winter showtimes
Fridays | 6pm
Saturdays & Sundays | 2pm & 6pm
Mondays - Wednesdays | 6pm
Coming Soon
Love Lies Bleeding
april 19 - 24
Post-Twilight Kristen Stewart quickly reinvented herself as one of cinema’s most versatile, adventurous actors, creating characters who clamp down on their passionate natures—until the volcano inevitably erupts. Director Rose Glass taps into that volatility with a twisting rollercoaster of a neo-noir thriller that’s breathtaking, often laugh-out-loud audacious. Set in 1989 New Mexico, Stewart is Lou, a gym manager who’s used to cleaning up messes. She gets into a mess of her own when she sets eyes on Jackie (Katy O’Brian), a wanderer ostensibly making her way to a bodybuilding contest in Las Vegas. Sparks fly, and like a James M. Cain story, sex is foreplay for violence. Lou’s long been seething because her sister Beth (Jena Malone) is constantly abused by her scummy husband (Dave Franco); it’s an increasingly steroids-crazed Jackie that does something about it, and now Lou’s got a real mess on her hands. Enter Lou’s dad (Ed Harris), a creepy, beetle-obsessed wacko who happens to be the local crime boss, and the situation goes Blood Simple-wrong in a hurry. In addition to that Coen Brothers’ feature, Love Lies Bleeding recalls films like Red Rock West and Bound, which were made by smart cinemaphiles who deconstructed B-movie tropes in characterization and storytelling—while also reveling in the energy and subversive thrills of the genre. The late ‘80s atmosphere is perfect yet slightly, deliberately overdone: no other film features such a cringe-worthy gallery of mullet and helmet-hair coiffures. This is a brutal, funny, twisted fantasy depiction of the era, the seedy underbelly of the ‘80s, tinged with composer Clint Mansell’s on-point electronic score. The performances are pungent and unforgettable, but Stewart is the definite center, making Lou’s transformation from reticent loner to love-struck desperado both believable and touching. A stylish, loopy crime drama with touches of early Tarantino and a little Fear and Loathing in Las Vegas weirdness to match Jackie’s descent into drug-addled insanity, this is a sexually-charged, no-holds-barred noir that takes viewers on the wildest ride imaginable.
(Rated R for violence, nudity, sexual content, profanity, and drug use.)
John Singer Sargent: Fashion & Swagger
April 20, 2024
10 AM | Film @ Art Center Cinema
11:30 AM | Lunch @ Warehouse (Martinelli’s)
12-2 PM | Guided workshop
Film+Workshop Package (lunch provided) | $65
Film Ticket Only | $8
Step into the glittering world of fashion, scandal and shameless self-promotion that made John Singer Sargent the painter who defined an era. Explore the unique creative process of the late 19th century’s favourite portrait artist and the way in which his portraits captured the spirit of a vibrant and rapidly changing age.
JOHN SINGER SARGENT: FASHION AND SWAGGER WORKSHOP
with Sam and Austin Beiberly
Join us after the movie for a demo in the oil-painting techniques of John Singer Sargent. Our goal is to study his masterful use of form and temperature when rendering fabric. You will be able to create your own rendition of a John Singer Sargent painting. Materials provided.
Reel Film Fans - Life, Animated: An Autistic Young Man Finds His Voice Though Disney Films
April 25, 2024 | 6pm
Come experience and appreciate film at Salina Art Center Cinema through Kanopy. We will have a discussion led by Cinema Manager Brooks Olivier and Librarian Ashley Will afterward. Open to all with a library card but they can also be issued with a valid ID at program and registration is encouraged.
After watching animated Disney movies, including The Little Mermaid and the Lion King, a young autistic man finds a common language with his parents, and sees his communication skills develop.
La Chimera
April 26 - May 1
Brash and exuberant, this romantic adventure directed by Alice Rohrwacher is brimming with old-fashioned charm. Its emotions are big: in 1980’s Tuscany, disgraced British archaeologist Arthur (Josh O’Connor) leads a motley crew of travelling musical entertainers whose real vocation is robbing ancient gravesites. With the help of Arthur’s magical divining rod, they locate Etruscan artifacts and sell them to a villainous art dealer. But Arthur’s on a private quest as well: he’s pining for his lost love, daughter of noblewoman Flora (Isabella Rossellini), and he hopes to rejoin “Beniamina”—perhaps in death. Two complications arise: Arthur encounters Rossellini’s former maid, Italia (Carol Duarte), and sparks fly; just as Arthur’s rod (symbolism duly noted) alerts him of a buried treasure bigger than anything his gang has ever found. It might be his last big score whether he knows it or not. Gorgeously filmed by Hélène Louvart (shifting between 35mm and Super 16mm), the Italian setting becomes its own character in the story, a melancholy dreamscape populated with ghosts and memories. “La Chimera” is a colloquial phrase, roughly translating as “pie in the sky,” and that suits this storybook tale of undying love, nostalgia for the past, and unexpected heroism. Arthur and his rowdy band are likeable rogues in the Errol Flynn tradition, laughing, drinking, singing, and occasionally breaking the fourth wall to address the audience. It adds to the musical theatre-like feel of the movie, where everyone’s an actor—but a sincere actor, the kind of deeply believes every line he recites. This is an unapologetically bold foray into Magic Realism, a love triangle of sorts, with Arthur torn between Italia, a woman of flesh and blood, and Beniamina, a fantasy made more alluring for being unattainable. Poetic, humorous, exciting, and contemplative, La Chimera is the perfect response for cynics who don’t think “they make movies like that anymore.”
(Unrated; may contain some mature content. In English, and Italian with English subtitles.)