a highly-opinionated selection of things happening around town, and sometimes out of town. this month's page here.

sat. jun. 1

thee rain cats (9:30), the shrills (9:00) @ three-dee music fest @ artshare la
to catch a thief 8 PM @ last remaining seats @ orpheum
ninja iii: the domination 10:30 PM @ silent movie theater
clueless @ eat|see|hear @ paul revere middle school
some like it hot @ cinespia @ hollywood forever
a.m. mayhem: the story of tucson's power 1490am 10 PM @ edgemar room 2 @ cinema at the edge festival
kat kong FREE @ footsie's
colleen green @ metro37
w-h-i-t-e @ the smell
the howling MIDNIGHT @ new beverly
lolita (1962) @ lacma
nomadic archive 8 PM @ epfc

sun. jun. 2

brute force 7 PM, kiss the blood off my hands @ ucla film archive
jung bouquet (9:00) @ pehrspace
tom brosseau @ mccabe's
11 points (6-8 PM) @ machine
the great rock'n'roll swindle @ egyptian
hamlet (1996) (70mm) @ aero
manhunter 2:55 7:30 PM, angel heart 5:15 9:50 PM @ new beverly
sitting target FREE 7 PM @ reel grit @ afi

mon. jun. 3

in the shadow @ ucla film archive
supercop @ ampas samuel goldwyn
manhunter, angel heart @ new beverly
20 feet from stardom FREE @ indie focus @ laemmle noho 7
heroes & heroines FREE @ bootleg
the french connection 8 PM @ arclight hollywood
sonny boy @ la jewish film fest @ laemmle's music hall

tue. jun. 4

canyon passage 1 PM @ lacma
guyana tragedy: the story of jim jones 7:45 PM @ silent movie theater
coast modern FREE @ hammer
wizards FREE 1:30 PM @ skirball
manhunter, angel heart @ new beverly
alien (director's cut) 8 PM @ arclight hollywood

wed. jun. 5

hannah arendt FREE (RSVP) 7 PM @ usc broccoli theatre
barbed wire @ the silent treatment @ silent movie theater
lost & found film club 10:15 PM @ silent movie theater
lost in translation, the virgin suicides @ aero
west of memphis, how to survive a plague @ new beverly
parquet courts, shark toys @ the echo
young frankenstein 8 PM @ arclight hollywood
my father and the man in black @ la jewish film fest @ laemmle's music hall

thu. jun. 6

the scarlet letter (1926) FREE 5 PM @ the crank @ ucla james bridges
l.a. witch @ silver lake lounge
split image @ silent movie theater
aguirre the wrath of god @ egyptian
the 7th voyage of sinbad, the golden voyage of sinbad @ aero
west of memphis, how to survive a plague @ new beverly
america america @ lacma
twenty feet from stardom FREE @ oscars outdoors

fri. jun. 7

gunfight at the o.k. corral, i walk alone @ ucla film archive
bleached (8:20), thee rain cats (3:55), pangea (6:20), black lips (10:45) @ jubilee music fest
women on the verge of a nervous breakdown 7 PM, matador @ egyptian
the best of the ottawa international animation festival @ spielberg @ egyptian
mysterious island, one million years b.c., the valley of gwangi @ aero
post tenebras lux @ silent movie theater
20 feet from stardom FREE (RSVP) 7 PM @ usc ray stark
dr. strangelove @ lacma
mr. freedom 9:10 PM @ lacma
spring breakers, enter the void @ new beverly

sat. jun. 8

the outre world of rolf forsberg @ ucla film archive
dead meadow @ don the beachcomber
pulp fiction @ cinespia @ hollywood forever
love exposure 4 PM @ silent movie theater
post tenebras lux 8:45 PM @ silent movie theater
an american hippie in israel MIDNIGHT @ silent movie theater
corners, dirt dress @ the smell
apocalypse now (original release version) @ egyptian
jason and the argonauts, clash of the titans (1981) @ aero
red desert 5 PM @ lacma
2001: a space odyssey (70mm) @ lacma
kissed by the sun 8 PM @ epfc
spring breakers 4:00 9:00 PM, enter the void 6:00 PM @ new beverly

sun. jun. 9

the leopard 7 PM @ ucla film archive
julia holter @ fanatic salon theater
post tenebras lux 4 PM @ silent movie theater
the rise and fall of synanon 7 PM @ silent movie theater
la dolce vita @ egyptian
earth vs. the flying saucers, first men in the moon @ aero

mon. jun. 10

joey molinaro @ pehrspace
the beast from 20,000 fathoms, mighty joe young @ aero
post tenebras lux 4:30 PM @ silent movie theater
berberian sound studio FREE (RSVP) 7 PM @ usc broccoli theatre
richter in germany: everything moves! FREE (RSVP) @ lacma
thee rain cats, dj chris ziegler FREE @ bootleg

tue. jun. 11

lifeboat @ greg proops film club @ silent movie theater
post tenebras lux 10:40 PM @ silent movie theater
female on the beach 1 PM @ lacma
badlands 8 PM @ arclight hollywood
tender flesh, bloodeaters @ grindhouse film fest @ new beverly
joey molinaro, ezra buchla @ handbag factory
colleen green (11:00) @ satellite

wed. jun. 12

radar bros. @ satellite
post tenebras lux 10:15 PM @ silent movie theater
joey molinaro (7:00) FREE @ origami vinyl
dogtooth, i stand alone @ new beverly

thu. jun. 13

smog FREE 7 PM @ getty center
l.a. witch @ silver lake lounge
buffet froid @ silent movie theater
post tenebras lux 9:45 PM @ silent movie theater
around crab orchard 8 PM @ epfc
wayne's world @ silver lake picture show
blazing saddles 8 PM @ arclight hollywood
dogtooth, i stand alone @ new beverly

fri. jun. 14

vacation @ oscars outdoors
short term twelve 7:20 PM @ la film fest @ regal 8
house with a turret 7:40 PM @ la film fest @ regal 14
dazed and confused FREE 8:30 PM @ la film fest @ figat7th
when i saw you 9:40 PM @ la film fest @ regal 14
the act of killing 10 PM @ la film fest @ regal 13
battlestar galactica (1978) @ egyptian
richard pryor: live in concert, richard pryor live on the sunset strip @ aero
the shrills @ the smell
young and innocent 7:45 PM @ silent movie theater
how to make money selling drugs FREE (RSVP) 7 PM @ usc broccoli theatre
privilege @ lacma
a clockwork orange 9:30 PM @ lacma
endless bummer @ ham & eggs tavern
berberian sound studio 3:30 7:30 PM @ downtown independent
out of the past, crossfire @ new beverly
villa aurora under the stars FREE (RSVP) 6 PM @ epfc filmmobile @ villa aurora

sat. jun. 15

the scalphunters, castle keep @ ucla film archive
amarcord 12:30 PM @ la film fest @ regal 9
purgatorio 1:30 PM @ la film fest @ regal 12
our nixon 1:40 PM @ la film fest @ regal 8
short term twelve 4:20 PM @ la film fest @ regal 8
i.d. 5:20 PM @ la film fest @ regal 12
casting by 5:30 PM @ la film fest @ regal 11
ain't them bodies saints 7 PM @ la film fest @ regal 8
europa report 7:10 PM @ la film fest @ regal 10
mother i love you 7:30 PM @ la film fest @ regal 14
brasslands FREE 8:30 PM @ la film fest @ FIGat7th
the expedition to the end of the world 9:20 PM @ la film fest @ regal 13
drug war 9:30 PM @ la film fest @ regal 8
all together now 9:40 PM @ la film fest @ regal 10
goodbye world 10 PM @ la film fest @ regal 9
the princess bride @ cinespia @ hollywood forever
earthquake @ egyptian
muriel, last year at marienbad @ aero
unseen hitchcock: home movies & other rarities 5 PM @ silent movie theater
geteven 11 PM @ silent movie theater
new works salon 8 PM @ epfc
the bats @ satellite
berberian sound studio 3:15 7:30 PM @ downtown independent
weird science MIDNIGHT @ new beverly
out of the past 3:30 7:30 PM, crossfire 5:30 9:30 PM @ new beverly
cosmonauts, tomorrow's tulips FREE @ 736 e. 29th st.
berberian sound studio 7:30 9:10 PM @ arena cinema

sun. jun. 16

lit show film festival FREE @ 7 dudley cinema @ beyond baroque
fuzz @ alex's bar
american revolutionary: the evolution of grace lee boggs 1:30 PM @ la film fest @ regal 11
mother i love you 2:10 PM @ la film fest @ regal 13
brothers hypnotic 2:20 PM @ la film fest @ regal 10
the island of st. matthews 4 PM @ la film fest @ regal 14
harry dean stanton: partly fiction 4 PM @ la film fest @ regal 11
i.d. 6:40 PM @ la film fest @ regal 14
the act of killing 7 PM @ la film fest @ regal 9
workers 7:20 PM @ la film fest @ regal 10
three kings 8 PM @ la film fest @ regal 8
you're next 9:20 PM @ la film fest @ regal 11
our nixon 9:30 PM @ la film fest @ regal 13
goldfinger, indiana jones and the last crusade @ egyptian
the kid 2 PM, a dog's life @ silent movie theater
net shaker, deathday @ part time punks @ the echo
berberian sound studio 6:00 9:30 PM @ downtown independent
gentleman's agreement 5 PM, to kill a mockingbird @ new beverly
berberian sound studio @ arena cinema

mon. jun. 17

ain't them bodies saints 4:50 PM @ la film fest @ regal 12
the island of st. matthews 7:20 PM @ la film fest @ regal 13
american revolutionary: the evolution of grace lee boggs 7:20 PM @ la film fest @ regal 9
fruitvale station @ la film fest @ regal 1
capital 8 PM @ la film fest @ regal 8
the spectacular now 9:40 PM @ la film fest @ regal 9
richter in the netherlands and switzerland: we live in a new world FREE (RSVP) @ lacma
colleen green FREE @ bootleg
to kill a mockingbird, gentleman's agreement @ new beverly
berberian sound studio 10:45 PM @ downtown independent
berberian sound studio 7:30 9:10 PM @ arena cinema

tue. jun. 18

duck soup 1 PM, horse feathers @ lacma
two men in manhattan 7:20 PM @ la film fest @ regal 13
when i saw you 7:40 PM @ la film fest @ regal 12
workers 9:40 PM @ la film fest @ regal 13
delivery 9:50 PM @ la film fest @ regal 11
fuzz, endless bummer @ the smell
tv tuesdays: alfred hitchcock presents @ silent movie theater
blackmail (silent version), blackmail (sound version) @ ampas samuel goldwyn
to kill a mockingbird, gentleman's agreement @ new beverly
berberian sound studio 11 PM @ downtown independent
berberian sound studio 8:30 10:10 PM @ arena cinema

wed. jun. 19

all about eve 8 PM @ last remaining seats @ los angeles theatre
fuzz, pangea @ alex's bar
europa report 5 PM @ la film fest @ regal 12
goodbye world 7:10 PM @ la film fest @ regal 11
venus vs. 7:20 PM @ la film fest @ regal 10
brothers hypnotic 9:20 PM @ la film fest @ regal 10
you're next 9:40 PM @ la film fest @ regal 13
drug war 10 PM @ la film fest @ regal 8
the fifth season @ aero
dial m for murder (3D) @ ampas samuel goldwyn
speaking parts, family viewing @ new beverly
the brain that wouldn't die MIDNIGHT @ silent movie theater
berberian sound studio 3:30 PM @ downtown independent
berberian sound studio 8:30 10:10 PM @ arena cinema

thu. jun. 20

a hijacking FREE (RSVP) 7 PM @ usc ray stark
casting by 4:30 PM @ la film fest @ regal 13
purgatorio 7 PM @ la film fest @ regal 12
all together now 7:10 PM @ la film fest @ regal 13
only god forgives @ la film fest @ regal 1
levitated mass: the story of michael heizer's monolithic sculpture @ la film fest @ lacma
llyn foulkes one man band 7:40 PM @ la film fest @ regal 11
boxing day 7:50 PM @ la film fest @ regal 8
vertigo 8:30 PM @ la film fest @ oscars outdoors
the fifth season 9:30 PM @ la film fest @ regal 13
goodbye world 9:40 PM @ la film fest @ regal 9
lesson of the evil 10 PM @ la film fest @ regal 11
dazed and confused, stand by me @ aero
menage 10 PM @ silent movie theater
robert nelson retrospective program #4 8 PM @ epfc
speaking parts, family viewing @ new beverly
berberian sound studio 6 PM @ downtown independent
berberian sound studio 8:30 10:10 PM @ arena cinema

fri. jun. 21

l.a. story @ oscars outdoors
the spectacular now 7:20 PM @ la film fest @ regal 11
delivery @ la film fest @ regal 10
our vinyl weighs a ton (this is stones throw records) 8 PM @ la film fest @ regal 8
night and fog, mon oncle d'amerique @ aero
the wrong man @ silent movie theater
event horizon MIDNIGHT @ silent movie theater
hour of the wolf @ lacma
the shining 9:10 PM @ lacma
smoke, blue in the face @ new beverly

sat. jun. 22

office space @ electric dusk drive-in
dr. strangelove 2:00 8:00 PM @ alex theatre
the fifth season 1:30 PM @ la film fest @ regal 10
women in the cut: a celebration of women editors 2 PM @ la film fest @ regal 12
llyn foulkes one man band 2 PM @ la film fest @ regal 8
our vinyl weighs a ton (this is stones throw records) 4:30 PM @ la film fest @ regal 8
boxing day 5 PM @ la film fest @ regal 10
venus vs. 5:40 PM @ la film fest @ regal 9
the expedition to the end of the world 6 PM @ la film fest @ regal 14
harry dean stanton: partly fiction 7:40 PM @ la film fest @ regal 9
inequality for all FREE 8:30 PM @ la film fest @ california plaza
all together now 9:50 PM @ la film fest @ regal 8
lesson of the evil 10 PM @ la film fest @ regal 9
beetlejuice @ oscars outdoors
who framed roger rabbit? FREE 8 PM @ l.a. river bike-in movie theater
the man who knew too much (1956) @ cinespia @ hollywood forever
dance craze @ egyptian
foreign correspondent 5 PM @ silent movie theater
angel 8 PM, vice squad, savage streets @ silent movie theater
lola montes 5 PM @ lacma
barry lyndon @ lacma
armchair adventures 8 PM @ epfc
smoke 3:15 7:30 PM, blue in the face 5:30 9:45 PM @ new beverly

sun. jun. 23

ulzana's raid 7 PM @ ucla film archive
house with a turret 2:40 PM @ la film fest @ regal 12
between two worlds 12:20 PM @ la film fest @ regal 12
the trouble with harry 7 PM @ silent movie theater
bouquet @ pehrspace
this is spinal tap 4:00 7:30 PM, waiting for guffman 5:45 9:15 PM @ new beverly

mon. jun. 24

twilight's last gleaming @ ucla film archive
the need, anna oxygen @ the smell
richter in the usa: dreams and memories FREE (RSVP) @ lacma
this is spinal tap, waiting for guffman @ new beverly

tue. jun. 25

saboteur 1 PM @ lacma
marnie @ silent movie theater
exploding flowers @ ham & eggs tavern
booker t @ el rey
this is spinal tap, waiting for guffman @ new beverly

wed. jun. 26

ben-hur (1925) 8 PM @ last remaining seats @ orpheum
young and innocent 8 PM, frenzy @ silent movie theater
to the wonder, the tree of life @ new beverly

thu. jun. 27

the soft pack @ echo
massacre gun, pale flower @ egyptian
a safe place, someone to love @ aero
la air: erich burci FREE 8 PM @ epfc
wet hot american summer @ silver lake picture show
beyond the valley of the dolls @ tribute to roger ebert @ saban theater
to the wonder, the tree of life @ new beverly
the manxman @ the hitchcock 9 @ lacma
chinatown @ hidden la @ arclight hollywood
l.a. witch @ silver lake lounge
death FREE (6:30) @ amoeba

