Filmmuseummünchen

Total Page:16

File Type:pdf, Size:1020Kb

Filmmuseummünchen filmmuseummünchen Kino am St.-Jakobs-Platz 1, 80331 München vimeo.com/filmmuseummuenchen 19 Uhr Rumänisches Filmfestival Online Donnerstag Și atunci … ce e libertatea? (Und was … ist Freiheit?) RO 2020 | Andrei Zincă | 132 min | OmeU 5. Nov Werner Schroeter Callas walking Lucia 19 Uhr Rumänisches Filmfestival Freitag BRD 1968 | 3 min Urma (Die Spur) 6. Nov Maria Callas Porträt RO 2020 | Dorian Boguţă | 104 min | OmeU BRD 1968 | 13 min 19 Uhr Mona Lisa Rumänisches Filmfestival Samstag Cărturan BRD 1968 | 32 min 7. Nov Maria Callas singt 1957 efonischen Reservierungen. RO 2020 | Liviu Săndulescu | 88 min | OmeU Rezitativ und Arie der Elvira aus 18 Uhr Rumänisches Filmfestival Sonntag Ernani 1844 von Giuseppe Verdi Malmkrog BRD 1968 | 11 min RO 2020 | Cristi Puiu | 200 min | frz. OmeU 8. Nov 19 Uhr Online Rumänisches Filmfestival Montag Apartamentul (Die Wohnung) / Laila / Kaimos (Trauer) / Bilet de iertare (Der Freibrief) RO 2020 | 80 min | OmeU 9. Nov Werner Schroeter 19 Uhr Rumänisches Filmfestival Dienstag La morte d’Isotta Cardinalul (Der Kardinal) BRD 1968 | 37 min RO 2020 | Nicolae Mărgineanu | 98 min | OmeU 10. Nov Paula – „Je reviens“ 19 Uhr BRD 1968 | 31 min Rumänisches Filmfestival Mittwoch Heidi – Fetiţa munţilor (Das Mädchen aus den Bergen) RO 2020 | Cătălin Mitulescu | 96 min | OmeU 11. Nov 19 Uhr Rumänisches Filmfestival Online Donnerstag Otto Barbarul (Otto der Barbar) RO 2020 | Ruxandra Ghițescu | 110 min | OmeU 12. Nov Restaurierungen des Filmmuseums 19 Uhr Rumänisches Filmfestival Freitag Potomok Čingis-Chana Dragoste 2 – America (Liebe 2 – America) 13. Nov (Sturm über Asien) RO 2020 | Florin Șerban | 75 min | OmeU SU 1928 19 Uhr Rumänisches Filmfestival Vsevolod Pudovkin Samstag Berliner (Die Kampagne) 143 min | OmU RO 2020 | Marian Crișan | 94 min | OmeU 14. Nov Musik: Stephen Horne 18 Uhr Film und Psychoanalyse Sonntag Elizabeth-Jane Baldry A Clockwork Orange (Uhrwerk Orange) GB 1971 | 137 min | OmU | 2 Matthias Baumgart 15. Nov Online Montag 16. Nov Werner Schroeter 19 Uhr Vittorio De Sica Dienstag Neurasia Maddalena … zero in condotta (Maddalena, BRD 1968 | 37 min ein Mädchen mit Pfiff) IT 1940 | 79 min | OmeU 17. Nov Argila BRD 1969 | 33 min 19 Uhr Vittorio De Sica Mittwoch Teresa Venerdì (Verliebte Unschuld) IT 1941 | Vittorio De Sica | 88 min | OmeU 18. Nov Karten nur an der Kinokasse. Die Kasse öffnet 1 Stunde vor Beginn. Kartenvorverkauf bis zu 10 Tage im voraus möglich. Keine tel im voraus möglich. Tage Kartenvorverkauf bis zu 10 Die Kasse öffnet 1 Stunde vor Beginn. Karten nur an der Kinokasse. filmmuseummünchen Kino am St.