Current Season
2022
Screenings have resumed. Please check back for updates.All screenings begin at 7:00 PM. There is a 15 minute break between features unless otherwise specified.
Guest Visits and Special Events
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Spring 2022
- Hollywood in China on Wednesday, April 20 (5:30 PM)
- Guest lecture by Ying Zhu (Professor Emeritus at the City University of New York and Director of the Center for Film and Moving Image Research in the Academy of Film, Hong Kong Baptist University), followed by open discussion
- Modernism and Czech Cinema (Date and Details TBA)
- Guest lecture by David Vichnar (Charles University, Prague)
- Hollywood in China on Wednesday, April 20 (5:30 PM)
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Spring 2020
- Screening and Discussion with Filmmakers Charles Burnett, Julie Dash, and Bradford Young
- Special screening of My Brother's Wedding (Charles Burnett, 1983) and Daughters of the Dust (Julie Dash, 1991) on Wednesday, January 29
- Public dialogue with Charles Burnett, Julie Dash, and Bradford Young from 6:00 to 8:00 PM in Olin Auditorium, hosted by Drew Thompson (Director, Africana Studies)
- Co-organized with the Africana Studies Program, American Studies Program, Art History Program, Center for Civic Engagement, Center for Curatorial Studies, Dean of the College, Experimental Humanities Program, and Film and Electronic Arts Program
- Carving Cameras: Sculpture in Film
- Special 35mm screening of Nostalghia (Andrei Tarkovsky, 1983) on Tuesday, April 7
- Public lecture ("Carving Cameras: Sculpture in Film") and discussion with Professor Steven Jacobs (University of Ghent) on Wednesday, April 8 (beginning at 1:45 PM)
- Rethinking Cinematic Reflexivity (April 21-22)
- Special 35mm screenings of Germany Year 90 Nine Zero (Jean-Luc Godard, 1990) and Celine and Julie Go Boating (Jacques Rivette, 1974) on Tuesday, April 21
- Public lecture and discussion with Professor Dan Yacavone (University of Edinburgh) on Wednesday, April 22 (beginning at 7:00 PM)
- Screening and Discussion with Critic Emmanuel Burdeau (April 29)
- Special screening of This Man Must Die (Claude Chabrol, 1969), followed by a public discussion with Emmanuel Burdeau, former editor-in-chief of Cahiers du cinéma (beginning at 7:00 PM
- Screening and Discussion with Filmmakers Charles Burnett, Julie Dash, and Bradford Young
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Fall 2019
Approaches to Silent Film Music (September 25-October 16)- Hollywood masterworks with piano accompaniment by Ben Model (September 25)
- 35mm screenings of The Cameraman (Edward Sedgwick and Buster Keaton, 1928, USA, 78 minutes) and The Crowd
(King Vidor, 1928, USA, 104 minutes), followed by a discussion with the musician.
- 35mm screenings of The Cameraman (Edward Sedgwick and Buster Keaton, 1928, USA, 78 minutes) and The Crowd
- Austrian silent film with new score by Donald Sosin and Alicia Svigals (October 2)
- Special screening of the new Filmarchiv restoration of The City Without Jews (Hans Karl Breslauer, 1924, Austria, 91 minutes), presented with the live performance of an original score by Donald Sosin and klezmer violinist Alicia Svigals. There will be a discussion with the musicians following the screening.
- Italian silent film with new guitar and mandolin score by John La Barbera (October 16)
- Special screening of Assunta Spina (Gustavo Serena, 1915, Italy, 63 minutes). followed by a discussion with the musicians
- Visit by Mati Diop (POSTPONED, NEW DATE TBA)
- Special screening of Cannes Grand Prix winner Atlantics (2019), followed by a discussion with the filmmaker
- Hollywood masterworks with piano accompaniment by Ben Model (September 25)
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Fall 2018
- Screening and Discussion with Director Charles Burnett (December 12)
- 35mm screening of a studio vault print of To Sleep with Anger (1990, 90 minutes) followed by a public discussion with Charles Burnett and Ephraim Asili (beginning at 6:00 PM)
- The Legacy of Michelangelo Antonioni (December 5-11)
- Special 35mm screenings of The Passenger (1975) on December 5 and Blow-Up (1966) on December 7
- Public discussion about Antonioni's work and influence with Joseph Luzzi and Franco Baldasso on December 11 (beginning at 10:15 AM)
- Screening and Discussion with Director Charles Burnett (December 12)
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Spring 2018
- Screening and Discussion with Director Charles Burnett (April 10)
- 35mm screening of Killer of Sheep (1977, 83 minutes) preceded by a public discussion with Burnett (beginning at 6:00 PM)
- Visit by French Editor Yann Dedet (April 16-18)
- Special screenings of Two English Girls (François Truffaut, 1971) and Van Gogh (Maurice Pialat, 1991) on Monday, April 16
- Public discussion with editor Yann Dedet on April 18, beginning at 6:00 PM
- Screening and Discussion with Director Charles Burnett (April 10)
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Fall 2017
- Remembering the October Revolution (October 17-20)
- Series of events commemorating the centenary of the Russian Revolution and exploring its legacy
- 35mm screenings of Ivan the Terrible, Parts 1 and 2 (Sergei Eisenstein, 1944-1958) on Tuesday, October 17, and of Battleship Potemkin (Sergei Eisenstein, 1925) and Earth (Alexander Dovzhenko, 1930) on Wednesday, October 18
- Special screening of the documentary Revolution: New Art for a New World (Margy Kinmonth, 2016)
- Organized in conjunction with an interdisciplinary conference jointly sponsored by Bard College and Smolny College (St. Petersburg) on October 20
- Visit by film scholar Philippe Met (October 24)
- Public lecture on cinema and poetry at 5:00 PM in the theater.
- Special 35mm screenings of The Fire Within (Louis Malle, 1963) and Lacombe, Lucien (Louis Malle, 1974) beginning at 7:00 PM.
- Visit by French Cinematographer Caroline Champetier (October 25)
- Public discussion begins at 7:00 PM.
- Bard Filmmakers Screenings (November 7)
- Part of an ongoing series highlighting the work of the Faculty and Staff in the Bard Film and Electronic Arts Program
- Remembering the October Revolution (October 17-20)
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Spring 2017
- Visit by French Actress Isabelle Huppert
- Special screening of The Piano Teacher (Michael Haneke, 2001) and The Ceremony (Claude Chabrol, 1995) on Tuesday, April 18th
- Public discussion beginning at 3:00 PM on Wednesday, April 19th in the Sosnoff Theater of the Richard B. Fisher Center
- Frankenstein FYSEM Symposium Event
- Special screening of both versions of the National Theatre production of Frankenstein (directed by Danny Boyle) at 6:30 and 9:00 PM on Tuesday, April 25th
- Visit by French Actress Isabelle Huppert
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Fall 2016
- Italian Silent Films with Live Musical Accompaniment (September 14)
- Includes special screening of the rare Italian films Cenere (Febo Mari, 1916, 31 minutes) and Il Fuoco (Giovanni Pastrone, 1916, 51 minutes) with original scores composed by Virginia Guastella
- Visit by Filmmaker Rabah Ameur-Zaïmeche (November 2)
- Screening of films followed by a public discussion on Wednesday, November 2nd (7:00 PM).
- Peter Hutton Memorial Screenings (October 22 and October 26)
- October 22 - 6:30 PM Screening Program
- In Titan's Goblet (1991, USA, 10 minutes, 16mm)
- Lodz Symphony (1993, USA/Poland, 20 minutes, 16mm)
- Skagafjördur (2004, USA/Iceland, 33 minutes, 16mm)
- October 26 - 3:00 PM Screening Program
- New York Portrait, Parts 1-3 (1978-1990, USA, ~50 minutes, 16mm)
- October 22 - 6:30 PM Screening Program
- Italian Silent Films with Live Musical Accompaniment (September 14)
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Spring 2016
- Visiting Filmmaker Véronique Aubouy (February 2, 7:15 PM)
- Includes special screening of Je suis Annemarie Schwarzenbach (Véronique Aubouy, 2014, France, 85 minutes)
- Co-sponsored by the Bard French Studies and Gender & Sexuality Studies Programs
- Presentation of the Restoration of In the Land of the Head Hunters (March 3, 5:00 PM)
- Screening of Edward S. Curtis's pioneering 1914 feature with a reconstruction of the original score
- Introduced by visiting scholar Aaron Glass (Bard Graduate Center)
- Co-sponsored by the Bard Anthropology Program
- Special Film Sound Events (April 5-7)
- 35mm screening of films by Howard Hawks and Jean-Luc Godard (April 5, 7:15 PM)
- 35mm screening of genre films from Hong Kong (April 6, 7:15 PM)
- Public lecture by visiting scholar Emily Thomas (Princeton University) on April 7
- Visiting Filmmaker Véronique Aubouy (February 2, 7:15 PM)
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Fall 2015
- The Best of Corto Circuito: A Mini Festival of Short Films (September 29, 5:30-8:30 PM, Weis Cinema)
- Special screening of new works by contemporary Spanish filmmakers.
- A CMIA Research Modules Event co-organized with the Bard Latin American and Iberian Studies Program
- The Films of Jean Epstein (October 16-17, Including Silent Films with Live Musical Accompaniment)
- Special weekend of rare silent and early sound prints from the Cinémathèque française and the Centre national du cinéma et de l'image animée (CNC).
- Silent films will be presented with live musical accompaniment by Ben Model.
- This program has been generously supported by the Cultural Services of the French Embassy and was organized in partnership with the Berkeley Art Museum and Pacific Film Archive.
- The Look of Silence: A Conversation with Joshua Oppenheimer (October 28, 7:15 PM, Followed by a Discussion with the Filmmaker)
- Special screening of Joshua Oppenheimer's new documentary
- Co-sponsored with the Hannah Arendt Center for Politics and Humanities and the Bard Human Rights Program
- Ashish Avikunthak Retrospective (November 4 and 5, Filmmaker in Attendance)
- Special screening of 35mm, 16mm, and digital works followed by a discussion with the filmmaker on November 4th (beginning at 7:15)
- Public discussion on November 5th (beginning at 11:50 AM)
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Bodies in Space: A Conversation with Albert Serra (November 11, 7:15 PM, Filmmaker in Attendance)
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Special screening of The Story of My Death (Albert Serra, 2014, Spain/France, 148 minutes, 35mm), followed by a discussion with the filmmaker
- Co-organized with the Clark Art Institute
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- Bard Student Film Collective (October 30 and November 20, 7:00 PM, Filmmakers in Attendance)
- Part of an ongoing series highlighting the work of the Students, Faculty, and Staff in the Bard Film and Electronic Arts Program
- Special Screening of Mistress America (Noah Baumbach, 2015) with Actress Lola Kirke '12 (December 11, 6:45 PM)
- Co-sponsored with the Bard Office of Alumni/ae Affairs.
- The Best of Corto Circuito: A Mini Festival of Short Films (September 29, 5:30-8:30 PM, Weis Cinema)
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Spring 2015
- The Decent One (February 23, Olin 6:00 PM, Filmmaker in Attendance)
- Special screening of Vanessa Lapa's new documentary on Heinrich Himmler
- Co-sponsored with the Hannah Arendt Center for Politics and Humanities
- The Poetics of Montage: A Conversation with Bernard Eisenschitz (March 3-4)
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Includes special 35mm screenings of films by Jean-Luc Godard on March 3
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Discussion with Bernard Eisenschitz about Jean-Luc Godard, montage, and international cinema on March 4 at 1:30 PM (in the theater)
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Co-sponsored by the Bard French Studies Program
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Rediscovering Georgian Cinema (March 11)
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Special screening of Eliso (Nikoloz Shengelaia, 1928, USSR, 80 minutes, 35mm), with live accompaniment by Trio Kavkasia and guest singers
- Co-sponsored by the Bard Film and Electronic Arts, Ethnomusicology, and Russian and Eurasian Studies Programs
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- Neorealism and the "Cinema of Poetry" (March 25-26)
- Special screening of Red Desert (Michelangelo Antonioni, 1964, Italy/France, 116 minutes) and The Conformist (Bernardo Bertolucci, 1970, Italy/France/West Germany, 111 minutes)
- Discussion with Joseph Luzzi (author of A Cinema of Poetry and Associate Professor of Italian Studies) and John Pruitt (Associate Professor of Film and Electronic Arts) on March 26th at 1:30 PM (in the theater)
- The 50 Year Argument (April 7, Filmmaker in Attendance)
- Special screening of the new documentary about The New York Review of Books (Martin Scorsese and David Tedeschi, 2014, 97 minutes)
- Post-screening discussion with co-director and editor David Tedeschi and Ian Buruma (Paul W. Williams Professor of Human Rights and Journalism)
- The Decent One (February 23, Olin 6:00 PM, Filmmaker in Attendance)
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Fall 2014
- North American Premiere of "Also like Life: the Films of Hou Hsiao-hsien" (September 2)
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Robert Gardner Memorial Event (September 10)
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Organized in partnership with Bard's Film and Electronic Arts and Anthropology Programs
- Introduced by Bard Film Professor Peter Hutton
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Bard Filmmakers Screening (September 17, Filmmakers in Attendance)
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Night Moves (Kelly Reichardt, 2013, USA, 112 minutes, Blu-ray)
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Being Bodies (Ephraim Asili, 2014, USA, 11 minutes, 16mm)
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- Silent Film Screening with Live Piano Accompaniment by Ben Model (September 24)
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Shoulder Arms
(Charles Chaplin, 1918, USA, 35 minutes, 35mm) -
The Big Parade
(King Vidor, 1925, USA, 151 minutes, 35mm)
*Restored tinted print from the collection of George Eastman House
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Spring 2014
Please click here for photos and videos- CMIA Launch Celebration - Friday, February 28, 4:00 PM
- Includes new prints and highlights from the CMIA Collections.
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The Complete Silent Work of Josef von Sternberg with Accompanist Ben Model - February 19 and 25
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Includes 35mm archive or studio vault prints of all of von Sternberg's surviving features
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Silent Film Music workshop with students on February 25, 2014 at 4:45 PM
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Nicholas Ray Foundation Screening Series - March 5
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Includes new 35mm restorations of They Live by Night (1948) and The Lusty Men (1952) introduced by Susan Ray (Director, Nicholas Ray Foundation)
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Organized in partnership with the Nicholas Ray Foundation and The Film Foundation
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French Director and Critic Bertrand Tavernier - March 18 and 19
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Includes special 35mm screenings on March 14 (Films by Bertrand Tavernier) and March 18 (Films by Classical Hollywood Auteurs)
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Discussion with Bertrand Tavernier about American cinema as seen by French eyes on March 19 at 1:30 PM (in the theater)
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Organized in partnership with the Cultural Services of the French Embassy
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Co-sponsored by the Bard French Studies Program
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- Cinematographer Darius Khondji - April 30/May 1
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Screening of Barry Lyndon (Stanley Kubrick, 1975, UK) on April 30
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Discussion about Stanley Kubrick, the film/digital transition, and cinematographic practice on May 1 from 11:50-1:10 in the CMIA Theater
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Inaugural Bard Filmmakers Screening - March 15
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First event in an ongoing series highlighting the work of the Faculty and Staff in the Bard Film and Electronic Arts Program
- Special screening of Wendy and Lucy (Kelly Reichardt, 2008, USA, 80 minutes, 35mm) on Saturday, March 15 at 2:00 PM with the filmmaker in attendance
- Screening organized in partnership with The Big Read, a program of the National Endowment for the Arts
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- CMIA Launch Celebration - Friday, February 28, 4:00 PM
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CMIA Launch Celebration
Click here for the introductory remarks from the CMIA Launch Celebration.
Part one:- Une catastrophe
(Jean-Luc Godard, 2008, France/Austria, 1 minute, 35mm)
*New print - Visions in Meditation #1
(Stan Brakhage, 1989, USA, 16 minutes, 16mm)
*New print - Minnie the Moocher
(Dave Fleischer, 1932, USA, 8 minutes, 35mm)
*New print - In Titan’s Goblet
(Peter Hutton, 1991, USA, 10 minutes, 16mm) - Beirut Outtakes
(Peggy Ahwesh, 2007, USA, 7 minutes, Blu-ray) - In a Lonely Place
(Nicholas Ray, 1950, USA, 94 minutes, 35mm)
*Restored print
- In the Mood for Love
(Wong Kar-wai, 2000, Hong Kong/France, 98 minutes, 35mm)
*New print
Photos
- Une catastrophe
Major Programs
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Staney Kubrick and the Vienna School (Spring 2022)
Full schedule forthcoming. -
The Japanese Period Film (Spring-Fall 2022)
Year-long program generously supported by the Japan Foundation. Please check back for full details. -
Andrei Tarkovsky and His Legacy (Spring 2020)
All events begin at 7:00 PM unless otherwise indicated.
Tuesday, January 28- Paisan
(Roberto Rossellini, 1946, Italy, 134 minutes) - Ivan's Childhood
(Andrei Tarkovsky, 1962, USSR, 97 minutes, 35mm)
- I Am Twenty
(Marlen Khutsiev, 1964, USSR, 164 minutes)
- Los Olvidados
(Luis Buñuel, 1950, Mexico, 88 minutes, 35mm)
- Andrei Rublev
(Andrei Tarkovsky, 1966-1969, USSR, 205 minutes, 35mm)
- The Hedgehog in the Fog
(Yuri Norstein, 1975, USSR, 11 minutes) - The Cranes are Flying
(Mikhail Kalatozov, 1957, USSR, 95 minutes, 35mm) - Ashes and Diamonds
(Andrzej Wajda, 1958, Poland, 110 minutes, 35mm)
- Ivan the Terrible, Part 1
(Sergei Eisenstein, 1944, USSR, 106 minutes, 35mm) - Ivan the Terrible, Part 2
(Sergei Eisenstein, 1946-1958, USSR, 88 minutes, 35mm)
- Pickpocket
(Robert Bresson, 1959, France, 79 minutes, 35mm) - Ordet
(Carl Theodor Dreyer, 1955, Denmark, 126 minutes)
- Our Century
(Artavazd Peleshian, 1983, USSR, 50 minutes) - Solaris
(Andrei Tarkovsky, 1972, USSR, 169 minutes, 35mm)
- Tale of Tales
(Yuri Norstein, 1979, USSR, 29 minutes) - The Color of Pomegranates
(Sergei Parajanov, 1969, USSR, 75 minutes) - Mirror
(Andrei Tarkovsky, 1975, USSR, 106 minutes, 35mm)
- Gare du Nord
(Jean Rouch, 1965, France, 15 minutes, 35mm) - The Bridegroom, The Actress, and the Pimp
(Jean-Marie Straub and Danièle Huillet, 1968, West Germany, 23 minutes, 35mm) - The Ascent
(Larisa Shepitko, 1977, USSR, 111 minutes, 35mm) - Gertrud
(Carl Theodor Dreyer, 1964, Denmark, 119 minutes, 35mm)
- Stalker
(Andrei Tarkovsky, 1979, USSR, 163 minutes, 35mm)
- Boris Godunov
(Valery Gergiev, 1990, USSR, 208 minutes)
- L’avventura
(Michelangelo Antonioni, 1960, Italy, 143 minutes, 35mm)
- Year of the Quiet Sun
(Krzysztof Zanussi, 1984, Poland, 110 minutes, 35mm) - Nostalghia
(Andrei Tarkovsky, 1983, USSR/Italy, 125 minutes, 35mm)
- Public lecture ("Carving Cameras: Sculpture in Film") and discussion with Professor Steven Jacobs (University of Ghent)
- Persona
(Ingmar Bergman, 1966, Sweden, 85 minutes) - The Double Life of Veronique
(Krzysztof Kieślowski, 1991, France/Poland/Norway, 98 minutes, 35mm)
- Germany Year 90 Nine Zero
(Jean-Luc Godard, 1991, France/Germany, 62 minutes, 35mm) - Celine and Julie Go Boating
(Jacques Rivette, 1974, France, 193 minutes, 35mm)
- Public lecture ("Rethinking Cinematic Reflexivity") and discussion with Professor Dan Yacavone (University of Edinburgh)
- The Sacrifice
(Andrei Tarkovsky, 1986, Sweden, 149 minutes, 35mm)
- Special screening and discussion with Emmanuel Burdeau, film scholar and former editor-in-chief of Cahiers du cinéma
- Mother and Son
(Alexander Sokurov, 1997, Russia/Germany, 73 minutes, 35mm) - Second Circle
(Alexander Sokurov, 1990, USSR, 93 minutes, 35mm)
- Distance
(Nuri Bilge Ceylan, 2002, Turkey, 110 minutes, 35mm) - The Return
(Andrey Zvyagintsev, 2003, Russia, 110 minutes, 35mm)
- Paisan
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Cinematic Shakespeare (Fall 2019-Spring 2020)
Tuesday, October 1, 7:00 PM- Throne of Blood
(Akira Kurosawa, 1957, Japan, 110 minutes, 35mm)
- Henry V
(Laurence Olivier, 1944, UK, 137 minutes, 35mm)
- Othello
(Orson Welles, 1951, Italy/USA/Morocco, 90 minutes, 35mm)*
*Archival print courtesy of the Library of Congress
- Throne of Blood
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Masterworks of Japanese Cinema (Fall 2019-Spring 2020)
This series was co-organized with, and made possible thanks to generous support from, the Japan Foundation.
