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EAT DRINK WATCH OSCARS - A Benefit for Cinematheque / Nighttown

WHO: Greater Cleveland MeetUp groups


WHAT? An Oscar-Watch Party to Benefit The Cinematheque

TELL ME MORE: Oscar-submitted FILM, followed by DINNER and WATCH PARTY

WHEN: OSCAR SUNDAY – February 24th , From 4:30 p.m. til Last OSCAR Standing!

WHERE: The Cleveland Cinematheque, 11141 East Boulevard and Nighttown

DRESS:  Black-Tie Optional

Greater Cleveland film lovers will gather at the at the Cleveland Institute of Art Cinematheque on Sunday, February 24th to attend a very special film and benefit organized by Ciné Arts Cleveland!.  After the film, the group will head to Nighttown in Cleveland Heights for dinner, discussion and Academy Awards viewing.

The Cinematheque will present the Cleveland première screening of the highly acclaimed Swiss film Sister (2012).  Sister was submitted to the Academy of Motion Picture Arts and Sciences by Switzerland for Oscar consideration in the Foreign Language category.  Nominees will be announced by the academy on Thursday, January 10th.

Using the key title words – EAT DRINK WATCH OSCARS (a reference to Ang Lee’s Oscar-nominated 1994 film EAT DRINK MAN WOMAN) – the unique benefit event will begin with WATCHing the film Sister at the Cinematheque.  Showtime is 4:30 p.m.  The party will then move to Nighttown for the EAT and DRINK portions of the evening.  Before, during and after dinner, partygoers will WATCH the Red Carpet and OSCAR awards presentations on large-screen televisions beginning at 7 p.m.

Importantly, serious Cinéphiles will have a special quiet room devoted to watching the telecast following dinner.  But it may not be too quiet but filled with occasional cheers or boos and hisses as the Oscar winners are announced.

Tickets, which cost $100, ($50 of which is a tax-deductible donation to the Cinematheque) include both admission to the film at the Cinematheque and the subsequent celebration of film at Nighttown.  A welcoming cocktail and hors d'oeuvres will be followed by a sit-down three-course meal and continued fellowship until the last award is handed out.   The event is Black-tie Optional adding to the excitement.

EAT DRINK WATCH OSCARS patrons will also receive complementary 2013 memberships in both Ciné Arts Cleveland! ($5) and Music Cleveland! ($10).

Tickets may be purchased by credit card or check (with advance reservation) by calling Liz Huff at CIA, 216  421  7957, and mailing a check to Cleveland Institute of Art, 11141 East Boulevard, Cleveland 44106. Please confirm your reserved seat before sending check.

Tickets are also available on-line at Walk-ups (cash only) will be accepted on the day of the event if space is available.

Your RSVP on this site is not a ticket purchase and it does not guarantee that a space will be available. This event is being promoted to a number of meetup groups and the general public. We have limited tickets available so an early purchase is recommended as this event is expected to be a sell-out.

The Cleveland Institute of Art Cinematheque is “one of the country’s best repertory movie theaters,” according to The New York Times. Founded in 1986, the alternative film theater shows art, independent, and foreign films, as well as revived classics, in the Institute’s 616-seat Aitken Auditorium at 11141 East Boulevard in University Circle. Free parking for filmgoers is available in the adjacent CIA lot.

Ciné Arts Cleveland! is a social networking group dedicated to the appreciation of foreign, art, classic and independent film. Ciné Arts schedules film and dinner/discussion events throughout northeast Ohio where members can screen and share thought about the latest and most provocative movies. Members are called Cinéphiles. Membership is open to all for a nominal annual fee.  For details go to

The group is part of the worldwide Internet networking service, MeetUp is devoted to providing a social forum for people of mutual interests in a wide range of areas.

Sister (2012)

SISTER (2012)

97 minutes, French with English Subtitles
France/Switzerland, 2012, Ursula Meier

Sister (2012) is Switzerland's official entry for this year's foreign language film Oscar. It is one of the most acclaimed movies of 2012, with an overall rating of 81 (out of 100). It's a haunting "up-mountain, down-mountain" drama about a 12-year-old boy who steals from wealthy guests at an Alpine ski resort in order to support his desperate, down-and-out older sister (Léa Seydoux of Midnight in ParisFarewell, My Queen) who lives in a decrepit apartment in the valley below. With Gillian Anderson. (special agent Dana Scully,The X-FilesThe Last King of Scotland) From the director of Home; beautifully lensed by Claire Denis' regular cinematographer Agnès Godard. Cleveland premiere. French with subtitles. 35mm. 97 min.,

The film will show at 4:30 p.m. and is open to both the public and benefactors.  RegularCinematheque admission prices will apply for FILM ONLY - ($9; $7 members; $6 age 25 & under).

A detailed description of the film and reviews follows.