fri. jun. 28

cattle annie and little britches @ ucla film archive
aliens MIDNIGHT @ nuart
jon brion @ largo
whatever happened to baby jane? @ oscars outdoors
everything goes wrong, killers on parade @ egyptian
journey to italy @ aero
a band called death (w/ live performance) 8 PM @ silent movie theater
buffalo '66 MIDNIGHT @ silent movie theater
drinking flowers, dirt dress @ the smell
china gate @ lacma
full metal jacket 9:20 PM @ lacma
kiss me deadly FREE 7 PM @ getty center
double indemnity, the lost weekend @ new beverly
this is spinal tap MIDNIGHT @ downtown independent
corners FREE @ insight store, venice
allah-las FREE @ figat7th

sat. jun. 29

casablanca 2:00 8:00 PM @ last remaining seats @ saban theatre
groundhog day @ oscars outdoors
badlands @ cinespia @ hollywood forever
the great escape @ aero
a band called death (w/ live performance) 7 PM @ silent movie theater
belle de jour 5 PM @ lacma
eyes wide shut @ lacma
directing dissent 8 PM @ epfc
the courtneys @ pehrspace
double indemnity 3:10 7:30 PM, the lost weekend 5:20 9:40 PM @ new beverly
the breakfast club @ street food cinema @ exposition park
drinking flowers (5:30), dirt dress (9:00), exploding flowers (10:30), etc @ here comes the summer @ footsie's

sun. jun. 30

conversation piece, atlantic city @ ucla film archive
secret sixteen (film TBA) @ jumpcut cafe
lawrence of arabia (70mm) @ egyptian
touch of evil (1998 re-release edition) 5:30 PM @ aero
a band called death 7 PM @ silent movie theater
charles wright & the watts 103rd st. rhythm band FREE (5:00) @ amoeba

mon. jul. 1

a band called death 9:50 PM @ silent movie theater

tue. jul. 2

a band called death 7:45 PM @ silent movie theater
derek boshier films 8 PM @ ooga booga mission rd.
the lady from shanghai 1 PM @ lacma

wed. jul. 3

the day i was not born FREE 7 PM @ goethe-institut
a band called death @ silent movie theater
point break @ cinespia @ hollywood forever
telecaves (12:30 AM) @ human resources
black sea @ towne hall

fri. jul. 5

jaws MIDNIGHT @ nuart
oblivians, fuzz @ the echo
possession MIDNIGHT @ silent movie theater
black sea (9:00), froth (10:30) @ bootleg
linda perhacs FREE (8:00) @ levitt pavilion (pasadena)
the lodger @ the hitchcock 9 @ lacma
downhill 9:30 PM @ the hitchcock 9 @ lacma
the endless summer FREE @ old pasadena film fest @ distant lands
annie hall FREE @ old pasadena film fest @ one colorado courtyard
jaws, tontorrea: killer shark, blue water white death @ egyptian

sat. jul. 6

the warlocks @ bootleg
jaws @ street food cinema @ exposition park
jonathan richman, the trashwomen, traditional fools, mikal cronin, etc @ burger boogaloo @ mosswood park (oakland)
champagne 5 PM @ the hitchcock 9 @ lacma
the ring (1927) @ the hitchcock 9 @ lacma
the 'burbs MIDNIGHT @ new beverly
piranha (1978), grizzly, alligator @ egyptian
the shining, room 237 @ aero
roman holiday @ cinespia @ hollywood forever

sun. jul. 7

oblivians, fuzz, audacity, etc @ burger boogaloo @ mosswood park (oakland)
john c. reilly & tom brosseau @ golden west church
once upon a time in america 8 PM @ silent movie theater

mon. jul. 8

the hunt FREE (RSVP) 7 PM @ usc ray stark
women experimentalists FREE 6 PM @ documental @ unurban
a band called death 7:45 10:00 PM @ silent movie theater
zombie, doctor butcher m.d. @ grindhouse film fest @ new beverly

fri. jul. 12

clueless @ oscars outdoors
courtaud & bobtail @ the smell

sat. jul. 13

the princess bride @ electric dusk drive-in
king kong (1933) @ oscars outdoors
shaun of the dead, hot fuzz @ street food cinema @ exposition park
stephen steinbrink & the french quarter @ lot 1

fri. jul. 19

a clockwork orange MIDNIGHT @ nuart
point break @ oscars outdoors

sat. jul. 20

coming to america @ eat|see|hear @ santa monica high school

fri. jul. 26

jon brion @ largo
blazing saddles @ oscars outdoors

sat. jul. 27

women on the verge of a nervous breakdown @ oscars outdoors
monty python & the holy grail @ street food cinema @ la state historic park
allah-las, colleen green, sea lions, tomorrow's tulips, you me & us, etc @ viva pomona @ glass house

sun. jul. 28

hippie revolution films FREE 7 PM @ 7 dudley cinema @ beyond baroque
style wars @ oscars outdoors

mon. jul. 29

pangea (7:00) FREE @ origami vinyl

tue. jul. 30

richard artschwager: shut up and look FREE @ hammer

sat. aug. 3

gentlemen prefer blondes @ oscars outdoors

fri. aug. 9

safety last @ oscars outdoors
mia doi todd FREE (8:00) @ levitt pavilion (pasadena)

sat. aug. 10

white fence, jessica pratt @ troubadour
kingpin @ eat|see|hear @ paul revere middle school
monsoon wedding @ oscars outdoors

fri. aug. 16

born in east l.a. @ oscars outdoors

sat. aug. 17

rushmore @ oscars outdoors

thu. aug. 22

black angels @ pappy & harriet's

sat. aug. 24

the warriors @ eat|see|hear @ la trade tech

thu. sept. 5

the princess bride @ silver lake picture show

sat. sept. 7

back to school @ eat|see|hear @ santa monica high school

thu. sept. 12

godspeed! you black emperor @ fonda
white magic, body/head @ the echo

sat. sept. 14

godspeed! you black emperor @ fox theater pomona

sat. sept. 28

white fence, real estate, woods, etc @ woodsist desert festival @ pappy & harriet's

tue. oct. 1

jacco gardner, allah-las @ casbah (SD)

sat. oct. 5

eagle rock music festival


The Act of Killing
(Denmark, 2012, 125 mins, DCP)
In Indonesian with English subtitles
Directed By: Joshua Oppenheimer, Christine Cynn
Executive Producers: Werner Herzog, Errol Morris, André Singer, Torstein Grude, Bjarte Mørner Tveit, Joram ten Brink
Cast: Anwar Congo, Adi Zulkadry, Herman Koto, Jusuf Kalla
By turns chilling, surreal and philosophical, this debate-worthy documentary revisits modern Indonesia's brutal origins by inviting those who mass-slaughtered ethnic Chinese, alleged Communists and intellectuals in the 60's to re-enact their long-ago killings in elaborate tableaux evoking classic movie genres. At the center of directors Joshua Oppenheimer and Christine Cynn's bold experiment in hellish nostalgia are gangster/paramilitary leader Anwar Congo and his followers, proud nationalists with cinema-inspired visions of themselves, who are nonetheless seen as heroes in their country today. But as set-designed, costumed pretend violence for the cameras sparks further recollections of death squad protocol, the weight of remembered atrocities takes its toll, particularly on dream-haunted Anwar.
Early screenings of this disturbing, one-of-a-kind meditation on history, sanctioned evil and self-mythologizing, so galvanized Werner Herzog and Errol Morris that they became executive producers.

Discussion following with director Werner Herzog (schedule permitting).
1972, Werner Herzog Film, 93 min, Germany, Dir: Werner Herzog
Klaus Kinski is Aguirre, a power-hungry lunatic who leads a Spanish military expedition down the Amazon in hopes of finding El Dorado, the legendary city of gold. From the opening images of conquistadors snaking their way through the jungle, director Werner Herzog’s epic achieves a rare, operatic delirium. Laced with surreal humor - “Spears are getting longer this year,” notes one skewered soldier - AGUIRRE is the first of the great Kinski -Herzog collaborations (the two reportedly met when their families shared a house together in Munich). With Helena Rojo, Del Negro. “One of the great haunting visions of the cinema” – Roger Ebert. English language version. Screening format: DCP

Ain't Them Bodies Saints
(USA, 2013, 90 mins)
Directed By: David Lowery
Cast: Casey Affleck, Rooney Mara, Ben Foster, Keith Carradine, Nate Parker
This moody, meditative noir tells the tale of Bob and Ruth Guthrie, an outlaw couple whose crime spree comes to an end when the cops find them holed up in a house on the outskirts of town. After Ruth wounds an officer during the inevitable shootout, Bob takes the blame and lands himself in jail. After four years of longing for the love of his life, Bob breaks out of prison and sets out on a journey across Texas hill country to reunite with Ruth and the daughter he has never met.
Aided by fantastic performances from Casey Affleck, Rooney Mara and Ben Foster, writer/director David Lowery gives fresh perspective to the familiar outlaw story and leaves us to linger in the quiet moments between the gunfights.

All Together Now
(USA, 2012, 84 mins, HDCAM)
Directed By: Alexander Mirecki
Cast: Lou Taylor Pucci, James Duval, Stella Maeve, Nora Kirkpatrick, James Burns, Amanda Kimmel, Lindsey Garrett, Ryan Heinke, Jerry Phillips, Hannah Sullivan, Dalton O'Dell, Morgan Krantz, Monika Jolly, Luke Stratte-McClure, Azim Rizk, Hal Dion, Sam Carson, Tucker Bryan, Martin Yribarren, William Horwich, Will Watkins
Alexander Mirecki's ambitious "concert in the woods" movie finds two dozen characters--some more dazed and confused than others--descending on a treelined shack for one night of revelry scored by four bands: Manicorn, Night Control, Pedestrian Deposit and Nice Face. Lou Taylor Pucci plays the concert promoter with the unenviable task of maintaining a semblance of order amidst the hook-ups and bust-ups (occasionally featuring the very same participants). Just as a seemingly straightforward chord progression can conjure something profound, the simple interactions between the motley carousers convey more complex ideas. The forest has always factored heavily in fairytales. And by the time the last distorted note fades out, this party has become the stuff of urban legend.

America, America
1963/b&w/174 min.
Scr/dir: Elia Kazan; w/ Stathis Giallelis, Frank Wolff, Elena Karam, Lou Antonio, John Marley, Estelle Hemsley, Joanna Frank, Linda Marsh.
Director Elia Kazan gained his first dual credit as writer-director with 1963’s America, America, his big screen adaptation of his own memoir. He earned Oscar nominations for Best Adapted Screenplay, as well as for Best Picture and Best Director; the film won the Oscar® for Best Cinematography. Kazan cast his autobiographical film with a group of mostly unknown actors including, in his screen debut, the young Stathis Giallelis (it’s said he was cast while working as a janitor), whose performance as Stavros gives the story a sensitive center. The film tracks Stavros’s journey through Turkey—Kazan ably guiding his protagonist through the vast recesses of lost loves and dashed hopes—as he dreams of making his way to the US. Kazan turned his own family history into the darkest of fables, following young Stavros through a series of traumatic incidents that continually test the young Turk’s emotional and physical stamina. America, America began a new phase of Elia Kazan’s career—the artist mining his own life and travails for drama. None of Kazan’s works after America, America paint as epic an emotional landscape as does this film. HFPA Restoration Tribute!

American Revolutionary: The Evolution of Grace Lee Boggs
(USA, 2013, 82 mins, DCP)
Directed By: Grace Lee
Intimate and inspiring, Grace Lee Boggs' story is one of a lifelong work for social justice and equality. Born into a middle class Chinese immigrant family and educated at Barnard in the 1930s, the young Grace soon noticed the inequities in American society and spent the next eight decades working to change the status quo, becoming an icon of the African American movement. Using her advanced education and intelligence not to accrue vast wealth but to work towards the betterment of all people, Boggs became a true American hero.
At 97 she continues to work tirelessly to educate and activate Americans, young and old, to work for the changes in which they believe. Director Lee (no relation) gives us a writer, activist and philosopher as she works her way through decades of social and political upheaval, inspiring all the way.

Run time: 110 min. | USA | Language: English
When no one else wanted to bring hip-hop music to Tucson one AM radio station dared to put it all on the line and change history in Tucson, Arizona. This long-awaited, tell-all documentary narrates the history of Tucson"s first hip-hop radio station. AM Mayhem will take you from the inception of the station, the debut of yar on the air, what it was like at the height of their success, to the station's demise and format flip that is still an unsolved mystery. This movie will address all the unanswered questions and dive into the juicy details of one special AM radio station

An ingenious high concept that launched a franchise and brought exploitation fanatics to their knees: Angel is a high school honor student by day, and a high-class Hollywood hooker by night. Walking the boulevard under the watchful eye of her fellow working girls, she studies hard, gets good grades and picks up safe tricks — but when local ladies of the night are picked off one by one, Angel sets off on a personal quest for vengeance. Angel is bursting with vintage gold: bikers, drag queens, punks & performers line the streets while Return of the Jedi splashes carefree across marquees. Plus, it’s stacked with the most colorful cast a low budget filmmaker could ever dream: television stars Donna Wilkes and Cliff Gorman, Cinefamily fave Susan Tyrrell, screen legend Rory Calhoun and incendiary nightclub comedian Dick Shawn!
Dir. Robert Vincent O’Neill, 1984, 35mm, 94 min.

The time is the 1950s: seedy Brooklyn private eye Harry Angel (Mickey Rourke) is hired by shady Louis Cyphre (Robert De Niro) to locate a pop singer who reneged on a debt. Harry ventures into Harlem, the first step of a Heart of Darkness-inspired odyssey. Each time Harry makes contact with someone who might know the singer's whereabouts, he or she is killed in a horrible, ritualistic fashion; a Satanic cult seems to be at the bottom of all the carnage. Harry solves the mystery, all right. He just didn't know that he had the answer all along -- even before Louis entered his office. Also available in the "unrated" video version, Angel Heart is best known as the film that nearly got an X-rating due to a no-holds-barred sex scene involving Mickey Rourke and Lisa Bonet. 1987, USA/Canada/UK, 35mm, 113 minutes. Written and directed by Alan Parker; based on William Hjortsberg's novel "Falling Angel"; starring Mickey Rourke, Robert De Niro, Lisa Bonet, Charlotte Rampling

Cosmo Segurson and John Cannizzaro return to Echo Park Film Center for an all-new episode of Armchair Adventures.  Presenting a new program of amazing, bizarre, surreal, and wonderful animation from around the globe in glorious 16mm from the archives of Smokehouse Films. Including films by Norman McLaren, Ladislas Starevich, Jiri Trnka, and the late, great Ray Harryhausen; come watch magical insects, frogs, horses, angels, and more dance across the screen from the far corners of the globe. All works projected on 16mm! Curators and refreshments will be present. 

Atlantic City (1981)
Directed by Louis Malle
While the world he knew is literally being torn down around him, a two-bit gangster in his autumn years finally gets the chance to be the big man he always wanted to be when a young woman (Sarandon) puts a kick back in his step. In director Louis Malle's bittersweet, whimsical ode to an American dreamer awash in the end of the American dream, Burt Lancaster delivers a winning performance—by turns warm and heartbreaking—earning him his fourth Academy Award nomination.
Paramount Pictures Corp. Producer: Denis Heroux. Screenwriter: John Guare. Cinematographer: Richard Ciupka. Editor: Suzanne Baron. Cast: Burt Lancaster, Susan Sarandon, Michel Piccoli, Hollis McLaren, Robert Joy.   35mm, color, 103 min.

