Dublin Film Qlub present: Nighthawks

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Season Four of the Dublin Film Qlub, “Burning the Closet!”, continues with…

 

Nighthawks

    Dir. Ron Peck, 1978

Starring: Ken Robertson, Tony Westrope, Rachel Nicholas

English

Saturday 19th April 2014 2:30 pm

(doors open at 2.00 pm)

The New Theatre

East Essex street, Temple Bar, Dublin 2

Day membership: €8

(free tea and coffee)

By day, he is a primary school teacher, entrusted with passing on knowledge and a sense of social values. By night, he is a dedicated cruiser in London’s gay underground. He is not being forced into a secret life of remorseful sin in order to survive in a homophobic society… he just loves it! This is a vocation, a perfectly valid lifestyle, and the source of much excitement and pleasure… so what’s the problem? His best friend –a divorced mum with a kid, who is also treading her own path–, is doing her best to understand his choices… but what will happen when his students confront him in class and demand answers? This is Taxi Zum Klo without the sex. A mesmerizing, courageous film, which refuses to spare us the chill of an army of loveless hunters.

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Dublin Film Qlub screening ‘Les Biches’

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18 January 2014 2:30 pm

doors open at 2pm

The New Theatre

East Essex street

Temple Bar

Dublin 2

Day membership: €8

free tea and coffee

 

Dublin Film Qlub presents Claude Chabrol’s 1968 film Les Biches, starring: Stéphane Audran, Jaqueline Sassard, Jean-Louis Trintignant.

French (with English subtitles)

 

A posh lady walks around Paris, and spots a beautiful homeless girl painting on the pavement for a few franks… Naturally, she takes her home and offers her a roof and a bed — her bed.

You would think that the admired director Claude Chabrol made this lesbian film in the spirit of the sexual revolution… but there is so much class hatred sipping through, and there is so much boredom and casual cruelty in the free-wheeling triangle that ensues, that it is not too clear what’s on Chabrol’s mind. This is the very opposite of a celebration of lesbian sisterhood, and why shouldn’t it be?

The Seventies showed us that everything was possible, not necessarily that everything was advisable. Whatever you think of its message, the movie is worth watching for Stéphane Audran alone (the star of the much-loved film Babette’s Feast), who won the best actress award at Berlin for this role, and who manages to be totally threatening and totally alluring all at once.

http://www.youtube.com/watch?v=fnQb2QGMGv0

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Dublin Film Qlub present: The Haunting

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The Haunting

Dir. Robert Wise, 1963
Starring: Julie Harries, Claire Bloom

Saturday 15 June 2013
3.00pm
doors open at 2.30pm
New Theatre
(entrance through Connolly Books)
43 East Essex street, Temple Bar, Dublin 2
day membership: €8.00
free tea & coffee

~ ‘Creepy Mansion’ B&B ~
Rooms Available.
Discounts for Queer Groups.

This isn’t the first or last film to tell the story of a bunch of strangers thrown into a creepy mansion for a few nights, but it may well be the cleverest and gayest of them all!

By the late 1950s, Freudian psychology had well reached the masses. Ordinary people were familiar with the following theories: (a) there are different parts to our psyche (roughly, a moral side and a wild side), (b) humans can only function in society because they repress their instincts, and (c) a lot of what we repress is floating in the ‘unconscious’ —haunting us— and is likely to come out somehow… One way of enjoying The Haunting is by seeing this mad house as a metaphor for an individual psyche: each character in this motley crew represents one aspect of human nature. Needless to say, since we are talking about repression and the unconscious here, sex plays a big part. The film is peppered with queer clues (watch out for the lesbian statues!), and one of its main storylines concerns the seduction of a woman by another woman. Didn’t Freud himself say that fundamentally we are all bisexual? Well, there you are. If this mansion is a person’s head, the person is lesbian. And the thing she is most afraid of, and the cause of all the ‘supernatural’ disturbances in the film, is actually her own lesbianism.

