(Hirokazu Kore-eda, 1995) · Many emblems of Hirokazu Kore-eda's work, such as family, loss, regeneration--as well as his lightness of touch in treating them--are present in this delicate breakout feature. Yumiko, a young mother, remarries several years after her husband's suicide, and relocates to the quiet seaside. Portraying her as a woman caught in equal thrall by nature's salve and death's indelible specter, Kore-eda contemplates human sadness and its myriad refractions, in the spirit of the film's title--"phantasmatic light."
runtime: 110m format: 35mm
(Jamie Babbit, 1999) · Megan (Natasha Lyonne) is a typical all-American girl: blond, a cheerleader, dating a football player. But when her parents accuse her of being a lesbian, she realizes with horror that they're right. She's sent to gay conversion camp, where she is drawn to out lesbian Graham (Clea DuVall). Babbit's first feature somehow succeeds as a romcom set in the world of conversion therapy. The ensemble includes a rare appearance by RuPaul out of drag, as an "ex-gay." 35mm preservation print courtesy of the Outfest UCLA Legacy Project
runtime: 92m format: 35mm
(Mia Hansen-Løve, 2016) · Things To Come features Huppert as a passionate middle-aged philosophy professor named Nathalie. When her carefully curated life is thrown into disarray, Nathalie finds herself searching for new meaning at a time when fresh options seem to be a foregone conclusion. In the words of Nick Pinkerton, "Things to Come is concerned with someone cobbling together a usable future out of the diminished possibilities left before them. It is, in other words, defiantly adult."
runtime: 102m format: DCP
(Baz Luhrmann, 1992) · In this unconventional dance film, Strictly Ballroom follows the world of Australian competitive ballroom dancing. A young dancer, Scott Hastings, finds himself without a partner right before the regional championships, because of his desire rebel against the strict rules of ballroom dancing. Scott takes a chance on Fran, a beginner dancer who is perhaps too clumsy, in order to create their own unorthodox, even revolutionary, dancing style as they seek to win the championship.
runtime: 94m format: Blu-Ray
(Alfred Hitchcock, 1943) · In an opening montage that presages Blue Velvet, Hitchcock welcomes us to the picturesque California hamlet of Santa Rosa. Uncle Charlie (Joseph Cotton) arrives to visit his family, and his niece (Teresa Wright), also named Charlie, embraces him ecstatically--but she soon observes that all is not well with her namesake when he suspiciously removes a section from her father's paper. As young Charlie searches for the truth about her uncle, she learns firsthand that evil is indeed relative...
runtime: 108m format: 35mm
(Samuel Fuller, 1964) · To quote Dave Kehr, "What can I tell you about a film that begins with a bald prostitute beating a man unconscious with her handbag?" That's just the first hallucinatory, did-I-just-see-that? moment in a film that is teeming with them. Fuller's uber-pulp masterpiece concerns a sex worker (Constance Towers) who moves to a new town, in an attempt to go straight. What she finds under the town's prim facade is a more lurid reality than she ever dreamed possible. 35mm preservation print courtesy of the UCLA Film & Television Archive
runtime: 91m format: 35mm
(Pawel Pawlikowski, 2018) · Pawlikowski won the award for Best Director at Cannes for Cold War, his follow up to 2013's Academy Award winning Ida. Cold War is a period piece set in 1950s Cold War Poland, depicting the blossoming love between a musical director (Tomasz Kot) and a young singer (Joanna Kulig), despite the myriad obstacles and difficulties that conspire to threaten their connection. This gorgeous tale of love in the most hostile of climates achieves Pawlikowski's aim of creating "a beautiful disaster."
runtime: 88m format: DCP
(Jafar Panahi, 2000) · Winner of the Golden Lion at Venice, The Circle explores the plight of women in modern Iran. It tells the stories of two convicts who attempt to escape prison, and a third in need of an abortion, implying that in their society, escape from incarceration is nothing more than a fantasy. Panahi advances his political critique not by way of forthright denunciation, but through the production of an atmosphere, by rendering the suffocating claustrophobia of totalitarianism with brutal clarity. Print Courtesy of the Yale Film Study Center.
runtime: 95m format: 35mm