Before Bad Brains, the Sex Pistols or even the Ramones, there was a band called Death. Punk in attitude, spirit and volume before “punk” existed, these three teenage brothers played a few local gigs in the mid-’70s and even pressed a single in the hopes of getting signed — but in the era of Motown and emerging disco, record companies found both their lightning-in-a-bottle tunes and their intimidating band name too much to handle, and Death disbanded before they’d ever really started. Equal parts electrifying rockumentary and epic family love story, A Band Called Death chronicles the band’s incredible fairy-tale journey, when, decades after breaking up, a dusty vintage demo tape made its way out of the attic and into the ears of a rabid new audience several generations younger. Finally receiving their long overdue recognition as the first black punk band — hell, one of the first punk bands! — Death continues to shake the house down, as this deeply touching doc shows off in droves. Dirs. Jeff Howlett & Mark Covino, 2012, digital presentation, 98 min.
DEATH will be here in person for both a Q&A and a live set after the screening! (6/28 and 6/29 screenings only)

“It isn’t really a war picture at all. It’s a peace picture. It holds out the hope that, in time, we may forget all about war and war pictures and just have a good time, which will throw that kettle-drummer out of a job, but otherwise will be all for the best.” — Screenland
Many of the sirens that silent cinema has to offer have graced the Cinefamily screen with a delicate, angelic charm — but tonight’s star slayed her suitors with unforgettably dark features and tantalizing villainy. It’s no wonder that Pola Negri was the reigning silent queen of femme fatales — her affairs with Chaplin and Valentino ensured that, both onscreen and off, her tumultuous love life commanded the sort of attention only a brilliantly scandalous vamp could elicit. The sparks fly when tonight’s emotional spectacular brings together Negri (playing against type) as a quiet French farm girl, and Clive Brook as an encamped German POW, in a forbidden-love, through-the-fence romance. Music by Cinefamily resident accompanist Cliff Retallick! Dir. Rowland V. Lee, 1927, 16mm, 79 min. (Archival 16mm print courtesy of the George Eastman House)

1953, Warner Bros., 80 min, USA, Dir: Eugene Lourie
A giant prehistoric creature called a rhedosaurus is awakened from his icy slumber by nuclear testing and travels to New York City, where he takes out his bad temper on the stunned population. Based on a short story by longtime Ray Harryhausen pal Ray Bradbury (they met years earlier as members of the Los Angeles Science Fiction Society, along with Forrest Ackerman!). Starring Paul Christian, Paula Raymond, Kenneth Tobey.

Belle de jour
1967/color/101 min.
Scr: Luis Buñuel, Jean-Claude Carrière; dir: Luis Buñuel; w/ Catherine Deneuve, Michel Piccoli, Jean Sorel, Geneviève Page, Pierre Clémenti.
Luis Buñuel, the legendary Spanish-born director, achieved a clarity bordering on formal perfection with Belle de jour, a film he made he made at the age of sixty-seven, intended as his swan song (it wasn’t). Kubrick would direct his own final film—Eyes Wide Shut—at approximately the same age. Like Kubrick’s final film, Belle de jour enters the realm of infidelity and sadomasochistic fantasy. Buñuel’s film follows a far-from-ordinary wife who—with seeming innocence—discovers the bordello scene of Paris and decides to explore its secrets. The subject allowed Buñuel to blur the line between reality and dreams, and thus to fashion an icy surrealist poem. As the inscrutable Sévérine, Catherine Deneuve, whom Buñuel called “an excellent actress, very beautiful, reserved and strange,” gives one of her greatest performances.
“Buñuel wants us to understand Sévérine by contemplating the nature of her obsession. Instead of indulging in sentimental psychology by staring into Deneuve’s eyes, Buñuel fragments her body into its erotic constituents. His shots of feet, hands, legs, shoes, stockings, undergarments, etc. are the shots not only of a fetishist, but of a cubist, a director concerned simultaneously with the parts and their effect on the whole.”—Andrew Sarris

1976. A mild-mannered British sound engineer named Gilderoy (Toby Jones) arrives in Rome to work on the post-synchronized soundtrack to The Equestrian Vortex, a tale of witchcraft and murder set inside an all-girl riding academy. But as Gilderoy begins to work on this unexpectedly terrifying project, it's his own mind that holds the real horrors. As the line between film and reality blurs, is Gilderoy working on a film - or in one? Running time: 92 minutes.

Between Two Worlds
(Ahasin Wetei)
(France , Sri Lanka, 2009, 85 mins, 35mm)
In Sinhala with English subtitles
The cliche has it that war is hell, but Sri Lankan filmmaker Vimukthi Jayasundara may come closer to the truth by depicting war as a pestilential force that is ultimately unfathomable using the standard linguistic tropes of cinematic meaning. Vimukthi is currently 36 years old. From age seven through age 32, his life was disrupted and then shaped by a quarter century of Sri Lankan civil war. Between Two Worlds resonates to that dire formative experience. A cryptic and at times slyly humorous bildungsroman about a nameless Sri Lankan youth adrift in a conflict zone, is by turns a passionate anti-war statement and a surreal landscape painting set in a world of broken metaphors and arresting, often cryptic images of spectacular decay and voracious fecundity. The Films That Got Away selection committee is proud to bring this great and overlooked work to Los Angeles for its first-ever screening.

Featuring the silent and sound versions, presented back-to-back.
The silent version is a new digital restoration by the British Film Institute and will be presented with live musical accompaniment composed by Michael Mortilla.
Few directors handled the transition to sound films with more artistic and stylistic success than Alfred Hitchcock.
Though "Blackmail" is commonly known as the first British "talkie," Hitchcock also shot a silent version to be distributed to the many cinemas that could not yet show sound films.
Shown back-to-back, these distinct versions reflect a filmmaker who understood the cinematic value of both picture and sound, and how they could be used singularly or in tandem to enhance the story. Join us for this prime example of how a master director uses the tools of the trade.
Presented as an opening night celebration of the recent BFI restorations of the Hitchcock 9 – his surviving silent work – the silent version of "Blackmail" will be presented with live musical accompaniment composed by Michael Mortilla, followed by the sound version with a print from George Eastman House.
With: Anny Ondra, Sara Allgood, Charles Paton, John Longden. Directed and Adapted by Alfred Hitchcock. Based on the play by Charles Bennett. Cinematography by Jack Cox. Art Direction by W.C. Arnold. Edited by Emile de Ruelle. Released by British International Pictures Ltd. Silent version from DCP, 72 min. Sound version 35mm, 84 min.

Boxing Day
(United Kingdom , USA, 2012, 86 mins, DCP)
Directed By: Bernard Rose
Cast: Danny Huston, Matthew Jacobs
Bernard Rose's fascinating update of Leo Tolstoy's novella Master and Man opens in the Hollywood Hills, where Danny Huston, playing an unscrupulous real estate speculator, discovers that his wife has maxed out all their credit cards. Abandoning his family during the Christmas season, he flies to Denver in a desperate search for foreclosed homes to flip for a quick profit. Driving him from house to house is an equally desperate English chauffeur, whose estranged wife has put a restraining order on him that forbids him to see his kids. The uneasy relationship between the arrogant speculator and his reluctant, embittered driver is at the heart of this tense, edgily funny and beautifully observed story of greed and redemption.
Rose, who made the brilliant cult horror movie Candyman, not only directed but wrote, shot, edited, composed the original music and plays the Schubert piano sonata that underscores this one-of-a-kind movie.

(USA, 2013, 86 mins, HDCam)
In English and Serbian with English subtitles
World Premiere
Directed By: Meerkat Media Collective
The word's "world's largest trumpet festival" may not immediately inspire awe. However, the sight and sound of 500,000 people however flocking to a tiny Serbian village for three days of revelry and rivalry is truly something to behold. With the Guca festival celebrating its 50th anniversary, Brooklyn's Zlatne Uste brass band journeys to Serbia, eager to test themselves against the likes of Dejan Petrovic, a fourth-generation trumpet master. Discovering a country still bearing the physical and psychological scars of war and political strife, they likewise find transcendence amongst their fellow devotees who've congregated at this makeshift shrine to the stirring music they all worship.

Brothers Hypnotic
(Netherlands , USA, 2013, 84 mins, HDCam)
Directed By: Reuben Atlas
Some of the most energetic, riveting and symphonic sounds in jazz today emanate from the Hypnotic Brass Ensemble. They are eight brothers--all sons of jazz legend Phil Cohran--who were raised on Chicago's South Side and have been practicing as a family since they were kids. Whether playing on the streets of New York City or performing alongside Prince, when the brothers raise their horns, they create a music that looms large in the imagination. As the brothers come of age on the world's stage, brotherhood becomes more than just a biological fact. It becomes an ideal, even when it clashes with their future dreams.
With the support of veteran producer and editor Sam Pollard, newcomer Reuben Atlas' directorial debut is a beautifully rendered portrait of a band of brothers determined to succeed on their own uncompromising terms. 

Brute Force (1947)
Directed by Jules Dassin
Westgate Penitentiary is racked with tension as the warden sees his authority slipping into the hands of fascistic subordinates—especially sinister Hume Cronyn—and influential prisoner Charles Bickford. Burt Lancaster seethes as prisoner Joe Collins, who plots a dangerous escape that could lead to a bloody outcome. Violence, cruelty and betrayal combine in an explosive brew, leading to a confrontation between men and philosophies: whether to help, or crush the prison population.
Universal Pictures Company, Inc. Producer: Mark Hellinger. Screenwriter: Richard Brooks. Cinematographer: William Daniels. Editor: Edward Curtiss. Cast: Burt Lancaster, Hume Cronyn, Charles Bickford, Yvonne De Carlo, Ella Raines.   35mm, b/w, 98 min.

It’s the creepy ultra-modernism of J.G. Ballard meets the farcical goofiness of Blake Edwards, with a dollop of Quentin Dupieux’s riotous, left-field dream logic on top. Unusual as that all may sound together, this late-’70s comedy by Bertrand Blier is a totally cohesive contraption: a whimsical amalgamation of urban alienation, gleeful murder and absorbing conviviality amongst strangers. Striking a vaguely post-apocalyptic tone, Blier sets up the murderous (or possibly innocent) Gérard Depardieu and his girlfriend as the sole tenants of a sleek, yet deserted high rise. Once Depardieu discovers that the lone new neighbor is the chief police inspector, there begins the audience’s ascent into the dizzying heights of disappearing weapons, disappearing motives, and more than one dead girlfriend. This is “nonsense” in the best sense of the word: a universe where all rules are out the window, a murderer can befriend his victim in the middle of the act, where subconscious fears can take corporeal forms, and where time wonderfully has no meaning. You’ll giggle, guffaw and gasp at this immensely unpredictable nugget of male bonding madness.
Dir. Bertrand Blier, 1973, 35mm, 89 min.

(France, 2012, 114 mins, DCP)
Directed By: Costa-Gavras
This mile a minute thriller takes us behind the stained curtains of international financing. In a sleek, twisty tale that ranges from Paris to Miami, London to Tokyo, we follow the Machiavellian plots that arise when an ambitious but independent young banker is unexpectedly named CEO of the globally powerful Pheonix Bank in Paris. As always, Costa-Gavras is on the cutting edge of current events.
Prior to this screening, we celebrate Costa-Gavras' illustrious career with an in-depth interview.
It's hard to underestimate the impact the young Greek emigre director Costa Gavras made with his 1968 political thriller Z, both for its angry expose of a corrupt dictatorship in Greece and for its supercharged form, which influenced a whole generation of filmmakers. Costa-Gavras went on, in such memorable movies as State of Seige, The Confession, Missing and Music Box, to apply his urgent filmmaking style to some of the key political issues of the century. 

Casting By
(USA, 2013, 89 mins)
Directed By: Tom Donahue
Little known outside the industry, the legendary Marion Dougherty revolutionized the role of the casting director in movies and television. It was Dougherty who thought to pair Dustin Hoffman and Jon Voight in Midnight Cowboy; who insisted that Danny Glover was the perfect partner for Mel Gibson in Lethal Weapon; who fought to cast John Lithgow as the transsexual Roberta Muldoon in The World According to Garp. Dougherty led the fight for casting directors to get on-screen credit and her successors are still battling for recognition at the Oscars, their cause opposed by the powerful Directors Guild. This hugely entertaining, star-studded tribute, which features interviews with Woody Allen, Al Pacino, Robert Redford and many more, illuminates the secrets of a little-understood trade. A panel discussion will follow the Sat., June 15, screening.	

Castle Keep (1969)
Directed by Sydney Pollack
Sydney Pollack's adaptation of author William Eastlake's WWII satire strikes an allegorical tone in a freefloating structure that anticipates Mike Nichols' adaptation of Catch-22 (1970). In one of his most enigmatic roles, Burt Lancaster sports an eye patch as Maj. Abraham Falconer who stations his platoon in a 10th century chateau in the path of advancing German lines despite the irreplaceable art treasures housed within. While Falconer carries on an affair with with the chateau's countess, he and his men meditate on art, sex, death and Volkswagens before everything goes up in flames. 
Columbia Pictures. Producers: Martin Ransohoff, John Calley. Based on the novel by William Eastlake. Screenwriter: Daniel Taradash, David Rayfiel. Cinematographer: Henri Decaë. Editor: Malcolm Cooke. Cast: Burt Lancaster, Patrick O’Neal, Jean-Pierre Aumont, Peter Falk, Astrid Heeren. 35mm, color, 105 min. 

Cattle Annie and Little Britches (1981)
Directed by Lamont Johnson
Produced in 1979 but not released until 1981, this neglected gem of a Western is due for rediscovery. Amanda Plummer, in her screen debut, and Diane Lane play two rebellious runaways who travel West to join the Doolin-Dalton Gang, inspired by Ned Buntline's dime novel. As the aging outlaw Bill Doolin, Burt Lancaster delivers an expansive, beguiling performance as a man resigned to carrying the weight of legend into his final sunset.
Universal Pictures. Producer: Rupert Hitzig. Based on the novel by Robert Ward. Screenwriters: David Eyre, Robert Ward. Cinematographer: Larry Pizer. Editor: William Haugse. Cast: Burt Lancaster, John Savage, Rod Steiger, Diane Lane, Amanda Plummer.   35mm, color, 98 min.

China Gate
1957/b&w/97 min./Scope
Scr/dir: Samuel Fuller; w/ Angie Dickinson, Gene Barry, Nat "King" Cole, Paul Dubov, Lee Van Cleef.
In the waning stages of the French war in Vietnam, an international band of hired guns are recruited to travel through enemy territory in order to destroy a cache of weapons belonging to a red guerilla army. They’re smuggled to the Chinese border by Eurasian beauty Lucky Legs (Angie Dickinson), a tavern boss with a bastard child and regular jungle routes selling cognac to soldiers. The motley crew—bombs expert Brock (Gene Barry) and fellow Korean War vet Goldie (Nat “King” Cole, also the voice on the film’s theme tune), plus French legionnaires, a Czech soldier, and a Greek private—make their way through a dense forest swarming with snares, snipers, and mines. Thirty years before Kubrick crafted his own Vietnam film, the singular writer/director/veteran Samuel Fuller was already putting his indelible imprimatur on the subject with this fearless battlefront drama. Though both directors at one time worked as journalists, their print experience impacts their film work differently. Kubrick, the onetime Look photographer, is enthralled by the composition of studiously symmetrical and evocative imagery. Fuller, the newspaperman and cartoonist, evokes the wallop of a shocking headline and the expressive distortions of incisive caricature.

Coast Modern
Traveling along the Pacific Northwest coastline from L.A. to Vancouver, Coast Modern showcases the pioneers of West Coast modernist architecture and the homes that have become their legacies. The film includes interviews with some of the most respected names in architecture, including James Steele, Barbara Lamprecht, Ray Kappe, Henrik Bull, Pierluigi Serraino, Michael Folonis, Dion Neutra, Douglas Coupland, John Cava, Barbara Bestor, and the legendary photographer Julius Shulman. (2012, Dirs. G. Froome and M. Bernard, HD, 56 min.)

