Tickets

10 films for $50 with punch card
$8 general admission. $7 w/UCB student ID, $7 for senior citizens
$1 discount to anyone with a bike helmet
Free on your birthday! CU Film Students get in free.

Parking

Pay lot 360, across from the buffalo statue and next to the Duane Physics tower, is closest to Muenzinger. Free parking can be found after 5pm at the meters along Colorado Ave east of Folsom stadium and along University Ave west of Macky.

RTD Bus

Park elsewhere and catch the HOP to campus

Import 35mm

35mm Rocks!

Long live 35mm film!

For those of us who still find magic in look of real film, we've compiled a list of upcoming screenings that will be shown on celluloid in the Boulder/Denver area. See you there!

Meantime, here's a video called “The Art of 35mm Projection.”

2017 Apr 05 Wed

A Clockwork Orange

The head of a gang of toughs, in an insensitive futuristic society, is conditioned to become physically ill at sex and violence during a prison sentence. When he is released, he's brutally beaten by all of his old adversaries.

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At Muenzinger Auditorium

2017 Apr 07 Fri

My Night at Maud's

The rigid principles of a devout Catholic man are challenged during a one-night stay with Maud, a divorced woman with an outsize personality.

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At Muenzinger Auditorium

2017 Apr 08 Sat

Claire's Knee

On the eve of his wedding, on holiday on the Lake Annecy shore, a career diplomat visits an old acquaintance, perhaps a former girlfriend. Through her he meets an intense teenager, Laura, and then lusts after her sister, Claire. Whilst Laura attempts to flirt with him, his fantasy becomes focused on wanting to caress Claire's knee.

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At Muenzinger Auditorium

2017 Apr 09 Sun

Chloe in the Afternoon

The last of Rohmer's Six Moral Tales. Frederic leads a bourgeois life; he is a partner in a small Paris office and is happily married to Helene, a teacher expecting her second child. In the afternoons, Frederic daydreams about other women, but has no intention of taking any action. One day, Chloe, who had been a mistress of an old friend, begins dropping by his office. They meet as friends, irregularly in the afternoons, till eventually Chloe decides to seduce Frederic, causing him a moral dilemma.

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At Muenzinger Auditorium

2017 Apr 12 Wed

The Shining

Jack Torrance accepts a caretaker job at the Overlook Hotel, where he, along with his wife Wendy and their son Danny, must live isolated from the rest of the world for the winter. But they aren't prepared for the madness that lurks within.

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At Muenzinger Auditorium

2017 Apr 16 Sun

The Trial of Joan of Arc

A reconstruction of the trial of Joan of Arc (based entirely on the transcripts of the real-life trial), concerning Joan's imprisonment, interrogation and final execution at the hands of the English, filmed in a spare, low-key fashion.

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At Muenzinger Auditorium

2017 Apr 17 Mon

Les Anges du Péché

A well-off young woman decides to become a nun, joining a convent that rehabilitates female prisoners. Through their program, she meets a woman named Thérèse who refuses any help because she says she was innocent of the crime she was convicted for. After being released from prison, Thérèse murders the actual perpetrator of the crime and comes to seek sanctuary in the convent.

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At Muenzinger Auditorium

2017 Apr 18 Tue

Les dames du Bois de Boulogne

A society lady engineers a marriage between her lover and a cabaret dancer who is essentially a prostitute.

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At Muenzinger Auditorium

2017 Apr 19 Wed

Full Metal Jacket

More than any other major American film maker, Stanley Kubrick keeps to his own ways, paying little attention to the fashions of the moment, creating fantastic visions that, in one way and another, are dislocated extensions of the world we know but would prefer not to recognize.

"Full Metal Jacket," Kubrick's harrowing, beautiful and characteristically eccentric film about Vietnam, is going to puzzle, anger and (I hope) fascinate audiences as much as any film he has made to date. The movie will inevitably be compared with Oliver Stone's "Platoon," but its narrative is far less neat and cohesive - and far more antagonistic - than Stone's film.

