prog: 2070
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35mm

We start the year 2015 by celebrating the opening of the Nova, 18 year ago! Its coming of age is marked by the arrival of a new machine, a DCP projector acquired a few months ago. This machine allows us to screen high definition digital films...

The Digital Cinema Package (DCP) was imposed as a new standard for film distribution in cinemas. We wont forget that before cinema became a digital signal projected onto a screen, light passed through successive photos printed onto celluloid! We may well be adults now, but the magic of that organic moment of analogue projection still enchants us as if we were kids!

During the first two weeks of 2015 we will therefore show a small selection of films recorded and projected using film. From the 1970s to very recently, from all four corners of the globe, in colour and in black and white, in enlarged 16mm or straight in 35mm, with budgets or on a shoestring... These films are all remarkable for the warmth that only film can provide.

Today, a great number of movies made on 35mm film, are only available in digital formats. The case for original formats is rarely heard. Other times, the original film copies are shelved in archives and stay there, even if an equivalent digital version doesn’t exist and thereby putting a stop certain films being screened at all in cinemas. Thankfully, a handful of distributors keep their film copies in good condition and allow cinemas to rent them. But for how much longer?

The advent of the DCP promised an insurmountable barrier against piracy, a reduction in prices for the manufacture and transport of copies and increased access to a number of films with good conditions and at reduced prices. In reality, the cost of distribution rights are not going down, the price of renting films is going up and finding films is more and more difficult, without even going into details about the reoccurring technical problems that the "safe" system creates. Moreover, let us not forget that the industry obliged all cinemas throughout the word to equip themselves with this new expensive material, the planned obsolescence of which is likely to seriously compromise the survival of small cinemas and benefit the big soul less cinema complexes. Another element that should not be overseen, is that this shift in paradigm has radically transformed the job of a projectionist who rather than an expert artisan in celluloid is reduced to pressing buttons, or acting as a human mediator between IT technicians and a machine in case of a technical glitch. In just a few years, a know-how is being eclipsed, giving way to a totalising digital force.

Not to worry, the Nova will hold onto its 35mm king material for a long time. Whatever the powers might judge, it is by no means ready to disappear.



Béla Tarr, 2007, HU-FR-DE, 35mm, ov ang st fr, 139'

One long night at work, Maloin, a railway switchman at ferry terminal in a small French city, sees a fight break out in the distance. He leaves his post but arrives too late: one of the two men is dead. Next to the victim lies a suitcase which Maloin takes home, where he discovers that it contains an inordinate amount of money. He decides to keep the bounty. Unfortunately his rather stingy life is hardly the better for all his new found wealth. On the contrary, new problems arise when detective Morrison comes knocking...

An adaptation of a novel by Georges Simenon, Béla Tarr creates a special kind of cinematographic "object". A kind of existential film noir that subverts the classic codes of detective thrillers. For Tarr, it’s less about the action than it is the shifts in tension experienced by Maloin. Like in his previous films, Tarr’s stylistic and directing decisions are radical: long drawn-out single takes, black and white images pushed to hypnotic extremes, time in perpetual suspension... Once again, Béla Tarr proves that great cinema can be made with the rawest, most fragile sensitivity.

21.01 > 20:00 + 24.01 > 19:00 + 01.02 > 17:00
5€ / 3,5€


Go Get Some Rosemary

aka Daddy Longlegs aka Lenny and the Kids

Ben & Joshua Safdie, 2009, US, 16mm > 35mm, ov ang st fr, 100'

Lenny has the kids for a few days every six months. Unable to control himself, he takes them on wonderful adventures and into unnameable difficulties that neither he, nor we, nor his entourage manage to define. Lenny is a projectionist at a movie theater in Brooklyn.
Shot in a frenzied 16mm that closely resembles the main protagonist, then blown up to 35mm, the film’s obvious patron saint would be Cassavettes. Actor Ronald Bronstein kills it on screen as well as with the screenplay (he was a co-author) and co-editor. Bronstein directed "Frownland", the most riveting of the Mumblecore movies, which also screened at Offscreen when it was released. The luminous Eleonore Hendricks, an indispensable figure in New York independent cinema, is also part of the gang. She’ll reappear on our screens in "Kuichisan", also in the program! The kids are played by the sons of Lee Ranaldo (Sonic Youth), and Abel Ferrara makes a cameo as a Jeffrey Lewis CD street-hawker.

23.01 > 20:00 + 30.01 > 20:00 + 01.02 > 22:00
5€ / 3,5€


Maiko Endo, 2011, JP-US, 16mm > 35mm, ov st ang, 76'

Aside from offering an alternative portrait of Okinawa, an island torn between resuscitated secular traditions, modernity and a US military base, "Kuichisan" is an overwhelming kaleidoscopic vision of young Kuichisan who wanders through the mysterious jungles of coming-of-age. An initiation voyage told through a broken narrative made of evocative 16mm images saturated in vivid, colourful light. Perfectly calibrated to a soundtrack of improvised sounds, concrete music and re-interpreted ambiances, this sensory explosion is enriched by the musical sensitivity of Maiko Endo, the film’s director and also a professional violinist. A blurry poetics of childhood magic on an island kingdom lost between America and Japan.

Winner for Best International Documentary in the Opus Bonum section at the Jihlava festival in 2012, "Kuichisan" screens on Wednesday, February 4, as a prelude to the launch of the third edition of "Echoes of Jihlava"!

24.01 > 22:00 + 25.01 > 20:00 + 30.01 > 22:00 + 04.02 > 20:00
5€ / 3,5€


Ritwik Ghatak, 1973, IN, 35mm, ov st fr, 158'

Ritwik Ghatak continues to gain recognition. Some of his films have already screened at Nova, including this one. Since then, "A River Called Titas" has been restored and given new subtitles, so we now invite you to take another look. A film of extraordinary formal beauty, the most recent by the director after a long absence from cinema. An innovative structure at the time, with several stories connected solely by the river in the title, a source of life but also of misfortune. Inspired by a famous Bengali novel, Titas is an epic film that combines documentary and fiction, offering several readings and the possibility to comb the depths of the fisherman’s universe. A world where it can be hard to find one’s place and where individual destinies depend on the collective, and on a river doomed to disappear. The entrancing folk-inspired music by Ustad Bahadur Khan eternally captures these fishermen’s lives enmeshed in an impassable river.

25.01 > 17:00 + 28.01 > 20:00 + 31.01 > 19:00
5€ / 3,5€


Quay Brothers, 1996, GB, 35mm, ov ang st fr, 105'

Jacob von Gunten, a young man from a good family, arrives at the Benjamenta Institute to become a butler. The institute is managed by a brother and sister, Johannes and Lisa Benjamenta. The former is bitter, distant and authoritarian, whereas the latter is beautiful, disconcertingly fragile underneath her appearance of self-possession. Seven other men are enrolled at the school reigned over by a bizarre and oppressive atmosphere. The lessons rapidly prove to be extreme, extravagant and absurd. It all ends up seeming completely irrational, cut off from the world. As does the twisted love story that starts to unfold...

The narrative is inspired by the eponymous novel by Robert Walser, but it’s useless to try to find a foothold there; the film oscillates between dream, fantasy and a reality which ultimately proves to be the most unreal. Shot in black and white, this first feature length film by the Brothers Quay is a fascinating work of beauty.

25.01 > 22:00 + 31.01 > 22:00 + 01.02 > 20:00
5€ / 3,5€


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lang: en
id_rubrique: 2071
prog: 2070
pos: aval