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Films Showing

August 23

The Souvenir

The Souvenir

DIRECTOR: JOANNA HOGG
2019 / 120min / DCP
A shy but ambitious film student begins to find her voice as an artist while navigating a turbulent courtship with a charismatic but untrustworthy man. She defies her protective mother and concerned friends as she slips deeper and deeper into an intense, emotionally fraught relationship that comes dangerously close to destroying her dreams.
The Harder They Come

The Harder They Come

DIRECTOR: PERRY HENZELL
1972 / 120min / DCP
Star Jimmy Cliff holds down both the screen and the soundtrack in this rude-boy cult classic, Jamaica’s first feature film, which draws on the legend of folk hero prison escapee Ivanhoe “Rhygin” Martin. Cliff plays Ivan, a bumpkin naif freshly arrived in Kingston with dreams of making it as a singer who soon enough acquires a new skintight wardrobe, the nickname “Pretty Boy,” and a hit single—though none of the profits, thanks to a corrupt record exec.
My Name Ain't Suzie

My Name Ain't Suzie

DIRECTOR: ANGIE CHEN
1985 / 96min / DCP
Chen’s melancholy ensemble drama centers on the Lucky Bar, a magnet for American soldiers on leave in late 1950s Hong Kong.
Pierrot le Fou

Pierrot le Fou

DIRECTOR: JEAN-LUC GODARD
1965 / 110min / DCP
"Before I wanted to make films, I’d always wanted to write, and in [Pierrot le fou] I experienced something similar to great moments in writing… but from a different angle… and I found that angle more fascinating at the time. I walked out of the theater thinking, “I want to make films too.”—Chantal Akerman
Paprika

Paprika

DIRECTOR: SATOSHI KON
2006 / 90min / DCP
The fourth and final film by Kon takes place in a not-too-distant future in which therapists, using a new technology called DC Mini, are able to record the dreams of psychiatric patients. All is well and good, until a raid on the lab leads to the loss of the DC Mini prototype and a bleed between the troubled subconscious images and reality, leading to a race-against-time to stop bedlam from breaking out in the streets.

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Pierrot le Fou

Pierrot le Fou

DIRECTOR: JEAN-LUC GODARD
1965 / 110min / DCP
"Before I wanted to make films, I’d always wanted to write, and in [Pierrot le fou] I experienced something similar to great moments in writing… but from a different angle… and I found that angle more fascinating at the time. I walked out of the theater thinking, “I want to make films too.”—Chantal Akerman
The Souvenir

The Souvenir

DIRECTOR: JOANNA HOGG
2019 / 120min / DCP
A shy but ambitious film student begins to find her voice as an artist while navigating a turbulent courtship with a charismatic but untrustworthy man. She defies her protective mother and concerned friends as she slips deeper and deeper into an intense, emotionally fraught relationship that comes dangerously close to destroying her dreams.
Paprika

Paprika

DIRECTOR: SATOSHI KON
2006 / 90min / DCP
The fourth and final film by Kon takes place in a not-too-distant future in which therapists, using a new technology called DC Mini, are able to record the dreams of psychiatric patients. All is well and good, until a raid on the lab leads to the loss of the DC Mini prototype and a bleed between the troubled subconscious images and reality, leading to a race-against-time to stop bedlam from breaking out in the streets.
The Harder They Come

The Harder They Come

DIRECTOR: PERRY HENZELL
1972 / 120min / DCP
Star Jimmy Cliff holds down both the screen and the soundtrack in this rude-boy cult classic, Jamaica’s first feature film, which draws on the legend of folk hero prison escapee Ivanhoe “Rhygin” Martin. Cliff plays Ivan, a bumpkin naif freshly arrived in Kingston with dreams of making it as a singer who soon enough acquires a new skintight wardrobe, the nickname “Pretty Boy,” and a hit single—though none of the profits, thanks to a corrupt record exec.
My Name Ain't Suzie

My Name Ain't Suzie

DIRECTOR: ANGIE CHEN
1985 / 96min / DCP
Chen’s melancholy ensemble drama centers on the Lucky Bar, a magnet for American soldiers on leave in late 1950s Hong Kong.
*batteries not included