-Jakobs-Platz 1, 80331 München vimeo.com/filmmuseummuenchen 19 Uhr Vittorio De Sica Online Donnerstag Un garibaldino al convento (Ein Garibaldiner im Kloster) IT 1942 | Vittorio De Sica | 86 min | OmeU 19. Nov 19 Uhr Vittorio De Sica Freitag I bambini ci guardano (Die Kinder sehen uns an) IT 1944 | Vittorio De Sica | 85 min | OmeU 20. Nov Werner Schroeter Eika Katappa 19 Uhr Vittorio De Sica Samstag BRD 1969 | 143 min La porta del cielo (Das Tor zum Himmel) IT 1945 | Vittorio De Sica | 88 min | OmU 21. Nov 18 Uhr Vittorio De Sica Sonntag Miracolo a Milano (Das Wunder von Mailand) IT 1951 | Vittorio De Sica | 97 min | OmeU | 2 Martina Müller 22. Nov Online Montag 23. Nov 19 Uhr Vittorio De Sica Dienstag Werner Schroeter Sciuscià (Schuhputzer) Der Bomberpilot 24. Nov IT 1946 | Vittorio De Sica | 87 min | OmeU BRD 1970 | 65 min 19 Uhr Vittorio De Sica Mittwoch Ladri di biciclette (Fahrraddiebe) IT 1948 | Vittorio De Sica | 88 min | OmeU 25. Nov 19 Uhr Vittorio De Sica Online Donnerstag Umberto D. IT 1952 | Vittorio De Sica | 89 min | OmeU 26. Nov 19 Uhr Vittorio De Sica Restaurierungen Freitag Terminal Station (Rom, Station Termini) des Filmmuseums USA 1953 | Vittorio De Sica | 88 min | engl. OF 27. Nov Geschlecht in Fesseln DE 1928 19 Uhr Vittorio De Sica Samstag Wilhelm Dieterle Il tetto (Das Dach) 28. Nov 108 min IT 1956 | Vittorio De Sica | 97 min | OmeU Musik: Joachim Bärenz 18 Uhr Vittorio De Sica Sonntag L’oro di Napoli (Das Gold von Neapel) IT 1954 | Vittorio De Sica | 136 min | OmeU 29. Nov Online Montag 30. Nov 19 Uhr Vittorio De Sica Dienstag Werner Schroeter La ciociara (… und dennoch leben sie) Salome IT 1960 | Vittorio De Sica | 101 min | OmeU 1. Dez BRD 1971 | 81 min 19 Uhr Vittorio De Sica Mittwoch Il giudizio universale (Das Jüngste Gericht findet nicht statt) IT 1961 | Vittorio De Sica | 100 min | OmeU 2. Dez OF = Originalfassung. OmU = Originalfassung mit deutschen Untertiteln. OmeU = Originalfassung mit englischen Untertiteln. OmU = Originalfassung mit deutschen Untertiteln. OF = Originalfassung. filmmuseummünchen Kino am St.-Jakobs-Platz 1, 80331 München vimeo.com/filmmuseummuenchen 19 Uhr Online Vittorio De Sica Donnerstag I sequestrati di Altona (Die Eingeschlossenen von Altona) IT 1962 | Vittorio De Sica | 114 min | engl. OF 3. Dez 19 Uhr Vittorio De Sica Freitag Il boom (Der Boom) IT 1963 | Vittorio De Sica | 88 min | OmeU 4. Dez Werner Schroeter Der Tod der Maria Malibran 19 Uhr Vittorio De Sica Samstag BRD 1972 | 104 min Ieri, oggi, domani (Gestern, heute und morgen) 5. Dez efonischen Reservierungen. IT 1963 | Vittorio De Sica | 118 min | OmU 18 Uhr Film und Psychoanalyse Sonntag El laberinto del fauno (Pans Labyrinth) MX 2006 | 118 min | OmU | 2 Irmgard Nagel, Eva Friedrich 6. Dez Online Montag 7. Dez 19 Uhr Vittorio De Sica Dienstag Werner Schroeter Matrimonio all’italiana (Hochzeit auf italienisch) Willow Springs IT 1964 | Vittorio De Sica | 102 min | OmU 8. Dez BRD 1973 | 78 min 19 Uhr Vittorio De Sica Mittwoch Un mondo nuovo (Eine junge Welt) IT 1966 | Vittorio De Sica | 77 min | OmU 9. Dez 19 Uhr Online Architekturfilmtage Donnerstag Palladio 10. Dez Zuschauerkino IT 2019 | Giacomo Gatti | 98 min | OmeU Kurzfilmprogramm des MFZ 19 Uhr (Münchner Filmzentrum) Architekturfilmtage Freitag Historia de una casa AR 2019 | 20 min | OmeU Bis zum 19. November 2020 306 Hollywood USA 2018 | E. & J. Bogarín | 94 min | OF 11. Dez können eigene Kurzfilme unter zwölf Minuten ein gereicht werden, 19 Uhr Architekturfilmtage Samstag gleich ob Spielfilm oder Doku - Where’d You Go, Bernadette (Bernadette) mentation, Real-, Kunst- oder 2 12. Dez USA 2019 | Richard Linklater | 110 min | OmU | Klaus Volkmer Animationsfilm und unabhängig 18 Uhr von Inhalt, Format oder Genre. Architekturfilmtage Sonntag Gisaengchung (Parasite) Das Münchner Filmzentrum e.V. KR 2019 | Bong Joon Ho | 132 min | OmU | 2 Klaus Volkmer 13. Dez (MFZ), der Förderverein des Film- museums München, wählt unter Montag den Filmen ein Programm aus. Am 14. Dez 10. Dezember um 19 Uhr wird es erstmals zu sehen sein, anschlie- 19 Uhr ßend gibt es einen Online-Chat. Architekturfilmtage Dienstag The Proposal (Der Antrag) Anmeldungen und nähere USA 2018 | Jill Magid | 84 min | OF 15. Dez Informationen unter www.muenchner-filmzentrum.de 19 Uhr Architekturfilmtage Mittwoch [email protected] Notre Dame Tel. 089/23327718 FR 2019 | Valérie Donzelli | 88 min | OmU 16. Dez Karten nur an der Kinokasse. Die Kasse öffnet 1 Stunde vor Beginn. Kartenvorverkauf bis zu 10 Tage im voraus möglich. Keine tel im voraus möglich. Tage Kartenvorverkauf bis zu 10 Die Kasse öffnet 1 Stunde vor Beginn. Karten nur an der Kinokasse. filmmuseummünchen Kino am St.-Jakobs-Platz 1, 80331 München vimeo.com/filmmuseummuenchen 19 Uhr Vittorio De Sica Online Donnerstag After the Fox (Jagt den Fuchs) GB 1966 | Vittorio De Sica | 102 min | OmU 17. Dez 19 Uhr Vittorio De Sica Freitag Amanti (Der Duft deiner Haut) IT 1968 | Vittorio De Sica | 88 min | engl. OF 18. Dez Werner Schroeter Der schwarze Engel 19 Uhr Vittorio De Sica Samstag BRD 1974 | 71 min I girasoli (Sonnenblumen) IT 1970 | Vittorio De Sica | 107 min | OmeU 19. Dez 18 Uhr Vittorio De Sica Sonntag La riffa (Der Hauptgewinn) IT 1962 | 49 min | OmeU Vittorio D. IT 2009 | M. Canale, A. Morri | 93 min | OmeU 20. Dez Online Montag 21. Dez Werner Schroeter Himmel hoch Das Kino ist 2020 BRD 1968 | 10 min vom 21. Dezember 2020 bis zum 6. Januar 2021 – Macbeth geschlossen. 