Maracanã Stadium is lit up bright as day. It’s 2016, and all eyes are on the opening ceremonies of the Rio de Janeiro Olympics. A few blocks away, Émilie B. Guérette is filming an entirely different world: sitting on a rooftop, kids watch the distant fireworks. They are perched atop a ruined federal building, controlled by drug lords. A hundred families live here in squalor, out of sight of the prestigious international visitors drawn to the games. The director patiently explores the building and its hidden corners. As we meet the occupants, a portrait emerges of a dark and forgotten Rio. Thanks to the director’s warm, attentive approach, L’autre Rio stands as a tribute to the dignity and resilience of some of Rio’s most vulnerable people.
The Moviecard is not accepted for this special event.
THE ROOM is a sincere attempt by actor, director, writer, and producer Tommy Wiseau to create a romantic tragedy. Fortuantely it was so poorly made that it has attained cult status in LA, where monthly midnight screenings have been held for the last few years and audience participation has become a tradition.
Down in the swamp with films like Plan 9 from Outer Space and Troll 2, THE ROOM is so bad that it is among the top 10 bestselling comedies on amazon.com, and has even made it onto Wikipedia’s List of films considered the worst. You will find this movie so awful that you will want to watch it again and again.
• Is this the worst movie ever made? The Room is so unfeasibly bad, it has become a cult hit (The Guardian UK).
• “The Citizen Kane of bad movies” (Entertainment Weekly)
• “a bad – shockingly bad – romantic tragedy” (Time Out New York).
• “prompts most of its viewers to ask for their money back – before even 30 minutes have passed” (Variety).
Most film-makers have nightmares about reviews like these, but they’ve worked wonders for The Room, a movie whose transcendent awfulness has made it a cult phenomenon and an audience-participation fixture along the lines of The Rocky Horror Picture Show.
«Mid 90s» follows Stevie, a 13-year-old boy growing up in a troubled family in Los Angeles. He spends his summer escaping reality with a new group of friends he meets at a skateboard shop. As he searches for himself, Stevie will encounter problems with his new friends.
Alex Garland, writer of 28 Days Later and Sunshine, makes his directorial debut with the stylish and cerebral thriller, EX MACHINA. Caleb Smith (Domhnall Gleeson), a programmer at an internet-search giant, wins a competition to spend a week at the private mountain estate of the company's brilliant and reclusive CEO, Nathan Bateman (Oscar Isaac). Upon his arrival, Caleb learns that Nathan has chosen him to be 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 (Alicia Vikander), a breathtaking A.I. whose emotional intelligence proves more sophisticated--and more deceptive--than the two men could have imagined.
2 h 20 approx
Àlex Ollé and La Fura dels Baus propose another quite destabilizing reading of a timeless piece. Here the action of Wagner’s libretto is magnified by musical director Pablo Heras-Casado’s qualities as a storyteller and by the accomplished interpretation of Samuel Youn. Richard Wagner’s Der Fliegende Höllander (The Flying Dutchman) is a masterpiece of the Romantic era, a gripping exploration of love, death, purity and damnation. In this production by Alex Ollé (La Fura dels Baus), the conflict between good and evil is a reflection of a tormented and imprisoned soul.
The Dutchman, condemned to sail across an infinite ocean until the end of time, desires only to be released from his doomed vessel and return to a life on land. The sea, infinite and transcendent, becomes a powerful metaphor for the ultimate limits imposed on man.
In Richard Wagner’s autobiography, the composer wrote that his inspiration for Der Fliegende Holländer first struck during a sea voyage with his wife, traveling from Riga to London. A work full of symbolism, its central theme is redemption through a woman’s love: in young Senta’s pledge of faith, the sea captain recognizes his salvation. For her part, Senta abandons herself to a destiny with the nameless specter.
A darkness swirls at the center of a world-renowned dance company, one that will engulf the troupe's artistic director (Swinton), an ambitious young dancer (Johnson), and a grieving psychotherapist (Ebersdorf). Some will succumb to the nightmare. Others will finally wake up.
Presented as part of MARX NOW, a series of events initiated by the Goethe-Institut in North America on the occasion of the 200th anniversary celebrations of Karl Marx’s birthday.
Short introduction by Professor Beverley Best, Concordia University, followed by discussion with filmmaker Christian Tod.
Just a few years ago, an unconditional basic income was considered a pipe dream. Today, this utopia is more imaginable than ever before - intense discussions are taking place in all political and scientific camps. Unconditional basic income means money for everyone - as a human right without consideration. Visionary reform project, neoliberal axe at the roots of the welfare state or socially romantic leftist utopia? The basic income shows very different ideological faces, depending on the type and scope of income. FREE LUNCH SOCIETY provides background information about this idea and searches for explanations, possibilities and experiences regarding its implementation. From Alaska‘s oil fields to the Canadian prairie, from Washington‘s think tanks to the Namibian steppes, the film takes us on a grand journey and shows us what the driverless car has to do with the ideas of a German billionaire and a Swiss referendum. FREE LUNCH SOCIETY, the first international film in cinemas about basic income, is dedicated to one of the most crucial questions of our times.
"Fascinating interviews, archival footage, and lively pop culture references." —Doxa Festival, Vancouver
Christian Tod is a filmmaker and economist. He began working on Free Lunch Society, combining his expertise in both fields for a project he considers utterly important for the future of mankind: Unconditional Basic Income. Free Lunch Society premiered in 2017 in Copenhagen at the CPH:DOX Film Festival, was theatrically released in numerous countries and has participated in over 50 film festivals.
Beverley Best is an Associate Professor in the Department of Sociology and Anthropology, Concordia University, Montreal. She is the author of Marx and the Dynamic of the Capital Formation: An Aesthetics of Political Economy (Palgrave Macmillan, 2010). She is currently preparing a monograph on the third volume of Marx’s Capital, titled, The Automatic Fetish: Perceptual Economies of Capital.