You might notice quickly that our January-February calendar’s extensive selection of films features many which exceed two-hour runtimes. As we are now in the colder months, I’m tempted to say “cozy up in our theater and enjoy cinema” but there’s a caveat: our programming emphasizes political cinema in its various manifestations, which by its nature deals with hard topics and requires critical attention. The programming highlights radical filmmakers who confront state repression, underscoring cinema’s crucial role as a witness during times of violence and oppression.
The lineup includes numerous documentaries released this year dealing with war, occupation, repressive regimes, as well as the importance of witnessing in times of violence and cinema’s responsibility to do so – see Intercepted, Mediha, and No Other Land. Moreover, a number of Oscar contenders for Best International Feature call attention to similar themes and topics (Sujo, Reinas), with Walter Salles’ emotionally charged drama I’m Still Here at the forefront of the race, alongside being a strong contender in other categories like Best Director, Adapted Screenplay, and Best Actress for Fernanda Torres. However, it’s important to note that not all selections have received equal endorsement. For instance, India’s decision to not submit Cannes runner-up All We Imagine as Light raises important questions about the state’s willingness to acknowledge politically charged films.
Relatedly, the “Iron Shadows” series puts into focus the question of state power and repression in the face of political dissent, with seldomly screened films such as Robert Kramer and John Douglas’ Milestones and Peter Watkins’ Punishment Park. On February 15, we will be joined by Samm Deighan, co-editor of Revolution in 35mm: Political Violence and Resistance in Cinema from the Arthouse to Grindhouse, 1960-1990, to discuss how cinema has historically represented the question of ‘the political’ from various facets. Lastly, our program includes Frederick Wiseman’s early work, examining institutional control in the late 60s to early 70s US, and Wang Bing’s longue durée documentation of capitalist exploitation of youth in contemporary China.
Despite the challenges faced by non-fiction films in garnering box office success—a trend mirrored in our attendance reports— the Cinematheque remains committed to bringing stories of import to the big screen, as their exhibition is required for their existence and for them to be able to counter misinformation with truth and apathy with action.
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As we prepare for the upcoming year, including the Oscars on March 2, we are continuing to navigate the complexities of distribution regarding new releases and when they will be available in the Cleveland market. Consequently, you will notice some gaps in our calendar, particularly on Thursdays; however, have no fear as these open slots will enable us to program exciting offerings as they become available or bring back popular titles without a long waiting time, giving us the flexibility to match release schedules. To stay informed about added programming, I encourage you to subscribe to our newsletter, follow us on social media or continue checking our website.
Thank you again for supporting the Cinematheque as a vital space for impactful and thought-provoking cinema. See you at the movies.
Bilgesu Sisman, Director of Cinematheque