Considered to be one of the best horror films ever made, The Haunting is actually full of wickedly funny moments, much like a bar of dark chocolate stuffed with unexpected crunchy nuts. And lets not forget the camera work! This is a masterclass on how to create unbearable tension without CGI monsters or buckets of blood. Today’s filmmakers are still trying to catch up with this great film from 1963.

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Dublin Film Qlub present: Reflections on a Golden Eye

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Reflections on a Golden Eye

Dir. John Huston, 1967
Starring: Marlon Brando, Elizabeth Taylor

Saturday18 May 2013
3pm
doors open at 2.30pm
New Theatre
(entrance through Connolly Books)
43 East Essex street, Temple Bar, Dublin 2
day membership: €8.00
free tea & coffee

A magnificent film on the evils of internalised homophobia

Carson McCullers may or may not have been lesbian, but she certainly wrote a truckload of brilliant queer literature, including the novel adapted for the screen as Reflections on a Golden Eye. This extraordinary film also features two of the greatest actors in history, Elizabeth Taylor and Marlon Brando, and the direction of a master filmmaker, John Huston. And yet, perhaps the most memorable of all the magic ingredients which make this film so magnificent is the cinematography of Aldo Tonti, who had begun his career twenty five years earlier working on a queer film by Luchino Visconti.

Tonti’s golden lighting lingers in the mind long after the film is over… long after the pulse has quietened down, the fever has receded, and we have stopped trembling. To watch this film is to share in the scorching passions and the childhood terrors the characters experience. We walk with them on a tight rope — we feel their frustration, their hopelessness, and their determination. Sex is in the air, sex is the air, and we can’t breath. We know were to find what we need, but we may as well be up to our necks in quicksand, because we cant reach it. We are buried in our own internalised homophobia. No one will come to rescue us. We will have to perform this impossible feat by ourselves, we will have to pull ourselves up and out. But how? How?

Brando —bisexual in real life— is absolutely compelling as the repressed Major Weldon Penderton, and Taylor shines as Leonora Penderton, in a reprise of her Cat on a Hot Tin Roof role as the neglected but resourceful wife to a closet case. But why is it that the film is wrapped in a golden hue, says you? Ah, because for better or worse being queer is another way of seeing.

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Dublin Film Qlub screening: ‘Sylvia Scarlett’ (1935):

As part of the Dublin Film Qlub LGBTQ Short Film Showcase 2012-13, the December screening will include a very special short film by up-and-coming director Sylvia Tabares. A treat!

Homosex and the City
Dir. Eva Tabares, 2010
10 min. English, French, Japanese, with English subtitles

Three couples find their way in this multicultural polysexual comedy.

SYLVIA SCARLETT

Dir. Geoge Cukor, 1935
Starring: Catherine Hepburn, Cary Grant

Saturday 15 December 2012
[Xmas Screening!]

3.30pm
doors open at 3.00pm
New Theatre
(entrance through Connolly Books)
43 East Essex street, Temple Bar, Dublin 2
day membership: €8.00
free tea & coffee

A classy comedy of trans-gender-bending!

Sylvia and her dad are on the run from the French police, because of his shoddy dealings. They decide to change their identities, leave France, and start a new life in England — what better way for Sylvia to avoid suspicion than… to dress as a man and call herself Silvester?!

Katharine Hepburn was born to play this role. As a young girl, she demanded to be called “Jimmy”, and as a young star (after a career-defining role in a film by lesbian director Dorothy Arzner), her impetuous and athletic image, together with the androgynous look she cultivated, turned her into a gay icon. Cagey about her personal life, she encouraged people to think she had had a life-long affair with Spencer Tracy (conveniently, he was dead at this point) which had to be kept secret because he was married. But her true leanings were known by a good few. At least 150 of them… We mean the over 150 young women whose services Hepburn paid for through the infamous Hollywood escort agency run by Scotty Bowers (who finally spilled the beans in a book published this year).