Tuesday, September 3- Woman of Tokyo
(Yasujiro Ozu, 1933, Japan, 47 minutes, 35mm) - Dragnet Girl
(Yasujiro Ozu, 1933, Japan, 100 minutes, 35mm)
- Late Spring
(Yasujiro Ozu, 1949, Japan, 110 minutes, 35mm) - Sansho the Bailiff
(Kenji Mizoguchi, 1954, Japan, 126 minutes, 35mm)
- Throne of Blood
(Akira Kurosawa, 1957, Japan, 110 minutes, 35mm) - The Lower Depths
(Akira Kurosawa, 1957 Japan, 139 minutes, 35mm)
- Her Brother
(Kon Ichikawa, 1960, Japan, 98 minutes, 35mm)* - Flowing
(Mikio Naruse, 1956, Japan, 117 minutes, 35mm)*
*Imported archival prints courtesy of the Japan Foundation
- Mother
(Mikio Naruse, 1952, Japan, 98 minutes, 35mm)*
*Imported archival print courtesy of the Japan Foundation - Ginza Cosmetics
(Mikio Naruse, 1951, Japan, 87 minutes, 16mm)*
*Imported archival print courtesy of the Japan Foundation
- Kanto Wanderer
(Seijun Suzuki, 1963, Japan, 93 minutes, 35mm)*
*Imported archival print courtesy of the Japan Foundation - Double Suicide
(Masahiro Shinoda, 1969, Japan, 142 minutes, 35mm)
- Humanity and Paper Balloons
(Sadao Yamanaka, 1937, Japan, 86 minutes, 35mm)* - Love Letter
(Kinuyo Tanaka, 1953, Japan, 98 minutes, 16mm)*
*Imported archival prints courtesy of the Japan Foundation
- Kikujiro
(Takeshi Kitano, 1999, Japan, 121 minutes, 35mm)*
*Imported archival print courtesy of the Japan Foundation - Eijanaika
(Shohei Imamura, 1981, Japan, 151 minutes, 35mm)*
*Imported archival print courtesy of the Japan Foundation
- Where Chimneys are Seen
(Heinosuke Gosho, 1953, Japan, 108 minutes, 35mm)*
*Imported archival print courtesy of the Japan Foundation - Ikiru
(Akira Kurosawa, 1952, Japan, 142 minutes)
- Sanjuro
(Akira Kurosawa, 1962, Japan, 96 minutes, 35mm)
- Woman of Tokyo
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Approaches to Silent Film Music (Fall 2019)
- Hollywood masterworks with piano accompaniment by Ben Model (September 25)
- 35mm screenings of The Cameraman (Edward Sedgwick and Buster Keaton, 1928, USA, 78 minutes) and The Crowd (King Vidor, 1928, USA, 104 minutes), followed by a discussion with the musician.
- Austrian silent film with new score by Donald Sosin and Alicia Svigals (October 2)
- Special screening of the new Filmarchiv restoration of The City Without Jews (Hans Karl Breslauer, 1924, Austria, 91 minutes), presented with the live performance of an original score by Donald Sosin and klezmer violinist Alicia Svigals. There will be a discussion with the musicians following the screening.
- Italian silent film with new guitar and mandolin score by John La Barbera (October 16)
- Special screening of Assunta Spina (Gustavo Serena, 1915, Italy, 63 minutes). followed by a discussion with the musicians
- Hollywood masterworks with piano accompaniment by Ben Model (September 25)
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Korngold and the Hollywood Film Score (2019 SummerScape Film Series)
The 2019 SummerScape Film Series will explore the history and development of ambitious Hollywood film scores. In addition to highlighting the rich orchestral music Erich Korngold wrote for Warner Brothers studio films, the series will explore the influence of fin-de-siecle Viennese culture on his work, his relationship with the community of émigré composers in Hollywood, and his influence on subsequent generations. Both the opening and closing weekends will feature films with exemplary Korngold scores, ranging from Max Reinhardt’s pioneering version of A Midsummer Night’s Dream to the heroic adventure films of Errol Flynn and the Jack London adaptation The Sea Wolf. Viennese connections are central to the pair of films in the second weekend – the recently restored German silent film The Ancient Law and Max Ophuls’ romantic masterpiece Letter from an Unknown Woman. Questions of emigration and travel are also central to the third weekend’s films, which feature works containing scores by Korngold’s great contemporaries Max Steiner (The Treasures of the Sierra Madre) and Bernard Herrmann (The Man Who Knew Too Much). Stanley Kubrick’s 2001 develops these musical, literary, and cultural influences into a unique audiovisual synthesis that takes the Hollywood film score in startling new directions.
All films begin at 7:00 PM.
Thursday, July 25- A Midsummer Night’s Dream
(Max Reinhardt and William Dieterle, 1935, USA, 143 minutes)*
*Preserved by the Library of Congress
Sunday, July 28- Captain Blood
(Michael Curtiz, 1935, USA, 119 minutes) - The Sea Hawk
(Michael Cutiz, 1940, USA, 127 minutes)
Thursday, August 1- The Ancient Law
(E.A. Dupont, 1923, Germany, 123 minutes)*
*Live musical accompaniment from klezmer violinist Alicia Svigals and pianist Donald Sosin
*Trailer
Sunday, August 4- Letter from an Unknown Woman
(Max Ophuls, 1948, USA, 86 minutes)*
* 35mm restored print courtesy of the UCLA Film & Television Archive. Restoration funding provided by The Film Foundation.
Thursday, August 8- Treasures of the Sierra Madre
(John Huston, 1948, USA, 126 minutes)
Sunday, August 11- The Man Who Knew Too Much
(Alfred Hitchcock, 1956, USA, 120 minutes)
Thursday, August 15- The Sea Wolf
(Michael Curtiz, 1941, USA, 100 minutes) - King’s Row
(Sam Wood, 1942, USA, 127 minutes)
Sunday, August 18- 2001: A Space Odyssey
(Stanley Kubrick, 1968, USA, 142 minutes)
- A Midsummer Night’s Dream
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International Film Noir (Fall 2018)
Tuesday, September 4- The Killers
(Robert Siodmak, 1946, USA, 105 minutes, 35mm) - Angel Face
(Otto Preminger, 1953, USA, 91 minutes, 35mm)
- The Maltese Falcon
(John Huston, 1941, USA, 101 minutes, 35mm) - The Big Sleep
(Howard Hawks, 1946, USA, 111 minutes, 35mm)
- Shadow of a Doubt
(Alfred Hitchcock, 1943, USA, 112 minutes, 35mm) - Double Indemnity
(Billy Wilder, 1944, USA, 107 minutes, 35mm)
- The Lady from Shanghai
(Orson Welles, 1947, USA, 85 minutes, 35mm) - The Postman Always Rings Twice
(Tay Garnett, 1946, USA, 113 minutes, 35mm)
- M
(Fritz Lang, 1931, Germany, 105 minutes, 35mm)
- The Night of the Hunter
(Charles Laughton, 1955, USA, 92 minutes, 35mm)*
*Film Foundation restoration print - Dark Passage
(Delmer Daves, 1947, USA, 106 minutes, 35mm)
- Scarlet Street
(Fritz Lang, 1945, USA, 105 minutes, 35mm)*
*Restored print courtesy of the Library of Congress - Clash by Night
(Fritz Lang, 1952, USA, 103 minutes, 35mm)
- Raw Deal
(Anthony Mann, 1948, USA, 79 minutes, 35mm)*
*Restored print courtesy of the Library of Congress - Pursued
(Raoul Walsh, 1947, USA, 105 minutes, 35mm)*
*35mm preservation print courtesy of the UCLA Film & Television Archive. Preservation funding provided by The Film Foundation and the AFI/NEA Film Preservation Grants Program. - Pitfall
(André de Toth, 1948, USA, 85 minutes, 35mm)*
*Restored by UCLA Film & Television Archive, with funding provided by the AFI/NEA Film Preservation Grants Program.
- The Smallest Show on Earth
(Basil Dearden, 1957, UK, 80 minutes, 35mm)*
*Imported print - Nightmare Alley
(Edmund Goulding, 1947, USA, 111 minutes, 35mm) - Gun Crazy
(Joseph H. Lewis, 1949, USA, 85 minutes, 35mm)
- Quai des Orfèvres
(Henri-Georges Clouzot, 1947, France, 106 minutes, 35mm) - Elevator to the Gallows
(Louis Malle, 1958, France, 93 minutes, 35mm)
- Brighton Rock
(John Boulting, 1948, UK, 92 minutes, 35mm) - Odd Man Out
(Carol Reed, 1947, UK, 116 minutes, 35mm)
- On Dangerous Ground
(Nicholas Ray, 1952, USA, 82 minutes, 35mm) - Stray Dog
(Akira Kurosawa, 1949, Japan, 122 minutes, 35mm)
- The Godfather, Part II
(Francis Ford Coppola, 1974, USA, 200 minutes, 35mm)*
*Restored print
- The Wrong Man
(Alfred Hitchcock, 1956, USA, 105 minutes, 35mm)
- Pickup on South Street
(Samuel Fuller, 1953, USA, 80 minutes, 35mm) - Night and the City
(Jules Dassin, 1950, USA, 96 minutes, 35mm) - He Ran All the Way
(John Berry, 1951, USA, 78 minutes, 35mm)
- The Big Heat
(Fritz Lang, 1953, USA, 90 minutes, 35mm) - Murder by Contract
(Irving Lerner, 1958, USA, 82 minutes, 35mm) - Kiss Me Deadly
(Robert Aldrich, 1955, USA, 106 minutes, 35mm)
- Touch of Evil
(Orson Welles, 1958, USA, 112 minutes, 35mm) - Point Blank
(John Boorman, 1967, USA, 92 minutes, 35mm)
- The Killing
(Stanley Kubrick, 1956, USA, 85 minutes, 35mm)
- Night Moves
(Arthur Penn, 1975, USA, 100 minutes, 35mm) - Chinatown
(Roman Polanski, 1974, USA, 130 minutes, 35mm)
- TBA
- The Killers
-
Rimsky-Korsakov and the Poetry of Cinema (2018 SummerScape Film Series)
The 2018 SummerScape Film Series will explore the influence of Russian nationalism, folk music, and exoticism in pieces by Nikolai Rimsky-Korsakov, other members of The Five, and the pioneering Mikhail Glinka on international filmmaking through a group of overlapping pairs. Two of the films – Aleksandr Sokurov’s single-shot exploration of the Hermitage museum and the socialist realist biopic Man of Music – use the music of Glinka to address questions of aesthetic continuity across the tumultuous history of modern Russia. A pair of adventurous animated films screening during the first weekend adapt Modest Mussorgsky’s A Night on Bald Mountain in strikingly original ways, setting the stage for the stylistic exuberance of the Classical Hollywood features the following weekend. Nationalist concerns are central to the third weekend’s pair of films, which demonstrate the dramatic stylistic transformation that took place in the Soviet Union after the death of Stalin and Nikita Khrushchev’s “secret speech” (The Cranes are Flying is the emblematic film of the Thaw period). A final pair of realist films utilize music by Rimsky-Korsakov and Aleksandr Borodin – Terence Davies employs part of the same Borodin String Quartet that inspired the musical Kismet – to complement their nuanced, outsider’s views of American life.
Thursday, July 26- Russian Ark
(Aleksandr Sokurov, 2002, Russia/Germany/Canada/Finland, 96 minutes)
- A Night on Bald Mountain
(Alexandre Alexeieff and Claire Parker, 1933, France, 8 minutes) - Fantasia
(Ben Sharpsteen and the Walt Disney studio, 1940, USA, 126 minutes)
- The Devil is a Woman
(Josef von Sternberg, 1935, USA, 79 minutes)
- Kismet
(Vincente Minnelli, 1955, USA, 113 minutes)*
*Imported 35mm print courtesy of the British Film Institute National Archive
- Man of Music
(Composer Glinka, Grigori Aleksandrov, 1952, USSR, 100 minutes)
- The Cranes are Flying
(Mikhail Kalatozov, 1957, USSR, 97 minutes)
- Atlantic City
(Louis Malle, 1980, Canada/France, 104 minutes)
- The House of Mirth
(Terence Davies, 2000, UK/Germany/USA, 140 minutes)
- Russian Ark
-
Andrzej Wajda and the Cinemas of Central Europe (Spring 2018)
Monday, January 29- Calling Mr. Smith
(Stefan and Franciszka Themerson, 1943, UK, 9 minutes) - A Generation
(Andrzej Wajda, 1956, Poland, 95 minutes, 35mm) - Kanał
(Andrzej Wajda, 1957, Poland, 96 minutes, 35mm)
- Passenger
(Andrzej Munk, 1963, Poland, 62 minutes)
- Ashes and Diamonds
(Andrzej Wajda, 1958, Poland, 110 minutes, 35mm) - Night Train
(Jerzy Kawalerowicz, 1959, Poland, 97 minutes)
- The Last Days of Summer
(Tadeusz Konwicki, 1958, Poland, 57 minutes)
- Innocent Sorcerers
(Andrzej Wajda, 1960, Poland, 88 minutes) - Barrier
(Jerzy Skolimowski, 1966, Poland, 77 minutes, 35mm) - The Departure
(Jerzy Skolimowski, 1967, Poland, 93 minutes, 35mm)
- House
(Dom, Walerian Borowczyk and Jen Lenica, 1958, Poland, 11 minutes) - Two Men and a Wardrobe
(Roman Polanski, 1958, Poland, 15 minutes) - The Saragossa Manuscript
(Wojciech Has, 1965, Poland, 185 minutes)
- Man of Marble
(Andrzej Wajda, 1977, Poland, 166 minutes)
- Wróblewski According to Wajda
(Andrzej Wajda, 2015, Poland, 40 minutes)
- Danton
(Andrzej Wajda, 1983, France, 132 minutes) - Moonlighting
(Jerzy Skolimowski, 1982, UK, 87 minutes)
- Promised Land
(Andrzej Wajda, 1975, Poland, 175 minutes)
- The Round-Up
(Miklós Jancsó, 1966, Hungary, 90 minutes, 35mm) - Werckmeister Harmonies
(Béla Tarr and Ágnes Hranitzky, 2000, Hungary, 145 minutes)
- Daisies
(Věra Chytlová, 1966, Czechoslovakia, 79 minutes, 35mm) - The Firemen’s Ball
(Miloš Forman, 1967, Czechoslovakia, 75 minutes, 35mm) - The Ear
(Karel Kachyňa, 1970/1989, Czechoslovakia, 93 minutes, 35mm)
- Oratorio for Prague
(Jan Němec, 1968, Czechoslovakia, 26 minutes)
- Dragon's Return
(Eduard Grečner, 1967, Czechoslovakia, 81 minutes) - Marketa Lazarová
(František Vláčil, 1967, Czechoslovakia,164 minutes, 35mm)*
*New 35mm Print
- Illumination
(Krzysztof Zanussi, 1973, Poland, 94 minutes) - Year of the Quiet Sun
(Krzysztof Zanussi, 1984, Poland, Poland/USA/West Germany, 106 minutes, 35mm)
- Young Girls of Wilko
(Andrzej Wajda, 1979, Poland, 118 minutes) - The Wedding
(Andrzej Wajda, 1973, Poland, 106 minutes)
- The Decalogue: 1
(Krzysztof Kieślowski, 1988, Poland, 57 minutes) - The Double Life of Veronique
(Krzysztof Kieślowski, 1991, France/Poland/Norway, 98 minutes, 35mm) - Red
(Krzysztof Kieślowski, 1994, France/Poland/Switzerland, 99 minutes, 35mm)
- Katyń
(Andrzej Wajda, 2007, Poland, 125 minutes) - Ida
(Paweł Pawlikowski, 2013, Poland/Denmark/France/UK, 82 minutes)
- Calling Mr. Smith
-
The Middle Ages on Film (Fall 2017-Spring 2018)
Tuesday, November 14- Parsifal
(Hans-Jürgen Syberberg, 1982, West Germany/France, 255 minutes, 35mm)
- Henry V
(Kenneth Branagh, 1989, UK, 137 minutes, 35mm)
- Henry V
(Laurence Olivier, 1944, UK, 136 minutes, 35mm)
- The Flowers of St. Francis
(Roberto Rossellini, 1950, Italy, 89 minutes, 35mm)
- Dragon's Return
(Eduard Grečner, 1967, Czechoslovakia, 81 minutes) - Marketa Lazarová
(František Vláčil, 1967, Czechoslovakia,164 minutes, 35mm)*
*New 35mm Print
- Andrei Rublev
(Andrei Tarkovsky, 1966/1969 ,USSR, 205 minutes, 35mm)
- Parsifal
-
Film Among the Arts (Spring 2016-Fall 2017)
Tuesday, February 23- Ziegeunerweisen
(Seijun Suzuki, 1980, Japan, 145 minutes, 35mm) - Yumeji
(Seijun Suzuki, 1980, Japan, 128 minutes, 35mm)
- Kagerō-za
(Seijun Suzuki, 1981, Japan, 143 minutes, 35mm)
- In the Land of the Head Hunters
(Edward S. Curtis, 1914, USA, 66 minutes, Blu-ray)
*New reconstruction with the original score
- Caravaggio (Derek Jarman, 1986, UK, 93 minutes, 35mm)
- Antonio Gaudi (Hiroshi Teshigahara, 1984, Japan, 72 minutes, 35mm)
- La Belle Noiseuse
(Jacques Rivette, 1991, France, 238 minutes, 35mm)
- Macbeth
(Roman Polanski, 1971, UK/USA, 140 minutes, 35mm) - Throne of Blood
(Akira Kurosawa, 1957, Japan, 108 minutes)
- Dust in the Wind
(Hou Hsiao-hsien, 1986, Taiwan, 110 minutes, 35mm) - Taipei Story
(Edward Yang, 1985, Taiwan, 110 minutes, 16mm)
- To Have and Have Not
(Howard Hawks, 1944, USA, 100 minutes, 35mm) - First Name Carmen
(Jean-Luc Godard, 1983, France, 82 minutes, 35mm)
- Yellow Earth
(Chen Kaige, 1985, 90 minutes, China, 35mm)
- Night and Day
(Chantal Akerman, 1991, Belgium/France/Switzerland, 92 minutes, 35mm)
- Sans Soleil
(Chris Marker, 1983, France, 103 minutes, 16mm)
- Vertigo
(Alfred Hitchcock, 1958, USA, 128 minutes, 35mm)
- The Kid
(Charles Chaplin, 1921, USA, 68 minutes, 35mm) - Solaris
(Andrei Tarkovsky, 1972, USSR, 167 minutes, 35mm)
- A Corner in Wheat
(D.W. Griffith, 1909, USA, 14 minutes) - Intolerance
(D.W. Griffith, 1916, USA, 196 minutes)
- Barry Lyndon
(Stanley Kubrick, 1975, UK, 179 minutes, 35mm)
- Les Vampires, Episode 3: The Red Codebook
(Louis Feuillade, 1915, France, 42 minutes) - The Dying Swan
(Yevgeni Bauer, 1917, Russia, 49 minutes) - The Dumb Girl of Portici
(Lois Weber and Philips Smallery, 1915, USA, 112 minutes)
- Edvard Munch
(Peter Watkins, 1976, Norway, 209 minutes)
- The Shining
(Stanley Kubrick, 1980, USA, 140 minutes, 35mm)
- Sunrise
(F.W. Murnau, 1927, USA, 95 minutes, 35mm) - Destiny
(Fritz Lang, 1921, Germany, 105 minutes)
- The Piano
(Jane Campion, 1993, New Zealand/Australia, 121 minutes, 35mm) - The Silence Before Bach
(Pere Portabella, 2007, Spain, 102 minutes, 35mm)
- Young Mr. Lincoln
(John Ford, 1961, USA, 109 minutes, 35mm) - Ride Lonesome
(Budd Boetticher, 1959, USA, 78 minutes, 35mm)
- Ivan the Terrible, Part 1
(Sergei Eisenstein, 1944, USSR, 95 minutes, 35mm) - Ivan the Terrible, Part 2
(Sergei Eisenstein, 1946/1958, USSR, 88 minutes, 35mm)
3:00 PM- Revolution: New Art for a New World
(Margy Kinmonth, 2016, UK/Russia, 85 minutes, DVD)
- Battleship Potemkin
(Sergei Eisenstein, 1925, USSR, 75 minutes. 35mm) - Earth
(Aleksandr Dovzhenko, 1930, USSR, 90 minutes, 35mm)
- The Fire Within
(Louis Malle, 1963, France, 105 minutes, 35mm) - Lacombe Lucien
(Louis Malle, 1974, France, 138 minutes, 35mm)
- Michelangelo Eye to Eye
(Michelangelo Antonioni, 2004, Italy, 12 minutes) - Passion
(Jean-Luc Godard, 1982, France, 84 minutes, 35mm) - AI Artificial Intelligence
(Steven Spielberg, 2001, 146 minutes, 35mm)
- Where Now are the Dreams of Youth?
(Yasujiro Ozu, 1932, Japan, 92 minutes, 35mm) - Sisters of the Gion
(Kenji Mizoguchi, 1936, Japan, 95 minutes, 35mm)
- Parsifal
(Hans-Jürgen Syberberg, 1982, West Germany/France, 255 minutes, 35mm)
- Meet Me in St. Louis
(Vincente Minnelli, 1944, USA, 114 minutes, 35mm) - Henry V
(Laurence Olivier, 1944, UK, 136 minutes, 35mm)
- Leo the Last
(John Boorman, 1970, UK, 105 minutes, 35mm) - There Will be Blood
(Paul Thomas Anderson, 2007, USA, 146 minutes, 35mm)
- A Study in Choreography for the Camera
(Maya Deren, 1945, USA, 4 minutes, 16mm) - The Red Shoes
(Michael Powell and Emeric Pressburger, 1948, UK, 132 minutes, 35mm) - Beau Travail
(Claire Denis, 1999, France, 96 minutes, 35mm)
- The Mirror
(Andrei Tarkovsky, 1975, USSR, 107 minutes, 35mm) - Gertrud
(Carl Theodor Dreyer, 1964, Denmark, 119 minutes, 35mm)
- Listen to Britain
(Humphrey Jennings and Stewart McAllister, 1942, UK, 20 minutes, Blu-ray) - Citizen Kane
(Orson Welles, 1941, USA, 119 minutes, 35mm) - Day of Wrath
(Carl Theodor Dreyer, 1943, Denmark, 97 minutes, 35mm)
- Fanny and Alexander
(Ingmar Bergman, 1982, Sweden/France/West Germany, 182 minutes)
- Ziegeunerweisen
-
Chopin and the Image of Romanticism (2017 SummerScape Film Series)
The 2017 SummerScape Film Series will explore the varied cinematic legacies of Romantic icon Fryderyk Chopin. It will address the mythology surrounding the composer’s biography by presenting both a celebrated American Technicolor drama and a Polish film directed by Aleksander Ford, who helped to rebuild the country’s postwar film industry as head of Film Polski and professor at the National Film School in Łódź. Two of Ford’s students, Andrzej Wajda and Roman Polanski, powerfully used Chopin’s music to highlight the ambiguities of nationhood and art during the Second World War. Similar concerns informed a subsequent generation of Polish filmmakers, Krzysztof Zanussi and Krzysztof Kieślowski, who connected Chopin’s music to the crises of the 1970s. Chopin’s music was equally important as a reference point for the intimate chamber dramas of Ingmar Bergman, and the series will conclude with two of his most moving and mysterious works. All programs begin at 7:00 PM.
