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Mon, Jun 23 at 8:00pm

STOKER

  • Dir. Park Chan-wook
  • USA
  • 2013
  • 99 min.
  • R
  • DCP
  • Assistive Listening
  • Hearing Loop
STOKER
Belcourt member tickets on sale now! General admission tickets on sale Thu, May 15 at 10:00am.

Part of Nashville: A City On Film

Shot on location in Nashville in 2011, STOKER is Korean filmmaker Park Chan-wook’s first film in English. Mia Wasikowska stars as India, a high schooler whose life is upended when her uncle (Matthew Goode) comes to live with her and her emotionally unstable mother (Nicole Kidman). Armed with an inspired script, a world-class cast and a wickedly playful nature, director Chan-wook subverts audience expectations by employing delightful visual trickery and placing a magnet over the moral compass of the film, giving complex and sympathetic motivations for the characters’ violent actions. Featuring a gasp-inducing performance from Nicole Kidman, STOKER is a haunting, Hitchcockian tale as unsettling as it is stunning. Features appearances and cameos by Cheekwood, Hillsboro High School, Harmony Korine and local theater legend David Alford (EXISTO).

“Imagine Alfred Hitchcock adapting The Addams Family, not especially faithfully, and that should give you some idea of the mood of Park Chan-wook’s superb first English-language film — a very grown-up horror movie…. It’s spooky, clipped and elegantly bonkers, like an ancient dowager aunt.” —Olly Richards, Empire Magazine (Feb 28, 2013)

“The chilling and stylish and aggressively creepy STOKER begins at the end and takes us on a shocking and lurid journey before we land right where we started, now seeing every small detail through a different lens. It’s disturbingly good.” —Richard Roeper, rogerebert.com (Feb 27, 2013)

“A film that delights in every form of excess indiscriminately…. This is one mythologized America, but STOKER’s pitch-black humor, its gleeful sadism, and its train-wreck fascination with the lurid and perverse belong to a very different sort of national mythology, one propagated by respectable visionaries from Poe to Flannery O’Connor, but also by dime-store romance novelists and soap opera producers.” —Max Nelson, Film Comment (Mar 4, 2013)

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