The access to Cinema Nights of the Universitat de València is free and it includes the presentation and colloquium of each film, as usual. The films will be projected in subtitled original version. The screenings will start at 22:00 (opening at 21:30).

Let’s Party!

The ‘Let’s Party!’ cycle will inaugurate this edition of Cinema Nights. It will start on 14 July with a timeless classic comedy, The Party, where Peter Sellers gives life to the most inappropriate guest that can be invited to an elite party. The next session will be on 16 July and it will be very different. The Dead is not only the last movie of the great director John Huston. It also reflects in a difficult way the severe Irish society of the beginning of the 20th century, where it is almost forbidden for people to express themselves freely. The cycle will continue with The Celebration (Thursday 20 July), where Thomas Vinterberg and the Dogme 95 intend to ridicule the bourgeoisie of the welfare society, which hides a dirty laundry as well as any other people beneath a refinement layer.

Although we cannot speak about refinement when it comes to Emir Kusturica’s films. A good example is Black cat, white cat (Sunday 23 July). This movie is about family fights and shady business around an unlikely wedding. To complete this heterogeneous cycle about parties, a Jacques Tati classic will be projected on Tuesday 25 July, The Big Day, where the mailman of a small village is determined to help organise the local holidays with catastrophic results. Also, a little unknown gem as Coherence (Tuesday 18 July), a low-cost science-fiction production that surprised a few years ago because of its ability to go deep in very complex subjects counting with a surprising media economy.

Let the show begin!

The cycle will start on Saturday 15 July with All That Jazz, a musical by Bob Fosse penetrating into hidden details of Broadway, where those incredible numbers are the consequence of blood, sweat and tears. This is not new. The idea already appeared in the happy and idealized 20s as seen in Applause (Monday 17 July), a suggestive movie by Rouben Mamoulian that takes the pre-code era to make a non-pleasant portrait about the spectacle industry during that time. This industry is fed by appearances and runs away from everything that is not profitable. In Behind the Candelabra (Monday 24 July), Michael Douglas gives life to Liberace, one of the first modern showmen and its relation with the young Matt Damon.

In Postcards from the Edge (Wednesday 19 July), where Meryl Streep and Shirley MacLaine give life to Carrie Fisher and Debbie Reynolds, a daughter and a mother united because of their professions and separated because of everything else. And when it comes to rivalry, fights against professionals that are colleagues, this is taken to the limit in The Neon Demon (Friday 21 July). This movie is about a novice model whose colleagues envy her. This jealousy is maximised by this whole fashion world where the physical appearance and the beauty cult is everything.

More information: www.uv.es/auladecinema