Additional information on the series is here (http://blogs.bard.edu/bmf/2017/07/18/chopin-and-the-image-of-romanticism/).
Thursday, July 27- Color Studies of Chopin
(Eugeniuz Cękalski, 1937-1944, USA/Poland, 11 minutes) - The Pianist
(Roman Polanski, 2002, France/Germany/Poland/United Kingdom, 150 minutes, 35mm)
- Calling Mr. Smith
(Stefan and Franciszka Themerson, 1943, UK, 9 minutes) - Kanał
(Andrzej Wajda, 1957, Poland, 96 minutes, 35mm) - Ashes and Diamonds
(Andrzej Wajda, 1958, Poland, 103 minutes, 35mm)
- A Song to Remember
(Charles Vidor, 1945, USA, 113 minutes, 16mm) - And the Ship Sails On
(Federico Fellini, 1983, Italy, 132 minutes, 35mm)
- Chopin’s Youth
(Aleksander Ford, 1952, Poland, 121 minutes) - Lolita
(Stanley Kubrick, 1962, UK/USA, 152 minutes, 35mm)
- Camera Buff
(Krzysztof Kieślowski, 1979, Poland, 112 minutes) - White
(Krzysztof Kieślowski, 1994, France/Poland, 92 minutes 35mm)
- Smiles of a Summer’s Night
(Ingmar Bergman, 1955, Sweden, 108 minutes, 35mm) - Camouflage
(Krzysztof Zanussi, 1977, Poland, 100 minutes)
- Autumn Sonata
(Ingmar Bergman, 1978, Sweden/West Germany, 99 minutes, 35mm)
- Cries and Whispers
(Ingmar Bergman, 1972, Sweden, 106 minutes, 35mm) - Vanina Vanini
(Roberto Rossellini, 1961, Italy, 127 minutes, 35mm)
- Color Studies of Chopin
-
Films from the Jean Desmet Collection (Spring 2017)
*All films presented on rare 35mm prints courtesy of the EYE Institute (Amsterdam).
A trailer for the program is available here.
Tuesday, February 7, 8:30 PM
The Colourful World of Cinema- Ved Faenglets Port (Temptations of a Great City)
(August Blom, 1911, Denmark, 38 minutes) - L’Orgie romaine
(Louis Feuillade, 1911, France, 9 minutes) - Tra le pinete di Rodi (The Island of Rhodes)
(Savoia, 1912, Italy, 4 minutes) - Lily ménagère
(Eclair Coloris, 1914, France, 7 minutes) - Le Royaume des fleurs (The Kingdom of Flowers)
(Gaumont, c. 1914, France, 7 minutes) - La Légende des ondines
(Georges Denola, 1911, France, 6 minutes) - L’Obsession d’or (The Golden Obsession)
(Lucien Nonguet and Pathé Frères, 1906, France, 3 minutes)
- Ein Neuer Apparat zur Verhütung von Kinobränden (A New Apparatus for the Prevention of Cinema Fires)
(Germany, 1912, 3 minutes) - Le Mystère des Roches de Kador
(Léonce Perret, 1912, France, 38 minutes) - The Picture Idol
(James Young, 1912, USA, 14 minutes) - Amour et science (Love and Science)
(M.J. Hoche, 1912, France, 15 minutes) - Arthème opérateur
(Ernest Servaes, 1913, France, 7 minutes) - Una Tragedia al cinematografo (A Tragedy at the Cinema)
(Enrico Guazzoni, 1913, Italy, 8 minutes) - Al cinematografo guardate – ma non toccate (At the Cinema Look, but do not Touch)
(Italy, 1912, 6 minutes)
Cinema Fashionista- Laatse bioscoop wereldberichten [Newsreel]
(1915, Netherlands, 5 minutes) - Fior di male (Flowers of Evil)
(Carmine Gallone, 1915, Italy, 65 minutes) - La Moda vuole l’ala larga (Fashion Requires Large Hats)
(Ambrosio, 1912, Italy, 5 minutes) - Concorso di bellezza fra bambini a Torino (Children’s Beauty Pageant in Torino)
(Aquila Films, 1909, Italy, 3 minutes) - Patouillard a une femme qui veut suivre la mode (Patouillard’s Wife Wants to Follow the Fashion)
(Romeo Bosetti, 1912, France, 6 minutes)
- Ved Faenglets Port (Temptations of a Great City)
-
Ingmar Bergman and His Legacy (Spring 2017)
Tuesday, January 31- Through a Glass Darkly
(Ingmar Bergman, 1961, Sweden, 91 minutes, 35mm) - The Silence
(Ingmar Bergman, 1963, Sweden, 105 minutes, 35mm)
- Vampyr
(Carl Theodor Dreyer, 1932, Germany, 73 minutes, 35mm)
- Seventh Seal
(Ingmar Bergman, 1957, Sweden, 96 minutes) - Wild Strawberries
(Ingmar Bergman, 1957, Sweden, 93 minutes)
- Ordet
(Carl Theodor Dreyer, 1955, Denmark, 126 minutes, 16mm) - The Magician
(Ingmar Bergman, 1958, Sweden, 107 minutes)
- Music in Darkness
(Ingmar Bergman, 1948, Sweden, 86 minutes, 16mm)
- A Lesson in Love
(Ingmar Bergman, 1954, Sweden, 96 minutes, 35mm)
- Gertrud
(Carl Theodor Dreyer, 1964, Denmark, 114 minutes, 35mm)
- The Magic Flute
(Ingmar Bergman, 1975, Sweden, 135 minutes, 35mm) - Amadeus
(Miloš Forman, 1984, USA, 160 minutes, 35mm)
- Scenes from a Marriage
(Ingmar Bergman, 1973, Sweden, 283 minutes)
- Lilith
(Robert Rossen, 1964, USA, 114 minutes, 35mm) - Faces
(John Cassavetes, 1968, USA, 130 minutes, 16mm)
- The Piano Teacher
(Michael Haneke, 2001, France/Austria/Germany, 131 minutes, 35mm) - La Cérémonie
(Claude Chabrol, 1995, France, 112 minutes)
- Shame
(Ingmar Bergman, 1968, Sweden, 108 minutes, 35mm)
- Hour of the Wolf
(Ingmar Bergman, 1968, Sweden, 99 minutes, 35mm) - Passion of Anna
(Ingmar Bergman, 1969, Sweden, 101 minutes, 35mm)
- Ivan’s Childhood
(Andrei Tarkovsy, 1962, USSR, 97 minutes, 35mm) - The Sacrifice
(Andrei Tarkovsky, 1986, Sweden, 142 minutes, 35mm)
- The Mirror
(Andrei Tarkovsky, 1975, USSR, 107 minutes, 35mm)
- The Deep Blue Sea
(Terence Davies, 2011, UK, 96 minutes, 35mm) - Breaking the Waves
(Lars von Trier, 1996, Denmark, 159 minutes, 35mm)
- Fanny and Alexander
(Ingmar Bergman, 1982, Sweden/France/West Germany, 312 minutes)
- Smiles of a Summer Night
(Ingmar Bergman, 1955, Sweden, 108 minutes, 35mm)
- Autumn Sonata
(Ingmar Bergman, 1978, Sweden, 99 minutes, 35mm)
- Cries and Whispers
(Ingmar Bergman, 1972, Sweden, 106 minutes, 35mm)
- Through a Glass Darkly
-
Technicolor Epics (Spring 2017)
Wednesday, February 22, 8:45 PM- El Cid
(Anthony Mann, 1961, Italy/United States, 180 minutes, 35mm)
- The Cardinal
(Otto Preminger, 1963, USA, 172 minutes, 35mm)
- Lawrence of Arabia
(David Lean, 1962, UK, 197 minutes, 35mm)
- Hell in the Pacific
(John Boorman, 1968, USA, 103 minutes, 35mm) - The Fall of the Roman Empire
(Anthony Mann, 1964, USA, 172 minutes, 35mm)
- West Side Story
(Robert Wise, 1961, USA, 152 minutes, 35mm)
- El Cid
-
Cinematic Romanticisms (Spring 2015-Fall 2016)
Tuesday, February 3- Vertigo
(Alfred Hitchcock, 1958, USA, 128 minutes, 35mm) - The Birds
(Alfred Hitchcock, 1963, USA, 119 minutes, 35mm)
- Nostalghia
(Andrei Tarkovsky, 1983, Italy, 125 minutes, 35mm)
*New print - Mirror
(Andrei Tarkovsky, 1975, USSR, 108 minutes, 35mm)
- Queen Kelly
(Erich von Stroheim, 1929, USA, 107 minutes, 35mm) - Excalibur
(John Boorman, 1981, UK, 140 minutes, 35mm)
- Contempt
(Jean-Luc Godard, 1963, France/Italy, 102 minutes, 35mm) - Band of Outsiders
(Jean-Luc Godard, 1964, France, 94 minutes, 35mm)
- Pierrot le fou
(Jean-Luc Godard, 1965, France/Italy, 110 minutes, 35mm) - Two or Three Things I Know About Her
(Jean-Luc Godard, 1967, France, 87 minutes, 35mm)
- El Cid
(Anthony Mann, 1961, Italy/USA, 182 minutes, 35mm)
- Don't Look Now
(Nicolas Roeg, 1973, UK/Italy, 110 minutes, 35mm) - Possession
(Andrzej Zulawski, 1981, France/West Germany, 124 minutes, 35mm)
*New print
- Jean-Luc Godard Program
There will be a public discussion with Bernard Eisenschitz about Jean-Luc Godard, montage, and international cinema in the theater at 1:30 PM
Tuesday, March 10- Khrustaylov, My Car!
(Aleksei Guerman, 1998, Russia/France, 137 minutes, 35mm) - Ro.Go.Pa.G.
(Roberto Rossellini, Jean-Luc Godard, Pier Paolo Pasolini, and Ugo Gregoretti, France/Italy, 1963, 122 minutes, 16mm)
- Eliso
(Nikoloz Shengelaia, 1928, USSR, 90 minutes, 35mm)
*Archival print courtesy the Berkeley Academy of Art and Pacific Film Archive
- Nouvelle Vague
(Jean-Luc Godard, 1990, Switzerland/France, 90 minutes, 35mm) - Hail Mary
(Jean-Luc Godard, 1985, Switzerland/France/UK, 107 minutes, 35mm)
*New print
- The Age of Innocence
(Martin Scorsese, 1993, USA, 139 minutes, 35mm)
*Studio vault print - JLG/JLG
(Jean-Luc Godard, 1994, Switzerland/France, 60 minutes, 35mm) - Histoire(s) du cinéma, 4B: Les Signes parmi nous
(Jean-Luc Godard, 1998, France, 38 minutes, DVD)
- La Belle Noiseuse
(Jacques Rivette, 1991, France/Switzerland, 238 minutes, 35mm)
- Opération béton
(Jean-Luc Godard, 1955, Switzerland, 20 minutes, 35mm) - Breathless
(Jean-Luc Godard, 1960, France, 90 minutes, 35mm) - Le Petit Soldat
(Jean-Luc Godard, 1963, France, 88 minutes, 35mm)
- Liebelei
(Max Ophüls, 1933, Germany, 88 minutes, 35mm)
*Archival print courtesy Academy of Motion Picture Arts and Sciences - Lessons of Darkness
(Werner Herzog, 1992, West Germany, 50 minutes)
- Stan Brakhage Program:
- Chinese Series (2003, 3 minutes, 35mm)
- Western History (1972, 8 minutes, 16mm)
- The Dante Quartet (1987, 7 minutes, 35mm)
- Interpolations 1-5 (1992, 15 minutes, 35mm)
- The Garden of Earthly Delights (1981, 2 minutes, 35mm)
- Mother and Son
(Aleksandr Sokurov, 1997, Russia, 73 minutes, 35mm) - Faust
(F.W. Murnau, 1926, Germany, 90 minutes, 35mm)
- Notre musique
(Jean-Luc Godard, 2004, France/Switzerland, 80 minutes, 35mm)
- The Sacrifice
(Andrei Tarkovsky, 1986, Sweden/UK/France, 142 minutes, 35mm)
*New print - Keep Your Right Up
(Jean-Luc Godard, 1987, France/Switzerland, 82 minutes, 35mm)
- Andrei Rublev
(Andrei Tarkovsky, 1966/1969, USSR, 185 minutes, 35mm)
- In Praise of Love
(Jean-Luc Godard, 2001, France/Switzerland, 97 minutes, 35mm)
- Stalker
(Andrei Tarkovsky, 1979, USSR, 163 minutes, 35mm)
- Cenere
(Febo Mari, 1916, Italy, 31 minutes) - Il Fuoco
(Giovanni Pastrone, 1916, Italy, 51 minutes)
- Special Abel Gance Screening (35mm)
- Cinematic Mythologies Program including Beauty and the Beast (Jean Cocteau, 1946, France, 93 minutes, 35mm)*
*New print
- Stan Brakhage Program:
- The Dante Quartet
(1987, USA, 7 minutes, 35mm) - Creation
(1979, USA, 16 minutes, 16mm) - Arabic 3
(1980, USA, 7 minutes, 16mm) - Visions in Meditation, Part 3: Plato’s Cave
(1990, USA, 19 minutes, 16mm) - Untitled: For Marilyn
(1992, USA, 12 minutes, 16mm) - First Hymn to the Night – Novalis
(1994, 4 minutes, 16mm) - Chartres Series
(1994, 9 minutes, 16mm) - Faust's Other: An Idyll
(1988, 38 minutes, 16mm) - Faust 4
(1989, 45 minutes, 16mm)
- The Dante Quartet
- Destiny
(Fritz Lang, 1921, Germany, 105 minutes) - Sunrise
(F.W. Murnau, 1927, USA, 95 minutes, 35mm)
- L'Amour fou
(Jacques Rivette, 1968, 250 minutes, 35mm)
- The Story of Marie and Julien
(Jacques Rivette, 2003, France, 150 minutes, 35mm)
- In Titan's Goblet (1991, USA, 10 minutes, 16mm)
- Lodz Symphony (1993, USA/Poland, 20 minutes, 16mm)
- Skagafjördur (2004, USA/Iceland, 33 minutes, 16mm)
- The Book of Mary
(Anne-Marie Miéville, 1985, Switzerland/France, 27 minutes, 35mm) - Hail Mary
(Jean-Luc Godard, 1985, France/Switzerland/UK, 80 minutes, 35mm) - Death in Venice
(Luchino Visconti, 1971, Italy/France, 130 minutes, 35mm)
- New York Portrait, Parts 1-3 (1978-1990, USA, ~50 minutes, 16mm)
- A Time to Love and a Time to Die
(Douglas Sirk, 1958, USA, 132 minutes, 35mm) - Germany Year 90 Nine Zero
(Jean-Luc Godard, 1991, France, 62 minutes, 35mm) - Chinese Roulette
(Rainer Werner Fassbinder, 1976, West Germany, 84 minutes, 35mm)
- L'Intrus
(Claire Denis, 2004, France/Germany, 130 minutes, 35mm) - The Deer Hunter
(Michael Cimino, 1978, USA, 178 minutes, 35mm)
- The Double Life of Veronique
(Krzysztof Kieslowski, 1991, France/Poland/Norway, 98 minutes, 35mm) - Blue
(Krzysztof Kieslowski, 1993, France/Poland/Switzerland, 100 minutes, 35mm)
- Days of Heaven
(Terrence Malick, 1978, USA, 95 minutes, 35mm) - The New World
(Terrence Malick, 2005, USA, 150 minutes, 35mm)
- Melancholia
(Lars von Trier, 2011, Denmark/Sweden/France/Germany, 130 minutes, 35mm) - To the Wonder
(Terrence Malick, 2012, USA, 110 minutes, 35mm)
- Vertigo
-
Puccini and the Operatic Impulse in Cinema (2016 SummerScape Film Series)
With its spectacular fusion of the other arts, opera has been an enduring reference point for filmmakers and audiences since the dawn of cinema at the end of the nineteenth century, precisely the moment of Giacomo Puccini’s artistic ascendancy. The 2016 SummerScape Film Series will explore the influence of Puccini’s work and of operatic emotion on innovative films in all periods. It will include both cinematic adaptations of operas like Madame Butterfly and creative responses by directors such as Sergio Leone and Martin Scorsese. Special attention will be paid to the cinematic legacy of Luchino Visconti, whose explicitly operatic work has inspired several generations of filmmakers. All screenings begin at 7:00 PM.
Thursday, July 21- A Room with a View
(James Ivory, 1985, UK, 117 minutes)
- The Toll of the Sea
(Chester M. Franklin, 1922, USA, 53 minutes) - The Last Emperor
(Bernardo Bertolucci, China/Italy/UK/France, 1987, 163 minutes)
- Senso
(Luchino Visconti, 1954, Italy, 123 minutes)
- Rocco and His Brothers
(Luchino Visconti, 1960, Italy/France, 168 minutes)
- The Leopard
(Luchino Visconti, 1963, Italy/France, 185 minutes)
- Once Upon a Time in the West
(Sergio Leone, 1968, Italy/USA/Spain, 175 minutes)
- The Age of Innocence
(Martin Scorsese, 1993, USA, 139 minutes)
- The Immigrant
(James Gray, 2013, USA, 120 minutes)
- A Room with a View
-
Seijun Suzuki and the Japanese New Wave (Spring 2016)
Wednesday, February 17- Youth of the Beast
(Seijun Suzuki, 1963, Japan, 92 minutes, 35mm)
- Ziegeunerweisen
(Seijun Suzuki, 1980, Japan, 145 minutes, 35mm) - Yumeji
(Seijun Suzuki, 1980, Japan, 128 minutes, 35mm)
- Story of a Prostitute
(Seijun Suzuki, 1965, Japan, 96 minutes, 35mm) - Kagerō-za
(Seijun Suzuki, 1981, Japan, 143 minutes, 35mm)
- Tattooed Life
(Seijun Suzuki, 1965, Japan, 87 minutes, 35mm) - Fighting Elegy
(Seijun Suzuki, 1966, Japan, 86 minutes, 35mm) - Carmen from Kawachi
(Seijun Suzuki, 1966, Japan, 89 minutes, 35mm)
- Teshigahara and Antonioni Program
- Youth of the Beast
-
Color (Fall 2015)
This program will explore the different permutations and approaches to film color with a special focus on restoration, IB Technicolor, and studio vault prints.
Tuesday, October 6- Bigger than Life
(Nicholas Ray, 1956, USA, 95 minutes, 35mm) - Written on the Wind
(Douglas Sirk, 1956, USA, 99 minutes, 35mm)
- The Ten Commandments
(Cecil B. DeMille, 1956, USA, 220 minutes, 35mm)
- The Umbrellas of Cherbourg
(Jacques Demy, 1964, France, 91 minutes, 35mm) - Moses and Aaron
(Jean-Marie Straub and Danièle Huillet, 1975, West Germany/Austria/France/Italy, 107 minutes, 16mm)
- An American in Paris
(Vincente Minnelli, 1951, USA, 113 minutes, 35mm) - The Band Wagon
(Vincente Minnelli, 1953, USA, 112 minutes, 35mm)
- Blue Velvet
(David Lynch, 1986, USA, 120 minutes, 35mm) - Beyond Rangoon
(John Boorman, 1995, USA, 100 minutes, 35mm)
- Van Gogh
(Maurice Pialat, 1991, France, 158 minutes, 35mm)
*Archival print courtesy Institut français - Police
(Maurice Pialat, 1985, France, 113 minutes, 35mm)
*Archival print courtesy Institut français
- Bird
(Clint Eastwood, 1988, USA, 161 minutes, 35mm) - Under the Sun of Satan
(Maurice Pialat, 1987, France, 97 minutes, 35mm)
*Archival print courtesy Institut français
Wednesday, November 4 (Filmmaker in Attendance)- Program of 35mm, 16mm, and Digital works by Ashish Avikunthak
- À nos amours
(Maurice Pialat, 1983, France, 95 minutes, 35mm)
*Archival print courtesy Institut français - La Gueule ouverte (Maurice Pialat, 1974, France, 82 minutes, 35mm)*Archival print courtesy Institut français
- The River
(Jean Renoir, 1951, France/UK/India, 99 minutes, 35mm) - Black Narcissus
(Michael Powell and Emeric Pressburger, 1947, UK, 100 minutes, 35mm)
- The Story of My Death
(Albert Serra, 2014, Spain/France, 148 minutes, 35mm)
- The Godfather, Part II
(Francis Ford Coppola, 1974, USA, 200 minutes, 35mm)
- The Godfather, Part III
(Francis Ford Coppola, 1990, USA, 170 minutes, 35mm)
- Blow-Up
(Michelangelo Antonioni, 1966, UK/Italy, 111 minutes, 35mm) - The Passenger
(Michelangelo Antonioni, 1975, Italy/Spain/France, 119 minutes, 35mm)
- Animation Program including:
- The Band Concert (Walt Disney, 1935, USA, 7 minutes, 16mm)
- Circles (Oskar Fischinger, 1933, Germany, 3 minutes, 16mm)
- Composition in Blue (Oskar Fischinger, 1935, Germany, 3 minutes, 16mm)
- Allegretto (Oskar Fischinger, 1936, USA, 3 minutes, 16mm)
- An American March (Oskar Fischinger, 1941, USA, 3 minutes, 16mm)
- A Colour Box (Len Lye, 1935, UK, 3 minutes, 16mm)
- Rainbow Dance (Len Lye, 1936, UK, 4 minutes, 16mm)
- Swinging the Lambeth Walk (Len Lye, 1940, UK, 4 minutes, 16mm)
- The Aviator
(Martin Scorsese, 2004, USA, 174 minutes, 35mm)
- Casino
(Martin Scorsese, 1995, USA, 178 minutes, 35mm)
- Bigger than Life
-
Jean Epstein (Fall 2015)
This program has been made possible thanks to generous support from the Cultural Services of the French Embassy.
