at The Cornelius Art Center

documentaries, indies, foreign films, classics, and more

on the big screen with 5.1 surround sound





point-and-shoot-poster-premiereSat & Sun Jan 10 & 11  7:00 pm


from two-time
Academy Award Nominee

Marshall Curry



Independent Documentary
83 minutes
2014 (USA) English


2014 Tribeca Film Festival – Best Documentary


Riveting… suspenseful, densely edited… an extraordinary and quietly disturbing film.”
-The Hollywood Reporter


“The incredible documentary Point and Shoot… asks quite boldly: Can we become the idealized image we had of ourselves? The answers as Matthew discovers and filmmaker Marshall Curry reveals are both staggering and thought-provoking.”- Film International


Grade: A- Indiewire.com



Winner of the Best Documentary Award at the Tribeca Film Festival, POINT AND SHOOT follows Matt VanDyke, a timid 26-year-old with Obsessive Compulsive Disorder, who left home in Baltimore in 2006 and set off on a self-described “crash course in manhood.” He bought a motorcycle and a video camera and began a three-year, 35,000-mile motorcycle trip through Northern Africa and the Middle East.

VanDyke’s  bizarre odyssey culminates with his joining Libyan rebel forces and helping to overthrow dictator Muammar Gaddafi.


 Purchase Tickets Here



 beatlesposterBACK BY POPULAR DEMAND!   


Sat & Sun January 24 & 25  7:00pm


The Beatles in A HARD DAY’S NIGHT


NEW  50th Anniversary HD Digital Restoration

NEW 5.1 Surround Sound Mix


Independent Comedy/Musical
84 minutes
1964 (UK)


A Hard Days Night was released 8 months after their first records had appeared in the USA, and was a smash hit that re-defined musical cinema.  It was conceived as a low-budget knock-off to sell more records by a group that hadn’t proven themselves as more than a short-term fad.  However,  it’s director, Richard Lester, working with one of the most popular and original music groups of all-time made it into an icon of the 1960s cultural sea change whose effects are still felt today.


The visual restoration, from the original 35mm negative was supervised by Richard Lester, and the new 5.1 sound track was supervised by Giles Martin, (son of Beatles’ original engineer/producer, George Martin), with the approval of Paul McCartney.


When first screened at Studio-C Cinema last July, A Hard Day’s Night received standing ovations, and sold out both shows, so reserve seats early for this wonderful holiday treat.


British author and historian, Tony Broadbent will provide a first-person introduction to the historical setting and cultural significance of the Beatles in Britain.


Purchase Tickets Here


 Polyester-Movie-Poster2Sat & Sun Feb 7 & 8  7:00 pm


 80’s Underground  Comedy

John Waters’ POLYESTER


Independent Comedy
84 minutes
1981 (USA)


Odorama classic Polyester with its scratch ‘n’ sniff card is coming to screens as part of the Scalarama season with runs countrywide during September.

Rereleased for the first time in more than 30 years, this is a new digital print of John Waters’ cult black comedy about a put-upon housewife, Francine Fishpaw, who is plagued by bad smells, an adulterous husband, perverted offspring, her husband’s sleazy secretary and much more, much worse.

Starring trash film icon Divine as Francine, an alcoholic housewife in suburbia; and the gorgeous Tab Hunter as Todd Tomorrow, her torrid dreamboat lover, it’s a film that broke all taboos in one go. It is still so way out and subversive you have to gulp and imagine the effect it made when it was first released.

It will hardly pass unnoticed in 2014 despite seeming so blatantly gross-out.

Polyester has the added treat of the Odorama scratch ‘n’ sniff card (where the number appears on the screen and you scratch the card) so audiences can smell what they see on the screen and flare their nostrils in joy or horror, depending.

It is John (Hairspray, Pink Flamingos) Waters’ best loved bad taste film and one not to miss if only for cinematic reference and the romantic theme song sung by the then new hit-making duo, Deborah Harry and Bill Murray.

Despite having to endure the grossest of the gross there are still enough laughs to justify watching Polyester.

– See more at: http://www.close-upfilm.com/2014/08/polyester-12a-film-review/#sthash.ZQwKbBJ3.dpuf

New Digital Restoration

First Theatrical Release in 30 years






Shown with the fabulous interactive gimmick– Odorama

Odorama  was conceived by John Waters, in the tradition of 1950’s movie gimmicks like Percepto, Emergo, Smell-o-vision, and Sensurround, which were mechanical devices  meant to lure people to the movies by delivering something that their home TVs couldn’t.  It was Waters’ kitchy salute to his entry into the movie mainstream. Each movie-goer will be given a free souvenir working Odorama Card at admission.  Instructions for its use are provided in the movie’s prologue.


Special Exhibit and Post-Screening Presentation

Studio C-Cinema’s director, Robert Maier, worked with John Waters on five films, and was the line producer of Polyester. He will display a collection of artifacts from the production, lead a Q&A following the film, and sign copies of his book,  Low Budget Hell: Making Underground Movies with John Waters.


Filmmaker, author, visual artist, and performer, John Waters was recently selected for a life-time retrospective of his films at Lincoln Center as one of America’s greatest filmmakers.  Some might question if this notorious taboo-breaker  deserved such an honor, but his 12 films, seven books, regular late-night TV appearances, and world-wide stand-up comedy tours have earned him a place in the same class as Andy Warhol and Salvador Dali.


