LCCC FILM SOCIETY
LCCC's Film Series screens the world's finest art, independent, classic and foreign films to educate and enrich the greater Lorain County community and beyond. For more information on the Film Series or to be added to the mailing list, please call the Box Office at (440) 366-4040. Click here to complete our online survey.
2014 Fall Film Series
Friday, August 29, 2014 at 7:30 pm
2013 (PG-13) 98 min. United Kingdom Director: Stephen Frears
Cast: Judi Dench, Steve Coogan, Sophie Kennedy Clark
Becoming pregnant as a teenager in Ireland in 1952, Philomena was sent to the convent of Roscrea to be looked after as a “fallen woman.” When her baby was only a toddler, he was taken away by the nuns for adoption in America. Philomena spent the next fifty years searching for him in vain. Then she met Martin Sixsmith, a world-weary political journalist who happened to be intrigued by her story. Together they set off for America on a journey that would not only reveal the extraordinary story of Philomena’s son, but also create an unexpectedly close bond between them. The film is a compelling narrative of human love and loss, and ultimately celebrates life. It is both funny and sad and concerns two very different people, at different stages of their lives, who help each other and show that there is laughter even in the darkest places. The book The Lost Child Of Philomena Lee was published in 2009. It acted as a catalyst for thousands of adopted Irish children and their ‘shamed’ mothers to come forward to tell their stories. Many are still searching for their lost families. WINNER – PEOPLE’S CHOICE AWARD – TORONTO INTERNATIONAL FILM FESTIVAL
“At its core, this clever, wrenching, profound story underscores the tenacity of faith in the face of unfathomable cruelty.” – Ann Hornaday, WASHINGTON POST
“Dench is a delight, playing dowdy instead of her standard regal, and Coogan is appropriately droll and disillusioned. Together they manage to make a sad story feel somehow bright.” – Tom Long, DETROIT NEWS
“Flawless performances and the perfect blend of pathos and humour ensures this is a crowd pleaser in the best sense of the word.” – Colin Fraser, FILMINK (Australia)
“What at first seems formulaic comedy gains a deeper resonance as we see how they represent two responses to cruelty and injustice – first outrage, and with time, eventually, forgiveness.” – Liam Lacey, GLOBE AND MAIL
THE HOKE THEATRE, WHERE THE FILMS ARE SHOWN, WILL BE CLOSED THE MONTH OF SEPTEMBER FOR REPAIRS. FILMS WILL RESUME ON FRIDAY, OCTOBER 3rd.
Friday, October 3, 2014 at 7:30 pm
“Saving Mr. Banks”
2013 (PG-13) 120 min. USA Director: John Lee Hancock
Cast: Tom Hanks, Emma Thompson, Paul Giamatti
Two-time Academy Award winner Emma Thompson and fellow double Oscar-winner Tom Hanks star in “Saving Mr. Banks.” When Walt Disney’s daughters begged him to make a movie of their favorite book, P. L. Travers’ MARY POPPINS, he made them a promise – one that he didn’t realize would take 20 years to keep. In his quest to obtain the rights, Walt comes up against a curmudgeonly, uncompromising writer who has absolutely no intention of letting her beloved magical nanny get mauled by the Hollywood machine. But, as the books stop selling and money grows short, Travers reluctantly agrees to go to Los Angeles to hear Disney’s plans for the adaptation. For those two short weeks in 1961, Walt Disney pulls out all the stops. Armed with imaginative storyboards and chirpy songs from the talented Sherman brothers, Walt launches an all-out onslaught on P. L. Travers, but the prickly author doesn’t budge. He soon begins to watch helplessly as Travers becomes increasingly immovable and the rights begin to move further away from his grasp. It is only when he reaches into his own childhood that Walt discovers the truth about the ghosts that haunt her, and together they set Mary Poppins free to ultimately make one of the most endearing films in cinematic history. Inspired by true events, “Saving Mr. Banks” is the extraordinary, untold story of how Disney’s classic “Mary Poppins” made it to the screen, and the testy relationship that the legendary Walt Disney had with author P. L. Travers that almost derailed it.