Friday, October 16, 7:15 PM
*All films directed by Jean Epstein and screened using 35mm restoration prints courtesy the Cinémathèque française. Silent films will be presented with live musical accompaniment by Ben Model.- Part 1
- La Glace à trois faces
(1927, 38 minutes) - Sa tête
(1929, 36 minutes) - The Fall of the House of Usher
(1928, 66 minutes)
- La Glace à trois faces
- Part 2
- Mor'vran
(1929-1930, 26 minutes) - Six et demi onze
(1927, 73 minutes)
- Mor'vran
*All films directed by Jean Epstein- 12:00 PM
- La Chanson des peupliers
(1931, 6 minutes, Archival print courtesy the Centre national du cinéma et de l'image animée, CNC) - Les Aventures de Robert Macaire
(1925, 200 minutes, Restoration print courtesy the Cinémathèque française)*
*With live musical accompaniment by Ben Model
- La Chanson des peupliers
- 5:00 PM
- Les Berceaux
(1932, 6 minutes, Archival print courtesy the Cinémathèque française) - Le Tempestaire
(1947, 22 minutes, Restoration print courtesy the Cinémathèque française) - Cœur de gueux
(1936, 73 minutes, Archival print courtesy the Cinémathèque française) - Les Bâtisseurs
(1938, 54 minutes, Archival print courtesy the Centre national du cinéma et de l'image animée, CNC)
- Les Berceaux
- Part 1
-
Reinventing Mexico (2015 SummerScape Film Series)
PosterTo pay tribute to the confluence of influences shaping the work of Carlos Chávez, the SummerScape 2015 Film Series will explore the relationship between realism, modernism, and nationalism in films from and about Mexico. The series will begin with the landmark, proto-neorealist Redes (The Wave), which brought together photographer Paul Strand, director Fred Zinnemann, Chávez, and fellow composer Silvestre Reveultas. It will conclude with a group of international films – including Sergei Eisenstein’s unfinished Mexican project and John Ford’s adaptation of Graham Greene’s The Power and the Glory – that treat nineteenth and twentieth century Mexican history from different vantage points. These programs bookend an extensive retrospective of surrealist master Luis Buñuel, who worked in Mexico for nearly two decades and whose peripatetic career mirrored that of Chávez.
Saturday, July 11, 5:00 PM
- Redes (The Wave)
(Emilio Gómez Muriel and Fred Zinnemann, 1936, Mexico, 59 minutes)
Sunday, July 12, 7:00 PM
- Land Without Bread
(Luis Buñuel, 1933, Spain, 30 minutes) - Simon of the Desert
(Luis Buñuel, 1965, Mexico, 45 minutes)
- Los Olvidados
(Luis Buñuel, 1950, Mexico, 80 minutes)
Sunday, July 19, 7:00 PM
- The Criminal Life of Archibaldo de la Cruz
(Luis Buñuel, 1955, Mexico, 89 minutes) - Mexican Bus Ride
(Luis Buñuel, 1952, Mexico, 85 minutes)
- Viridiana
(Luis Buñuel, 1961, Spain, 90 minutes)
- The Exterminating Angel
(Luis Buñuel, 1962, Mexico, 95 minutes)
Saturday, August 1, 5:00 PM
- Que viva México!
(Sergei Eisenstein and Grigori Aleksandrov, 1932-1979, USSR/USA/Mexico, 84 minutes)
Sunday, August 2, 7:00 PM
- Vera Cruz
(Robert Aldrich, 1954, USA, 94 minutes) - The Fugitive
(John Ford and Emilio Fernández, 1947, USA/Mexico, 104 minutes)
- Redes (The Wave)
-
Also like Life: the Films of Hou Hsiao-hsien (Fall 2014)
This international retrospective, organized through CMIA and synchronized with the release of the book Hou Hsiao-hsien (Vienna: Österreichisches Filmmuseum and New York: Columbia University Press, 2014), travels to major museums, festivals, and cinematheques in twenty-five cities worldwide through the end of 2015.Tuesday, September 2- Dust in the Wind
(Hou Hsiao-hsien, 1986, Taiwan, 110 minutes, 35mm) - The Boys from Fengkuei
(Hou Hsiao-hsien, 1983, Taiwan, 99 minutes, 35mm)
- A City of Sadness
(Hou Hsiao-hsien, 1989, Taiwan, 158 minutes, 35mm)
- A Time to Live and a Time to Die
(Hou Hsiao-hsien, 1985, Taiwan, 136 minutes, 35mm) - The Sandwich Man
(Hou Hsiao-hsien, Wan Jen, and Tseng Chuang-hsiang, 1983, Taiwan, 105 minutes, 35mm)
- The Puppetmaster
(Hou Hsiao-hsien, 1993, Taiwan, 142 minutes, 35mm) - La Belle Epoque
(Hou Hsiao-hsien, 2011, Taiwan, 5 minutes, DVD) - A Summer at Grandpa's
(Hou Hsiao-hsien, 1984, Taiwan, 98 minutes, 35mm)
- Taipei Story
(Edward Yang, 1985, Taiwan, 110 minutes, 35mm) - Daughter of the Nile
(Hou Hsiao-hsien, 1987, Taiwan, 96 minutes, 35mm)
- Good Men, Good Women
(Hou Hsiao-hsien, 1995, Taiwan/Japan, 110 minutes, 35mm)
*New print - Goodbye South, Goodbye
(Hou Hsiao-hsien, 1996, Taiwan/Japan, 112 minutes, 35mm)
- Flowers of Shanghai
(Hou Hsiao-hsien, 1998, Taiwan/Japan, 113 minutes, 35mm)
*New print - Three Times
(Hou Hsiao-hsien, 2005, Taiwan/France, 135 minutes, 35mm)
- Les Destinées sentimentales
(Olivier Assayas, 2000, France, 180 minutes, 35mm)
*Archival print courtesy Institut français - HHH: A Portrait of Hou Hsiao-hsien
(Olivier Assayas, 2000, France/Taiwan, 91 minutes, DVD)
- The Godfather
(Francis Ford Coppola, 1972, USA, 175 minutes, 35mm)
*Restored print
- Late Spring
(Yasujiro Ozu, 1949, Japan, 108 minutes, 35mm) - Tokyo Story
(Yasujiro Ozu, 1953, Japan, 136 minutes, 35mm)
- Café Lumière
(Hou Hsiao-hsien, 2003, Japan/Taiwan, 103 minutes, 35mm) - Flight of the Red Balloon
(Hou Hsiao-hsien, 2007, France/Taiwan, 115 minutes, 35mm)
- Cute Girl
(Hou Hsiao-hsien, 1980, Taiwan, 90 minutes, 35mm) - Millennium Mambo
(Hou Hsiao-hsien, 2001, Taiwan/France, 105 minutes, 35mm)
- Cheerful Wind
(Hou Hsiao-hsien, 1981, Taiwan, 90 minutes, 35mm) - Growing Up
(Chen Kun-hou, 1983, Taiwan, 100 minutes, 35mm)
- The Electric Princess Picture House [Two versions]
(Hou Hsiao-hsien, 2007, France/Taiwan, 4 minutes and 3 minutes, DVD) - Mouchette
(Robert Bresson, 1967, France, 78 minutes, 35mm) - A Borrowed Life
(Wu Nien-jen, 1994, Taiwan, 167 minutes, 35mm)
- 3:00 PM - The Green, Green Grass of Home
(Hou Hsiao-hsien, 1982, Taiwan, 91 minutes, 16mm) - 7:00 PM - A Story of Floating Weeds
(Yasujiro Ozu, 1934, Japan, 118 minutes, 35mm) - Sisters of the Gion
(Kenji Mizoguchi, 1936, Japan, 95 minutes, 35mm)
- Raise the Red Lantern
(Zhang Yimou, 1991, China/Hong Kong/Taiwan, 125 minutes, 35mm) - Springtime in a Small Town
(Tian Zhuangzhuang, 2002, China/Hong Kong/France/Netherlands, 116 minutes, 35mm)
- Boy
(Nagisa Oshima, 1969, Japan, 97 minutes, 35mm)
*New print - The Man Who Left His Will on Film
(Nagisa Oshima, 1970, Japan, 94 minutes, 35mm)
*New print
- Floating Clouds
(Mikio Naruse, 1955, Japan, 123 minutes, 35mm) - Amarcord
(Federico Fellini, 1973, Italy/France, 123 minutes, 35mm)
- Chungking Express
(Wong Kar-wai, 1994, Hong Kong, 96 minutes, 35mm)
*New print - I Wish I Knew
(Jia Zhang-ke, 2010, China, 125 minutes, 35mm)
- Dust in the Wind
-
Remembering the Great War (Summer 2014-Fall 2014)
This program has been made possible thanks to generous support from the Cultural Services of the French Embassy.
Thursday, July 3- Grand Illusion
(Jean Renoir, 1937, France, 114 minutes, 35mm)
Sunday, July 6
- The Life and Death of Colonel Blimp
(Michael Powell and Emeric Pressburger, 1943, UK, 163 minutes, 35mm)
*Restored by the Academy Film Archive in association with the BFI National Archive, ITV Studios Global Entertainment Ltd., and The Film Foundation
Thursday, July 24
- A Farewell to Arms
(Frank Borzage, 1932, USA, 80 minutes, 35mm)
*Restored print courtesy of the UCLA Film & Television Archive. Preservation funding provided by The Film Foundation and the Hollywood Foreign Press Association.
Sunday, July 27
- Paths of Glory
(Stanley Kubrick, 1957, USA, 88 minutes, 35mm)
*Restored by the UCLA Film & Television Archive with funding provided by The Film Foundation and the Hollywood Foreign Press Association
Sunday, August 3
- From Mayerling to Sarajevo
(Max Ophuls, 1940, France, 90 minutes, 35mm)
*World premiere screening of new print
- Shoulder Arms
(Charles Chaplin, 1918, USA, 35 minutes, 35mm) - The Big Parade
(King Vidor, 1925, USA, 151 minutes, 35mm)
*Restored tinted print from the collection of George Eastman House
- Les Destinées sentimentales
(Olivier Assayas, 2000, France, 180 minutes, 35mm)
*Archival print courtesy Institut français
- Wings
(William Wellman, 1927, USA, 144 minutes, 35mm)
*Restored print - Life and Nothing But
(Bertrand Tavernier, 1989, France, 135 minutes, 35mm)
*Archival print courtesy Institut français
- All Quiet on the Western Front
(Lewis Milestone, 1930, USA, 135 minutes, 35mm)
*Restored print
- Jules and Jim
(François Truffaut, 1962, France, 105 minutes, 35mm)
- Grand Illusion
-
Schubert and the Long Nineteenth Century (2014 SummerScape Film Series)
PosterThe 2014 SummerScape Film Series will consider the many ways in which Schubert's music and early Romanticism have influenced international cinema. Some films make explicit use of particular pieces – ranging from the nuanced use of “Heidenröslein“ in Alfred Hitchcock’s Lifeboat to Michael Haneke’s modernist treatment of the Winterreise song cycle and Roman Polanski’s psychologically charged repetition of the string quartet Death and the Maiden. Others reflect more generally upon the lingering effect of ideas and sensibilities rooted in the period marked by Schubert’s brief life. To commemorate the centenary of the July Crisis in 1914, the series begins and ends with films (Grand Illusion, The Life and Death of Colonel Blimp, From Mayerling to Sarajevo) that connect those anachronistic legacies to the origins and meanings of the First World War.Thursday, July 3
- Grand Illusion
(Jean Renoir, 1937, France, 114 minutes, 35mm)
Sunday, July 6
- The Life and Death of Colonel Blimp
(Michael Powell and Emeric Pressburger, 1943, UK, 163 minutes, 35mm)
*Restored by the Academy Film Archive in association with the BFI National Archive, ITV Studios Global Entertainment Ltd., and The Film Foundation
Thursday, July 10
- The Black Cat
(Edgar G. Ulmer, 1934, USA, 65 minutes, 35mm)
*Studio vault print - Nosferatu
(F.W. Murnau, 1922, Germany, 70 minutes, 35mm)
Sunday, July 13
- Lifeboat
(Alfred Hitchcock, 1944, USA, 99 minutes, 35mm)
*Studio vault print - Waltzes from Vienna
(Alfred Hitchcock, 1934, UK, 80 minutes, 35mm)
*Archival print courtesy BFI National Archive
Thursday, July 17
- Death and the Maiden
(Roman Polanski, 1994, UK/USA/France, 103 minutes, 35mm) - Gertrud
(Carl Theodor Dreyer, Denmark, 119 minutes, 35mm)
Sunday, July 20
- The Piano Teacher
(Michael Haneke, 2001, Austria/France/Germany, 131 minutes, 35mm)
Thursday, July 24
- A Farewell to Arms
(Frank Borzage, 1932, USA, 80 minutes, 35mm)
*Restored print courtesy of the UCLA Film & Television Archive. Preservation funding provided by The Film Foundation and the Hollywood Foreign Press Association.
Sunday, July 27
- Paths of Glory
(Stanley Kubrick, 1957, USA, 88 minutes, 35mm)
*Restored by the UCLA Film & Television Archive with funding provided by The Film Foundation and the Hollywood Foreign Press Association
Thursday, July 31
- Fitzcarraldo
(Werner Herzog, 1982, West Germany/Peru, 158 minutes, 35mm)
Sunday, August 3
- From Mayerling to Sarajevo
(Max Ophuls, 1940, France, 90 minutes, 35mm)
*World premiere screening of new print - Werther
(Max Ophuls, 1938, France, 85 minutes, 35mm)
*Archival print courtesy Centre national du cinéma et de l'image animée (CNC)
- Grand Illusion
-
Celebrating American Film Archives (Spring 2014-)
Wednesday, February 19 (Live Piano Accompaniment by Ben Model)
- Docks of New York
(Josef von Sternberg, 1928, USA, 96 minutes, 35mm)
*Restored 35mm print courtesy of the UCLA Film & Television Archive
Tuesday, February 25 (Live Piano Accompaniment by Ben Model)
- Salvation Hunters
(Josef von Sternberg, 1925, USA, 79 minutes, 35mm)
*Restored 35mm print courtesy of the UCLA Film & Television Archive
Friday, February 28, 4:00 PM
- CMIA Launch Celebration
Includes new prints as well as highlights from the CMIA Collections.
- They Live by Night
(Nicholas Ray, 1948, USA, 95 minutes, 35mm)
*Restored by Warner Bros. in association with The Film Foundation and the Nicholas Ray Foundation - The Lusty Men
(Nicholas Ray, 1952, USA,113 minutes, 35mm)
*Restored by Warner Bros. in collaboration with The Film Foundation and the NNicholas Ray Foundation
- Leave Her to Heaven
(John Stahl, 1945, USA, 110 minutes, 35mm)
*Restored by the Academy Film Archive and Twentieth Century Fox with funding provided by The Film Foundation
- The Saga of Anatahan
(Josef von Sternberg, 1953, Japan, 94 minutes, 35mm)
*Restored 35mm Print courtesy of the Library of Congress
Tuesday, March 18 (Special Guest Bertrand Tavernier)
- Platinum Blonde
(Frank Capra, 1931, USA, 90 minutes, 35mm)
*Restored print - Wild River
(Elia Kazan, 1960, USA, 110 minutes, 35mm)
*Restored by the Academy Film Archive and 20th Century Fox with funding from The Film Foundation
- Under Capricorn
(Alfred Hitchcock, 1949, UK, 117 minutes, 35mm)
*Print courtesy of the ConstellationCenter Collection at the Academy Film Archive - Suspicion
(Alfred Hitchcock, 1941, USA, 99 minutes, 35mm)
*Preserved by the Library of Congress with funding provided by The Film Foundation
Sunday, July 6
- The Life and Death of Colonel Blimp
(Michael Powell and Emeric Pressburger, 1943, UK, 163 minutes)
*Restored by the Academy Film Archive in association with the BFI National Archive, ITV Studios Global Entertainment Ltd., and The Film Foundation
Thursday, July 24
- A Farewell to Arms
(Frank Borzage, 1932, USA, 80 minutes)
*Restored print courtesy of the UCLA Film & Television Archive. Preservation funding provided by The Film Foundation and the Hollywood Foreign Press Association.
*With live piano accompaniment by Ben Model- Shoulder Arms
(Charles Chaplin, 1918, USA, 35 minutes, 35mm) - The Big Parade
(King Vidor, 1925, USA, 151 minutes, 35mm)
*Restored tinted print from the collection of George Eastman house
- The Wedding March
(Erich von Stroheim, 1928, USA, 115 minutes, 35mm)
*Archival print courtesy the Library of Congress
- Stagecoach
(John Ford, 1939, USA, 96 minutes, 35mm)
*Restored 35mm print courtesy of the UCLA Film & Television Archive
- Docks of New York
-
Alfred Hitchcock (Spring 2014-Fall 2014)
Year-long retrospectiveTuesday, January 28
- North by Northwest
(Alfred Hitchcock, 1959, USA, 136 minutes, 35mm) - The Man Who Knew Too Much
(Alfred Hitchcock, 1956, USA, 120 minutes, 35mm)
*Studio vault print
Wednesday, January 29
- Rear Window
(Alfred Hitchcock, 1954, USA, 112 minutes, 35mm)
*Restored print
Tuesday, February 4
- Strangers on a Train
(Alfred Hitchcock, 1951, USA, 101 minutes, 35mm) - Saboteur
(Alfred Hitchock, 1942, USA, 109 minutes, 35mm)
Tuesday, February 11
- Notorious
(Alfred Hitchcock, 1946, USA, 101 minutes, 35mm) - The Clockmaker of St. Paul
(Bertrand Tavernier, 1974, France, 105 minutes, 35mm)
*Print courtesy of the Institut français
Tuesday, February 18
- Vertigo
(Alfred Hitchcock, 1958, USA, 128 minutes, 35mm)
- To Catch a Thief
(Alfred Hitchcock, 1955, USA, 106 minutes, 35mm)
- Under Capricorn
(Alfred Hitchcock, 1949, UK, 117 minutes, 35mm)
*Print courtesy of the ConstellationCenter Collection at the Academy Film Archive - Suspicion
(Alfred Hitchcock, 1941, USA, 99 minutes, 35mm)
*Preserved by the Library of Congress with funding provided by The Film Foundation
Tuesday, April 8
- Thirty-Nine Steps
(Alfred Hitchcock, 1935, UK, 86 minutes, 35mm) - The Lady Vanishes
(Alfred Hitchcock, 1938, UK, 96 minutes, 35mm)
Friday, April 25
- Sabotage
(Alfred Hitchcock, 1936, UK, 76 minutes, 35mm) - Secret Agent
(Alfred Hitchcock, 1936, UK, 86 minutes, 35mm)
*Print courtesy of the British Film Institute National Archive
Tuesday, April 29
- Psycho
(Alfred Hitchcock, 1960, USA, 109 minutes, 35mm) - Peeping Tom
(Michael Powell, 1960, UK, 100 minutes, 35mm)
Tuesday, May 6
- Marnie
(Alfred Hitchcock, 1964, USA, 130 minutes, 35mm) - Age of Consent
(Michael Powell, 1969, Australia, 98 minutes, 35mm)
*Restored Print
- Lifeboat
(Alfred Hitchcock, 1944, USA, 99 minutes, 35mm)
*Studio vault print - Waltzes from Vienna
(Alfred Hitchcock, 1934, UK, 80 minutes, 35mm)
*Archival print courtesy BFI National Archive
- Murder!
