Dates may be subject to change. For up-to-date details and show times, see the websites listed below.
ODEON Cinema. Piazza Strozzi 2, tel. 055/295051.
Take advantage of a special 20% discount by showing your movie ticket at the Odeon Bistrò: an Apericena at 8 instead of 10 euro.
Universally acclaimed Linklater project filmed over 12 years with the same actors. Mason is the boy who grows up and muddles his way to adulthood. ‘As a film that dares to honor small moments and the life they add up to, Boyhood isn’t just a masterpiece. It’s a miracle’ (Washington Post). ‘On rare occasions a movie seems to channel the flow of real life. Boyhood is one of those occasions. In its ambition, which is matched by its execution, Richard Linklater’s endearing epic is not only rare but unique’ (Wall Street Journal).
THE GRAND BUDAPEST HOTEL
The adventures of Gustave H, a legendary concierge at a famous hotel from the fictional Republic of Zubrowka between the first and second world wars, and Zero Moustafa, the lobby boy who becomes his most trusted friend. ‘The Grand Budapest Hotel, Mr. Anderson’s eighth feature, will delight his fans, but even those inclined to grumble that it’s just more of the same patented whimsy might want to look again. As a sometime grumbler and longtime fan, I found myself not only charmed and touched but also moved to a new level of respect’ (New York Times).
February 28, March 1
THE THEORY OF EVERYTHING
The extraordinary story of one of the world’s greatest living minds, the renowned astrophysicist Stephen Hawking, from his early years in Cambridge, his marriage to Jane Wilde (who wrote the book the movie is based on) and his struggle with motor neuron disease. ‘The Theory of Everything, referring to Hawking’s dream of finding an equation to explain all existence, is riveting science, emotional provocation and one-of-a-kind love story all rolled into one triumphant film’ (Rolling Stone). ‘It’s certainly Redmayne’s film, and his performance is everything you could ask for: completely convincing in its physicality, credible in its pain, and warmly but not crassly optimistic in its nearly constant good temper’ (Telegraph).
A PIGEON SAT ON A BRANCH REFLECTING ON EXISTENCE
The completion of Roy Andersson’s delightfully off-kilter trilogy about a pair of travelling salesmen who peddle novelty items. Golden Lion winner at last year’s Venice Festival. ‘The film is a master class in comic timing, employing pacing and repetition with the skill of a practiced concert pianist’ (Variety). ‘What a bold, beguiling and utterly unclassifiable director Andersson is. He thinks life is a comedy and feels it’s a tragedy, and is able to wrestle these conflicting impulses into a gorgeous, deadpan deadlock’ (Guardian). ‘Though it abounds in the kind of sardonic humor intrinsic to life’s absurdities, the film is rarely laugh-out-loud funny. In a nutshell, quiet desperation prevails’ (Hollywood Reporter). An acquired taste that stays forever.
BRITISH INSTITUTE of Florence. Lungarno Guicciardini 9, tel. 055/26778270.
February 11, 8pm
NOSFERATU(Eine Symphonie des Grauens)
This is the first (unauthorised) screen adaptation of Bram Stoker’s 1897 novel Dracula. The original ‘horror’ movie, in stark Expressionist style, the haunting and terrifying images have continued to shock audiences, and the surreal waking nightmare of its creepy narrative will disconcert and disturb exquisitely. ‘To watch F.W. Murnau’s “Nosferatu” (1922) is to see the vampire movie before it had really seen itself. Here is the story of Dracula before it was buried alive in clichés, jokes, TV skits, cartoons and more than 30 other films. The film is in awe of its material. It seems to really believe in vampires’ (Roger Ebert). Silent cinema at its dreamy/nightmarish best.
February 25, 8pm
Consistently ranked as one of the greatest films ever made, Keaton’s 1926 Civil War comedy romance depends for its power on the central performance of Keaton himself. His character’s frequently hapless, occasionally successful attempts at recovering the General, his beloved locomotive, are comic genius. ‘Buster Keaton … appears to have bitten off more than he can chew in this farcical affair … Mr. Keaton still preserves his inscrutable expression; he looks like a clergyman and acts like a vaudeville tumbler’ said the New York Times of the day disapprovingly. But later reviewers have been kinder: ‘The perfect chase movie: it has never been bettered, and maybe never will [be] … See it and gasp’ (Time Out).