2021 BRD 1971 | 61 min Johannas Traum Mittwoch BRD 1975 | 19 min 6. Jan 19 Uhr Vittorio De Sica Online Donnerstag Woman Times Seven (Siebenmal lockt das Weib) USA 1967 | Vittorio De Sica | 100 min | engl. OF 7. Jan Restaurierungen 19 Uhr Vittorio De Sica Freitag des Filmmuseums Il giardino dei Finzi Contini (Der Garten der Finzi Contini) 8. Jan Kat’ka – bumažnyj ranet IT 1970 | Vittorio De Sica | 94 min | OmeU (Die von der Straße leben) 19 Uhr Vittorio De Sica SU 1926 Samstag Lo chiameremo Andrea (Wir nennen ihn Andrea) Eduard Ioganson, Fridrich Ermler IT 1972 | Vittorio De Sica | 102 min | OmU 9. Jan 109 min | OmU Musik: Masha Khotimski 18 Uhr Film und Psychoanalyse Sonntag The Dark Knight USA 2008 | 152 min | OmU | 2 Corinna Wernz, Mathias Lohmer 10. Jan Online Montag 11. Jan Werner Schroeter 19 Uhr Vittorio De Sica Dienstag Les flocons d’or (Goldflocken) Una breve vacanza (Ein kurzer Urlaub) BRD/FR 1976 IT 1973 | Vittorio De Sica | 112 min | OmeU 12. Jan 160 min | OmU 19 Uhr Vittorio De Sica Mittwoch Il viaggio (Die Reise nach Palermo) IT 1974 | Vittorio De Sica | 102 min | OmeU 13. Jan OF = Originalfassung. OmU = Originalfassung mit deutschen Untertiteln. OmeU = Originalfassung mit englischen Untertiteln. OmU = Originalfassung mit deutschen Untertiteln. OF = Originalfassung..
Recommended publications
  • The Myth of the Good Italian in the Italian Cinema
    ISSN 2039-2117 (online) Mediterranean Journal of Social Sciences Vol 5 No 16 ISSN 2039-9340 (print) MCSER Publishing, Rome-Italy July 2014 The Myth of the Good Italian in the Italian Cinema Sanja Bogojević Faculty of Philosophy, University of Montenegro Doi:10.5901/mjss.2014.v5n16p675 Abstract In this paper we analyze the phenomenon called the “myth of the good Italian” in the Italian cinema, especially in the first three decades of after-war period. Thanks to the recent success of films such as Tarantino’s Inglorious Basterds or Academy Award- winning Benigni’s film La vita è bella and Spielberg’s Schindler’s List it is commonly believed that the Holocaust is a very frequent and popular theme. Nevertheless, this statement is only partly true, especially when it comes to Italian cinema. Soon after the atrocities of the WWII Italian cinema became one of the most prominent and influential thanks to its national film movement, neorealism, characterized by stories set amongst the poor and famished postwar Italy, celebrating the fight for freedom under the banners of Resistance and representing a nation opposed to the Fascist and Nazi regime. Interestingly, these films, in spite of their very important social engagement, didn’t even mention the Holocaust or its victims and it wasn’t until the 1960’s that Italian cinema focused on representing and telling this horrific stories. Nevertheless, these films represented Italians as innocent and incapable of committing cruel acts. The responsibility is usually transferred to the Germans as typically cold and sadistic, absolving Italians of their individual and national guilt.
