Fassbinder's The Merchant of Four Seasons

Acclaimed German filmmaker Rainer Werner Fassbinder is the subject of a comprehensive two-part retrospective taking place at the Film Society of Lincoln Center this year. Details for “Fassbinder: Romantic Anarchist (Part I),” taking place May 16 – June 1, were announced today. Part I will include nearly all of his work leading up to 1974, while Part 2 will focus on the period between 1974 through 1982. A restored print of The Merchant of Four Seasons (1971) will screen for one week, coinciding with the start of Part I of the series. The feature follows street fruit peddler Hans, whose career choice upsets his bourgeois family, causing him to turn to drinking and violence. His business, however, takes off much to the delight of his relatives, though much to his chagrin.

The series will include all of his theatrical features as well as much of his television works in addition to films Fassbinder himself starred in. The series will also include films that influenced his work, as well as films that were influenced by his work.

Fassbinder is considered one of the most prolific European filmmakers of the 20th century. He completed nearly 40 feature-length films between 1969 and 1982. He died that year aged only 37. Themes of love, crime, labor, and social and emotional exploitation manifest throughout his many melodramas, gangster movies, literary adaptations, and sci-fi works.

Highlights from Part 1 of the series includes Fassbinder’s melodrama about an improbable May-December romance Ali: Fear Eats the Soul (1974); The American Soldier (1970), a story of a Vietnam vet returning to Munich, which he described as “a study of the perfect killer”; Beware of a Holy Whore (1970), his brutal self-critique on filmmaking; Katzelmacher (1969), his comment on the persistence of xenophobic scapegoating in German society; the unorthodox gangster flicks Love Is Colder Than Death (1969) and Gods of the Plague (1970); the cult-classic gothic melodrama, Whity (1971), revolving around an abused son and butler for an aristocratic family; and World on a Wire (1973), his made-for-television science-fiction head trip that anticipated the likes of Blade Runner and The Matrix.

Related films in the series include Douglas Sirk’s classic All That Heaven Allows (1955), an inspiration for Ali: Fear Eats the Soul and Todd Haynes’s Far from Heaven (2002), influenced by both Sirk and Fassbinder; Ulli Lommel’s Tenderness of the Wolves (1973), a psycho-thriller about a cannibalistic serial killer that co-stars Fassbinder; François Ozon’s Water Drops on Burning Rocks (2002), an acerbic romantic farce adapted from Fassbinder’s 1966 stage play; Jean-Marie Straub’s short film The Bridegroom, the Comedienne and the Pimp (1968), featuring one of Fassbinder’s first on-screen roles; and Albert Serra’s new short film Cuba Libre (2013), named  for the cocktail ordered at the hotel bar in Beware of a Holy Whore.


Fassbinder's The American Soldier

“Fassbinder worked practically at the speed of thought and left behind a body of work so improbably large, so packed with ideas and emotion and meaning, that we often still seem to be catching up with him,” said Dennis Lim, the Film Society’s Director of Programming. “In some ways, the time is always ripe for a Fassbinder retrospective. More than three decades after his death, he still looms large, a widespread influence and a singular force. His films are undimmed and untamed by the passage of time—more than that, many of them seem more vital than ever these days.”

Details about Fassbinder: Romantic Anarchist (Part 2), taking place at Film Society in November, will be unveiled at a later date. Film, descriptions, and other details for Fassbinder: Romantic Anarchist (Part I) are below.

Films by Fassbinder screenings:

Ali: Fear Eats the Soul
Rainer Werner Fassbinder, West Germany, 1974, 35mm, 93m
German and Arabic with English subtitles
Produced at the peak of Fassbinder’s creative powers, Ali: Fear Eats the Soul reworks the narrative and thematic framework of Douglas Sirk’s classic melodrama All That Heaven Allows (also the inspiration for Todd Haynes’s Far from Heaven) in telling the improbable love story of Ali (El Hedi ben Salem), a thirty-something Moroccan immigrant working as a mechanic, and Emmi (Fassbinder muse Brigitte Mira), a German widow who is old enough to be his mother. The motley pair gets married and quickly encounters prejudice and discrimination from neighbors, friends, and family (including Fassbinder himself as Emmi’s son-in-law). This wry and tender romance-cum-social-commentary has endured as one of its director’s most accomplished and popular films.
Sunday, May 25, 9:00pm
Saturday, May 31, 3:00pm and 7:20pm