(Alfred Hitchcock, 1930, UK, 92 minutes, 35mm)
Friday, October 24
- Rich and Strange
(Alfred Hitchcock, 1931, UK, 83 minutes, 35mm) - The Skin Game
(Alfred Hitchcock, 1931, UK, 77 minutes, 35mm)
- Young and Innocent
(Alfred Hitchcock, 1937, UK, 83 minutes, 35mm)
- Foreign Correspondent
(Alfred Hitchcock, 1940, USA, 120 minutes, 35mm)
*Archival print courtesy BFI National Archive
- North by Northwest
-
Josef von Sternberg (Spring 2014)
Wednesday, February 19 (Live Piano Accompaniment by Ben Model)- Docks of New York
(Josef von Sternberg, 1928, USA, 75 minutes, 35mm)
*Restored 35mm print courtesy of the UCLA Film & Television Archive - The Last Command
(Josef von Sternberg, 1928, USA, 90 minutes, 35mm)
*Studio vault print
Tuesday, February 25 (Live Piano Accompaniment by Ben Model)
- Salvation Hunters
(Josef von Sternberg, 1925, USA, 79 minutes, 35mm)
*Restored 35mm print courtesy of the UCLA Film & Television Archive - Underworld
(Josef von Sternberg, 1927, USA, 97 minutes, 35mm)
*Studio vault print
Tuesday, March 4
- Morocco
(Josef von Sternberg, 1930, USA, 91 minutes, 35mm)
*Studio vault print - The Devil is a Woman
(Josef von Sternberg, 1935, USA, 79 minutes, 35mm)
*Studio vault print
Tuesday, March 11
- Shanghai Express
(Josef von Sternberg, 1932, USA, 82 minutes, 35mm)
*Studio vault print - Scarlett Empress
(Josef von Sternberg, 1934, USA, 104 minutes, 35mm)
*Studio vault print
Friday, March 7
- Thunderbolt
(Josef von Sternberg, 1929, USA, 92 minutes, 35mm)
*Studio vault print - An American Tragedy
(Josef von Sternberg, 1931, USA, 95 minutes, 35mm)
*Studio vault print
Saturday, March 15, 5:00 PM
- The Saga of Anatahan
(Josef von Sternberg, 1953, Japan, 94 minutes, 35mm)
*Restored Print courtesy of the Library of Congress
Wednesday, March 19, 9:00 PM
- Macao
(Josef von Sternberg and Nicholas Ray, 1952, USA, 81 minutes, 35mm)
Tuesday, April 1
- Hell’s Angels
(Howard Hughes, 1930, USA, 127 minutes, 35mm)
*Studio vault print with Technicolor sequence - Jet Pilot
(Josef von Sternberg, 1957, USA, 112 minutes, 35mm)
*Studio vault print
Friday, April 11
- The Shanghai Gesture
(Josef von Sternberg, 1941, USA, 91 minutes, 35mm)
*Archival print
- Docks of New York
-
Newspaper Films (Spring 2014)
Wednesday, January 29
- Rear Window
(Alfred Hitchcock, 1954, USA, 112 minutes, 35mm)
*Restored print
Wednesday, February 26
- City Streets
(Rouben Mamoulian, 1931, USA, 81 minutes, 35mm)
*Studio vault print - His Girl Friday
(Howard Hawks, 1940, USA, 112 minutes, 35mm)
Tuesday, March 18 (Special Guest Bertrand Tavernier)
- Platinum Blonde
(Frank Capra, 1931, USA, 90 minutes, 35mm)
*Restored print
- Newspaper shorts by Michelangelo Antonioni
(1956, Italy, ~10 minutes, 35mm) - The Whole Town’s Talking
(John Ford, 1935, USA, 90 minutes, 35mm)
Friday, April 11, 9:00 PM
- Citizen Kane
(Orson Welles, USA, 1941, 119 minutes, 35mm)
- Rear Window
-
2014 Tournées Festival of New French Film (Spring 2014)
Wednesday, April 9, 8:45 p.m.
- La Danse
(Frederick Wiseman, 2009, USA/France, 158 minutes, 35mm)
- Animation Program including The Illusionist
(Sylvain Chomet, 2010, UK/France, 80 minutes, 35mm)
Wednesday, May 7
- Amour
(Michael Haneke, 2012, France/Germany/Austria, 127 minutes, 35mm)
- That Obscure Object of Desire
(Luis Buñuel, 1977, France/Spain, 102 minutes, 35mm)
- Inspector Bellamy
(Claude Chabrol, 2009, France, 110 minutes, 35mm) - Almayer’s Folly
(Chantal Akerman, 2011, Belgium/France, 127 minutes, 35mm)
- La Danse
-
Michael Powell (Summer 2013-Fall 2014)
Friday, July 12, 2013
- The Red Shoes
(Michael Powell and Emeric Pressburger, UK, 1948, 132 minutes, 35mm)
*35mm restored print courtesy of the UCLA Film & Television Archive. Preservation funding provided by The Film Foundation and the Hollywood Foreign Press Association.
*Screening Introduced by Ian Buruma (Paul W. Williams Professor of Human Rights and Journalism)- A Canterbury Tale
(Michael Powell and Emeric Pressburger, UK, 1944, 125 minutes, 35mm) - I Know where I’m Going
(Michael Powell and Emeric Pressburger, UK, 1945, 92 minutes, 35mm)
Tuesday, April 22, 2014
- A Matter of Life and Death
(Michael Powell and Emeric Pressburger, UK, 1945, 104 minutes, 35mm)
*Restored Print - Black Narcissus
(Michael Powell and Emeric Pressburger, UK, 1947, 100 minutes, 35mm)
*Restored Print
Tuesday, April 29, 2014
- Psycho
(Alfred Hitchcock, 1960, USA, 109 minutes, 35mm) - Peeping Tom
(Michael Powell, 1960, UK, 100 minutes, 35mm)
Tuesday, May 6, 2014
- Marnie
(Alfred Hitchcock, 1964, USA, 130 minutes, 35mm) - Age of Consent
(Michael Powell, 1969, Australia, 98 minutes, 35mm)
*Restored Print
Sunday, July 6, 2014
- The Life and Death of Colonel Blimp
(Michael Powell and Emeric Pressburger, 1943, UK, 163 minutes)
*Restored by the Academy Film Archive in association with the BFI National Archive, ITV Studios Global Entertainment Ltd., and The Film Foundation
- The Red Shoes
-
Stravinsky's Legacy and Russian Émigré Cinema (2013 SummerScape Film Series)
PosterNo 20th-century composer has had a greater impact on cinema than the protean, perpetually adventurous Igor Stravinsky. To provide an appropriately multifaceted exploration of Stravinsky's world and legacy, the SummerScape 2013 Film Festival will be broken into two overlapping parts: a retrospective of Russian émigré filmmaking and a series of films influenced by the composer’s work.
The first two weekends will focus on the fascinating films produced by the Albatros studio, which combine elements of early 20th-century modernism with a classic sensibility rooted in both French and Russian traditions. The collaboration of Stravinsky and Sergey Diaghilev on L’oiseau de feu in 1910 made the Ballets Russes into an international phenomenon, creating a vogue for Russian aesthetics that eased the transition of those who left after the 1917 Revolution. In its treatment of an impresario patterned after Diaghilev, its reinvigoration of fin-de-siècle creative models, and its haunting depiction of all-consuming artistic obsession, The Red Shoes sets the tone for the Festival. The silent films included here, some of them presented for the first time in the United States, make similarly synthetic use of then-contemporary developments in narrative form, performance, and design.
Émigré studios like Films Albatros helped support French directors committed to pushing the boundaries of cinematic art, including Jean Epstein, Marcel L’Herbier, Jacques Feyder, and Jean Renoir. They also provided an opportunity for exiled filmmakers to make the most of their encounter with the new styles available in Paris, extending the achievements of the pre-Revolutionary Russian cinema in dynamic ways. The pivotal link between these two streams was Ivan Mozzhukhin, whose hypnotic screen presence and emotionally expressive gestures made him immensely popular in both Russia and France. Mozzuhkhin is the central figure during the second weekend of the festival, which also includes the most important sound film produced by Albatros.
The second phase of the festival begins with one of the defining films of the 1920s, Marcel L’Herbier’s L’inhumaine, which includes a scene recreating the famous riot in the Théâtre des Champs-Élysées during the premiere of Stravinsky’s Le sacre du printemps. Other films during the last two weekends make provocative use of particular Stravinsky pieces (The Truth); were created by artists who collaborated with him on important works (Rapt, Orpheus); or meditate upon his practice – Jean-Luc Godard’s stylistic heterogeneity is in dialogue with that of Stravinsky while New Wave compatriot Claude Chabrol admired the composer’s assiduous dryness. Jacques Rivette’s La belle noiseuse brings the series full circle, using sections of Stravinsky’s late ballet Agon to enrich a subtle and profound exploration of the relationship between painter and model, the nature of creativity, and the meaning of a work of art.
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July 12- The Red Shoes
(Michael Powell and Emeric Pressburger, 1948, UK, 132 minutes, 35mm)
One of the great color films, The Red Shoes is adapted from a Hans Christian Andersen fairy tale and takes the Ballets Russes as a model for total commitment to art (Diaghilev’s pupil Léonide Massine helped to choreograph the central dance sequence). 35mm restored print courtesy of the UCLA Film & Television Archive. Preservation funding provided by The Film Foundation and the Hollywood Foreign Press Association.
July 13, 2:00 PM
*Preceded by lecture by series curator Richard I. Suchenski, live piano accompaniment by Ben Model.- The Lion of the Moguls
(Jean Epstein, 1924, France, 93 minutes, 35mm)
The most reflexive of the émigré films, The Lion of the Moguls is also one of the most fascinating – a comic gem demonstrating the wide-ranging talent of the Russian colony in Paris. The new, color-tinted Desmet 35mm print was restored by La Cinémathèque française with the collaboration of the Franco-American Cultural Fund - DGA MPA SACEM WGA.
- Casanova
(Alexandre Volkoff, 1927, France, 132 minutes, 35mm)
A visually lush superproduction starring Ivan Mozzhukhin and directed by one of the most important Russian émigré filmmakers, Casanova blends witty gags with epic scope and is as remarkable for its stylistic exuberance as its elaborate sets. The color-tinted print was restored by the Cinémathèque française.
- Le Double Amour
(Jean Epstein, 1925, France, 104 minutes, 35mm) - L'Or des mers
(Jean Epstein, 1932, France, 72 minutes, 35mm)
This special presentation of two rare films by the same director offers a chance to explore the options available to ambitious filmmakers in this period. Both prints were restored by La Cinémathèque française. The new tinted Desmet 35mm print of Double Love was restored with the collaboration of The Franco-American Cultural Fund - DGA MPA SACEM WGA.
*With live piano accompaniment by Ben Model- Le Brasier ardent
(Ivan Mozzhukhin, 1923, France, 97 minutes, 35mm) - Les Ombres qui passent
(Alexandre Volkoff, 1924, France, 100 minutes, 35mm)
The film that allegedly convinced Jean Renoir to direct, The Burning Brazier demonstrates Ivan Mozzhukhin’s flamboyant eccentricity at its finest. Mozzhukhin also wrote Passing Shadows, a comic masterwork inspired by Chaplin and Keaton. This is the North American premiere screening of new, color-tinted restorations by the Cinémathèque française.
- The Late Mathias Pascal
(Marcel L'Herbier, 1926, France, 175 minutes, 35mm)
The Late Mathias Pascal is an utterly unique synthesis of Ivan Mozzhukhin’s mercurial acting, Marcel L’Herbier’s cool elegance, and the labyrinthine structure of Luigi Pirandello’s source novel about a man who pretends he is dead. This is the North American premiere screening of a new, color-tinted restoration by the Cinémathèque française.
- The Lower Depths
(Jean Renoir, 1936, France, 90 minutes, 35mm)
In the last major Albatros production and one of the key films of the Popular Front, Jean Renoir continues his reinvention of theatrical adaptation, using Maxim Gorky’s classic play and a charismatic performance by Jean Gabin to create “a realistic poem on the loss of human dignity.”
*With live piano accompaniment by Ben Model- The Living Image
(Le Vertige, Marcel L'Herbier, 1926, France, 118 minutes, 35mm)
Marcel L’Herbier traces the journey of a Russian family from Petrograd to Nice, expressing the emotions of the story through sets and costumes designed in collaboration with Robert Mallet-Stevens and Robert and Sonia Delaunay. The 35mm print was restored by the Archives françaises du film du CNC, Bois d’Arcy.
*With live piano accompaniment by Ben Model- The New Gentlemen
(Jacques Feyder, 1929, France, 123 minutes, 35mm)
Jacques Feyder’s satirical treatment of Third Republic politics is distinguished for its location footage in Paris as well as its comic verve. This is the North American premiere screening of a new restoration by the Cinémathèque française.
*With live piano accompaniment by Ben Model- L'Inhumaine
(Marcel L’Herbier, 1924, France, 132 minutes, 35mm)
One of the signature films of the silent era, the quintessentially modern L’inhumaine restages the riotous premiere of Stravinsky’s Le sacre du printemps and connects Symbolist aestheticism to Art Deco design. The 35mm print was restored by the Archives françaises du film du CNC, Bois d’Arcy.
- Rapt
(Dimitri Kirsanoff, 1934, France/Switzerland, 86 minutes, 35mm) - Autumn Mists
(Dimitri Kirsanoff, 1928, France, 12 minutes, 35mm) - Chanson d’Armor
(Jean Epstein, 1934, France, 38 minutes, 35mm)
The first adaptation of a novel by Charles-Ferdinand Ramuz, who wrote the libretto for Stravinsky’s Histoire du soldat, Rapt features a nuanced performance by Dita Parlo and makes extraordinary use of mountain landscapes, contrapuntal sound, and an original score by Arthur Honegger. The 35mm prints are courtesy of La Cinémathèque française and La Cinémathèque suisse, with kind support from the Consulate General of Switzerland in New York.
- The Truth
(La Vérité, Henri-Georges Clouzot, 1960, France/Italy, 130 minutes, 35mm) - Altair
(Lewis Klahr, 1994, USA, 8 minutes, 16mm)
In Henri-Georges Clouzot’s response to the French New Wave, Brigitte Bardot’s relationship with a young composer is linked to Stravinsky’s The Firebird, the same piece used in Lewis Klahr’s experimental short Altair.
- Pierrot le fou
(Jean-Luc Godard, 1965, France/Italy, 110 minutes, 35mm)
Jean-Luc Godard’s classic exploration of love on the run—starring Jean-Paul Belmondo and Anna Karina—can be compared, in both its formal ingenuity and emotional range, to Stravinsky’s treatment of mythological themes.
- Les Bonnes Femmes
(Claude Chabrol, 1960, France/Italy, 100 minutes, 35mm)
Claude Chabrol’s characteristic mixture of black humor, sophisticated mise-en-scène, and behavioral naturalism is abundantly evident in this nuanced depiction of the lives of four Parisian women (two of them played by New Wave icons Bernadette Lafont and Stéphane Audran).
- La Cérémonie
(Claude Chabrol, 1995, France/Germany, 112 minutes, 35mm)
Sandrine Bonnaire and Chabrol veteran Isabelle Huppert develop an unusual friendship in this enigmatic and eerily ritualistic critique of complacency and hypocrisy.
- Orpheus
(Jean Cocteau, 1950, France, 95 minutes, 35mm)
Jean Cocteau, who collaborated with Stravinsky on the opera Oedipus Rex in 1927, made this oneiric film about one of the most important Greek myths two years after Orpheus, the ballet Stravinsky developed with George Balanchine, premiered.
- La Belle Noiseuse
(Jacques Rivette, 1991, France/Switzerland, 238 minutes, 35mm) - Three Homerics
(Stan Brakhage, 1993, USA, 6 minutes, 16mm)
Michel Piccoli, Emmanuelle Béart, and Jane Birkin star in this masterpiece about the mysteries of art, which makes insightful use of excerpts from two Stravinsky ballets (Petrushka and Agon)
- The Red Shoes
Full Screening Schedule
-
Spring 2018
Monday, January 29- Calling Mr. Smith
(Stefan and Franciszka Themerson, 1943, UK, 9 minutes) - A Generation
(Andrzej Wajda, 1956, Poland, 95 minutes, 35mm) - Kanał
(Andrzej Wajda, 1957, Poland, 96 minutes, 35mm)
- Passenger
(Andrzej Munk, 1963, Poland, 62 minutes)
- Paisà
(Roberto Rossellini, 1946, Italy, 115 minutes) - Flowers of St. Francis
(Roberto Rossellini, 1950, Italy, 89 minutes, 35mm)
- Ashes and Diamonds
(Andrzej Wajda, 1958, Poland, 110 minutes, 35mm) - Night Train
(Jerzy Kawalerowicz, 1959, Poland, 97 minutes)
- The Last Days of Summer
(Tadeusz Konwicki, 1958, Poland, 57 minutes)
- Duck Amuck
(Chuck Jones, 1953, USA, 8 minutes, 35mm) - Out of the Past
(Jacques Tourneur, 1947, USA, 97 minutes, 35mm) - Los Olvidados
(Luis Buñuel, 1950, Mexico, 88 minutes, 35mm)
- Innocent Sorcerers
(Andrzej Wajda, 1960, Poland, 88 minutes) - Barrier
(Jerzy Skolimowski, 1966, Poland, 77 minutes, 35mm) - The Departure
(Jerzy Skolimowski, 1967, Poland, 93 minutes, 35mm)
- Ikiru
(Akira Kurosawa, 1952, Japan, 142 minutes)
- House
(Dom, Walerian Borowczyk and Jen Lenica, 1958, Poland, 11 minutes) - Two Men and a Wardrobe
(Roman Polanski, 1958, Poland, 15 minutes) - The Saragossa Manuscript
(Wojciech Has, 1965, Poland, 185 minutes)
- Pickpocket
(Robert Bresson, 1959, France, 79 minutes, 35mm) - On the Waterfront
(Elia Kazan, 1954, USA, 108 minutes, 35mm)
- Man of Marble
(Andrzej Wajda, 1977, Poland, 166 minutes)
- Wróblewski According to Wajda
(Andrzej Wajda, 2015, Poland, 40 minutes)
- The Pink Panther
(Blake Edwards, 1963, USA, 115 minutes, 35mm)*
*IB Technicolor Print - McCabe and Mrs. Miller
(Robert Altman, 1971, USA, 121 minutes, 35mm)
- Danton
(Andrzej Wajda, 1983, France, 132 minutes) - Moonlighting
(Jerzy Skolimowski, 1982, UK, 87 minutes)
- Meshes of the Afternoon
(Maya Deren, 1943, USA, 14 minutes, 16mm) - Visions in Meditation #1
(Stan Brakhage, 1989, USA, 16 minutes, 16mm) - The Dante Quartet
(Stan Brakhage, 1987, USA, 7 minutes, 35mm) - Once Upon a Time in the West
(Sergio Leone, 1968, Italy/USA, 175 minutes, 35mm)
- Promised Land
(Andrzej Wajda, 1975, Poland, 175 minutes)
- Mean Streets
(Martin Scorsese, USA, 1973, 112 minutes, 35mm) - Raging Bull
(Martin Scorsese, USA, 1980, 128 minutes, 35mm)
- The Round-Up
(Miklós Jancsó, 1966, Hungary, 90 minutes, 35mm) - Werckmeister Harmonies
(Béla Tarr and Ágnes Hranitzky, 2000, Hungary, 145 minutes)
- 8 ½
(Federico Fellini, 1963, Italy, 138 minutes, 35mm) - The Passenger
(Michelangelo Antonioni, 1975, Italy/Spain/France, 126 minutes, 35mm)
- Daisies
(Věra Chytlová, 1966, Czechoslovakia, 79 minutes, 35mm) - The Firemen’s Ball
(Miloš Forman, 1967, Czechoslovakia, 75 minutes, 35mm) - The Ear
(Karel Kachyňa, 1970/1989, Czechoslovakia, 93 minutes, 35mm)
- Oratorio for Prague
(Jan Němec, 1968, Czechoslovakia, 26 minutes)
- Gare du Nord
(Jean Rouch, 1965, France, 15 minutes, 35mm) - My Life to Live
(Jean-Luc Godard, 1962, France, 84 minutes, 35mm) - Cléo from 5 to 7
(Agnés Varda, 1961, France, 90 minutes, 35mm)
- Dragon's Return
(Eduard Grečner, 1967, Czechoslovakia, 81 minutes) - Marketa Lazarová
(František Vláčil, 1967, Czechoslovakia,164 minutes, 35mm)*
*New 35mm Print
- Killer of Sheep
(Charles Burnett, 1977, USA, 83 minutes, 35mm)*
*Preceded by public discussion with Burnett
- Dr. Strangelove
(Stanley Kubrick, 1964, USA, 103 minutes, 35mm) - The Godfather
(Francis Ford Coppola, 1972, USA, 175 minutes, 35mm)
- Two English Girls
(François Truffaut, 1971, France, 130 minutes, 35mm) - Van Gogh
(Maurice Pialat, 1991, France, 158 minutes)
- Public discussion with editor Yann Dedet
- Illumination
(Krzysztof Zanussi, 1973, Poland, 94 minutes) - Year of the Quiet Sun
(Krzysztof Zanussi, 1984, Poland, Poland/USA/West Germany, 106 minutes, 35mm)
- The Seasons
(Artavazd Peleshian, 1975, USSR, 28 minutes) - Andrei Rublev
(Andrei Tarkovsky, 1966/1969 ,USSR, 205 minutes, 35mm)
- Young Girls of Wilko
(Andrzej Wajda, 1979, Poland, 118 minutes) - The Wedding
(Andrzej Wajda, 1973, Poland, 106 minutes)
- Yellow Earth
(Chen Kaige, 1984, China, 91 minutes, 35mm) - Good Men, Good Women
(Hou Hsiao-hsien, 1995, Taiwan/Japan, 108 minutes, 35mm)*
*New 35mm Print
- The Decalogue: 1
(Krzysztof Kieślowski, 1988, Poland, 57 minutes) - The Double Life of Veronique
(Krzysztof Kieślowski, 1991, France/Poland/Norway, 98 minutes, 35mm) - Red
(Krzysztof Kieślowski, 1994, France/Poland/Switzerland, 99 minutes, 35mm)
- In Praise of Love
(Jean-Luc Godard, 2001, France/Switzerland, 98 minutes, 35mm) - Magnolia
(Paul Thomas Anderson, 1999, USA, 188 minutes, 35mm)
- Katyń
(Andrzej Wajda, 2007, Poland, 125 minutes) - Ida
(Paweł Pawlikowski, 2013, Poland/Denmark/France/UK, 82 minutes)
- Calling Mr. Smith
-
Fall 2017
Tuesday, September 5- Vertigo
(Alfred Hitchcock, 1958, USA, 128 minutes, 35mm)
- Early Cinema Program
- Arrival of a Train
(Auguste and Louis Lumière, 1895, France, 1 minute) - Avenue de l’Opéra
(Alice Guy, 1900, France, 1 minute) - Grandma’s Reading Glass
(G.A. Smith, 1900, UK, 2 minutes) - The Countryman and the Cinematograph
(R.W. Paul, 1901, UK, 1 minute) - What Happened on Twenty-Third Street, New York
(Edwin S. Porter, 1901, USA, 1
minute) - Coney Island at Night
(Edwin S. Porter, 1905, USA, 5 minutes) - Films of the San Francisco Earthquake
(Robert K. Bonine, 1906, USA, 2 minutes) - The Life of an American Fireman
(Edwin S. Porter, 1903, USA, 6 minutes) - The Great Train Robbery
(Edwin S. Porter, 1903, USA, 11 minutes) - A Trip to the Moon
(Georges Méliès, 1902, France, 14 minutes) - The Red Spectre
(Segundo de Chomón, 1907, Spain/France, 8 minutes) - Sherlock Jr.