    [Show full text]
  • The Altering Eye Contemporary International Cinema to Access Digital Resources Including: Blog Posts Videos Online Appendices
    Robert Phillip Kolker The Altering Eye Contemporary International Cinema To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/8 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Robert Kolker is Emeritus Professor of English at the University of Maryland and Lecturer in Media Studies at the University of Virginia. His works include A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg Altman; Bernardo Bertolucci; Wim Wenders (with Peter Beicken); Film, Form and Culture; Media Studies: An Introduction; editor of Alfred Hitchcock’s Psycho: A Casebook; Stanley Kubrick’s 2001: A Space Odyssey: New Essays and The Oxford Handbook of Film and Media Studies. http://www.virginia.edu/mediastudies/people/adjunct.html Robert Phillip Kolker THE ALTERING EYE Contemporary International Cinema Revised edition with a new preface and an updated bibliography Cambridge 2009 Published by 40 Devonshire Road, Cambridge, CB1 2BL, United Kingdom http://www.openbookpublishers.com First edition published in 1983 by Oxford University Press. © 2009 Robert Phillip Kolker Some rights are reserved. This book is made available under the Cre- ative Commons Attribution-Non-Commercial 2.0 UK: England & Wales Licence. This licence allows for copying any part of the work for personal and non-commercial use, providing author
    [Show full text]
  • Federico Fellini and the Experience of the Grotesque and Carnavalesque – Dis-Covering the Magic of Mass Culture 2013
    Repositorium für die Medienwissenschaft Annie van den Oever Federico Fellini and the experience of the grotesque and carnavalesque – Dis-covering the magic of mass culture 2013 https://doi.org/10.25969/mediarep/15114 Veröffentlichungsversion / published version Rezension / review Empfohlene Zitierung / Suggested Citation: van den Oever, Annie: Federico Fellini and the experience of the grotesque and carnavalesque – Dis-covering the magic of mass culture. In: NECSUS. European Journal of Media Studies, Jg. 2 (2013), Nr. 2, S. 606– 615. DOI: https://doi.org/10.25969/mediarep/15114. Erstmalig hier erschienen / Initial publication here: https://doi.org/10.5117/NECSUS2013.2.VAND Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0 Attribution - Non Commercial - No Derivatives 4.0 License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0 https://creativecommons.org/licenses/by-nc-nd/4.0 NECSUS – EUROPEAN JOURNAL OF MEDIA STUDIES About the author Francesco Di Chiara (University of Ferrara) 2013 Di Chiara / Amsterdam University Press. This is an Open Access article distributed under the terms of the Creative Commons Attribution License (http:// creativecommons.org/licenses/by/2.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly
    [Show full text]
  • Lecture Outlines
    21L011 The Film Experience Professor David Thorburn Lecture 1 - Introduction I. What is Film? Chemistry Novelty Manufactured object Social formation II. Think Away iPods The novelty of movement Early films and early audiences III. The Fred Ott Principle IV. Three Phases of Media Evolution Imitation Technical Advance Maturity V. "And there was Charlie" - Film as a cultural form Reference: James Agee, A Death in the Family (1957) Lecture 2 - Keaton I. The Fred Ott Principle, continued The myth of technological determinism A paradox: capitalism and the movies II. The Great Train Robbery (1903) III. The Lonedale Operator (1911) Reference: Tom Gunning, "Systematizing the Electronic Message: Narrative Form, Gender and Modernity in 'The Lonedale Operator'." In American Cinema's Transitional Era, ed. Charlie Keil and Shelley Stamp. Univ. of California Press, 1994, pp. 15-50. IV. Buster Keaton Acrobat / actor Technician / director Metaphysician / artist V. The multiplicity principle: entertainment vs. art VI. The General (1927) "A culminating text" Structure The Keaton hero: steadfast, muddling The Keaton universe: contingency Lecture 3 - Chaplin 1 I. Movies before Chaplin II. Enter Chaplin III. Chaplin's career The multiplicity principle, continued IV. The Tramp as myth V. Chaplin's world - elemental themes Lecture 4 - Chaplin 2 I. Keaton vs. Chaplin II. Three passages Cops (1922) The Gold Rush (1925) City Lights (1931) III. Modern Times (1936) Context A culminating film The gamin Sound Structure Chaplin's complexity Lecture 5 - Film as a global and cultural form I. Film as a cultural form Global vs. national cinema American vs. European cinema High culture vs. Hollywood II.
