he Monday Night Film Series has seen a tremendous growth in popularity since Parilla Performing Arts Center first introduced it in the 2011 – 2012 season. Over the ensuing years, we have screened over 60 of the best arthouse films ever made, by some of the most famous directors from around the globe. We are pleased to present these masterpieces, free and open to the public, for both film buffs and newcomers to the genre alike!
Federico Fellini, Italy, 1973, 123 min, Color, Italian (English Subtitles)
June 4, 2018, 7 p.m.
This carnivalesque portrait of provincial Italy during the fascist period, the most personal film from Federico Fellini, satirizes the director’s youth and turns daily life into a circus of social rituals, adolescent desires, male fantasies, and political subterfuge, all set to Nina Rota’s classic, nostalgia-tinged score. The Academy Award-winning Amarcord remains one of cinema’s enduring treasures. National Board of Review: NBR Award, Best Foreign Language Film, France/Italy; 1974 – Won New York Film Critics Circle Awards: NYFCC Award, Best Director, Federico Fellini; Best Film; 197 – Won David di Donatello Awards: David, Best Director, Federico Fellini; Best Film, 1974 – Won Italian National Syndicate of Film Journalists: Silver Ribbon, Best Director, Federico Fellini; Best New Actor, Gianfilippo Carcano; Best Story, Tonino Guerra; Federico Fellini; 1974 – Won Academy Awards: Oscar, Best Foreign Language Film, Italy; 1975 – Won Bodil Awards, Copenhagen, Denmark: Bodil, Best European Film, Federico Fellini (director); 1975 – Won French Syndicate of Cinema Critics: Critics Award, Best Foreign Film, Federico Fellini; Italy; 1975 – Won Kansas City Film Critics Circle Awards: KCFCC Award, Best Foreign Film, Italy; 1975 – Won Kinema Junpo Awards: Kinema Junpo Award, Best Foreign Language Film Director, Federico Fellini; 1975 – Won Cinema Writers Circle Awards, Spain: CEC Award, Best Foreign Film, Italy; 1976 – Won
MY LIFE AS A DOG
Lasse Hallström, Sweden, 1985, 101 min, Color, Swedish (English Subtitles)
June 11, 2018, 7 p.m.
My Life as a Dog (Mitt liv som hund) tells the story of Ingemar, a twelve-year-old from a working-class family sent to live with his uncle in a country village when his mother falls ill. There, with the help of the warmhearted eccentrics who populate the town, the boy finds both refuge from his misfortunes and unexpected adventure. Featuring an incredibly mature and unaffected performance by the young Anton Glanzelius, this film is a beloved and bittersweet evocation of the struggles and joys of childhood from Oscar-nominated director Lasse Hallström. 60th Academy Awards Best Director Lasse Hallström Nominated Best Writing, Screenplay Based on Material from Another Medium Lasse Hallström, Reidar Jönsson, Brasse Brännström, Per Berglund Nominated BAFTA Awards Best Foreign Language Film Waldemar Bergendahl, Lasse Hallström Nominated Bodil Awards Best European Film Lasse Hallström Won Boston Society of Film Critics Awards Best Foreign Language Film Won Directors Guild of America Outstanding Directorial Achievement in Motion Pictures Lasse Hallström Nominated 45th Golden Globe Awards Best Foreign Language Film Won 21st Guldbagge Awards Best Film Won Best Actor Anton Glanzelius Won Independent Spirit Awards Best Foreign Film Lasse Hallström Won Lucas – International Festival of Films for Children and Young People Children’s Section Lasse Hallström Won New York Film Critics Circle Awards Best Foreign Language Film Won Robert Award Best Foreign Film Lasse Hallström Won Seattle International Film Festival Best Film Won Young Artist Awards Special Award – Best Family Foreign Film Won Special Award – Best Young Actor in a Foreign Film Anton Glanzelius Won Special Award – Best Young Actress in a Foreign Film Melinda Kinnaman Won
Andrei Tarkovsky, Soviet Union, 1966, 185 Min, B&W, Russian (English Subtitles)
June 18, 2018, 7 p.m.