The Cleveland Institute of Art Cinematheque is “one of the country’s best repertory movie theaters,” according to The New York Times. Founded in 1986, the alternative film theater shows art, independent, and foreign films, as well as revived classics, in the Institute’s 616-seat Aitken Auditorium at 11141 East Boulevard in University Circle. Free parking for filmgoers is available in the adjacent CIA lot.

at The Cleveland Institute of Art                                       
11141 East Boulevard
Cleveland 44106

Ciné Arts Cleveland! is Theater & Performance Art · Art · Classic Films · Italian Film · Irish Film · Cinema and Films · British Film · Art House Film · Film Festivals · Foreign Films · Movies/Dinner · Independent Film · Arts and Entertainment · Books and Movies Discussions/Good Food!

'Sister' Is A Beautifully Bleak Coming-Of-Age Story


by Emma Bernstein
October 3,[masked]:00 PM

A young child is dressing in a bathroom stall. We can’t tell what he looks like, as he layers on shapeless winter clothing and a neoprene mask hides all discernible features save for a pair of bright, knowing eyes. He goes through the pre-ski ritual, bundling up before braving the windy, snowy landscape of the mountain ahead. Except that this child isn’t dressing for a day of skiing, but rather a day of stealing. It isn’t until he lifts a backpack and a jacket, returning to the stall to sort through his loot, that his babyish face and soft, dirty blonde hair are revealed. This is the opening scene of “Sister,” the sophomore feature from Swiss director and co-writer Ursula Meier. The film, which won a Special Mention Silver Bear award at this year's Berlin Film Festival, examines the coming-of-age process and the challenges that face us as we arrive at adulthood.

The thief is 12-year-old Simon (Kacey Mottet Klein), who lives in an apartment building at the base of a Swiss ski resort with his older sister, Louise (Léa Seydoux). Each morning, Simon dons his ski outfit and rides the public gondola to the resort’s base lodge where he nabs whatever gear he can from unsuspecting tourists and re-sells it at discounted prices to local skiers and the mountain’s seasonal staff. Despite Louise’s considerable age, she seems utterly incapable of caring for herself or her brother: she can’t maintain a job and is unable (or unwilling) to learn how to help Simon repackage the stolen ski gear. Instead of working, she disappears with a string of men for days at a time, returning to her brother when the boyfriend-of-the-week gets tired of her or she runs out of money. Looking at their reflections in a mirror, Simon asks his sister, “The day I’m bigger than you, what will you do?” Louise can only smile and ruffle his hair affectionately, anything to remind herself that he is, in fact, still smaller and that the time has not yet come to figure out what she must do.

With their parents nowhere in sight and Louise unreliable and irresponsible, Simon’s illicit endeavors are a necessity, rather than a series of childish pranks: with the money he makes, the siblings can continue to get by. He’s caught in the act soon enough, but the man who nabs him wants in on the bargain, gaining Simon a partner – and, eventually a friend and older-brother-type – in the cheeky Scottish cook, Mike (Martin Compston). Later on, when Simon meets Kristin (played with quite the convincing British accent by Gillian Anderson), a Louise look-alike skiing with her two young children, he cottons on to her immediately as well. And so he builds a new kind of family, a family culled from the mountain.

Meier, along with co-writer Antoine Jaccoud, has created a mesmerizing and believable world for the complex and intriguing lead characters to inhabit. What begins as a lighthearted slice-of-life film transforms into a much darker and deeper character exploration after a sudden twist in the storyline. And despite their youth, both Klein and Seydoux are absolutely wonderful actors. They bring light and energy to the screen in the brightest moments, but manage the darkness and heartbreak in the film’s latter half equally well. Klein, in particular, takes his role on with enthusiasm and aplomb. Playing a character that is both a child and a caretaker, Klein makes us believe that he’s in way over his head while also convincing us that he can take care of everything. The push-pull between Simon’s current child self and the adult he’s becoming is heartbreaking, and Klein sells it on a silver platter.

“Sister” is as bleak and as beautiful as its snowy, mountainous setting. Amplified sound effects are favored over a score, mirroring the serenity of snow-covered mountaintop. When music is employed, the sound is haunting: bells and strings echo through vales and across plains, emphasizing their emptiness. Steady shots of the Swiss Alps, rising gigantically from a flat, frozen brown tundra, illustrate the world’s wildness and scale. The figure of Simon, pulling his grocery laden sled across the cold plain, is dwarfed in comparison, his significance reconsidered in sight of the mountains’ powerful, unmoving faces. He may be king of the mountain as long as he can keep the goods coming, but there’s a whole world out there that Simon doesn’t know and that, more importantly, doesn’t know Simon. He isn’t a mountain, after all: he can’t remain stagnant forever.

The Image as Obsession, No Matter the Method The Cinematographer Agnès Godard on ‘Sister’

By KRISTIN HOHENADEL Published: September 28, 2012

THE French cinematographer Agnès Godard has shot visually arresting films including Wim Wenders’s “Wings of Desire,” Peter Greenaway’s “Belly of an Architect” and Erick Zonca’s “Dreamlife of Angels,” and is best known for her nearly 25-year collaboration with the French directorClaire Denis. But Ms. Godard’s work on Ursula Meier’s “Sister,” which opens on Friday, was a turning point in her long career: the first time she used a digital camera.