    [Show full text]
  • California State University, Sacramento Department of World Literatures and Languages Italian 104 a INTRODUCTION to ITALIAN CINEMA I GE Area C1 SPRING 2017
    1 California State University, Sacramento Department of World Literatures and Languages Italian 104 A INTRODUCTION TO ITALIAN CINEMA I GE Area C1 SPRING 2017 Course Hours: Wednesdays 5:30-8:20 Course Location: Mariposa 2005 Course Instructor: Professor Barbara Carle Office Location: Mariposa Hall 2057 Office Hours: W 2:30-3:30, TR 5:20-6:20 and by appointment CATALOG DESCRIPTION ITAL 104A. Introduction to Italian Cinema I. Italian Cinema from the 1940's to its Golden Period in the 1960's through the 1970's. Films will be viewed in their cultural, aesthetic and/or historical context. Readings and guiding questionnaires will help students develop appropriate viewing skills. Films will be shown in Italian with English subtitles. Graded: Graded Student. Units: 3.0 COURSE GOALS and METHODS: To develop a critical knowledge of Italian film history and film techniques and an aesthetic appreciation for cinema, attain more than a mere acquaintance or a broad understanding of specific artistic (cinematographic) forms, genres, and cultural sources, that is, to learn about Italian civilization (politics, art, theatre and customs) through cinema. Guiding questionnaires will also be distributed on a regular basis to help students achieve these goals. All questionnaires will be graded. Weekly discussions will help students appreciate connections between cinema and art and literary movements, between Italian cinema and American film, as well as to deal with questionnaires. You are required to view the films in the best possible conditions, i.e. on a large screen in class. Viewing may be enjoyable but is not meant to be exclusively entertaining.
    [Show full text]
  • Bassani's the Garden of the Finzi-Continis and Italian "Queers"
    CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 12 (2010) Issue 1 Article 4 Bassani's The Garden of the Finzi-Continis and Italian "Queers" John Champagne Pennsylvania State University Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the Comparative Literature Commons, and the Critical and Cultural Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Champagne, John. "Bassani's The Garden of the Finzi-Continis and Italian "Queers"." CLCWeb: Comparative Literature and Culture 12.1 (2010): <https://doi.org/10.7771/1481-4374.1574> This text has been double-blind peer reviewed by 2+1 experts in the field.
    [Show full text]
  • Italian Films (Updated April 2011)
    Language Laboratory Film Collection Wagner College: Campus Hall 202 Italian Films (updated April 2011): Agata and the Storm/ Agata e la tempesta (2004) Silvio Soldini. Italy The pleasant life of middle-aged Agata (Licia Maglietta) -- owner of the most popular bookstore in town -- is turned topsy-turvy when she begins an uncertain affair with a man 13 years her junior (Claudio Santamaria). Meanwhile, life is equally turbulent for her brother, Gustavo (Emilio Solfrizzi), who discovers he was adopted and sets off to find his biological brother (Giuseppe Battiston) -- a married traveling salesman with a roving eye. Bicycle Thieves/ Ladri di biciclette (1948) Vittorio De Sica. Italy Widely considered a landmark Italian film, Vittorio De Sica's tale of a man who relies on his bicycle to do his job during Rome's post-World War II depression earned a special Oscar for its devastating power. The same day Antonio (Lamberto Maggiorani) gets his vehicle back from the pawnshop, someone steals it, prompting him to search the city in vain with his young son, Bruno (Enzo Staiola). Increasingly, he confronts a looming desperation. Big Deal on Madonna Street/ I soliti ignoti (1958) Mario Monicelli. Italy Director Mario Monicelli delivers this deft satire of the classic caper film Rififi, introducing a bungling group of amateurs -- including an ex-jockey (Carlo Pisacane), a former boxer (Vittorio Gassman) and an out-of-work photographer (Marcello Mastroianni). The crew plans a seemingly simple heist with a retired burglar (Totó), who serves as a consultant. But this Italian job is doomed from the start. Blow up (1966) Michelangelo Antonioni.
