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This Week at Close-Up: Un Chien Andalou, To Kill A Mockingbird, and more

 
 
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This Week at Close-Up: Un Chien Andalou, To Kill A Mockingbird, and more
by Tom Davies - Tuesday, 5 April 2016, 12:24 PM
 

Take a look at the Close-Up Cinema website for more information...


Friday 8 April - 8pm

Un Chien Andalou + L'Âge d'Or

Two classics of Surrealist cinema: The opening sequence of Un Chien Andalou contains one of the most indelible images, and most primal "cuts", in film history – the chillingly tranquil slicing of an eyeball with a razor blade. L'Âge d'Or was banned and vilified for many years for its subversive eroticism and furious dissection of 'civilised' values. Both screened on 35mm prints!


Saturday 9 April - 6.15pm / 8pm

Take Two: I Hired A Contract Killer / Taste of Cherry

Two men seek to end their lives. Two films showing how the unfathomable poetry of the everyday life survive the blackholes of neurosis.


Saturday 9 April - 6.15pm

I Hired a Contact Killer

Lonely and friendless after being made redundant, French émigré Henri (Léaud) hires a hit-man to put him out of his misery, but after meeting and falling in love with flower-seller Margaret (Clarke) in a pub, he tries to cancel the contract. Aki Kaurismäki's droll, London-set thriller moves from everyday realism through melodrama, giving the film the feel of "an Ealing comedy on downers"


Saturday 9 April - 8pm

Taste of Cherry

Abbas Kiarostami's emotionally complex meditation on life and death. Middle-aged Mr. Badii (Homayoun Ershadi) drives through the hilly outskirts of Tehran – searching for someone to rescue or bury him. A patient, poetic and profoundly beautiful work that confirmed its director as one of the masters of modern world cinema.


Sunday 10 April - 8pm

Take Two: Passage a l'acte / To Kill a Mockingbird

Six-year-old Scout watches her father raise his dignified fists against bigotry, deceit, injustice and a symbolic rabid dog as he argues his doomed case in a small-town courtroom, in defence of the falsely accused African-American Tom Robinson. Martin Arnold's Passage à l'Acte makes a simple breakfast scene from To Kill a Mockingbird look like a surrealist nightmare.