Here's what's playing at Cinema 10 this fall. We'll see you at the Roxy Theater (20 Main Street, Potsdam; 315-265-9630) on Mondays at 7:15 pm.


September
12    Maggie's Plan (2015, USA, d. Rebecca Miller)         
Maggie (Gretta Gerwig), a single thirty-something college career counselor, wants to have a baby on her own—until she meets John (Ethan Hawke) a novelist married to Georgette (Julianne Moore), an academic and mother to their two children. Three years and one child later, Maggie comes up with a new plan—to reunite John and Georgette. About this feminist screw-ball comedy with a twist, Globe and Mail critic Johanna Schneller says, “Miller’s characters are complete, singular people, and her take is thoroughly female. She subverts the genre, and wakes it up.”
(98 min; R, for language, brief nudity)
 
19   New York International Children's Film Festival  (2014-2015, various countries and directors)
This selection of ten short films, ranging in length from 1.5 minutes to 12.5 minutes, represents various directors, countries, and styles. All are in English or have English subtitles. This collection is one of the Best of the Fest touring packages, and includes tales of cats, soccer, hapless burglers, a family’s beloved cherry tree, and a possum family story about the most dangerous animal of all: HUMANS! This is a great chance to bring kids to Cinema 10. The festival is “an increasingly significant event for cinephiles of all ages." (Time Out New York)
(65 min; NR; ages 8 and up; contains some mildly scary elements)
 
26   For the Love of the Mambo  (2013, USA, d. Marsha Baxter and Doyle Dean)
For the Love of the Mambo lets viewers share the stage with legends of Latin music. Tito Puente helped define an era and inspire a generation, and in Mambo, the surviving legends of his Orchestra pass along their love to up and coming students right here at Potsdam's Crane School of Music. Featuring a fine blend of rare stories from the musicians themselves and performances as hot as the stages of the 50s, "For the Love of the Mambo puts this music on the pedestal it deserves." (Oscar Hernandez, Director of the Spanish Harlem Orchestra)
(83 min; NR) 

Q&A with the directors after the film, and then join The Crane Latin Ensemble at Maxfield's


October
3    Anomalisa  (2015, USA, d. Duke Johnson and Charlie Kauffman)
“The human comedy as brought to you by Charlie Kaufman,” writes Manohla Dargis of The New York Times. Kaufman’s Anomalisa was a 2005 stage play that became a highly stylized stop motion animation film ten years later. The characters are puppets (think Wallace and Gromit or Gumby) that are hauntingly, almost eerily human, a combination Kaufman (Adaptation, Being John Malkovich, Eternal Sunshine of the Spotless Mind) mines in this story of Michael, a customer service expert who has tuned out of life itself, and Lisa, the woman he meets and has an intense (and anatomically correct) affair with, while conducting a workshop in Cincinnati. “[The film’s] not-quite-lifelike humans both mirror our reality,” notes Steven Rea, Philadelphia Inquirer, “and suggest the tenuous hold we have on it.” 
(90 min; R, for strong sexual content, graphic nudity and language) 

17   Dheepan  (2015, France, d. Jacques Ehrlich)
For Dheepan, there is no freedom without bloodshed. When the titular character flees civil war in Sri Lanka, he finds that although Paris is not at war, he will not build a new life unscathed. Winner of the Palme d'Or at Cannes in 2015, Dheepan "shows how far people will go just to be able to cling to some semblance of hope." (Detroit News)
(115 min; R, for violence, language and brief sexuality/nudity)  

24   Keepers of the Game  (2016, USA, d. Judd Ehrlich)
“It's not often that Native Americans—or women—are included in sports storytelling, and Keepers of the Game takes advantage of the opportunity to weave a story of identity along with achievement,” Katie Barnes of ESPN notes. “The very fact that these young women pick up lacrosse sticks challenges the paradigm of their heritage, but also serves as an empowerment tool for them.” The Salmon River Shamrocks, of Salmon River High near Akwesasne, must fight to keep their funding, as well as to dispute those who say that girls have no place in this traditionally male activity. The film follows the 2015 team as they seek to be the first Native women's team to bring home a Section Championship.
(82 min; NR) 

31   A Girl Walks Home Alone at Night  (2014, USA, d. Ana Lily Amirpour)
Cinema 10 celebrates Halloween with an Iranian-American film that defies genre and expectation. A Girl Walks Home Alone at Night drops its audience in the heart of Bad City, whose residents are unknowingly stalked by a lonely skateboarding vampire. In her debut feature length film, Ana Lily Amirpour seamlessly blends horror, spaghetti westerns, and her love of graphic novels into a cinematic experience hailed for its story-telling and incredible visuals. David Lewis (San Francisco Chronicle) calls it “wildly inventive . . . grabs you by the throat with its dark, moody style, pulsating soundtrack and offbeat love story.”
(99 min; NR; violence, horror, adult content) 

November

7   Court  (2014, India, d. Chaitanya Tamhane)
Like something plucked from the brain of Franz Kafka, Court is an absurd look at injustice and incompetence in the Indian legal system. A local poet singing the praises of revolution is brought up charges of inciting the suicide of a sewage worker. What he endures is not swift justice, but a barrage of insane delays and procedural misconduct. With a mix of professional and amateur actors, Court won the Best Film in the Horizons Category of the 71st Venice International Film Festival. “Court is one of the strongest debut features in years.” (Alan Scherstuhl, Village Voice)
(116 min; NR; adult themes, some disturbing images)

14   A Pigeon Sat on a Branch Reflecting on Existence/En duva satt på en gren och funderade på tillvaron   (2014, Sweden, Germany, Norway, France, d. Roy Andersson)
In this dark comedy/drama, director Andersson resumes his theme of “being a human being,” following Songs from the Second Floor and You, The Living, the first two films of this trilogy. Pigeon presents a series of people in a number of bizarre or dream-like situations with a tone of absurd comedic despair. Rene Rodriquez of The Miami Herald says, “. . . Andersson isn’t about obvious answers or metaphors. This iconic filmmaker seduces you with ridiculous laughs, then sends you home contemplating your mortality and your place in the world.”
(101 min; PG-13, for brief sexuality, disturbing images)

28    Chimes at Midnight  (1965/2015 restoration, USA, d. Orson Welles)
Released in 1968, this 2015 restoration of Chimes at Midnight, in glorious black and white, reminds audiences of how great Orson Welles could be, as a director and as an actor. Writing in 2006 of the film, largely unavailable in the US at that time, Roger Ebert observes, “One imagines that Falstaff would have made this film much as Welles has, with lots of lusty wenches, flagons of ale, a tavern big enough for a battalion, a castle romantically vast, and a really gung-ho battle scene—all done, of course, as a fitting backdrop to kind, sweet, fat Jack Falstaff. It is the Falstaff [Welles] was born to direct and play, and it is a masterpiece. Now to restore it and give it back to the world.” Here we have that restoration.
(115 min; NR; battle scene)



Cinema 10 is made possible by
the New York State Council on the Arts,
with the support of Governor Andrew Cuomo and the New York State Legislature