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What about non-white people who wear technical clothing eh? I m 1/2 yellow and 1/2 white and I wear a ridiculous amount of technical clothing. Although I always want to go camping, I m not so stupid as to think my buddy s going to call an impromptu session of hiking and paddling. I for one wear technical clothing because I m a paranoid bastard. When those zombies come, you want to be hunkered down in a makeshift shanty dressed in cotton, that retains water and chills you when the temperature drops? I think I ll stick with my technical clothing. I may look like a douche, but damn yo, how many hipsters look like douches and are just gonna be eaten by zombies because they can t run in their drainpipe jeans? Sheeit yo, it ain t just white people wearing clothing that works, that in itself is degrading to people of other shades. What, because I m 1/2 Chinese I can t be (paranoia-fuelled) practical? C mon!! Musical modes explained Charles blondin artist prints

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Why you should come see Goodbye Lenin
It’s a cutesy family drama, yes, but beautifully put together, and with some lovely reflections on the myths that sustain us - sentimentalising of the both the past and the future. As East Germany ceases to...

Why you should come see Goodbye Lenin

It’s a cutesy family drama, yes, but beautifully put together, and with some lovely reflections on the myths that sustain us - sentimentalising of the both the past and the future. As East Germany ceases to exist, Goodbye Lenin gently nudges us to reflect on what identity is, what goes into making anything exist as it is. It’s funny, and wry, and delightfully goofy.

“Deliciously offbeat comedy, as wildly inventive as anything Billy Wilder ever conceived.”
San Francisco Chronicle

And if you don’t like football, or even just Liverpool, there’s no better way to spend an evening!

Screens in the Sunflower Bar, Wed 18 May @ 7.30pm - £6 w/ a craft beer, £4 without!

Posted 1 year ago and has 0 notes
Goodbye Lenin, Wolfgang Becker (2003)
Our ‘family’ theme continue with a wry, funny and slightly sentimental look at nineties Europe. When Alex’s mother wakes up from a coma during which her beloved East Germany has ceased to exist, he must keep her...

Goodbye Lenin, Wolfgang Becker (2003)

Our ‘family’ theme continue with a wry, funny and slightly sentimental look at nineties Europe. When Alex’s mother wakes up from a coma during which her beloved East Germany has ceased to exist, he must keep her from the shock of learning the truth.

TRAILER

‘Becker blends comedy, pathos, political commentary, witty dialogue and beautiful visual elements into a seamless movie.’
Lori Hoffman

Wed 18th May, 7.30pm, Sunflower Bar, £6 (includes a craft beer)

Posted 1 year ago and has 2 notes
Why you should come see Le Bonheur
A film that divides critics and audiences (‘like a cinder in the eye’ wrote one reviewer in the New York Times), Varda’s dissection of love is both gentle and provocative. Partly this stems from the title - Varda...

Why you should come see Le Bonheur

A film that divides critics and audiences (‘like a cinder in the eye’ wrote one reviewer in the New York Times), Varda’s dissection of love is both gentle and provocative. Partly this stems from the title - Varda seems to be ostensibly presenting a picture not only of a complicated relationship, and desperate if unspoken loss, but of happiness, the good life. The thorn in the side is that her prescription is so amoral.

The film is dripping with colour (partly a production accident, but effective in giving a visual aliveness to the theme itself). Released just before the massive social unrest that was to grip Paris (and the world) in the late sixties, it remains a fascinating examination of moral complication, desire and family.

“Shocking and continuously provocative…“
New York Times

Part of the Belfast Film Festival, Le Bonheur screens in The Sunflower on Wed 20 April @ 7.30pm. Tickets available here.

Posted 1 year ago and has 0 notes
Le Bonheur, Agnès Varda (1965)
We kick the new quarterly theme of ‘family’ at Belfast Film Club with a wry, bold film by Agnès Varda, Le Bonheur. While married to the kind, beautiful Thérèse, young husband and father François finds himself falling...

Le Bonheur, Agnès Varda (1965)

We kick the new quarterly theme of ‘family’ at Belfast Film Club with a wry, bold film by Agnès Varda, Le Bonheur.  While married to the kind, beautiful Thérèse, young husband and father François finds himself falling unquestioningly into an affair with an attractive postal worker.

