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The Discoverers

Coming Oct 24
Please check back
(US/2014/Justin Schwarz)
unrated / 104 mins
 IN PERSON: Griffin Dunne  Sun Oct 26th matinee (time tba) 
Lewis Birch (Dunne), a divorced, washed-up history professor now teaching at a junior college and moonlighting as a security guard hopes that his mammoth study on York, a slave who accompanied explorers Lewis and Clark, will turn his career around.
He decides to take his estranged teenage children (Madeleine Martin, Devon Graye) on a road trip to an academic conference in hopes of putting his career back on track. But then Birch’s mother dies and the trio take a major detour to find his his eccentric and estranged father (Stuart Margolin) who’s on a trek with a group of Lewis and Clark re-enactors. Instead of an academic conference, Lewis, Zoe, and Jack are reluctantly pulled into something far from academic finding themselves on a journey of discovery and connection. 
Griffin Dunne is a notable figure in contemporary independent filmmaking who’s worked on both sides of the camera in both film and television. He’s also the son of novelist Dominick Dunne and the nephew of author and screenwriter John Gregory Dunne and acclaimed writer Joan Didion. Griffin studied acting with Uta Hagen at the Neighborhood Playhouse, and made his film debut in 1975′s THE OTHER SIDE OF THE MOUNTAIN. Small roles in the 1979 feature CHILLY SCENES OF WINTER which he produced and 1981′s THE FAN marked his next film appearances. Dunne made a big splash in John Landis’ 1981 werewolf thriller, AN AMERICAN WEREWOLF IN LONDON, and mostly notably in Martin Scorsese’s 1985 dark comic AFTER HOURS. In between acting gigs, he and Amy Robinson produced such films as Sidney Lumet’s 1988 drama RUNNING ON EMPTY. He moved to directing with 1996′s “The Duke of Groove,” which earned an Oscar nomination for short subject, and made his feature debut with 1997′s ADDICTED TO LOVE. 
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London National Theatre: A Streetcar Named Desire

Coming Oct 29
(UK / 2014 / Directed by Benedict Andrews)
Unrated / Length tba
The fastest-selling production in the Young Vic’s history, Tennessee Williams’ timeless masterpiece A Streetcar Named Desire will be broadcast from their London home by National Theatre Live… with Gillian Anderson (The X-Files, The Fall) as Blanche DuBois, Ben Foster (Lone Survivor, Kill Your Darlings) as Stanley, and Vanessa Kirby (BBC’s Great Expectations, Three Sisters at the Young Vic) as Stella.
As Blanche’s fragile world crumbles, she turns to her sister Stella for solace – but her downward spiral brings her face to face with the brutal, unforgiving Stanley Kowalski. Visionary director Benedict Andrews returns to the Young Vic following his Critics’ Circle Award-winning Three Sisters.
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Coming Soon
(Netherlands, Belgium, Denmark / 2013 / Directed by Alex van Warmerdam)
Unrated / 113 mins.
This awesomely bizarre home-invasion movie rests on a crafty, trickster-ish screenplay, always staying two steps ahead and making you question characters’ motivations.
The title refers to the main character, Camiel Borgman (Jan Bijvoet), a bearded and disheveled vagrant who shows up at a wealthy family’s front door asking for a bath. When her husband Richard (Jeroen Perceval) refuses him entry, Marina (Hadewych Minis) takes pity on the man and offers him a place to stay. But Marina gradually falls under Borgman’s mysterious spell. As the visitor shifts between the roles of victim and aggressor, strange things begin to happen. A pack of potentially shape-shifting dogs roams the property, a dancer in a gray costume spins around in the yard, and a clan of shifty forest-dwellers moves in, toying with the family and uprooting their garden before their eyes. With hints of Michael Haneke’s Funny Games or Giorgos Lanthimos’ Dogtooth, Borgman is a film that will chill and fascinate in equal measure. In Dutch with subtitles.
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Mood Indigo

