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35 rhums

(35 Shots of Rum)
France/Germany 2008. Dir: Claire Denis. 100 min. 35mm


7:00pm - Doors
8:00pm - 35 rhums with Intro by Allison Collins

IMPORTED 35mm PRINT! After the intoxicating interiority of L’intrus, Denis fashioned a tender and profoundly moving father-daughter drama in tribute to Yasujirō Ozu, one of her formative cinematic influences. Borrowing beats from the Japanese master’s 1949 opus Late Spring, Denis’s subtle, lyrical film centres on Lionel (Denis mainstay Alex Descas), a widowed train conductor, and his dutiful adult daughter Joséphine (actor/director Mati Diop, who this year becomes the first Black female filmmaker to compete for the Palme d'Or at Cannes). The pair share an affectionate but insular domesticity in a no-frills apartment on the outskirts of Paris. When upstairs neighbour and moody cat-dad Noé (Grégoire Colin, of Beau travail) acts on his long-held affections for Joséphine, Lionel recognizes that his daughter must build a life, and nurture a love, independent of him. As Denis is blessedly wont to do, exposition is almost entirely excised in favour of tone and visual grace. “Sublime ... Denis’s warmest, most radiant work” (Melissa Anderson, Village Voice). Print courtesy of Institut Français, thanks to the Cultural Services of the French Embassy in New York.

Allison Collins is a Vancouver-based curator, writer, and researcher. Since 2015 she has worked as Curator of Media Arts at Western Front. She has curated projects for grunt gallery, Presentation House Gallery, Or Gallery, VIVO Media Arts Centre, and Vtape. Her writing has been published across Canada. Collins holds a BFA in Visual Art from the University of Ottawa and an MA in Critical and Curatorial Studies from the University of British Columbia.



"Marvellous ... Both her warmest movie and, with its quiet observation of small ritual, her most affirmative and Ozu-esque."

Time Out | full review

NYT Critic’s Pick | "Quiet and lovely ... Achieve[s] a rare eloquence about the state of the world by means of tact and reticence."

New York Times | full review