All films are shown at the Nerja Cultural Centre on Calle Granada


War Horse (USA 2011) 146 min. Jeremy Irvine, Emily Watson, David Thewlis. Dir: Steven Spielberg.

The epic adventure War Horse, a tale of incredible loyalty, hope, and tenacity. Based on the Tony Award-winning Broadway play, and set against the sweeping canvas of World War I, this deeply heartfelt story begins with the remarkable friendship between a horse named Joey and his young trainer Albert. When they’re forced apart by war, we follow Joey’s extraordinary journey as he changes and inspires the lives of everyone he meets. Filled with spectacularly rich visuals, War Horse is a “Genuine movie masterpiece,” (Rex Reed, The New York Observer) and one of the most powerful and moving stories of friendship ever told. This is old fashioned filmmaking that could have easily been made 50 years ago back when epic war dramas like Lawrence of Arabia and Dr. Zhivago ruled the screens.
Original Version (English) with Spanish subtitles.

SUNDAY 10- 5 PM – Documentary

Page One: Inside the New York Times (USA 2011) 92 min. Dir. Andrew Rossi.

Page One deftly gains unprecedented access to The New York Times newsroom and the inner workings of the Media Desk. With the Internet surpassing print as our main news source and newspapers all over the country going bankrupt, Page One chronicles the transformation of the media industry at its time of greatest turmoil. Writers like Brian Stelter, Tim Arango and the salty but brilliant David Carr track print journalism’s metamorphosis even as their own paper struggles to stay vital and solvent. Page One covers a year in the life of the New York Times, a once mighty newspaper now reduced to mortgaging its own building and taking out costly loans from a Mexican telecommunications tycoon Meanwhile, their editors and publishers grapple with existential challenges from players like WikiLeaks, new platforms ranging from Twitter to tablet computers, and readers’ expectations that news online should be free.
Vanity Fair called it “slick, fun, and surprisingly sexy.” This is a must-see documentary for anyone interested in the future of the mainstream media. Original Version (English) with Spanish subtitles

MONDAY 11- 7 PM – Glenn Close Oscar-nominated performance

Albert Nobbs (USA 2011) 113 min. Glenn Close, Mia Wasikowska, Jonathon Rhys.Meyers. Dir: Rodrigo Garcia.

Nominated for 3 Academy Awards including Best Actress and Best Supporting Actress, Glenn Close gives a “powerhouse performance” (New York Post) as a woman who passes as a man in order to work and survive in 19th century Ireland. Some thirty years after donning men’s clothing, she finds herself trapped in a prison of her own making. Also starring a prestigious international cast, ALBERT NOBBS is adapted from the short story by Irish author George Moore.
Original Version (English) with Spanish subtitles

SUNDAY 17 – 5 PM – Errol Flynn’s birthday (20 June) – Warner’s Night at the Movies

Sea Hawk (USA 1940) 127 min. Errol Flynn, Brenda Marshall, Claude Rains, Alan Hale, Gilbert Roland. Dir. Michael Curtiz.

Top-notch combination of classy Warner Brothers costumer and Flynn at his dashing best in adventure on the high seas; lively balance of piracy, romance and swordplay, handsomely photographed and staged, with rousing Erich Wolfgang Korngold score. Claude Rains plays his usual smoothly conniving villain, and hearty Alan Hale returns as Flynn’s loyal sidekick. Michael Curtiz proves once again why he was Warner Brothers’ top director with a handsome, action-packed film that mixes intrigue and suspense with grand set pieces, concluding with a rousing series of escapes, chases, and a runaway sword fight. Classic Hollywood swashbuckling at its best. Restored with additional final scene intended for WWII British audiences, in which Queen Elizabeth I offers morale-building war-time message. This screening recreates a 1940 movie going experience with a vintage newreel, a short feature and a period cartoon. Original version (English) with Spanish subtitles.

SATURDAY 23 – 5 PM – Wallis and Edward

W. E. (USA 2011) 119 min. Andrea Riseborough, James D’Arcy. Dir. Madonna.

Oscar nominated film exploring the love story that amazed and scandalized the world: because royal protocol barred him marrying a divorced commoner (and an American, to boot), Edward VIII abdicated the British throne in 1936 in order to be with “the woman I love.” That story is brought to the screen in W./E., along with a parallel 1990s tale of a woman fascinated by the saga as she moons about the halls of Sotheby’s in anticipation of an auction of the royals’ stuff. This is the project dreamed up by Madonna for her narrative-feature directing debut, and you can presume that Madonna identifies with the lives of the royals, living their dramas out in a fishbowl for all the world to see. The 1930s scenes are full of period fluff and a certain amount of satisfying royal intrigue (crisscrossing at points with The King’s Speech). Original Version (English) with Spanish subtitles


The Woman In Black (USA 2012) 95 min. Daniel Radcliffe, Ciarán Hinds. Dir: James Watkins.

Fans of classically structured haunted house/ghost stories will relish the skillfully unnerving chain of events in The Woman in Black, whether or not they’re fans of Harry Potter. The good new is that Daniel Radcliffe leaves Harry behind for good in his first post-Potter role. Radcliffe plays Arthur Kipps, a young solicitor tasked with resolving the affairs of a recently deceased woman and her brooding estate in the gloom of the remote Victorian England-era village of Crythin Gifford. The mood is melancholic all around, starting with Kipps himself, who lost his wife to childbirth a few years earlier. His employer has had just about enough of his moping about and gives him the assignment as a last resort to save his job. There are scares aplenty in The Woman in Black, and they come from a genuineness that relies on creep-outs rather than gross-outs. Faces in windows, apparitions barely there, slow-building moodiness that suddenly erupts into a silent scream (or sometimes not so silent) make for an extremely effective and often terribly unnerving atmosphere of dread. The movie comes with several impressive pedigrees as well. It’s based on a popular novel published in the early ’80s, which was also adapted into a long-running hit play. It currently is the second longest-running play in the history of the West End, after The Mousetrap. The movie additionally resurrects the Hammer Films brand, an esteemed British production company that churned out moody and distinctive horror films and exploitive psycho-thrillers for decades in the mid 20th century. Indeed, the presence of Peter Cushing and Christopher Lee seems to lurk around every dusty, cobwebbed corner in The Woman in Black, right behind the slamming doors and only just glimpsed in the flickering candlelight. Radcliffe is perfect for the role of a heartbroken man whose rationality is stretched to the point of no return by the things he may or may not be seeing. Several strong supporting performances add to the gravitas, especially Ciarán Hinds as a kindred soul and father figure to Kipps, and perhaps the only other rational man in Crythin Gifford. But then rationality has almost nothing to do with the disquieting spirit of this authentically enigmatic, finely understated and efficiently chilling return to classic horror. Original Version (English) with Spanish subtitles

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