But leaving aside the megastar Miss Hepburn, the film Sylvia Scarlett is a queer constellation, with George Cukor behind the camera and co-starring Cary Grant. Look out for the gay ‘men’ cruising in the first minutes of the film (appropriately enough, in a cruise ship). Watch out for Hepburn’s gender switches every time she changes her clothes: gender is something we put on, like a hat, she seems to say. Keep an eye on Sylvia’s prowess as an athlete on the rings, a formula-one racer, and an Olympic swimmer. Check out the erotic currents criss-crossing all characters and all sexes. And marvel at how they got away with it all in 1935!

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Season Three of the Dublin Film Qlub

Season launch:

20 October 2012

with a rare screening of the classic

Cat People 

Season Three of the Dublin Film Qlub will offer you another exclusive selection of fantastic LGBTQ films which are either little known, or completely forgotten, or which have failed to get the attention they deserve. This season is called the ‘Evil Season: ‘Mad, Bad, and Dangerous to Know’.  After Season Two, Around the World in the 80s, Dublin Film Qlub are traveling back in time to the 1940s, 50s and 60s (stopping in 1968, the year Stonewall changed gay history). In Season Three, Dublin Film Qlub are going to take a look at some gloriously gay films from Hollywood, made under heavy censorship but managing to tell amazing queer stories in exciting new ways. By contrast, it will also look at the freedom of European films of the period, talking about homosexuality with a mater-of-factness which is often shocking.

Season 3 kicks off with…

CAT PEOPLE

Dir. Jacques Tourneur, 1942

Starring: Simone Simon, Tom Conway 

 

Saturday, 20th October 2012

3.30pm

doors open at 3.00pm

New Theatre

(entrance through Connolly Books)

43 East Essex street, Temple Bar, Dublin 2

day membership: €8.00

free tea & coffee

A thrilling tale about the power of sexuality to unsettle social norms

Not as well known as it should be, this film stands amongst the most beautiful, exciting, original, and provocative films ever made. And it is a lesbian classic. Val Lewton, who wrote the story and produced the movie, knew all about lesbians — he’d been raised by a famous one, his aunt Alla Nazimova, a superstar of the silent screen and the daring mastermind behind the queer film Salome (1923).

After 1930 in the USA, with the Hays Film Censorship Code in place, it became almost impossible to discuss sexuality (or politics) on film, so people like Val Lewton had to get really creative. Enter ‘Irena’, a Serbian woman from a strange race of creatures, half-human and (unknown to the world) half panther.       Does it sound daft?       Well, the film is actually very stylish, performances are flawless, the camera work and editing are magic, and the story is so compelling that you’ll be glued to the screen from start to finish.

Irena knows it is not in her nature to marry, because she is likely to kill her husband when her ‘true self’ returns. When she foolishly ties the knot with unsuspecting Oliver, not only she finds it impossible to have sex with him, but she can’t help herself either from ‘hunting’ women – including complete strangers in public swimming pools and desserted night streets.

Actress Simone Simon, who went on to make an openly lesbian film, is absolutely magnetic. But momentarily, Elizabeth Russell steals the show… as a fellow panther alerted by her ‘gaydar’, who approaches Irena: ‘Are you my sister?’

An irresistible film.

http://www.filmqlub.com/season-three/film-list-season-three/cat-people

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Dublin Film Qlub new screening ‘Pixote’ (1981) Sat 28th July at 15.30

DUBLIN FILM QLUB

SESSION TEN: SATURDAY 28 JULY 2012

please note change of date!!

