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| Our Art Saturday programs run every 1st and 3rd Saturday from September 18th through May 7th. No need to RSVP. Students tour downtown galleries and museums to take in the very latest in contemporary art before they are treated to a picnic lunch. After lunch we go see a new release film. Unless noted otherwise, we meet on the balcony outside Metreon overlooking Yerba Buena Park between 10:30 and 11am. Come join us. Cine/Club is held on Friday nights. These events are free to students, their guests, mentors, parents and friends of Art & Film. No need to RSVP. Screenings are held at the Randall Museum (199 Museum Way) and at Dolby Labs (100 Potrero Avenue). Refreshments are served at 6:30 and the film begins at 7 unless otherwise noted. Discussions are held after each film with moderators Heather Woodward of School of the Arts, and Ronald Chase, director of Art & Film. |
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| Friday 5: Cine/Club: Randall Museum Peter Watkins' PUNISHMENT PARK (1971, USA) We begin our month of political films with a highly realistic docu-drama. In an alternate-reality version of California in the late 1960s, punishment is handed out to anti-war activists who have been deemed a risk to society. Offered a choice between a long prison term and running a 3-day desert gauntlet of policeman and soldiers, many take their chances in the desert. As you might expect, chaos, violence and desperation reign. One of the most powerful political films of all time, largely because it seems so believeable. |
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| WHY WE CHOSE THIS FILM: We chose this as our first “political film” because it’s the best one to illustrate all the conflicting passions and ideas that rendered the 60’s in America the most “political” of times. This film also captures the fervor of youth idealism, and the nihilistic factions that were spawned by excessive polarization. We think you’ll be excited by it. |
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ABOUT THE DIRECTOR: Watkins developed his own style of kinetic cinema doing short films for the BBC, but came to renown with his THE WAR GAME, which rendered in graphic detail how a nuclear attack would look in Britain. His spectacular use of hand-held cameras, quick cutting and visceral suspense has inspired a number of film makers, most notably Paul Greengrass. His work was constantly censured by the BBC and his taste in controversial subjects, and interest in political thought have kept his films from a wider public. |
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Saturday 6: Art Saturday |
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| Friday 12: Cine/Club: Randall Museum Elem Klimov's COME AND SEE (1985, Russia) World War II seen through the eyes of a teenager in a film that stands as a singular monument in the history of film. Moving, brilliant, lyrical, powerful—a great classic you’ll never forget. |
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| WHY WE CHOSE THIS FILM: Most of you are completely unfamiliar with the incredible toll of horror and suffering the Russians were forced to endure during WW 2-- reprisals that were meted out because they were Communists and peasants. One of the most horrible campaigns took place in Belarus, and it is there the film takes place, in the peaceful farmland where reprisals were the most severe. By following a young teenager through the conflict, you are given the very most vivid and moving portrait of how young people must have experienced the war, and you come out with one of the greatest anti-war films in history. I urge you to not to miss this great experience, because it will probably change your view of film and of history. |
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| I recently was talking to a friend who had been coming out of a Russian series at Lincoln Center. A woman (a stranger) walked up to him and said, “ You must see Come and See. It is an experience you will never forget.” He realized it was next on the schedule, walked back in and saw the screening. “How could I have missed this film? “ he asked. “ I sat there and kept asking myself, “How did they do this? How did they ever accomplish something so vivid? This is a truly great film!” You’ll ask the same question. |  |
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| ABOUT THE DIRECTOR: This Russian director struggled through his career against the Russian authorities, and his first films were shelved by the censors. He relentlessly continued with the encouragement of his wife , also a film maker. The first film to be approved by the censors was Agony, a rather hysterical look at the life of Rasputin. This was followed by Farewell and Larissa. The tragic death of his wife (who made The Ascent) in an automobile accident threw him into emotional turmoil, which was broken by his work on Come and See, the last film he ever made. His state of mind probably contributed much to its power. |
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| Friday 19: Cine/Club: Randall Museum Mathieu Kassovitz's L'HAINE (1995, FRANCE) Another popular hit with our students, this film is a terse, marvelously filmed tale of three young men from the suburbs who spend a frightening, freewheeling night in Paris. Racial and class tensions abound. Brilliant performances and direction. |
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| WHY WE CHOSE THIS FILM: It is always thrilling to see a first feature whose style , thoughtfulness and techniques mark it as an instant classic. This film also affected our students deeply with its themes of the outsider, racial diversity, prejudice and persecution . The performances in the film are outstanding, and the film making is, well, awesome. If this doesn’t leave an impact on you, I don’t know what will. |
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| ABOUT THE DIRECTOR: This was Kassovitz’ first feature, and it's a powerhouse. Previously he had developed a reputation as an actor, and is most familiar to American audiences as the the young man in Amelie. His second feature, The Crimson Rivers and his vampire film, Gothika have not been as well received. Sometimes great success can be a fluke. At the very least bigger budgets haven't done him any favors. |
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Saturday 20: Art Saturday |
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