Near Dark

  • November 5, 2017 / 15:00
  • November 15, 2017 / 17:00

Director: Kathryn Bigelow
Cast: Adrian Pasdar, Jenny Wright, Lance Henriksen, Bill Paxton
USA, 1987, 94', color
English; with Turkish subtitles

 

Long before Bella mooned over Edward, Kathryn Bigelow made the definitive teen-vampire romance — though it could be argued that her justly revered and muchimitated second feature may be more of a western at heart. Consider the abundance of sun-scorched scenery and the aw-shucks way that Adrian Pasdar’s young cowboy falls for Jenny Wright’s sweet-seeming damsel, prior to discovering that she travels in some seriously bad company: a savage gang of bloodsucking outlaws that rides the range in a blacked-out RV, slaking their thirst on unwary cowpokes and raining down death and destruction upon anyone who happens to be in the wrong road house at the wrong time. Bigelow stages some spectacularly vicious set pieces, but also brings a startling tenderness and sexiness to the romance at the core of all the carnage.

Valerie and Her Week of Wonders

Valerie and Her Week of Wonders

Rabid

Rabid

Near Dark

Near Dark

Cronos

Cronos

Let the Right One In

Let the Right One In

Byzantium

Byzantium

Only Lovers Left Alive

Only Lovers Left Alive

A Girl Walks Home Alone at Night

A Girl Walks Home Alone at Night

What We Do in the Shadows

What We Do in the Shadows

The Lure

The Lure

The Transfiguration

The Transfiguration

From two portraits of children…

From two portraits of children…

The Suna and İnan Kıraç Foundation’s Orientalist Painting Collection includes two children’s portraits that are often featured in exhibitions on the second floor of the Pera Museum. These portraits both date back to the early 20th century, and were made four years apart. One depicts Prince Abdürrahim Efendi, son of Sultan Abdulhamid II, while the figure portrayed on the other is Nazlı, the daughter of Osman Hamdi Bey.

Return from Vienna

Return from Vienna

Józef Brandt harboured a fascination for the history of 17th century Poland, and his favourite themes included ballistic scenes and genre scenes before and after the battle proper –all and sundry marches, returns, supply trains, billets and encampments, patrols, and similar motifs illustrating the drudgery of warfare outside of its culminating moments.

Reminiscences of Motifs

Reminiscences of Motifs

As artisanship became a part of artistic practices with the blurring of art and craft, the use of traditional motifs has also flourished. In this context, how are these motifs currently structured or designed beyond their traditional connotations?