The American Soldier
Rainer Werner Fassbinder, West Germany, 1970, 35mm, 80m
German with English subtitles
An early example of Fassbinder’s pessimistic vision and his fierce, ravishing visual style, this film is a baroque homage to Hollywood cinema—film noir and gangster movies in particular. German actor Karl Scheydt plays a smalltime Yankee hood (clad in white suit and fedora) who returns to Munich and quickly finds himself embroiled in some very deep trouble. Fassbinder infuses the film with a mannerism that both reflects and critiques the American movies that inspired it: characters strike poses with portraits of Hollywood actors in the background, talk as though quoting dialogue, and die spectacularly exaggerated deaths. Although typically bleak, The American Soldier nevertheless finds Fassbinder struggling to locate some kind of redemption in the tension between vivid illusion and numb reality.
Sunday, May 18, 3:00pm and 9:00pm


Beware of a Holy Whore
Rainer Werner Fassbinder, West Germany/Italy, 1970, 35mm, 104m
English, German, French, and Spanish with English subtitles
In this sui generis take on the “film about filmmaking,” a brutal self-critique inspired by the production of Whity, Fassbinder puts the blame for that shoot’s sturm und drang squarely upon himself. A cast, crew, and various hangers-on (including New German Cinema fellow travelers Werner Schroeter, Magdalena Montezuma, and Margarethe von Trotta; Eddie Constantine, as the film’s male lead; Fassbinder axioms like Hanna Schygulla, Ulli Lommel, and Kurt Raab; and Fassbinder himself as the film-within-the-film’s producer) congregate in a Spanish hotel bar and wait interminably for the arrival of their leather-jacketed man-child director (Lou Castel). The group then undergoes a series of skirmishes, psychosexual charades, and nonplussed power trips—in what may or may not be an accurate representation of Fassbinder’s behind-the-scenes methods.
Screening with:
Cuba Libre (description below)
Saturday, May 24, 6:30pm
Monday, May 26, 8:20pm

The Bitter Tears of Petra von Kant
Rainer Werner Fassbinder, West Germany, 1972, 35mm, 124m
German with English subtitles
High camp and claustrophobia abound equally in the hermetic rooms where fashion designer Petra von Kant (Margit Carstensen), her model flavor-of-the-week (Hanna Schygulla), and a faithful, longtime love slave (Katrin Schaake) enact the cruel cat-and-mouse games that comprise the plot of this chamber psychodrama. With perhaps the richest and most allusive mise en scène in Fassbinder’s oeuvre—impenetrable spaces in which ornate tapestries, white mannequins, and ’50s pop hits intermingle—The Bitter Tears of Petra von Kant amounts to its director’s ultimate thesis on the essentially vampiric and selfish nature of love. In the words of Manny Farber: “Fassbinder’s intense shadowless image is not like anyone else’s.”
Friday, May 23, 4:00pm
Sunday, May 25, 2:30pm


Fassbinder's The Bitter Tears of Petra von Kant

Bremen Freedom
Rainer Werner Fassbinder, West Germany, 1972, 16mm, 87m
German with English subtitles
This dark-as-pitch comedy about Geesche Gottfried (Margit Carstensen), a widow from the city of Bremen who over 15 years killed as many people using butter laced with arsenic, is one of Fassbinder’s more ambitious stage-to-television experiments. Gottfried’s victims, most of them men, are those who have sought to control and abuse her. In her crushing alienation from her loved ones and her dauntless determination to shape the course of her life, Geesche anticipates later Fassbinder heroines like Maria Braun or Emma Küsters. Carstensen’s performance is rooted in a longing for vengeance, with splendid moments of outright hysteria. Fassbinder sets it all on a pristine white platform, with a giant screen projecting images of nature in the background, including an ironically rose-pink sunset and appropriately blood-red sea.
Thursday, May 22, 2:45pm and 7:00pm (EBM)

