(D. W. Griffith, 1916) · With this monumental epic, the architect of narrative cinema as we know it pushed the form he originated to new depths. There remains something special about Griffith's use of a tool as ubiquitous as the close-up; for Gilberto Perez, "when Griffith focused his camera on the face of Lillian Gish, he composed close-ups that are perhaps the most beautiful in existence...nobody can recapture the innocence of those Gish close-ups - the conveyed excitement of learning to speak, and speaking with surprised eloquence, the camera's language of love."

runtime: 210m format: 16mm


FRIDAY @ 7:00 PM 9:30 PM

The House of Mirth

(Terence Davies, 2000) · One of the greatest contemporary filmmakers adapts Edith Wharton's classic novel. Lily (a revelatory Gillian Anderson) is a socialite drifting through the decadent world of the American elite; but, in her search for love, she soon runs up against her milieu's quietly repressive strictures. Davies illustrates the smothering of her personhood in visually resplendent fashion, enveloping the audience in the film's sumptuous images. The result transcends its period piece trappings to become a breathtaking tragedy of universal resonance.

runtime: 140m format: 35mm


SATURDAY @ 7:00 PM 9:30 PM


(Cory Finley, 2017) · Thoroughbreds is a wicked black comedy that infuses the mordant teen satire of Heathers with Finley's sardonic wit. Lily, a boarding school do-gooder, wants everything but finds herself hampered by her domineering stepfather. Amanda, on the other hand, tries to mask her lack of emotions by faking them. Anton Yelchin stars too, in one of his final yet best roles, as a small time criminal who gets wrapped up in the unlikely pair's indulging of their cutthroat desires.

runtime: 92m format: DCP


Facebook Twitter Instagram