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We will do everything possible to ensure the comfort and safety of our members, which is our highest priority. It’s really important that you help us by staying home if you are not feeling 100% healthy!

Here you can see a selection of our past film screenings

Please arrive early. Doors open 30 minutes before showtime.

Wednesday | January 12 | 19:30


Action – Crime – Thriller

Richard C. Sarafian
, USA, 1971, 99′, English with English subs

Featuring a killer soundtrack, jaw-dropping stunts and otherworldly cinematography, VANISHING POINT is a little-known gem of early 70s cinema worth experiencing on the big screen. Barry Newman stars as the against-all-odds hero simply known as Kowalski. A former police officer turned thrill junkie, he embarks on a death-defying race against the clock to transport a car from Colorado to the California coast in record time. Along the way he must outwit, outpace and outlast the law and becomes a kind of outsider folk hero thanks to the help of FM radio DJ Super Soul (Cleavon Little).In the wake of EASY RIDER and the emergence of new auteurs with the New American Cinema, American audiences were starting to see the countercultural views of the hippy generation projected on cinema screens. They took the films they grew up on and reworked their genres to express their own anti-establishment views. Similar to EASY RIDER, VANISHING POINT is a kind of western where the hero is an outlaw making their own path without regard for establishment forces.

1st Edition of Klubb Revival’s All Gas No Brakes film series

Thursday | January 13 | 19:30


Drama – Romance

Peter Bogdanovich, USA, 1971, 118′, English with English subs

In tribute to the late Peter Bogdanovich (deceased January 6 2022) we are watching two of his greatest films this week . The Last Picture Show, filmed in 1970 but set in 1951, follows a group of high schoolers come of age in a bleak, isolated, atrophied North Texas town that is slowly dying, both culturally and economically. Described as “an evocation of the classic Hollywood narrative film. It is more than that; it is a belated entry in that age — the best film of 1951, you might say. Using period songs and decor to create nostalgia is familiar enough, but to tunnel down to the visual level and get that right, too, and in a way that will affect audiences even if they aren’t aware how, is one hell of a directing accomplishment. Movies create our dreams as well as reflect them, and when we lose the movies we lose the dreams. I wonder if Bogdanovich’s film doesn’t at last explain what it was that Pauline Kael, and a lot of the rest of us, lost at the movies.” – Roger Ebert

Friday | January 14| 19:30


Crime -Drama – Thriller

Peter Bogdanovich, USA, 1968, 90′, English with English subs

The second film in our tribute to the recently deceased director is his debut film. With support and encouragement from Roger Corman, Bogdanovich, like Godard and Truffaut and Widerberg, made the transition from critic to director. Corman’s condition, use Boris Karloff. Karloff plays an elderly horror film star, who while making a personal appearance at a drive-in theatre, confronts a psychotic Vietnam War veteran who has turned into a mass-murdering sniper. 50 years later the United States are still and forever grappling with this film’s subject – “Why gun control? Why did a lunatic sniper kill or maim 11 innocent victims in Texas on June 3, 1966? Why were over 7,000 Americans slain or wounded by gunfire in 1967? Why in 1968 after assassinations and thousands of more murders has our country no effective gun control law? This motion picture tells a story that sheds a little light on a very dark and a very deep topic.”

Sunday | January 16| 19:00


Crime – Drama – Mystery

Norman Jewison, USA, 1967, 110′, English with English subtitles

In tribute to Sidney Poitier (deceased January 6, 2022) we are watching 1967’s Best Picture – when Poitier shared the screen with the co-star Rod Steiger who took the Academy Award for Best Actor (the film took a total of 5 Oscars). “Steiger got the best actor Oscar for his masterful, Method deep-dive portrayal of Gillespie, a man just smart enough to know he’s neither as talented as Tibbs nor as ignorant as the people around him. His jaw always working a wad of gum, his beady eyes darting, his blood pressure stroke-level as he spits out orders, he manages to play big without ever splitting the seams of his character. Witness his long, mute, complicated reaction when he learns that the black man who’s been hauled into his station on suspicion of murder is a cop, and you’ll see an actor in full control of his instrument, even in silence. Poitier later wrote that watching Steiger do his thing helped to teach him, after 15 years in the business, what screen acting could be, and he responded with a performance in which he used his natural gift for repressed rage and self-control in the face of hostility to the greatest effect of his career. It’s beautiful teamwork, on and behind the camera, and a reminder that after all these years, there’s still one thing that can redeem even liberal message movies: They just have to be really good.” Slate

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