Coming Soon
(France, Belgium / 2013 / Directed by Michel Gondry)
Unrated / 131 mins. 
A powerful and accomplished film from director Michel Gondry (Eternal Sunshine of the Spotless Mind, The Science of Sleep), Mood Indigo tells the surreal and poetic tale of Colin (Romain Duris), an idealistic and inventive young man, and Chloé (Audrey Tautou), the stunning and quick-witted gal who captures his heart.
In a world where you can travel around on a pink cloud or be swept off an ice-skating rink into an inexplicable hole, Colin, a wealthy young man and inventor of the cocktail-mixing piano wants to fall in love. With the help of his cook Nicolas (Omar Sy) and his best friend Chick (Gad Elmaleh), he meets and falls for Chloé. But soon after their wedding, a water lily starts growing in Chloé’s chest and she falls ill. Ruined by medical expenses, Colin resorts to increasingly desperate methods to save his beloved’s life. Spiced by a cascade of surprising visual effects, Gondry’s fertile imagination summons the ghosts of Tex Avery, Jacques Tati, and Rube Golderg in this starry-eyed fantasia, pitched somewhere between the jazzy airiness of the French New Wave and the freewheeling nuttiness of Jean-Pierre Jeunet’s Delicatessen or Amélie. Unrated / 131 mins. In French with subtitles.
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Coming this fall
Date tba
(USA / 2014 / Directed by Robert Greene)
In Person: Director Robert Greene and actress Brandy Burre
With luxurious slow-motion sequences and staging worthy of a ‘50s melodrama, Robert Greene’s celebrated new film follows Brandy Burre, an actress (HBO’s The Wire) who gave up working to start a family and decided to re-start her career years later.
With glimpses of her stint on The Wire and a funny peek at Burre sifting through paltry royalty checks while her daughter plays nearby, Actress presents a sharp contrast between the allure of the spotlight and the dull rhythms that continue once it recedes. But as she returns to work, the affirmative aspect of her careerism is juxtaposed with conventional expectations about what a woman in her late 30s is supposed to want. Pivoting on an off-screen event that feels as impactful as the drama that takes place on camera, it becomes unclear how much Brandy is sacrificing the feelings and futures of her loved ones on the altar of self-interest. Acting, in the end, is not only Brandy’s profession; it’s something that she does all the time, whether interacting with her restaurateur husband Tim, her children, or Greene’s camera. With a dramatic, affective, and polyvalent ending, Greene’s film is documentary portraiture at its finest, taking on the resonance of a densely packed short story. Unrated / 86 mins. 
This project is made possible in part with public funds from NYSCA’s’ Electronic Media and Film Presentation Funds grant program, administered by The ARTS Council of the Southern Finger Lakes (
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Reviews forthcoming

Men, Women & Children

Coming Soon
(USA / 2014 / Directed by Jason Reitman)
R / 119 mins. 
From director Jason Reitman (Juno, Up in the Air) comes an insightful drama that examines how we communicate today – both in person and through digital devices – and what gets lost in transmission.
Based on the novel by Chad Kultgen, Men, Women & Children is a sweeping portrait of a community being drawn together and pulled apart. A couple in a marriage devoid of intimacy develops online relationships to find out what it feels like to be loved anew. A protective mother limits her daughter’s self expression by over-regulating her phone and Internet use. A boy finds friends and understanding in the world of online gaming rather than at his school… Interweaving these and other tales of contemporary life, the film uses graphics to illustrate the rapid-fire text messaging that often occurs simultaneously with in-person conversation, and narration (Emma Thompson) to zoom out and take a cosmic view.  Brought to the screen by a cast that includes Adam Sandler, Jennifer Garner, Judy Greer, and Rosemarie DeWitt, the film deftly depicts the relations through which we share our deepest secrets. Topical, provocative, and timely, Men, Women & Children will leave you talking.
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Birdman or The Unexpected Virtue Of Ignorance

October 31 
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 (US/2014/Alejandro G. Iñárritu)
R / 119 mins
A black comedy – the hit of Venice Film Festival – that tells the story of a washed up actor (Michael Keaton) – famous for portraying an iconic superhero – as he struggles to mount a Broadway play in a bid to reclaim past glory. In the days leading up to opening night, he battles his ego and attempts to recover his family, his career, and himself.
Peter Debruge, VARIETY: “A quarter-century after “Batman” ushered in the era of Hollywood mega-tentpoles — hollow comic-book pictures manufactured to enthrall teens and hustle merch — a penitent Michael Keaton returns with the comeback of the century, “Birdman or (The Unexpected Virtue of Ignorance),” a blisteringly hot-blooded, defiantly anti-formulaic look at a has-been movie star’s attempts to resuscitate his career by mounting a vanity project on Broadway. In a year overloaded with self-aware showbiz satires, Alejandro G. Inarritu’s fifth and best feature provides the delirious coup de grace — a triumph on every creative level, from casting to execution, that will electrify the industry, captivate arthouse and megaplex crowds alike, send awards pundits into orbit and give fresh wings to Keaton’s career.”
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