Cinema: Pane e tulipani (Silvio Soldini, 2000)

Sunday 21 August 2022, Cinema: Bread and Tulips / Pane e tulipani (Silvio Soldini, 2000), 114 minutes. In Italian with English subtitles. Doors open at 20:30, Film starts at 21:00.

Bread and Tulips is first and foremost an act of love towards Venice. The protagonist is a woman, interpreted by Licia Maglietta, who wants to escape a meaningless housewife life. She meets a mysterious man, interpreted by Bruno Ganz, who is exceptionally acting in Italian. Aside from the comedy and the beauty of Venice, also shot in angles that you do not expect, this film presents a multi-layered message of social critique of an Italy of fin de siècle (meaning 1990s), stuck between a glorified past and the desire to live life here and now, without compromises.

Film night at Joe’s Garage, cozy cinema! Free entrance. You want to screen a movie, let us know: joe [at] lists [dot] squat [dot] net

Can Dialectics Break Bricks Cinema: I cannibali (Liliana Cavani, 1970)

Sunday 14 August 2022, Can Dialectics Break Bricks Cinema: The Year of the Cannibals (Liliana Cavani, 1970), 87 minutes, in Italian with English subtitles. Doors open at 20:30, film starts at 21:00.

This is a wild offbeat plunge into European cinema of the 70s… a time when everything was up for grabs and bold experiments were being forged by visionary directors… in this case Liliana Cavani (The Night Porter). As I have mentioned before, female directors were emerging here in Europe in this period, a phenomena that would pretty much be dashed in the 80s. This bizarre document was made during the social protest years of 1967-69 and stars Britt Ekland along with the uncompromising Pierre Clémenti. It’s loosely based on the Greek tragedy Antigone by Sophocles, but this version has been updated into a surreal-symbolic Italian sci-fi of the 70s.

We enter a situation where the city streets are littered with the copses of hundreds of boys and girls, who were probably demonstrators beaten by the police. The bodies are left there as a warning against rebellion by the government, and no one is allowed to touch them. The story centers on a woman who wants to bury her dead brother, and together with her friend Tiresias, they conspire to break the law and bury the dead. The thunderous music score is by Ennio Morricone.

Ironically the cityscape strewn with lifeless bodies anticipated a bomb which exploded in a Milan bank a few months later. First blamed on leftists, it was later discovered it had been planted by neo-fascists. The bomb blast killed 18 and wounded 80. Director Liliana Cavani would later call her film a “tragic prophecy.”

Film night at Joe’s Garage, cozy cinema! Free entrance. You want to screen a movie, let us know: joe [at] lists [dot] squat [dot] net

Can Dialectics Break Bricks Cinema: Sexy Beast (Jonathan Glazer, 2000)

Sunday 10 July 2022, Can Dialectics Break Bricks Cinema: Sexy Beast (Jonathan Glazer, 2000), 89 minutes, in English with English subtitles. Doors open at 20:30, film starts at 21:00.

The director of this film Jonathan Glazer says that he based it upon an old Greek myth about a man who thought he was happy and the Gods sent him the unhappiest man on earth. That seems to be a good way to look at this wild story about a British gangster (Ray Winstone) who wants nothing more than retire and enjoy his wealth. He lounges at his villa on Costa del Sol, with not a care in the world, until his Mediterranean paradise is interrupted by Logan (Ben Kingsley), who wants him to be involved in a London heist and won’t take no for am answer. That’s the volatile set-up for this raw drama that explodes into surreal proportions.

Especially Ben Kingsley’s infamous character, as a goateed, shaved-headed pit bull of a gangster is a classic, and its a direct contrast to his earlier academy award winning incarnation of Gandhi. In fact in this film he plays a kind of anti-Gandhi….a pushy gangster type which you will never forget. Director Glazer is best known for his inventive video work for bands like Massive Attack and Radiohead, and here he takes cinema head-on in this “high-voltage crime thriller that crackles with chilling style and wit.”