*batteries not included

DIRECTOR: MATTHEW ROBBINS
1987 / 106min / 35mm
Hume Cronyn and Jessica Tandy are among the tenants of an East Village apartment block slated for demolition by nefarious developers who won’t stop short of employing strongarm tactics to get their way—but they haven’t reckoned on the arrival on the scene of alien mechanoids, tiny sentient spaceships dubbed The Fix-Its by the longtime building residents, who enter the fray on the side of their new friends, fighting back against the developers and their gang hirelings.
Some Came Running

Some Came Running

DIRECTOR: VINCENTE MINNELLI
1958 / 137min / 35mm
The Rat Pack have their first big-screen outing in small-town Indiana in this adaptation of James Jones’s novel of postwar comedown and disillusion, with Frank Sinatra as ex-GI Dave Hirsch, returning to his sleepy Ohio River hometown where he’ll move between the upstanding world inhabited by his jeweler brother (Arthur Kennedy) and school teacher girlfriend (Martha Hyer), and the party on the other side of the tracks overseen by laid-back gambler Alabama (Dean Martin) and Ginny (Shirley MacLaine), the doting low-class dame who followed Dave into town from Chicago.
Maybe It's Love

Maybe It's Love

DIRECTOR: ANGIE CHEN
1984 / 90min / DCP
A sleepy village is shaken by controversy when a young woman (Elaine Kam) disappears without a trace, the only clue being the testimony of a girl, Marble (Hsu Ke-Ying), who claims to have seen the missing woman murdered in a violent struggle.
The Illegal Immigrant

The Illegal Immigrant

DIRECTOR: MABEL CHEUNG AND WANTING ZHANG
1985 / 98min / DCP
Dodging immigration authorities while toiling in a Canal St. sweatshop to pay off debts, Ching Yung-Cho enters into a protective marriage of convenience with his friend’s Chinese-American sister, Wu Fu-Sheng, who needs the money to pay for much-desired plastic surgery.
The Siamese Twins

The Siamese Twins

DIRECTOR: ANGELA MAK
1984 / 87min / DCP
When Idy Chan returns from Canada, her parents drop a long-hidden secret on her—years ago she had a conjoined twin who died during separation surgery, and she was sent away to spare her from the vengeance of the deceased sister, who is haunting the family house and has driven their mother half mad.
Lust for Life

Lust for Life

DIRECTOR: VINCENTE MINNELLI
1956 / 122min / 35mm
One audacious colorist pays tribute to another in this emotionally raw biopic of Vincent Van Gogh, featuring a fanatically committed Kirk Douglas as the frustrated artist, clashing with even allies like his friend Paul Gaugin (Anthony Quinn) as he struggles to work through destitution and depression.
Love in a Fallen City

Love in a Fallen City

DIRECTOR: ANN HUI
1984 / 93min / DCP
Fresh off the success of Boat People (1982), Hui, perhaps the most famous female figure of the Hong Kong New Wave, adapted Eileen Chang’s novella of the same name, producing this 1940s-set tale that moves between Shanghai and Hong Kong, observing the affection that develops between disgraced divorcee Cora Miao and playboy Malayan businessman Chow Yun-Fat, here luminous with youthful charm.
Brigadoon

Brigadoon

DIRECTOR: VINCENTE MINNELLI
1954 / 108min / 35mm
Gene Kelly is the American abroad who stumbles across the magical village of the title, which appears from the mists only for one day every century, and Cyd Charisse is the Brigadoon lass who steals his heart.
Holy Motors

Holy Motors

DIRECTOR: LéOS CARAX
2012 / 115min / DCP
Returning to feature filmmaking after a thirteen-year hiatus, Carax re-teamed with actor Denis Lavant, who here plays a mystery man, Oscar, chauffeured by driver Céline to assignations throughout Paris in a white stretch limo, at each appointment taking on a different role—a street beggar, a motion capture suit performer, and the anarchic, carrot-topped Monsieur Merde of Carax’s contribution to the anthology film Tokyo! (2008).
High Life

High Life

DIRECTOR: CLAIRE DENIS
2018 / 113min / DCP
Monte (Robert Pattinson) and his baby daughter are the last survivors of a damned and dangerous mission to deep space. The crew—death-row inmates led by a doctor (Juliette Binoche) with sinister motives—has vanished. As the mystery of what happened onboard the ship is unraveled, father and daughter must rely on each other to survive as they hurtle toward the oblivion of a black hole.
Two Weeks in Another Town