““Saving Mr. Banks” is an unexpected gem, a witty and warm-hearted celebration of two great storytellers that adroitly balances delicious culture-clash comedy with affecting biographical insights.” – Jason Best, MOVIE TALK
““Saving Mr. Banks” is perfectly gauged to suit its subject matter – the light touch of Disney and the toughness of Travers, the slickness of Hollywood and the roughness of the Aussie outback.” – Matt Neal, THE STANDARD
“This is an utterly captivating origin story on how the all singing, all dancing, iconic technicolour musical (with bells on) – “Mary Poppins” came to be.” – Raam Tarat, FUTURE MOVIES UK
“Pencil Thompson in now for an Oscar nomination, and maybe a win, and prepare to leave the theater humming the iconic songs.” – Gail Pennington, ST. LOUIS POST-DISPATCH
Friday, October 10, 2014 at 7:30 pm
“August: Osage County”
2013 (R) 121 min. USA Director: John Wells
Cast: Meryl Streep, Julia Roberts, Ewan McGregor, Abigail Breslin, Chris Cooper
“August: Osage County” tells the dark, deeply touching story of the strong-willed women of the Weston family, whose lives have diverged until a family crisis brings them back to the Midwest house they grew up in, and to the dysfunctional woman who raised them. Violet Weston (Meryl Streep) has cancer and a propensity for pills and alcohol. She’s a difficult woman to deal with and her husband has finally had enough. Violet’s family gathers including youngest daughter Ivy, middle daughter Karen (with her new fiancé), eldest daughter Barbara (with her separated husband and teenage daughter), and her sister Mattie Fae (with her husband and son in tow). A family tragedy causes tensions to run high and secrets to come out. The Weston women will be forced to examine themselves and their lives whether they want to or not. Welcome to Osage County, Oklahoma in the sweltering heat of August.
“It is kind of like a Shakespearean play without the swords, knives and blood on the stage, but there is a corpse.” – Robert Roten, LARAMIE MOVIE SCOPE
“Every trivial remark amounts to a level of high art, the conversation as a whole resembling a skillfully composed symphony, just with insults, regrets and harmful jokes.” – Anna Tatarska, MOVIE MEZZANINE
“Family dysfunction has seldom been as flamboyant – or notable for its performances and flow of language – as it is in this screen version of the Tracy Letts play.” – Joe Morgenstern, WALL STREET JOURNAL
“Letts loves manic people, twisted situations and barbed lines that cut with glee and he’s disturbingly good at delivering all three.” – Tom Long, DETROIT NEWS
Friday, October 17, 2014 at 7:30 pm
2014 (Not Rated) 80 min. Poland/subtitles Director: Pawel Pawlikowski
Cast: Wanda Kulesza, Agata Trzebuchowska, Joanna Kulig, Jerzy Trela
A DISCUSSION SESSION WILL FOLLOW THE FILM.
From acclaimed director Pawel Pawlikowski comes “Ida,”a moving and intimate drama about a young novitiate nun in 1960s Poland who, on the verge of taking her vows, discovers a dark family secret dating from the terrible years of the Nazi occupation. 18-year-old Anna (stunning newcomer Agata Trzebuchowska), a sheltered orphan raised in a convent, is preparing to become a nun when the Mother Superior insists she first visit her sole living relative. Naïve, innocent Anna soon finds herself in the presence of her aunt Wanda, a worldly and cynical Communist Party insider, who shocks her with the declaration that her real name is Ida and her Jewish parents were murdered during the Nazi occupation. This revelation triggers a heart-wrenching journey into the countryside, to the family house and into the secrets of the repressed past, evoking the haunting legacy of the Holocaust and the realities of postwar Communism. In this beautifully directed film, Pawlikowski returns to his native Poland for the first time in his career to confront some of the more contentious issues in the history of his birthplace. Powerfully written and eloquently shot, “Ida” is a masterly evocation of a time, a dilemma, and a defining historical moment; “Ida” is also personal, intimate, and human. The weight of history is everywhere, but the scale falls within the scope of a young woman learning about the secrets of her own past. This intersection of the personal with momentous historic events makes for what is surely one of the most powerful and affecting films of the year.
