Fall Film Events

October 8 930 F Street (Oak, 9:30 p.m.)

October 9 Ludwig Van (Walker, 3:00 p.m.)

October 9 Rameau's Nephew by Diderot (Thanx to Dennis Young) by Wilma Schoen (Walker, 7:00 p.m.)

October 9 Amazing Grace: Jeff Buckley (Bell, 7:30 p.m.)

October 10 Drive Well, Sleep Carefully: On the Road with Death Cab For Cutie (BLB, 5:00 p.m.)

October 10 Spectrum: Minnesota Soundtracks Vol. 3 (Oak, 5:00 p.m.)

October 10 Favela Rising (Oak, 7:30 p.m.)

October 11 Arvo Pärt: 24 Preludes for a Fugue (Bell, 7:30 p.m.)

October 11 Scene Minneapolis 1977-1986 (Oak, 7:30 p.m.)

October 11 Stranger: Bernie Worrell on Earth (Bell, 9:15 p.m.)

October 12 Looking Glass (Bell, 7:30 p.m.)

October 12 Life in a Box (BLB, 7:30 p.m.)

October 12 Derailroaded: Inside the Mind of Larry "Wild Man" Fischer (Oak, 7:30 p.m.)

October 13 Leadbelly (Oak, 7:15 p.m.)

October 13 Malfunkshun: The Andrew Wood Story (Bell, 7:30 p.m.)

October 14 Amazing Grace: Jeff Buckley (Oak, 8:00 p.m.)

October 14 Punk Rock Holocaust (Oak, midnight)

October 15 Mingus: Charles Mingus 1968 (Oak, 6:00 p.m.)

October 15 La Fabrik-K/The Cuban Hip-Hop Factory (Oak, 7:30 p.m.)

October 16 Shakespeare Was a Big George Jones Fan (or Cowboy Jack Clements' Home Movies) (Oak, 7:30 p.m.)


Dinkytowner Cafe, 412-1/2 14th Ave. SE, Mpls.; 612.362.0437

"Weird and wonderful movies" are screened on the second Tuesday of each month at 9:00 p.m.

October 11 Gargoyles/Bad Ronald

November 8 Casshern/Immortel: Ad Vitam


Varsity Theater, 1308 4th St. SE, Mpls.; 612.604.0222 October 12

Of this traveling horror-film convention hosted by ultra-prolific schlockmeister Charles Band (Josh Kirby...Time Warrior: Chapter 4, Eggs From 70 Million B.C.), the auteur himself writes: "I am so looking forward to this event!!! We now have many surprise guests confirmed and it looks like we'll have enough original puppets and dolls from my films to auction 4-5 in every city! Also--when you come into the theater you'll take your business card or fill out a card with your info--drop it into a coffin(!) and later we'll have someone from the audience come up on stage and pick out one card: The winner will be in a Full Moon movie AND BE KILLED!!!" (Start time is TBD.)


The Bell, U of M, University Avenue and 17th Street SE, Mpls.; 612.331.3134

Son of a great fiction filmmaker, the silky-smooth Max Ophüls (Letter from an Unknown Woman), Marcel Ophüls makes the world's most demanding and insightful documentaries about the queasy moral questions that lie within world history. This three-film retrospective is especially notable for the presence of The Memory of Justice, Ophüls's 1976 masterpiece about the Nuremburg trials and the nature of "crimes against humanity" in the post-WWII world. Memory was assailed in its day for being unfocused, but the filmmaker's roving style, darting from Dresden to Ho Chi Minh City in a blink of the mind's eye, will seem especially apt to today's hypertext generation. Alongside Memory sits Ophüls's monumental Sorrow and the Pity, a four-hour meditation on the nature of the words collaboration and resistance (and, alas, a punch line in Annie Hall). A Marcel Ophüls film frustrates your certainties, requests a rigorous reexamination of the point it just made, and never lands in a place where it can feel secure. In other words, a Marcel Ophüls film has never been more essential than now. (Note: All screenings begin at noon.)--Matthew Wilder

October 15-16 The Sorrow and the Pity

October 22-23 The Memory of Justice

October 29-30 The Troubles We've Seen: A History of Journalism in Wartime


Lagoon Cinema, 1320 Lagoon Ave., Mpls.; 612.825.6006. Opens October 14

Following his criminally underrated Confessions of a Dangerous Mind, this is the second movie by small-screen hunk-turned-lefty auteur George Clooney--and his second on the subject of TV's power to cause tremors not only in viewers' hearts, but in their heads as well. Whatever self-flattery may be inherent in that enterprise is made irrelevant here by the depth of Clooney's research into a pinnacle moment in the history of American journalism. There has probably never been a bad time to make a studio movie about the threat that corporations pose to free speech, but it's hard to imagine a better time than now for Good Night, and Good Luck., Clooney's hard-hitting black-and-white portrait of CBS newscaster Edward R. Murrow and his on-air battles with Joseph McCarthy, the "junior senator from Wisconsin" who made a career of communist witch-hunting in the mid-1950s. (The movie completed production not long before the Times broke the story that the Corporation for Public Broadcasting had hired a researcher to investigate the "political leanings" of commentators such as PBS's own Bill Moyers.) Actor David Straithairn channels the chain-smoking Murrow right down to the dead-serious stare that separated the news anchor from any who followed him. But the movie benefits just as much from Clooney's decision to let McCarthy play himself in archival footage--a decision that mirrors Murrow's own brilliant choice to allow the yammering McCarthy to hang himself onscreen. (Besides, the real McCarthy was too uniquely scary for anyone to play as well as the man played himself.) No mere "liberal feel-good movie," as another McCarthy has suggested, Good Night reveals Murrow's ultimate victory in the court of public opinion as the beginning of the end of TV's ability to speak truth to power: As the network, the government, and the sponsors close in on Murrow, forcing him to run celebrity puff pieces in place of investigative journalism (plus ça change...), Clooney's inclusion of vintage cigarette ads doesn't lighten the tension so much as show that the smokes killed Murrow in more ways than one. With each of the inimitable sign-offs that give the movie its title, we have the increasing sense that the broadcaster will need his own good luck as much as anyone. Straithairn will appear in person at Walker Art Center to introduce a screening on October 7 (7:30 p.m.), held a week in advance of the film's opening at Lagoon Cinema. --Rob Nelson

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