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The Decent One

The-Decent-One

November 27-30
Thursday/Saturday, 9-11 pm
Friday/Sunday, 7-9 pm
(Israel/Austria/Germany 2014, 96 min.) STC
In German with English subtitles

The chilling banality of a monster’s letters home, The Decent One exposes an uncomfortable access to the mind of Heinrich Himmler, known as the “Architect of the Final Solution”. “Himmler’s human attributes-his love affairs, his affection for his daughter, his diligence, his prissiness, his (misplaced) sense of loyalty-these were not one side of a split personality, the reverse of which was the deranged monomania of which was the deranged monomania that sent millions to their death. They were in fact different expressions of the same sensibility. And that is the challenging, deeply troubling moral that “The Decent One” all too briefly brings home to us, and for which it is worth your time: that it is possible to be a deeply ordinary, insignificant, petty and unremarkable man, and to be a genocidal mass murder at the very same time. “I’m off to Auschwitz,” wrote Himmler cheerfully to his wife at one point, “Kisses, your Heini.” Indiewire

Rome: Open City

rome open city

November 27-30
Thursday/Saturday, 7-9 pm
Friday/Sunday, 9-11 pm
(Italy 1945, 103 min.) STC
In Italian with English subtitles

RPL Film Theatre is thrilled to present this special treat for all generations of cinephiles and film students-the digital restoration of Roberto Rossellini’s Rome, Open City.
“A legendary cinematic achievement, Rome, Open City betrays more than a hint of melodrama in its valorization of the Italian resistance to the Nazi occupation. Like many films of the Italian neorealist movement, Roberto Rossellini’s classic relies heavily on a binary moral structure and recognizable social types, masquerading battle-tested literary tropes as gritty realism to cinematize the brutalities of war for an audience living through its aftermath. Nevertheless, its justly celebrated documentary aesthetic and naturalistic performances, aided by the filmmakers’ budgetary restrictions and the ruinous state of postwar Italian film industry, help the work achieve moments of devastating, near miraculous beauty. Rome, Open City owes part of its emotional power to its mixture of politico-religious symbolism and quotidian humor, which manages to be both vaudevillian in its depiction of the Chaplinesque proletariat and understated in the script’s witty dialogue and subtle dramatic irony.” Slant Magazine

Four Christmases

Four-Christmases

December 3
Wednesday, 7:00 pm
(2009, 88min.) PG

When happily unmarried San Francisco couple Kate and Brad find themselves socked in by fog on Christmas morning, their exotic vacation plans morph into the family-centric holiday they had, until now, gleefully avoided. Out of obligation, and unable to escape, they trudge to not one, not two, but four relative-choked festivities.