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.
Spring 2019 Schedule
Crossing borders, geographical, social, moral, political, musical, visual
Experimenting with the threshold, the frame, the cut
Challenging boundaries between identities, genders, filmic forms
in some of the latest groundbreaking cinema from around the world.
Programmers: Tomonari Nishikawa & Chantal Rodais
FEB. 15 & 17 – El Mar La Mar – Joshua Bonnetta and J.P. Sniadecki – USA – 2017 – 94 min.
Shot on 16mm film in the Sonoran Desert at the US-Mexico border, a popular but extremely dangerous route to attempt unauthorized entry across the border, El Mar La Mar, an experimental documentary by Joshua Bonnetta and J.P Sniadecki, addresses the issues of migration and explores the materiality of the celluloid medium, which becomes one of the main subjects. "Though its juxtapositions of human horror with natural splendor, through harrowing affective accumulation, reveal a hostile landscape indifferent to the concerns of those passing through it" (Matt Turner, BOMB Magazine).
Won: Berlin International Film Festival, Caligari Film Award – Dokufest Kosovo, Best
Film –Curitiba International Film Festival, Best Film
Nominated: Hong Kong International Film Festival, Golden Firebird Award – International Cinephile Society Awards, Best Documentary
FEB. 22 & 24 – BlacKkKlansman – Spike Lee – USA – 2018 – 136 min.
Based on the protagonist's memoir, the film relates how, in 1972, Colorado Springs's first Black police officer and his Jewish partner succeeded in infiltrating the local Ku Klux Klan chapter. Combining his signature long-take tracking shots and tonal shifts with an impressive ensemble cast, Spike Lee questions the boundaries of group identity, and "efficiently conflates the struggles of the past and present into a powerful cinematic continuum" (The Guardian). BlacKkKlansman seamlessly slips from broad comedy to blunt depiction of all-too-real horror, from Blaxploitation to Classical Hollywood cinema, and from urgent satire to furious and brilliant wake-up call.
Won: Cannes Film Festival, Jury Grand Prize – AFI Awards, Movie of the Year – Locarno
International Film Festival, Audience Award
Nominated: 6 Academy Awards – 4 Golden Globes – 4 BAFTA Awards – Jerusalem Film Festival
MAR. 1 & 3 – Zama – Lucrecia Martel – Argentina/Brazil – 2017 – 115 min.
Don Diego de Zama, an 18th-century corregidor (an administrator of the Spanish colonial empire) in a remote outpost on the Paraguay River waits, endlessly, for a more prestigious post. In this "cinematic marvel," Lucrecia Martel exposes the absurdity and horrors of colonialism with "her limpid visual choices" (The New York Times), her stunning plastic inventiveness, and expressive use of framing and sound. In her pointed exploration of relations of power, the colonized bodies rendered invisible by their obvious exploitation get their visibility and centrality back through provocative mise-en-scène. This sumptuous and surreal satire of colonialism "reaches psychedelic summits" in the last "demented" thirty minutes (Cahiers du Cinéma).
Won: Premios Fénix, 4 Fénix Awards – International Cinephile Society Awards, Best
Picture – Argentinean Film Critics Awards, 9 Silver Condors – Rotterdam Film Festival,
MAR. 8 & 10 – Ida – Paweł Pawlikowski – Poland – 2013 – 82 min.
A last-minute delay in the distribution of Paweł Pawlikowski's Cold War gives Harpur Cinema the opportunity to present instead his previous film, Ida.
Anna, an orphan and young novice in a remote convent in 1962, is ordered, before she takes her final vows, to visit her previously unknown aunt, Wanda, in Łódź. Wanda, a minor state judge and Communist Party member, reveals the truth to her niece: Anna's name was originally Ida and she is Jewish. The two women set out to discover what became of Ida's parents. With its gorgeous and powerful black-and-white photography, and its expressive and daring framing and composition, Ida is "an excavation of truths that remain, 70 years after the Holocaust and a quarter-century after the collapse of Communism, only partially disinterred. And it is, above all, about the spiritual and moral condition" of the two at-odds women (The New York Times).
Won: London Film Festival, Best Film – European Film Awards, Best Director/Cinematographer
– Polish Film Awards, Best Film/Director/Actress/Editing – Academy Awards, Best Foreign
MAR. 29 & 31 – Shoplifters – Kore-eda Hirokazu – Japan – 2018 – 121 min.
In this "brilliant, audacious gem," Kore-eda returns to a favorite subject of his, the family and "the ways in which it can be dismantled and reassembled" (The Guardian). With delicate brushstrokes, blurring the divide between the unforgivable and the understandable, the film follows with tenderness the five members of a family who all live in a cramped apartment and supplement their meager incomes selling what they steal on daily shoplifting expeditions. One day, they impulsively take in a neglected young girl found in the street. The eerily moving film with its "sheer depth of compassion and knowing humanity behind every frame" (BFI) builds to a most extraordinary surprise ending.
Won: Cannes Film Festival, Palme d'Or – International Cinephile Society Awards, Jury
Prize – Munich Film Festival, Best International Film
Nominated: Academy Awards, Best Foreign Language Film – BAFTA Awards, Best Foreign Film
APR. 5 & 7 – Spectres Are Haunting Europe – Maria Kourkouta and Niki Giannari – Greece/France – 2016 – 99 min.
The first collaborative work by Kourkouta and Giannari, this documentary is set in a makeshift refugee camp in Idomeni, a small village in Greece on the border with the Republic of Macedonia, where 15,000 people found themselves trapped when the European Commission closed the "Balkan route". The film uncompromisingly discloses everyday life in the camp with images of the refugees protesting under the overcast skies, of long lines of muddy feet, or with poignant black-and-white shots of refugees silently communicating with the camera. "Spectres Are Haunting Europe is more humanistic than political, but still makes a powerful statement about European society's most recent failure" (Glasgow Film Festival).
Won: Jihlava International Documentary Film Festival, Best World Documentary Award
– Torino Film Festival, Interfedi Award
APR. 12 & 14 – The Wild Boys – Bertrand Mandico – France – 2017 – 110 min.
Mandico's first feature film, after more than 40 shorts, is "a grand burst of forms and textures, of artifices and effects laid bare, where the seams between images and sounds open as many breaches to the imaginary" (Le Monde). When a band of wealthy boys commit a terrible crime, they are sent off to work on a dreadful ship. After many adventures, they land on a paradise island, a place of mysterious metamorphoses. As it explores the unstable zone of fluctuation between genders, the film experiments with form such as overlapping, instantaneous transitions from monochrome to color, rear projection effects, visual manipulations, all realized while filming and evoking the poetic illusions of early cinema. "A refined example of radical and engaged cinema" (Cineuropa).
Won: Prix Louis Delluc, Best First Feature – Vilnius Film Festival, Best Director
Nominated: Munich Film Festival, Best Director – Venice Film Festival, Queer Lion