Like "The Short Timers," Gustav Hasford's spare, manic novel on which it is based, the Kubrick film seems so utterly reasonable that one doesn't initially recognize the lunacies recorded so matter-of-factly. The film is a series of exploding boomerangs. Just when you think you can relax in safety, some crazed image or line or event will swing around to lodge in the brain and scramble the emotions.

"Full Metal Jacket" is divided into two parts, which at first seem so different in tone, look and method that they could have been made by two different directors working with two different cameramen from two different screenplays. Only the actors are the same. Part of the way in which the movie works, and involves the audience, is in its demand that the audience make the sudden leap to the seemingly (but far from) conventional battle scenes in Vietnam, which conclude the film, from its flashily brilliant first half, set in the Marine Corps boot camp at Parris Island, S.C.

Drill Sergeant Hartman (R. Lee Ermey) is a machine whose only purpose is to turn the soft young men into killers without conscience. Everything is made subordinate to "the corps," to which end the recruits are humiliated, beaten, exhausted, tricked, lied to, subjected to racial slurs and drilled, constantly drilled, physically and psychologically.

The effect of this part of the film is so devastating that one tends to resist the abrupt cut to Vietnam, where order is disorder and truth is simply a matter of language.

The film's stunning surprise is Ermey, a leathery, ageless, former Marine sergeant in real life. He's so good - so obsessed - that you might think he wrote his own lines, except that much of his dialogue comes directly from Hasford's book. (V. Canby, NY Times)

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At Muenzinger Auditorium

2017 Apr 21 Fri

Blue

In the devastating first film of the Three Colors trilogy, Juliette Binoche gives a tour de force performance as Julie, a woman reeling from the tragic death of her husband and young daughter. But Blue is more than just a blistering study of grief; it’s also a tale of liberation, as Julie attempts to free herself from the past while confronting truths about the life of her late husband, a composer. Shot in sapphire tones by Sławomir Idziak, and set to an extraordinary operatic score by Zbigniew Preisner, Blue is an overwhelming sensory experience.

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At Muenzinger Auditorium

2017 Apr 22 Sat

White

The most playful and also the grittiest of Kieślowski’s Three Colors films follows the adventures of Karol Karol (Zbigniew Zamachowski), a Polish immigrant living in France. The hapless hairdresser opts to leave Paris for his native Warsaw when his wife (Julie Delpy) sues him for divorce (her reason: their marriage was never consummated) and then frames him for arson after setting her own salon ablaze. White, which goes on to chronicle Karol Karol’s elaborate revenge plot, manages to be both a ticklish dark comedy about the economic inequalities of Eastern and Western Europe and a sublime reverie about twisted love.

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At Muenzinger Auditorium

2017 Apr 23 Sun

Red

Krzysztof Kieślowski closes his Three Colors trilogy in grand fashion, with an incandescent meditation on fate and chance, starring Irène Jacob as a sweet-souled yet somber runway model in Geneva whose life dramatically intersects with that of a bitter retired judge, played by Jean‑Louis Trintignant. Meanwhile, just down the street, a seemingly unrelated story of jealousy and betrayal unfolds. Red is an intimate look at forged connections and a splendid final statement from a remarkable filmmaker at the height of his powers.

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At Muenzinger Auditorium

2017 Apr 26 Wed

Eyes Wide Shut

After Dr. Bill Hartford's wife, Alice, admits to having sexual fantasies about a man she met, Bill becomes obsessed with having a sexual encounter. He discovers an underground sexual group and attends one of their meetings -- and quickly discovers that he is in over his head.

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At Muenzinger Auditorium

2017 Apr 29 Sat

Amarcord

A carnivalesque portrait of provincial Italy during the Fascist period, Federico Fellini's most personal film satirizes his youth and turns daily life into a circus of social rituals, adolescent desires, male fantasies, and political subterfuge, all set to Nina Rota’s gorgeous, nostalgia-tinged score. Janus Films is proud to present this enduring classic in a new restoration, personally supervised by director of photography Giuseppe Rotunno.

+ iCal/Outlook

At Muenzinger Auditorium

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Looking for a gift for a friend?
Buy a Frequent Patron Punch Card for $50 at any IFS show. With the punch card you can see ten films (an $80 value).