The works of Israeli historian and writer Yuval Noah Harari – especially Sapiens and Homo Deus –, in which he contemplates the development of Homo sapiens, and the species’ role in the past, present and future, have been inspiring other artists. Claiming that Harari inspired Kubrick’s timeless classic, A Space Odyssey, – an epic science fiction film and a quintessential example of ground-breaking cinema, which upon release met with criticism, misunderstanding and even ridicule – would be carrying it too far. However, one thing is indisputable – they were destined for each other and make perfect bedfellows. In late 1960s, when space exploration was in its infancy and androids and artificial intelligence were not yet topics of mainstream discussion, Kubrick similarly tackled the development of humans, their role in the future of the world and the position on robots or artificial intelligence with the help of Arthur C. Clark.
As one of the most revered films of the 20th century and the opening event of the Harari 2020 series, it is only proper that A Space Odyssey be screened in Linhart Hall – our largest movie theatre and our largest projection screen!
GB, USA, 1968, 148'
Screenplay: Stanley Kubrick, Arthur C. Clarke
Cinematography: Geoffrey Unsworth
Cast: Keir Dullea, Gary Lockwood
Comic opera in two acts
Director: Nana Milčinski
Co-production: Slovenian Chamber Music Theatre, Cankarjev dom, Festival Velenje
Koprodukcija: Slovensko komorno glasbeno gledališče, Cankarjev dom, Festival Velenje
Projekt so podprli: Ministrstvo za kulturo, Mestna občina Ljubljana, Nadace Bohuslava Martinů
Trajanje 60 minut brez odmora
For children aged 5+
A hundred years after the publication of Josip Vandot’s Kekec na hudi poti (Kekec on a Hard Path) this unique Slovenian hero continues to enchant new generations of audiences with his courage and clever ploys. In cooperation with an acclaimed Slovenian band, Katalena, and its leader and the show’s music concept designer, Boštjan Narat, choreographer Edward Clug has used the popular Vandot’s tale as a gateway to the magical world of dance theatre.
The seamless blend of Katalena’s music and the story’s dramaturgical structure provided an one-hour escape into a timeless world permeated with the memory of the things that people inhabiting these regions used to create. Perfectly complemented by musical interludes featuring Kekec’s songs, the show is nothing less than a fully enjoyable experience.
Olivera Ilić, Večer
The fairy-tale ballet appeals to both the young and young at heart.
Duration 50 minutes
Choreography: Edward Clug
Juliette Binoche plays a middle-aged woman caught in a make-believe world of social networking in which lies, dreams and reality are blurred.
Attractive professor Claire, 50, is a single mother of two children. Her relationship with her younger lover, a photographer, is difficult. To get back at him, she makes friends on Facebook with his assistant Alex, 29. Using a fake profile, she masquerades as 24-year-old Clara, and Alex takes the bait. As their flirty chat intensifies, Alex decides he wants to meet this woman of his dreams. Claire always manages to invent new excuses to keep him at bay in real life without alienating him online. Her children and her job fall by the wayside as she increasingly succumbs to the allure of her parallel world – until realities begin to blur and a disaster occurs.
Claire is a sort of 'anti-heroine', who is both complex and paradoxical. Her tragic dimension, therefore, is tinged with destructive guilt. However, she overcomes her humiliation and sorrow by expressing her life force through another, imaginary woman. Let’s say that she is a distressed person, partly the victim of our society as it is today. In any case, the feeling of being past one’s 'prime' or rejected, in other words the awareness that time has gone by and that it can push us to the sidelines, isn’t limited to women, it is universal…
France, Belgium, 2019
Screenplay: Safy Nebbou, Julie Peyr Camille Laurens (novel)
Cinematography: Gilles Porte
Music: Ibrahim Maalouf
Editing: Stéphane Pereira
Cart: Juliette Binoche (Claire Millaud), Nicole Garcia (dr. Catherine Bormans), François Civil (Alex Chelly), Marie-Ange Casta (Katia), Guillaume Gouix (Ludovic Dalaux), Charles Berling (Gilles), Jules Houplain (Max), Jules Gauzelin (Tristan), Francis Leplay (Serge), Pierre Giraud (Paul), Sonia Mohammed Cherif (student), François Genty (patient), Claude Perron (Solange)
Festivals, awards (selection): Berlinale 2019, Shanghai 2019
A universal story of friendship, rebellion and the irresistible power of gathered youth, set to a soundtrack as eclectic and electrifying as the scene it gave birth to, Beats is a story for our time.
1994. Best mates Johnno and Spanner share a deep bond, forged through childhood. Now on the cusp of adulthood, life is destined to take them in very different directions. But this summer is going to be different for them. The explosion of the free party scene and the largest counter-cultural youth movement in recent history is happening across the UK. In pursuit of adventure and escape the boys head out on one last night together to an illegal rave: a journey into an underworld of anarchy and freedom that ends with a full-on collision with the forces of law and order.
I was introduced to that scene of underground techno parties and it was a hugely transformative experience for me. I grew up in Aberdeen at a time when there was a lot of violence and hard drug use and I found my teenage years quite scary. But I was introduced to this world of … it all sounds a bit cheesy … of love and communal joy and fun and friends. At the time I didn’t consider that that in itself could be considered an almost political experience but looking back it was.
5% discount on online purchases cd-cc.si
Great Britain, 2019
Screenplay: Kieran Hurley, Brian Welsh
Cinematography: Benjamin Kracun
Music: Stephen Hindman, Penelope Trappes
Editing: Robin Hill
Cast: Cristian Ortega (Johno), Lorn MacDonald (Spanner), Laura Fraser (Alison), Ross Mann (D-Man), Gemma McElhinney (Laura), Amy Manson (Cat), Rachel Jackson (Wendy), Brian Ferguson (Robert)
A fresh restaging of the famous dark comedy featuring brilliant acting performances by members of the Belgrade National Theatre.
Directed by: Tanja Mandić Rigonat
Antoine Roquentin, the protagonist of Sartre’s novel Nausea, feels confronted by the bare existence of things, objects either organic inanimate or man-made, experiencing fear and nausea when in contact with other people or their bodies.
Co-production: Anton Podbevšek Theatre and Studia humanitatis; in cooperation with Cankarjev dom
Directed by: Matjaž Berger