Critics’ Pick! “One of the finest European films in recent memory.” – A. O. Scott, THE NEW YORK TIMES
“A film of exceptional artistry whose emotions are as potent and persuasive as its images are indelibly beautiful.” – Kenneth Turan, LOS ANGELES TIMES
“One of the best films of the year. Not to be missed.” – George Robinson, THE JEWISH WEEK
“Bracing, beautifully wrought, and provocative.” – J. Hoberman, TABLET
“A compact gem of perfection. A total marvel.” – Dana Stevens, SLATE
• Winner! Toronto International Film Festival 2013 – International Critics Award, Pawel Pawlikowski
• Winner! London Film Festival 2013 – Best Film
• Winner! Polish Film Awards 2014 – Best Film, Best Director, Best Actress and Best Editing
• Winner! Cinequest Film Festival 2014 – Best Narrative Feature: Drama
Friday, October 31, 2014 at 7:30 pm
2002 (PG-13) 121 min. Australia Director: Ray Lawrence
Cast: Anthony LaPaglia, Barbara Hershey, Geoffrey Rush, Kerry Armstrong
“Lantana” begins with the camera making its furtive, disconcerting way through masses of the lush tropical shrubbery characterized by a particularly dense and thorny undergrowth that gives this impressive Australian film its name. It stops, finally, at a corpse, a corpse with a wedding ring we can see and a face we cannot. Introduced this way, “Lantana” sounds as if it’s going to be a thriller concerned with the identity of the corpse and how it got there. And in part it very much is. But what makes this film striking enough to win seven Australian Film Institute awards, including an unprecedented sweep of all four acting categories, is that it is something unexpectedly different as well. “Lantana” is a police procedural replete with clues, evidence and suspects, but it’s also a thoughtful, complex psychological investigation into the nature and difficulties of marriages, particularly those in trouble. Far from clashing, these two aspects reinforce each other and everyone is complicit here, everyone is guilty of some emotional crime, though not necessarily of murder. “Lantana” focuses on four couples, and with a cast top-lined by Anthony LaPaglia, Geoffrey Rush and Barbara Hershey, it doesn’t lack for the intensity and emotion to make its story convincing. LaPaglia plays up his fury, but takes out his lack of connection with his wife Sonja and his sons by having an affair. Sonja, for her part, seeks support from therapist Valerie Sommers, who is recovering from a trauma of her own: the murder of her 11-year old daughter. That has severely strained her marriage to John Sommers. Jane is the separated housewife who is cheating with Leon. Her neighbors are Nik and Paula D’Amato who are the only happy couple, blessed with kids, happiness, and uncomplicated lives. All these people eventually figure in the story attached to that corpse. But though we get the information we need, “Lantana” feeds us knowledge slowly and obliquely, until we become intrigued by the notion that people who complain about the lack of connection can in reality be so connected to one another. “Trust,” therapist Valerie tells one of her patients, “is vital to human relationships, but it is elusive.” A remarkably thoughtful drama, “Lantana” makes it clear not only how hard it is to come by any emotional comfort in this life, but more importantly, why we can’t give up the struggle.
Edited from reviews by Kenneth Turan, THE L.A. TIMES and Roger Ebert, THE CHICAGO SUN-TIMES
“One of the year’s ten best! A great cast!” – Richard Schickel, TIME MAGAZINE
“Extraordinarily rich! A daring memorably moving drama!” – Joe Morgenstern, THE WALL STREET JOURNAL
“An astonishingly well-acted film!” – A. O. Scott, THE NEW YORK TIMES
Friday, November 7, 2014 at 7:30 pm
2000 (R) 130 min. USA Director: Rod Lurie
Cast: Joan Allen, Jeff Bridges, Gary Oldman, Christian Slater
A DISCUSSION SESSION WILL FOLLOW THE FILM.
“The Contender,” a thriller about the first woman nominated to be vice president, hinges on a question from her past: Did she more or less willingly participate in group sex while she was in college? “That’s Hanson” an investigator says, smacking his lips over an old photo from a Sorority party. If it really is, she’s going to have trouble getting congressional confirmation. An unlikely combination of “West Wing” and “The National Enquirer,” “The Contender” is the type of exciting political melodrama we don’t get much of anymore. As the movie opens, the incumbent vice president has died in office. It is universally assumed that a man will be named to replace him, and a leading candidate is Gov. Jack Hathaway, who has recently made headlines as a hero. The president (played deliciously by Jeff Bridges), however, wants to make history by appointing a woman, and Sen. Hanson looks like the best choice. She is happily married and has a young child. Runyon, the Gary Oldman character, doubts any woman should be trusted with the nuclear trigger, and he is delighted with evidence she may have been the life of the party on campus. Confirmation hearings, backstage politics, and rival investigations set the stage for a political thriller based on suspense and issues. Sen. Hanson flatly refuses to answer any questions about her sexual past, and for a time it looks as if the president may have to dump her as a nominee. Is she really taking an ethical stand, or covering up something? Joan Allen, at the center of “The Contender,” provides one of the strongest performances of the year. Some actresses would have played the role as too sensual, others as too cold; she is able to suggest a woman with a healthy physical life who, nevertheless, has ethical standards that will not bend. She would rather lose the vice presidency than satisfy Runyon’s smutty curiosity, and through her the movie argues that we have gone too far in our curiosity about private behavior. Jeff Bridges as the president is forever ordering food and pressing it upon his guests, in gestures that are not so much hospitality as decoys. And Runyon is the kind of man who, in high school, would rather know who was sleeping with the cheerleaders than sleep with one himself. There are two revealing scenes involving his wife, who knows him better than anyone should have to. This is one of those rare movies where you leave the theater having been surprised and entertained, and then start arguing. “The Contender” takes sides and is bold about it. Sometimes you can assassinate a leader without firing a shot.