(Buster Keaton, 1924, USA, 45 minutes)
- Arrival of a Train
- The Prestige
(Christopher Nolan, 2006, UK/USA, 130 minutes, 35mm)
- The Kid
(Charles Chaplin, 1921, USA, 68 minutes, 35mm) - Solaris
(Andrei Tarkovsky, 1972, USSR, 167 minutes, 35mm)
- A Corner in Wheat
(D.W. Griffith, 1909, USA, 14 minutes) - Intolerance
(D.W. Griffith, 1916, USA, 196 minutes)
- Barry Lyndon
(Stanley Kubrick, 1975, UK, 179 minutes, 35mm)
- Les Vampires, Episode 3: The Red Codebook
(Louis Feuillade, 1915, France, 42 minutes) - The Dying Swan
(Yevgeni Bauer, 1917, Russia, 49 minutes) - The Dumb Girl of Portici
(Lois Weber and Philips Smallery, 1915, USA, 112 minutes) - Nanook of the North
(Robert Flahery, 1922, USA, 79 minutes)
- Edvard Munch
(Peter Watkins, 1976, Norway, 201 minutes)
- The Circus
(Charles Chaplin, 1925, USA, 75 minutes, 35mm) - Greed
(Erich von Stroheim, 1924, USA, 140 minutes, 35mm)
- The Shining
(Stanley Kubrick, 1980, USA, 140 minutes, 35mm)
- Sunrise
(F.W. Murnau, 1927, USA, 95 minutes, 35mm) - Destiny
(Fritz Lang, 1921, Germany, 105 minutes)
- The Piano
(Jane Campion, 1993, New Zealand/Australia, 121 minutes, 35mm) - The Silence Before Bach
(Pere Portabella, 2007, Spain, 102 minutes, 35mm)
- Young Mr. Lincoln
(John Ford, 1961, USA, 109 minutes, 35mm) - Ride Lonesome
(Budd Boetticher, 1959, USA, 78 minutes, 35mm)
- Ivan the Terrible, Part 1
(Sergei Eisenstein, 1944, USSR, 95 minutes, 35mm) - Ivan the Terrible, Part 2
(Sergei Eisenstein, 1946/1958, USSR, 88 minutes, 35mm)
3:00 PM- Revolution: New Art for a New World
(Margy Kinmonth, 2016, UK/Russia, 85 minutes, DVD)
- Battleship Potemkin
(Sergei Eisenstein, 1925, USSR, 75 minutes. 35mm) - Earth
(Aleksandr Dovzhenko, 1930, USSR, 90 minutes, 35mm)
- The Fire Within
(Louis Malle, 1963, France, 105 minutes, 35mm) - Lacombe Lucien
(Louis Malle, 1974, France, 138 minutes, 35mm)
- Public discussion with cinematographer Caroline Champetier
- Minnie the Moocher
(Dave Fleischer, 1932, USA, 8 minutes, 35mm) - Monte Carlo
(Ernst Lubitsch, 1930, USA, 90 minutes, 35mm) - The Criminal Code
(Howard Hawks, 1931, USA, 97 minutes, 35mm) - A House Divided
(William Wyler, 1931, USA, 76 minutes, 35mm)
- Michelangelo Eye to Eye
(Michelangelo Antonioni, 2004, Italy, 12 minutes) - Passion
(Jean-Luc Godard, 1982, France, 84 minutes, 35mm) - AI Artificial Intelligence
(Steven Spielberg, 2001, 146 minutes, 35mm)
- It Happened One Night
(Frank Capra, 1934, USA, 105 minutes, 35mm) - Queen Christina
(Rouben Mamoulian, 1933, USA, 95 minutes, 35mm)
- Screening of film and video works by the faculty and staff of the Film and Electronic Arts Program
- Where Now are the Dreams of Youth?
(Yasujiro Ozu, 1932, Japan, 92 minutes, 35mm) - Sisters of the Gion
(Kenji Mizoguchi, 1936, Japan, 95 minutes, 35mm)
- Parsifal
(Hans-Jürgen Syberberg, 1982, West Germany/France, 255 minutes, 35mm)
- Meet Me in St. Louis
(Vincente Minnelli, 1944, USA, 114 minutes, 35mm) - Henry V
(Kenneth Branagh, 1989, UK, 137 minutes, 35mm)
- Leo the Last
(John Boorman, 1970, UK, 105 minutes, 35mm) - There Will be Blood
(Paul Thomas Anderson, 2007, USA, 146 minutes, 35mm)
- A Study in Choreography for the Camera
(Maya Deren, 1945, USA, 4 minutes, 16mm) - The Red Shoes
(Michael Powell and Emeric Pressburger, 1948, UK, 132 minutes, 35mm) - Beau Travail
(Claire Denis, 1999, France, 96 minutes, 35mm)
- Rules of the Game
(Jean Renoir, 1938, France, 112 minutes, 35mm) - Henry V
(Laurence Olivier, 1944, UK, 136 minutes, 35mm)
- The Mirror
(Andrei Tarkovsky, 1975, USSR, 107 minutes, 35mm) - Gertrud
(Carl Theodor Dreyer, 1964, Denmark, 119 minutes, 35mm)
- Listen to Britain
(Humphrey Jennings and Stewart McAllister, 1942, UK, 20 minutes, Blu-ray) - Citizen Kane
(Orson Welles, 1941, USA, 119 minutes, 35mm) - Day of Wrath
(Carl Theodor Dreyer, 1943, Denmark, 97 minutes, 35mm)
- Fanny and Alexander
(Ingmar Bergman, 1982, Sweden/France/West Germany, 182 minutes)
- The Palm Beach Story
(Preston Sturges, 1942, 82 minutes, 35mm) - Objective, Burma
(Raoul Walsh, 1945, 132 minutes, 35mm)
- Vertigo
-
Spring 2017
Tuesday, January 31- Through a Glass Darkly
(Ingmar Bergman, 1961, Sweden, 91 minutes, 35mm) - The Silence
(Ingmar Bergman, 1963, Sweden, 105 minutes, 35mm)
- Vampyr
(Carl Theodor Dreyer, 1932, Germany, 73 minutes, 35mm) - Programs of 35mm silent films from the Jean Desmet Collection
- The Colourful World of Cinema
- Ved Faenglets Port (Temptations of a Great City)
(August Blom, 1911, Denmark, 38 minutes) - L’Orgie romaine
(Louis Feuillade, 1911, France, 9 minutes) - Tra le pinete di Rodi (The Island of Rhodes)
(Savoia, 1912, Italy, 4 minutes) - Lily ménagère
(Eclair Coloris, 1914, France, 7 minutes) - Le Royaume des fleurs (The Kingdom of Flowers)
(Gaumont, c. 1914, France, 7 minutes) - La Légende des ondines
(Georges Denola, 1911, France, 6 minutes) - L’Obsession d’or (The Golden Obsession)
(Lucien Nonguet and Pathé Frères, 1906, France, 3 minutes)
- Ved Faenglets Port (Temptations of a Great City)
- Perils of the Pictures
- Ein Neuer Apparat zur Verhütung von Kinobränden (A New Apparatus for the Prevention of Cinema Fires)
(Germany, 1912, 3 minutes) - Le Mystère des Roches de Kador
(Léonce Perret, 1912, France, 38 minutes) - The Picture Idol
(James Young, 1912, USA, 14 minutes) - Amour et science (Love and Science)
(M.J. Hoche, 1912, France, 15 minutes) - Arthème opérateur
(Ernest Servaes, 1913, France, 7 minutes) - Una Tragedia al cinematografo (A Tragedy at the Cinema)
(Enrico Guazzoni, 1913, Italy, 8 minutes) - Al cinematografo guardate – ma non toccate (At the Cinema Look, but do not Touch)
(Italy, 1912, 6 minutes)
- Ein Neuer Apparat zur Verhütung von Kinobränden (A New Apparatus for the Prevention of Cinema Fires)
- The Colourful World of Cinema
- Duck Amuck
(Chuck Jones, 1953, USA, 8 minutes, 35mm) - Los Olvidados
(Luis Buñuel, 1950, Mexico, 88 minutes, 35mm) - Programs of 35mm silent films from the Jean Desmet Collection
- Cinema Fashionista
- Laatse bioscoop wereldberichten [Newsreel]
(1915, Netherlands, 5 minutes) - Fior di male (Flowers of Evil)
(Carmine Gallone, 1915, Italy, 65 minutes) - La Moda vuole l’ala larga (Fashion Requires Large Hats)
(Ambrosio, 1912, Italy, 5 minutes) - Concorso di bellezza fra bambini a Torino (Children’s Beauty Pageant in Torino)
(Aquila Films, 1909, Italy, 3 minutes) - Patouillard a une femme qui veut suivre la mode (Patouillard’s Wife Wants to Follow the Fashion)
(Romeo Bosetti, 1912, France, 6 minutes)
- Laatse bioscoop wereldberichten [Newsreel]
- Cinema Fashionista
- Seventh Seal
(Ingmar Bergman, 1957, Sweden, 96 minutes) - Wild Strawberries
(Ingmar Bergman, 1957, Sweden, 93 minutes)
- Ordet
(Carl Theodor Dreyer, 1955, Denmark, 126 minutes, 16mm) - The Magician
(Ingmar Bergman, 1958, Sweden, 107 minutes)
- Robert Bresson film
- El Cid
(Anthony Mann, 1961, Italy/United States, 180 minutes, 35mm)
- Music in Darkness
(Ingmar Bergman, 1948, Sweden, 86 minutes, 16mm) - The Cardinal
(Otto Preminger, 1963, USA, 172 minutes, 35mm)
- Meshes of the Afternoon
(Maya Deren, 1943, USA, 14 minutes, 16mm) - Visions in Meditation #1
(Stan Brakhage, 1989, USA, 16 minutes, 16mm) - Aubade
(Nathaniel Dorsky, 2010, USA, 11 minutes, 16mm) - Lawrence of Arabia
(David Lean, 1962, UK, 197 minutes, 35mm)
- A Lesson in Love
(Ingmar Bergman, 1954, Sweden, 96 minutes, 35mm) - Smiles of a Summer Night
(Ingmar Bergman, 1955, Sweden, 108 minutes, 35mm)
- Hell in the Pacific
(John Boorman, 1968, USA, 103 minutes, 35mm) - The Fall of the Roman Empire
(Anthony Mann, 1964, USA, 172 minutes, 35mm)
- Seven Samurai
(Akira Kurosawa, 1954, Japan, 207 minutes, 35mm)
- Gertrud
(Carl Theodor Dreyer, 1964, Denmark, 114 minutes, 35mm)
- Bonnie and Clyde
(Arthur Penn, 1967, USA, 112 minutes, 35mm) - West Side Story
(Robert Wise, 1961, USA, 152 minutes, 35mm)
- Autumn Sonata
(Ingmar Bergman, 1978, Sweden, 99 minutes, 35mm) - Cries and Whispers
(Ingmar Bergman, 1972, Sweden, 106 minutes, 35mm)
- Red Desert
(Michelangelo Antonioni, 1964, Italy/France, 116 minutes, 35mm) - Oedipus Rex
(Pier Paolo Pasolini, 1967, Italy, 104 minutes, 35mm)
- The Magic Flute
(Ingmar Bergman, 1975, Sweden, 135 minutes, 35mm) - Amadeus
(Miloš Forman, 1984, USA, 160 minutes, 35mm)
- Scenes from a Marriage
(Ingmar Bergman, 1973, Sweden, 283 minutes)
- Godard/Truffaut Program
- Lilith
(Robert Rossen, 1964, USA, 114 minutes, 35mm) - Faces
(John Cassavetes, 1968, USA, 130 minutes, 16mm)
- Shadows
(John Cassavetes, 1959, USA, 81 minutes, 35mm) - Mean Streets
(Martin Scorsese, 1973, USA, 112 minutes, 35mm)
- The Piano Teacher
(Michael Haneke, 2001, France/Austria/Germany, 131 minutes, 35mm) - La Cérémonie
(Claude Chabrol, 1995, France, 112 minutes)
- Black Girl
(Ousmane Sembène, 1965, Senegal/France, 65 minutes, 35mm) - The Chronicle of Anna Magdalena Bach
(Jean-Marie Straub and Danièle Huillet, 1968,West Germany, 94 minutes, 35mm) - Shame
(Ingmar Bergman, 1968, Sweden, 108 minutes, 35mm)
- The Round-Up
(Miklós Jancsó, 1966, Hungary, 90 minutes, 35mm) - Year of the Quiet Sun
(Krzysztof Zanussi, 1984, Poland/USA/West Germany, 106
minutes, 35mm)
- Hour of the Wolf
(Ingmar Bergman, 1968, Sweden, 99 minutes, 35mm) - Passion of Anna
(Ingmar Bergman, 1969, Sweden, 101 minutes, 35mm)
- Ivan’s Childhood
(Andrei Tarkovsy, 1962, USSR, 97 minutes, 35mm) - The Sacrifice
(Andrei Tarkovsky, 1986, Sweden, 142 minutes, 35mm)
- The Ascent
(Larisa Shepitko, 1977, USSR, 111 minutes, 35mm) - The Mirror
(Andrei Tarkovsky, 1975, USSR, 107 minutes, 35mm)
- The Deep Blue Sea
(Terence Davies, 2011, UK, 96 minutes, 35mm) - Breaking the Waves
(Lars von Trier, 1996, Denmark, 159 minutes, 35mm)
- The Horse Thief
(Tian Zhuangzhuang, 1986, China, 88 minutes, 35mm) - Close-Up
(Abbas Kiarostami, 1990, Iran, 98 minutes, 35mm)
- Fanny and Alexander
(Ingmar Bergman, 1982, Sweden/France/West Germany, 312 minutes)
- Beau Travail
(Claire Denis, 1999, France, 98 minutes, 35mm) - Notre musique
(Jean-Luc Godard, 2004, France/Switzerland, 80 minutes, 35mm) - Le Quattro Volte
(Michelangelo Frammartino, 2010, Italy, 88 minutes, 35mm)
- Through a Glass Darkly
-
Fall 2016
Tuesday, August 30- Vertigo
(Alfred Hitchcock, 1958, USA, 128 minutes, 35mm) - The Birds
(Alfred Hitchcock, 1963, USA, 119 minutes, 35mm)
- Nostalghia
(Andrei Tarkovsky, 1983, Italy, 125 minutes, 35mm) - Histoire(s) du cinéma 1A, 1B, 4B
(Jean-Luc Godard, 1988/1998, ~130 minutes)
- Stalker
(Andrei Tarkovsky, 1979, USSR, 163 minutes, 35mm)
- Cenere
(Febo Mari, 1916, Italy, 31 minutes) - Il Fuoco
(Giovanni Pastrone, 1916, Italy, 51 minutes)
- Special Abel Gance Screening
- Mother
(Vsevolod Pudovkin, 1926, USSR, 90 minutes) - Battleship Potemkin
(Sergei Eisenstein, 1925, USSR, 75 minutes)
- Cinematic Mythologies Program including Beauty and the Beast (Jean Cocteau, 1946, France, 93 minutes, 35mm)*
*New print
- The Gold Rush
(Charles Chaplin, 1925, USA, 95 minutes, 35mm) - The Merry Widow
(Erich von Stroheim, 1925, USA, 126 minutes, 16mm)
- Mother and Son
(Aleksandr Sokurov, 1997, Russia, 73 minutes, 35mm) - Stan Brakhage Program:
- The Dante Quartet
(1987, USA, 7 minutes, 35mm) - Creation
(1979, USA, 16 minutes, 16mm) - Arabic 3
(1980, USA, 7 minutes, 16mm) - Visions in Meditation, Part 3: Plato’s Cave
(1990, USA, 19 minutes, 16mm) - Untitled: For Marilyn
(1992, USA, 12 minutes, 16mm) - First Hymn to the Night – Novalis
(1994, 4 minutes, 16mm) - Chartres Series
(1994, 9 minutes, 16mm) - Faust's Other: An Idyll
(1988, 38 minutes, 16mm) - Faust 4
(1989, 45 minutes, 16mm)
- The Dante Quartet
- Destiny
(Fritz Lang, 1921, Germany, 105 minutes) - Sunrise
(F.W. Murnau, 1927, USA, 95 minutes, 35mm)
- L'Amour fou
(Jacques Rivette, 1968, 250 minutes, 35mm)
- Major Dundee
(Sam Peckinpah, 1965, USA, 152 minutes, 35mm) - Two Rode Together
(John Ford, 1961, USA, 109 minutes, 35mm)
- Pierrot le Fou
(Jean-Luc Godard, 1965, France/Italy, 110 minutes, 35mm) - The Story of Marie and Julien
(Jacques Rivette, 2003, France, 150 minutes, 35mm)
- The Smiling Lieutenant
(Ernst Lubitsch, 1931, USA, 89 minutes, 35mm)
- Air Mail
(John Ford, 1932, USA, 82 minutes, 35mm) - Only Yesterday
(John Stahl, 1933, USA, 105 minutes, 35mm)
- In Titan's Goblet (1991, USA, 10 minutes, 16mm)
- Lodz Symphony (1993, USA/Poland, 20 minutes, 16mm)
- Skagafjördur (2004, USA/Iceland, 33 minutes, 16mm)
- The Book of Mary
(Anne-Marie Miéville, 1985, Switzerland/France, 27 minutes, 35mm) - Hail Mary
(Jean-Luc Godard, 1985, France/Switzerland/UK, 80 minutes, 35mm) - Death in Venice
(Luchino Visconti, 1971, Italy/France, 130 minutes, 35mm)
3:00 PM (Peter Hutton Memorial Tribute)- New York Portrait, Parts 1-3 (1978-1990, USA, ~50 minutes, 16mm)
- Mr. Smith Goes to Washington
(Frank Capra, 1939, USA, 129 minutes, 35mm) - The Great McGinty
(Preston Sturges, 1940, 83 minutes, 35mm)
- A Time to Love and a Time to Die
(Douglas Sirk, 1958, USA, 132 minutes, 35mm) - Germany Year 90 Nine Zero
(Jean-Luc Godard, 1991, France, 62 minutes, 35mm) - Chinese Roulette
(Rainer Werner Fassbinder, 1976, West Germany, 84 minutes, 35mm)
Screening followed by public discussion with filmmaker Rabah Ameur-Zaïmeche.
