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Silver Screen Club


VENUES AND TICKETS
Whitsell Auditorium
1219 SW Park Avenue
Portland, OR 97205

The Box Office opens 30 minutes prior to showtime.

PARKING

ADMISSION PRICES
$9 General
$8 PAM Members, Students, Seniors
$6 Friends of the Film Center

Tickets are now available online. Click on the 'Buy Tickets' links to buy online.

BOOK OF TEN TICKETS
$50 Buy Here

THE 10-MINUTE RULE
Seats for advance ticket and pass holders are held until 10 minutes before showtime, when any unfilled seats are released to the public. Thus, advance tickets or passes ensure that you will not have to wait in the ticket purchase line but do not guarantee a seat in the case of arrival after the 10-minute window has begun. Your early arrival also helps get screenings started promptly. We appreciate your understanding. Advance ticket holders who arrive within the 10-minute window but are not seated may exchange their tickets for another screening at the Ticket Outlet or obtain a cash refund at the theater. There are no refunds or exchanges for late arrivals or for missed screenings.



   
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2016
Volume 1

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Volume 5
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Volume 1

2014
Volume 6
Volume 4
Volume 3
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Volume 1

2013
Volume 6
Volume 5
Volume 4
Volume 2
Volume 1

2012
Volume 6
Volume 5
Volume 4
Volume 3
Volume 1

2011
Volume 6
Volume 5
Volume 4
Volume 3
Volume 1

2010
Volume 6
Volume 5
Volume 4
Volume 3
Volume 1

2009
Volume 5
Volume 4
Volume 3
Volume 2
Volume 1

2008
Volume 6
Volume 5
Volume 4
Volume 3
Volume 1

2007
Volume 7
Volume 6
Volume 5
Volume 4
Volume 3
Volume 1

2006
Volume 6
Volume 5
Volume 4
Volume 2
Volume 1

2005
Volume 5
Volume 4
Volume 3
Volume 2
Volume 1

2004
Volume 6
Volume 5
Volume 4
Volume 3
Volume 2
Volume 1

2003
Volume 5
Volume 4
Volume 3
Volume 2
Volume 1

2002
Volume 4
Volume 3
Volume 2
Volume 1

2001
Volume 5
Volume 4
Volume 3
Volume 2
Volume 1

2000
Volume 4
Volume 3
Volume 2
Volume 1

1999
Volume 5
Volume 4
Volume 3
Volume 2
Volume 1

1998
Volume 5
Volume 4
Volume 3
Absurdly Human: The Films of Roy Andersson

“Life is a tragedy. There’s no happy end for any of us. We all die. But there’s a lot of comedy in it. There’s comedy and vulnerability . . . I’m trying to show what it’s like to be human.”—Roy Andersson. Hailed by the Toronto International Film Festival as “the most distinctive Swedish filmmaker since Ingmar Bergman, Roy Andersson’s biting, idiosyncratic films—droll, absurd, observational comedies—delight as they surface both the nightmare and joy of human existence.” Leading up to the Portland premiere of his newest film, A PIGEON SAT IN A BRANCH REFLECTING ON EXISTENCE, which won the Golden Lion at the Venice Film Festival, we are pleased to offer an Andersson primer, a retrospective of three of the four meticulously crafted features that have established his singular place in international cinema. Though his output of only five feature films over 45 years may be considered modest by one standard, the achievement is grand and singular. Thanks to Magnolia Pictures, Kino International, and the Co-production Office for providing the films.



Fri, Jul 10, 2015
at 7 PM

Sat, Jul 11, 2015
at 9 PM

Watch Trailer
A SWEDISH LOVE STORY
DIRECTOR: ROY ANDERSSON
SWEDEN, 1970

Andersson’s first feature, his thesis project at the Swedish Film Institute, was a great critical and popular success in his home country. With the gorgeous Swedish summer as a backdrop, the film portrays the pure love that arises between the daughter of a refrigerator salesman and the son of a car mechanic, offering a glimpse into the lives and homes of the people of the Swedish Social Democracy during its heyday. Andersson’s debut is a typically stirring mélange of comedy and melancholy, the ordinary and the absurd. Best Film, Swedish Guldbagge Awards, the top recognition in Sweden. (119 mins.)

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Sat, Jul 11, 2015
at 7 PM

Sun, Jul 12, 2015
at 5 PM

Watch Trailer
SONGS FROM THE SECOND FLOOR
DIRECTOR: ROY ANDERSSON
SWEDEN, 2000

Anderson won the Grand Prize at the Cannes Film Festival for this first part of a “trilogy about being a human being.” Consisting of 60 vignettes set in a post-industrial, post-religious society, the quirky characters include the likes of a magician accidentally bisecting an audience member, a boy who cannot stop writing poetry, and a man who torches his furniture shop to start a new business selling crucifixes. In Andersson’s bleakly funny and brilliantly visioned film, these and other unrelated scenarios depict a place that is unraveling and characters who are giving up hope. “You have never seen a film like this before. You may not enjoy it but you will not forget it.”—Roger Ebert. (98 mins.)

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Sun, Jul 12, 2015
at 7 PM

Mon, Jul 13, 2015
at 7 PM

Watch Trailer
YOU, THE LIVING
DIRECTOR: ROY ANDERSSON
SWEDEN, 2007

YOU, THE LIVING hilariously explores man’s existence, behavior, thoughts, worries, happiness, sorrow, and a profound longing for validation and love in 50 interconnected shorts inspired by Goethe’s poetry series Roman Elegies. Throughout the film, dream sequences and music (both as background and performed on camera) are used to reflect the woes and desire of the characters. Andersson’s flawless and creative shots create sympathy with his characters yet draw amusement from the fact that each thinks his or her suffering is unique. “This is the work of a real original - I might almost say a genius. He is radically different from anyone else, with a technical, compositional rigor that puts other moviemakers and visual artists to shame. And he really is funny.”— Peter Bradshaw, The Guardian. (95 mins.)

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Fri, Jul 17, 2015
at 7 PM

Fri, Jul 17, 2015
at 9 PM

Sat, Jul 18, 2015
at 5 PM

Sat, Jul 18, 2015
at 7 PM

Sat, Jul 18, 2015
at 9 PM

Sun, Jul 19, 2015
at 2 PM

Sun, Jul 19, 2015
at 7 PM

Mon, Jul 20, 2015
at 7 PM

Watch Trailer
A PIGEON SAT ON A BRANCH REFLECTING ON EXISTENCE
DIRECTOR: ROY ANDERSSON
SWEDEN, 2014

Winner of the Golden Lion at the Venice Film Festival, Andersson’s new film mirrors a bird’s panoramic perspective of the world and shares the fear of a coming apocalypse should humans choose not to intervene. Specifically, the bird watches two comedic traveling salesmen peddling unusual novelty items. Other characters appear in numerous vignettes that explore a wide range of topics, from the serious (the immediacy of death) to the mundane (repeating phrases in phone conversations). Naturally, Andersson finds humor in all of his scenarios, each a reminder that things could be worse. “A mixture of absurdist, hilariously deadpan humor, shock, and utter horror.”—Toronto International Film Festival. “Why would anyone write about a Roy Andersson film? You might as well dance about a cake.”—The Daily Telegraph. (100 mins.)

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