INSIDE BINGHAMTON UNIVERSITY
Variety of films on tap for Harpur Film Society
January 30 and February 1 Chaos, directed by Colline Serreau of France, is the story of a couple, Helene and Paul, who while driving to a party witness the beating of a woman. Helene eventually finds and befriends the woman, and the two then set out on a mission of revenge against the men who have hurt them.
February 6, and February 8 Bloody Sunday, directed by Paul Greengrass, is a retelling of the events of January 30, 1972 in Derry, Northern Ireland, where British soldiers killed 13 protesters.
February 13 and February 15 The Last Kiss, directed by Gabriele Muccino, is the story of Carlo, who has a mid-life crisis when he learns that he has impregnated his girlfriend, Guilia. Carlo’s panic, along with the anxieties of Guilia and her mother, is skillfully rendered to make the film an enjoyable mix of comedy and melodrama.
February 20 and February 22 The Cuckoo, directed by Alexander Rogozkhin, depicts late 1944, when Russians were driving the Nazis and their allies across the Finnish Lapland. Circumstances force a Russian officer, a Finnish sniper, and a young Lapp woman into the shelter of a remote cabin. Each person speaks a different language but the trio manages a mutual understanding.
February 27 and February 29 Late Marriage, directed by Dover Kosashvili, is the story of Zaza, unmarried at 31, and the embarrassment his reluctance to marry causes his extended Georgian-Israeli family. His family stops at anything to get him wed, until they realize the reason that Zaza is reluctant to marry is his secret relationship with divorcee Judith.
March 26 and March 28 Unknown Pleasures, directed by Jia Zhang-Ke, is set in a dreary industrial city in northern China. The film follows two unemployed 19-year-old youths as they wander the streets and mope about in pool halls, dance clubs and karaoke bars. They are members of the “birth-control generation,” indifferent to everything around them including their own futures.
April 16 and April 18 The Sunshine State, returns to the large-canvas style of Lone Star and City of Hope, where director John Sayles portrays the two Florida communities of Delrona Beach and Lincoln Beach, both threatened by rapacious development. The unlikely subject of beach development is a launching pad for a spacious American epic that is a searching commentary on race and real estate, in which history and progress, nature and artifice jostle for space on the eroding edge of the nation.