Friday, November 4, 6:00 PM- L'Intrus
(Claire Denis, 2004, France/Germany, 130 minutes, 35mm) - The Deer Hunter
(Michael Cimino, 1978, USA, 178 minutes, 35mm)
- The Thief of Bagdad
(Michael Powell, 1940, UK, 106 minutes, 35mm) - Fantasia
(Walt Disney, et al, 1940, USA, 126 minutes, 35mm)
- The Double Life of Veronique
(Krzysztof Kieslowski, 1991, France/Poland/Norway, 98 minutes, 35mm) - Blue
(Krzysztof Kieslowski, 1993, France/Poland/Switzerland, 100 minutes, 35mm)
- La Bête humaine
(Jean Renoir, 1938, France, 109 minutes, 35mm) - Le Deuxième Souffle
(Jean-Pierre Melville, 1966, France, 150 minutes, 35mm)
- Days of Heaven
(Terrence Malick, 1978, USA, 95 minutes, 35mm) - The New World
(Terrence Malick, 2005, USA, 150 minutes, 35mm)
- Listen to Britain
(Humphrey Jennings and Stewart McAllister, 1942, UK, 20 minutes) - The Magnificent Ambersons
(Orson Welles, 1943, USA, 83 minutes, 35mm) - Day of Wrath
(Carl Theodor Dreyer, 1943, Denmark, 97 minutes, 35mm)
- Melancholia
(Lars von Trier, 2011, Denmark/Sweden/France/Germany, 130 minutes, 35mm) - To the Wonder
(Terrence Malick, 2012, USA, 110 minutes, 35mm)
- Children of Paradise
(Marcel Carné, 1945, 190 minutes, 35mm)
- Vertigo
-
Summer 2016
Thursday, July 21- A Room with a View
(James Ivory, 1985, UK, 117 minutes)
- The Toll of the Sea
(Chester M. Franklin, 1922, USA, 53 minutes) - The Last Emperor
(Bernardo Bertolucci, China/Italy/UK/France, 1987, 163 minutes)
- Senso
(Luchino Visconti, 1954, Italy, 123 minutes)
- Rocco and His Brothers
(Luchino Visconti, 1960, Italy/France, 168 minutes)
- The Leopard
(Luchino Visconti, 1963, Italy/France, 185 minutes)
- Once Upon a Time in the West
(Sergio Leone, 1968, Italy/USA/Spain, 175 minutes)
- The Age of Innocence
(Martin Scorsese, 1993, USA, 139 minutes)
- The Immigrant
(James Gray, 2013, USA, 120 minutes)
- A Room with a View
-
Spring 2016
Tuesday, February 2 (Filmmaker in Attendance)- Je suis Annemarie Schwarzenbach
(Véronique Aubouy, 2014, 85 minutes) - Vertigo
(Alfred Hitchcock, 1958, USA, 128 minutes, 35mm)
- The Kid
(Charles Chaplin, 1921, USA, 68 minutes, 35mm) - Solaris
(Andrei Tarkovsky, 1972, USSR, 167 minutes, 35mm)
- Ivan the Terrible, Part 1
(Sergei Eisenstein, 1944, USSR, 95 minutes, 35mm) - Ivan the Terrible, Part 2
(Sergei Eisenstein, 1946/1958, USSR, 88 minutes, 35mm)
- Youth of the Beast
(Seijun Suzuki, 1963, Japan, 92 minutes, 35mm)
- Ziegeunerweisen
(Seijun Suzuki, 1980, Japan, 145 minutes, 35mm) - Yumeji
(Seijun Suzuki, 1980, Japan, 128 minutes, 35mm)
- Story of a Prostitute
(Seijun Suzuki, 1965, Japan, 96 minutes, 35mm) - Kagerō-za
(Seijun Suzuki, 1981, Japan, 143 minutes, 35mm)
- In the Land of the Head Hunters
(Edward S. Curtis, 1914, USA, 66 minutes, Blu-ray)
*New reconstruction with the original score
- Edvard Munch
(Peter Watkins, 1976, Norway, 171 minutes)
- Special Film Among the Arts Program including Caravaggio (Derek Jarman, 1986, UK, 93 minutes, 35mm)
- La Belle Noiseuse
(Jacques Rivette, 1991, France, 238 minutes, 35mm)
- Tattooed Life
(Seijun Suzuki, 1965, Japan, 87 minutes, 35mm) - Fighting Elegy
(Seijun Suzuki, 1966, Japan, 86 minutes, 35mm) - Carmen from Kawachi
(Seijun Suzuki, 1966, Japan, 89 minutes, 35mm)
- Macbeth
(Roman Polanski, 1971, UK/USA, 140 minutes, 35mm) - Throne of Blood
(Akira Kurosawa, 1957, Japan, 108 minutes)
- Dust in the Wind
(Hou Hsiao-hsien, 1986, Taiwan, 110 minutes, 35mm) - Taipei Story
(Edward Yang, 1985, Taiwan, 110 minutes, 16mm)
- To Have and Have Not (Howard Hawks, 1944, USA, 100 minutes, 35mm)
- Jean-Luc Godard Program
- The Killer
(John Woo, 1989, Hong Kong, 111 minutes, 35mm) - Fulltime Killer
(Johnnie To and Wai Ka-fai, 2001, Hong Kong, 102 minutes, 35mm)
- A Study in Choreography for the Camera
(Maya Deren, 1945, USA, 4 minutes, 16mm) - The Red Shoes
(Michael Powell and Emeric Pressburger, 1948, UK, 132 minutes, 35mm) - Beau Travail
(Claire Denis, 1999, France, 96 minutes, 35mm)
- Yellow Earth
(Chen Kaige, 1985, 90 minutes, China, 35mm) - Raise the Red Lantern
(Zhang Yimou, 1994, 125 minutes, China/Hong Kong/Taiwan, 35mm)
- Night and Day
(Chantal Akerman, 1991, Belgium/France/Switzerland, 92 minutes, 35mm)
- City of Life and Death
(Lu Chuan, 2009, China, 135 minutes, 35mm)
- Teshigahara and Antonioni Program
- The Mirror
(Andrei Tarkovsky, 1975, USSR, 107 minutes, 35mm) - Sans Soleil
(Chris Marker, 1983, France, 103 minutes, 16mm)
- Crouching Tiger, Hidden Dragon
(Ang Lee, 2000, 120 minutes, Taiwan, 35mm)
- Je suis Annemarie Schwarzenbach
-
Fall 2015
Tuesday, October 6- Bigger than Life
(Nicholas Ray, 1956, USA, 95 minutes, 35mm) - Written on the Wind
(Douglas Sirk, 1956, USA, 99 minutes, 35mm)
- The Ten Commandments
(Cecil B. DeMille, 1956, USA, 220 minutes, 35mm)
- The Umbrellas of Cherbourg
(Jacques Demy, 1964, France, 91 minutes, 35mm) - Moses and Aaron
(Jean-Marie Straub and Danièle Huillet, 1975, West Germany/Austria/France/Italy, 107 minutes, 16mm)
*All films directed by Jean Epstein and screened using 35mm restoration prints courtesy the Cinémathèque française. Silent films will be presented with live musical accompaniment by Ben Model.- Part 1
- La Glace à trois faces
(1927, 38 minutes) - Sa tête
(1929, 36 minutes) - The Fall of the House of Usher
(1928, 66 minutes)
- La Glace à trois faces
- Part 2
- Mor'vran
(1929-1930, 26 minutes) - Six et demi onze
(1927, 73 minutes)
- Mor'vran
*All films directed by Jean Epstein- 12:00 PM
- La Chanson des peupliers
(1931, 6 minutes, Archival print courtesy the Centre national du cinéma et de l'image animée, CNC) - Les Aventures de Robert Macaire
(1925, 200 minutes, Restoration print courtesy the Cinémathèque française)*
*With live musical accompaniment by Ben Model
- La Chanson des peupliers
- 5:00 PM
- Les Berceaux
(1932, 6 minutes, Archival print courtesy the Cinémathèque française) - Le Tempestaire
(1947, 22 minutes, Restoration print courtesy the Cinémathèque française) - Cœur de gueux
(1936, 73 minutes, Archival print courtesy the Cinémathèque française) - Les Bâtisseurs
(1938, 54 minutes, Archival print courtesy the Centre national du cinéma et de l'image animée, CNC)
- Les Berceaux
- An American in Paris
(Vincente Minnelli, 1951, USA, 113 minutes, 35mm) - The Band Wagon
(Vincente Minnelli, 1953, USA, 112 minutes, 35mm)
- Blue Velvet
(David Lynch, 1986, USA, 120 minutes, 35mm) - Beyond Rangoon
(John Boorman, 1995, USA, 100 minutes, 35mm)
- Van Gogh
(Maurice Pialat, 1991, France, 158 minutes, 35mm)
*Archival print courtesy Institut français - Police
(Maurice Pialat, 1985, France, 113 minutes, 35mm)
*Archival print courtesy Institut français
- The Look of Silence
(Joshua Oppenheimer, 2014, Denmark/Indonesia/UK, 103 minutes)
- Inaugural Bard Student Film Collective Screening
- Bird
(Clint Eastwood, 1988, USA, 161 minutes, 35mm) - Under the Sun of Satan
(Maurice Pialat, 1987, France, 97 minutes, 35mm)
*Archival print courtesy Institut français
Wednesday, November 4 (Filmmaker in Attendance)- Program of 35mm, 16mm, and Digital works by Ashish Avikunthak
- À nos amours
(Maurice Pialat, 1983, France, 95 minutes, 35mm)
*Archival print courtesy Institut français - La Gueule ouverte (Maurice Pialat, 1974, France, 82 minutes, 35mm)*Archival print courtesy Institut français
- The River
(Jean Renoir, 1951, France/UK/India, 99 minutes, 35mm) - Black Narcissus
(Michael Powell and Emeric Pressburger, 1947, UK, 100 minutes, 35mm)
- The Story of My Death
(Albert Serra, 2014, Spain/France, 148 minutes, 35mm)
- The Godfather, Part II
(Francis Ford Coppola, 1974, USA, 200 minutes, 35mm)
- The Godfather, Part III
(Francis Ford Coppola, 1990, USA, 170 minutes, 35mm)
- Blow-Up
(Michelangelo Antonioni, 1966, UK/Italy, 111 minutes, 35mm) - The Passenger
(Michelangelo Antonioni, 1975, Italy/Spain/France, 119 minutes, 35mm)
- Animation Program including:
- The Band Concert (Walt Disney, 1935, USA, 7 minutes, 16mm)
- Circles (Oskar Fischinger, 1933, Germany, 3 minutes, 16mm)
- Composition in Blue (Oskar Fischinger, 1935, Germany, 3 minutes, 16mm)
- Allegretto (Oskar Fischinger, 1936, USA, 3 minutes, 16mm)
- An American March (Oskar Fischinger, 1941, USA, 3 minutes, 16mm)
- A Colour Box (Len Lye, 1935, UK, 3 minutes, 16mm)
- Rainbow Dance (Len Lye, 1936, UK, 4 minutes, 16mm)
- Swinging the Lambeth Walk (Len Lye, 1940, UK, 4 minutes, 16mm)
- The Aviator
(Martin Scorsese, 2004, USA, 174 minutes, 35mm)
- Casino
(Martin Scorsese, 1995, USA, 178 minutes, 35mm)
- Mistress America
(Noah Baumbach, 2015, USA, 86 minutes)
- Bigger than Life
-
Summer 2015
Saturday, July 11, 5:00 PM- Redes (The Wave)
(Emilio Gómez Muriel and Fred Zinnemann, 1936, Mexico, 59 minutes)
- Land Without Bread
(Luis Buñuel, 1933, Spain, 30 minutes) - Simon of the Desert
(Luis Buñuel, 1965, Mexico, 45 minutes)
- Los Olvidados
(Luis Buñuel, 1950, Mexico, 80 minutes)
- The Criminal Life of Archibaldo de la Cruz
(Luis Buñuel, 1955, Mexico, 89 minutes) - Mexican Bus Ride
(Luis Buñuel, 1952, Mexico, 85 minutes)
- Viridiana
(Luis Buñuel, 1961, Spain, 90 minutes)
- The Exterminating Angel
(Luis Buñuel, 1962, Mexico, 95 minutes)
- Que viva México!
(Sergei Eisenstein and Grigori Aleksandrov, 1932-1979, USSR/USA/Mexico, 84 minutes)
- Vera Cruz
(Robert Aldrich, 1954, USA, 94 minutes) - The Fugitive
(John Ford and Emilio Fernández, 1947, USA/Mexico, 104 minutes)
- Redes (The Wave)
-
Spring 2015
Tuesday, February 3
- Vertigo
(Alfred Hitchcock, 1958, USA, 128 minutes, 35mm) - The Birds
(Alfred Hitchcock, 1963, USA, 119 minutes, 35mm)
- Seven Samurai
(Akira Kurosawa, 1954, Japan, 207 minutes, 35mm)
Friday, February 6
- Nostalghia
(Andrei Tarkovsky, 1983, Italy, 125 minutes, 35mm)
*New print - Mirror
(Andrei Tarkovsky, 1975, USSR, 108 minutes, 35mm)
Tuesday, February 10
- Queen Kelly
(Erich von Stroheim, 1929, USA, 107 minutes, 35mm) - Excalibur
(John Boorman, 1981, UK, 140 minutes, 35mm)
Wednesday, February 11
- Notorious
(Alfred Hitchcock, 1946, USA, 101 minutes, 35mm) - The Lady from Shanghai
(Orson Welles, 1947, USA, 87 minutes, 35mm)
- Contempt
(Jean-Luc Godard, 1963, France/Italy, 102 minutes, 35mm) - Band of Outsiders
(Jean-Luc Godard, 1964, France, 94 minutes, 35mm)
- Last Holiday
(Henry Cass, 1950, UK, 88 minutes, 35mm)
- The Captain’s Paradise
(Anthony Kimmins, 1953, UK, 94 minutes, 35mm)
Tuesday, February 24
- Pierrot le fou
(Jean-Luc Godard, 1965, France/Italy, 110 minutes, 35mm) - Two or Three Things I Know About Her
(Jean-Luc Godard, 1967, France, 87 minutes, 35mm)
- El Cid
(Anthony Mann, 1961, Italy/USA, 182 minutes, 35mm)
Friday, February 27
- Don't Look Now
(Nicolas Roeg, 1973, UK/Italy, 110 minutes, 35mm) - Possession
(Andrzej Zulawski, 1981, France/West Germany, 124 minutes, 35mm)
*New print
Tuesday, March 3 (Special Guest Bernard Eisenschitz)
- Jean-Luc Godard Program
Wednesday, March 4 (Special Guest Bernard Eisenschitz)
There will be a public discussion with Bernard Eisenschitz about Jean-Luc Godard, montage, and international cinema in the theater at 1:30 PM- Ivan the Terrible, Part 1
(Sergei Eisenstein, 1944, USSR, 95 minutes, 35mm) - Ivan the Terrible, Part 2
(Sergei Eisenstein, 1946/1958, USSR, 88 minutes, 35mm)
- Khrustaylov, My Car!
(Aleksei Guerman, 1998, Russia/France, 137 minutes, 35mm) - Ro.Go.Pa.G.
(Roberto Rossellini, Jean-Luc Godard, Pier Paolo Pasolini, and Ugo Gregoretti, France/Italy, 1963, 122 minutes, 16mm)
Wednesday, March 11 (Live Accompaniment by Trio Kavkasia and Guest Singers)
- Eliso
(Nikoloz Shengelaia, 1928, USSR, 90 minutes, 35mm)
*Archival print courtesy the Berkeley Academy of Art and Pacific Film Archive
Tuesday, March 24
- Nouvelle Vague
(Jean-Luc Godard, 1990, Switzerland/France, 90 minutes, 35mm) - Hail Mary
(Jean-Luc Godard, 1985, Switzerland/France/UK, 107 minutes, 35mm)
*New print
- Red Desert
(Michelangelo Antonioni, 1964, Italy/France, 116 minutes, 35mm) - The Conformist
(Bernardo Bertolucci, 1970, Italy/France/West Germany, 111 minutes, 35mm)
Tuesday, March 31
- The Age of Innocence
(Martin Scorsese, 1993, USA, 139 minutes, 35mm)
*Studio vault print
- JLG/JLG
(Jean-Luc Godard, 1994, France, 60 minutes, 35mm) - Histoire(s) du cinéma 4B: Les Signes parmi nous
(Jean-Luc Godard, 1998, France, 38 minutes, DVD)
Wednesday, April 1
- La Belle Noiseuse
(Jacques Rivette, 1991, France/Switzerland, 238 minutes, 35mm)
Tuesday, April 7 (Filmmaker in Attendance)
There will be a post-film discussion with with co-director/editor David Tedeschi and Ian Buruma (Paul W. Williams Professor of Human Rights and Journalism)- The 50 Year Argument
(Martin Scorsese and David Tedeschi, 2014, USA, 97 minutes)
- Shame
(Ingmar Bergman, 1968, Sweden, 103 minutes, 35mm) - The Round-Up
(Miklós Jancsó, 1966, Hungary, 90 minutes, 35mm)
Friday, April 10
- Opération béton
(Jean-Luc Godard, 1955, Switzerland, 20 minutes, 35mm) - Breathless
(Jean-Luc Godard, 1960, France, 90 minutes, 35mm) - Le Petit Soldat
(Jean-Luc Godard, 1963, France, 88 minutes, 35mm)
- Liebelei
(Max Ophüls, 1933, Germany, 88 minutes, 35mm)
*Archival print courtesy Academy of Motion Picture Arts and Sciences - Germany Year 90 Nine Zero
(Jean-Luc Godard, 1991, France, 62 minutes, 35mm) - Lessons of Darkness
(Werner Herzog, 1992, West Germany, 50 minutes)
Tuesday, April 21
- Stan Brakhage program
- Chinese Series (2003, 3 minutes, 35mm)
- Western History (1972, 8 minutes, 16mm)
- The Dante Quartet (1987, 7 minutes, 35mm)
- Creation (1979, 17 minutes, 16mm)
- Interpolations 1-5 (1992, 15 minutes, 35mm)
- The Garden of Earthly Delights (1981, 2 minutes, 35mm)
- Mother and Son
(Aleksandr Sokurov, 1997, Russia, 73 minutes, 35mm) - Faust
(F.W. Murnau, 1926, Germany, 90 minutes, 35mm)
Wednesday, April 22
- Shadows
(John Cassavetes, 1959, USA, 81 minutes, 35mm) - Mean Streets
(Martin Scorsese, 1973, USA, 112 minutes, 35mm)
- Notre musique
(Jean-Luc Godard, 2004, France/Switzerland, 80 minutes, 35mm)
Tuesday, April 28
- The Sacrifice
(Andrei Tarkovsky, 1986, Sweden/UK/France, 142 minutes, 35mm)
*New print - Keep Your Right Up
(Jean-Luc Godard, 1987, France/Switzerland, 82 minutes, 35mm)
Wednesday, April 29
- Andrei Rublev
(Andrei Tarkovsky, 1966/1969, USSR, 185 minutes, 35mm)
Tuesday, May 5
- In Praise of Love
(Jean-Luc Godard, 2001, France/Switzerland, 97 minutes, 35mm)
- Melancholia
(Lars von Trier, 2011, Denmark/Sweden/France/Germany, 130 minutes, 35mm) - To the Wonder
(Terrence Malick, 2012, USA, 110 minutes, 35mm)
- A Talking Picture
(Manoel de Oliveira, 2003, Portugal/France/Italy, 96 minutes, 35mm)
- Vertigo
-
Fall 2014
PostersTuesday, September 2- Dust in the Wind
(Hou Hsiao-hsien, 1986, Taiwan, 110 minutes, 35mm) - The Boys from Fengkuei
(Hou Hsiao-hsien, 1983, Taiwan, 99 minutes, 35mm)
- A City of Sadness
(Hou Hsiao-hsien, 1989, Taiwan, 158 minutes, 35mm)
- Forest of Bliss
(Robert Gardner, 1986, USA, 90 minutes, 35mm)
- A Time to Live and a Time to Die
(Hou Hsiao-hsien, 1985, Taiwan, 136 minutes, 35mm) - The Sandwich Man
(Hou Hsiao-hsien, Wan Jen, and Tseng Chuang-hsiang, 1983, Taiwan, 105 minutes, 35mm)
- Night Moves (Kelly Reichardt, 2013, USA, 112 minutes, Blu-ray)
- Being Bodies (Ephraim Asili, 2014, USA, 11 minutes, 16mm)
- The Puppetmaster
(Hou Hsiao-hsien, 1993, Taiwan, 142 minutes, 35mm) - La Belle Epoque
(Hou Hsiao-hsien, 2011, Taiwan, 5 minutes, DVD) - A Summer at Grandpa's
(Hou Hsiao-hsien, 1984, Taiwan, 98 minutes, 35mm)
Wednesday, September 24 (Live Piano Accompaniment by Ben Model)
- Shoulder Arms
(Charles Chaplin, 1918, USA, 35 minutes, 35mm) - The Big Parade
(King Vidor, 1925, USA, 151 minutes, 35mm)
*Restored tinted print from the collection of George Eastman House
- Taipei Story
(Edward Yang, 1985, Taiwan, 110 minutes, 35mm) - Daughter of the Nile
(Hou Hsiao-hsien, 1987, Taiwan, 96 minutes, 35mm)
- Good Men, Good Women
(Hou Hsiao-hsien, 1995, Taiwan/Japan, 110 minutes, 35mm)
*New print - Goodbye South, Goodbye
(Hou Hsiao-hsien, 1996, Taiwan/Japan, 112 minutes, 35mm)
Wednesday, October 1
- Nosferatu
(F.W. Murnau, 1922, Germany, 80 minutes, 35mm)
*Restored print - Nosferatu the Vampyre
(Werner Herzog, 1979, West Germany/France, 107 minutes, 35mm)
*New print
- Flowers of Shanghai
(Hou Hsiao-hsien, 1998, Taiwan/Japan, 113 minutes, 35mm)
*New print - Three Times
(Hou Hsiao-hsien, 2005, Taiwan, 135 minutes, 35mm)
Wednesday, October 8
- Battleship Potemkin
(Sergei Eisenstein, 1925, USSR, 66 minutes, 35mm)
*Restored print - Earth
(Aleksandr Dovzhenko, 1930, USSR, 75 minutes, 35mm)
- Les Destinées sentimentales
(Olivier Assayas, 2000, France, 180 minutes, 35mm)
*Archival print courtesy Institut français - HHH: A Portrait of Hou Hsiao-hsien
(Olivier Assayas, 2000, France/Taiwan, 91 minutes, DVD)
Wednesday, October 15
- Wings
(William Wellman, 1927, USA, 144 minutes, 35mm)
*Restored print - Life and Nothing But
(Bertrand Tavernier, 1989, France, 135 minutes, 35mm)
*Archival print courtesy Institut français
- The Godfather
(Francis Ford Coppola, 1972, USA, 175 minutes, 35mm)
*Restored print
- Late Spring
(Yasujiro Ozu, 1949, Japan, 108 minutes, 35mm) - Tokyo Story
(Yasujiro Ozu, 1953, Japan, 136 minutes, 35mm)
- All Quiet on the Western Front
(Lewis Milestone, 1930, USA, 135 minutes, 35mm)
*Restored print - Murder!
