Hello, our film evenings are interesting events with quality films and discussions afterwords. We gather many different people with different views – both Christians and others. Some ar more familiar with the art of film, others just look in, and hopefully they discover something.
We live in a time of images and there is really too much of them. When we look at film at Sandgatan we therefore choose films carefully – not just entertainment, but something that adds a perpective on life. The discussion afterwards is essential, that the image is accompanied with a word, a reflection- It´s often surprising events, when the eyes of the other, the reflection of the other ,widens the perspective and understanding.
This autumn there are films by Eric Rohmer, Ingemar Bergman and Jim Jarmusch.
yours br Björn
FILMPROGRAM SANDGATAN 8
Éric Rohmer (1920–2010) might be the archetypical French director: charmful, witty, intellectually intense, talkative. A part of the New Wave scene, Rohmer was impressingly consistent over his vital 60 years of production. His output is manifold. His films can be seen as delightful trifles, but to its core, Rohmer’s work leaps through mazes of human psychology, especially the intricate verbal games people play when trying to justify their desires. Inside often lures a moral conundrum, e.g. in our first Rohmer film.
Jim Jarmusch, American film director, is a champion of independent cinema who broke Hooywood conventions with his highly inventive narratives, deadpan humour and endearing character studies. He has created some of the most original, amusing and sublime landmark movies in underground cinema, in springtime we saw three of them, now we´re back with two others. Concentrating and the small details of daily life, as opposed to the big events, his observational films often reflect a nocturnal subculture.
Ingmar Bergman (1918 – 2007) was by all accounts the greatest Swedish director ever to work in cinema. Through a career spanning almost sixty years, Bergman meticulously documented every facet of the human psyche. His films are sustained meditations on the human condition, whether it be existential angst in the face of mortality and faith, or the difficulties of leading a fulfilling life among our fellow human beings.
Film Day – two films and dinner inbetween. Bring things for the table!
4 pm The Passion of Anna , Ingemar Bergman, Sweden 1969 96 min
A less-known Bergman movie, yet among his most alluring. Andreas Winkelman (played by Bergman favourite Max von Sydow) moves to a barren island, in grief of his recently deceased wife. He befriends his neighbours, the widow Anna (Liv Ullman) and a married couple (Bibi Andersson and Erland Josephson). The island, as well as its inhabitants, keeps many threatening secrets.
7.30 pm My Night at Maud´s, Eric Rohmer, France 1969, 110 min
…where the Catholic Jean-Louis (played by New Wave favourite Jean-Louis Trintignant) spends a night talking with the Marxist Vidal (Antoine Vitez) and the libertine divorcee Maud (Françoise Fabian) on topics on morality, religion, philosophy, mathematics. Jean-Louis and Maud are finally left on their own…
Sunday 14/10 at 7.15 pm
Chloé at the Afternoon, Eric Rohmer, France 1972, 105 min
The antagonist Frédéric (Bernard Verley) is happily married and expecting a child with his wife. One day, Chloé (played by 60’s and 70’s icon Zouzou) shows up at Frédéric’s office. Frédéric knows Chloé as a femme fatale, the two are acquaintances from the past and they now reshape a friendship. Their meeting makes Frédéric reassess his situation.
Sunday 4/11 at 7.15 pm,
The Virgin Spring , Ingemar Bergman, Sweden 1964, 86 min
Sunday 25/11 at 7.15 pm
Night on Earth, Jim Jarmusch, USA 1992
Night on Earth assembles five moments in time, in taxicabs, in the middle of the night, in five of the world’s cities. At the end, we have learned no great lessons and arrived at no thrilling conclusions, but we have shared the community of the night, when people are unbuttoned and vulnerable – more ready to speak about what’s really on their minds.
Sunday 16/12 at 7.15 pm
, Jim Jarmusch, USA 1995
Mixing poetic mysticism, violence and droll comedy, “Dead Man” stars Johnny Depp as Willim Blake, a meek, naive accountant who travels from Cleveland to the godforsaken town of Machine, there to assume a position with the Dickinson Metal Works. That metaphysical context benefits enormously from the haunting musical themes that Neil Young wrote, underlining the film’s psychedelic/apocalyptic edge, and from the stunning black-and-white camera work.