Conversation Piece (Gruppo di famiglia in un interno) (Italy/France, 1974)
Directed by Luchino Visconti
An underappreciated masterpiece from the mature Luchino Visconti, Conversation Piece stars Burt Lancaster as a retired art historian settling into a life of virtual seclusion in a picturesque Roman palazzo. His self-imposed solitude, however, is swiftly disrupted by the intrusion of unruly new neighbors—namely Silvana Mangano, as an imperious upper-crust matron, and Visconti mainstay Helmut Berger, glamorously sullen as the conflicted left-wing lover Mangano installs in the apartment above Lancaster's.
Screenwriters: L. Visconti, Suso Cecchi D'Amico, Enrico Medioli. Cast: Burt Lancaster, Helmut Berger, Claudia Marsani, Silvana Mangano. 35mm, color, in Italian with English subtitles, 126 min

The Day I was Not Born (Das Lied In Mir)
Dir. Florian M. Cossen, Germany/Argentina, 2010, 94 min., Cast: Jessica Schwarz, Michael Gwisdek, Rafael Ferro, Beatriz Spelzini 
Competitive swimmer Maria misses her connecting flight when she witnesses something traumatic in the skies over the Buenos Aires airport.
Unsettled, she stays in the city for a couple of days, and is surprised by the unannounced arrival of her aging father Anton at her hotel. As the tenuous relationship between daughter and father unravels over the course of the film, and secrets are revealed - including tales of kidnapping, torture, and a personal back-story Maria was never told - an elegant drama emerges, with one foot in historical tragedy and one in the everyday tragedies between family members.
Winner of Best Supporting Actress, Beatriz Spelzini, winner of Best Score/ Bronze (composer Matthias Klein) and nominated for Best Direction and Cinematography, at the German Film Awards. 

(USA, 2013, 87 mins, HDCam)
Directed By: Brian Netto
In this unnerving chiller, Kyle and Rachel Massy are a young couple who have agreed to document their first pregnancy for a reality show. During the production and after moving to a new home, a series of unexplained phenomena start plaguing the couple, eventually derailing the production of the show. Rachel, growing increasingly paranoid, starts to believe that there might be something seriously wrong with their unborn bundle of joy.
Told through the show's un-aired footage and interviews from friends, family and production members, Brian Netto's savvy debut feature injects the found footage genre with a fresh perspective and enough eeriness to keep you on the edge of your seat.

Directing Dissent is a documentary about John Roemer, teacher and social activist, and his decisions to either live within the law, or have a sound basis for civil disobedience. Set in Baltimore, a city with a turbulent history of charged race relations, Roemer's story takes us through the heated battles of the civil rights movement and involves dramatic experiences in the fight to desegregate Maryland. As an activist and teacher, John Roemer not only shaped public discourse on matters of equal rights before the eyes of the law, but also took it upon himself to foster principles of equality and freedom in the many students he taught at two of Baltimore city’s prominent educational institutions—the Friends School and the Park School. Through Roemer’s experiences, we look at the junctions between civil rights and civil liberties, integration, and the peace and justice movements of the 20th and 21st century. This film shows the continued relevance of causes such as civil rights and social justice in today's world and how one can apply an activist philosophy to everyday life. Directing Dissent intends to engage Marylanders in an intergenerational dialogue about the legacy and impact of the Civil Rights movement and the Anti-Vietnam War movement, and the state of civil liberties and political activism in today’s climate. Filmmaker Sophie Hamacher in person from Germany!

A Dog’s Life, the 1918 short that the presages The Kid, features the Tramp’s sweet misadventures in the company of a young pup, who happily watches as Chaplin hides from the cops, taunts hard-faced gangster types, and tries to get the girl!  Dir. Charles Chaplin, 1918, 35mm, 33 min.

Drug War
(Du Zhan)
(China, 2012, 107 mins, DCP)
Directed By: Johnnie To
A police captain and his team, aided by a turncoat criminal who's working all the angles, doggedly work their way up the supply chain of a Mainland China drug syndicate. With each undercover sting, the stakes grow higher as the whole operation becomes riskier and more volatile, climaxing in a brutal display of gunplay in which every bullet has impact.
One of the defining figures in contemporary Hong Kong cinema, Johnnie To makes his Mainland debut with Drug War. Thankfully, working under China's filmmaking sanctions has done nothing to dampen his style. His flair for staging action set-pieces is, as always, unparalleled, but it's how To handles his characters--cops and criminals, dedicated and deceptive alike--that elevates To's latest from a simple police procedural to the crime film of the year.

1956, Sony Repertory, 83 min, USA, Dir: Fred F. Sears
Classic 1950s drive-in stuff: Earth’s scientists can’t figure out why all the rockets they shoot into space are disappearing … until a fleet of flying saucers appears over the White House! Husband-and-wife scientist team Hugh Marlowe and Joan Taylor form a vanguard of defense against the invaders. FX man Ray Harryhausen collaborated on the original story for the film with famed sci-fi writer Curt Siodmak (THE WOLF MAN).

Ever wondered whether your competitive impulse outweighs your desire to keep a steady beat? Become a performer in Federico Llach’s 11 Points this Sunday, June 2nd from 6 - 8pm and you just might answer this question. Sensors in our ping pong table will trigger previously recorded music that will take on the herky-jerky groove of your match. Will you strive toward total domination of your opponent, or for that perfect 4/4 beat? Play some ping pong, drink a beer, and find out!

Europa Report
(USA, 2013, 90 mins)
Directed By: Sebastián Cordero
In this thrilling piece of hard science fiction, a privately funded space expedition, manned by an international crew, sets course for Europa, a frozen moon of Jupiter, where under its icy surface, they hope to find evidence of life among the stars. The journey through deep space is perilous, however, and small mistakes have large consequences when you're in an alien land.
Science fiction so rarely gets the science part right, a problem the filmmakers of Europa Report went to great lengths to rectify. With advice from experts at NASA, JPL and SpaceX, director Sebastian Cordero and his team have crafted a film in which the onscreen technology is as accurate as possible, making this the perfect film for both sci fi fans and actual scientists. 

1960, Nikkatsu, 72 min, Japan, Dir: Seijun Suzuki
With its dynamic camerawork and deftly intercut storylines, this little-known gem from director Seijun Suzuki blends the energy of the pulpiest juvenile-delinquent flicks with the angst of REBEL WITHOUT A CAUSE. Disillusioned by his parents, Jirô (Tamio Kawaji) takes to the streets with friends, their petty crimes gradually escalating to a devastating climax. Yoshiko Nezu is mesmerizing as the girl smitten with the swaggering Jirô.

The Expedition to the End of the World
(Ekspeditionen Til Verdens Ende)
(Denmark, 2012, 90 mins, DCP)
Directed By: Daniel Dencik
The views stun, the discoveries thrill, and the conversation inspires in Daniel Dencik's remarkable documentary chronicling an adventure to north-east Greenland in a three-mast schooner by a cadre of scientists and artists. Melting ice from global warming has made this mostly uncharted area newly passable (if only briefly during the year), and its exploratory bounty provokes this eccentric, witty group of experts--covering the fields of archaeology, marine biology, geology, and the visual arts--to philosophize on evolution and humankind's impact (and what that polar bear in the distance might be up to). What's revealed is a journey with tantalizing traces of the past, eye-popping encounters with the wild present, and--in an unexpected encounter with another ship--a weighted reminder of our future.

Egoyan's second feature observes a contemporary Canadian family in the crisis mode. Van is upset when he discovers that his childhood movie memories on videotape are being erased to make room for his father's bedroom activities. This prompts him to leave and kidnap his maternal grandmother from the old age home and set up housekeeping in an unused wing of a downtown hotel. A fascinating and very funny study of alienation in a high tech society. 1987, Canada, 35mm, 96 minutes. Written and directed by Atom Egoyan; starring David Hemblen, Aidan Tierney, Gabrielle Rose, Arsinée Khanjian

The Fifth Season
(La Cinquieme Saison)
(Germany, 2012, 93 mins, DCP)
Directed By: Peter Brosens, Jessica Woodworth
At first, The Fifth Season might seem like a charming, low-key comedy about an isolated agrarian Ardennes village populated with lovable deadpan characters like a sweet, elderly beekeeper. But soon filmmakers Peter Brosens and Jessica Woodworth reveal something far more ominous going on: The land has suddenly gone barren, and the cows no longer produce milk. What is going on? And is there anything the village can do to reverse this strange plague?
Cinema is filled with tales of nightmarish, apocalyptic scenarios, but few films in recent memory are as quietly upsetting as The Fifth Season, which calmly and dispassionately observes as a close-knit, cutoff community begins to destroy itself, first through panic and then later distrust.

1964, Sony Repertory, 103 min, UK, Dir: Nathan Juran
In director Nathan Juran’s extremely entertaining adaptation of H.G. Wells’ novel, turn-of-the-century British inventor Lionel Jeffries enlists Edward Judd and fiancée Martha Hyer in his scheme to reach the moon. Once the trio hits the lunar landscape, they’re captured by a weird subterranean insect race, and we’re treated to some of Ray Harryhausen’s most enjoyable special effects.

Fourteen scriptwriters spent five years toiling over a movie adaptation of war correspondent Vincent Sheehan's Personal History before producer Walter Wanger brought the property to the screen as Foreign Correspondent. What emerged was approximately 2 parts Sheehan and 8 parts director Alfred Hitchcock--and what's wrong with that? Joel McCrea stars as an American journalist sent by his newspaper to cover the volatile war scene in Europe in the years 1938 to 1940. He has barely arrived in Holland before he witnesses the assassination of Dutch diplomat Albert Basserman: at least, that's what he thinks he sees. McCrea makes the acquaintance of peace-activist Herbert Marshall, his like-minded daughter Laraine Day, and cheeky British secret agent George Sanders. A wild chase through the streets of Amsterdam, with McCrea dodging bullets, leads to the classic "alternating windmills" scene, which tips Our Hero to the existence of a formidable subversive organization... Dir. Alfred Hitchcock, 1940, 35mm, 120min.

“‘Frenzy’ is a kind of nightmare — made up of coincidences so rigorously ordered that they crisscross horizontally and vertically. ‘Frenzy’ is like the design of crossword puzzle squares imposed on the theme of murder.” — Francois Truffaut
Hitchcock’s 54th film in almost as many years marked a gripping return to form for the old master, eager to ditch lavishly overblown Hollywood productions for a brutalist trip through the gutters of contemporary London. More “wrong guy” than “whodunnit” in its nightmarish depiction of a necktie-strangler on the loose, Frenzy shows Hitch elegantly edging towards giallo aesthetics and new levels of chilling sexual perversion with bone-shattering clarity: one of the most graphic kills in the whole Hitch canon baits audiences to avert their eyes, while the next is deftly executed entirely off-screen with still more horrifying results. Returning to his homeland for the first time in two decades and casting relatively unknown TV actors in a spare, seedy and gruesome thriller that keeps twisting through its final seconds, Hitchcock here marries ‘40s style with a ‘70s enthusiasm for gore, producing unexpected humor along with muffled screams, and escaping with his reputation for terror secured.
Dir. Alfred Hitchcock, 1972, 35mm, 116 min.

Fruitvale Station
(USA, 2012, 84 mins, DCP)
Directed By: Ryan Coogler
Oscar Grant was fatally shot by an Oakland BART police officer on New Year's Day, 2009. The unjust killing was caught by multiple cell phones; and the shocking footage flooded the internet. Grant was a young man on the cusp of becoming a responsible adult who was beloved, but made mistakes, and was trying to do right by his family and friends.
This portrait of that fateful day in the life of Grant is told with restraint and cinematic grace. 26-year-old first time feature writer/director Ryan Coogler tells this heartbreaking story with clarity and simplicity, crafting what is sure to become one of the year's most lauded indie films.

If the Gods Of Holyfuckingshit! were to descend from the heavens and give us their golden nectar, Geteven would be served in a golden funnel — and you would chug every last drop. In 1993, trial lawyer John De Hart traded his suit and tie for a pair of sweatpants and a machine gun, as he wrote, directed, produced, and starred in this unbelievable piece of work. De Hart plays Rick, a cool cop who likes his shirts tucked in and his women turned loose. After Rick and his partner (Wings Hauser!) are betrayed by the maniacal Normad (William Smith!), we go on a rollercoaster ride of unfiltered insanity: drug deals, gunfights, Shakespeare quoting, Huckleberry Finn-inspired cults, Satanism, soapy baths, baby sacrificing and more! We could go on and on about everything we just wrote, but that would spoil the surprise — the surprise being this entire fucking movie. Fans of Wings Hauser will be blown away by his ability to appear to be on both coke and ‘ludes at the same time. And we GUARANTEE you will want “The Shimmy Slide” to be the song played at your funeral. Geteven is a gift straight from the heavens. Bow before it. Director/star John De Hart in person!
Dirs. John De Hart & James Paradise, 1993, analog presentation, 90 min.

Goodbye World
(USA, 2013, 99 mins, HDCam)
Directed By: Denis Henry Hennelly
James and Lily live off the grid, raising their young daughter in a cocoon of comfort and sustainability. When a mysterious mass text ripples its way across the country, triggering a crippling, apocalyptic cyber attack, their home transitions from sheltered modern oasis to a fortress for the estranged old friends that show up at their door for protection and community. The unexpected reunion--abundant with revelry and remembrances, generously enhanced by organic wine and weed--is quickly undermined by the slights of the past, the spark of lingering flirtations and the threat of a locally grown new world order.
Balancing tense confrontations with slivers of levity, director Denis Henry Hennelly pinpoints a future where ideology explodes into action in every area.  

Gunfight at the O.K. Corral (1957)
Directed by John Sturges
Director John Sturges' classic Vistavision take on the legendary gunfight in Tombstone, AZ was the second big screen pairing for Burt Lancaster and Kirk Douglas and it solidified the chemistry the two would share in films to come. As the stolid Wyatt Earp, Lancaster emanates a quiet power matched by the wilder, chaotic energies of Douglas' Doc Holliday. A fantastic supporting cast, including Rhonda Fleming, Jo Van Vleet and a young Dennis Hopper round out the action.
Paramount Pictures Corp. Producer: Hal B. Wallis. Screenwriter: Leon Uris. Cinematographer: Charles B. Lang Jr. Editor: Warren Low. Cast: Burt Lancaster, Kirk Douglas, Rhonda Fleming, Jo Van Fleet, John Ireland.  35mm color, 122 min.

Looking downright evil in aviator sunglasses, an all-white suit and a take-no-prisoners gait, Powers Boothe won an Emmy for his portrayal of Peoples Temple honcho Jim Jones, the paranoid cult leader who commandeered nearly one thousand followers to suicide at his Jonestown compound in Guyana. The best made-for-TV movies are ones that grip you by the back of the neck within the first minute — and if the heart-stopping and dynamically tense opening moments of Guyana Tragedy are any indicator, then this is one of the greatest miniseries from the Golden Age of the form. This gritty two-parter rapidly envelops you in the complex web of how Jones’ righteous good intentions in the Fifties gave way to him exercising harrowing thought control, slithering moral deceit, hardcore drug addiction, infidelities both gay and straight, and epic delusions of grandeur. Guyana Tragedy also comes with an incredible pedigree: not only a script from Shaft/French Connection scribe Ernest Tidyman, but also a Character Actor Hall of Fame supporting cast of Ned Beatty, Randy Quaid, Veronica Cartwright, James Earl Jones, Brad Dourif, LeVar Burton, Colleen Dewhurst and Diane Ladd. It doesn’t get much more satisfying a TV-movie experience than this. Dir. William A. Graham, 1980, 16mm, 192 min.