Immediately suppressed by the Soviets in 1966, Andrei Tarkovsky’s epic masterpiece is a sweeping medieval tale of Russia’s greatest icon painter. Too experimental, too frightening, too violent, and too politically complicated to be released officially, Andrei Rublev has existed only in shortened, censored versions until the Criterion Collection created a complete 205-minute director’s cut special edition. Andrei Rublev won several awards. In 1969, the film was screened at the Cannes Film Festival. Due to pressure by Soviet officials, the film could only be shown out of competition, and was thus not eligible for the Palme d’Or or the Grand Prix. Nevertheless, it won the prize of the international film critics, FIPRESCI. In 1971 Andrei Rublev won the Critics Award of the French Syndicate of Cinema Critics, and in 1973 the Jussi Award for best foreign film. In 2010, Andrei Rublev was honored when it came equal second in a U.K. newspaper series of the “Greatest Films of All Time” as voted by critics from The Guardian and The Observer. The film was ranked No. 87 in Empire magazine’s “The 100 Best Films Of World Cinema” in 2010. Also in 2010, the Toronto International Film Festival released its “Essential 100” list of films in which Andrei Rublev also placed No. 87.
René Clément, France, 1960, 117 min, Color, French (English Subtitles)
June 25, 2018, 7 p.m.
Alain Delon was at his most impossibly beautiful when Purple Noon was released and made him an instant star. This ripe, colorful adaptation of Patricia Highsmith’s vicious novel The Talented Mr. Ripley, directed by the versatile René Clément, stars Delon as Tom Ripley, a duplicitous American charmer in Rome on a mission to bring his privileged, devil-may-care acquaintance Philippe Greenleaf (Maurice Ronet) back to the United States. What initially seems a carefree tale of friendship soon morphs into a thrilling saga of seduction, identity theft, and murder. Featuring gorgeous location photography of coastal Italy, Purple Noon is crafted with a light touch that allows it to be at once suspenseful and erotic, and it gave Delon the role of a lifetime. Purple Noon was lauded by critics and made Delon a star. In 1962, Clément and Paul Gégauff won an Edgar Award from the Mystery Writers of America for Best Foreign Film Screenplay. It enjoys a loyal cult following even today, with fans including film director Martin Scorsese. Roger Ebert gave Purple Noon three stars (compared to the four-star review he gave to the 1999 version of The Talented Mr. Ripley, writing that “the best thing about the film is the way the plot devises a way for Ripley to create a perfect cover-up” but criticized the “less than satisfactory ending,” feeling that “Purple Noon ends as it does only because Clement doesn’t have Highsmith’s iron nerve.” James Berardinelli rated Purple Noon higher than The Talented Mr. Ripley, giving it a four-star review (compared to two and a half stars for The Talented Mr. Ripley). Berardinelli praised Delon’s acting, saying that “Tom is fascinating because Delon makes him so” and also complimented the film for “expert camerawork and crisp direction.” Berardinelli placed Purple Noon on his All-Time 100 list and compared it to the 1999 film: “The remake went back to the source material, Patricia Highsmith’s The Talented Mr. Ripley. The result, while arguably truer to the events of Highsmith’s book, is vastly inferior. To say it suffers by comparison to Purple Noon is an understatement. Almost every aspect of Rene Clement’s 1960 motion picture is superior to that of Minghella’s 1999 version, from the cinematography to the acting to the screenplay. Matt Damon might make a credible Tom Ripley but only for those who never experienced Alain Delon’s portrayal.” Nandini Ramnath wrote for Scroll.in, “The definitive portrayal of crime novelist Patricia Highsmith’s most enduring creation was as early as 1960. Damon and Hopper come close to conveying the ruthlessness and ambition of Tom Ripley, but Delon effortless captures his mystique.”
FOR ALL MANKIND
Al Reinert, United States, 1989, 79 min, Color, English
July 2, 2018, 7 p.m.
