Monday, October 9th, 2017 ***** “The Great Beauty ” ***** “LA GRANDE BELLEZZA” ***** directed by Paolo SORRENTINO ***** with TONY SERVILLO *****

Queridos CINEMATIKEROS… this film is a swooning love letter to Roman decadence…La Grande Bellezza is  Paolo Sorrentino’s greatest film yet AND  we want to share it with you…Cinematiki Maui has shown many of the The Oscar Winners for best foreign film. however we have missed quite a few…Sorrentino’s The Great Beauty is one of them… We have already enjoyed several of his other films  like : IL DIVO, YOUTH, etcetera

Like some of us have done before elsewhere,  journalist Jep Gambardella has charmed and seduced his way through the lavish nightlife of Rome for decades. Since the legendary success of his one and only novel, he has been a permanent fixture in the city’s literary and social circles, but when his sixty-fifth birthday coincides with a shock from the past, Jep finds himself unexpectedly taking stock of his life, turning his cutting wit on himself and his contemporaries, and looking past the extravagant nightclubs, parties, and cafés to find Rome in all its glory: a timeless landscape of absurd, exquisite beauty…nothing to do with Federico Fellini’s ” La dolce vita” and yet…fast forward to this modern Rome influenced by…





Few films, even the greatest ones, are life-changing. It’s just something critics say. But Roberto Rossellini’s Paisan, showing Italy in tatters in the second world war, really did alter the paths taken by two Italian brothers: 17-year-old Paolo Taviani and his 15-year-old brother Vittorio, who saw it in 1946. They made a pledge after leaving the cinema: if they were not shooting films within a decade, they would buy a gun and shoot themselves. Thirty years later, and fully established as directors, they made their masterpiece, Padre Padrone. It won the Palme d’Or at Cannes in 1977, as well as the international critics’ prize – the first picture to scoop both awards at the festival. The jury president that year was the man who had inspired them: Roberto Rossellini.

Padre Padrone, which was made for Italian television, is based on the autobiography by the linguist Gavino Ledda. It details his upbringing in Sardinia at the hands of his father, a brutal peasant farmer, and opens with the real Gavino whittling away at a branch with his knife. The camera pans right to a man approaching a door. It is Omero Antonutti, the actor who will play Gavino’s father. He is about to enter a classroom, from which he will drag his illiterate six-year-old son (Fabrizio Forte) before forcing him to work in the wind-beaten mountains. Gavino hands his screen parent the stick he has been fashioning: “My father was carrying this,” he says. It’s a masterful, Brechtian moment; the baton is passed from reality to cinema.

MONDAY JANUARY 23rd, 2017 ****** LA LA LAND ***** written and directed by DAMIEN CHAZELLE ***** starring Ryan Gosling, Emma Stone, and Rosemarie DeWitt

Mia, an aspiring actress, serves lattes to movie stars in between auditions and Sebastian, a jazz musician, scrapes by playing cocktail party gigs in dingy bars, but as success mounts they are faced with decisions that begin to fray the fragile fabric of their love affair, and the dreams they worked so hard to maintain in each other threaten to rip them apart.

Potluck dinner at 5:45, film screening to follow at 6:45 AND MOST IMPORTANTLY= DISCUSSION AND COMMENTARIES AFTER THE FILM



