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Matin au Parc: Duck Soup
Make your children experience the cinema of the 1930s with the delirious Marx Brothers, emblems of comic cinema of the era!

DUCK SOUP is the most crazy, so the most successful, Marx Brothers movies. Led brilliantly by Leo McCarey, Groucho and his brothers gave free rein to their imagination, to their hallucinating sense of absurdity. Mixing gags straight out of Tex Avery’s cartoons, the awesome parodies of Hollywood musicals with surreal dialogues. They multiply strong times, pulverize theatrical structures around a scenario without fail and far from being innocuous. The stormy relations between two imaginary monarchies (Freedonia and Sylvania), led by two ridiculous and dangerous despots, remind us that in Europe, Germany has just fallen into Hitler’s hands.

For which public?
5 years old and up

Good reasons to see the movie
• This film features some very clownesque beads, a humour that children will enjoy
• For the foolishness that criticises a political system
• To introduce your children to these American comic family, the Marx Brothers
Leo McCarey
Woman at War (STA)
Halla is a committed undercover eco-terrorist trying to save Iceland’s natural landscapes from industrialist destruction, but when a long-desired child becomes available for adoption, she must choose between the greater good and her own dreams.
Benedikt Erlingsson
The Beach Bum (STF)
Preceded by the short film VILLE PLATTE (9 min) by Laurence Baz Morais, as part of Plein(s) Écran(s) en salle.

THE BEACH BUM follows the hilarious misadventures of Moondog (Matthew McConaughey), a rebellious rogue who always lives life by his own rules. Co-starring Snoop Dog, Zac Efron, and Isla Fisher, THE BEACH BUM is a refreshingly original and subversive new comedy from director Harmony Korine (Kids, Spring Breakers).
Harmony Korine
Minuit au Parc: Mandy (STF)
Taking place in 1983, Red is a lumberjack who lives in a secluded cabin in the woods. His artist girlfriend Mandy spends her days reading fantasy paperbacks. Then one day, she catches the eye of a crazed cult leader, who conjures a group of motorcycle-riding demons to kidnap her. Red, armed with a crossbow and custom Axe, stops at nothing to get her back, leaving a bloody, brutal pile of bodies in his wake.

« MANDY is not just hideous, hilarious and thrilling – although, it’s all of those and then some – it’s also a meditation on personal grief which loses no poignancy for all its blood-soaked insanity and eye-melting psychedelia. » -CineVue

« Through Cage, the film’s straightforward revenge plot becomes a King Crimson album played at half speed and twice normal volume; a bizarre and bloody outing with a strong heart beneath the surface. » -The Playlist
Panos Cosmatos
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, 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.

Special rate: $17
Tommy Wiseau
RIDM+ présente: América (STA)
Three brothers confront the chasm between adolescent yearning and adult responsibilities when brought together to care for their charismatic ninety-three year old grandmother in this feature-length documentary debut from directors Erick Stoll & Chase Whiteside. Diego is a young circus artist living away from his family in a dull landscape of tourist beaches and all-inclusive resorts when he must return home suddenly. His grandmother, América, fell from her bed, causing his father to be jailed under accusation of elder neglect. Diego sees poetry and purpose in this tragedy. He believes América, despite her immobility and advanced dementia, fell willfully, to bring the separated family back together. He reunites with his estranged brothers and leaves his old life behind. But now they face the considerable challenges of freeing their father from an opaque court system bereft of moral authority, and learning to be caretakers for someone who may not understand who they are. And yet the greatest challenge might be learning to work together. As the brothers clash over money and the distribution of labor, difficult questions take the foreground – who decides what becomes of América? and how long will they put their lives on hold to care for her?
Erick Stoll, Chase Whiteside
Cinéspecacle: Madama Butterfly (Teatro Madrid)
CONDUCTOR: Marco Armiliato
Ermonela Jaho (Madame Butterfly)
Enkelejda Shkosa (Suzuki)
Marifé Nogales (Mrs. Kate Pinkerton)
Jorge de León (B. F. Pinkerton)
Àngel Òdena (Sharpless)
Francisco Vas (Goro)
Tomeu Bibiloni (El príncipe Yamadori)
Fernando Radó (El tío Bonzo)
DURATION: 2 h 25 approx

By setting Madame Butterfly in a 1930s movie studio complete with cameras and screens, Mario Gas allows a rare intimacy, a delicate gaze on the actors. In Ciné-spectacle, cinema within the cinema adds yet another dimension to the fertile concept.