Film night at Joe’s Garage, cozy cinema! Free entrance. You want to screen a movie, let us know: joe [at] lists [dot] squat [dot] net

Can Dialectics Break Bricks Cinema: Morvern Callar (Lynne Ramsay, 2002)

Sunday 12 June 2022, Can Dialectics Break Bricks Cinema: Morvern Callar (Lynne Ramsay, 2002), 97 minutes, in English with English subtitles. Doors open at 20:00, film starts at 20:30.

Scottish director Lynne Ramsay (We Need to Talk about Kevin) proved to be the boldest of all female European filmmakers when she blasted into the scene with her compelling early short movies and her haunting debut feature Ratcatcher. Morvern Callar was her second feature film, and we find her covering radically different territory yet again, with a story about a woman in Scotland whose boyfriend has committed suicide on Christmas Day. She then breaks away and takes off on a trip with her female friend to Spain. Actually, there is a lot more to this story than what I am telling, involving many levels of deception, intrigue, questions about art and forgery, and hidden secrets, but it’s better to let the story unfold itself. And although there is a story, I would say it isn’t a movie for a story-driven audience, one that is looking for thrills and spills… but rather for an audience that can pick up on ambience, the sensuality of the human face, and quiet subdued moments rather than overblown ones.

This is an absorbing portrait of the main heroine portrayed by Samantha Morton, and if you allow yourself to be open, it will suck you into its vast world. The cinematography hits you over and over again with its atypical framing and focusing, which is immersive and revealing. These images are fused with a wide-ranging soundtrack including music by Aphex Twin, Broadcast, German Kraut-rockers Can, Stereolab, Ween, the Velvet Underground, Lee ‘Scratch’ Perry, Nancy Sinatra and Lee Hazlewood, etc. The film is based on the debut novel by Scottish author Alan Warner, who dedicated his book to musican Holger Czukay, so of course some of his music also emerges in several scenes. The free-form approach and unrushed speed of this flick, devoid of the normal identification gimmicks, means you won’t connect to our main character like you would in ‘normal’ movies…. she stays independent and mysterious. A poetic stream of both rough and lush textures, with an astounding performance by actress Samantha Morton that is absolutely mesmerizing.

This will be a high-definition screening.

Film night at Joe’s Garage, cozy cinema! Free entrance. You want to screen a movie, let us know: joe [at] lists [dot] squat [dot] net

Movie Night: Arna’s Children (Juliano Mer-Khamis & Danniel Danniel, 2004) + Benefit for the Freedom Theater in Jenin

Sunday 5 June 2022, Movie Night: Arna’s Children (Juliano Mer-Khamis & Danniel Danniel, 2004) + Benefit for the Freedom Theater in Jenin. Film Language: Arabic & Hebrew (English subtitles). 84 minutes. Doors open at 8pm, film starts at 8:30pm.

The film tells the story of a theatre group that was established by Arna Mer. She comes from a Zionist family and in the 1950s married a Palestinian Arab. On the West Bank, she opened an alternative education system for children whose regular life was disrupted by the Israeli occupation. The theatre group that she started engaged children from Jenin, helping them to express their everyday frustrations, anger, bitterness and fear. Arna’s son Juliano, co-director of this film, was also one of the directors of Jenin’s theatre. With his super 8 camera, he filmed the children during rehearsal periods from 1989 to 1996. Now, he goes back to see what happened to them. Yussef committed a suicide attack in Hadera in 2001, Ashraf was killed in the battle of Jenin, Alla leads a resistance group. Juliano, who today is one of the leading actors in the region, looks back in time in Jenin, trying to understand the choices made by the children he loved and worked with. Eight years ago, the theatre was closed and life became static and paralysed. Shifting back and forth in time, the film reveals the tragedy and horror of lives trapped by the circumstances of war.

The film will be presented by the son of the co-director of the film.

The Freedom Theater in Jenin still exists to this day in Jenin refugee camp. All money donated during the screening will go to the Arna’s theater in Jenin. https://thefreedomtheatre.org/

Film night at Joe’s Garage, cozy cinema! Free entrance. You want to play a movie, let us know: joe [at] squat [dot] net

Can Dialectics Break Bricks Cinema: Love Affair, or the Case of the Missing Switchboard Operator (Dušan Makavejev, 1967)

Sunday 29 May 2022, Can Dialectics Break Bricks Cinema: Love Affair, or the Case of the Missing Switchboard Operator (Dušan Makavejev, 1967), 68 minutes. In Serbo-Croatian with English subtitles. Doors open at 20:00, film starts at 20:30.

