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Home , Blood on the Moon, Cracked Up, Deborah Kerr, Fog Over Frisco, Hiroshi Teshigahara, Ingrid Thulin

CONTENTS 2 New African Films Festival 4 Ousmane Sembène Retrospective 5 16th Annual Environmental Film Festival—SPECIAL GUEST! Director Godfrey Reggio with the Quatsi trilogy 6 Remembered, part II 8 Retosective— the essence of cool 10 Centennial— a original 12 Korean Film Festival DC— SPECIAL GUEST! Director Lee Chang-dong with OASIS and NEW AFRICAN FILMS FESTIVAL SECRET SUNSHINE 13 The Films of Hiroshi Teshigahara March 7 through March 17 AFI Silver is proud to host the fourth annual New African Films Festival, copresented by AFI, 14 WHAT IS AFI – HOW DO I JOIN? TransAfrica Forum, and afrikafe. The vibrancy of African filmmaking from all corners of the continent 15 Repertory Calendar – Full will be on display, including 2007 Fespaco winner EZRA, 2007 Zanzibar Film Festival winner JUJU Schedule at www.AFI.com/Silver FACTORY, and the US premiere of TARTINA CITY. This year includes a special sidebar retrospective of the films of Senegal’s Ousmane Sembene (1923-2007), the “Godfather of African Cinema.” 16 EXCLUSIVE ENGAGMENT the ALL FILMS NOT RATED world-wide sensation: LAST YEAR AFI member passes will be accepted at all screenings in the New African Films Festival. AT MARIENBAD EZRA populated by African immigrants. His editor Friday, March 7, 7:00 wants him to deliver a traveler’s handbook LOOK FOR THE This moving film was awarded the Grand targeting Europeans looking for accessible AFI member passes accepted for designated Prize at the 2007 Festival Panafricain du exoticism, but Kongo wants to investigate screenings. To find out how to become a the lives of the people around him and the member of AFI, see page 14. Cinema á Ouagadougou (Africa’s largest and most prestigious film event) and select- complicated history between Belgium and AFI PREVIEW is published by the ed for International Critics Week at the Congo. DIR/SCR Balufu Bakupa- . Cannes. One morning on the way to Kanyinda. Democratic Republic of Congo, 2006, color, 97 min. In French with Editorial Offices school, seven-year-old Ezra is kidnapped by American Film Institute rebels—and for the next 10 years remains English subtitles. Silver Theatre and Cultural Center in the jungle as a child soldier. Now a dis- 8633 Colesville Road turbed young man, Ezra finds himself in FARO, GODDESS OF THE WATERS Silver Spring, MD 20910 front of a Truth and Reconciliation [Faro, la reine des eaux] For address changes and subscription Saturday, March 8, 3:00 services, contact: Commission in Sierra Leone where he is American Film Institute asked to speak of his brutal attack on a vil- In this assured debut from Salif Traoré, a 2021 N. Ave. lage. As his mute sister listens in horror, former assistant to filmmakers Souleymane , CA 90027 she finally reveals a secret she has kept hid- Cissé and Abderrahmane Sissako, Engineer Attn: Membership den from him. DIR/SCR Newton I. Aduaka; Fili Traoré returns to his rural village in On the cover: JEZEBEL SCR Alain-Michel Blanc; PROD Gorune Mali —many years after having been cast photo courtesy of Photofest Aprikian and Michel Loro. /Nigeria, out as the child of an unwed mother—to Editor: Caroline Small 2007, color, 103 min. find his father and initiate a waterworks Production Manager: Marie Figueredo project. But his arrival coincides with the Design: Anna Joyce, Post-Newsweek Media, Inc. Best Film, Zanzibar International Film Festival drowning of a young villager. The elders Information is correct at press time. Films and JUJU FACTORY determine that Faro, the water spirit, has schedule subject to change. been angered by Traoré’s return—and the Saturday, March 8, 1:00 Check www.AFI.com/Silver for updates. only way to appease her is with sacrifice. You can also view a copy of this publication Kongo is a struggling author living in the DIR/SCR/PROD Salif Traoré; SCR Olivier online at Gazette.Net. EZRA Matonge district of Brussels, an area mainly Lorelle; PROD Bärbel Mauch, Daniel

