is considered Charles Chaplin's last "silent" film, although Chaplin uses sound, vocal, and musical effects throughout. Chaplin stars as an assembly-line worker driven insane by the monotony of his job. After a long spell in an asylum, he searches for work, only to be mistakenly arrested as a Red agitator. Released after foiling a prison break, Chaplin makes the acquaintance of orphaned gamine (Paulette Goddard) and becomes her friend and protector. He takes on several new jobs for her benefit, but every job ends with a quick dismissal and yet another jail term. During one of his incarcerations, she is hired to dance at a nightclub and arranges for him to be hired there as a singing waiter. He proves an enormous success, but they are both forced to flee their jobs when the orphanage officials show up to claim the girl. Dispirited, she moans, "What's the use of trying?" But the ever-resourceful Chaplin tells her to never say die, and our last image is of Chaplin and The Gamine strolling down a California highway towards new adventures. The plotline of Modern Times is as loosely constructed as any of Chaplin's pre-1915 short subjects, permitting ample space for several of the comedian's most memorable routines: the "automated feeding machine," a nocturnal roller-skating episode, and Chaplin's double-talk song rendition in the nightclub sequence. In addition to producing, directing, writing, and starring in Modern Times, Chaplin also composed its theme song, Smile, which would later be adopted as Jerry Lewis' signature tune

"This is an ambitious, accomplished and frequently uproarious comedy. The exuberant energy of Charlie's manic bolt-twisting at the factory, his hallucinatory heroics during the prison riot (prompted by someone slipping ëjoy powderí into a salt cellar), and his blindfold rollerskating balletics were remarkable for a 45 year-old who had been largely inactive for four years. Moreover, they proved that pantomime still had a place - even in an age of wisecracks and screwball." - Empire

"The picture is grand fun and sound entertainment, though silent. It's the old Chaplin at his best, looking at his best -- young, pathetic and a very funny guy." - Variety
Charlie Chaplin
 
Ciné-Psy: Arrival
Film critic Helen Faradji and psychanalyst Martin Gauthier will discuss the notion of progress in the film after the screening.

When mysterious spacecraft touch down across the globe, an elite team--lead by expert linguist Louise Banks (Amy Adams)--are brought together to investigate. As mankind teeters on the verge of global war, Banks and the team race against time for answers--and to find them, she will take a chance that could threaten her life, and quite possibly humanity.
Denis Villeneuve
 
Stage director and comedian Christiane Pasquier along with psychanalyst Marie-Claire Lanctôt Bélanger will comment the notion of progress in the film after the screening.

Hilarious, dazzlingly inventive comedy in which Mr. Hulot tries to function in an unrecognizable Paris of modernistic glass-and-steel skyscrapers.
Jacques Tati
 
They Live
"John Carpenter’s film is a political and social thriller posing as an alien invasion sci-fi. Aliens have invaded earth and employ coded television transmissions to assist them in their desire to control the human population.

Accompanying these messages are what appear to be a precursor to the modern-day drones which now control our skies. The true conflict, not only within the film, but also surrounding it, is the controlling influence of television and how this conflicts with ideas of free will in the West.

One conflict addressed in They Live is that of film versus television. Beginning in the late 1970s, the competition for viewership supremacy actually brought about a change within filming methods, as most films would eventually be watched on a television. Television is better viewed with different aspect ratios and viewing qualities than film. According to film historian Emilie Bickerton, in order to retain home viewership after a film had been shown in theatres, films were preemptively shot to accommodate a television viewing experience.

A further issue was that television had a greater susceptibility to advertising and the demands of television executives in a manner that cinema – especially independent cinema – did not. They Live is a critique of both television and advertising, with Carpenter rallying against ratings hungry network executives and the insidious, controlling influence of advertising. It’s a work that combines science fiction and horror elements in which Carpenter makes a compelling statement relating to the real world – that film can be a weapon which fights the social coercion of television." -BRYAN HEMPEL, Little White Lies | Source: http://lwlies.com/articles/they-live-john-carpenter-television-advertising-satire/
John Carpenter
 
Ciné-Psy: Les temps modernes
Film director and screenwriter Bruno Baillargeon along with psychanalyst Amal Wahbi will comment the notion of progress in the film after the screening.

