(Haskell Wexler, 1969) · Blending actual documentary footage of the riots surrounding the 1968 Democratic National Convention with a narrative cinema verite style, Academy Award-winning cinematographer Haskell Wexler directs this film about a nation in turmoil. A TV reporter who discovers that the station he works for has been collaborating with the FBI and has to decide whether to maintain his professional distance or fight the system. The film investigates a nation undergoing violent change, and how it navigates social unrest. Print courtesy of the Academy Film Archive
runtime: 111m format: 35mm
(Errol Morris, 1988) · Documentarian Errol Morris's 1998 film investigates the 1976 shooting of a Dallas police officer and the subsequent death-sentencing of Randall Dale Adams, who was ultimately exonerated and released. Considered a pioneer of the modern crime scene reenactment (a contemporary reporter once asked Morris how he managed to be there, filming, on the night of the crime), The Thin Blue Line is also accompanied by a score from minimalist composer (and UChicago alum) Phillip Glass.
runtime: 101m format: Digital
(Kelly Reichardt, 2010) · During the 1840s, six settlers and their guide are caught in a dangerous situation: They are lost, food and water are running out, and the surrounding desert threatens to claim them all. Meanwhile, their guide, Stephen Meek (Bruce Greenwood), refuses to acknowledge that they may be several weeks off-course. When a Native American (Rod Rondeaux) is captured, Emily Tetherow (Michelle Williams), one of the settlers, shields him from Meek's wrath, and he offers to lead the group to water in return.
runtime: 104m format: DCP
(Don Siegel, 1954) · Lupino produced, co-wrote, and stars in Private Hell 36 one of her grittier noirs. A pair of dirty cops (Steve Cochran and Howard Duff) stumble upon a counterfitter's loot and decide to split the proceeds--until one of them starts to get cold feet. Novelist Megan Abbott described this film as "one of that special brand of B noir that just revels in the claustrophobic tawdriness of its characters." Lupino shines and her scenes with noir bad boy Cochran set off potent sexual sparks.
runtime: 81m format: 35mm
(Hal Ashby, 1979) · Now that an entire generation is being raised by YouTube videos, Being There is increasingly relevant. Chance (Peter Sellers) is a humble, quiet gardener whose entire knowledge of the world comes from what he has watched on TV. When forced to enter the real world, his knowledge of gardening, coupled with his simple speech, disguises his foolishness as wisdom. Poking fun at political slogans and political leaders, Being There is another prescient film about the world ruled by newsworthy clips.
runtime: 130m format: 35mm
(J.A. Bayona, 2007) · Laura (Belén Rueda) returns with her young son to the now-empty orphanage she was once adopted from. She begins rehabbing it into a home for special needs children, but her work is soon disrupted as her son's supposedly imaginary friends seem to be haunting the place. Light on cheap scares and heavy on atmosphere, this eerie ghost story was Bayona's love letter (co-signed by producer Guillermo del Toro) to 1970s Spanish cinema. It garnered a 10 minute standing ovation at Cannes and 7 Goya awards.
runtime: 105m format: 35mm
· (Tsai Ming-liang, 2003/2002) ·
Introduction on February 21 by Jonathan Rosenbaum.
Introduction on February 23 by KyungMook Kim.
A cinematic 4'33", Goodbye, Dragon Inn shows us the atmospheric corners of a decaying cinema's final screening--the drag of the managers limp mixes with the flickering projection glow, a chorus of cruisers flushing urinals, and echoes of King Hu's Dragon Inn. Hsaio-kang, the projectionist, is nearly absent, much to the dismay of the doting manager, while the theater is populated by ghosts (including two of the actors from Dragon Inn). Seeing this haunted elegy to cinema in a theater cannot be missed.
Following this retrospective, in April, Tsai Ming-Liang (director), Lee Kang-Sheng (actor), Anong Houngheuangsy (actor), and Claude Wang (producer) will be joining the MoMA in New York City, the Smithsonian in DC, and the School of the Art Institute of Chicago, the University of Chicago, and the Block in Chicago—Tsai Ming-Liang’s first visit to the US in over a decade. For more information, please visit the event page.
runtime: 82m/25m format: DCP
(Jane Campion, 1990) · 30th anniversary! Jane Campion's radiant breakthrough depicts the life of Janet Frame, New Zealand's most renowned author. An Angel at My Table moves in three sections across Frame's postwar childhood, a period of misdiagnosed asylum residence and electroschock therapy, and finally, her literary fame; it takes in the rich unfolding of Frame's life and its surrounding New Zealand landscapes alike with a lucidity and poise that mark Campion as a filmmaker in full command of her craft. Print courtesy of the National Film & Sound Archive of Australia
runtime: 158m format: 35mm
(Bong Joon-Ho, 2019) · From Bong Joon-ho, director of Snowpiercer and Okja comes a searing indictment of late capitalist social formations. The first film to be unanimously given the Palme d’Or at Cannes since Blue is the Warmest Color, Parasite follows a struggling family who pose as elites in order to ingratiate themselves with a wealthy household. Bong explores the dynamics that emerge with his signature black humor in what Variety describes as "a tick fat with the bitter blood of class rage."
runtime: 132m format: DCP
(Hany Abu-Assad, 2005) · Khaled and Said are Palestinian teenagers who hang out, smoke, and chase girls together. One day, they're drafted by a terrorist group to become suicide bombers. But Said's conviction in the righteousness of his cause is shaken when he meets a girl named Suha; and after a botched mission to Israel, Khaled starts to have doubts too. An Academy Award nominee for Best Foreign Film, Paradise Now is a daring humanization of suicide bombers.
runtime: 93m format: 35mm