2 n TICKETS & FULL SCHEDULE at WWW.AFI.COM/SILVER NEW AFRICAN FILMS FESTIVAL Morin, Ismaël Ouédraogo and Philippe while, Colonel Koulbou has a new wife, Quinsac. Mali/France/Canada/Burkina and she is already fed up with her treat- Faso/Germany, 2007, color, 96 min. In ment at his hands....(Note courtesy of the Bambara with English subtitles. World Film Festival of Montreal) DIR/SCR/ PROD Issa Serge Coelo. Chad, 2006, CLOUDS OVER CONAKRY [Il va color, 88 min. pleuvoir sur Conakry] Saturday, March 8, 7:30 ITVS Presents: FREE SCREENING This impressive film finds a new approach Back By Popular Demand from to capturing the tradition-versus- SILVERDOCS 2007 theme so frequently seen in African cinema. IRON LADIES OF LIBERIA Twenty-five-year-old BB, son of the inflexi- ble Imam Karamo— of his vil- Monday, March 10, 7:00 FREE! lage's ancestral traditions—is chosen to be See page 14 for details. his father's worthy successor, but he refus- es to accept his destiny. BB prefers to work independently as an artist and live with his love, the beautiful young computer scientist Kesso. (Note courtesy of the Film CLOUDS OVER CONAKRY Society of Lincoln Center) DIR/SCR Cheick the spirit and sacrifices of the struggle that opening drama is set in Luanda, the capital, Fantamady Camara. Guinea/France, 2007, culminated in independence in 1990. in the war’s aftermath. N’dala is a war color, 97 min. In French with English DIR/SCR Charles Burnett; PROD Abius orphan who escapes his caretakers, hoping subtitles. Akwaake and Steve Gukas. Namibia, to find his way back to his home village. 2007, color, 161 min. Wandering Luanda’s streets, he meets an Special Price: $5 array of characters and is lured into a rob- Back by Popular Demand from “Making her feature debut with bery, while pursued by a missionary nun SILVERDOCS 2007 the clear-eyed, powerful HOL- across the bewildering and dangerous city. DIR/SCR Maria João Ganga; PROD HIP HOP REVOLUTION LOW CITY, Maria João Ganga François Gonot. Angola/Portugal, 2004, Saturday, March 8, 9:45 establishes herself as a talent to color, 90 min. In Portuguese with This visually stimulating film, pumping with be watched. First rate!” English subtitles. the sound of underground classic songs, DREAMS OF DUST —VARIETY explores the 25-year evolution of hip hop in US Premiere! “Hypnotic widescreen photogra- South Africa, from its birth on the Cape HOLLOW CITY [Na Cidade Vazia] TARTINA CITY phy…well written and direct- Flats through the insurgence of black con- Sunday, March 9, 6:45 ed…Salgues' screenplay is per- sciousness and the political uprising in the Sunday, March 9, 8:45 One of the few films made in Angola since Adoum, a young reporter, fights to get a fectly crafted.” 1980s. Interviews with first-generation pio- it was torn apart by civil war, this eye- neers of South African hip hop explain passport to leave Chad. Once abroad, he —DEBORAH YOUNG, VARIETY how the African-American art form mir- hopes to do an extensive report on the DREAMS OF DUST [Rêves de rored their experiences and gave youth a situation in his country. But at the airport, poussière] a mysterious, compromising letter is medium to express themselves, inciting a Tuesday, March 11, 9:40 found in his belongings. Adoum is arrest- timely sense of black pride. DIR/PROD Mocktar, a Nigerian peasant, comes looking ed and ends up in the underground dun- Weaam Williams. South Africa, 2006, geon run by the notorious Colonel for work in Essakane, a dusty gold town in color, 48 min. NOT RATED Koulbou. When Adoum's friend tracks Northeast Burkina Faso where he hopes him down, it is already too late. Mean- to forget his haunting past. He quickly finds Director Charles Burnett in Person with out the gold rush ended 20 years before, NAMIBIA: THE STRUGGLE FOR and the inhabitants of this strangely time- LIBERATION less wasteland exist simply from force of Sunday, March 9, 1:00 habit. The beautiful Coumba, however, still Covering over 60 years of history, NAMIB- courageously struggles to raise her daugh- IA tells the story of Namibia’s first presi- ter after the death of her family. Soon dent, Sam Nujoma, charting his political Mocktar will be fighting not only to survive, awakening and his part in his country's but also to provide a better future for this fight against South African occupation. mother and child. DIR/SCR Laurent Rather than a documentary-style history Salgues. France/Canada/Burkina Faso, of the long, brutal conflict, the film mixes 2006, color, 86 min. In French with real and composite characters to explore TARTINA CITY English subtitles.

