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Harpur  Cinema

Since 1965, Harpur Cinema has been seeking to bring to campus a range of significant films that in most cases would not be available to local audiences. Our program is international in scope, emphasizing foreign and independent films, as well as important films from the historical archive. All foreign films are shown in their original language with English subtitles.

Lecture Hall 6, unless otherwise noted
7:30pm on Friday and Sunday
$4 Single Admission
*Tickets will be for sale at the door from 7:00pm on the evening of the screening.

Fall 2018 Schedule

COMMUNITIES

When films reveal, celebrate, question, or denounce the dreams and the struggles, the hopes and the nightmares, and become powerful and inspiring artistic works, in some of the latest groundbreaking cinema from around the world.

Programmers: Tomonari Nishikawa & Chantal Rodais

SEP. 21 & 23 – Get Out – Jordan Peele – USA – 2017 – 104 min.

Chris and his girlfriend Rose go home to meet her white liberal parents who do not know he is black. A box-office and critical sensation and global phenomenon, Jordan Peele's film starts as social satire and evolves into nightmarish terror to address the African American experience, and "more broadly, race and the concept of the other" as a global experience (Peele). Exhilaratingly smart and scary, cleverly using the horror genre "to amplify ingrained racism, exploring subjects such as cultural appropriation, and the dark legacy of slavery" (The Atlantic), Get Out is "a giant leap forward for the possibilities of black cinema" (The New Yorker) and cinema in general.

Won: Academy Awards, Best Original Screenplay – AFI Awards, Movie of the Year – British Independent Film Awards, Best International Film
Nominated: Academy Awards, Best Picture/Actor/Director – Golden Globes, Best Picture/Actor

SEP. 28 & 30 – A Fantastic Woman – Sebastián Lelio – Chile – 2017 – 104 min.

The Chilean filmmaker's 5th film is at once a crime thriller and "a sublime study of love, loss, and the transgender experience" (The Guardian). Undermined, ostracized, even criminalized by various institutions after the sudden passing of her partner Orlando, Marina struggles to grieve, a basic right that is continually denied her. Firmly presenting Marina's perspective, Lelio's intransigent and sensual camera and mise-en-scène testify how Marina, labelled a chimera by some obtuse minds -who when they see her before them, still deny her existence- is required to be and is indeed "a fantastic woman".

Won: Academy Awards, Best Foreign Language Film – Berlin Film Festival, Silver Bear, Teddy – GLAAD Award – Goya Award – Premios Fénix – Cinema Brazil Grand Prize – Film Independent Spirit Award

OCT. 5 & 7 – Foxtrot – Samuel Maoz – Israel – 2017 – 113 min.

With this triptych made of three connected stories with several surprising twists, Samuel Maoz delivers "a uniquely powerful work," at times dreamlike, "often grimly funny," with a "fascination with narrowing perspective tightly guiding the audience into the viewpoint of each character" (The Atlantic). From the oppressive setting of an apartment in Tel Aviv to a bleak checkpoint on the Northern border and its barracks sinking in the sand, from intrusive close-up shots to wide-angle shots of lunar landscape, the Israeli filmmaker designs perfectly bizarre environments of rare expressive force, filled with visual metaphors, meticulous framing, flashes of cruelty, glimmers of urgency and wit, all "arranged with such visionary boldness that it dares us to look away" (The Guardian).

Won: Venice Film Festival, Silver Lion – Israeli Film Academy, 8 awards – Palm Spring Film Festival

OCT. 19 & 21 – SPECIAL EVENT! Harpur Cinema and the Binghamton University Art Museum present: 24 Frames – Abbas Kiarostami – Iran/France – 2017 – 114 min. Showing in the Main Gallery at the Binghamton University Art Museum

The final film by Iranian film director Abbas Kiarostami, who was also a poet and a photographer, shows the convergence of two art forms. Instead of filming scenes with a movie camera, Kiarostami used his own still photographs, most of them of landscapes with wild animals, and, using digital techniques, he added motion and sound to these images. The animated photographs display a mixture of the real and the imagined, both of which present Kiarostami's unique viewpoint. "A sustained meditation on the process of image making, 24 Frames is a graceful and elegiac farewell from one of the giants of world cinema" (Janus Films).

Won: Asia Pacific Screen Awards, Artistic Acknowledgement – International Cinephile Society Awards

OCT. 26 & 28 – The Tree of Wooden Clogs – Ermanno Olmi – Italy – 1978 – 186 min.

With the screening of his "epic masterpiece of the land" (BFI), Harpur Cinema celebrates Ermanno Olmi who passed away last May 2018. This chronicle of the life of peasants around 1880 in Lombardy, Northern Italy, when the owner of the land treated the workers like serfs, is an exceptional evocation of the essential acts of life, the cycle of the seasons, and a celebration of communal virtues. Exquisitely shot in 16 mm "like a tapestry, a fresco" (Cinemathèque) and exhibiting heartbreaking authenticity with its cast of nonprofessional actors, the film is "a cinematic miracle; to see it is to be stirred to the depths of one's soul" (Andrew Sarris).

Won: Cannes Film Festival, Palme d'Or – BAFTA Awards – César Awards – New York Film Critics Circle Awards – Golden Goblets-Italy, Golden Cup

NOV. 2 & 4 – The Other Side of Hope – Aki Kaurismaki – Finland – 2017 – 100 min.

In this "gravely funny comedy" (The New York Times), Khaled, fleeing civil war in Syria, has wound up in Helsinki where he lives with other refugees, and meets a grumpy salesman who, after an apparent midlife crisis, gets into the restaurant business. Faced with hardship, racist violence, as well as official heartlessness, the two men are going to develop a friendship that Kaurismaki soberly paints with his lightness of touch, desperate irony, and even tenderness. "At the top of his art," the Finnish director "reconnects with his deadpan -desperate- humor which makes him Charlie Chaplin's worthy heir." In Kaurismaki's cinema, people "have nothing but they do have goodness, generosity, the will to resist, and hospitality" (Le Monde).

Won: Berlin Film Festival, Silver Bear – Jerusalem Film Festival, Spirit for Freedom Award – Munich Film Festival, Best Director Award for Peace – San Sebastián Film Festival, FIPRESCI Film of the Year

NOV. 9 & 11 – The Human Surge – Eduardo Williams – Argentina/Brazil/Portugal – 2016 – 97 min.

The first feature film by Argentine director Eduardo Williams develops three episodes in three different locations, Argentina, Mozambique, and the Philippines. In each country, the camera swiftly follows a small group of young people who have something in common – the usage of the Internet and cellphones. These episodes may seem disorganized and lead the audience to feel a sense of being lost and urgency. With such an immersive, unpredictable sensory experience, "if the slender paradox at the heart of the film is that the thing that connects us most is the difficulty of connection, The Human Surge is a victim of its own effectiveness: It's rigorous, rarefied, and utterly remote" (Variety).

Won: Locarno Film Festival, Best First Feature Special Mention – Cinema Tropical Awards, Best Director


Contact: Kathy Horton, Department Secretary
khorton@binghamton.edu
607-777- 4998

Last Updated: 9/10/18