Effi Briest
Rainer Werner Fassbinder, West Germany, 1974, 35mm, 141m
German with English subtitles
Fassbinder’s take on Theodor Fontane’s tale of the rise and fall of a cosseted young 19th-century Candide is among his most visually ravishing. Married to a considerably older man (Wolfgang Schenck), gentle Effi (Hanna Schygulla) lives in a comfortable prison, a manor on the Baltic Sea staffed by servants whose chilly demeanor mirrors the house’s statuary. Too young and naïve to understand that breaking the rigid rules of her world might spell her doom, Effi falls for the handsome Major Crampas (Ulli Lommel) and, in the process, hurtles toward a tragic fate. Fassbinder films Fontane’s novel as both a deeply moving “woman’s picture” and a working metaphor for the plight of a subversive filmmaker working in an oppressive, reactionary society.
Monday, May 26, 5:30pm
Sunday, June 1, 8:00pm

Gods of the Plague
Rainer Werner Fassbinder, West Germany, 1970, 35mm, 91m
English, German, and French with English subtitles
Continuing Fassbinder’s early interest in teasing out the subtexts of American genre films, this stylized noir exercise—made under the signs of both Sam Fuller and Jean-Pierre Melville—focuses on the not-so-latent homoerotic tensions at the very heart of the gangster movie. Recently freed ex-con Franz (Harry Baer) is barely out of prison when he gets roped back into the Munich underworld that landed him behind bars in the first place. But this time, his romantic attentions are divided between femmes fatales Joanna (Hanna Schygulla) and Margarethe (Margarethe von Trotta) and, more unexpectedly, “Gorilla” (Günther Kaufmann, Fassbinder’s longtime lover, making his screen debut), the black Bavarian hit man who assassinated Franz’s informant brother.
Friday, May 16, 1:00pm and 5:00pm
Saturday, May 17, 7:00pm

Katzelmacher
Rainer Werner Fassbinder, West Germany, 1969, 16mm, 88m
German with English subtitles
Fassbinder’s second feature depicts the intolerance of a circle of financially and sexually frustrated friends when an immigrant laborer moves to their Munich neighborhood, exposing a paranoid hostility to outsiders and latent currents of bourgeois fascism. This Greek newcomer, played with impish deadpan innocence by the director himself, becomes an object of cautious curiosity and the inevitable catalyst for their group’s previously suppressed internal conflict. Titled for a Bavarian slang pejorative for “foreign worker” (literally “littler cat-maker,” and suggestive of a pronounced sexual prowess), this scalpel-sharp experiment, based on one of Fassbinder’s successful early plays and drawing on avant-garde theatrical techniques, is both a personal expression of alienation and a comment on the persistence of xenophobic scapegoating in German society. A stark black-and-white depiction of a world where boredom feeds self-hatred and violence, this is one of Fassbinder’s most curious and provocative films.
Wednesday, May 21, 5:00pm and 9:00pm (EBM)


Fassbinder's Effi Briest

Love Is Colder Than Death
Rainer Werner Fassbinder, West Germany, 1969, 35mm, 88m
German with English subtitles
For his feature debut, Rainer Werner Fassbinder fashioned an acerbic, unorthodox love-triangle crime drama. Munich pimp Franz Walsch (played by Fassbinder) relishes his entrepreneurial independence and refuses to join the local mob, despite its allure of greater cash flow and stability. When Franz befriends the mysterious crook Bruno (Ulli Lommel), the two go on a small but frenzied crime spree of theft and murder, along with Franz’s prostitute girlfriend Joanna (Hanna Schygulla). But as Franz plans a more elaborate heist, the allegiances among the trio begin to break down. Dedicated to Chabrol, Rohmer, and Straub (as well as the two main characters from the Zapata Western A Bullet for the General), this stylishly nihilistic cinematic statement of intent has a sardonic exuberance that beautifully complements Fassbinder’s seriousness of purpose, already fully present right out of the gate. “What is important to me,” Fassbinder himself said, “is that those who see this film call into question their most deeply felt private feelings.”
Screening with:
The Bridegroom, the Comedienne and the Pimp (description below)
Friday, May 16, 7:00pm
Saturday, May 17, 4:30pm
Monday, May 19, 4:00pm

