Filmklubben Sandgatan 8 samlar främst unga vuxna och studenter för att se och diskutera film på Sandgatan 8. Även andra är också välkomna. Vi ser filmer som kan ge underlag för reflektion, filmer som är gjord med mänskligt engagemang. Det vi söker är inte film med “budskap”, men som närmar sig världen med nyfikenhet och öppen blick. Bra film fördjupar livet. Där finns det som inte går att förklara, människans och världens mysterium. Och evangeliets sanning, gömd i den vanliga världen, kan också framträda. Under några år har vi sett film bland annat av Andrej Tarkovsky, Robert Bresson och Jim Jarmusch, Hirokazo Kore-eda,  Ingmar Bergman, Erik Rohmeer, Bo Widerberg och många andra. Vi har på detta sätt besökt Japan och Senegal, Iran och Rumänien, Burkina Faso och Saudi Arabien. Vi blandar “svårare” och “enklare” filmer, svenskt och annat -alltid med engelsk undertext.

Ansvariga för Filmklubben 2018-19 är Simon Bakran, Daniel Markus och br Björn Engdahl

Alltid introduktion före och samtal  efter filmen, vanligtvis på engelska/ always introduction before the film and discussion afterwards

English subtitles to all films.

Medlemsskap i Filmklubben, 60 Skr för 2018, tecknas på plats / Membership 60 SEK for all films 2019, registration at the entrance

Filmklubben anordnas i samarbete med Domino studenter och Bilda

Discussion after all films

Filmklubben våren 2019

FREDAG 1 FEBRUARI
19.30 LEVIATHAN
Andrej Zvyagintsev, Russia 2015, 125 min
A man and his family opposes the local authorities and an infernal struggle starts where no means seems to be forbidden. Loving people, drunken people, silent beauty, authoriatarian terrorism... you find it all in the fim of stong character and meaning

LÖRDAG 9 FEBRUARI
19.30 LOVELESS
Andrej Zvyagintsev, Russia 2017, 127 min
A couple caught up in a separation drama end up losing their son instead of eachother, after one of their arguments. In order to find him again, they decide to temporarily put their differences aside.

 FilmDagar onsdag 20 februari - lördag 23 februari 2019

Reality Transcended -  Films by Robert Bresson       

To manipulate feelings cinema is a strong medium. The plot told with dramatic tension and peaks, acting emphasizing feelings of love or conflict, it all aims at seducing the audience. Beautiful sceneries contribute and not at least a soundtrack that directs the story more than any image. Shots taken from always new camera angles fulfills the variations. The audience should be shrilled and why not? The distractions do have their place. But will they ever satisfy the ones hungry for not only sweets but really nourishing food? To get nourished in the spirit, food for the inner person to live and to be lifted up demands other means.
The repetitions of everyday life can seem monstrously dull. Days comes and goes and life passes by. The films of Robert Bresson make use of the cold reality to create films where the factualities of the everyday is underlined. That is what is in focus, but does not have the last word. Amazingly enough the continous flow of the films has the quality of opening the door to a bigger reality. The small details of actions in everyday life transcends to a spiritual opening. Man´s aspiration to freedom and brotherhood breaks through. The walls of imprisonment of the everyday is torn down by an insisting human presence.
This is a spirituality from below where it isn´t supernatural vision opens reality, no extra sentiments is used to fill the void. It is the harsh reality that counts. The transformation of the human person arrives in the middle of his normal activities, accomplishing his tasks and failing to fulfill the expectations of the surrounding environment.
Is that the end? Finally there is a burst out from the surface of which the everyday life reality is made, the dictatorship of the factual all breaks down. Relief and beauty is all there against a still greyish background.
Björn Engdahl OP, Filmklubben

Robert Bresson

“Improve reality with reality”, says Robert Bresson. A device that this director seems to follow with insistence and in the smallest detail. Bresson is in search for truth and establishes his own way to make films where detail, precision and sincerity are in focus. In making films he strives to come back to the first impression, to rediscover the experience of a person or of an incident he met with in life. Bresson follows his intuition but with great caution:  “You have to be able to feel the soul and the heart in your film, but it should be made as handicraft”, he says.

ONSDAG 20 FEBRUARI
19.30 Registration

followed by
A DIARY OF COUNTRY PRIEST
Robert Bresson, France 1951, 115 min
A young priest arrives at the countryside to his new and first parish. Will his grand dreams survive the realities of everyday life and his failing health?

FREDAG 22  FEBRUARI
19.30 REALITY TRANSCENDED
Introduction by Astrid Söderbergh Widding, Professor of Cinema Studies, Stockholm University
followed by
PICKPOCKET
Robert Bresson, France 1959, 104 min
Michel starts out as a petty thief in the metro and in the streets of Paris. The stealing becomes like an addiction with the skill, the risk and the tension it brings about. But there is someone observing him who will put an end to his career.
 
LÖRDAG 23 FEBRUARI
18.00 DINNER - Bring a small thing for the table and we share it all
followed by
19.30 THE DEVIL PROBABLY
Robert Bresson, France 1977, 116 min
A student, Charles, has nothing but overwhelming gloom in his life and finds no comfort in any religious conviction. He finally decides that life too much to handle and so decides to end it. But he still fears the consequences, believing that suicide being a mortal sin…

After the FilmDays we continue with the same theme

SÖNDAG 10 MARS
19.30 A MAN ESCAPED
Robert Bresson, France 1956, 101 min
We continue the the FilmDays theme. In France during the Second World War we watch a man trying to escape from a Nazi prison. A quiet and simple film, with small things leading up to a striking finish.

End ot semester two films by Wim Wenders:

Wim Wenders - Poet of the open road

Wenders was born in 1945 into a catholic family living in Düsseldorf. He studied medicine and philosophy until he dropped out and instead moved to Paris in order to become a painter. He was almost obsessed with film and cinema and often watched up to five films a day at the local movie theatre, and later applied to the national film school of France but failed to enter. Despite having been let down, he decided that film making was to be his life’s work back in Germany.In the 1970s, together with Rainer Werner Fassbinder and Werner Herzog, Wenders was one of the founding members of the New German Cinema. Today he is perhaps best known for his documentaries but is equally adept at dramas. Because of his reoccurring cinematographer, Robby Müller, Wenders films often feature a particularly impressive visual imagery. Another common trademark is his interest in finding identity in a greater context and the searching for truth in the world that surrounds us, following the journeys of people as they search for themselves.

TORSDAG 28 MARS
19.30 THE AMERICAN FRIEND

Wim Wenders, West Germany 1977, 125 min
A terminally ill German picture-framer becomes involved with the mob through his American friend. An atmospheric and existential thriller with a scope beyond simply thrilling entertainment.

SÖNDAG 12 MAJ
19.30 WINGS OF DESIRE
Wim Wenders, West Germany 1987, 128 min
An angel, visible to the audience but not the people in the film, walks around a Berlin still divided by east and west. He talks, reflects, consoles and small and particular dramas take place.