Despite its simple themes, this is one of Agnès Varda’s most provocative films, coming (in 1965) as France was under increasing political and social strain. Le Bonheur examines, with a deceptively cheery palette, the ideas of fidelity and happiness, and it inevitably echoes beyond the family context out into the wider world.

TRAILER

'beautiful and disturbing…full of lingering and creepy ambiguities’
Jonathan Rosenbaum

Wed 20th April, 7.30pm, Sunflower Bar, £6 (includes a craft beer)

Posted 1 year ago and has 1 note
Why you should come see Silent Light
Mexican director Carlos Reygadas makes strange, sexual, beautiful, and occasionally disturbing films. He is, in the loosest sense of the word, a theological filmmaker - obsessed not with God, but in the way we...

Why you should come see Silent Light

Mexican director Carlos Reygadas makes strange, sexual, beautiful, and occasionally disturbing films. He is, in the loosest sense of the word, a theological filmmaker - obsessed not with God, but in the way we love things: places, people, sex, ourselves. Silent Light - his third film after Japon and Battle in Heaven - tells the story of Johan, a patriarch in a small religious community in northern Mexico who is having an affair with a woman called Marianne. His wife, Esther, knows about the affair, and the film pulls apart Johan’s struggle to come to terms with the contradiction between his desire, his family and God. Reygadas skill is to play this flat - all his actors are non-professional, from actual Mennonite communities - and yet inject an extraordinary poeticism, an almost mystical realism.

The film owes a great debt to Dreyer’s Ordet (which we watched last time!), but Reygadas carves his own route through the dark pathways of the human heart, and his talent with the camera (sometimes extraordinarily beautiful, sometimes - deliberately - boring) is arresting and weird.

I doubt you’ll have seen another film quite like this - I certainly haven’t. Many of the images remain burned indelibly in my brain. His refusal of simple moralities - in this he is an interesting counterpoint to Almodóvar - creates a space in which judgement can be, for a time at least, suspended, and love - in all its messy, dangerous insistence, can be glimpsed.

There is not a false instant in the film, and the performances assume an almost holy reality… Curious, how a slow and deep film can absorb, and a fast and shallow one can tire us. Roger Ebert

By stripping away all of the usual social conventions inherent to adultery dramas, and by maintaining rigorous indifference toward the finer points of the community’s religious dictates, Reygadas poses these basic questions about love, respect, and responsibility in a manner that’s refreshingly uncluttered and emotionally direct. José Teodoro

Posted 1 year ago and has 0 notes
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Why you should come see Ordet

Long praised for its cinematography, Dreyer’s ‘Ordet’ is a strange little film. Ostensibly religious, it refuses dogma to embrace uncertainty and hope, and even (god forbid) the miraculous.

The film revolves around a farmer’s family. He has three sons: one is agnostic, one has fallen in love with a fundamentalist’s daughter, and the third believes he is Jesus Christ. Sounds a little like my poker group.

The plot revolves around their interactions, but really is it the characters themselves who command the film, at times speaking as though there is no camera, no audience, even no other actors.

Dreyer is more well known for The Passion of Joan of Arc, and Ordet is undoubtedly a more difficult film, resisting easy analysis and demanding, especially at the beginning, patience from the viewer. But as Roger Ebert remarked, “once you’re inside, it is impossible to escape.” There is a strange, almost sexual undercurrent running through scenes which appear on the surface clear and pristine. Its very style (only 114 shots, each averaging over a minute, and only 3 close-ups) is part of the narrative; it works on the attentive viewer slowly, relentlessly, and with a subtle grace.

If you haven’t seen Dreyer before, keep Wednesday night free.

“When the film was over, I had plans. I could not carry them out. I went to bed. Not to sleep. To feel. To puzzle about what had happened to me. I had started by viewing a film that initially bored me. It had found its way into my soul. Even after the first half hour, I had little idea what power awaited me, but now I could see how those opening minutes had to be as they were.”
Roger Ebert

Posted 1 year ago and has 0 notes
Why you should come see ‘Beyond the Hills’
Kicking off our new series on the spiritual (Holy shit!), Mungiu’s ‘Beyond the Hills’ is a quietly powerful little film about authority, friendship, and male power. Two old friends, brought up in an...

