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AFTERSUN

Sat and Sun, Dec 10 and 11 at 4:30 and 7:30 • IU Radio & Television Theater • Purchase Tickets

Fri, Dec 16 at 7:30 • Sat and Sun, Dec 17 and 18 at 4:30 and 7:30 • IU Radio & Television Theater • Purchase Tickets

At a fading vacation resort, 11-year-old Sophie treasures her time together with Calum, her loving and idealistic father. Twenty years later, Sophie’s tender recollections of their last holiday become a powerful and heartrending portrait of their relationship.

First-time Scottish filmmaker Charlotte Wells creates two rich characters through a series of subtle and beautifully observed sequences. Aftersun packs an emotional power that lingers long after credits have rolled. (99 minutes)

presented in partnership with Cicada Cinema

It’s hard to find a critical language to account for the delicacy and intimacy of this movie. This is partly because Wells, with the unaffected precision of a lyric poet, is VERY NEARLY REINVENTING THE LANGUAGE OF FILM, unlocking the medium’s often dormant potential to disclose inner worlds of consciousness and feeling. CRITIC’S PICK! – A. O. Scott, The New York Times

THE DRAUGHTSMAN’S CONTRACT

Sat and Sun, Dec 10 and 11 at 4pm and 7pm • IU Fine Arts Theater • Purchase Tickets

Fri, Dec 16 at 7pm • Sat and Sun, Dec 17 and 18 at 4pm and 7pm • IU Fine Arts Theater • Purchase Tickets

A TANTALIZING PUZZLE, WRAPPED IN EROTICISM AND PRESENTED WITH THE UTMOST ELEGANCE. I HAVE NEVER SEEN A MOVIE QUITE LIKE IT.
Roger Ebert

Set in a richly exaggerated 17th-century England, Peter Greenaway’s witty, stylized, erotic country house murder mystery catapulted him to the forefront of international art cinema when it was released in 1982. Adorned with intricate wordplay, extravagant costumes and opulent photography, Greenaway’s first narrative feature weaves a labyrinthine mystery around the maxim “draw what you see, not what you know.” An aristocratic wife (Janet Suzman) commissions a young, cocksure draughtsman (Anthony Higgins) to sketch her husband’s property while he is away—in exchange for a fee, room and board, and one sexual favor for each of the twelve drawings. As the draughtsman becomes more entrenched in the devious schemes in this seemingly idyllic country home, curious details emerge in his drawings that may reveal a murder. (104 min)

Originally released in 1982. Newly remastered in 4K by the British Film Institute National Archive.

The Draughtsman’s Contract confronts the viewer in 2022 the same way as it did in 1982. This is a movie which (rather magnificently) refuses to dumb anything down, always demanding the highest pitch of attention. The Draughtsman’s Contract has a singular brilliance. — The Guardian


Coming soon …

THE CONFORMIST

Fri, Jan 6 at 7pm • Sat and Sun, Jan 7 and 8 at 4pm and 7pm • IU Radio & Television Theater • Purchase Tickets

Fri, Jan 13 at 7pm • Sat and Sun, Jan 14 and 15 at 4pm and 7pm • IU Fine Arts Theater • Purchase Tickets

At the peak of his creative powers the 29 year old Bernardo Bertolucci rejected the influence of mentor, Jean-Luc Godard, and partnered up with Vittorio Storaro and developed his own style, creating one of the most visually dazzling, politically and psychologically intriguing, landmark Italian films.

The story begins in Rome, 1938. Marcello (Jean-Louis Trintignant) is a young fascist who takes on the job of assassinating his former professor who has fled to Paris. A thriller as well as study of Italian politics and psychological character, Bertolucci’s Oscar nominated adaptation of Alberto Moravia’s novel (an adaptation Moravia greatly admired) has gone on to influence filmmakers such as Francis Ford Coppola, Paul Schrader and Martin Scorsese and remains one of the great triumphs of world cinema.

This is a new 4K restoration, supervised by Vittorio Storaro 1970 in Italian with English subtitles 111 min

Bertolucci’s masterpiece…the most revelatory experience you’ll have in a theater this year. – Michael Atkinson, The Village Voice

Bernardo Bertolucci’s expressionist masterpiece…offered a blueprint for a new kind of Hollywood film, which is why Coppola, Spielberg and Scorsese owe him a huge debt. – John Patterson, The Guardian

NEPTUNE FROST

Sat and Sun, Jan 7 and 8 at 4:30 and 7:30 • IU Fine Arts Theater • Purchase Tickets

Multidisciplinary artist Saul Williams brings his unique dynamism to this Afrofuturist vision, a sci-fi punk musical that’s a visually wondrous amalgamation of themes, ideas, and songs that Williams has explored in his work, notably his 2016 album MartyrLoserKing. Co-directed with his partner, the Rwandan-born artist Anisia Uzeyman,

The film itself resists the very idea of a beginning and end; it shatters any attempt at summation. But we’ll try. Neptune Frost is the story of an intersex hacker (named Neptune Frost, and played by two different actors) who leads a revolt against the world’s resource-rich–those who mine Africa’s land and peoples to power global currency.

In the end, this film needs to be experienced on its own terms. Put differently: this is cinema as an ecological gift to the dispossessed. Generously creative and unafraid, Neptune Frost seeks to reclaim technology for progressive political ends. (105 min)

presented in partnership with Cicada Cinema

Critic’s Pick! Williams and Uzeyman marry anarchist politics with anarchist aesthetics, making something that feels both handmade and high-tech, digital and analog, poetic and punk rock. . . . An EXUBERANT ENERGY . . . A TREASURY OF IDEAS and provocations — a pocket full of possibilities. – A.O. Scott, The New York Times

CORSAGE

Fri, Jan 13 at 7:30 • Sat and Sun, Jan 14 and 15 at 4:30 and 7:30 • IU Radio & Television Theater • Purchase Tickets

Fri, Jan 20 at 7:30 • Sat and Sun, Jan 21 and 22 at 4:30 and 7:30 • IU Radio & Television Theater • Purchase Tickets

A visually stunning contemporary waltz through the life of Empress Elisabeth of Austria (Vicky Krieps), the beloved, restless, and occasionally scandalous 19th-century ruler, a performance for which Krieps won Best Actress at Cannes.

It’s Christmastime, 1877, in the Austro-Hungarian capital of Vienna, and Empress Elisabeth is thrown into turmoil as she anticipates being considered an old woman–after all, she’s almost 40. She is feeling constricted–by her dysfunctional marriage to the emotionally distant Emperor Franz Joseph, by her largely ceremonial public appearances, and by the corset that gives this film its title.

Vicky Krieps won Best Actress at this year’s Cannes Film Festival for her performance as a woman who rebels against the stifling conformity of her stuffy, unfulfilling lifestyle.

Written and directed by Marie Kreutzer Winner: Best Film, British Film Institute in German, French, English, and Hungarian with English subtitles 113 minutes

The handsome, mischievous Corsage displays a different, if no less passionate affection for the woman struggling to breathe inside the corset — the kind of love that sets her free. -Variety


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