Movie Review by Brad Kay

OKAY, the above is not the most perfect palindrome. Not classic, but it sort of makes sense, and you have to admire my initiative for coming up with it. People who even think palindromically are quite rare today. The same could be said for “La La Land.” It’s not a perfect movie, yeah, it’s not as good as “The Band Wagon,” yeah, but you have to admire the initiative of all concerned.
It is a CONTEMPORARY picture, not a modern attempt at an old-fashioned studio musical. Sly though it is with clever references to “Singin’ in the Rain,” “The Great Ziegfeld,” “An American in Paris,” etc. etc., it never tries to BE those movies or anything like them. All bets are off. In case you didn’t get the memo, MGM is history. That whole Old Show Business ethic is history. Fred Astaire, Jimmy Durante, Eleanor Powell, Al Jolson are all gone, and there is no one and nothing to take their place. The era is kaput. The miracle about “La La Land” is, that in spite of NO studio infrastructure or cultural “pull,” it ever got made at ALL. It should get an Oscar for just that. But this movie is more than just a futile, pallid, bloodless-but-brave attempt at a musical (as many have opined). It’s accomplished, entertaining, colorful, tells a terrific love story, succeeds on its own terms, and more than held my attention for two hours.
I saw “La La Land” on my 28-inch flatscreen, rather than in a theatre, and I think that helped. It’s an intimate story, after all. I don’t know much about “chemistry,” but Ryan Gosling and Emma Stone seem to have enough of it to keep us rooting for them. They held the franchise for me. The expressions on Stone’s face, near the start of the picture, when she’s on the phone getting the gate from her old boyfriend, were priceless and put me on her side at once (see Luise Rainer’s big telephone scene in “The Great Ziegfeld” for comparison).
For a musical, this had a LOT of music; a range of styles from show tunes to opera to “commercial” jazz to “real” jazz; plus there was ample silence and space. We see a great deal of tremendously accomplished instrumental playing. The actual singing and dancing certainly could have been better, and yes, there was no big Irving Berlin show-stopping song that just HAD to be, that got you cheering (the opening sequence on the 105 interchange was a good try). But, for today, Gosling and Stone’s singing seems natural. It emerges out of talking, which to my mind, is the best way a song can be. For them suddenly to explode into Las Vegas “Gladiator Style” singing would have been just silly.
Gosling’s jazz “piano playing” was pretty terrific throughout. True, it was dubbed in by pianist Randy Kerber (I looked it up), but Gosling threw himself so into piano practice, that his fingering and attitude looked entirely natural. He used several types of pianos in the course of the movie – a Steinway grand, a full upright, a little spinet, electronica – and the sound matched perfectly every time. It fooled me, and I should know.
There was a lot of talk about music and jazz throughout. It was not embarrassing. Lots of the talk sounded like it came from real musicians. It tells the truth! “La La Land” is not shy at conveying how fragile and precarious the music and acting scene of today really is. It never tries to convince us, as does “The Red Shoes,” that the whole world is one vast playground of the Arts. It’s a wasteland, and everyone knows it.
The only phony note in the picture, for me, was when “Sebastian” (Gosling) grudgingly had to play “boring” Christmas carols in a restaurant, then had a hissy fit, played “out” jazz, and got fired by his asshole boss. I’m sorry! That’s totally unprofessional! If you’re getting paid, you PLAY the damn carols, satisfy the man, but then DO them your OWN bad way! Knock yourself out! That’s what is known as a “win-win” situation. But I guess a plot point about the pianist’s “artistic” nature needed stress.
The color was thrilling – dazzling, kaleidoscopic, at times even psychedelic. It was the closest thing to the vivid, oversaturated three-strip Technicolor from the ‘40s I’ve ever seen. Much attention was paid to contrast, juxtaposition, variety. The editing also was fast paced, even clever and funny, but never obnoxiously so. And they also let the camera linger for long, full-frame takes with few cuts. Great use of fabulous L. A. locations, some of which are gone already.
I got the feeling of people working hard, pulling together, pooling all their talents to put this thing over. The team spirit is palpable. It never was easy to make a decent musical, even back when the studio system was swinging and the audience always was hungry and ready. For this picture to be made, today – for accomplishing all that it does, when it must have been a total uphill slog, what with music itself gasping for survival, with venues shutting down, audiences dying off and musicians evaporating – is fucking amazing.
Believe me, I was SPOILING to pan the hell out of this, and spew generous pots of my tight-assed curmudgeonly bile about the decline of culture, etc. etc. But I’ll have to stifle it. “La La Land” is really a GOOD picture, goddammit, and I don’t care if lots of ordinary people happen to agree with me.

***MONDAY OCTOBER 31st, 2016 *** “WILD TALES” ******* directed by Damián Szifron ***** starring Ricardo Darin, Oscar Martinez, Darío Grandinetti… Mónica Villa


We thought it would be opportune to show this highly acclaimed film on Halloween…It was  waiting for the right night to be viewed and discussed …”Wild tales” (Relatos Salvajes)  is a 2014 Argentine black comedy anthology film composed of six standalone shorts, all written and directed by Damián Szifron, united by a common theme of violence and vengeance  in  surreal situations that are played with gusto by culturally incorrect characters…

It stars an ensemble cast consisting of Ricardo Darín, Oscar Martínez, Leonardo Sbaraglia, Érica Rivas, Rita Cortese, Julieta Zylberberg, and Darío Grandinetti, and was co-produced by Agustín Almodóvar and Pedro Almodóvar. The film’s musical score was composed by Gustavo Santaolalla. It was nominated for the Best Foreign Language Film at the 87th Academy Awards, won the Best Film Not in the English Language at the 69th British Academy Film Awards, and also won the Best Ibero-American Film at the 2nd Platino Awards.



On this Labor day Monday come join us for our feature film “Francofonia”  spotlighting the legacy and priceless art collection of the Louvre Museum in Paris …this vivid docudrama recounts many dramatic moments in the institutions history, including the hasty cashing of its treasures when German forces occupied Paris in 1940  Directed by Alexander Sokurov creator of “Russian Ark”..poster



The sweeping expanses of the Sahara are the setting for a passionate love affair in this adaptation of Michael Ondaatje’s novel. Michael Ondaatje will be speaking on Saturday, June 25th at the MACC presented by The Merwin Conservancy as part of The Green Room Series.

A badly burned man, Laszlo de Almasy (Ralph Fiennes), is tended to by a nurse, Hana (Juliette Binoche), in an Italian monastery near the end of World War II. His past is revealed through flashbacks involving a married Englishwoman (Kristin Scott Thomas) and his work mapping the African landscape. Hana learns to heal her own scars as she helps the dying man.

MONDAY APRIL 20, 2015 ***** ” RUSSIAN ARK ” ***** directed by ALEXANDER SOKUROV with A CAST OF THOUSANDS !!!!