Director: Pedro Almodóvar
Country of origin: Spain
Year of release: 1987
Running time: 90'
Language: Spanish, with English subtitles
Pedro Almodóvar’s international breakthrough, Women on the Verge of a Nervous Breakdown is a farce built upon coincidences of mounting improbability, which bring the film’s various characters into unlikely but hilarious collision with one another. Pepa, an actress, is desperate to save her relationship with serial womaniser Iván. Tracing his movements, she stumbles upon another of his lovers, the deranged Lucia, with whom she discovers Iván has a grown up son, Carlos.
Carlos meanwhile is hoping to rent an apartment with his formidable girlfriend Marisa, in which context they turn up at Pepa's penthouse, unaware of Carlos’ connection with its owner. Meanwhile Pepa's friend Candela has troubles of her own: she's on the run from the police and is in hiding at the apartment. Chaos, masterfully orchestrated, ensues.
A film that is both hugely theatrical and richly cinematic, Women on the Verge of a Nervous Breakdown revels in the glossy, larger than life potential of cinema to be the purveyor of magic and dreams, not to mention nightmares. For sheer delerious entertainment value, it is perhaps the director’s most enjoyable film to date, full of sparkling wit and invention, relentless style and panache.
Wednesday, October 14, 2009
Wednesday, October 7, 2009
Screening for Monday 12th October: Bicycle Thieves
Director: Vittorio de Sica
Country of origin: Italy
Year of release: 1948
Running time: 93'
Language: Italian, with English subtitles
The Academy-Award winning Bicycle Thieves has been hailed as one of the greatest films ever made, and one of the most influential. Set in early post-World War II Rome, Bicycle Thieves centres around Antonio, a man who has been out of work for nearly two years and finally gets a job putting up movie posters, work that requires a bicycle.
Not in possession of a bicycle, Antonio pawns the family’s bed linen to get one, only to have it stolen. With the help of his young son, Bruno, Antonio begins a desperate search through the city to recover the bicycle—if he does not, he will lose his precious job and the only means of support for his family.
Bicycle Thieves, with its emotional clarity, social righteousness, and brutal honesty came to define the Italian Neorealist style of filmmaking, and served as a catalyst for new movements in filmmaking around the world. Yet it is the film’s simple, universal story, of the struggle for a dignified life in the face of overwhelming adversity, that continues to resonate with viewers everywhere.
Country of origin: Italy
Year of release: 1948
Running time: 93'
Language: Italian, with English subtitles
The Academy-Award winning Bicycle Thieves has been hailed as one of the greatest films ever made, and one of the most influential. Set in early post-World War II Rome, Bicycle Thieves centres around Antonio, a man who has been out of work for nearly two years and finally gets a job putting up movie posters, work that requires a bicycle.
Not in possession of a bicycle, Antonio pawns the family’s bed linen to get one, only to have it stolen. With the help of his young son, Bruno, Antonio begins a desperate search through the city to recover the bicycle—if he does not, he will lose his precious job and the only means of support for his family.
Bicycle Thieves, with its emotional clarity, social righteousness, and brutal honesty came to define the Italian Neorealist style of filmmaking, and served as a catalyst for new movements in filmmaking around the world. Yet it is the film’s simple, universal story, of the struggle for a dignified life in the face of overwhelming adversity, that continues to resonate with viewers everywhere.
Monday, October 5, 2009
Apologies
Campus Film Classics apologises for the cancellation of today's screening of The Harder They Come. We hope to reschedule the screening for a date to be decided. The schedule for the film screenings continues as planned.
Thursday, October 1, 2009
Screening for Monday 5th October: The Harder They Come
Director: Perry Henzell
Country of origin: Jamaica
Year of release: 1972
Running time: 103'
Language: English, Jamaican creole
In The Harder They Come reggae star Jimmy Cliff plays Ivan O. Martin, a Jamaican country boy who heads for Kingston in search of fame and fortune as a singer. Faced with the harsh reality of city life, Ivan ends up taking work with a local preacher, and is later jailed for participating in a knife fight.
