IU Cinema is one of the best aspects of the IU experience and, for what it’s worth, the Bloomington community more generally. Its existence is a reminder that independent and arthouse film culture is alive and well, that the movie industry hasn’t been completely monopolized by multimillion dollar theater chains and the big studio system. It’s a truly communal, cooperative project with a wide array of programming specifically chosen with the community’s interest in mind — everything from big-budget Hollywood movies to art films of decades past, contemporary documentaries to student pictures.
The cinema released its schedule for this semester earlier this month, and there are several highlights. For the record, what I present here is by no means a completely representative look at its agenda. I instead want to take this opportunity to talk a bit about some of my personal favorites and the ones I’m most excited to see for the first time.
I highly encourage you to peruse their upcoming events yourself and attend as many as you can. While it’s not wholly necessary to buy tickets beforehand, many of the screenings — especially for those films that are more popular — fill up quickly, so it’s worth planning ahead as much as possible. That being said, the IU Cinema offers discounts to students, so even the most expensive tickets are still going to be cheaper than visiting any theater chain.
Michael A. McRobbie’s Choice: Fellini’s Carnevale
Former IU President Michael McRobbie has a hand in selecting films each semester. This semester, the cinema is honoring the work of acclaimed Italian filmmaker Federico Fellini, perhaps best known for the 1960 comedy-drama “La dolce vita” and the 1963 proto-psychedelic, metafictional “8½.” The programming this semester, however, is specifically reflecting the director’s evolution toward abstract, surrealistic narratives: the sort that reflects, in a way, the Catholic celebration of Carnival prior to Lent. The films — “Juliet of the Spirits,” “Satyricon” and “Roma” — are screening in January and February, the period right before these festivities.
According to the cinema’s webpage, “to be sure, they are three films you will never forget, as indeed, like at Carnevale, a Fellini, ogni scherzo vale (anything goes during Fellini)!”
I’ve been meaning to delve into Fellini’s body of work; he’s one of those directors who’s been a blind spot for me thus far. Thankfully, the best part of this series is that tickets are completely free — if you, like me, find this to be a totally valid way to spend your Saturday night, then they’re worth attending.
“Juliet of the Spirits” will screen Jan. 25, “Satyricon” Feb. 1 and “Roma” Feb. 15, each at 7 p.m.
Staff selects
Each semester, the cinema highlights a couple of selections from across its part-time and full-time staff — historically, these picks are fan favorites like “Portrait of a Lady on Fire” and “The Royal Tenenbaums.” This semester,. it will screen Damien Chazelle’s music thriller “Whiplash” and the 1999 remake of “The Mummy,” starring Brendan Fraser and Rachel Weisz. They’re scheduled for March 1 and 8, respectively, with both starting at 7 p.m.
It’s here where I must, regretfully, acknowledge I haven’t seen “The Mummy,” so I can’t speak too much on that one. But I have seen, and adore, “Whiplash,” and I’m very excited at the prospect of seeing it on the big screen. I mean, just the film’s sound design alone warrants a theater experience. I genuinely can’t wait to sit in my seat and physically feel my heart rate climb every time J.K. Simmons screams at Miles Teller.
Additional Films and Guests
Of course, not every film fits neatly into one of these, or any of the several other, traditional categories at the Cinema. But this fact hardly matters. Some of the best screenings this semester are these “Additional Films and Guests.” The first film on the agenda this semester — which is, unfortunately, currently sold out — is “Clue,” the 1985 adaptation of, yes, the board game Clue, starring Tim Curry. What on the surface sounds like a baffling concept — how does one even adapt a board game to the screen? — is actually one of the best murder-mystery films of the modern era. It’s certainly, for my money, better than either of the “Knives Out” movies.
And, speaking of classic genres, the IU Cinema is presenting Guillermo del Toro’s “Pacific Rim” in 3D on Jan. 21 at 7 p.m. Being del Toro’s rendition of a “kaiju” flick — “kaiju” being the Japanese term referring to a type of film associated with giant monsters, think Godzilla or Gamera — “Pacific Rim” is essentially a love letter to the genre. And while I’m not usually a proponent of 3D movies — I think they’re more often than not a waste of money — I’d be willing to begrudgingly give this one the benefit of the doubt.
Probably the most recent film on the docket this semester is Robert Eggers’ recent adaptation of “Nosferatu” at 7 p.m. Jan. 24, a film that was originally an unauthorized adaptation of Bram Stoker’s “Dracula.” Along with this, on March 4, at 7 p.m., the theater is presenting “Nosferatu with Radiohead: A Silents Synced Film,” which is essentially what it says on the tin: it’s the original 1922 “Nosferatu” synced to Radiohead’s 2000 and 2001 albums “Kid A” and “Amnesiac.” Being a huge proponent of both “Nosferatu” and Radiohead, this is probably the theater experience I’m most excited for this semester. It’s actually going to rock so hard.
Finally, though certainly not least, it’s worth mentioning the March 6 presentation of “The Texas Chain Saw Massacre,” which will be screened in its original 35mm format at 10 p.m. Documentarian Alexandre O. Philippe and comedian Patton Oswalt, who is featured in Philippe’s “Chain Reactions,” a documentary on the classic horror film (which the cinema will screen the day after). Prior to the film, the two are slated to engage in a conversation on “The Texas Chain Saw Massacre” and film more generally.
I said before that I’m most excited for the “Nosferatu” and Radiohead screening, but this is a close second: “The Texas Chain Saw Massacre” is one of my favorite horror films ever. Its gritty, disgusting vibe just gets under my skin no matter how many times I watch it. And seeing it on true celluloid, grainy and flickering from the back of the house, is going to emulate a genuine grindhouse experience, I’m sure.