In July 1969, the space race ended when Apollo 11 fulfilled President Kennedy’s challenge of “landing a man on the Moon and returning him safely to the Earth.” No one who witnessed the lunar landing will ever forget it. Al Reinert’s documentary For All Mankind is the story of the twenty-four men who traveled to the moon, told in their words, in their voices, using the images of their experiences. Forty years after the first moon landing, it remains the most radical, visually dazzling work of cinema yet made about this earthshaking event. For All Mankind is a 1989 documentary film documenting the Apollo missions of NASA. Music by Brian Eno. The film provides 80 minutes of real NASA footage, mostly taken on the Apollo missions of the 1960s and 1970s. The focus of the documentary is on the human views of the space flights, and the original mission footage is provided along with the voices of the astronauts, from interviews and from the actual mission recordings. Among those providing narration are Jim Lovell, Michael Collins, Charles Conrad, Jack Swigert, and Ken Mattingly. The film concentrates on the beauty of the Earth as seen from space. The title comes from President John F. Kennedy’s Address to Rice University on the Nation’s Space Effort, September 12, 1962, but is slightly altered from “for all people” to “for all mankind”. “The exploration of space will go ahead, whether we join it or not, and it is one of the greatest adventures of all time… We set sail on this new sea because there is new knowledge to be gained and new rights to be won, and they must be won and used for all people… We choose to go to the moon. We choose to go to the moon in this decade and do the other things, not because they are easy, but because they are hard…”. The phrase was altered in the film’s audio of Kennedy’s speech as well. The director dubbed in “mankind” from a different Kennedy clip. For All Mankind was nominated for an Academy Award for Best Documentary in 1990.
Mike Leigh, United Kingdom, 1984, 107 min, Color, English
July 9, 2018, 7 p.m.
A slow-burning depiction of economic degradation in Thatcher’s England, Mike Leigh’s Meantime is the culmination of the writer-director’s pioneering work in television. Unemployment is rampant in London’s working-class East End, where a middle-aged couple and their two sons languish in a claustrophobic public-housing flat. As the brothers (Phil Daniels and Tim Roth) grow increasingly disaffected, Leigh punctuates the grinding boredom of their daily existence with tense encounters, including with a priggish aunt (Marion Bailey) who has managed to become middle-class and a blithering skinhead on the verge of psychosis (a scene-stealing Gary Oldman, in his first major role). Informed by Leigh’s now trademark improvisational process and propelled by the lurching rhythms of its Beckett-like dialogue, Meantime is an unrelenting, often blisteringly funny look at life on the dole.
Lars von Trier, Denmark, 1991, 107 min, Color and B&W, Danish (English Subtitles)
July 16, 2018, 7 p.m.
“You will now listen to my voice . . . On the count of ten you will be in Europa . . .” So begins Max von Sydow’s opening narration to Lars von Trier’s hypnotic Europa (known in the U.S. as Zentropa), a fever dream in which American pacifist Leopold Kessler (Jean-Marc Barr) stumbles into a job as a sleeping-car conductor for the Zentropa railways in a Kafkaesque 1945 postwar Frankfurt. With its gorgeous black-and-white and color imagery and meticulously recreated (if then nightmarishly deconstructed) costumes and sets, Europa is one of the great Danish filmmaker’s weirdest and most wonderful works, a runaway-train ride to an oddly futuristic past. The film won three awards at the 1991 Cannes Film Festival (Best Artistic Contribution, Jury Prize, and Technical Grand Prize). Upon realizing that he had not won the Palme d’Or, von Trier gave the judges the finger and stormed out of the venue.
Akira Kurosawa, Japan, 1962, 96 min, B&W, Japanese (English Subtitles)
July 23, 2018, 7 p.m.
Toshiro Mifune swaggers and snarls to brilliant comic effect in Akira Kurosawa’s tightly paced, beautifully composed Sanjuro. In this sly companion piece to Yojimbo, jaded samurai Sanjuro helps an idealistic group of young warriors weed out their clan’s evil influences, and in the process turns their image of a “proper” samurai on its ear. Less brazen in tone than its predecessor but equally entertaining, this classic character’s return is a masterpiece in its own right. Distributed by Toho, Sanjuro was Toho’s highest-grossing film in 1962. Mifune’s sword fighting in the film was used in an extensive illustrated example of “samurai virtuosity with his sword” in This Is Kendo, a 1989 kendo manual published in English.
THE BROWNING VERSION
Anthony Asquith, United Kingdom, 1951, 90 min, B&W, English
July 30, 2018, 7 p.m.