Two Weeks in Another Town

DIRECTOR: VINCENTE MINNELLI
1962 / 107min / 35mm
A spiritual sequel to The Bad and the Beautiful (1952), Minnelli’s earlier Kirk Douglas-starring movie about dirty deeds in the picture making business, Two Weeks in Another Town belongs to the period of Hollywood-on-the-Tiber runaway productions, with Douglas’s bottomed-out, fresh-from-the-sanitarium ex-star doing dubbing work in Rome for director Edward G. Robinson, smelling another shot at the big time when lead actor George Hamilton storms off set and Robinson is hit with a heart attack.
Alphaville

Alphaville

DIRECTOR: JEAN-LUC GODARD
1965 / 99min / DCP
Eddie Constantine’s B-movie private dick Lemmy Caution finds himself on the toughest case of his career, on the trail of rogue scientist Professor von Braun, inventor of Alpha 60, a sentient computer that keeps tabs on the citizenry of Alphaville.
Long Day's Journey into Night

Long Day's Journey into Night

DIRECTOR: BI GAN
2018 / 140min / 3D DCP
Beginning as a kind of atmospheric, neon-drenched film noir fever dream, Long Day’s Journey Into Night follows Huang Jue as he returns to his hometown of Kaili for his father’s funeral, then sets off on the trail of an old flame.
Starry is the Night

Starry is the Night

DIRECTOR: ANN HUI
1988 / 94min / DCP
Ca Mei (Brigitte Lin) is a 40-year-old social worker who, upon embarking on a passionate relationship with 18-year-old Tian-Ah (David Ng), is revisited by memories of an earlier affair when she was on the other side of the age gap with an older, married professor (George Lam).
Vivre sa Vie

Vivre sa Vie

DIRECTOR: JEAN-LUC GODARD
1962 / 85min / 35mm
Godard's untouchable masterpiece, shot with cool precision and artful solemnity, and starring Anna Karina in her most iconic role.
Perfect Blue

Perfect Blue

DIRECTOR: SATOSHI KON
1998 / 81min / DCP
Rising J-pop star Mima has quit singing to pursue a career as an actress and model, but her fans aren’t ready to see her go, and when she takes on a recurring role on a popular TV show, her handlers and collaborators suddenly begin turning up murdered.
Le Rayon Vert

Le Rayon Vert

DIRECTOR: ERIC ROHMER
1986 / 98min / 35mm
From Rohmer’s “Comedies & Proverbs” cycle, Le Rayon Vert follows the independent but insecure Delphine (Marie Rivière), a newly single young Parisian who cannot find a holiday companion for the month of August, as she meets and rejects, glides and stumbles in her longing for connection.
Jason and the Argonauts

Jason and the Argonauts

DIRECTOR: DON CHAFFEY
1963 / 104min / 35mm
The story is that of heroic Jason sailing far and wide questing for the Golden Fleece of lore, but it’s never looked like this before, thanks to stop-motion superstar Ray Harrryhausen’s ability to put flesh on mythic fancy.
Face to Face

Face to Face

DIRECTOR: CASEY CHAN
2002 / 92min / DCP
Japanese co-production Face to Face brings something of the antic, genre-bending spirit of the Chinese ghost story to J-horror, here adapting a novel from Japanese master of the macabre Edogawa Rampo.
Puppy Love

Puppy Love

DIRECTOR: SO JING-MAN
1985 / 84min / DCP
Adolescent rivalry runs amok in So’s playful pop comedy, which follows young best enemies Lam San-san and Pak Wan-Yin, whose lifelong game of contested competition heats up when the two first discover boys—then discover they can have more fun teaming up to torture the fellas than they do putting pranks over on one another.
The Twin Bracelets

The Twin Bracelets

DIRECTOR: HUANG YU-SHAN
1991 / 99min / DCP
In a small Chinese fishing town, two teenage girls pledge to be man and wife to one another: so begins Taiwan-born Huang’s revolutionary treatment of same-sex love in a traditional community, which has the best friends sheltering one another against a hidebound society that considers them only as property.