Just Anybody

Monday 7:00PM

(Jacques Doillon, 2008) · Just Anybody is defiantly on its own wavelength. What initially seems to strain credibility comes to resemble a bold reimagining of the laws of human nature, heightened by physical, fully committed performances. Complications arise when Camille (Clémentine Beaugrand), bored with life, decides to give her unbridled love to "just anybody," as embodied by aggressive drifter Gérald Thomassin from Le Petit Criminel. Challenging but mesmerizing.

runtime: 121 min format: 35mm
Print courtesy of the Institut Français.


Hot Rod

Tuesday 7:00PM

(Akiva Schaffer, 2007) · Famous for popularizing the Digital Shorts on SNL, comedy trio The Lonely Island (Andy Samberg, Jorma Taccone, and Akiva Schaffer) set out to make their first feature film with 2007's Hot Rod. Samberg is Rod Kimble: an aspiring, albeit terrible, stuntman whose stepfather, Frank, mocks and disrespects him. When Frank falls ill, Rod comes up with a plan to execute his biggest stunt yet to raise money for an operation and win Frank's respect.

runtime: 88 min format: 35mm



Wednesday 7:00PM 9:30PM

(Federico Fellini, 1973) · A semi-autobiographical coming-of-age tale set in 1930s Fascist Italy, Amarcord tells the tale of Titta, a young boy growing up in the village of Borgo San Giuliano. Fellini uses Titta's tale to paint a damning portrait both of Mussolini's regime and the Catholic Church, arguing that both institutions tended to ease the public into a "perpetual adolescence," in which perverse, ludicrous sexual fantasies stand in for any genuine growth.

runtime: 123 min format: 35mm


Down By Law

Thursday 7:00PM

(Jim Jarmusch, 1986) · The quintessential anti-prison break movie, Down By Law does away with the mechanics of the escape in favor of depth of character. Tom Waits, John Lurie, and Roberto Benigni respectively play a disc jockey, a pimp, and Italian tourist who hatch a plan in their shared jail cell on the Louisiana bayou. This marks Jarmusch's first collaboration with cinematographer Robby Müller creating a gritty monochrome aesthetic to match the deadpan humor.

runtime: 107 min format: 35mm


Sisters of Satan

Thursday 9:15PM

(Paolo Dominici, 1973) · The year is 1577, and Mother Superior has fallen gravely ill at the Sant Arcangelo di Baiano in Naples. Seeing an opportunity to move up the ranks, Mother Giulia plots to be the successor of the title of Superior, but she knows that the sexually tormented, lusty Sister Chiara and Sister Carmela will not cede the throne to Giulia so easily. A young Ornella Muti of Flash Gordon fame plays the savvy novice opposite Anne Heywood's conniving Mother Giulia.

runtime: 100 min format: 35mm



Friday 7:00PM 8:45PM 10:30PM
Sunday 1:30PM

(Alfred Hitchcock, 1948) · Leopold and Loeb (under different names, of course) get the Hitchcock treatment in this tale of two amiable young psychopaths who've plotted out the perfect murder. As the crowning touch to their scheme, they serve dinner to the deceased's family and friends on a table containing his body. But can they fool their former teacher (Jimmy Stewart)? The film is notable for its "hidden" cuts, simulating the experience of a single shot throughout the whole movie.

runtime: 80 min format: 35mm


Birdman or (The Unexpected Virtue of Ignorance)

Saturday 7:00PM 9:30PM
Sunday 3:30PM

(Alejandro González Iñárritu, 2014) · Ready for another single-take movie? Here's a new spin on the concept, featuring digital technology which hides every cut in the film, though the story takes place over several days. In a case of art imitating life, Michael Keaton stars as a washed-up actor known for his roles in superhero films and trying to resurrect his career on Broadway. But he has to contend with a rebellious daughter, a scene-stealing co-star, and a mysterious voice in his head.

runtime: 119 min format: DCP



Sunday 7:00PM

(Vera Chytilová, 1966) · Vogel wrote that Daisies was "the most sensational film of the Czech film renaissance... a philosophical statement in the guise of a grotesque farce." Chytilová's absurd anarchism manifests itself in the mischief of two brash teenage girls, Marie I and Marie II. Banned in Czechsolovakia upon its release due to its depictions and imagery of wasting food, the film cemented Chytilová's career as a visually distinct feminist auteur.

runtime: 74 min format: 35mm


Facebook Twitter Tumblr