The sublime Barbara Sukowa reteams with director Margarethe von Trotta (Vision, Rosa Luxemburg) for her brilliant new biopic of influential German-Jewish philosopher and political theorist Hannah Arendt. Arendt’s reporting on the 1961 trial of ex-Nazi Adolf Eichmann in The New Yorker—controversial both for her portrayal of Eichmann and the Jewish councils—introduced her now-famous concept of the “Banality of Evil.” Using footage from the actual Eichmann trial and weaving a narrative that spans three countries, von Trotta beautifully turns the often invisible passion for thought into immersive, dramatic cinema. An Official Selection at the Toronto International and New York Jewish Film Festivals, Hannah Arendt also co-stars Klaus Pohl as philosopher Martin Heidegger, Nicolas Woodeson as New Yorker editor William Shawn, and two-time Oscar Nominee Janet McTeer (Albert Nobbs) as novelist Mary McCarthy. Running time: 113 minutes. In German, French, English, Hebrew, and Latin, with English subtitles.

Harry Dean Stanton: Partly Fiction
(Switzerland, 2012, 77 mins)
Directed By: Sophie Huber
Featuring: Harry Dean Stanton, David Lynch, Sam Shepard, Kris Kristofferson, Wim Wenders, Debbie Harry
"I don't give anything away," Harry Dean Stanton cautions Sophie Huber as her documentary commences. True to his word, the consummate character actor is initially extremely reticent. But, as David Lynch reminds us, Stanton's allure comes from "what he does between the lines." Content to let his friends sing his praises, the octogenarian is more comfortable crooning country songs. Oddly enough, his melancholic readings of familiar lyrics--and the pregnant pauses he punctuates them with--actually serve as confessions of a sort. Huber's enthralling film skillfully uncovers the qualities that have allowed a self-described loner to establish lasting relationships in an often callous industry. As Kris Kristofferson once suggested, Stanton is a "walking contradiction." He's also truly deserving of this intimate, insightful tribute. 

The cargo ship MV Rozen is heading for harbor when it is hijacked by Somali pirates in the Indian Ocean. Amongst the men on board are the ship’s cook Mikkel (Pilou Asbæk) and the engineer Jan (Roland Møller), who along with the rest of the seamen are taken hostage in a cynical game of life and death. With the demand for a ransom of millions of dollars a psychological drama unfolds between the CEO of the shipping company (Søren Malling) and the Somali pirates. Running time: 99 minutes. In Danish, with English subtitles.

Hour of the Wolf
1968/b&w/90 min.
Scr/dir: Ingmar Bergman; w/ Liv Ullmann, Max von Sydow, Erland Josephson
An artist retreats with his wife to a forbidding and secluded location so that he can hone his craft. Instead, he is preyed upon by visions and waking nightmares. Are his suppressed memories beginning to surface? Or has the remote island where he’s sequestered cast a spell on him? Ingmar Bergman’s darkly surreal Hour of the Wolf is a fascinating precursor to Kubrick’s The Shining. Max Von Sydow plays the tortured painter, Johan Borg, with full-bodied angst. Co-star Liv Ullmann is his wife, blindsided by her husband’s weird and progressively murderous behavior. The writer/director’s most extreme depiction of the struggles an artist endures when giving birth to his art, Hour of the Wolf’ masterfully blends tenebrous atmospherics and clammy terror. Made between Persona and Shame, this film finds Bergman at ease with experimentation as he delves deeply into the haunting symbolism of the unconscious.  

House With a Turret
(Ukraine, 2012, 79 mins, DCP)
In Russian with English subtitles
Directed By: Eva Neymann
A war film without any battle scenes, House with a Turret examines the psychological and emotional tumult that infects those on the margins of armed conflicts. In a wintry Soviet Union at the tail end of World War II, an unnamed boy journeys with his ailing mother to reach his grandfather's home, but her illness soon slows them down, forcing the boy to grow up much faster than expected.
Working from an autobiographical story by author Friedrich Gorenstein, Ukrainian director Eva Neymann films in gorgeously muted black and white, chronicling not just the boy's painful coming of age but also a nation's, as he encounters people of all ages trying to pick up the pieces of lives forever devastated by war.

A shockingly candid examination of how a street dealer can rise to cartel lord with relative ease, How to Make Money Selling Drugs is an insider's guide to the violent but extremely lucrative drug industry. Told from the perspective of former drug dealers, and featuring interviews with rights advocates Russell Simmons, Susan Sarandon, and David Simon (creator of "The Wire"), the film gives you the lessons you need to start your own drug empire while exposing the corruption behind the "war on drugs." Running time: 96 minutes.

Directed and co-written by Thomas Vinterberg, the film is a disturbing depiction of how a lie becomes the truth when gossip, doubt and malice are allowed to flourish and ignite a witch-hunt that soon threatens to destroy an innocent man’s life.
Mads Mikkelsen (NBC’s Hannibal, A ROYAL AFFAIR, CASINO ROYALE) won the Best Actor Award at the 2012 Cannes Film Festival for his penetrating portrayal of Lucas, a former school teacher who has been forced to start over having overcome a tough divorce and the loss of his job. Just as things are starting to go his way, his life is shattered when an untruthful remark throws his small community into a collective state of hysteria. As the lie spreads, Lucas is forced to fight a lonely fight for his life and dignity.
Co-founder of the Dogme movement and director of award-winning international hit FESTEN (THE CELEBRATION), Vinterberg, this year’s President of the Jury for Un Certain Regard at Cannes, delivers yet another powerful drama that is sure to leave its mark.THE HUNT premiered at the 2012 Cannes Film Festival, was a Special Presentation at the Toronto International Film Festival and screened at Telluride. Co-written by Vinterberg and Tobias Lindholm (whose credits also include A HIJACKING, which he co-wrote and directed), THE HUNT won the Best Screenwriter prize at the 2012 European Film Awards, and was nominated for prizes in a number of other categories, including Best Film, Director and Actor. Running time: 111 minutes. In Danish, with English subtitles.

(India, 2012, 87 mins, DCP)
In Hindi with English subtitles
Directed By: Kamal K.M
The feature directorial debut from Indian filmmaker Kamal K.M. may be called I.D., but this drama has less to do with individual identity than it does our shared personal connection. A carefree young woman living in Mumbai named Charu is visited by a painter who's been hired to do a touch-up to one of her apartment walls. But when the man falls unconscious, Charu discovers that she alone must attend to this stranger, first getting him to the hospital and then trying to discover who he is.
With echoes of the great Romanian film The Death of Mr. Lazarescu, which also explored institutional bureaucracy, I.D. shows us how, even in our hyper-connected modern world, people can still fall through the cracks.

Inequality For All
(USA, 2012, 85 mins, HDCam)
Directed By: Jacob Kornbluth
You would think it would be hard to make a spellbinding and entertaining movie about economics, but director Jacob Korbluth has a secret weapon: the eloquent economic policy expert and inspiring teacher Robert Reich. Reich's subject is one that effects us all: income inequality, which has been growing at an alarming rate since the 1970s and now threatens the economic health of the country and democracy itself.
You could say that Inequality for All does for the economy what An Inconvenient Truth did for the environment--but with more humor and humanity. It takes one of the most important issues of our times--the decimation of the middle class, which has always been the engine of a strong economy--and shows, in moving and personal stories, that when the rich get richer, the whole country gets poorer. A panel discussion will follow the outdoor screening. 

In the Shadow (Ve stinu) (Czech Republic/Slovakia/Poland/Israel, 2012)
Directed by David Ondricek
During the consolidation of Soviet power in 1950s Czechoslovakia, a cracked safe and stolen cash lead an honest police inspector into a dangerous web of corruption in the State Security bureau—even as his reckless pursuit of the truth alienates and endangers his family. Rain and power blackouts contribute to a taut atmosphere in this neo-noir police thriller.
Bleiberg Entertainment. Producers: David Ondricek, Krystof Mucha, Ehud Bleiberg. Screenwriters: Marek Epstein, D. Ondricek, Misha Votruba. Cinematographer: Adam Sikora. Editor: Michal Lansky. Cast: Ivan Trojan, David Svehlík, Sona Norisova, Sebastian Koch, Marek Taclik, Jiri Stepnicka. HDCam, color, in Czech and German with English subtitles, 106 min. In-person:  director David Ondricek.

The Island of St. Matthews
(USA, 2013, 70 mins)
Directed By: Kevin Jerome Everson
With a filmmaking style that draws upon fiction, documentary and experimental traditions, filmmaker Kevin Jerome Everson deftly explores aspects of the African American experience in critically acclaimed work that is as likely to be seen in an art museum as at a film festival.
For his most recent feature (he has also directed over 70 short films), Everson turns to the community of Westport, Miss., where the nearly annual flooding of the Tombigbee River has touched everyone, including Everson's own family. In 1973, the raging waters threatened to wash away the entire town, along with countless family heirlooms and photo albums. Today, those waters can still trouble, but they also unite the community, bound together by flood barriers and baptisms.

1934, Universal, 73 min, USA, Dir: Norman Z. McLeod
Considered by some to be the Great Man’s greatest film, this short, sweet W.C. Fields vehicle is little more than a series of zany sketches loosely tied to his desire to move to California and grow oranges. Includes the legendary "Mr. Muckle" and "Carl LaFong" scenes, as well as the hanging mirror and sleeping porch routines. Jean Rouverol, who co-wrote THE FIRST TIME, plays Fields’ daughter.

I Walk Alone (1948)
Directed by Byron Haskin
In their first screen appearance together, Burt Lancaster and Kirk Douglas square off as former Prohibition-era rum-running partners at odds over the spoils of their enterprise. Returning after 14 years in prison, tough guy Frankie Madison (Lancaster) is out for vengeance when he finds his former partner, the unctuously scheming Dink Turner (Douglas), running a successful nightclub and reluctant to give Frankie his due.
Paramount Pictures, Inc. Based on the play by Theodore Reeves. Screenwriter: Charles Schnee. Cinematographer: Leo Tover. Editor: Arthur Schmidt. Cast: Burt Lancaster, Lizabeth Scott, Kirk Douglas, Wendell Corey, Kristine Miller. 16mm, b/w, 97 min.

1954, Fine Arts, 86 min, Italy, Dir: Roberto Rossellini
Inspired by Colette’s novel Duo, this subtle domestic drama stars director Roberto Rossellini’s then-wife, Ingrid Bergman, and George Sanders as an English couple who travel to Naples to sell a property they recently inherited. The marriage is strained and the two decide to spend time apart, taking in beautiful tourist spots as they decide whether they still have a future together. Beneath this simple narrative lies an emotional intensity and spirituality that has won such fans as Martin Scorsese and Sight & Sound’s team of critics, who recently named it as one of the 50 greatest films ever made. English-language version.  Newly Restored!

In this perfect show for Father and Co., Cinefamily presents one of Charlie Chaplin’s milestone early features! In The Kid, the Tramp adopts an abandoned toddler (Jackie Coogan) whom he discovers in an alley, and raises him to become his sidekick in a variety of schemes and cons. Chaplin’s first feature-length directorial effort, The Kid is a moving and hilarious portrait of paternal love, or as the film’s first intertitle says, “A picture with a smile, and perhaps a tear…” As well, it’s the landmark work of genius in which Charlie the jester metamorphasized into Charlie the full-blooded actor, whose iconic dignity in the face of comic adversity made him one of our greatest cinematic treasures.  Dir. Charles Chaplin, 1921, 35mm, 68 min.

1961, Shochiku Company, 82 min, Japan, Dir: Masahiro Shinoda
Also known as KILLERS ON PARADE, this stylistically audacious action comedy-drama stars Yûsuke Kawazu as a gifted-but-green hired gunman who falls for one of his targets, a young reporter (Shima Iwashita) whose exposés of shady business dealings have turned the heat up on local yakuza. But the crime bosses also have put back-up assassins on her trail – though they have some trouble hitting their mark. If you enjoy the dark humor of directors like Seijun Suzuki and Kihachi Okamoto, you will love this! In Japanese with English subtitles.

Kiss the Blood Off My Hands (1948)
Directed by Norman Foster
A desperate chase opens this high-intensity noir, as troubled ex-soldier Bill Saunders (Lancaster) flees the scene of a London bar fight in which he's just killed a man. Attempting to put his violent ways behind him with the help of a good woman (Fontaine), Saunders finds himself ensnared by a blackmailing hoodlum (Newton) and the inexorable pull of his past.
Universal Pictures Company, Inc. Producer: Richard Vernon. Based on the novel by Gerald Butler. Screenwriter: Leonardo Bercovici. Cinematographer: Russell Metty. Editor: Milton Carruth. Cast: Joan Fontaine, Burt Lancaster, Robert Newton, Lewis L. Russell.  35mm, b/w, 79 min.

LA AIR is a new artist-in-residence program that invites Los Angeles filmmakers to utilize EPFC resources in creating a new work over a four-week period. Erich Burci will present works from his Re-edit series, including his residency project titled Deconstructable. Using educational and other selected 16mm found footage, the artist attempts to reject their original narrative by skewing sound bites to create a non-sensical narrative visual essay. Two projectors are used to layer multiple images on top of each other to deform any image from its original sense. By breaking down the material in this fashion, the artist explores how the deconstruction of old ideas can be ultimately be used to express new visual structures. The work will have sound composed by Patrick Rylands. Other works include the dual projector 16mm / 8mm Butch Travesty, which leads the viewer on a subtle and nostalgic trip into a city that is ever changing; Farewell to Lucy, a 16mm film inspired by Matisse, the piece explores camera movement and the connection between two models: a woman and a fish; and Island Woman, a dual projection 16mm film inspired by Cuban avant-garde photography, the work creates dynamic compositions through the use of zooms and hand-painted film material

The Leopard (Il Gattopardo) (France, 1963)
Directed by Luchino Visconti
Burt Lancaster was not Luchino Visconti's first choice for the proud Sicilian prince at the center of his sumptuous, CinemaScope epic set during the convulsive 1860s Risorgimento that transformed Italy into a unified nation. Even after watching Birdman of Alcatraz (1962), Visconti, according to Lancaster, only offered, "Well, maybe." The production proved challenging for both but the result is a towering landmark of postwar cinema. Lancaster delivers the performance of his career as the dignified aristocrat holding fast to aristocratic values in the face of inexorable change.
Twentieth Century-Fox Film Corp. Producer: Goffredo Lombardo. Based on the novel by Giuseppe Tomasi di Lampedusa. Screenwriters: Suso Cecchi D’Amico, Pasquale Festa Campanile, Enrico Medioli, Massimo Franciosa, L. Visconti. Cinematographer: Giuseppe Rotunno. Editor: Mario Serandrei. Cast: Burt Lancaster, Alain Delon, Claudia Cardinale, Paolo Stoppa, Rina Morelli.  35mm, color, in Italian with English subtitles, 187 min.

Lesson of the Evil
(Japan, 2012, 128 mins, HDCam)
Directed By: Takashi Miike
No one at Shinko Academy is as popular as new English teacher Mr. Hasumi, who, with his natural charm and J-pop good looks, seems perfect. Effortlessly solving high school scandals both expected, like cheating and bullying, and extreme, like an affair between a student and a teacher, Mr. Hasumi quickly becomes everyone's favorite. There's just one problem. He's also a violent psychopath, which doesn't bode well for anyone who crosses him.
Even though the film starts off with shocking act of violence, it's easy to forget, at first, that this is not an afterschool special of some sort. Gradually, however, prolific cult director Takashi Miike amps up the crazy, tempering his film's grisly mayhem with a sense of humor that's as black as dried blood.

