smARTfilms: Foreign Film

Thu, Sep. 7, 2017 7:30pm — 9:30pm | Add this to Calendar

Personal Stories from Around the World

Curated & Hosted by tj faddis.

Join us Thursday nights in the BIMA Auditorium for a curated selection of films. 

Tickets: $10 Member, $12 Non-Member

Bar opens at 6:30pm.
Auditorium opens at 7:00pm
Movies at 7:30pm



September 7:


“Hipsters” (2008)

Russia  -  115 minutes  -  Musical

See trailer here:

Once upon a time in 1955 Moscow, there two cultures: the hip and the square. The hip minority could be found in smoke-filled lairs where flashily attired hepcats jived to the subversive honk of jazz & boogie. The gray-faced square majority, alarmed by the infiltration of Western decadence, relentlessly stalked these rebels. Armed with scissors, they forcibly trimmed their hair and slashed their brightly checkered American outfits.  Based on Yuri Korotkov’s book “Boogie Bones”, the story follows the personal revolution of 20-year-old Mels from upstanding member of the Young Communist League to hipster - while finding his identity and absorbing the consequences.

Director Valery Todorovsky keeps the film moving by balancing its more serious undercurrents with a liberating sense of fun, with buoyant musical numbers that are as resplendent as GREASE. “This movie’s high spirits cannot be quenched.”  - NY Times



September 14:

O Horten poster

“O'Horten” (2009)

Norway  -  90 minutes  -  Gentle comedy

See trailer here:

Enlivened with droll wit and framed with a robust sensitivity, O’HORTEN is an amusing and entrancing personal portrait. On the evening of his retirement as a train engineer, dour Norwegian bachelor Odd Horten (a Buster Keaton-ish Baard Owe) learns to live life without a timetable. And since the film is the creation of absurdist Bent Hamer (KITCHEN STORIES), a master of droll melancholy himself, Odd’s life becomes just as peculiar as his name. The strangeness, humor and melancholy of aging are deftly explored here in a Jacques Tati-like innocence. “In a literal sense this delightful film is about retirement and the prospect of loss. But Mr. Hamer sends Odd on a cockeyed journey from regret through comic confusion to a lovely eagerness for new adventures.”  -  Wall Street Journal



September 21:


“Wadjda” (2013)

Saudi Arabia  -  98 minutes  -  Drama with observant humor

See trailer here:

You can tell that Wadjda is a rebel by looking at her feet. The other students at her all-girls school in Saudi Arabia accessorize their long, shapeless dresses with black Mary Janes and frilly socks, but Wadjda, a lanky 10-year-old with big eyes and an easy smile, favors black high-tops, a small gesture of spirited individuality in a world that seems organized to suppress any such expression.  She also is determined to have her own bicycle, something that, while not quite forbidden, is nonetheless strongly discouraged in Saudi society. At the edge of adolescence, Wadjda (Waad Mohammed) is discovering the severe limitations placed on women in the name of custom, Islam and family honor. That discovery - and the tricky mixture of resistance and accommodation it provokes in this smart, stubborn girl - is the subject of writer/director Haifaa al-Mansour’s sharply observed, deceptively gentle film, the first feature ever directed by a Saudi woman. “In the scenes between mother and daughter inside their apartment, the world outside no longer judging every action, new worlds open up. And therein lies the cinema’s role in our lives - it reveals what is concealed to others.”  - Chicago Tribune



September 28:


“Footnote” (2012)

Israel  -  103 minutes  -  Drama with light humor

See trailer here:

FOOTNOTE is a film about Talmudic research, close analysis of the ancient writings on Jewish law. Talmudic scholars are detail oriented by trade, and the two in close-up here are a father and son long at odds, both emotionally and intellectually. Eliezer Shkolnik (Shlomo Bar-Aba), the father, is the traditionalist who compares himself to an archaeologist combing through pot shards. He pores over evidence - so much so that he once spent 30 years pursuing a breakthrough that collapsed when a rival published first. Uriel Shkolnik (Lior Ashkenazi) is the successful, admired, cutting-edge son, and it’s Uriel who gets the accolades, the academy membership, the adoring looks from women. Eliezer's biggest triumph is a footnote: his name in the masterwork of a revered scholar. When the Israeli prize committee calls to congratulate the winner of their big national prize, did they get the correct Professor Shkolnik? “It’s one of the smartest and most merciless comedies to come along in a while - it centers on an area of fairly narrow interest, but in its study of human nature, it is deep and takes no prisoners.” - Roger Ebert, Chicago Sun-Times 




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