Modern Times is a truly unique motion picture, basically a silent film released seven years after the demise of the form. In this picture, Charlie Chaplin added a backdrop of social issues, homelessness, poverty, and unemployment, which although subservient to the comic routines, broadened the canvas of his presentation.
Charlie Chaplin
 
JULIUS CAESAR
THE SHAKESPEARE TRILOGY began as a feminist project for the stage to address the lack of representation of women in theatre, and escalated over time into a wider mission to give voice to all those feeling excluded from our culture. After a five year collaboration with actors, prisoners and members of the Clean Break Theatre company (who work with female ex-offenders using theatre as a tool for rehabilitation) I wanted to record something of the - at times - explosive nature of the work and in particular Harriet Walter’s electric screen presence.

The whole mission was to represent those who felt they had no stake in our culture and the screen version tries to capture their fury and passion. To take the viewer where they could never go to whilst sitting in the theatre, even as it was unfolding live.
Special event
A special RIDM+ screening
Today  19:00
RIDM+ présente The Other Side of Everything
A locked door inside a Belgrade apartment has kept one family separated from their past for over 70 years. As the filmmaker begins an intimate conversation with her mother, the political fault line running through their home reveals a house and a country haunted by history. The chronicle of a family in Serbia turns into a searing portrait of an activist in times of great turmoil, questioning the responsibility of each generation to fight for their future.
Mila Turajlic
 
You were never really here (STF)
A traumatized veteran, unafraid of violence, tracks down missing girls for a living. When a job spins out of control, Joe's nightmares overtake him as a conspiracy is uncovered leading to what may be his death trip or his awakening.

Inspired by the novel by Nathan Ames, the female director impresses with her writing and her directing while sublimating the magnetic performance of Joachin Phoenix. The film also won the Best Screenplay Award and the Best Male Performance Award at Cannes Film Festival last year.
Lynne Ramsay
 
Vers la lumière (STF)
Misako is a passionate writer of film versions for the visually impaired. At a screening, she meets Nakamori, an older photographer who is slowly losing his eyesight. Misako soon discovers Nakamori’s photographs, who will strangely bring her back to her past. Together, they will learn to see the radiant world that was invisible to her eyes.
Naomi Kawase
 
Radiance (STF)
Misako is a passionate writer of film versions for the visually impaired. At a screening, she meets Nakamori, an older photographer who is slowly losing his eyesight. Misako soon discovers Nakamori’s photographs, who will strangely bring her back to her past. Together, they will learn to see the radiant world that was invisible to her eyes.
Naomi Kawase
Special event
Special «Bring your own dog» screening
29 April 2018  21:00
Isle of Dogs (STF)
No vouchers accepted before April 19

Screenings of the film will be preceded by the short film HEDGEHOG'S HOME directed by Eva Cvijanović. A co-production between the National Film Board of Canada and Bonobostudio.

Twenty years in the future, Japan has an abundance of dogs. So many that they can't contain them all. The politicians decide to exile the canines to an island where trash is dumped. Rex, King, Duke, Boss and Chief form a band of alpha dogs who vow to find better food than what's left in the garbage. When a 12-year-old boy crashes his self-made airplane on the island to look for his lost dog Spot, the alpha dogs and the other dogs on the island team up to help him.

SPECIAL «BRING YOUR OWN DOG» SCREENING
Sunday April 29, 9pm


WOOF WOOF! Back by popular demand, Cinema du Parc is organising special screening of Isle of Dogs where you can your bring your own dog! Dogs will need a ticket to attend the event. A special rate of 9$ will be applied for your canine companion. Owners are responsible for their dog‘s behavior. Overly aggressive or uncontrollable dogs will be asked to leave.

RULES TO FOLLOW: It will be very important to keep your dog on a leash during the whole evening. For the occasion, you'll also need to bring a blanket to put on a theatre bench so Kiki can seat on it.

*Please note that if you purchase your tickets online, make sure you select the category ENFANT 13- for the special dog rate.
Wes Anderson
 
The Death of Stalin (STF)
The one-liners fly as fast as political fortunes fall in this uproarious, wickedly irreverent satire from Armando Iannucci (Veep, In the Loop). Moscow, 1953: when tyrannical dictator Joseph Stalin drops dead, his parasitic cronies square off in a frantic power struggle to be the next Soviet leader. Among the contenders are the dweeby Georgy Malenkov (Jeffrey Tambor), the wily Nikita Khrushchev (Steve Buscemi), and the sadistic secret police chief Lavrentiy Beria (Simon Russell Beale). But as they bumble, brawl, and backstab their way to the top, just who is running the government? Combining palace intrigue with rapid-fire farce, this audacious comedy is a bitingly funny takedown of bureaucratic dysfunction performed to the hilt by a sparkling ensemble cast.
Armando Iannucci