“It was quite an experience,” Ms. Godard said on a recent afternoon in her airy loft — a converted boiler-works factory — in the 11th Arrondissement here. Pale, lithe and silver-haired, she spoke in a thoughtful, hushed, Gauloise-induced rasp. “It’s really a very big change to move from film to digital. The images don’t have the same texture, the poetic charge is different, so you have to reinvent the images.”

In the film, Simon (Kacey Mottet Klein) lives with his older sister (Léa Seydoux) in a housing complex at the foot of a luxury ski resort in the Swiss Alps. At 12, the boy is the family’s scrappy breadwinner, hitching a ride on a chairlift each day to pilfer ski equipment from the tourists before reselling it in the valley below, while his self-absorbed sister drifts in and out of view.

It’s a worrying setup, but the film is more inspired by fables and Hans Christian Andersen fairy tales than gritty social realism, and Ms. Godard was determined to give it a look that would subtly reinforce that idea.

“Digital demands a very technical approach to the image,” she said, “whereas before with film, even if there was a technical base, you could slide more easily toward a more intuitive approach. With digital, the camera sees more than us, and that’s a gap to fill that’s very technical and very strange and difficult to master.”

Ms. Godard said she relied on maneuvers like adding blue light to the Christmas tree in Simon’s apartment to subtly heighten the visual atmosphere of the film. “The idea of adding color was to try and make something different out of this new medium,” she said, “not to try to recreate what we had with film, because that’s a lost cause. Digital images have such precision that they are practically implacable. And what is implacable is violent, so I think it’s almost opposed to the possibility of creating fiction.”

The filmmakers created an imaginary topography composed of shots from disparate locations so that the setting became more universal than specific, although it reads like a single place. When Ms. Godard went to the resort location for the first time, she said she “looked at it with normal eyes in order to figure out how to film this imposing, gigantic, majestic half-circle of mountains piece by piece, like a puzzle, to create the impression that we have by looking at them as a whole.”

Ms. Meier said in a phone interview that she and Ms. Godard had epic discussions about the characters. “She really needs to understand the characters as deeply as possible in order to film them,” Ms. Meier said.

The challenge of filming the boy, Ms. Godard said, was “to film the enormous extent to which this child hid his immense solitude, to try and film his struggle against that lack of love.” In filming Ms. Seydoux, she tried “to film her beauty but to try to show that the beauty was a mask,” she said. “To try to film her absence despite such a physical presence.”

“Sister,”which Switzerland has chosenas its entry for the foreign-language Oscar, is the second film Ms. Godard has made with Ms. Meier (“Home,”2008), who lives in Brussels and is of French and Swiss origin. “What’s great about Agnès is that we start from zero each time,” Ms. Meier said. “Agnès has had an enormous career, but when we do a film she puts all her guts and passion for cinema into it as if it’s the first film.”

Ms. Godard studied journalism to appease her parents (back in the days when journalism seemed like a sensible career path), working as a publicist before enrolling in La Fémis, the renowned French film school.

Born in 1951, Ms. Godard said her fascination with images was inspired by her taciturn father, who took scores of family photos and home movies. “When he died I arranged all 5,000 of them and saw all that he said to us without words,” she said.

Many cinematographers have gone on to direct, but Ms. Godard said that being a cinematographer was always her aspiration. “I thought that working on the images was sufficiently vast in and of itself that it fulfilled my desire and became my ambition to think that the image was an element of the direction.”

Ms. Meier emphasized Ms. Godard’s crucial role in the filmmaking process. “Cinematographers are not necessarily great talkers, but she’s fascinating to listen to,” Ms. Meier said. “And she really knows how to listen herself. Agnès is very cultivated, very intelligent, and she’s also very intuitive. She’s totally implicated in the film. For me, Agnès is a real artist.”

Do some directors have a better sense of what the camera sees? “Claire has a very honed relationship with the images that has evolved over time,” Ms. Godard said of her longtime collaborator Ms. Denis. “She has the faith and the belief that an association of ideas that’s concise and that is based on pure cinematography — the choice of a frame, a focal point, the climate of the light — says something, and the idea that gluing those images together is going to create a sense.”

Ms. Godard said that Ms. Meier takes a different approach. “Ursula writes very, very long scripts, and it’s more a universe that you have to give form to on the set, to decide what will be shown and not shown and how to show it,” she said.

Does someone who has devoted her life to making images ever feel limited by what an image can express? “If one feels limited by an image, it’s an image that isn’t successful,” she said, then paused and conceded: “Sometimes. But finding the right image becomes a kind of obsession. There will certainly be a moment when I’m obliged to quit, but I want to continue as long as possible, to keep up the work of searching for images right to the end.”

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  • Bill J.

    Could not have been better!

    February 25, 2013

  • Bill J.

    No, I'm not padding the numbers - from all the groups we have involved we now have 60 PAID attendees for the Oscar Watch Party!

    February 22, 2013

  • Kathleen


    December 17, 2012

  • Bill J.

    Ticket...check, check too!

    December 17, 2012

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