New FilmsUnder The SkinFri 14 March – Thu 27 MarchThe Grand Budapest HotelFri 7 March – Thur 20 MarchSelected to open this year’s Berlin Film Festival, TheGrand Budapest Hotel is auteur Wes Anderson’s firstfilm since his critically acclaimed and Oscar-nominatedgem Moonrise Kingdom. Written by Anderson and newscreenwriting partner Hugo Guinness, this new film bearsall the hallmark style we’ve come to know and love fromthis quirky filmmaker – lush and detailed productiondesign, a soundtrack to die for, dry wit and of course,proper actors in silly roles.The Grand Budapest Hotel recounts the adventures ofGustave H (Ralph Fiennes), a legendary concierge at afamous European hotel between the wars, and ZeroMoustafa (Tony Revolori), the lobby boy who becomeshis most trusted protégé. When the wealthy but very oldMadame D is murdered, Gustave, her servant, friend andoccasional lover, becomes the number one suspect. Ourtwo heroes must go on the run, in this exciting adventurestory which soon involves the theft and recovery of apriceless Renaissance painting, the battle for anenormous family fortune, and the slow, then suddenupheavals that transformed Europe during the first halfof the 20th century.Fans of Jonathan Glazer’s work either in film (Sexy Beast)or landmark music videos (for Radiohead and MassiveAttack) have been waiting a long time for a new featurefilm from this cult director. When it was announced thathis newest project was a cinematic adaptation of MichelFaber’s critically acclaimed novel Under The Skin,anticipation reached fever pitch. The results will enrapturesome and perplex others, but it will certainly rattle aroundin your brain for a long time to come. We saw this inToronto back in September and can still rememberimages, sounds and sequences as if it were yesterday.The film opens with a beautiful but unidentified woman(Scarlet Johansson) driving around the Scottishcountryside and luring unsuspecting men into her whitetransit van. With her come hither eyes, ruby red lips anddisarming chat, it is clear that she is on a mission of sorts,but her motives remain unclear. All is not what it seems onthe surface and the tables are soon turned when thehunter becomes the prey.Using professional and non-professional actors andshot on location all around Scotland (often guerrilla style),Glazer infuses this other-worldly film with a sense of grimreality, which will be all too familiar to many of us. Cooland detached, Under The Skin is a lot like its centralcharacters – an enigma, but a beautiful, seductive andultimately disturbing one at that.Dir: Jonathan GlazerUK 2013 / 1h48m / Digital / cert tbcWith a suitably grand cast of characters Anderson’snew film has an ensemble cast like no other includingF. Murray Abraham, Mathieu Amalric, Adrien Brody,Willem Dafoe, Jeff Goldblum, Harvey Keitel, Jude Law,Bill Murray, Edward Norton, Saoirse Ronan, JasonSchwartzman, Lea Seydoux, Tilda Swinton, TomWilkinson and Owen Wilson.Dir: Wes AndersonUSA / Germany 2014 / time tbc / Digital / cert tbcSoft Subtitled screening Tue 18 March, 18:00Senior Citizen Kane Club screening Thu 20 March, 10:30Bring a Baby Screening Thu 20 March, 10:308 www.dca.org.uk
Nymphomaniac Vol. I & Vol. IISat 22 February, 18:15 ONE NIGHT STANDDouble Bill Plus Satellite Q&A with CastStranger By The LakeL'inconnu du lacFri 14 March – Thu 20 MarchFrench writer-director Alain Guiraudie’s new filmexplodes the tired old genre of erotic thriller by mashinggay sex with murder mystery, and all without resortingto sensationalism. Nonetheless, the film is bothpsychologically menacing and sexually provocative.Couples and singles park their cars in a clearing andwalk to the idyllic lakeside setting where they sunbathein a homoerotic paradise. Men exchange glances witheach other, swim naked and retire to a wooded areafor casual sex, while others look on and masturbate.Guiraudie’s liberated utopia fosters a harmoniousatmosphere devoid of judgement, inhibition or selfconsciousness.Franck (Pierre Deladonchamps), ahandsome young man, forms a platonic relationshipwith Henri (Patrick d’Assumçao), a pensive older manwho sits away from the main drag, musing on the recentsplit from his girlfriend and the matter that few men arewholly gay and exempt from bi-feelings.The real object of Franck’s affections is the virile Michel(Christophe Paou), but when the police are called toinvestigate a ‘Midsomer murder’, the pastoral scenebecomes fraught with a sustained, Hitchcockiansuspense. The inspector is perplexed, rationalising thatthose who are into voyeurism should make for goodeyewitnesses. His investigation is jeopardised by silence,owing to the men not asking for names or telephonenumbers, preferring to forget the past to make way fortomorrow’s conquests. Despite being primary suspects,Franck and Michel ignore the apparent danger inorder to pursue a passionate and potentially perilousrelationship.Lars von Trier (Antichrist, Melancholia), the enfantterribleof arthouse cinema, returns with a film designedto shock, challenge and possibly infuriate some viewers.Running four hours long, Nymphomaniac is a no-holdsbarred look at sex addiction, which features some of theboldest performances (Charlotte Gainsbourg and JamieBell) and the weakest (Shia LeBoeuf) seen on screen thisyear.The film opens on black with the sound of rain falling ina dreary alleyway where the monk-like Seligman (StellanSkarsgard) stumbles upon Joe (Gainsbourg), lyingbattered and bruised on the ground. Refusing his offerto call the police, she agrees to go back to his flat andrecover. As she regains her strength she tells him thestory of her life. Dividing the films into eight chapters,Joe and her confessor enter into discussions not onlyabout her sexual history, but art, fly-fishing, maths, musicand religion. By the beginning of Vol. II it has becomeclear that Joe’s path to fulfilment is not going to end welland soon enough we have entered into a world of crimeand punishment.Although many of the acts presented in the film are veryreal and explicit (the credits however assure us that noprofessional actors had penetrative sex during thefilming), they very quickly become banal and are neversexy or erotic. It is clear that alongside the intellectualdebate proposed in Nymphomaniac, von Trier alsowanted to push the boundaries of what was consideredacceptable on screen. Has he succeeded? That will beup to you to decide.A special preview screening of Parts 1 and 2 of Lars VonTrier's controversial new opus will include a live satelliteintroduction and Q&A. Full details will be announced onwww.dca.org.uk Price £10 (£8 conc).Dir: Lars von TrierDenmark / Germany / France / Belgium / 20131h50m (Vol. I) 2h10m (Vol. II) / Digital / 18Dir: Alain GuiraudieFrance 2013 / 1h40m / DigitalFrench with English subtitles / 18Tickets 01382 909 900 9