Levitated Mass: The Story of Michael Heizer's Monolithic Sculpture
(USA, 2013, 88 mins, HDCam)
Directed By: Doug Pray
Since he began producing land art in the late 1960s, Michael Heizer's large-scale projects have been challenging in both description and execution, and the 340-ton rock discovered in a Riverside quarry that ultimately became the LACMA exhibition Levitated Mass is no exception. What begins as a fascinating look at the convoluted logistical puzzle of transporting one enormous boulder through four adjacent counties, develops into an astute and candid reflection on what art – and the reaction to art – truly means in a contemporary society. Capturing the honest reactions, from eye-rolling to awe-inspired, of the crowds who gape as the boulder lumbers past them through the dead of night, director Doug Pray carves out his own beguiling cinematic sculpture.

In addition to being one of the mind-warpingly quick-draw improv comics on earth, Greg Proops is the host of The Greg Proops Film Club: a lugubrious, salacious, verbacious monthly podcast! First up, Greg records his latest episode live on the Cinefamily stage, and then it’s time for one of Hitchcock’s most claustrophobic works, shown from an archival 35mm print! Greg sez: “Hitchcock on the ocean. A U-boat sinks a civilian ship during the war, and the survivors are pit against each other to survive. Made during the war from a story by John Steinbeck, this is a little cracker of a picture. We have the proper English people, the Brooklyn guy, the suspicious German, the blue-collar studbucket and the fabulous Tallulah Bankhead. Shot in the Fox lot’s water tank, Tallulah had to climb a ladder every morning to get in. She never wore underwear, and the crew cheered her each day. The fun starts there. Hitchcock makes a cameo, but how do you do it when it is only a bunch of people in a Lifeboat? You will dig this one. Summer is funner with hot WW2 action.” Proops will deconstruct, reanimate and regale this fine classic, plus tackle 467 ancilliary tangents in an expert flick of the verbal wrist. Be there!
Dir. Alfred Hitchcock, 1944, 35mm, 96 min. (Print courtesy of Fox Archive)

LIT SHOW Film Festival
Gerry Fialka screens rare literature films to celebrate THE LIT SHOW. Dorothy Parker wrote a song that Billie Holiday sang. Tennessee Williams wrote a song that Marlon Brando sang as a rambling troubadour in The Fugitive Kind. Lonely House was written by Kurt Weill and Langston Hughes. Jack Kerouac & Allen Ginsberg wrote Pull My Daisy with David Amram. You've read the book, now hear the songs. NOW SEE THE FILM.

Llyn Foulkes One Man Band
(USA, 2013, 88 mins, HDCam)
Directed By: Tamar Halpern, Chris Quilty
"Make and destroy and make again" is how Llyn Foulkes' describes his artistic process. Others might simply label it "obsession." Tamar Halpern and Christopher Quilty's portrait of an iconoclast follows Foulkes as he labors to complete two astonishing tableaux that demonstrate his outsider's perspective and eye for evocative imagery. As his reworking of one piece stretches into its second decade, we watch Foulkes' righteous contempt for the establishment erode, replaced by a yearning for the recognition he's due.
While his artwork frequently offers only torment, solace comes courtesy of The Machine. In concert with this odd contraption of clown horns and cowbells, Foulkes composes otherworldly melodies that segue from charming to haunting and back again... Much like the documentary that bears his name.

Lola Montes
1955/color/115 min./Scope
Scr: Max Ophüls, Annette Wademant; dir: Max Ophüls; w/ Martine Carol, Peter Ustinov, Anton Walbrook, Will Quadflieg, Oskar Werner
The story of legendary courtesan Lola Montes is rendered with painterly grandeur by Max Ophüls—in color and CinemaScope, for the first and only time in his career. Long after her larger-than-life romances with aging King Ludwig (Anton Walbrook), Liszt, and a handsome young student (Oskar Werner), Montes is reduced to a circus curio, teased by adoring yet cruel ringmaster Peter Ustinov. Told in picaresque vignettes over the span of many years, Ophüls’s film, like Barry Lyndon, traces the rise and fall, tragedy and transcendence of an epic and sumptuous life. But Ophüls’s exuberant color palette, impeccable cinematography, and daring non-linear narrative was lost on most viewers. When Lola Montes opened in Paris, police were called to monitor theaters for fear of riots by perplexed moviegoers. A monumental flop in France, it was heavily recut for its equally disastrous and delayed US release one year after Ophüls’s death. (Kubrick, a great admirer of Ophüls, was shooting Paths of Glory on the day Ophüls passed away and dedicated the day’s tracking shots to the memory of this master of the dolly). But for cinephiles, Lola Montes became a cause célèbre — François Truffaut writing at the time of its Paris opening proclaimed “if we have to fight, we will fight” to defend it; Andrew Sarris called it the greatest film ever made. Lola Montes wouldn’t return to American screens the way Ophüls had intended it until 2008 thanks to a breathtaking restoration by the Cinémathèque Française.

This month’s program will feature a shorts program, followed by an astonishingly rare screening of Beat the Deva, a 1980 "new age" detective film that uses noir, documentary, and psychedelic animation techniques to illustrate the offbeat artistic and spiritual theories of Russian composer, Alexander Scriabin and the special effects of inner space... We think. This is a really weird headscratcher: Totally unclassifiable, very much born of the 70's cult movement, not online or on DVD... and NOT to be missed! 

“It’s too bad words like ‘masterpiece’ and ‘epic’ have been so overused by excitable film critics, because Sion Sono’s Love Exposure is an actual epic masterpiece that is going to dominate the filmscape for decades.” – New York Asian Film Festival
“Japan’s eroto-theosophical answer to the allegorical journeys of Alejandro Jodorowsky” — Film Four
Ask yourself this question: when was the last time a movie really mattered to you, and shattered your world? Every so often, a film comes screaming out of the ether that magically reveals a larger truth about this thing we stumble through called life — and Sion Sono’s behemoth 2009 masterpiece gleefully fits that bill, tackling life’s biggest issues: love, death, sex, revenge, cults, religion and up-skirt panty photography. Winner of festival awards across the globe, and purportedly based on the life of one Sono’s friends, it’s the epic story of a teen who loses his Catholic faith when his mother dies, and his bible-thumping priest father demands he confesses to sins he hasn’t committed. Manufacturing sins to keep his father pleased, Yu trains in the “art” of panchira (clandestine panty snapshots) — and all bets are off when he crosses paths with Yoko, the woman of his dreams (his “Virgin Mary”), at a streetfight. As he pursues his heart, Yu gets tripped up by apocalyptic religious cults, Catholic guilt and the call of pornography — and must use his love to fight his way out of darkness. The Cinefamily is proud to once more present one of the top Japanese films of the last decade!  Dir. Sion Sono, 2008, HDCAM, 237 min.

The Manxman
1929/b&w/100 min./silent/DCP
Scr: Eliot Stannard; dir: Alfred Hitchcock; w/ Carl Brisson, Malcolm Keen, Anny Ondra, Randle Ayrton, Clare Greet
Alfred Hitchcock directed this tale of a rocky love triangle on the craggy Isle of Man just before making the transition to talking pictures. Two boyhood friends—one a fisherman, the other a lawyer—find themselves in love with the daughter of a surly local innkeeper. Anny Ondra—arguably the first classic Hitchcock blonde, and the female lead of the director’s subsequent Blackmail—gives a complex performance as the object of their dueling affections.  Though shot in Cornwall, the film’s evocative landscapes—towering cliffs, rough seas, and stone mills—add lyricism to this desperate and windswept melodrama that poses the question: “What shall it profit a man if he gain the whole world and lose his own soul?”  Though rated by Claude Chabrol and Eric Rohmer as Hitchcock’s best silent feature—alongside The Ring—The Manxman was only released after its follow-up, Blackmail, proved a critical and commercial smash. 
Live musical accompaniment by Stephen Horne, performing his newly-commisioned score with harpist Diana Rowan.

Marnie brings Tippi Hedren back into harm’s way via Hitchcock, but rather than being at the mercy of lethal feathered friends, this time she’s prey to the most unconventional marriage of the century. A shifty grifter, Marnie makes her money by role-playing, stealing it from unsuspecting corporate offices — that is, until a rich, young Sean Connery, fascinated with her, offers her a most unusual arrangement: if she agrees to let him study her ways like a lab animal, he won’t turn her in. While Hedren had already undergone an excessive amount of physical and psychological anguish during the shooting of The Birds, Hitch’s legendary attempts to mind-game his actresses reached a zenith here, as Hedren constantly seems to be in the grip of a psychosexual fever dream. As well, Marnie’s aversion to the color red recalls Gregory Peck’s similar affliction in Spellbound, but here the Freudian analysis has been dropped in favor of a probing look at two deeply twisted individuals whose only hope is to heal each other. A fascinating entry in Hitchcock’s late-period body of work.
Dir. Alfred Hitchcock, 1964, 35mm, 130 min.

1967, Nikkatsu, 89 min, Japan, Dir: Yasuharu Hasebe
This rarely screened crime drama from director Yasuharu Hasebe features noir-ish B&W cinematography, distinctive set design and a number of bravura action sequences. Three brothers (Joe Shishido, Tatsuya Fuji and Jirô Okazaki) go to war with their former gang after the youngest is beaten up and their nightclub is trashed. An old friend remains on the other side – but no one is safe from the volley of bullets as each faction tries to settle the score. In Japanese with English subtitles.

Menage begins as a comedy of sorts, but be warned: it develops into a very dark, very confusing probe into the seamier aspects of Parisian life. Gerard Depardieu plays a crude but charismatic thief, whose own gayness does not prevent his commiserating with those of the opposite sex. Miou-Miou and Michel Blanc are young, impoverished lovers who fall under Depardieu's influence. He gains their confidence by introducing them to kinky sex, then sucks them into a vortex of crime. Director Bertrand Blier, who in most of his films has explored the awesome power (rather than pleasure) of sex, nearly outdoes himself in Menage (aka Tenue de Soiree). Dir. Bertrand Blier, 1986, 35mm, 84 min.

Mr. Freedom
1969/color/92 min.
Scr/dir: William Klein; w/ Delphine Seyrig, John Abbey, Donald Pleasance, Jean-Claude Drouot, Serge Gainsbourg, Philippe Noiret
Vogue photographer William Klein burst onto cinema screens with 1966’s hallucinatory fashion world satire Where are You Polly Maggoo?, a film that Kubrick proclaimed to be ten years ahead of its time. The American-born, Paris-based Klein followed up that film with an equally bold and eye-popping fantasia in which the volatile Vietnam-era zeitgeist was brought into sharp relief. Mr. Freedom’s title character is a cartoonish descendant of Strangelove’s bellicose and paranoid army loon, General Jack D. Ripper. Garbed in a patriotic cross between a quarterback’s uniform and a superhero costume, Mr. Freedom is sent on a mission to France in order to crush all things Left—including the inflatable Red China Man. He’s aided by a scantily-clad sidekick (Delphine Seyrig, never funnier) and a small rag-tag army that includes a blink-and-you-miss-it cameo by Serge Gainsbourg. A tour-de-force of outlandish production design and manic sloganeering—with occasional burly musical interludes—Mr. Freedom is a trenchant parody of American militarism with a hint of Cold War dread. Overflowing with vitriol-tinged psychedelic silliness, Mr. Freedom’s blend of pop art and dark comedy ends, like Strangelove, with a bang.
“Spirited and hilarious… Filmed in slam-bang comic-book style [and] this feisty political cartoon remains a singular expression of 60s irreverence.”—Jonathan Rosenbaum.

1980, New World, 125 min, France, Dir: Alain Resnais
One of Alain Resnais’ biggest critical and commercial successes illustrates the radical theories of human behavioral scientist Henri Laborit by comically studying the interwoven stories of a factory manager (Gerard Depardieu), an aspiring actress (Nicole Garcia) and a politician (Roger Pierre). The thoughts and emotions of the fictional characters are magically "mirrored" by clips of three of France’s most famous movie stars - Jean Gabin, Jean Marais and Danielle Darrieux. Wonderfully written by Jean Gruault. In French with English subtitles.

Mother, I Love You
(Mammu, Es Tevi Milu)
(Latvia, 2013, 83 mins, DCP)
Directed By: Janis Nords
Like a lot of children, 12-year-old Raimonds has his quiet side, his talented side (he plays saxophone at a music school), a mischievous streak and a resourcefulness born of desperation. Often on his own while his single mom works, and routinely at odds with her when they do spend time together, Raimonds finds thrilling companionship in Peteris, a boy who steals money from one of the apartments his mother cleans.
Raimond's increasingly dangerous decisions will have thorny repercussions for him and those close to him. Writer/director Janis Nords brings great humanity and emotional suspense to this striking coming of age drama, a Latvian grandchild of The 400 Blows.

1963, Argos Films, 116 min, France, Italy, Dir: Alain Resnais
Arguably his greatest masterpiece (and one of the most unjustly neglected films of the past 40 years), director Alain Resnais’ third feature could be described as an expressionist cityscape of Boulogne in 1962, within the context of the Algerian war. It's also the story of Hélène (Delphine Seyrig) attempting to seduce her old lover, Alphonse, while her stepson is driven to murder in memory of "Muriel" whom we never see. For his first color film, "Resnais uses a color scheme reminiscent of Flash Gordon, with lush greens and reds throughout." - John Kreidl, Alain Resnais. In French with English subtitles.

Documentary/Canada/90 minutes/2012
Directed by Jonathan Holiff
An intense personal adventure with universal themes that just happens to feature one of  20th-century music’s greatest icons. ‘My Father and The Man In Black’ presents the untold story of ‘bad boy’ Johnny Cash, his talented but troubled manager, Saul Holiff, and a son searching for clues to his father’s suicide in the shadow of a legend.

1961, Sony Repertory, 101 min, UK, Dir: Cy Endfield
Based on Jules Verne's sequel to 20,000 Leagues Under the Sea, MYSTERIOUS ISLAND follows a group of Confederate prisoners during the Civil War who escape using an enemy balloon, only to find themselves blown off-course to a remote island, populated by monstrous creatures and the enigmatic Captain Nemo (Herbert Lom) himself! Directed by Cy Endfield (ZULU, TRY AND GET ME) in a rare fantasy outing, with a superb score by maestro Bernard Herrmann. With Ray Harryhausen, Michael Craig, Joan Greenwood, Michael Callan, Gary Merrill.

Mike Stoltz will project two 16mm films: his recent Pluses and Minuses—“Real morning with pluses and minuses, my symbols for truth.” –D. Boon, and the in-progress Half Human Half Vapor, a collection of artifacts left by Lewis Vandercar, Floridian sculptor and warlock. Rick Bahto will project the camera original Super 8 films of two works made to accompany songs by Julia Holter—Finale from her album Tragedy and World from her upcoming release Loud City Song. Sarah Rara will show an excerpt from her in-progress 16mm film Ukiah, which examines the goings-on during a gathering of artists and builders at a ranch in Ukiah, California. The film gathers together an array of materials from plant studies and landscapes to the activities of artists surrounding the building of a house to serve as a center for learning and think tank for the upcoming exhibition The Possible curated by David WIlson at the Berkeley Art Museum. Silkscreened onto the film are landscapes drawn by David Wilson, as well as notes and haikus assembled by the group during the gathering. The film serves as a document of the place, the people, and the process of making an exhibition. Other artists TBA! 

Night And Fog
(Nuit Et Brouillard), 1955, 32 min. Dir. Alain Resnais.
Surely one of the most remarkable, and unforgettable, documentaries ever made, this burst upon a world that was already trying to move away from the memory of the Holocaust. Juxtaposing period footage, contemporary images of the former camps and a haunting narration by writer Jean Cayrol, Resnais attempts to sketch the outline of events all too real and yet still unimaginable. In French with English subtitles.