    [Show full text]
  • Film at Lincoln Center New Releases Festivals & Events January 2020
    Film at Lincoln Center January 2020 New Releases Cunningham Parasite The Traitor Zombi Child Festivals & Events Varda: A Retrospective The Bong Show: A Bong Joon Ho Retrospective New York Jewish Film Festival Film Comment Selects Member Special Events Members save $5 Tickets: filmlinc.org Elinor Bunin Munroe Film Center 144 West 65th Street, New York, NY Walter Reade Theater 165 West 65th Street, New York, NY NEW RELEASES Playing This Month Members save $5 on all tickets! Organized by Florence Almozini, Dennis Lim, and Tyler Wilson. Showtimes at filmlinc.org. NEON Courtesy of Courtesy of Magnolia Pictures HELD OVER BY POPULAR DEMAND! HELD OVER BY POPULAR DEMAND! “This year’s wildest, buzziest, most unexpected breakout . at once a “A knockout. What Kovgan’s utterly transporting film does is radiate the black comedy, a searing social drama and a crackling thriller.” rapturous power of dance.” —Variety —The Hollywood Reporter Parasite Cunningham – in 2D & 3D Bong Joon Ho, South Korea, 132m Alla Kovgan, Germany/France/USA, 93m Winner—Best Foreign Language Film, New York Film Critics Circle One of the most visionary choreographers of the 20th century, Merce In Bong Joon Ho’s exhilarating new film, a threadbare family of four Cunningham could also be counted among its great modern artists. This struggling to make ends meet gradually hatches a scheme to work for, and as painstakingly constructed new documentary both charts his artistic a result infiltrate, the wealthy household of an entrepreneur, his seemingly evolution over the course of three decades and immerses the viewer in frivolous wife, and their troubled kids.
    [Show full text]
  • An Homage to Marcello Mastroianni Saturday, September 22, 2018 Castro Theatre, San Francisco
    Ciao, Marcello! An Homage to Marcello Mastroianni Saturday, September 22, 2018 Castro Theatre, San Francisco An overdue homage to a great star 60 years after the making of “La Dolce Vita”, featuring the works of four directors for one actor in one day. Presented in collaboration with The Leonardo da Vinci Society, The Consul General of Italy and The Italian Cultural Institute of San Francisco. With gratitude to Luce Cinecittá, Janus Films, Kino Lorber, and Paramount Pictures. Yesterday, Today and Tomorrow (1963) 119 min. BD 10:00 AM Directed by Vittorio De Sica with Sophia Loren 8½ (1963) 138 min. 35 mm 1:00 PM Directed by Federico Fellini with Claudia Cardinale, Anouk Aimèe, Sandra Milo A Special Day (1977) 106 min. 35 mm 3:30 PM Directed by Ettore Scola with Sophia Loren La Dolce Vita (1960) 173 min. DCP 6:00 PM Directed by Federico Fellini with Anita Ekberg Via Veneto Party 9:00 PM-10:30 PM Divorce Italian Style (1961) 105 min. 35 mm 10:30 PM Directed by Pietro Germi with Daniela Rocca, Stefania Sandrelli Marcello Mastroianni A more intimate Marcello, who after the 10 years in the theater under the artistic wing of Luchino Visconti, arrives to the big success of “La Dolce Vita”, never forgetting the intimate life of the average Italian of the time. He molds and changes according to the director that he works with, giving us a kaleidoscope of images of Italy of the 60s. Marcello said: “Yes! I confess, I prefer cinema to theater. Yes, I prefer it for approximation and improvisations, for its confusion.