Michael Redgrave gives the performance of his career in Anthony Asquith’s adaptation of Terence Rattigan’s unforgettable play. Redgrave portrays Andrew Crocker-Harris, an embittered, middle-aged schoolmaster who begins to feel that his life has been a failure. Diminished by poor health, a crumbling marriage, and the derision of his pupils, the once brilliant scholar is compelled to reexamine his life when a young student offers an unexpected gesture of kindness. A heartbreaking story of remorse and atonement, The Browning Version is a classic of British realism. 1951 Cannes Film Festival – Best Actor (Michael Redgrave) & Best Screenplay Won/Palme d’or nominated, Berlin International Film Festival – Bronze Berlin Bear (Drama) & Small Bronze Plate Won.
WOMEN IN LOVE
Ken Russell, United Kingdom, 1969, 131 min, Color, English
August 6, 2018, 7 p.m.
Women in Love is a 1969 British romantic drama film directed by Ken Russell and starring Alan Bates, Oliver Reed, Glenda Jackson, and Jennie Linden. The film was adapted by Larry Kramer from D. H. Lawrence’s novel of the same name. The plot follows the relationships between two sisters and two men in a mining town in post First World War England. The two couples take markedly different directions. The film explores the nature of commitment and love. Academy Awards: Best Director (Ken Russell) – Nominated, Best Actress (Glenda Jackson) – Won, Best Adapted Screenplay (Larry Kramer) – Nominated, Best Cinematography (Billy Williams) – Nominated Golden Globe Awards: Best English-Language Foreign Film – Won, Best Director (Ken Russell) – Nominated, Best Actress in a Motion Picture – Drama (Glenda Jackson) – Nominated BAFTA Awards: Best Film – Nominated, Best Direction (Ken Russell) – Nominated, Best Actor in a Leading Role (Alan Bates) – Nominated, Best Actress in a Leading Role (Glenda Jackson) – Nominated, Best Screenplay (Larry Kramer) – Nominated, Best Film, Music (Georges Delerue) – Nominated, Best Cinematography (Billy Williams) – Nominated, Best Production Design (Luciana Arrighi) – Nominated, Best Costume Design (Shirley Ann Russell) – Nominated, Best Sound (Terry Rawlings) – Nominated, Most Promising Newcomer to Leading Film Roles (Jennie Linden) – Nominated Other accolades: Laurel Award for Best Dramatic Performance, Female (Glenda Jackson) – Nominated, National Board of Review Award for Best Actress (Glenda Jackson) – Won, National Board of Review: Top Ten Films – Won, National Society of Film Critics Award for Best Actress (Glenda Jackson) – Won, National Society of Film Critics Award for Best Cinematography (Billy Williams) – 3rd place, New York Film Critics Circle Award for Best Actress (Glenda Jackson) – Won
CHIMES AT MIDNIGHT
Orson Welles, Spain, 1966, 116 min, B&W, Spanish (English Subtitles)
August 13, 2018, 7 p.m.
The crowning achievement of Orson Welles’s later film career, Chimes at Midnight returns to the screen after being unavailable for decades. This brilliantly crafted Shakespeare adaptation was the culmination of Welles’s lifelong obsession with the Bard’s ultimate rapscallion, Sir John Falstaff, the loyal, often soused childhood friend of King Henry IV’s wayward son, Prince Hal. Appearing in several plays as a comic supporting figure, Falstaff is here the main event: a robustly funny and ultimately tragic screen antihero, played by Welles with lumbering grace. Integrating elements from both Henry IV plays as well as Richard II, Henry V, and The Merry Wives of Windsor, Welles created an unorthodox Shakespeare film that is also a gritty period piece, one that he called “a lament . . . for the death of Merrie England.” Poetic, philosophical, and visceral—with a kinetic battle sequence centerpiece as impressive as anything else Welles directed—Chimes at Midnight is as monumental as the figure at its center. Initially dismissed by most film critics, Chimes at Midnight is now regarded as one of Welles’ highest achievements, and Welles himself called it his best work. Welles felt a strong connection to the character of Falstaff and called him “Shakespeare’s greatest creation”. Some film scholars and Welles’s collaborators have made comparisons between Falstaff and Welles, while others see a resemblance between Falstaff and Welles’s father. Disputes over the ownership of Chimes at Midnight made it difficult to view the film legally until recently. At the 1966 Cannes Film Festival, Chimes at Midnight was screened in competition for the Palme d’Or and won the 20th Anniversary Prize and the Technical Grand Prize. Welles was nominated for a BAFTA award for Best Foreign Actor in 1968. In Spain, the film won the Citizens Writers Circle Award for Best Film in 1966.
