Mary Riepma Ross Film Theater
University of Nebraska, Lincoln
Hixson-Lied College of Fine & Performing Arts

September 23, Tuesday

ADMISSION:
Evening
$9.75 Adults
$7.25 Students
$7.25 Children
$7.75 Military
$7.75 Seniors
$6.75 Members

Matinee
$7.75 Adults
$6.75 Students
$6.75 Children
$6.75 Military
$7.25 Seniors
$6.25 Members

Children are 12 and under, Seniors are 60 and older

Students and Military must show a valid ID to receive discount

We accept cash, check, NCard, Visa, and Mastercard

Box Office Opens 30 Minutes Before Showtimes



RATINGS:
Many of the films shown at The Ross are not rated due to the prohibitive cost of acquiring a rating from the Motion Picture Association of America. Consequently, as many of these films contain graphic content, viewer discretion is advised.

LOCATION:
313 N. 13 STREET
LINCOLN, NEBRASKA




The Nebraska Arts Council, a state agency, has supported the programs of this organization through its matching grants program funded by the Nebraska Legislature, the National Endowment for the Arts and the Nebraska Cultural Endowment. Visit www.nebraskaartscouncil.org for information on how the Nebraska Arts Council can assist your organization, or how you can support the Nebraska Cultural Endowment.
THE WHITE RIBBON
Visit the Official Website
 
THE WHITE RIBBON
Directed By: Michael Haneke
Runtime: 2 hours, 24 minutes
Rating: R for some disturbing content involving violence and sexuality.
Distributor: Sony Pictures Classics
Country: Austria, France, Germany, Italy
Release Date: December 30, 2009
With: Rainer Bock, Burghart Klaussner, Christian Friedel, Leonie Benesch
German/Italian/Polish with English Subtitles

Synopsis
Nominated for two Academy Awards:
Cinematography, Foreign Language Film


“Haneke, whose The Piano Teacher and Caché (Hidden) earned art-house acclaim, shoots the darkest misbehavior in the dramatic monochromes of European masters like Carl Dreyer and Robert Bresson. [THE WHITE RIBBON] is among the most luminous and painterly of black-and-white films, but what's portrayed will shock or numb you. Spare and unsparing, this Cannes prizewinner is also, in the serene pursuit of its corrosive vision, a thrilling corrective to standard holiday fare. Other movies don't even consider the enormity of a society's power to crush its people's best instincts. This one says: Don't look away. Look here.”—Richard Corliss, Time



”Don't let anyone tell you too much about this spellbinder from Austrian writer-director Michael Haneke (Caché). Shot in stunning black-and-white by the gifted Christian Berger, The White Ribbon is a toxic blossom of images that burn into your memory. In pre-World War I Germany, a farm village is beset by accidents that may not be accidents. The Baron (Ulrich Tukur) dominates the village economy, just as the Pastor (Burghart Klaussner) holds brutal sway over the morality of the villagers and their families. It's on the faces of the children that Haneke tells his story of corruption and the grip of fascism. This haunting film never pushes itself on you. It trusts you to suss out the horror that lies beneath the veneer of innocence. You'll be knocked for a loop.”—Peter Travers, Rolling Stone

After the gleaming contemporary surfaces of CACHE (TFF 2005) and THE PIANO TEACHER, Michael Haneke turns his caustic eye on an obscure German farming village just before World War I. The population operates on the same notions of class, hierarchy and morality that have reigned for a thousand years, until sudden mysterious acts of cruelty and violence occur. The town’s pastor, baron and doctor do their best to adjust, but, like increasingly desperate heroes in a Kafka story, are too embedded in the status quo to stem the tide. Inexorably, the poison seeps into the fabric of everyday life, foreshadowing the horrific catastrophes that soon will redefine German identity. Haneke’s tale, winner of the Palme d’Or and two other Cannes awards, is considerably deeper than the typical morally superior condemnation of evil Germans. The scenes of carriage rides, church dances, family dinners and courting rituals provide a heartbreaking lyricism, mourning a world vanishing before our eyes. –Larry Gross, 2009 Telluride Film Festival

KRNU