'Cars'

Studio 5

Rail 7: Studio 5 Movies

John Lasseter - John Ranft - USA - 2006 - animation - color - 115' - OV

Nothing but driverless cars, and all of them talk, think and fall in love.
When they go out for a meal, it’s to a petrol station, and when they want new shoes to go to a tire shop.
Add to these anthropomorphic vehicles a Disneysque story with the right mix of sentiment, rivalry, gags and a woman and grumpy mate, plus a touch of ethnicity, and you have a sweetly effective film. Paul Newman – himself a race driver - voices a grumpy 1950s car.

*kids under 12: € 3.50

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'Le sel de la mer'

Studio 5

Rail 7: Studio 5 Movies

Annemarie Jacir - Palestine / B / FR - 2008 - fiction - color - 109' - OV - STT FR

Soraya was born and grew up in Brooklyn, where her family found refuge after leaving Palestine in 1948, date of the creation of the state of Israel. Returning to her ancestral land, she attempts to withdraw her grandparents savings from a frozen bank account. She also meets a young Palestinian who dreams of escape. Filmed somewhere between past and present, the film by Palestinian woman director Annemarie Jacir evokes the wounds, frustrations and hopes of a society facing an uncertain future.

With: Suheir Hammad, Saleh Bakri

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'Stranger than paradise'

Studio 5

Rail 7: Studio 5 Movies

Jim Jarmusch - USA – 1984 – fiction – black&white – 88’ – OV – STT FR / NL

A young Jim Jarmusch directs this accomplished film, at once laconic and funny. A young Hungarian woman turns up in the New York apartment of her cousin and his equally clueless mate. The three head for Cleveland, where Eva’s aunt lives, and then she leaves again, after an existential and geographic road movie where love timidly shows its face. The black-and-white photography is by Tom DiCillo, and it’s perfectly suited to Jarmusch’s charming brand of minimalism 

With: John Lurie, Eszter Balint

Coprod. Flagey / Cinematek

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Lola Montès

Studio 5

Rail 7: Studio 5 Movies

Max Ophuls - FR - D - 1955 - fiction - color - 110' - OV FR - STT NL

New print of Max Ophuls’ masterpiece put together by the Paris Cinemathèque that restored its original colours, stereophonic sound, editing and cinemascope format. Max’s son Marcel Ophuls helped on the project, with support from the Thomson Foundation and the Franco-American Cultural Funds, as well as several European Film Archives, including the Brussels Archives.

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