Edited from a review by Roger Ebert, THE CHICAGO SUN-TIMES
“Sex, lies and politics-they all boil together beautifully in “The Contender,” a strong political drama that understands Washington, knows its dirty secrets, and uses its excellent cast to fine effect.” – Christopher Smith, BANGOR DAILY NEWS
“A vivid, juicy, thoroughly entertaining movie.” – Eleanor Ringel Gillespie, ATLANTA JOURNAL-CONSTITUTION
Friday, November 14, 2014 at 7:30 pm
2002 (R) 114 min. India/some subtitles Director: Mira Nair
Cast: Vasundhara Das, Shefali Shetty, Vijay Raaz, Naseeruddin Shah, Lillete Dubey
Mira Nair’s “Monsoon Wedding” is one of those joyous films that leaps over national boundaries and celebrates universal human nature. It has engaging situations that are comic, romantic and quite seriously dramatic by turns. It takes place in an India that is finding a balance between tradition and modernity, warmth and an effortless sense of life. It also has paralleling the way its middle-class characters alternate between Hindi, Punjabi and English in their everyday speech and fit venerated cultural practices into a world of email and cell phones. Nair combines all these ingredients in this film about a wedding taking place in India. Given how weddings combine passions, tensions, unresolved emotional issues and inevitable chaos, Nair has upped the ante by making this a Punjabi wedding as well. “The Punjabis are to India,” she explains in a director’s statement, “what the Italians are to Europe: We party hard, work hard and have a huge appetite for life.” The movie follows the large Verma family of Delhi, as their daughter Aditi prepares to marry Hemant, a computer programmer from Houston. He is an “NRI” (non-resident Indian), who has returned to meet the bride selected by his parents for an arranged marriage. Such marriages are an ancient tradition, but these are modern young people, and in the opening scene we see Aditi in a hurried exchange with her married lover, a TV host. She has agreed to the arranged marriage partly out of impatience with her lover’s vague talk about someday divorcing his wife. But despite the very elaborate and costly preparations, Aditi is not at all sure she wants to marry Hemant. As wedding guests arrive from all corners of the world, a welter of characters are thrown at you all at once. They speak English, Hindi and, in some cases, Punjabi, sometimes in the same sentence and the effect is delightful. The spontaneous movement between languages, typical of modern middle-class Indians, reflects the mixture of characters: Some are returning from America or Australia and work with computers or on television, while others occupy ancient life patterns. The wedding creates a certain suspense: What if the bride and groom do not like each other? They sneak off for quiet talks and find that they do like each other, and there are romantic subplots like the one of the wedding planner, P. K. Dube who has been thunderstruck by the beauty of the Verma’s family maid, Alice. Dube is a character of almost Dickensian comic humanity. Excitable, brash, upwardly mobile to the point of wearing an ascot, Dube is a parvenu entrepreneur who juggles the truth the way he juggles his workers’ schedules and continually munches on marigolds, the Indian wedding flower. Because it starts out so frantic, “Monsoon Wedding’s” later moments of introspection and drama come as something of a calming relief. And when the film’s unexpected darker chords do manifest themselves, they don’t clash with the overall sense of accepting humanity but rather extend and deepen it. Inescapably foreign yet endearingly familiar, this film manages to gather all its threads so satisfactorily that audiences will feel like celebrating at the wedding as much as any of those guests. “Life is such a comedy,” a celebrant says, but it’s not often as satisfying as the one we have here.
Edited from reviews by Roger Ebert, THE CHICAGO SUN-TIMES, Kenneth Turan, L.A. TIMES, and Elvis Mitchell, THE NEW YORK TIMES.
