Airdrie Social Cinema
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Time: 6:15 p.m. - 8:30 p.m.
Film Obsessed? Want to spark interesting conversations about the thought provoking film you've just watched? Register for a night at Airdrie's Social Cinema: A community film club offering film lovers the chance to watch together and celebrate classic, world and arthouse films that you might otherwise not know about.
Better yet! We can boast about having the worst seats of ANY cinema in the country, but we are bringing cinema to Airdrie for free with the hopes of cultivating a film loving community with plans to grow.
There will be snacks available for a twoonie (cash only please).
November 20 - Wild Nights with Emily Dickenson
In Madeleine Olnek’s irreverent and light-hearted film, Emily Dickinson (Molly Shannon) is not a poet stunted by fear of living, but an eccentric hermit delighted by the world and delighting in her craft. Shannon plays a confident, quirky Dickinson who is literally overflowing with poetry—she pulls poems out of not only her sleeves, but her apron, hair and skirt—presenting them with childlike delight to her lover, Susan (Susan Ziegler).
“Wild Nights” portrays Dickinson’s development as a poet in comedic counterpoint with a lecture by Mabel Todd (Amy Seimetz), a controversial early editor of Dickinson’s poetry and the paramour of Emily’s brother Austin. In her simpering lecture, Mabel presents to the public the familiar sob story of the spinster-recluse-poet-laureate.
The camera delights in juxtaposing Mabel’s bleak narration with the abundant life pouring out on screen. The small neighborhood of Susan and Emily’s twin houses, side-by-side—one a Victorian gingerbread house of colorful paint and scalloped awnings, the other a simple white fortress, like the poet’s dress, a blank page for a creative mind—crawls with activity. Children are sent around as messengers, lovers scurry back-and-forth in absurd states of undress. The neighborhood children appear under Emily’s window for the fanciful tradition of gingerbread lowered down with laughter in a basket. Emily’s reclusive withdrawals to her chambers are impishly reimagined as necessary escapes from her brother’s tasteless tea-cup-clattering love-making in the parlor. Olnek’s film marches to the beat of Dickinson’s strange poetic rhythms and sense of creative disorder.
Dickinson’s writing springs from a life lived in abundance. Her poetry is not born from fear, or from shirking the risk of living. Rather her poetry springs from a life offered for beauty, a life lived in love. Love casts out fear, finding beauty in what others are afraid to look at—a snake, a rat, even death.—that is Emily Dickinson’s legacy.
Airdrie Social Cinema Registration
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Airdrie Social Cinema Wednesday, November 20, 2024 (6:15 pm)
Film Obsessed? Want to spark interesting conversations about the thought provoking film you've just watched? Register for a night at Airdrie's Social Cinema: A community film club offering film lovers the chance to watch together and celebrate classic, world and arthouse films that you might otherwise not know about.
Better yet! We can boast about having the worst seats of ANY cinema in the country, but we are bringing cinema to Airdrie for free with the hopes of cultivating a film loving community with plans to grow.
There will be snacks available for a twoonie (cash only please).
November 20 - Wild Nights with Emily Dickenson
In Madeleine Olnek’s irreverent and light-hearted film, Emily Dickinson (Molly Shannon) is not a poet stunted by fear of living, but an eccentric hermit delighted by the world and delighting in her craft. Shannon plays a confident, quirky Dickinson who is literally overflowing with poetry—she pulls poems out of not only her sleeves, but her apron, hair and skirt—presenting them with childlike delight to her lover, Susan (Susan Ziegler).
“Wild Nights” portrays Dickinson’s development as a poet in comedic counterpoint with a lecture by Mabel Todd (Amy Seimetz), a controversial early editor of Dickinson’s poetry and the paramour of Emily’s brother Austin. In her simpering lecture, Mabel presents to the public the familiar sob story of the spinster-recluse-poet-laureate.
The camera delights in juxtaposing Mabel’s bleak narration with the abundant life pouring out on screen. The small neighborhood of Susan and Emily’s twin houses, side-by-side—one a Victorian gingerbread house of colorful paint and scalloped awnings, the other a simple white fortress, like the poet’s dress, a blank page for a creative mind—crawls with activity. Children are sent around as messengers, lovers scurry back-and-forth in absurd states of undress. The neighborhood children appear under Emily’s window for the fanciful tradition of gingerbread lowered down with laughter in a basket. Emily’s reclusive withdrawals to her chambers are impishly reimagined as necessary escapes from her brother’s tasteless tea-cup-clattering love-making in the parlor. Olnek’s film marches to the beat of Dickinson’s strange poetic rhythms and sense of creative disorder.
Dickinson’s writing springs from a life lived in abundance. Her poetry is not born from fear, or from shirking the risk of living. Rather her poetry springs from a life offered for beauty, a life lived in love. Love casts out fear, finding beauty in what others are afraid to look at—a snake, a rat, even death.—that is Emily Dickinson’s legacy.
Film Obsessed? Want to spark interesting conversations about the thought provoking film you've just watched? Register for a night at Airdrie's Social Cinema: A community film club offering film lovers the chance to watch together and celebrate classic, world and arthouse films that you might otherwise not know about.
Better yet! We can boast about having the worst seats of ANY cinema in the country, but we are bringing cinema to Airdrie for free with the hopes of cultivating a film loving community with plans to grow.
There will be snacks available for a twoonie (cash only please).
November 20 - Wild Nights with Emily Dickenson
In Madeleine Olnek’s irreverent and light-hearted film, Emily Dickinson (Molly Shannon) is not a poet stunted by fear of living, but an eccentric hermit delighted by the world and delighting in her craft. Shannon plays a confident, quirky Dickinson who is literally overflowing with poetry—she pulls poems out of not only her sleeves, but her apron, hair and skirt—presenting them with childlike delight to her lover, Susan (Susan Ziegler).
“Wild Nights” portrays Dickinson’s development as a poet in comedic counterpoint with a lecture by Mabel Todd (Amy Seimetz), a controversial early editor of Dickinson’s poetry and the paramour of Emily’s brother Austin. In her simpering lecture, Mabel presents to the public the familiar sob story of the spinster-recluse-poet-laureate.
The camera delights in juxtaposing Mabel’s bleak narration with the abundant life pouring out on screen. The small neighborhood of Susan and Emily’s twin houses, side-by-side—one a Victorian gingerbread house of colorful paint and scalloped awnings, the other a simple white fortress, like the poet’s dress, a blank page for a creative mind—crawls with activity. Children are sent around as messengers, lovers scurry back-and-forth in absurd states of undress. The neighborhood children appear under Emily’s window for the fanciful tradition of gingerbread lowered down with laughter in a basket. Emily’s reclusive withdrawals to her chambers are impishly reimagined as necessary escapes from her brother’s tasteless tea-cup-clattering love-making in the parlor. Olnek’s film marches to the beat of Dickinson’s strange poetic rhythms and sense of creative disorder.
Dickinson’s writing springs from a life lived in abundance. Her poetry is not born from fear, or from shirking the risk of living. Rather her poetry springs from a life offered for beauty, a life lived in love. Love casts out fear, finding beauty in what others are afraid to look at—a snake, a rat, even death.—that is Emily Dickinson’s legacy.