Waters’ first films as a teenager in the early 1960s reflected the era and helped define the term “underground film.”  Having caught the eye of the New York film distributor, New Line Cinema and British producer Michael White (Monty Python and Rocky Horror Picture Show), Waters was given enough funding to produce a “mainstream” underground film.  Polyester was shot in 35mm film, featured celebrity actors (Tab Hunter and punk-rock star Stiv Bators), had a full professional crew, and a nationwide opening in hundreds of mainstream theaters.  Bill Murray sung the theme song with Debbie Harry, which was composed by Chris Stein of Blondie, who also co-wrote the music soundtrack with multiple-Grammy-award winning composer, Michael Kamen.


 Purchase Tickets Here


findingfela4inwebSat & Sun Feb 21, 22   7:00 pm


Observing Black History Month
from Oscar-winner Alex Gibney


119 minutes
2014 (USA)



Sundance Film Festival


“It’s hard to think of a contemporary artist who has put their body on the line for their music and beliefs in quite the same way as Fela Anikulapo Kuti.” – Sight & Sound


“Fela was one of the most amazing musical experiences of my life” – Paul McCartney


“fascinating to watch”- Minneapolis Star Tribune



Finding Fela tells the story of Fela Anikulapo Kuti’s life, his music, his social and political importance. He created a new musical movement, Afrobeat, using that forum to express his revolutionary political opinions against the dictatorial Nigerian government of the 1970s and 1980s. His influence helped bring a change towards democracy in Nigeria and promoted Pan Africanist politics to the world. The power and potency of Fela’s message is completely current today and is expressed in the political movements of oppressed people, embracing Fela’s music and message in their struggle for freedom. Finding Fela was directed by the Academy Award winning director, Alex Gibney.




 shermansmarch posterSaturday March 7   7:00 pm only


from Charlotte filmmaker,

Ross McElwee



155 minutes
1987 (USA)



Sundance Film Festival- Grand Jury Prize,  Documentary (1987)

Though Mr. McElwee’s timing with women is awful, he’s a film maker-anthropologist with a rare appreciation for the eccentric details of our edgy civilization. – Vincent Canby, The New York Times

McElwee asks us to reconnect not only with each other but with our human spirit.  – Slant Magazine

Sherman’s March is a tremendously original work, and, in fact, may be the first overtly subjective documentary of its kind.-Sundance Institute


Ross McElwee-

Ross McElwee grew up in Charlotte in the 1950s and 60s, the son of a noted surgeon.  He graduated from Brown University and later from MIT where he received a MS in filmmaking.  His career began in Charlotte where he was a studio cameraman for local evening news, housewife helper shows, and “gospel hour” programs.  His early student films explored his family and friends in Charlotte, as personal “chapters” from his life.  McElwee’s father was understandably proud of his medical school bound brother, but was puzzled by Ross’ desire to make “home movies,”  and suggested he make “nature films” instead.


Ross has progressed to wide acclaim, making five feature length documentaries, and shooting for other top documentarians like D.A. Pennabaker  McElwee has been a visiting filmmaker at Harvard University for more than ten years and has been awarded fellowships from the Rockefeller Foundation, the Guggenheim Foundation, and the National Endowment for the Arts.  Many of his films focus on a uniquely tilted Southern culture and characters.



McElwee initially planned to make a film about the effects of General William Tecumseh Sherman’s march through Georgia and the Carolinas (the Georgia portion of which is commonly called the “March to the Sea”) during the American Civil War. A traumatic breakup McElwee experienced prior to filming made it difficult for him to separate personal from professional concerns, shifting the focus of the film to create a more personal story about the women in his life, love, romance, and religion. Other themes include the spectre of nuclear holocaust in the context of the Cold War and the legacy and complexity of General Sherman’s own life.


Structurally, the film follows a narrative pattern. McElwee becomes enamored with various women, eventually developing feelings for each of his subjects, only to have his romantic hopes dashed. The film, in McElwee’s opinion, follows a personal essay form; a hybrid autobiographical interactive documentary form that exists between fiction and nonfiction.




templebarMarch 12, 13, 14   7:00 pm

Festival of Contemporary Irish Films

Titles to be announced in January.









-SATURDAY AND SUNDAY EVENING FILMS- doors open at 6:15 pm for complementary wine and cheese reception, and browsing the Cornelius Art Center’s Gallery.

Screening begins at 7:00 pm.  Informal discussion follows films.


Tickets :  

$9 Cornelius Residents;  $10 non-Cornelius Residents
($1.00 additional fee for payment by credit and debit card)
(7.25% NC sales tax additional)

Students  $5.00




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Send an email to studioccinema@gmail.comWe share our email list only with the Cornelius Art Center.



  • Studio C Cinema c/o The Cornelius Art Center,  Oak Street Mill
    19725 Oak St. Cornelius, NC 28031    

  • Studio-C Cinema phone:  704-996-7724

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Where is the Studio-C Cinema?   Studio-C in the  Cornelius Art Center  19725 Oak Street, Cornelius, NC  28031 (in the historic Oak St. Mill Building) Plenty of free, lighted parking available.  MAP

Is there a membership fee?   No.  Every screening is open to the public until tickets are sold out.

Do I need a subscription?   No.  All tickets are sold individually for each screening.

What about refreshments?   Complementary beer and wine tastings and snacks are provided in part by our sponsors.  You may bring your own, except alcoholic beverages.

How do I buy tickets?   Our on-line tickets page accepts all credit cards.  To pay with check or cash, contact Robert Maier at 704-996-7724.  We also accept all forms of payment at the door.

How much are tickets?   Cornelius residents $10.00.  Others $11.00 (plus 7.25% NC sales tax).  A limited number of student rush tickets are $5.00.  Special events priced individually.  Discount packages of 10 tickets are available to Friends of Studio-C Cinema See Tickets page for specifics.

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