    [Show full text]
  • 101 Films for Filmmakers
    101 (OR SO) FILMS FOR FILMMAKERS The purpose of this list is not to create an exhaustive list of every important film ever made or filmmaker who ever lived. That task would be impossible. The purpose is to create a succinct list of films and filmmakers that have had a major impact on filmmaking. A second purpose is to help contextualize films and filmmakers within the various film movements with which they are associated. The list is organized chronologically, with important film movements (e.g. Italian Neorealism, The French New Wave) inserted at the appropriate time. AFI (American Film Institute) Top 100 films are in blue (green if they were on the original 1998 list but were removed for the 10th anniversary list). Guidelines: 1. The majority of filmmakers will be represented by a single film (or two), often their first or first significant one. This does not mean that they made no other worthy films; rather the films listed tend to be monumental films that helped define a genre or period. For example, Arthur Penn made numerous notable films, but his 1967 Bonnie and Clyde ushered in the New Hollywood and changed filmmaking for the next two decades (or more). 2. Some filmmakers do have multiple films listed, but this tends to be reserved for filmmakers who are truly masters of the craft (e.g. Alfred Hitchcock, Stanley Kubrick) or filmmakers whose careers have had a long span (e.g. Luis Buñuel, 1928-1977). A few filmmakers who re-invented themselves later in their careers (e.g. David Cronenberg–his early body horror and later psychological dramas) will have multiple films listed, representing each period of their careers.
    [Show full text]
  • Tuesday 31 March 2020, London. While We All Adjust to Life In
    Tuesday 31 March 2020, London. While we all adjust to life in lockdown, the BFI will continue to champion new and classic films, helping audiences who love the movies navigate their way through UK and global cinema on demand using the BFI’s expertly curated VOD service BFI Player. Some of the best new releases are available to rent including the BAFTA-winning BAIT (Mark Jenkin, 2019) and Oscar-nominated HARRIET (Kasi Lemmons, 2019) and there’s a 2 week free trial to the subscription service, which includes film classics and collections personally curated by Tilda Swinton and Mark Kermode. Oscar- winning PARASITE director Bong Joon-ho also curates a selection of films by emerging directors whose work he believes will be pivotal to the next 20 years, available to rent now. Thousands of free films are also waiting to be discovered from the UK’s national and regional archives, including an extensive collection dedicated to our heroic NHS, and the Britain on Film map, which has been viewed by more than 75 million users since its launch in 2015 and provides hours of discoveries about people and places all over the UK. Current highlights of the Subscription collections (£4.99 a month) include: Coinciding with her recent BFI Southbank season and BFI Fellowship, we asked filmmaker and performer Tilda Swinton to select some of her favourite films currently on BFI Player. TILDA SWINTON SELECTS includes titles such as LA BELLE ET LA BÊTE (Jean Cocteau, 1946), TOKYO STORY (Yasujirō Ozu, 1953) and STRANGER BY THE LAKE (Alain Guiraudie, 2013).
    [Show full text]
  • VITTORIO DE SICA Biography
    The Museum of Modern Art VITTORIO DE SICA The French film critic Andre Bazin wrote of Vittorio De Sica, "To explain De Sica, we must go back to the source of his art, namely, his tenderness, his love. The quality shared in common by Miracle in Milan and The Bicycle Thief...is the author's inexhaustible affection for his characters." Born in 1902 in Sora, near Rome, Vittorio De Sica spent his early years in Naples. His father, Umberto De Sica, was a bank clerk and former journalist who knew many show business people and used these contacts to launch his son's career. In his teens De Sica made his screen debut and was popular as a singer of Neapolitan songs in amateur entertainments. De Sica studied accounting in Rome and completed his military service before taking a job in a theater company. He progressed from playing clowns and old men to leading roles in romantic comedies, and by 1930 he was a matinee idol. Throughout the thirties, he teamed frequently with director Mario Camerini, the most prestigious Italian director of the era, in a series of lighthearted films such as I'd Give a Million (1935). In the years 1940-42, De Sica directed several minor films in the "white telephone" film genre, developing his directorial and technical skills. In 1943 he directed The Children are Matching Us, which he wrote with Cesare Zavattini. It launched a life-long collaboration between the two that was instrumental in the development of neorealism. - more - 11 West 53 Street, New York, N.Y.
    [Show full text]