Here is the schedule:
Monday, June 3, The Beast (la bete) screens at 4 and 7.
Tuesday, June 4, The Beast at 4 & 7.
Wednesday, June 5, The Beast at 4 & 7.
Thursday, June 6, The Beast at 4 & 7.
Friday, June 7, Evil does not Exist at 4:30 and 6:45.
Saturday, June 8, Evil does not Exist at 2:15, 4:30 and 6:45. Bainbridge Island Film Festival screening of Mars Express at 9pm.
Sunday, June 9, Evil does not Exist at 2:15, 4:30 and 6:45.
Monday thru Thursday of next week, Evil does not Exist at 4:30 & 6:45.
THE BEAST. Aka la bete. In the near future where emotions have become a threat, Gabrielle finally decides to purify her DNA in a machine that will immerse her in her previous lives and rid her of any strong feelings. She then meets Louis and feels a powerful connection, as if she has known him forever. A melodrama crossed by the genre, which unfolds over three distinct periods, 1910, 2014 and 2044.
Opening with an actress screaming at an invisible attacker while filming a green-screen scene, The Beast immediately reveals its primary ideas: the eeriness of technological advancement, a feeling of deep anguish at a terror that isn’t really there, and the interaction between the two. Bertrand Bonello’s sci-fi — in which two people, Gabrielle (Léa Seydoux) and Louis (George MacKay), meet in different eras — is an extraordinary excavation of the role technology plays in causing emotional mayhem, and a clarion call to those who would use it as a stand-in during daily human life.
We never feel lost among all the complex imagery across the timelines, from clairvoyants to pigeons, knives and dolls. With just a mere flicker in her expression, it’s so easy to identify with her passion and pain, even if the uncanny atmosphere leaves a deep feeling of ‘wrongness’ seeping into your pores like poison. There’s something in the 2044 scenes that feels strongly reminiscent of David Lynch, especially the way he makes you empathise with the anguish of Laura Palmer in Twin Peaks, despite all the strangeness in tone and mood.
David Lynch’s creation of "Twin Peaks," inspired by the Pacific Northwest’s atmospheric settings like Bainbridge Island, shares thematic and stylistic elements with the film "The Beast," Both explore the intricate layers of reality, identity, and hidden darkness, connecting them through their shared narrative depth and psychological complexity.
EVIL DOES NOT EXIST.
In the rural alpine hamlet of Mizubiki, not far from Tokyo, Takumi and his daughter, Hana, lead a modest life gathering water, wood, and wild wasabi for the local udon restaurant. Increasingly, the townsfolk become aware of a talent agency's plan to build an opulent glamping site nearby, offering city residents a comfortable "escape" to the snowy wilderness. When two company representatives arrive and ask for local guidance, Takumi becomes conflicted in his involvement, as it becomes clear that the project will have a pernicious impact on the community. Ryusuke Hamaguchi's follow up to his Academy Award®-winning DRIVE MY CAR is a foreboding fable on humanity's mysterious, mystical relationship with nature. As sinister gunshots echo from the forest, both the locals and representatives confront their life choices and the haunting consequences they have. SEE THIS ONE TODAY. We are on an International roll here t the H.L.T, starting with the British Back to Black, to the Italian La Chimera, now the Beast (la bete) and next up the Japanese Evil Does not exist, it has been a wild ride spanning the cinematic GPS coordinate far from our cozy little hideaway on Bainbridge Island.
See you at the H.L.T. And please tell us what you think of the new voices, formatting and direction.
Kevin
206.451.4336
Kevin@Farawayentertainment.com
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