Abbas Kiarostami, Iran, 1990, 98 min, Color, Persian (English Subtitles)
August 20, 2018, 7 p.m.
Internationally revered Iranian filmmaker Abbas Kiarostami has created some of the most inventive and transcendent cinema of the past thirty years, and Close-up is his most radical, brilliant work. This fiction-documentary hybrid uses a sensational real-life event—the arrest of a young man on charges that he fraudulently impersonated the well-known filmmaker Mohsen Makhmalbaf—as the basis for a stunning, multilayered investigation into movies, identity, artistic creation, and existence, in which the real people from the case play themselves. With its universal themes and fascinating narrative knots, Close-up has resonated with viewers around the world. When the film opened in Iran, reviews were almost uniformly negative, and the film only began to be appreciated after it was shown abroad. It ranked #43 in the British Film Institute’s critics’ poll of the 50 best films ever made. New York Times film critic Stephen Holden called the film “brilliant,” noting its “radically drab cinema-verite style that helps blur any difference between what is real and what is reconstructed.” Los Angeles Times critic Dennis Lim called the film eloquent and direct and that it provided “a window into the psyche of a complicated man and into the social and cultural reality of Iran.” Five years after Close-Up, Moslem Mansouri and Mahmoud Chokrollahi wrote and directed the documentary Close-Up Long Shot (Persian: کلوزآپ نمای دور , Klūzāp nemā-ye dūr) in which Sabzian talks about his infatuation with cinema, his impersonation of Makhmalbaf and how his life has changed after working with Kiarostami. The film premiered at Turin’s 14° Festival internazionale cinema giovani in November 1996 where it won the FIPRESCI Prize – Special Mention. Nanni Moretti’s 1996 Italian short film Opening Day of Close-Up follows a theater owner as he prepares to show Kiarostami’s film at his independent cinema. Marcus Söderlund’s 2007 music video for Swedish duo The Tough Alliance’s “A New Chance” pays homage to Kiarostami’s film with an almost shot-for-shot reproduction of a scene following two characters on a motorcycle. 1990: Montreal International Festival of New Cinema and Video: Quebec Film Critics Award 1992: International Istanbul Film Festival: FIPRESCI Prize
DEATH IN VENICE
Luchino Visconti, Italy-France, 1971, 125 minutes, Color, Italian/French (English Subtitles)
August 27, 2018, 7 p.m.
Based on the novella Death in Venice, first published in 1912 as Der Tod in Venedig by the German author Thomas Mann. Dirk Bogarde as the protagonist Gustav von Aschenbach, an ailing avant-garde composer who travels to Venice for health reasons. There, he becomes obsessed with the stunning beauty of an adolescent Polish boy named Tadzio who is staying with his family at the same Grand Hôtel des Bains on the Lido as Aschenbach. While the character Aschenbach in the novella is an author, Visconti changed his profession from writer to composer. This allows the musical score, in particular the Adagietto from the Fifth Symphony by Gustav Mahler, which opens and closes the film, and sections from Mahler’s Third Symphony, to represent Aschenbach’s writing. Apart from this change, the film is relatively faithful to the book, but with added scenes where Aschenbach and a musician friend debate the degraded aesthetics of his music. While Aschenbach attempts to find peace and quiet, the rest of the city is gripped by a cholera epidemic, and the city authorities do not inform the holiday-makers of the problem for fear that they will leave. As Aschenbach and the other guests make day-trips into the city centre, they begin to realize that something is seriously wrong. 1972 Academy Award: Best Costume Design 1972 BAFTA Awards: Best Actor, Best Direction, Best Film 1971 Cannes Film Festival: Golden Palm (Best Film)