An absolute Video Nights favorite — it’s Flashdance meets The Exorcist meets Enter The Ninja! When Ninja III: The Domination hit theater screens in 1984, it was immediately hailed as a brave and important film, one of Hollywood’s first to deal openly with the contemporary issue of ninja spirit possession. Lucinda Dickey (star of the Breakin’ mini-franchise) plays an aerobics instructor taken over by the ghost of a bloodthirsty ninja warrior — and when she takes revenge against his murderers (which here equals the entire Phoenix police force), the sword-wielding badass Sho Kosugi must lock horns with our svelte anti-heroine. Even with the above description, it’s difficult (and great fun) to put into words up just how off its rocker this legendary slab of neon delirium really is: from one of the most inexplicable opening sequences in all of martial-arts cinema, in which “the golf course slaughterstorm immediately sets the stage for an IQ-shattering attack against all five senses” (Alamo Drafthouse) — to sexual antics more at home on the planet Mars than in the suburban Southwest — Ninja III will blow your booty to bits. Come celebrate NINJA NIGHT with us dressed as a ninja and we’ll give you stuff!
Dir. Sam Firstenberg, 1984, 35mm, 92 min.

1966, 20th Century Fox, 100 min, UK, Dir: Don Chaffey
Prehistoric goddesses Raquel Welch and Martine Beswick compete for audience attention with some of Ray Harryhausen’s most realistic stop-motion dinosaurs, in this surprisingly convincing fantasy adventure. With expert cinematography by longtime Harryhausen collaborator Wilkie Cooper (7TH VOYAGE OF SINBAD, JASON AND THE ARGONAUTS, FIRST MEN IN THE MOON).

Our Nixon
(USA, 2013, 85 mins, HDCam)
Directed By: Penny Lane
You may think that you know all about Richard Nixon. You may have read copious volumes on Watergate, but you haven't seen this. Primarily comprised of home movies shot by H.R. "Bob" Haldeman, John Ehrlichman and Dwight Chapin, three key Watergate figures, Our Nixon is a wholly original and revealing film. Combining the Super 8 footage with rare audio and video from White House recordings and post-Watergate interviews, Lane has crafted a film that is a moving, tragic, funny, revealing, oddly elegant, and most of all, a deeply personal account of three largely unapologetic true believers who were ultimately betrayed by the President they loved.
Our Nixon illuminates just how much politics relies on the cult of personality and how deeply it can get its hooks into you.

Our Vinyl Weighs A Ton (This Is Stones Throw Records)
(USA, 2013, 90 mins, HDCam)
Directed By: Jeff Broadway
Before he was an internationally acclaimed DJ and the founder of a legendary Los Angeles record label, Peanut Butter Wolf, a.k.a. Chris Manak, was a young San Jose hip hop producer on the rise with his best friend and partner Charizma. Only a few years later, and in the wake of tragedy, Stones Throw Records was born. Almost twenty years later, Stones Throw is regarded as one of the most influential and groundbreaking labels in the industry.
Deftly weaving together rare archival footage, rousing live performances from visionary artists including J Dilla, Madlib, Mayer Hawthorne and Dam-Funk, and intimate interviews with the enigmatic Wolf and the Stones Throw family, filmmaker Jeff Broadway constructs a riveting tribute that reveals an unexpected history of heartbreak and triumph.

The Outré World of Rolf Forsberg
A true auteur of the often unjustly unsung genre of sponsored films, Rolf Forsberg has written and directed a number of highly stylized expressionistic shorts that defy simple description, including the controversial and acclaimed Parable (1964), which was named to the National Film Registry last year. While many of Forsberg's films were made on assignment for major religious organizations, his complex body of work is unexpectedly provocative, independent and experimental. Illustrating key influences, including Bergman and Fellini, Forsberg employs enigmatic symbolism and poetic lyricism to create vivid, nightmarish allegories situated between the spiritual and the secular, heaven and hell. UCLA Film & Television Archive is pleased to celebrate Rolf Forsberg's uniquely humanist canon with a selection of some of his most notable films and a conversation with the filmmaker himself. In-person: director Rolf Forsberg.

1962, Shochiku Co., 96 min, Japan, Dir: Masahiro Shinoda
One of the greatest yakuza films ever made, a gorgeous, obsessive blend of Jean-Pierre Melville and GUN CRAZY. Emotionless killer Ryo Ikebe gets out of prison and heads straight for the gambling parlors – where he runs into thrill-seeking Mariko Kaga, looking like Audrey Hepburn’s twisted sister. Together the two drag-race across the Tokyo underworld, accompanied by composer Toru Takemitsu's amazing gangster score.

Fiercely divisive at festival screenings worldwide, we’re proud to present the latest sensory missile from provocateur Carlos Reygadas (Japón, Battle In Heaven.) Detailing (in part) a well-to-do Mexican family’s journey into emotional and physical chaos, this is one of those theatrical experiences that’s as much fun to mentally crank afterwards, Rubik’s Cube-style, as it is to process while in the moment — bring a friend, and get prepared for some lively post-screening debate!
“Audacious, frustrating, beautiful, shocking, emotional, impossible, perhaps brilliant. It begins in a little girl's dream, running around a muddy field full of animals at magic hour as the sky gets darker and more ominous — then, in reality (maybe), the devil shows up. Not some metaphorical devil, but a pointy-tailed, horned, red thing with a goat's head carrying a tool box. It's a film where a man is playing happily with his children one moment, and then five minutes later, beating up his dog in a blind rage, one which follows its central couple from a family gathering in Mexico to, almost immediately, a libertine sex spa in France. It';s also a movie which contains moments of extreme tenderness and innocence, including an awkward rendition of a Neil Young song which almost brought me to tears. [Making] The Tree of Life look like a children's cartoon, it is not meant for the type of people that finish a movie and demand to know what it means — but to paraphrase a quote from Cassavetes' Shadows: ‘If you feel it, you feel it’.” — Brian Clark, Twitch
Dir. Carlos Reygadas, 2012, digital presentation, 115 min.

(Mexico, USA, 2013, 80 mins, HDCam)
Directed By: Rodrigo Reyes
Director Rodrigo Reyes takes a fresh look at the border between Mexico and the US, focusing on the striking imagery of the place and the people who play out their roles there, much like characters in a theater of cruelty. Leaving politics aside, he gives a voice to aspiring immigrants, an American coroner, a man of God who leaves water and food in the desert, the souls living and dying in border towns, and even a Minuteman going about his business of foiling the people trying to cross. Putting the physical presence and brutal beauty of the border itself front and center, Purgatorio re-imagines it as a mythical place comparable to "the unending road" of purgatory as described by Dante.
A panel discussion on the issues raised by the film will follow the Sat., June 15, screening.

Richard Artschwager: Shut Up and Look
Filmed over eight years, Shut Up and Look provides an intimate portrait of this extraordinarily gifted artist, who late in life abandoned a reclusive lifestyle to allow the filmmakers into his studio and personal life. Interviews with artists, collectors, and friends reveal the personal side of a very quirky, irreverent man who confounded critics by redefining his work and influencing a new generation of artists. (2012, Dir. M. Kavaliauskas, 57 min.) 

Richter in Germany: Everything Moves!
During a highly productive period the 1920s, Richter returned to his native Berlin from Zurich and explored, in quick succession, varied cinematic styles beginning with the groundbreaking abstraction of his “absolute” films—Rhythmus 21 and 23—that take their cue from his experimentation with fellow Dadaist Viking Eggeling on the interplay of surfaces and geometric forms in scroll-based paintings. Also included are his Surrealist touchstone Ghosts Before Breakfast and subsequent montage films.

Richter in The Netherlands and Switzerland: We Live in a New World
After receiving a commission in 1930 by the Swiss Werkbund (an association of artists and designer), Hans Richter began working as an industrial filmmaker for clients in the Netherlands and Switzerland (he later fled to both countries after Hitler came to power in 1933). Little-screened in the US, even less so in Los Angeles, these works reveal Richter's mastery of montage to bring imagination and intrigue to topics ranging from radiophony and aviation to the making of Ovaltine. Throughout this period, Richter’s concern with the social impact of film grew as his attention shifted from cinematic form to function. 

Richter in the USA: Dreams and Memories
Hans Richter immigrated to the United States in 1941, almost one year after Germany invaded the Netherlands, France and Belgium. He remained committed to the pursuit of film as a democratizing art and served as director for the Institute of Film Techniques at the City College of New York—where he worked from 1941 until his retirement in 1956. Richter began to serve an éminence grise for the burgeoning New American Cinema and as a historiographer of the European avant-garde. Publishing the essay “The Film as an Original Art Form” in 1955, he impacted filmmakers such as Maya Deren, Jonas Mekas, Curtis Harrington and many others.
With underwriting by Peggy Guggenheim, Richter began developing his first feature film in the mid-40s. With a cast of collaborators drawn from Richter’s rich avant-garde roots—Leger, Man Ray, Duchamp, and Calder—Dreams That Money Can Buy found him returning to themes and techniques drawn from Surrealism: desire, Greek mythology, dance, machines, collaboration and dreams. His other films from the period—such as 8x8 and Dadascope—also revisit early modernist strategies and tropes, among them sound poetry and chess. 

One of the strangest, most diabolical cult movements of all was created right in our own backyard. The drug rehab cult “by the sea” (or, if you prefer, “A.A. gone wrong”), Synanon was birthed in Santa Monica by the Bukowski-esque, tough-as-nails Chuck Dederich — the “Popeye” of cult leaders. Having his mind blown on a governmental LSD experiment, this Bowery Bum-style alcoholic emerged with a lofty vision of how to recreate man, cure drug addicts and build a utopian future — which, of course, devolved into routine beatings, arranged marriages, coerced vivisection and enough shaved heads to fill THX 1138’s on-screen society with extras (it’s true!) Join us as we track the rise and fall of this outlandish alternative society with archival materials, found footage — and the incredible in-person story of Paul Morantz, one of the world’s foremost experts on cults, and the lawyer who not only successfully sued Synanon after years of litigation, but who also lived to tell the tale after the desperate, on-the-run cult left a deadly rattlesnake in his mailbox. Plus, we’ll also screen a rare 35mm print of Synanon, the jazzy 1965 Hollywood whitewashing treatment in which the cult is presented as an anti-drug success story, co-starring Stella Stevens, Edmond O’Brien, Chuck Connors and Eartha Kitt.
Synanon Dir. Richard Quine, 1965, 35mm, 105 min.

The fourth in a series of tribute screenings to the late, great Robert Nelson (1930-2012). After Chris Langdon’s introductory Picasso anti-tribute (starring Bob as Pablo), we’ll see Nelson’s earliest mature work, and a damn bold debut, Plastic Haircut, which also features Steve Reich’s first tape piece, made specifically for this movie. Three of Nelson’s lesser-known and very rarely seen shorts make up the center of the program, including an unusual collaborative work made with artist Mike Henderson. The program will conclude with what is thought by many to be one of the great American avant-garde films in cinema history—and simply one of the funniest and finest works of art I’ve ever experienced—the one and only Bleu Shut. Picasso (1973)by Chris Langdon; Plastic Haircut (1963), Limitations (1988), Worldly Woman (1973, with Mike Henderson), More (1971/1998), Bleu Shut (1970) by Robert Nelson. All works projected from 16mm.

1971, Rainbow Releasing, 89 min, USA, Dir: Henry Jaglom
In Henry Jaglom’s directorial debut, Tuesday Weld is superb as a troubled flower child in New York City being pulled between two very different men (played by Jack Nicholson and the Firesign Theatre’s Phil Proctor) and seeking refuge in soothing memories (like that of magician Orson Welles).

When Brenda (Linda Blair, grown up and brutally foul-mouthed), her deaf-mute sister (Return of the Living Dead’s Linnea Quigley) and their crew the Satins aren’t busy having dance aerobic fun, wet T-shirt shower fights or battling the authority of their iron-fisted high school principal (Animal House’s John Vernon, at the height of his beautiful 80s omnipresence), they’re cruising the savage streets of Hollywood, pulling pranks and drinking Schnapps. But when vicious, leather-clad punks push their fun too far, it’s a gang war of the sexes with Blair s suited up in a skintight leather jumpsuit and stacking up lowlife corpses like ham on a deli tray. At a moment in history when antisocial cinema had seemingly reached its apex, Savage Streets burst forward to claim the title of Scummiest Film of the Decade; grimier than a wino’s tongue and crammed full of ridiculously notable quotables (“Go fuck an iceberg!”, anyone?), this is THE SHIT.
Dir. Danny Steinmann, 1984, 35mm, 97 min.

The Scalphunters (1968)
Directed by Sydney Pollack
A Western with a blistering satiric edge, The Scalphunters finds Burt Lancaster again embracing an unsavory character as Joe Bass, an ornery frontier trapper who is forced to give up a wealth of furs in exchange for an escaped slave, Joseph Lee, played by Ossie Davis. When Bass subsequently loses Lee to a band of even more loathsome scalphunters (headed by Telly Savalas and Shelley Winters), he wages a one man war across the desert to reclaim his "property." Balancing sharp wit, racial politics and the violence of revenge, the film culminates in an extended, mud-soaked fist fight that's a true classic of the genre.
United Artists. Producers: Jules Levy, Arnold Laven. Screenwriter: William Norton.  Cinematographer: Duke Callaghan. Editor: John Woodcock. Cast: Burt Lancaster, Shelley Winters, Telly Savalas, Ossie Davis.   35mm, color, 103 min.

Short Term 12
(USA, 2013, 96 mins, DCP)
Directed By: Destin Daniel Cretton
Working with at-risk youth in a foster care facility, Grace never knows when things might suddenly go sideways. Likewise, Destin Daniel Cretton's film keeps viewers off-balance starting with its brilliantly staged opening scene, rarely allowing a moment's peace before another crisis erupts. Having reached a critical juncture in her relationship with her boyfriend Grace is pushed to her breaking point by the arrival of Jayden, a girl whose troubled home life parallels the one she endured.
Mining both humor and heart felt drama from these lives unacquainted with normalcy, Cretton's film proves deeply affecting without ever resorting to manipulation. In no small part, this is due to Brie Larson's riveting performance as Grace. 

After the release of Mike Hodges' iconic GET CARTER in 1971, the ailing British film industry tried to imitate its success for years, to little avail, save this little-seen gem from 1972.
SITTING TARGET stars the great Oliver Reed, who made a career out of playing unrepentant sons of bitches (and even had the chutzpah to crown himself "Mr. England," based on his 1970s box office dominance). Here, he plays Harry Lomart, an unrepentant son of a bitch who's serving a long stretch in Britain's toughest maximum security hellhole. When his wife (Jill St. John) confesses during a visit that she's met someone else, Harry goes berserk, vowing to break out with his only pal (Ian McShane, looking like a refugee from the Dave Clark Five), track the two-timing wench down, and murder Jill and her lover in a blood bath worthy of Sam Peckinpah and the Marquis de Sade.
One of the best-shot films ever and directed with lean economy by the underrated Douglas Hickox, SITTING TARGET packs a wallop that you'll feel in your extremities over forty years after its original release when it was the first film slapped with an X-rating for violence in the U.S., and was re-rated R on appeal.

The laconic and moody Smog (1962, 35mm, 88 min) is a little-known film from director Franco Rossi that presents a compelling outsider's perspective, following Italian attorney Vittorio Ciocchetti (Enrico Maria Salerno) through two days in the City of Angels, from LAX airport and Pierre Koenig's Stahl House (both newly built) to the oil wells of Culver City. Complements the exhibition Overdrive: L.A. Constructs the Future, 1940–1990.

1987, Rainbow Releasing, 110 min, USA, Dir: Henry Jaglom
Director Henry Jaglom and some of his filmmaking friends convened at Santa Monica’s Mayfair Music Hall for a Valentine’s Day look at love. Among the guests in this largely improvised reflection on relationships are Sally Kellerman, singer Stephen Bishop and Orson Welles (in his final onscreen appearance).

