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All screenings are held on Sundays at 7:00 p.m. in the Trabant University Center Theater. Admission is FREE and open to the public. All foreign-language films have subtitles.
The International Film Series is made possible by the generous support of the UD Faculty Senate Committee on Cultural Activities and Public Events (CAPE).
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2015 British film, 91 minutes, in English
London Road is a 2015 British musical mystery thriller film based on the National Theatre production of the same name. It shows a community’s reactions to the discovery that a serial killer has lived on their street (neither killer nor victims are shown).
2015 Belgian film, 113 minutes, in French
God lives in an apartment in Brussels and has made a mess of things. His 10-year-old daughter, Eva, comes down to earth to do a better job. A widely-awarded comic fantasy with a wry and beautiful message.
2015 Canadian film, 96 minutes, in English
A First Nations film (our first) set in northern Ontario. Shane is a gay Anishnabe teenager at a crossroads. When his sister commits suicide just weeks before he is scheduled to leave his community to attend university, he is forced to wrestle with the decision of whether to follow his dreams or stay home to help support his family.
2016 German film, 90 minutes, in German
A reality-bending psychological thriller. Georg is an introvert modeler, who is hired to make a model of the villa of a glamorous star. One day he discovers an unusual power: he is able to influence the physical reality of the villa through the prototype he is building. Georg becomes a calculating puppeteer who holds the threads of life of everyone around him, just to win Dolores for himself. The film is based on a Belgian comic book.
2016 German film, 162 minutes, in German, English, and Romanian
An international hit, and a nominee for this year’s Oscar for best foreign language film. A.O. Scott, writing in The New York Times, provides the best blurb: “I hesitate to offer further description, since any attempt to characterize this film in conventional terms—as a father-daughter story, a feminist satire of corporate behavior, a fable of global capitalism, an extended practical joke—would be woefully insufficient. It's something new under the sun, a thrilling and discomfiting document of the present moment and also, like every movie that matters, a bulletin from the future.”
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