“Superbly acted, gorgeously photographed, enjoyable and engaging drama by Mira Nair, with a terrific soundtrack to boot-the perfect Hollywood/Bollywood crossover film.” – Matthew Turner, VIEWLONDON
“A movie to fall in love by and with, a wedding to unite both the two film families and the dazzled multicultural movie audiences who watch them.” – Michael Wilmington, CHICAGO TRIBUNE
Friday, November 21, 2014 at 7:30 pm
2000 (PG-13) 118 min. USA Director: Gurinder Chadha
Cast: Alfre Woodard, Dennis Haysbert, Ann Weldon, Mercedes Ruehl, Joan Chen
Coming together is the theme of “What’s Cooking?,” Gurinder Chadha’s funny, mouth-watering and deeply moving vision of 21st century diversity and the future of the American family – all set on Thanksgiving. Flowing from California kitchen to California kitchen on this day of reunions and homecomings, Chadha follows four seemingly disparate families as they confront differences and familiarity; laughter and festering anger; shitake mushrooms and mashed potatoes; near-disaster and, ultimately, the astonishing power of love to connect them all. WHAT’S COOKING? Is a rapt celebration of families braided from a comic collision of cultures. What is the recipe for today’s American family? With a smart, high-energy and boldly voyeuristic camera, director Chadha and an accomplished ensemble cast peer behind the front doors of ordinary Los Angeles houses to reveal the sweet and savory mix. An unforgettable Thanksgiving treat.
“Chadha melds comedy and tragedy so masterfully that one’s laughing at and crying for the
characters simultaneously.” – Annlee Ellingson, BOXOFFICE MAGAZINE
“This is a terrific holiday film.” – Jean Lowerison, SAN DIEGO METROPOLITAN
“A combination of fresh ingredients mixed together with skill to create a well-balanced harmony of diverse flavours. Delicious.” – BBC.com
Film Admission (the same as the last three seasons!)
Patrons, except LCCC students/faculty/staff with valid ID, must purchase an annual membership in the LCCC Film Society for $3.00/each, which is good through the final film of the 2015 Winter/Spring Film Series. The admission price for each film is $6.00/ticket with your membership card.
- Films start at 7:30pm and are shown in the Hoke Theatre of Stocker Arts Center.
- $3/each - Annual memberships, remain the same price they have been and are good for the entire season!
- AND BEST OF ALL...Any Time Tix are available for the entire year! You can purchase as many Any Time tickets as you think you'll need all at once and use them for any of the films that play during the 2014-2015 Film Series. Buy 10 and use 2 per film for 5 films, or buy 5 and use 1 per film for 5 films -- it's your choice. Any Time Tix will expire as of the last film of the 2015 Winter/Spring series, so don't buy too many. There are NO REFUNDS for Any Time Tix that you purchase but don't use...so make sure you use them all!
*You must hold a valid 2014-2015 annual membership in the LCCC Film Society (or be an LCCC student/faculty/staff member with a current validated ID) in order to purchase Film or Any Time Tix.
*Any Time Tix are good for the FILM SERIES ONLY and cannot be transferred or used for any live events occurring at Stocker Arts Center.
All films begin at 7:30 pm and are shown in the Hoke Theatre of Stocker Arts Center.
Help Save the LCCC Film Series
Stocker Arts Center needs a digital projector in order to keep the LCCC Film Series going since new films will no longer be distributed in 35mm format. To learn about the “Don’t Let Us Go Dark” campaign led by the LCCC Foundation, please click here.
The Stocker Box Office is open Monday through Friday from noon to 6 pm and 90 minutes prior to ticketed events, including films. You can reach the Box Office at (440) 366-4040.
GENERAL INFORMATION ABOUT THE STOCKER ARTS CENTER FILM SOCIETY
The Stocker Arts Center Film Society is truly an alternative cinema, as most of these films have not played in Lorain County and are not always readily available on video. Audiences have the opportunity to sample the gourmet flavor of prize-winning foreign films as well as the exciting energy and originality of contemporary independent American and international cinema.
The LCCC Film Society's series focuses on human relationships, moral and social issues, cultural and religious diversity and universal human emotions and aspirations, including humor, disappointment and tragedy.
The first Film Series film was premiered on campus more than 40 years ago by Professor Emeritus Robert Dudash (who is still the LCCC Film Society Director!), making it the longest running non-academic activity at LCCC.