Drama/Netherlands /132 minutes/2011
Directed by Maria Peters
Dutch with English subtitles
Offering a sweeping epic encompassing the years 1911–1945, this adaptation of the best-selling novel by Annejet van der Zijl tells the real-life love story of a mixed-race couple and their struggle to survive and help others in the Nazi-occupied Netherlands. Free spirit Rika, with four children, leaves her unfaithful husband and in order to survive, she rents out a spare room to the university student Waldemar, a bright young man from Surinam who is suffering deeply in racist Holland. Against all odds, Rika and Waldemar fall in love. They have a son, nicknamed “Sonny Boy.” As the war breaks out, they start a new life managing a guesthouse and work with the Resistance to provide a hiding place for Holland’s persecuted Jews.

A brilliant cinematic jigsaw puzzle. A handsome hotel housekeeper is willing to do anything to advance his film career. Luckily for him, he bears a strong resemblance to a lonely screenwriter's dead brother. A chilly film of obsession, ambition and advances in video technology. With Michael McManus, Arsinee Khanjian, and Gabrielle Rose. "Images, reality and fantasy become intertwined as the characters do, with the video monitor serving as supreme communicator, distancer and distorter" (Jami Bernard, New York Post). 1989, Canada, 35mm, 93 minutes. Written and directed by Atom Egoyan; starring Michael McManus, Arsinée Khanjian, Gabrielle Rose, Tony Nardi

The Spectacular Now
(USA, 2012, 95 mins, DCP)
Directed By: James Ponsoldt
When popular, seemingly carefree high school senior Sutter Keeley, a guy who's always the life of the party, gets dumped by his girlfriend, he finds himself strangely drawn to the plain, introverted, science fiction-reading Aimee Finicky, who's never had a boyfriend. If this sounds like your standard high school movie romance, think again. Sutter, who never travels without his flask of whiskey, lives for the moment, but his bravado masks deep-seated fears. Aimee, who lost her father at a young age, is always planning for the future.
Performed with astonishing emotional honesty by Miles Teller and Shailene Woodley this beautifully nuanced coming of age drama infuses a familiar genre with a breath of fresh air. 

Have you ever been to the Cinefamily and seen our pre-show “Join Us” bumper, featuring a white-robed throng of followers, and a charismatic cult leader indoctrinating an ecstatic young man (“Danny’s dead — I am Joshua, a warrior for your cause”?) This is that movie — AND IT’S TRULY AWESOME!!!! The big mama of the brainwashing genre, Split Image is Hollywood’s definitive big-budget examination of the cult phenomena. This searing melodrama, directed by Ted Kotcheff (of First Blood fame), hits all the right beats: the seductive space cadet (a fetching Karen Allen), the utopian commune (“Homeland”), said cult leader (a stunt-casted Peter Fonda), and best of all, an extensive deprogramming by a mustachioed James Woods at his absolute sleaziest. Kotcheff pulls absolutely no punches, as this cathartic and visually stunning work pulls you into its emotionally gnarly universe in the most frightening realistic way possible. As an introduction to the world of cults, Split Image is the ultimate — educational, scary, and a total blast. Ted Kotcheff will be here in person for a Q&A after the film!
Dir. Ted Kotcheff, 1982, 35mm, 112 min.

In "Police Story III – Supercop," Jackie Chan again takes up the mantle of a tough-minded Hong Kong police detective, who this time partners with a female officer (Michelle Yeoh) to take down a drug syndicate in Mainland China. With the support of his now-legendary stunt team, Chan pulls off some of his most awesome stunts ever, including a daredevil leap from the roof of a tall building to a rope ladder being trailed by a hovering helicopter. The Academy Film Archive’s print is the original Hong Kong version, subtitled in English, which was first shown in the U.S. in 1992.  Featuring an onstage conversation with Jackie Chan.

Death is a terribly funny inconvenience. One of Hitchcock’s most carefree, droll pieces — along with being one of his personal favorites out of his entire filmography, The Trouble With Harry is as colorfully cast and sharply dry-witted as any Wes Anderson or Wodehouse tale. Who is this dead Harry fellow — and will the peculiar inhabitants of an entire countryside town unwittingly implicate themselves in this man’s bothersome demise? Can an absurdly cocky abstract painter and a precocious widow (Shirley MacLaine in her debut film role!) ever find true love — or only true murder?! And what’s behind that squeaky closet door, anyway??? Meeting with poor box office upon its initial release during Hitchcock’s peak, and subsequently vaulted for over 30 years, The Trouble With Harry re-emerges as Hitchcock’s cheekiest comedy. Care for a spot of rigor mortis with your afternoon tea? Then this one’s for you, old chaps! Dir. Alfred Hitchcock, 1955, 35mm, 90min.

 Millions know their voices, but no one knows their names. In his compelling new film 20 FEET FROM STARDOM, award-winning director Morgan Neville shines a spotlight on the untold true story of the backup singers behind some of the greatest musical legends of the 21st century. Triumphant and heartbreaking in equal measure, the film is both a tribute to the unsung voices who brought shape and style to popular music and a reflection on the conflicts, sacrifices and rewards of a career spent harmonizing with others.   
These gifted artists span a range of styles, genres and eras of popular music, but each has a uniquely fascinating and personal story to share of life spent in the shadows of superstardom. Along with rare archival footage and a peerless soundtrack, 20 FEET FROM STARDOM boasts intimate interviews with Bruce Springsteen, Stevie Wonder, Mick Jagger and Sting to name just a few.  However, these world-famous figures take a backseat to the diverse array of backup singers whose lives and stories take center stage in the film. Running time: 90 minutes. Followed by a Q&A with Morgan Neville and Supervising Editor/SCA Alumnus Doug Blush

Twilight's Last Gleaming (1977)
Directed by Robert Aldrich
Burt Lancaster's attraction to the exploration of paranoid politics runs throughout his filmography, from Seven Days in May (1964) to Executive Action (1973). In his final film with director Robert Aldrich, Lancaster plays his most sympathetic radical as a former general who seizes control of a Midwest nuclear silo (assisted by Paul Winfield and Burt Young) as leverage to force the government to reveal its tragic rationale for prolonging the Vietnam War. Newly restored, Twilight's Last Gleaming deserves reconsideration as a classic anti-war statement.
Allied Artists Pictures, Inc. Producer: Merv Adelson. Based on a novel by Walter Wager. Screenwriters: Ronald M. Cohen, Edward Huebsch. Cinematographer: Robert Hauser. Editor: Michael Luciano. Cast: Burt Lancaster, Richard Widmark, Charles Durning, Melvyn Douglas, Paul Winfield, Burt Young. 35mm, color, 144 min.

Two Men in Manhattan
(Deux hommes dans Manhattan)
(France, 1959, 84 mins, DCP)
The great Jean-Pierre Melville, a devotee of American cinema, made only one film in the U.S., this moody 1958 noir that captures nighttime New York in indelible, jazz-soaked black and white images. Ironically, it was never released here. Melville himself plays a journalist who teams up with a cynical, hard-drinking photographer to track down a missing French UN diplomat and former Resistance hero. A mysterious car trails their every turn. A New Wave movie before the fact, this rarely seen gem explores the ethical questions journalists must face: should you reveal the truth, when the truth hurts? Jean Luc Godard, in his days as a critic, proclaimed Two Men in Manhattan the second best film of the year, ranking it higher than The 400 Blows and Hiroshima, Mon Amour. See if you agree. This newly restored print is provided by The Cohen Film Collection. 

Ulzana's Raid (1972)
Directed by Robert Aldrich
In a career already marked by images of brutal violence, Robert Aldrich still manages to up the ante in this Vietnam-era Western about a troop of soldiers on the hunt for a renegade Indian. Burt Lancaster plays the world-weary Army scout instead of the renegade—as he did in his first outing with Aldrich, Apache (1954)—with Bruce Davison as the earnest, young Lieutenant who grapples with the hard realities of vengeance, pride and survival on the frontier.
Universal Pictures. Producer: Carter DeHaven. Screenwriter: Alan Sharp. Cinematographer: Joseph Biroc. Editor: Michael Luciano. Cast: Burt Lancaster, Bruce Davison, Jorge Luke, Richard Jaeckel, Joaquin Martinez. 35mm, color, 103 min.

Like classic rock collectors who track down every single 45, every live bootleg and every last recorded morsel of their favorite band, The Cinefamily salivates over underseen Alfred Hitchcock like Dylan fans do over The Basement Tapes. We all know the hits, the “A-Sides”: films like Psycho, Rear Window and Vertigo are perennial classics that embody “pure cinema” to most film lovers. But the Master of Suspense’s cumulative body of work is so dense, immense, and endlessly rewarding, that for every known masterpiece there’s a hidden gem — ladies and gentlemen, Hitchcock’s B-Sides. In collaboration with the Academy Film Archive, who’ve been steadfastly conserving and preserving this cornucopia of rare Hitch ephemera for years, we kick off this series with a very special program, including test footage for Hitch’s unmade ‘60s Mod thriller (inspired by Antonioni’s Blow-Up), screen tests with Tippi Hedren (that also include a randy Martin Balsam), the extended original Psycho trailer coupled with attendant promo interviews — and, coolest of all, Hitch’s home movies, providing a humanizing portrait of perhaps the most famous film artist the world has ever known.

1969, Warner Bros., 96 min, USA, Dir: James O’Connolly
One of Ray Harryhausen’s most rarely screened gems, GWANGI stars James Franciscus as a brash young cowboy who stumbles across a hidden valley teaming with prehistoric life. Trouble ensues when Franciscus captures one of the lost dinosaurs and tries to exhibit it in a traveling circus. Co-starring Richard Carlson, Gila Golan, Laurence Naismith.

Venus Vs.
(USA, 2013, 50 mins, HDCam)
Directed By: Ava DuVernay
Venus Williams. She's got the swing. She's got the swagger. But what most of us don't know is how she radically changed the course of tennis history. Since the 1970s, players like Billie Jean King and her fellow Original Nine members struggled for pay equality between male and female athletes at Grand Slams like the French Open and Wimbledon. The resistance was unyielding—until Venus stepped into the game and Wimbledon became about more than just winning a match.
Trailblazing director Ava DuVernay returns to the Festival after her widely acclaimed Middle of Nowhere with this compelling documentary. Venus Vs. captures the bold charisma and resolve of a champion who expects nothing less than equality.

“You may think you’ve heard of every sickness and perversion movies like to titter about but there are quite a few in ‘Vice Squad’ you’ve never dreamed possible!” –- Rex Reed.
If you watch only one movie about a killer pimp in your life, Vice Squad is THE ONE: a full-barreled, maximum-potential excitement launcher to the brain, the film that was always missing from your life and the one you always hoped to find. Wings Hauser burst onto the exploitation landscape with his intense, take-no-prisoners role as the ultra-psychotic, cowboy-shirted Ramrod. He’s absolutely fucking incredible here — but not only does he give the performance of a lifetime, he also sings the film’s vicious theme song “Neon Slime.” Helmed by veteran Gary Sherman (Dead & Buried, Poltergeist III) and lensed by the legendary John Alcott (The Shining, Barry Lyndon), Vice Squad is a descent into Hollywood hell — a sociological expedition into the dark, buried heart of the city. On the street, the real trick is staying alive.
Dir. Gary Sherman, 1982, 35mm, 97 min.

Echo Park Film Center and its roving band of cinematic troubadours come to the beautiful hills of Malibu to present a night of short animated and experimental films to remind you of the beauty of life and living. Bring a blanket, a loved one and an open mind to sit under the stars and watch a collection of short films made by the Echo Park Film Center collective (& friends) between the years of 2001 – 2013.
This magical evening will include prizes and surprises, popcorn, Dagie Brundert (a visiting filmmaker from Berlin), laughter, love and the occasional tear. 

When I Saw You
(Lamma Shoftak)
(Jordan, 2012, 93 mins)
In Arabic with English subtitles
Directed By: Annemarie Jacir
1967. The world is alive and ripe with possibility--new music, style, hope. But in Jordan, thousands of refugees from Palestine are held waiting for their right to return to their homeland. Amidst this, a young boy yearns to be reunited with his father. Restlessly cooped up in the refugee camp, he secretly sets out on his own, and along the way, attaches himself to a group of young freedom fighters who take him under their wing. Together, they embark on a journey of adventure, driven by an unshakable resolve to be free.
Following on the acclaimed Salt of this Sea, writer/director Annemarie Jacir has become a leader in Palestinian contemporary cinema. This heartfelt and moving film, Palestine's entry for the 2013 Academy Awards, is suffused with a distinct sense of this revolutionary time and place.

Ralph Bakshi’s groundbreaking film about wizards, love, and fighting fascism utilizes traditional cel animation and a modified form of rotoscoping (with help from IBM) to emphasize the dangers of being over-reliant on technology.  Featuring the voice of then-unknown actor Mark Hamill. (1977, 81 min. Rated PG.)

Women in the Cut: A Celebration of Women Editors
A close look at the creative process of building a film through the work of a select group of women editors who will reveal some of the "secrets" of their craft and their collaborations with directors. Panelists include esteemed editors Sandra Adair (Before Midnight, Bernie), Maryann Brandon (Star Trek Into Darkness, Star Wars: Episode VII, Super 8) and Academy Award nominee Pamela Martin (Hitchcock, Ruby Sparks, The Fighter), and Kim Roberts (Waiting For Superman, American Revolutionary: The Evolution of Grace Lee Boggs) with additional speakers to be announced. Acclaimed editor, filmmaker and Film Independent Board President Mary Sweeney (producer/editor, Mulholland Dr., Lost Highway) will host and moderate the event.

(Mexico, Germany, 2013, 120 mins)
Directed By: José Luis Valle
Lidia is a responsible and dedicated maid for a hugely wealthy, elderly Tijuana matron who loves only her pet whippet. Rafael is a quiet and dignified janitor who buys a new pair of shoes to celebrate his imminent retirement from the large corporate facility where he's worked for 30 years. When Lidia's boss dies, leaving everything to her dog, and Rafael's plans get derailed, they both turn to criminal subterfuge to get what their harsh lot in life has denied them.
Rendered in high deadpan style by first time director José Luis Valle, Workers is a mordantly humorous look at the absurd extremes of class inequality in modern-day Mexico.

“In many ways this is the quintessential Hitchcock British film.” — DVD Verdict
With its mix of screwball romantic comedy, highly colorful language and a breezy portrait of small-town English countryside life crammed full of sharp caricatures worthy of the classic Ealing Studios canon, Young And Innocent is possibly the frothiest ol’ Hitch ever got — yet not without a hefty dollop of macabre humor and the signature brand of stylistic pyrotechnics that served him well throughout later decades. In this, one of the last movies Hitch laid down in the UK before heading off to Hollywood at the dawn of WWII, the maestro’s talents are in full effect as he weaves an ultra-brisk yarn involving a murdered actress, the blame put on one of her young lovers, and the constable’s daughter determined to prove his innocence. The grand ambition of this one slides out of its every pore, as the film bursts at the seams with effortless single-take camera crane moves, crazy SFX sequences blending rear projections and model work, intricate human choreography and delicious, delicate, dangling suspense.
Dir. Alfred Hitchcock, 1937, 35mm, 83 min.

You're Next
(USA, 2011, 94 mins, DCP)
Directed By: Adam Wingard
With their best fake smiles plastered on their faces, the Davison family has gathered together at their country estate to celebrate Mom and Dad's anniversary, although there won't be much celebrating tonight. For just as the dinner conversation begins to get heated, as they all knew it eventually would, murderous mask-wearing maniacs strike. Now, they all have to fight for their lives, if they can just stop arguing amongst themselves first.
Filmmaking duo director Adam Wingard and screenwriter Simon Barrett, along with a cast that includes horror luminary Barbara Crampton and fellow indie filmmakers Amy Seimetz, Ti West and Joe Swanberg, have produced one of the sharpest horror movies in recent history, boasting an energy that doesn't flag until the final kill.