Denver Cinema Club

IMDb says, The films of Claire Denis frequently explore the fragile connections between people and the ways in which the most seemingly inconsequential relationship can have life-changing effects. At the heart of Denis' cinema is a fascination with the delights and difficulties of belonging and otherness, the gravity and gift of foreignness.

We will watch and discuss:

Beau Travail (1999)
Maybe freedom begins with remorse.

Foreign Legion officer Galoup recalls his once glorious life, training troops in the Gulf of Djibouti. His existence there was happy, strict and regimented, until the arrival of a promising young recruit, Sentain, plants the seeds of jealousy in Galoup’s mind
-Streaming on Max, Criterion

The Intruder (2004- L'Intrus)
Your worst enemies are hiding inside, in the shadow, in your heart.

An emotionally cold man leaves the safety of his Alpine home to seek a heart transplant and an estranged son.
-Streaming on Kanopy, Amazon

Bastards 2013
A neo-noir nightmare.

Marco returns to Paris after his brother-in-law’s suicide, where he targets the man his sister believes caused the tragedy – though he is ill-prepared for her secrets as they quickly muddy the waters.
-Stream on Kanopy, Amazon

***I also plan to watch Highlife (2018) . Feel free to watch it and we'll have a little Claire Denis after-party.

• We will discuss all three films but please feel free to join if you only watch a couple.
• We will meet at Edgewater Public Market. There is plenty of parking and several food / beverage options.
• The plan is to sit outside at one of the large tables. Stay tuned because if it's sweltering we'll meet in the brewery area.

Here is the web page for the game. You'll find lots of DCCers among the photos.

The group will aim for the couches on the south side of the bar, along the windows overlooking Colfax. Look for a small Denver Cinema Club sign. Arrive early if you can, and help save seats!

“Honey Don’t!” is a tricky little picture. Ethan Coen’s slight yet jumbled 90-minute escapade tries to recapture the charged atmosphere of “Drive Away Dolls,” but only moves forward in fits and starts. Some of that is intended: this is meant to be a convoluted noir, the kind of B and C-level stuff whose illogical ending and random narrative swerves happened in service of providing enough runtime to be a vehicle for whatever star was attached to it. But oftentimes, the film’s dulled wit and unmemorable characters instead play like someone trying to copy a Coen movie rather than being one. (Robert Daniels/RogerEbert.com)

Tickets available at the box office and online
https://denverfilm.eventive.org/schedule?date=2025-08-25

Free parking in the structure above the theater

We will do the traditional trek to Bruz after for a sweet summer evening on the patio, beer/wine/root beer and light refreshments!

What is childhood if not an island cut off from the grown-up world around it, and what is first love if not a secret cove known only to the two parties caught in its spell? While no less twee than Wes Anderson‘s earlier pictures, “Moonrise Kingdom” supplies a poignant metaphor for adolescence itself, in which a universally appealing tale of teenage romance cuts through the smug eccentricity and heightened artificiality with which Anderson has allowed himself to be pigeonholed. (Variety)

There is parking in the lot behind the Mayan as well as across the street at the Mayan parking lot on the East side of Lincoln.

Tickets available online and at the box office.

Depending on attendance we will head to local venue after for discussion and beverages/snacks.