Martha
Rainer Werner Fassbinder, West Germany, 1974, 35mm, 116m
German with English subtitles
Due to rights problems with the Cornell Woolrich novel on which the plot is (loosely) based, Martha never had a theatrical run in the United States. Martha (Margit Carstensen) is in her early thirties, beautiful, single, and a virgin. While strolling around Rome on vacation with her father, he suffers a fatal heart attack. Just as unpredictably, Martha meets a stranger in his mid-forties in front of the German embassy. Back in Germany, she sees him again and learns his name is Helmut Salomon (Karlheinz Böhm). Martha falls for his charisma and dominant personality, and soon Helmut begins his tender but unforgiving “education” of Martha. His sadism and her masochism set the stage for a claws-out satire of bourgeois marriage and the conventions that hold it in place.
Friday, May 23, 6:30pm
Sunday, June 1, 1:00pm

The Merchant of Four Seasons
Rainer Werner Fassbinder, West Germany, 1971, DCP (new restoration), 88m
German and Arabic with English subtitles
In one of Fassbinder’s pivotal works and greatest achievements, ineffectual ex-policeman Hans Epp, newly home from the war and greeted with chilling contempt by his domineering mother, continues to disappoint his bourgeois family by becoming a lowly fruit peddler. Drinking himself into a stupor and casually abusing his wife (Irm Hermann) to alleviate the boredom, Hans (Hans Hirschmüller, in a quietly shattering performance) one day suffers a heart attack. With the hiring of an old friend, his business miraculously begins to flourish. But success proves even more crushing than failure. A devastating social satire set in Munich during the “prosperous ’50s,” this was the first film Fassbinder made after meeting, and absorbing the influence of, Douglas Sirk, and also the one that cemented his place as the conscience of the New German Cinema—a filmmaker who insisted on showing what his countrymen failed to see or refused to remember.
Friday, May 16, 3:00pm and 9:20pm
Saturday, May 17, 2:30pm
Sunday, May 18, 4:45pm
Monday, May 19, 6:30pm
Tuesday, May 20, 8:30pm
Friday, May 23, 9:00pm

The Niklashausen Journey
Rainer Werner Fassbinder, West Germany, 1970, 35mm, 90m
German with English subtitles
On Laetare Sunday, March 24, 1476—the day winter is driven out and summer invited in—Hans Böhm (Michael König), a shepherd known for his musical performances, burns his drum in front of the assembled peasants and speaks to them about his revelation: the Mother of God has appeared and instructed him to preach to the people. Soon his preaching moves from the religious to the political, and thousands of peasants from Bavaria, Swabia, Hesse, Thuringia, and Saxony journey to see him. But while his support increases, Böhm is filled with an inarticulate dissatisfaction that can be absolved only by embracing his own destruction. Fassbinder links revolutionary tumult with performance-art experiments and the simple grace of sheepherding in a film set on the trash-strewn streets and junkyards of 1970 Berlin. In a gesture of rebelliousness and oddball conflation of modern decadence (and youth culture) with medieval religious art, Fassbinder himself plays a character called the Black Monk, dressed in dark sunglasses and a slick black leather jacket.
Monday, May 19, 8:30pm


Douglas Sirk's All That Heaven Allows

Nora Helmer
Rainer Werner Fassbinder, West Germany, 1974, 16mm, 101m
German with English subtitles
In his idiosyncratic take on Ibsen’s A Doll’s House, Fassbinder finds startling new resonances in the famous source text despite being confined to working within a television studio. Although the play was already critical of bourgeois marriage, Fassbinder amplifies its sense of smothering confinement. The trials and tribulations of Nora (Margit Carstensen), trapped in a rigid marriage to Torvald (Joachim Hansen), play out as a blistering psychodrama that is visually refracted through latticework, curtains, prismatic glasses, and multi-paneled mirrors. Steeped in his signature themes, Nora Helmer is Fassbinder at his most forceful and resourceful.
Thursday, May 22, 4:45pm and 9:00pm

Pioneers in Ingolstadt
Rainer Werner Fassbinder, West Germany, 1971, 35mm, 83m
German with English subtitles
An adaptation of the 1924 play by Marieluise Fleisser, one of Brecht’s protégé’s, this is a prime example of Brecht’s concept of “epic theater,” and a fascinating attempt to translate those famous distancing techniques to the cinema. Completed for German television right before production on the similar if less restrained Whity, the film depicts the conflicts within a group of soldiers building a bridge in the provincial town of Ingolstadt. The aggressive young recruits live out their motto “Where there is no war, we’ll have to make one” in ways both trivial and profoundly dangerous. Young soldier Karl (Harry Baer) nonchalantly courts local beauty Berta (Hanna Schygulla), who has fallen in love with him, if only as a change from the boorish types she’s used to. The field officer in charge of the bridge project vents his self-hatred and obsession with all things masculine by tormenting his subordinates, and Fassbinder finds chilling parallels between the abusive environment of military service, the oppressive conformity of civilian life, and the stifling, arbitrary games of courtship.
Tuesday, May 20, 6:30pm
Friday, May 23, 2:00pm