Why you should come see ‘Beyond the Hills’

Kicking off our new series on the spiritual (Holy shit!), Mungiu’s ‘Beyond the Hills’ is a quietly powerful little film about authority, friendship, and male power. Two old friends, brought up in an orphanage, are reunited after making very different choices with their lives. The contrast of the secular and the religious that Mungiu explores, so often caricatured in film, is handled deftly and with real subtlety.

The film is starkly naturalistic - the performances superb, the style of filming simple and unshowy  - and the cumulative effect is one of pulling the viewer right in, of making us, as one reviewer had it, 'feeling like observers inhabiting the same space as these characters, sometimes feeling like participants in the action’.

There is a biting critique of the church here, but none of the characters are hammed up, played for easy liking or hating. Mungiu is much less interested in making people monsters or angels than in exploring the ways we - all of us - are joined together and torn apart by forces often outside our control, forces which require no god to explain, but nonetheless operate with all the force of religious conviction. Desire vs convention, secular vs spiritual, the individual vs the community - not binaries but strange bedfellows after all.

Wed 20th January, 7.30pm, Sunflower Bar, £6 (includes a craft beer)

Posted 1 year ago and has 1 note
Silent Light, Carlos Reygadas (2007)
Filmed in a Mennonite colony in Northern Mexico, Silent Light tells the story of a Mennonite married man who falls in love with another woman, threatening his place in the conservative community. As Roger Ebert...

Silent Light, Carlos Reygadas (2007)

Filmed in a Mennonite colony in Northern Mexico, Silent Light tells the story of a Mennonite married man who falls in love with another woman, threatening his place in the conservative community. As Roger Ebert wrote: ‘Sometimes we are helpless in the face of love, and it becomes a torment. It is a cruel master. We must act on it or suffer, and sometimes because we act, others suffer. Silent Light is a solemn and profound film about a man transfixed by love, which causes him to betray his good and faithful wife.

A surprising picture and a very moving one as well.
Martin Scorsese

TRAILER

Wed 23rd March, 7.30pm, Sunflower Bar, £6 (includes a craft beer)

Tickets available here.

Posted 1 year ago and has 2 notes
Ordet, Carl Theodor Dreyer (1955)
A farmer’s family is torn apart by faith, sanctity, and love—one child believes he’s Jesus Christ, a second proclaims himself agnostic, and the third falls in love with a fundamentalist’s daughter. Putting the lie to...

Ordet, Carl Theodor Dreyer (1955)

A farmer’s family is torn apart by faith, sanctity, and love—one child believes he’s Jesus Christ, a second proclaims himself agnostic, and the third falls in love with a fundamentalist’s daughter. Putting the lie to the term “organized religion,” Ordet (The Word) is a challenge to simple facts and dogmatic orthodoxy. Layering multiple stories of faith and rebellion, Dreyer’s adaptation of Kaj Munk’s play quietly builds towards a shattering, miraculous climax.

TRAILER

‘Powerful’ doesn’t do justice [to Ordet]… It reminds us how in the end we know little about the mysteries of life. Dreyer manages to say all this within the framework of a strange, wondrous and shocking work. Once seen, it’s unlikely to leave you.
Dave Calhoun, Time Out

Wed 17th February, 7.30pm, Sunflower Bar, £6 (includes a craft beer)

Tickets available here.

Posted 1 year ago and has 1 note
Beyond the Hills, Cristian Mungiu (2012)
After growing up together in an orphanage, two young women, close friends, part ways. Voichita finds refuge in a Romanian convent and Alina moves to Germany to start a new life. When Alina returns and moves...

Beyond the Hills, Cristian Mungiu (2012)

After growing up together in an orphanage, two young women, close friends, part ways. Voichita finds refuge in a Romanian convent and Alina moves to Germany to start a new life. When Alina returns and moves into the convent, their relationship threatens to destabilise everything around them.

TRAILER

Wed 20th January, 7.30pm, Sunflower Bar, £6 (includes a craft beer)

Tickets available here.

Posted 1 year ago and has 0 notes