Serious movies can provide as much escapism as your typical action flick. I felt that on Friday, February 4, 2011 at the Detroit Film Theatre as I watched the German film Vision.
Archive for the ‘Foreign Language’ Category
How is this for a solid and varied lineup of old movies for your local art/repertory film theater:
- 8 1/2
- Rear Window
- Rules of the Game
- Seven Samurai
- White Christmas
Each of these films was shown at more than one Detroit Movie Palace in 2010.
The 2009 Mexican film Alamar, which I saw at the Detroit Film Theatre on October 1, 2010, did what all good DFT films do—took me to a new place, in this case physically, to the bottom of the ocean, where I discovered unique structures and organizations of nature.
In general, my tastes in movies run towards pictures with an uplifting theme, either in their general tone or as portraits of people overcoming challenges. Occasionally though, I find it interesting to watch a film with a darker theme, like the 1943 Danish drama Day of Wrath at the Detroit Film Theatre on April 24, 2010.
The Historic Auditorium of the Michigan Theater has played host to some of the most unforgettable facial images in the history of film over the last few months, as part of its World Cinema Film Series. The difference between TV and theater screenings of movies might be most pronounced in the emotion and detail that is communicated in facial closeups.
When I first heard that the Detroit Film Theatre would open its Winter 2010 season with a 4 1/2-hour movie, I had mixed feelings about committing so much time to one film. But when the 271 minutes of Red Cliff – The Complete Director’s Cut ended on January 17, 2010, I was glad I’d come down to the DFT for this dramatic and moving film from China.
The late afternoon sunlight streamed through the high, vertical, arched windows of the Crystal Gallery Café of the Detroit Film Theatre. About 30-40 people had gathered to participate in a discussion led by Wayne State University professor Karen McDevitt about a powerful new French film that they had just watched in the DFT auditorium on July 12, 2009. The ornate vaulted ceilings enhanced the feeling of understanding that spread throughout the café as the discussion proceeded.
So there I was, sitting in the Michigan Theater in Ann Arbor on May 4, 2009, watching a film set in Ashdod, Israel in which a young half Russian/half Israeli boy was trying to learn dances that originated in Spain and England. His instructor was a famous Russian dancer who was considering going to a dance competition in Stockholm, Sweden.