 

@ 3:30 pm
(doors open at 3.00)
New Theatre, 43 East Essex Street, Temple Bar.
(next to The Project — entrance through Connolly Books)
Day membership: E8
free tea and coffee

This is the last screening of Season Two, and then we are taking our usual summer break

before we come back in October with another exclusive selection of rarely-seen but fantastic

LGBTQ-interest films

 

 

FILM QLUB SEASON TWO: “AROUND THE WORLD IN THE 80s”

This month we are off to…. Brazil

 

PIXOTE: A LEI DO MAIS FRACO

(tr. PIXOTE: THE LAW OF THE WEAKEST)

Dir. Héctor Babenco. 1981. 128 mins. Portuguese, with English subtitles.

Script: Hector Babenco and Jorge Durán, from the book The Childhood of the Dead Ones, by José Louzeiro.

Starring:  Fernando Ramos Da Silva , Jorge Julião, Gilberto Moura, Edilson Lino , Zenildo Oliveira Santos.

 


Amazing film about a gang of homeless youngsters who band together to ensure physical and emotional survival

 

Casting homeless boys as actors (their performances are extraordinary), basing the script on real-life stories, and opening the film with a discussion on the evils of poverty, director Héctor Babenco’s “Pixote” is a lesson in politically committed film-making. Filmed before Babenco’s queer classic “Kiss of the Spider Woman” (1985) and before the international mega-hit “City of God” (2002), “Pixote” laid down the foundations for all of his remarkable work. Rejects of society, these children are born without a future, and grow up with guns as toys, police chases as games, drug-smuggling as work. The film tells the story of a group of Brazilian youngsters, including the hard-as-nails but immature Pixote and the much abused but proud transgendered Lilica. They meet after they are sent to a Reformatory, which in fact (just like Magdalen Laundries and Industrial Schools in Ireland) is a concentration camp where they are routinely abused and treated as slave labour. When a few of the boys manage to escape, they discover that surviving in the outside may be just as difficult. They become a family, and they seem to be indestructible, until love, jealousy, and the adult world intrude in their lives. This savage film is often tough to watch, but it is an eye-opener, and a must for anyone who cares about social justice. An absolute classic.

(Warning: the film contains some scenes of violence, including sexual violence, which some Film Qlub members may find disturbing)


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Dublin Film Qlub: New Season: ‘Around the World in the 80s’

SESSION SEVEN: HUNGARY

21st APRIL 2012

New Theatre, Temple Bar, Dublin 2

3.30 pm (Doors open at 3.00)

Free tea & coffee

Screenings are followed by an open discussion.

EGYMÁSRA NÉZVE

(tr. ANOTHER WAY)

Dir. Károly Makk. 1982. 102 min. Hungarian, with English subtitles.

Script: Erzsébet Galgóczi and Károly Makk, based on the novel Another Love, by Erzsébet Galgóczi.

Starring: Jadwiga Jankowska-Cieślak, Grażyna Szapolowska, Jozef Kroner.

—-
Drama presenting political repression and the repression of sexuality as two sides of the same coin.
—-

This is the story of Éva, a talented journalist determined that the newspaper she works for, “The Truth”, will honour its name. Living in Budapest under a Stalinist satellite-regime, Éva refuses to compromise either in her writing or in her life, and as a result she has been black-listed as a lesbian by the authorities. In Hungary in the 1950s, the resistance is reduced to unconnected individuals trying to survive; very much like the lesbian underground, where women rely on sideway glances, discreet notes, and furtive meetings. When Éva meets Livia, they discover they are attracted to each other, but will Livia have the courage to abandon her settled life and choose “another way”? The first mainstream gay feature from Eastern Europe, Cannes Film Festival nominated it for best film of the year and gave the best actress award to Jankowska-Cieślak. Despite some weaker points (the stereotypical dark-butch vs. blonde-femme casting, for one), the film has many powerful moments and much food for thought. In an interrogation scene, for example, the arrogance and ignorance of the hetero-normative world are presented as a form of unofficial torture. “Another Way” ends in 1956, when the Hungarian Revolution’s popular upsurge for democracy was crushed by Soviet tanks, underlying the fact that personal and collective history always run a parallel course.

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