What we're about

Meet up with other cinephiles for discussions of classic, cult, and documentary films!

Format:

Watch films on your own time and meetup to talk about them (like a book club (http://www.meetup.com/Montreal-Science-Fiction-Book-Club/)). The discussions to be held at pubs and/or cafés.

Movie Selection and Participation:

An important element of this club is movie selection. Films will be selected at least three months in advance by those who attend the discussions.

Members will have at least one month to buy, borrow, download, or stream the movies and watch them on their own time.

The purpose of this group is to get movie fans together; to meet people with similar interests in a comfortable environment.

Screenings:

Occasionally, I will post Meetups for screenings, in those cases we will see the film together and hold a discussion afterwards.

Fees:

I will be charging $1.00/person fee at each discussion to help cover the annual Meetup fees. For screenings, free or paid, the fee will be waived.

Upcoming events (5+)

Screening: The Magic of Méliès

VA-114 Cinema (Fine Arts (VA) building of Concordia University)

THE MAGIC OF MÉLIÈS (Docs plus shorts with live piano) (1902 – 1968, France, 120 min, 16mm) In our first-ever collaboration with one of Montreal’s most respected and popular festivals, we serve up a pair of documentaries on one of the most influential filmmakers in the history of the art form; GEORGES MÉLIÈS (1968) by Claude Leroy utilises archival footage and images of artefacts from his earlier period as magician, poster artist and maker of automatons plus LE GRAND MÉLIÈS (1952) by Georges Franju (Eyes Without A Face) rekindled an interest in Méliès in the 1950s with this 31 minute film featuring dramatizations of key moments in his life. These will be followed by a selection of shorts by the great Méliès including the restored hand-coloured version of A TRIP TO THE MOON (1902) all on 16mm and accompanied live on piano. The 37th edition of the International Festival of Films on Art runs from March 19th to the 31st. Tickets available at www.artfifa.com and www.lavitrine.com

Screening: The Quiet Earth

VA-114 Cinema (Fine Arts (VA) building of Concordia University)

(1985, New Zealand, 91 min., 35mm) Geoff Murphy Unlike Australia’s loud and violent Mad Max (1979), New Zealand’s The Quiet Earth approaches the end of the world in a very different way. Without biker gangs, zombies, marauders, vigilantes or secret societies of survivors, the silent planet comes to its end with a creepy and terrifying peacefulness. The film takes an engaging and pensive journey through the psychological ramifications of being truly, not metaphorically, alone in this world. In spite of some thrilling moments, this is hardly an action film. Zac Hobson (superbly portrayed by Bruno Lawrence) wakes up late for work because his alarm clock didn’t go off. He calls his office but no one answers, and outside of his window, there’s no traffic whatsoever. Slowly, Zac realizes something is a little bit “off” about this day, something he can’t quite put his finger on. Could it be that every other human being has vanished without a trace leaving him as the last survivor? He finds himself at first desperately trying to find another living human being in an abandoned city-scape. He uses radio announcements and huge signs to let any prospective rescuer know where to find him. But as time goes on, two things become clear to him. 1. He is most likely the last man on Earth and 2. He may well have been part of the cause of this apocalypse. Which brings us to 3. He is quickly going quite insane. What follows is both fascinating and frightening as our only character goes from shock to denial to anger to megalomania to blasphemy to cross-dressing to violence to the edge of suicide to acceptance. But the questions begin to really fly when he discovers bodies out there, some that haven’t been dead for long. Zac spends so much screen time as the only character (which is a testament to the quality of this never-dull film) that the audience is just as shocked as he is when he encounters… No. We won’t reveal what he encounters. You’ll just have to leave the solitary confinement of your couch to join a group of fellow human beings in a movie theatre on a Sunday night in May. The Quiet Earth is a great and unique film, which looks and sounds excellent on 35mm in stereo. However, because the film is so great, it deserves an accompanying short that is an equally unique labour of love that will stay with you for a long time. Witness the FUTUROPOLIS, a space flick from 1984 inspired by Star Wars and Flash Gordon made on a shoestring budget by Phil Trumbo with a small team of dedicated movie geeks putting in lots of meticulous hard work on weekends and spare nights over several years. It incorporates a dizzy variety animated styles, live action effects and quirky ideas for jaw-dropping impact. Like our main feature, there are very few films like it. Being screened for you is one of only two 16mm prints that exist anywhere on earth. Billets / Tickets: 8$, 6$ (Étudiants / Students, 65+), sur place seulement, argent comptant / At the doors, cash only