A temporary wife was a widespread practice in Japan at the end of the 19 th century. The West – with the United States leading – had established diplomatic and commercial relations with the country in the mid-century and the fascination with the birthplace of geishas spread like wildfire. The influence of a distant (and imaginary) Orient would take form in works by a variety of European and North American artists that continued well into the 20 th century. In this way, Butterfly is a crass embodiment of the conflict between two irreconcilable civilizations, one which dominates the other. A man of a subtle theatrical spirit, Puccini portrayed brilliantly the fragility of a geisha in love who naively believed the dashing North American navy officer also loved her. The musical score evokes agreeably harmonized traditional Japanese melodies. Mario Gas places the story in a 1930s film studio. He narrates this moving drama from three simultaneous perspectives: the opera itself, the film being made of the opera, and its projection in black and white on the big screen.
Ash Is Purest White (STA)
Set in 2001, Ash Is Purest White is a fusion of innovation, entertainment, and social critique. Qiao (Zhao Tao) lives in a town tumbling into economic decline. She concerns herself little with such matters because her boyfriend, Bin (Liao Fan), is a dashing gangster who works for a corrupt property developer. After his boss is murdered, Bin ascends in rank and finds himself vulnerable to rival hostilities. When Bin and Qiao are arrested, she makes a fateful decision: she takes the heat. After five years in prison, she emerges to find her world has transformed. Her former mafia associates have moved into legitimate businesses, while Bin has found another moll. Qiao seeks revenge, but, more importantly, she searches for a new identity in a changing China — a search that will take her to Three Gorges Dam and toward a powerful revelation.
Jia Zhang-ke
Special event
Post-screening discussion
27 March 2019  19:30
Head First (STA)
Head First (Tenir tête) tells the story of three people’s journeys into mental illness and back. Louis was the drummer of the band Les Sinners, a private detective and a drug addict. Frédérique is a talented photographer who is not always an angel. Mathieu Arsenault is a filmmaker and father, half angel, half demon. What unites them is their bipolar affective disorder. They have experienced the ecstasies of psychosis and the abysses of depression. They have all found their way back after hitting rock bottom. Today, in full control of their lives, they tell their stories to fight prejudice and give hope to all those who are struggling with mental illness.
Mathieu Arsenault
A psychotherapist suffers violent nightmares inspired by legendary works of art. Four of his patients, expert thieves, offer to steal the works, since he believes that once he owns them, the nightmares will disappear. He becomes a wanted criminal know as "The Collector". Who will dare to catch him and his gang?
Milorad Krstic
Miraï of the Future (STA)
Kun, a little boy, enjoys a happy childhood until the arrival of his baby sister, Mirai. As the new baby becomes the center of his parents’ attention, he becomes increasingly jealous. Little by little, he withdraws into himself. In the backyard where he likes to take refuge, grows a magical family tree. Kun finds himself suddenly catapulted into a fantastic world where the past and the present mingle. One after another, he meets his relatives at different ages: his mother, as a little girl; his great-grandfather, as an energetic young man; and his little sister, as a teenager. Through these adventures, Kun is able to discover his own story.
Mamoru Hosoda
3 Faces (STA)
Well-known actress Behnaz Jafari is distraught by a provincial girl's video plea for help--oppressed by her family to not pursue her studies at the Tehran drama conservatory. Behnaz abandons her shoot and turns to filmmaker Jafar Panahi to help solve the mystery of the young girl's troubles. They travel by car to the rural northwest where they have amusing encounters with the charming folk of the girl's mountain village. But the city visitors soon discover that the protection of age-old traditions is as generous as local hospitality...
Jafar Panahi
Never Look Away (STA)
German artist Kurt Barnert has escaped East Germany and now lives in West Germany, but is tormented by his childhood under the Nazis and the GDR-regime.
Florian Henckel von Donnersmarck
Climax (STA)
Preceded by the short film SCOPIQUE by Alexa-Jeanne Dubé as part of Plein(s) Écran(s) en salle.

France Sangria Massacre! You’ve been told – not that you didn’t already know. Gaspar Noé’s latest delivers the celluloid meltdown of the year. In fact, it’s hard to imagine anything this year that’s more brilliantly deranged. Over in Cannes, they’re still recovering! Imagine Salò or the 120 Days of Sodom on the dancefloor and France as a monstrous, self-cannibalizing entity. A rapacious film neck-deep in allegory that starts with a wild party and ends in hell. Virtuosic and radical, Climax is a study in what happens when sleeping dogs wake up.
Gaspar Noé
Laura, a Spanish woman living in Buenos Aires, returns to her hometown outside Madrid with her two children to attend her sister's wedding. However, the trip is upset by unexpected events that bring secrets into the open.
Asghar Farhadi
Capharnaüm (STA)
Winner of the Grand Jury Prize at the Cannes Film Festival, Nadine Labaki’s CAPERNAUM (“Chaos”) tells the story of Zain, a Lebanese boy who sues his parents for the “crime” of giving him life. CAPERNAUM follows Zain as he journeys from gutsy, streetwise child to hardened 12-yearold “adult”: fleeing his abusive, negligent parents, surviving through his wits on the streets, taking care of Ethiopian refugee Rahil and her baby son Yonas, being jailed for a violent crime, and finally, seeking justice in a courtroom.
Nadine Labaki