Whity
Rainer Werner Fassbinder, West Germany, 1971, 35mm, 95m
German and English with English subtitles
Never distributed theatrically but long an influential cult classic, Fassbinder’s seventh feature is a hothouse gothic melodrama shot in widescreen on Sergio Leone’s spaghetti Western sets in Almería, Spain. Whity (Günther Kaufmann) is the illegitimate son of sadistic patriarch Ben Nicholson (American B-movie actor Ron Randell) and also the family’s brutally abused butler. The outrageous, even deranged Nicholson family members include a perpetually enraged gay son (Ulli Lommel) and Ben’s sex-crazed young wife, who abuse Whity every chance they get, while loving him in deeper, truer ways than they can muster for anyone else, including themselves. When Whity meets Hanna (Hanna Schygulla), a prostitute and chanteuse, their relationship sets him down a path toward the destruction of the societal and familial order that has oppressed him. This highly stylized and grandly pessimistic melodrama explodes a wide array of clichés from Hollywood films and German culture, using its loaded subject matter and primitive techniques to create a viewing experience this is, even by Fassbinder’s standards, maniacally despairing and gleefully subversive.
Saturday, May 24, 4:30pm and 9:00pm

Why Does Herr R. Run Amok?
Rainer Werner Fassbinder, West Germany, 1970, 35mm, 88m
German with English subtitles
Herr R. has a wife and a child to love and keep company, a respectable job as a technical engineer, and a medium-sized apartment with a garden and a TV set to slump in front of: the complete middle-class existence. One night after work, as his wife idly converses with a friend, Herr R. beats both women and his child to death with the base of a candlestick. Fassbinder’s detailing of Herr R.’s empty existence is harrowing and bleakly comic in equal measure, exposing the creaking gears within the seemingly well-oiled mechanics of daily life. Fassbinder called this, perhaps not without some pride, “The most disgusting film I ever made.” He would return to a similar story of explosive rage from a completely different narrative perspective in Mother Küsters Goes to Heaven.
Saturday, May 17, 9:00pm
Sunday, May 18, 1:00pm

World on a Wire
Rainer Werner Fassbinder, West Germany, 1973, 35mm, 212m
German and English with English subtitles
Made for German television, this recently rediscovered, three-and-a-half-hour labyrinth is a textbook example of a film many years ahead of its time. An adaptation of Daniel F. Galouye’s 1964 American novel Simulacron-3, World on a Wire is a paranoid, boundlessly inventive take on the future with dashes of Stanley Kubrick, Kurt Vonnegut, and Philip K. Dick. Made less than a decade after Alphaville (1965) and a quarter-century before The Matrix (1999), this satiric and surreal look at the world of tomorrow is a noir-spiked tale about a cybernetics engineer (Klaus Löwitsch) who uncovers a massive corporate conspiracy. As Fassbinder himself described it, World on a Wire is “a very beautiful story that depicts a world where one is able to make projections of people using a computer. Perhaps another, larger world has made us as a virtual one? In this sense it deals with the old philosophical model, which here takes on a certain horror.”
Sunday, May 25, 5:00pm
Monday, May 26, 1:30pm

“Fassbinder and His Friends” screenings:

All That Heaven Allows
Douglas Sirk, USA, 1955, 35mm, 89m
Both a heartbreaking melodrama and a sharp indictment of hypocrisy in 1950s America, this epitome of layered Hollywood filmmaking follows the blossoming love between an upper-middle-class suburban widow (Jane Wyman) and her handsome, considerably younger gardener (Rock Hudson). Their romance, greeted with scorn by her selfish children and outright disgust by her snooty friends, reveals the class-based prejudices of small-town life. Sirk and renowned cinematographer Russell Metty bring a richly ambiguous emotional tenor to each shot with calibrated colors and meticulous compositions that suggest the confinement of Cary’s life and the impossibility of escaping it. In its aesthetic and narrative richness, All That Heaven Allows has proven an endlessly durable model for artists of any medium who wish to address the manifold taboos of bourgeois society.
Saturday, May 31, 1:00pm and 9:20pm