Upon his release, Ivan finally gets to record his song “The Harder They Come”, but is then exploited by a dishonest record company executive. Ivan turns his back on the establishment, and slides into crime and the drug trade. He keeps the police at arm's length by offering them a slice of the action, but ultimately finds himself in the middle of a bloody raid. Ivan kills several cops and escapes, whereupon "The Harder They Come" is released, elevating the fugitive to the status of folk hero.
Adopting a take-no-prisoners approach to its material and presenting an unadorned view of Jamaican ghetto life, The Harder They Come is the first true classic of Caribbean cinema, packing an emotional impact that is undeniable. And it features one of the all-time great music soundtracks, including unforgettable songs from Desmond Dekker, Toots and the Maytals, and of course Jimmy Cliff himself.
Country of origin: Jamaica
Year of release: 1972
Running time: 103'
Language: English, Jamaican creole
In The Harder They Come reggae star Jimmy Cliff plays Ivan O. Martin, a Jamaican country boy who heads for Kingston in search of fame and fortune as a singer. Faced with the harsh reality of city life, Ivan ends up taking work with a local preacher, and is later jailed for participating in a knife fight.
Upon his release, Ivan finally gets to record his song “The Harder They Come”, but is then exploited by a dishonest record company executive. Ivan turns his back on the establishment, and slides into crime and the drug trade. He keeps the police at arm's length by offering them a slice of the action, but ultimately finds himself in the middle of a bloody raid. Ivan kills several cops and escapes, whereupon "The Harder They Come" is released, elevating the fugitive to the status of folk hero.
Adopting a take-no-prisoners approach to its material and presenting an unadorned view of Jamaican ghetto life, The Harder They Come is the first true classic of Caribbean cinema, packing an emotional impact that is undeniable. And it features one of the all-time great music soundtracks, including unforgettable songs from Desmond Dekker, Toots and the Maytals, and of course Jimmy Cliff himself.
Thursday, September 24, 2009
Screening for Monday 28 September: Touch of Evil
Director: Orson Welles
Country of origin: USA
Year of release: 1958
Running time: 112'
Language: English
Campus Film Classics is pleased to announce its return with a screening of Touch of Evil, directed by Orson Welles. The screening takes place on Monday 28 September at 5pm (please note new day and time), at the Institute of Critical Thinking (upstairs the Centre for Language Learning, the previous venue for CFC), UWI main campus. The screening is free and open to the public.
Touch of Evil is a brilliant crime thriller, dark mystery, and a cult classic, the last great film noir during the so-called classic era of noirs. Beginning with one of the best opening shots in all of cinema, Touch of Evil explodes onto the screen with a car blowing up, setting into motion a classic noir tale of betrayal and murder. In a complex exploration of character and morality, Orson Welles plays the racist Captain Hank Quinlan, a grotesque, troubled, and powerful figure who runs his small US border town according to his own version of the law.
Quinlan's brutishness and vulgarity contrast starkly with the idealism and playboy good looks of Mike Vargas (Charlton Heston), a Mexican detective trying to put away the leader of a dangerous family of drug dealers. Vargas becomes consumed with exposing Quinlan and his highly questionable methods--too busy to see that his beautiful American bride, Susie (Janet Leigh) is in serious danger.
In almost every way, Touch of Evil is a masterpiece. Every shot is impeccably crafted, every word of dialogue concise and pointed. The supporting cast, led by Marlene Dietrich, gives exhilarating performances. Welles’ last American film, Touch of Evil is a near-perfect examination of the dark underbelly of society and the tragic downfall of a once proud and powerful man.
Country of origin: USA
Year of release: 1958
Running time: 112'
Language: English
Campus Film Classics is pleased to announce its return with a screening of Touch of Evil, directed by Orson Welles. The screening takes place on Monday 28 September at 5pm (please note new day and time), at the Institute of Critical Thinking (upstairs the Centre for Language Learning, the previous venue for CFC), UWI main campus. The screening is free and open to the public.
Touch of Evil is a brilliant crime thriller, dark mystery, and a cult classic, the last great film noir during the so-called classic era of noirs. Beginning with one of the best opening shots in all of cinema, Touch of Evil explodes onto the screen with a car blowing up, setting into motion a classic noir tale of betrayal and murder. In a complex exploration of character and morality, Orson Welles plays the racist Captain Hank Quinlan, a grotesque, troubled, and powerful figure who runs his small US border town according to his own version of the law.