Screening: Soldier of Orange (Soldaat van Oranje)

VA-114 Cinema (Fine Arts (VA) building of Concordia University)

(1977, Netherlands / Belgium, 155 min., 16mm, English subtitles) Paul Verhoeven It is 1930 in the Netherlands as five young men enjoy a pleasant peaceful life. Having originally met at a fraternal initiation ritual, their solid friendship grows with the years. It is in September of 1939, upon learning that the world is at war that their lives will change forever. When Germany invades their country, the five friends become separated and occupy their own distinct places in society while holding to one common goal: conquer the Nazi invaders by any means necessary! Before his popular and prolific career in Hollywood, Paul Verhoeven (Robocop, Total Recall, Basic Instinct) made several films in his native Holland. SOLDAAT VAN ORANGE tells an epic dramatic tale of intimate friendships and the power of human determination in the face of enormous dark obstacles. In one of the most ambitious films of his career, Verhoeven juggles the complex human, suspense and visceral elements quite skillfully. Featuring some extremely talented actresses and actors, including Rutger Hauer (Blade Runner, The Hitcher) in one of his first leading roles, this film is nearly impossible to see anywhere on a big screen. So what better way than to immerse yourself in an excellent condition uncut archival print! Billets / Tickets: 8$, 6$ (Étudiants / Students, 65+), sur place seulement, argent comptant / At the doors, cash only

Screening: Cat People + The Leopard Man

Cinema J.A.de Seve - Concordia U.

CAT PEOPLE (1942, USA, 73 min., 16mm) Jacques Tourneur / Producer: Val Lewton THE LEOPARD MAN (1943, USA, 66 min., 35mm) Jacques Tourneur / Producer: Val Lewton In the 1940s, writer-producer Val Lewton oversaw a series of darkly poetic low-budget horror films at RKO studios that have come to be appreciated for their shadowy aesthetic and psychological themes, rather than the visible monstrosities produced by Universal, such as The Wolf Man (1941). After what is perceived as the classic period of the 1930s, with such film as Frankenstein and Dracula (both from 1931), much of the output of 1940s American horror has been disparaged in scholarship and by critics as degenerating into parodies and multiple-monster films dubbed “monster rallies.” However, the films produced by Lewton, who was called the “man in the shadows,” were given elevated status as “terror” films based on their emphasis on dread and the unseen over the supposedly more upfront and visceral “horror” aesthetic. The Lewton productions have come to be understood as the “sophisticated” side of the 1940s horror. The term Lewtonesque has come to be used to describe the eponymous genre named after his cherished oeuvre. The two films presented, Cat People (1942) and The Leopard Man (1943), both directed by Jacques Tourneur, have often been discussed by critics in terms of their astonishingly beautiful chiaroscuro visuals. However, I will discuss the films’ sound design by the unknown and uncredited James G. Stewart, who came to RKO in the late-1920s and became one of the most important sound innovators in Hollywood, working with Orson Welles on both Citizen Kane (1941) and The Magnificent Ambersons (1942). The Lewton/Tourneur/Stewart collaboration can be credited with creating one of the first jump scares in the history of the horror film. And while sound continues to be relegated to a level below visuals in mainstream cinema theory and journalism, any horror fan would agree that sound design is central to the experience of the horror film. Sound design is part of the spectacle of horror, the genre’s attractions, and central to all the films Val Lewton produced in the “snake pit” (the basement) of RKO. The shadowy aesthetic of the Lewtonesque is a feast both visual and aural. Mario DeGiglio-Bellemare Guest speaker : Mario DeGiglio-Bellemare teaches courses in genre cinema, grotesque traditions, cinematic embodiment, and monster ethics in the Humanities department at John Abbott College in Montréal. He has recently published articles on the Grand-Guignol and cinema in the journal Horror Studies (5.1), and in the book, Recovering 1940s Horror Cinema: Traces of a Lost Decade (2015), for which he is a co-editor. He also has an article on Jean Rollin in the book, Global Fear: International Horror Directors (Intellect, 2016), on Joe D’Amato in Intensities, 2017, and on Lucio Fulci in Monstrum (2018). Also, he has a chapter on the episode “The Body” (S5E16) in an anthology entitled Joss Whedon vs. the Horror Tradition: The Production of Genre in Buffy and Beyond (2019). Billets / Tickets: 8$, 6$ (Étudiants / Students, 65+), sur place seulement, argent comptant / At the doors, cash only

Past events (124)

Screening: Meet Me in St. Louis

Cinema J.A.de Seve - Concordia U.

Photos (159)