(Alfred Hitchcock, 1930, UK, 92 minutes, 35mm)
Friday, October 24
- Rich and Strange
(Alfred Hitchcock, 1931, UK, 83 minutes, 35mm) - The Skin Game
(Alfred Hitchcock, 1931, UK, 77 minutes, 35mm)
- Café Lumière
(Hou Hsiao-hsien, 2003, Japan/Taiwan, 103 minutes, 35mm) - Flight of the Red Balloon
(Hou Hsiao-hsien, 2007, France/Taiwan, 115 minutes, 35mm)
- It Happened One Night
(Frank Capra, 1934, USA, 105 minutes, 35mm) - Twentieth Century
(Howard Hawks, 1934, USA, 91 minutes, 35mm)
- Cute Girl
(Hou Hsiao-hsien, 1980, Taiwan, 90 minutes, 35mm) - Millennium Mambo
(Hou Hsiao-hsien, 2001, Taiwan/France, 105 minutes, 35mm)
- The Wedding March
(Erich von Stroheim, 1928, USA, 115 minutes, 35mm)
*Archival print courtesy the Library of Congress - Trouble in Paradise
(Ernst Lubitsch, 1932, USA, 83 minutes, 35mm)
- Cheerful Wind
(Hou Hsiao-hsien, 1981, Taiwan, 90 minutes, 35mm) - Growing Up
(Chen Kun-hou, 1983, Taiwan, 100 minutes, 35mm)
- The Electric Princess Picture House [Two versions]
(Hou Hsiao-hsien, 2007, France/Taiwan, 4 minutes and 3 minutes, DVD) - Mouchette
(Robert Bresson, 1967, France, 78 minutes, 35mm) - A Borrowed Life
(Wu Nien-jen, 1994, Taiwan, 167 minutes, 35mm)
- 3:00 PM - The Green, Green Grass of Home
(Hou Hsiao-hsien, 1982, Taiwan, 91 minutes, 16mm) - 7:00 PM - A Story of Floating Weeds
(Yasujiro Ozu, 1934, Japan, 118 minutes, 35mm) - Sisters of the Gion
(Kenji Mizoguchi, 1936, Japan, 95 minutes, 35mm)
- Raise the Red Lantern
(Zhang Yimou, 1991, China/Hong Kong/Taiwan, 125 minutes, 35mm) - Springtime in a Small Town
(Tian Zhuangzhuang, 2002, China/Hong Kong/France/Netherlands, 116 minutes, 35mm)
- Stagecoach
(John Ford, 1939, USA, 96 minutes, 35mm)
*Restored 35mm print courtesy of the UCLA Film & Television Archive
- Jules and Jim
(François Truffaut, 1962, France, 105 minutes, 35mm) - Young and Innocent
(Alfred Hitchcock, 1937, UK, 83 minutes, 35mm)
- Boy
(Nagisa Oshima, 1969, Japan, 97 minutes, 35mm)
*New print - The Man Who Left His Will on Film
(Nagisa Oshima, 1970, Japan, 94 minutes, 35mm)
*New print
- Floating Clouds
(Mikio Naruse, 1955, Japan, 123 minutes, 35mm) - Amarcord
(Federico Fellini, 1973, Italy/France, 123 minutes, 35mm)
- Samson and Delilah
(Cecil B. DeMille, 1949, USA, 131 minutes, 35mm)
*Restored print - Fantasia
(Walt Disney et al., 1940, USA, 125 minutes, 35mm)
- Chungking Express
(Wong Kar-wai, 1994, Hong Kong, 96 minutes, 35mm)
*New print - I Wish I Knew
(Jia Zhang-ke, 2010, China, 125 minutes, 35mm)
- Foreign Correspondent
(Alfred Hitchcock, 1940, USA, 120 minutes, 35mm)
*Archival print courtesy BFI National Archive - Day of Wrath
(Carl Theodor Dreyer, 1943, Denmark, 110 minutes, 35mm)
*Restored print
- Je t'aime, je t'aime
(Alain Resnais, 1968, France, 92 minutes, 35mm)
*New print
- Dust in the Wind
-
Summer 2014
Thursday, July 3
- Grand Illusion
(Jean Renoir, 1937, France, 114 minutes, 35mm)
Sunday, July 6
- The Life and Death of Colonel Blimp
(Michael Powell and Emeric Pressburger, 1943, UK, 163 minutes, 35mm)
*Restored by the Academy Film Archive in association with the BFI National Archive, ITV Studios Global Entertainment Ltd., and The Film Foundation
Thursday, July 10
- The Black Cat
(Edgar G. Ulmer, 1934, USA, 65 minutes, 35mm)
*Studio vault print - Nosferatu
(F.W. Murnau, 1922, Germany, 70 minutes, 35mm)
Sunday, July 13
- Lifeboat
(Alfred Hitchcock, 1944, USA, 99 minutes, 35mm)
*Studio vault print - Waltzes from Vienna
(Alfred Hitchcock, 1934, UK, 80 minutes, 35mm)
*Archival print courtesy BFI National Archive
Thursday, July 17
- Death and the Maiden
(Roman Polanski, 1994, UK/USA/France, 103 minutes, 35mm) - Gertrud
(Carl Theodor Dreyer, Denmark, 119 minutes, 35mm)
Sunday, July 20
- The Piano Teacher
(Michael Haneke, 2001, Austria/France/Germany, 131 minutes, 35mm)
Thursday, July 24
- A Farewell to Arms
(Frank Borzage, 1932, USA, 80 minutes, 35mm)
*Restored print courtesy of the UCLA Film & Television Archive. Preservation funding provided by The Film Foundation and the Hollywood Foreign Press Association.
Sunday, July 27
- Paths of Glory
(Stanley Kubrick, 1957, USA, 88 minutes, 35mm)
*Restored by the UCLA Film & Television Archive with funding provided by The Film Foundation and the Hollywood Foreign Press Association
Thursday, July 31
- Fitzcarraldo
(Werner Herzog, 1982, West Germany/Peru, 158 minutes, 35mm)
Sunday, August 3
- From Mayerling to Sarajevo
(Max Ophuls, 1940, France, 90 minutes, 35mm)
*World premiere screening of new print - Werther
(Alfred Hitchcock, 1938, France, 85 minutes, 35mm)
*Archival print courtesy Centre national du cinéma et de l'image animée (CNC)
- Grand Illusion
-
Spring 2014
Tuesday, January 28
- North by Northwest
(Alfred Hitchcock, 1959, USA, 136 minutes, 35mm) - The Man Who Knew Too Much
(Alfred Hitchcock, 1956, USA, 120 minutes, 35mm)
*Studio vault print
Wednesday, January 29
- Rear Window
(Alfred Hitchcock, 1954, USA, 112 minutes, 35mm)
*Restored print
Tuesday, February 4
- Strangers on a Train
(Alfred Hitchcock, 1951, USA, 101 minutes, 35mm) - Saboteur
(Alfred Hitchock, 1942, USA, 109 minutes, 35mm)
Wednesday, February 5
- The New York Hat
(D.W. Griffith, 1912, USA, 16 minutes, 16mm) - Sunrise
(F.W. Murnau, 1927, USA, 92 minutes, 35mm)
*Restored Print - A Year of the Quiet Sun
(Krzysztof Zanussi, 1984, Poland, 106 minutes, 35mm)
Tuesday, February 11
- Notorious
(Alfred Hitchcock, 1946, USA, 101 minutes, 35mm) - The Clockmaker of St. Paul
(Bertrand Tavernier, 1974, France, 105 minutes, 35mm)
*Print courtesy of the Institut français
Tuesday, February 18
- Vertigo
(Alfred Hitchcock, 1958, USA, 128 minutes, 35mm)
Wednesday, February 19 (Live Piano Accompaniment by Ben Model))
- Docks of New York
(Josef von Sternberg, 1928, USA, 75 minutes, 35mm)
*Restored 35mm print courtesy of the UCLA Film & Television Archive - The Last Command
(Josef von Sternberg, 1928, USA, 90 minutes, 35mm)
*Studio vault print
Tuesday, February 25 (Live Piano Accompaniment by Ben Model)
Silent film music workshop with Ben Model in the theater at 4:45 PM.- Salvation Hunters
(Josef von Sternberg, 1925, USA, 79 minutes, 35mm)
*Restored 35mm print courtesy of the UCLA Film & Television Archive - Underworld
(Josef von Sternberg, 1927, USA, 97 minutes, 35mm)
*Studio vault print
Wednesday, February 26
- City Streets
(Rouben Mamoulian, 1931, USA, 81 minutes, 35mm)
*Studio vault print - His Girl Friday
(Howard Hawks, 1940, USA, 112 minutes, 35mm)
Friday, February 28, 4:00 PM
- CMIA LAUNCH CELEBRATION
Including new prints and highlights from the CMIA Collections
Tuesday, March 4
- Morocco
(Josef von Sternberg, 1930, USA, 91 minutes, 35mm)
*Studio vault print - The Devil is a Woman
(Josef von Sternberg, 1935, USA, 79 minutes, 35mm)
*Studio vault print
Wednesday, March 5 (Special Guest Susan Ray)
- They Live by Night
(Nicholas Ray, 1948, USA, 95 minutes, 35mm)
*Restored by Warner Bros. in association with The Film Foundation and the Nicholas Ray Foundation - The Lusty Men
(Nicholas Ray, 1950, USA,113 minutes, 35mm)
*Restored by Warner Bros. in collaboration with The Film Foundation and the Nicholas Ray Foundation
- Thunderbolt
(Josef von Sternberg, 1929, USA, 92 minutes, 35mm)
*Studio vault print - An American Tragedy
(Josef von Sternberg, 1931, USA, 95 minutes, 35mm)
*Studio vault print
- Shanghai Express
(Josef von Sternberg, 1932, USA, 82 minutes, 35mm)
*Studio vault print - The Scarlett Empress
(Josef von Sternberg, 1934, USA, 104 minutes, 35mm)
*Studio vault print
Wednesday, March 12
- Leave Her to Heaven
(John Stahl, 1945, USA, 110 minutes, 35mm)
*Restored by the Academy Film Archive and Twentieth Century Fox with funding provided by The Film Foundation - To Catch a Thief
(Alfred Hitchcock, 1955, USA, 106 minutes, 35mm)
Friday, March 14 (Special Bertrand Tavernier Screening)
- 'Round Midnight
(Bertrand Tavernier, 1986, USA/France, 133 minutes, 35mm)
*Archival print - Coup de Torchon
(Bertrand Tavernier, 1981, France, 128 minutes, 35mm)
*Print courtesy of the Institut français
- Wendy and Lucy
(Kelly Reichardt, 2008, USA, 80 minutes, 35mm)
*Organized in partnership with The Big Read, a program of the National Endowment for the Arts, and the Hannah Arendt Center for Politics and Humanities - 5:00 PM The Saga of Anatahan
(Josef von Sternberg, 1953, Japan, 94 minutes, 35mm)
*Restored Print courtesy of the Library of Congress
Tuesday, March 18 (Special Guest Bertrand Tavernier)
- Platinum Blonde
(Frank Capra, 1931, USA, 90 minutes, 35mm)
*Restored print - Wild River
(Elia Kazan, 1960, USA, 110 minutes, 35mm)
*Restored by the Academy Film Archive and 20th Century Fox with funding from The Film Foundation
There will be a public discussion with Bertrand Tavernier about American cinema as seen by French eyes in the theater on Wednesday, March 19th at 1:30 PM.- Newspaper shorts by Michelangelo Antonioni
(1956, Italy, ~10 minutes, 35mm) - The Whole Town’s Talking
(John Ford, 1935, USA, 90 minutes, 35mm) - Macao
(Josef von Sternberg and Nicholas Ray, 1952, USA, 81 minutes, 35mm)
Tuesday, April 1
- Hell’s Angels
(Howard Hughes, 1930, USA, 127 minutes, 35mm)
*Studio vault print with Technicolor sequence - Jet Pilot
(Josef von Sternberg, 1957, USA, 112 minutes, 35mm)
*Studio vault print
Wednesday, April 2, 9:00 p.m.
- The Vikings
(Richard Fleisher, 1958, USA, 117 minutes, 35mm)
Friday, April 4
- Under Capricorn
(Alfred Hitchcock, 1949, UK, 117 minutes, 35mm)
*Print courtesy of the ConstellationCenter Collection at the Academy Film Archive - Suspicion
(Alfred Hitchcock, 1941, USA, 99 minutes, 35mm)
*Preserved by the Library of Congress with funding provided by The Film Foundation
Tuesday, April 8
- The Thirty-Nine Steps
(Alfred Hitchcock, 1935, UK, 86 minutes, 35mm) - The Lady Vanishes
(Alfred Hitchcock, 1938, UK, 96 minutes, 35mm)
Wednesday, April 9
- Dead Birds
(Robert Gardner, 1963, USA, 85 minutes, 35mm) - La Danse
(Frederick Wiseman, 2009, USA/France, 158 minutes, 35mm)
Friday, April 11
- The Shanghai Gesture
(Josef von Sternberg, 1941, USA, 91 minutes, 35mm)
*Archival print - Citizen Kane
(Orson Welles, USA, 1941, 119 minutes, 35mm)
Tuesday, April 15
*Screening Introduced by Ian Buruma (Paul W. Williams Professor of Human Rights and Journalism)- A Canterbury Tale
(Michael Powell and Emeric Pressburger, UK, 1944, 125 minutes, 35mm) - I Know where I’m Going
(Michael Powell and Emeric Pressburger, UK, 1945, 92 minutes, 35mm)
Wednesday, April 16
- L’avventura
(Michelangelo Antonioni, 1960, Italy, 143 minutes, 35mm)
*New Print
Saturday, April 19, 2:00 PM
- Animation Program including The Illusionist
(Sylvain Chomet, UK/France, 2010, 80 minutes, 35mm)
Tuesday, April 22
- A Matter of Life and Death
(Michael Powell and Emeric Pressburger, UK, 1945, 104 minutes, 35mm)
*Restored Print - Black Narcissus
(Michael Powell and Emeric Pressburger, UK, 1947, 100 minutes, 35mm)
*Restored Print
Wednesday, April 23
- Sabotage
(Alfred Hitchcock, 1936, UK, 76 minutes, 35mm) - Secret Agent
(Alfred Hitchcock, 1936, UK, 86 minutes, 35mm)
*Print courtesy of the British Film Institute National Archive
Tuesday, April 29
- Psycho
(Alfred Hitchcock, 1960, USA, 109 minutes, 35mm) - Peeping Tom
(Michael Powell, 1960, UK, 100 minutes, 35mm)
Wednesday, April 30*
*Please join us for a discussion with cinematographer Darius Khondji about Stanley Kubrick, the film/digital transition, and cinematographic practice on May 1st from 11:50-1:10 in the CMIA Theater- Barry Lyndon
(Stanley Kubrick, 1975, UK, 175 minutes, 35mm)
Tuesday, May 6
- Marnie
(Alfred Hitchcock, 1964, USA, 130 minutes, 35mm) - Age of Consent
(Michael Powell, 1969, Australia, 98 minutes, 35mm)
*Restored Print
Wednesday, May 7
- The World
(Jia Zhang-ke, 2004, China/Japan/France, 143 minutes, 35mm) - Amour
(Michael Haneke, 2012, France/Germany/Austria, 127 minutes, 35mm)
Tuesday, May 13
- That Obscure Object of Desire
(Luis Buñuel, 1977, France/Spain, 102 minutes, 35mm) - 2046
(Wong Kar-wai, 2004, Hong Kong/China/France/Italy/Germany, 129 minutes, 35mm)
Wednesday, May 14
- Inspector Bellamy
(Claude Chabrol, 2009, France, 110 minutes, 35mm) - Almayer’s Folly
(Chantal Akerman, 2011, Belgium/France, 127 minutes, 35mm)
- North by Northwest
-
Summer 2013
July 12- The Red Shoes
(Michael Powell and Emeric Pressburger, 1948, UK, 132 minutes, 35mm)
One of the great color films, The Red Shoes is adapted from a Hans Christian Andersen fairy tale and takes the Ballets Russes as a model for total commitment to art (Diaghilev’s pupil Léonide Massine helped to choreograph the central dance sequence). 35mm restored print courtesy of the UCLA Film & Television Archive. Preservation funding provided by The Film Foundation and the Hollywood Foreign Press Association.
July 13, 2:00 PM
*Preceded by lecture by series curator Richard I. Suchenski, live piano accompaniment by Ben Model.- The Lion of the Moguls
(Jean Epstein, 1924, France, 93 minutes, 35mm)
The most reflexive of the émigré films, The Lion of the Moguls is also one of the most fascinating – a comic gem demonstrating the wide-ranging talent of the Russian colony in Paris. The new, color-tinted Desmet 35mm print was restored by La Cinémathèque française with the collaboration of the Franco-American Cultural Fund - DGA MPA SACEM WGA.
- Casanova
(Alexandre Volkoff, 1927, France, 132 minutes, 35mm)
A visually lush superproduction starring Ivan Mozzhukhin and directed by one of the most important Russian émigré filmmakers, Casanova blends witty gags with epic scope and is as remarkable for its stylistic exuberance as its elaborate sets. The color-tinted print was restored by the Cinémathèque française.
- Le Double Amour
(Jean Epstein, 1925, France, 104 minutes, 35mm) - L'Or des mers
(Jean Epstein, 1932, France, 72 minutes, 35mm)
This special presentation of two rare films by the same director offers a chance to explore the options available to ambitious filmmakers in this period. Both prints were restored by La Cinémathèque française. The new tinted Desmet 35mm print of Double Love was restored with the collaboration of The Franco-American Cultural Fund - DGA MPA SACEM WGA.
*With live piano accompaniment by Ben Model- Le Brasier ardent
(Ivan Mozzhukhin, 1923, France, 97 minutes, 35mm) - Les Ombres qui passent
(Alexandre Volkoff, 1924, France, 100 minutes, 35mm)
The film that allegedly convinced Jean Renoir to direct, The Burning Brazier demonstrates Ivan Mozzhukhin’s flamboyant eccentricity at its finest. Mozzhukhin also wrote Passing Shadows, a comic masterwork inspired by Chaplin and Keaton. This is the North American premiere screening of new, color-tinted restorations by the Cinémathèque française.
- The Late Mathias Pascal
(Marcel L'Herbier, 1926, France, 175 minutes, 35mm)
The Late Mathias Pascal is an utterly unique synthesis of Ivan Mozzhukhin’s mercurial acting, Marcel L’Herbier’s cool elegance, and the labyrinthine structure of Luigi Pirandello’s source novel about a man who pretends he is dead. This is the North American premiere screening of a new, color-tinted restoration by the Cinémathèque française.
- The Lower Depths
(Jean Renoir, 1936, France, 90 minutes, 35mm)
In the last major Albatros production and one of the key films of the Popular Front, Jean Renoir continues his reinvention of theatrical adaptation, using Maxim Gorky’s classic play and a charismatic performance by Jean Gabin to create “a realistic poem on the loss of human dignity.”
*With live piano accompaniment by Ben Model- The Living Image
(Le Vertige, Marcel L'Herbier, 1926, France, 118 minutes, 35mm)
Marcel L’Herbier traces the journey of a Russian family from Petrograd to Nice, expressing the emotions of the story through sets and costumes designed in collaboration with Robert Mallet-Stevens and Robert and Sonia Delaunay. The 35mm print was restored by the Archives françaises du film du CNC, Bois d’Arcy.
*With live piano accompaniment by Ben Model- The New Gentlemen
(Jacques Feyder, 1929, France, 123 minutes, 35mm)
Jacques Feyder’s satirical treatment of Third Republic politics is distinguished for its location footage in Paris as well as its comic verve. This is the North American premiere screening of a new restoration by the Cinémathèque française.
*With live piano accompaniment by Ben Model- L'Inhumaine
(Marcel L’Herbier, 1924, France, 132 minutes, 35mm)
One of the signature films of the silent era, the quintessentially modern L’inhumaine restages the riotous premiere of Stravinsky’s Le sacre du printemps and connects Symbolist aestheticism to Art Deco design. The 35mm print was restored by the Archives françaises du film du CNC, Bois d’Arcy.
- Rapt
(Dimitri Kirsanoff, 1934, France/Switzerland, 86 minutes, 35mm) - Autumn Mists
(Dimitri Kirsanoff, 1928, France, 12 minutes, 35mm) - Chanson d’Armor
(Jean Epstein, 1934, France, 38 minutes, 35mm)
The first adaptation of a novel by Charles-Ferdinand Ramuz, who wrote the libretto for Stravinsky’s Histoire du soldat, Rapt features a nuanced performance by Dita Parlo and makes extraordinary use of mountain landscapes, contrapuntal sound, and an original score by Arthur Honegger. The 35mm prints are courtesy of La Cinémathèque française and La Cinémathèque suisse, with kind support from the Consulate General of Switzerland in New York.
- The Truth
(La Vérité, Henri-Georges Clouzot, 1960, France/Italy, 130 minutes, 35mm) - Altair
(Lewis Klahr, 1994, USA, 8 minutes, 16mm)
In Henri-Georges Clouzot’s response to the French New Wave, Brigitte Bardot’s relationship with a young composer is linked to Stravinsky’s The Firebird, the same piece used in Lewis Klahr’s experimental short Altair.
- Pierrot le fou
(Jean-Luc Godard, 1965, France/Italy, 110 minutes, 35mm)
Jean-Luc Godard’s classic exploration of love on the run—starring Jean-Paul Belmondo and Anna Karina—can be compared, in both its formal ingenuity and emotional range, to Stravinsky’s treatment of mythological themes.
- Les Bonnes Femmes
(Claude Chabrol, 1960, France/Italy, 100 minutes, 35mm)
Claude Chabrol’s characteristic mixture of black humor, sophisticated mise-en-scène, and behavioral naturalism is abundantly evident in this nuanced depiction of the lives of four Parisian women (two of them played by New Wave icons Bernadette Lafont and Stéphane Audran).
- La Cérémonie
(Claude Chabrol, 1995, France/Germany, 112 minutes, 35mm)
Sandrine Bonnaire and Chabrol veteran Isabelle Huppert develop an unusual friendship in this enigmatic and eerily ritualistic critique of complacency and hypocrisy.
- Orpheus
(Jean Cocteau, 1950, France, 95 minutes, 35mm)
Jean Cocteau, who collaborated with Stravinsky on the opera Oedipus Rex in 1927, made this oneiric film about one of the most important Greek myths two years after Orpheus, the ballet Stravinsky developed with George Balanchine, premiered.
- La Belle Noiseuse
(Jacques Rivette, 1991, France/Switzerland, 238 minutes, 35mm) - Three Homerics
(Stan Brakhage, 1993, USA, 6 minutes, 16mm)
Michel Piccoli, Emmanuelle Béart, and Jane Birkin star in this masterpiece about the mysteries of art, which makes insightful use of excerpts from two Stravinsky ballets (Petrushka and Agon).
- The Red Shoes