(Claude Chabrol, 1969) · The blandly perfect facade of an haute bourgeois family is shattered when a husband suspects his wife of infidelity. Sharply observed and richly ironic, La Femme Infidèle is arguably Chabrol's masterpiece. Like the best of Chabrol's work, it is both perverse and touching. The lead actors, Michel Bouquet and Chabrol's then-wife Stéphane Audran, exquisitely capture the couple's surface cool as well as the turmoil roiling underneath. Print courtesy of the Institut Français
runtime: 98m format: 16mm
(Ramy Youssef, 2019) · Join us for a free advance screening of Ramy, a new webseries from A24 that follows a first-generation Egyptian-American named Ramy, who is on a spiritual journey in his politically divided New Jersey neighborhood. We will be screening the first three episodes.
(David Butler, 1953) · The most bankable female star of 1950s Hollywood (and perhaps the most unfairly maligned), Doris Day reprises her role as Marjorie Winfield in the sequel to the musical comedy On Moonlight Bay. In By the Light of the Silvery Moon, Majorie rekindles her love for Bill (Gordon MacRae) after he returns from World War I. Both films draw from the Penrod stories by Booth Tarkington, who was also author of the source material for Orson Welles' Magnificent Ambersons.
runtime: 101m format: Digital
(Satyajit Ray, 1959) ·
Q: What can you do to help if the bride-to-be discovers her fiancé is crazy?
A: Marry her yourself instead. In this third film of Ray's Apu Trilogy, Apu is now a poor but hopeful young big-city man whose odd, arranged marriage grows into genuine love. Again, ever so subtly, Ray then reveals Apu's shock and utter despair at his young wife's death, his initial rejection of his son, and how Apu grows into maturity. Crafted with Mitra's perfect camera and Shankar's music. Restored by the Satyajit Ray Preservation Project through a collaboration of the Academy Film Archive, the Merchant-Ivory Foundation and the Film Foundation. Print courtesy of the Academy Film Archive.
runtime: 106m format: Archival 35mm
(Hou Hsiao-Hsien, 1996) · In the tradition of Scorsese's Mean Streets, Goodbye South, Goodbye explores the world of small-time crime in the suburban backwaters of Taipei. The film follows the luckless entrepreneurial ventures of Kao (Jack Kao) and his misfit cohort Flat Head (Lim Giong). Kao devises a plan to raise money by trading subsidized pigs to the government for cash. The ruse works, but when the temperamental Flat Head antagonizes the wrong people, the two are caught up in a dangerous game of corrupt politics. 35mm collection print courtesy of the UCLA Film & Television Archive
runtime: 116m format: Archival 35mm
(Jonathan Demme, 1984) · A concert film focusing on the Talking Heads' 1983 tour for Speaking in Tongues, Stop Making Sense is Demme's nonpareil document of a band at the height of its creative stride. With frontman David Byrne filling stage and screen with his exuberant physical presence and choreographed theatrics (and, not to mention, the big suit), this doc is as hypnotic, immaculately stylish, and smooth as the Heads themselves--is a musical experience whose high-flying spirits are second to none.
runtime: 88m format: 35mm
(King Vidor, 1947) · David O. Selznick's monumental symphony of sexual violence stars Jennifer Jones as a young Mestiza sent to live with distant family on a Texas cattle ranch; Joseph Cotten and Gregory Peck play brothers vying for her heart, the one a model of decency, the other a swaggering avatar of wickedness. The film's extravagances--it was the costliest ever made in its time-sublimate sordidness into grandeur, but its blazing images also cast a harsh light on America's lust for racial and sexual domination.
runtime: 129m format: Archival 35mm
(Nadine Labaki, 2018) · Winner of the Jury Prize at the 2018 Cannes Film Festival. Zain El-Hajj is a 12 year-old child from the slums of Beirut, suing his parents for child neglect. As we are slowly brought back into the maze of events leading to this court appeal, Capernaum delivers a touching tale of sincere and disciplined empathy. The film highlights the degrading conditions of Zain's childhood and skewers the injustice of the society that produced them--the result is a twisted version of Oliver Twist with modern geopolitical undertones.
runtime: 126m format: DCP
(Masayuki Suo, 1996) · The one film in this series that might be described as a "feel-good" comedy, Shall We Dance? concerns a salaryman who tries to fend off the monotony of his lifestyle by taking dancing lessons, but his wife becomes concerned that he might be interested in his dance instructor. Suo had already made a name for himself with Ozu pastiches like Abnormal Family and Sumo Do, Sumo Don't; here, he updates the milieu of his favorite filmmaker's 1930s salaryman comedies to Japan's 1990s post-bubble economy. Print courtesy of Yale Film Archive
runtime: 136m format: Archival 35mm