Quinlan's brutishness and vulgarity contrast starkly with the idealism and playboy good looks of Mike Vargas (Charlton Heston), a Mexican detective trying to put away the leader of a dangerous family of drug dealers. Vargas becomes consumed with exposing Quinlan and his highly questionable methods--too busy to see that his beautiful American bride, Susie (Janet Leigh) is in serious danger.
In almost every way, Touch of Evil is a masterpiece. Every shot is impeccably crafted, every word of dialogue concise and pointed. The supporting cast, led by Marlene Dietrich, gives exhilarating performances. Welles’ last American film, Touch of Evil is a near-perfect examination of the dark underbelly of society and the tragic downfall of a once proud and powerful man.
Friday, September 4, 2009
Intermission
Campus Film Classics is currently on hiatus, while we finalise a new venue for our screenings. We should be back very soon. In the meanwhile, don't miss the upcoming trinidad+tobago film festival--two weeks of great local, Caribbean and Caribbean Diaspora films, workshops, panel discussions and much more.
Saturday, August 15, 2009
Screening for Tuesday 18 August: Amores Perros
Director: Alejandro González Iñárritu
Country of origin: Mexico
Year of release: 2000
Running time: 158'
Language: Spanish, with English subtitles
The debut feature by director Alejandro González Iñárritu, Amores Perros features three linked stories based in and around Mexico City. The first tells of Octavio, a young barrio-dweller who is in love with his sister-in-law, Susana. Determined to win her away from his brother Ramiro, a thief, Octavio resorts to using his dog Cifo in dogfighting circles to raise enough money for him and Susana to run away together.
The second story concerns Daniel, an editor who abandons his wife and two children for a supermodel, Valeria. When Valeria is involved in a car crash (the other car is driven by Octavio) and becomes handicapped, Daniel is forced to take care of her. Then Valeria’s beloved dog Richie becomes lost under the floorboards of her and Daniel's new apartment. The relationship strains the longer the pitiful dog's whines are heard without his rescue.
Finally comes the story of El Chivo, a bitter ex-guerilla turned hit man, who is given a contract to kill a wealthy, powerful businessman. A witness to the fateful car crash, El Chivo rescues Octavio’s dog, Cifo, whom paramedics have placed on the street—and who will teach the dehumanised El Chivo a shattering lesson.
Considered the film that launched the recent new wave of Mexican cinema, Amores Perros is marked by interconnected plots, dizzily fast pacing and gritty realism. In its structure and style (if not necessarily its content) it anticipates a number of films from the past few years, including Crash, City of God, and even Slumdog Millionaire.
Country of origin: Mexico
Year of release: 2000
Running time: 158'
Language: Spanish, with English subtitles
The debut feature by director Alejandro González Iñárritu, Amores Perros features three linked stories based in and around Mexico City. The first tells of Octavio, a young barrio-dweller who is in love with his sister-in-law, Susana. Determined to win her away from his brother Ramiro, a thief, Octavio resorts to using his dog Cifo in dogfighting circles to raise enough money for him and Susana to run away together.
The second story concerns Daniel, an editor who abandons his wife and two children for a supermodel, Valeria. When Valeria is involved in a car crash (the other car is driven by Octavio) and becomes handicapped, Daniel is forced to take care of her. Then Valeria’s beloved dog Richie becomes lost under the floorboards of her and Daniel's new apartment. The relationship strains the longer the pitiful dog's whines are heard without his rescue.
Finally comes the story of El Chivo, a bitter ex-guerilla turned hit man, who is given a contract to kill a wealthy, powerful businessman. A witness to the fateful car crash, El Chivo rescues Octavio’s dog, Cifo, whom paramedics have placed on the street—and who will teach the dehumanised El Chivo a shattering lesson.
Considered the film that launched the recent new wave of Mexican cinema, Amores Perros is marked by interconnected plots, dizzily fast pacing and gritty realism. In its structure and style (if not necessarily its content) it anticipates a number of films from the past few years, including Crash, City of God, and even Slumdog Millionaire.
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