ICE-Vision: The Conformist (Bernardo Bertolucci, 1970)
Thursday, November 4 at 8 PM
Lamar Dodd School of Art Room S150

Film Studies major Will Stephenson continues ICE’s informal weekly series, selecting a variety of world cinema classics and subcultural curiosities.

“Restored to its original length and rich color under cinematographer Vittorio Storaro’s supervision, “The Conformist” seems every bit as superb as it was when first released in 1970. Bertolucci combines the bravura style of Fellini, the acute sense of period of Visconti, the political commitment of Elio Petri — and, better still, a total lack of self-indulgence…”The Conformist,” is not merely an indictment of fascism — with some swipes at ecclesiastical hypocrisy too — but also a profound personal tragedy.” – L.A. Times

ICE-Vision Halloween: The Seventh Victim (Mark Robson, 1943)
Thursday, October 28 at 8 PM
Lamar Dodd School of Art Room S150

Film Studies major Will Stephenson continues ICE’s informal weekly series, selecting a variety of world cinema classics and subcultural curiosities.

“The greatest of producer Val Lewton’s justly celebrated low-budget chillers—a beautifully wrought story about the discovery of devil worshippers in Greenwich Village that fully lives up to the morbid John Donne quote framing the action. Intricately plotted over its 71 minutes by screenwriters Charles O’Neal, De Witt Bodeen, and an uncredited Lewton so that what begins rationally winds up as something far weirder than a thriller plot, this 1943 tale of a young woman (Kim Hunter in her first screen role) searching for her troubled sister (Jean Brooks) exudes a distilled poetry of doom that extends to all the characters as well as to the noirish bohemian atmosphere.” -Jonathan Rosenbaum (Chicago Reader)

ICE-Vision: Pauline at the Beach (Eric Rohmer, 1983)
Thursday, October 21 at 8 PM
Lamar Dodd School of Art Room S150

Film Studies major Will Stephenson continues ICE’s informal weekly series, selecting a variety of world cinema classics and subcultural curiosities.

“I hope that ”Pauline at the Beach” will win new admirers for Mr. Rohmer, one of the most original and elegant film makers at work today in any country. Though his films depend a lot on talk, don’t be misled. They are literate but not especially literary, even if the English-language subtitles reinforce this impression. Mr. Rohmer’s works could not exist in any other form. Their particular character would float off any printed page. They combine images, language, action and cinematic narrative fluidity to create a kind of cinema that no one else has ever done before. ”Pauline at the Beach” is another rare Rohmer treat.” -New York Times

ICE-Vision: F For Fake (Orson Welles, 1973)
Thursday, October 14 at 8 PM
Lamar Dodd School of Art Room S150

Film Studies major Will Stephenson continues ICE’s informal weekly series, selecting a variety of world cinema classics and subcultural curiosities.

“In F For Fake (completed in 1973), Welles shaped documentary footage into a loose-limbed but tautly built cine-essay on “two world leaders in fakery”: the prolific art forger Elmyr de Hory and his biographer Clifford Irving, who himself counterfeited the autobio of Howard Hughes. Bearded and bedraped, Welles serves as self-amused emcee to their strange inventions, and far from passing judgment on these charismatic tricksters, the director admires them as fellow artists and comrade tale-tellers, whose exploits reflect his own adventures in faking it…Accepted notions of authenticity, fakery, experthood, aesthetic value, and narrative are not only debunked but redefined.” -The Village Voice