Creekside Spring Film Festival Weekend Pass

$15.00 - 3 movies (tickets must be bought online in advance)
$10 - Cash at the door per movie.
*Including Fees & Charges

Cinema for Boomers

This selection of films represents the range of cinema available during the last great period of moviemaking. During the late sixties and early seventies movies were made for adult audiences with adult themes and all were produced to be seen on a big screen. The festival is intended to showcase the power of cinema using a variety of genres and only represents a handful of the great movies made during this period. The common theme of these films is Fate or Destiny.

Friday April 28, 7:00pm
Rosemary’s Baby (1968), directed by Roman Polanski, is an eerie suspenseful horror based on the 1967 novel of the same name. The movie uses the Dakota Apartments on Central Park in New York as the exterior of the building with a notorious reputation into which a young couple moves to begin their lives. The film features a visually striking dream sequence full of symbols regarding religion and darkness. Like the rest of the films in this series the build-up is slow and requires a patient audience.

Mia Farrow, as Rosemary, gives an outstanding performance as does Ruth Gordon who won an Academy Award as Best Supporting Actress.

Saturday April 29, 7:00pm
THX 1138 (1971), directed by George Lucas, is the commercial version of his film school project from USC. Striking all white sets and long shots make this movie a cinematic experience. It will be interesting to see what elements of this science fiction made its way into Star Wars. The film is set in a dystopian future in which the populace is controlled through android police and mandatory use of drugs that suppress emotions.

Sunday April 30, 7:00pm
Deliverance (1972), directed by John Boorman, is the chilling thriller based on the 1970 novel by the same name. What happens to four urban businessmen when they take a canoe trip in Appalachian Georgia? The beauty and wildness of nature are thought to be the real danger which cinematography establishes, but of course, the real danger is human.