Once again we will be screening another early film by the amazing Dušan Makavejev. In outline, this is the story of the romance between a young telephonist and a middle-aged rat exterminator that goes haywire. Yet in Dušan Makavejev’s hands, this film isn’t just a strange story, but becomes an innovative, free-form exploration on the themes of love and freedom… laying the groundwork for a razor-sharp look at relationships in sixties Belgrade. Breaking away from traditional ideas of narrative storytelling, the film often shifts away, for example, to interviews with a sexologist and a criminologist giving their crazed opinions… or suddenly we find ourselves listening to a poem about exterminating rats. This film is based on a true story, and includes some of the most elegant dramatic filmmaking of the director’s career.

A free-wheeling movie that mixes romance and satire, documentary footage, melodrama and tragedy. And as always with Makavejev, what we are left with is a bizarre cocktail of Yugoslavian-styled surrealism. This is a true cinema of the imagination. It’s one of the crucial films from the Eastern block in the 60s, and it’s a very rare screening, so I hope to see you there!

This will be a high-definition screening.

Film night at Joe’s Garage, cozy cinema! Free entrance. You want to screen a movie, let us know: joe [at] lists [dot] squat [dot] net

Movie night: Everybody Knows (Asghar Farhadi, 2018)

Sunday 22 May 2022, Movie night: Everybody Knows (Todos lo saben) by Asghar Farhadi, 2018, 132 minutes. In Spanish with English subtitles. Doors open at 20:00, Film starts at 20:30.

Laura, a Spanish woman living in Buenos Aires, returns to her hometown outside Madrid with her Argentinian husband and children. However, the trip is upset by unexpected events that bring secrets into the open.
The outer threat, the inner wound and the mystery in between. These are the determinant factors in Asghar Farhadi’s intimately painful and powerfully acted kidnap drama, crucially anchored by three heavyweight performances from Penélope Cruz, Javier Bardem and Ricardo Darín.
It has been conceived by Farhadi on familiar lines, with ideas reminiscent of his own earlier work and, at one further remove, of influences from Haneke and Antonioni.

Film night at Joe’s Garage, cozy cinema! Free entrance. You want to screen a movie, let us know: joe [at] lists [dot] squat [dot] net

Can Dialectics Break Bricks Cinema: Medium Cool (Haskell Wexler, 1969)

Sunday 8 May 2022, Can Dialectics Break Bricks Cinema: Medium Cool (Haskell Wexler, 1969), 111 minutes. In English with English subtitles. Doors open at 20:00, film starts at 20:30.

This is Haskell Wexler’s legendary movie documenting the explosive course of events in America during the 60s. In 1968 Haskell Wexler was one of the world’s best cameramen, and he had lensed films like One Flew over the Cuckoo’s Nest. But the film industry was changing fast, and he became disillusioned with the commercialization of American cinema, so he decided to direct his own low-budget film about racism and the inherent violence in the US. His plan was to take a fictional story with actors, and mix it with documentary situations… and therefore blur the line between a feature film and documentary. He wanted to create a new kind of cinema, one that was more grounded in real everyday life.

His plan was to finish the film by taking his crew to the 1968 Democratic Convention in Chicago. This real-life event ended up turning into an apocalyptic “police riot”, with officers beating anyone they could get their hands on. Suddenly the director and the crew were engulfed in a fierce battle, with tear gas flying all around them… as they attempted to still film the actors amidst all the swinging police clubs.

Besides its innovative approach to filmmaking, the movie is also important as a sharp analysis of the mass media in general, and how it was being used to manipulate audience opinions. An incredible time capsule of the social unrest of the late 60s with a soundtrack by Mike Bloomfield (Dylan’s guitarist… Like a Rolling Stone), The Mothers of Invention (Zappa), and Love.

“A definitive document of the political tumult in late-1960s America.”

This will be a high-definition screening.

Film night at Joe’s Garage, cozy cinema! Free entrance. You want to screen a movie, let us know: joe [at] lists [dot] squat [dot] net