François Ozon's Water Drops on Burning Rocks

The Bridegroom, the Comedienne and the Pimp
Jean-Marie Straub, West Germany, 1968, 35mm, 23m
German with English subtitles
Structurally simple yet exceptionally complex in its political resonance, this Straub-Huillet short includes one of Fassbinder’s first onscreen roles as both the titular pimp and a character in the play-within-the-film (Ferdinand Bruckner’s Sickness of Youth). The use of documentary footage, the interracial romance, and the Brechtian performances would all prove decisive influences on Fassbinder’s own work.
Screening with
Love Is Colder Than Death (description above)
Friday, May 16, 7:00pm
Saturday, May 17, 4:30pm
Monday, May 19, 4:00pm

Cuba Libre
Albert Serra, Spain, 2013, 35mm, 18m
In this short named for the cocktail ordered at the hotel bar in Beware of a Holy Whore, a singer serenades a small crowd in a moody nightclub who all look the part of Fassbinder characters—if not of Fassbinder himself. Serra pays homage not by mimicking Fassbinder’s style but rather by alchemically conjuring the people, places, and modes of performance most identified with him.
Screening with 
Beware of a Holy Whore (description above)
Saturday, May 24, 6:30pm
Monday, May 26, 8:20pm

Far from Heaven
Todd Haynes, USA, 2002, DCP, 107m
“I applied aspects of Sirk and Fassbinder to all of my films that came out in the ’90s and, finally, when the decade ended, I felt it was really time to get into this specific influence more directly,” said director Todd Haynes when explaining the personal importance of this film, now considered one of the best of its decade. Haynes’s delicate melodrama stars Julianne Moore as a Connecticut housewife who discovers her husband (Dennis Quaid) is gay. In the wake of this domestic turmoil, she forms an intimate bond with her black gardener (Dennis Haysbert), much to the dismay of her judgmental community. Haynes attacks racism, homophobia, and suburban banality with rich color, evocative camera angles, and ornate lighting, which compare to Sirk, and Sirk-influenced Fassbinder, at their best.
Saturday, May 31, 5:00pm

Tenderness of the Wolves
Ulli Lommel, West Germany, 1973, HDCam, 82m
German with English subtitles
Fassbinder repertory stalwart Kurt Raab stars as Fritz Haarmann, a government inspector who moonlights as a cannibalistic serial killer (based on the real-life murderer of the same name), in Lommel’s harrowing and complex third feature, set in 1925. Haarmann preys mostly on young boys and, after getting his fill, offers up their remains to the rest of his cannibal cabal. Although working in a genre quite distinct from those deconstructed by his friend and mentor Fassbinder (who appears in this film as a sexually aggressive crook), Lommel’s psycho-thriller engages with many of the same themes and questions (about desire, sympathy, exploitation, German identity) as Fassbinder’s politically charged melodramas. In addition to Raab and Fassbinder himself, the film contains striking performances from many other Fassbinder regulars, including Margit Carstensen, Ingrid Caven, Brigitte Mira, and El Hedi ben Salem.
Friday, May 30, 5:00pm and 9:00pm

Water Drops on Burning Rocks
François Ozon, France, 2000, 35mm, 82m
French with English subtitles
The confident third feature from the one-time enfant terrible Ozon is an acerbic romantic farce adapted from Fassbinder’s 1966 stage play (written when he was only 19). Reminiscent of the iconoclastic The Bitter Tears of Petra von Kant, it also anticipates Ozon’s first big hit, 8 Women. When Leo (Bernard Giraudeau), a smug, middle-aged insurance salesman prone to romances in which he plays the doted-on tyrant, seduces the beautiful teenager Franz (Malik Zidi), the stage is set for heartbreak and tragedy for both parties and their ex-lovers (Ludivine Sagnier and Anna Thomson). The film is set entirely in Leo’s Berlin bachelor pad, shot in fashion-magazine glossy colors with head-on compositions that catch the actors in theatrical poses. Remarking on his decision to adapt this unproduced, posthumously discovered play, Ozon said that it was Fassbinder’s seamless blend of the formal and the emotional that revealed to him the full power of cinema.
Friday, May 30, 3:00pm and 7:00pm