TICKETS & FULL SCHEDULE at WWW.AFI.COM/SILVER n 3 OUSMANE SEMBÈNE

All notes courtesy of disputes, and religious turf wars threaten Film Forum to escalate into mayhem. DIR/SCR/PROD Ousmane Sembène; PROD Jacques Perrin. France/Germany/ Senegal, 1992, color, FAAT KINÉ 115 min. In French and Wolof with Friday, March 7, 9:45 English subtitles. Sembène explores women's lives in contem- porary Dakar, Senegal's bustling capital, in CEDDO this warm, often funny story of a single Thursday, March 13, 9:20 mother, her two children, two ex-husbands, In a 19th-century village, a princess is kid- aged mother and assorted friends. Sembène napped, and a Muslim imam struggles culturally and politically contextualizes her against a Catholic priest for religious and thoroughly modern triumphs and anxieties political control, while the ceddo (“ched- in a Dakar that has shantytowns as well as doe”, or common people) try to hold on high-rises, streets crowded with cattle as to their traditional ways. Banned in Senegal, well as Mercedes-Benzes, and women Sembène’s historical epic condenses two whose lives have been shaped by tribal cus- centuries of African history into a thriller tom and male prejudice as much as by their of oppression and intolerance. DIR/SCR cutting-edge aspirations. DIR/SCR Ousmane Ousmane Sembène. Senegal, 1977, color, Sembène; PROD Wongue Mbengue. 120 min. In French and Wolof with Senegal, 2000, color, 118 min. In French English subtitles. and Wolof with English subtitles. FAAT KINÉ MANDABI [The Money Order] Double Feature Friday, March 14, 9:15; Saturday, March 15, 1:00 Illiterate, unemployed, 50-ish Ibrahima Sunday, March 9, 5:00 Deng suddenly gets a windfall: a money BLACK GIRL [La Noire de…] order from his streetsweeper nephew in Diouana finds her pleasant babysitting France for 20,000 francs (roughly $100). chores for a French family in Dakar topped But he finds he can’t cash it without an by an invitation to accompany them back to identity card, which requires a proof of France; but once there, she finds she’s just CAMP DE THIAROYE birth. Sembène’s first color film is a “the black girl.” Based on actual events, darkly humorous satire of Kafkaesque Sembène’s first feature makes an unsparing CAMP DE THIAROYE bureaucracy and corruption, as Deng attack on neocolonial exploitation and put Tuesday, March 11, 6:45 concludes “honesty is a sin in this coun- African cinema on the map. Sembène him- Based on an actual historical incident, this try.” DIR/SCR Ousmane Sembène; PROD self stars as a schoolteacher. DIR/SCR “magisterial critique of the colonial mental- Jean Maumy. France/Senegal, 1968, Ousmane Sembène; PROD André ity” (J. Hoberman) received a Special Jury color, 90 min. In French and Wolof Zwoboda. France/Senegal, 1966, b&w, 65 Prize from the Venice Film Festival. In 1944, with English subtitles. min. In French with English subtitles. African infantrymen, back from slugging it with out with the Nazis and liberating , XALA [The Curse] relax in a transit camp in Senegal, but they BOROM SARRET Saturday, March 15, 9:30; Sunday, March 16, MOOLAADÉ soon realize “transit camp” means “prison” Sembène’s first film, a day in the life of a 9:30; Monday, March 17, 8:45 Saturday, March 8, 5:00 and “war heroes” means “uppity natives.” poor cart driver. DIR/SCR Ousmane Sembène’s take on Animal Farm in Africa is DIR/SCR Ousmane Sembène and Thierno In a remote Burkina Faso village, the Sembène. Senegal, 1964, b&w, 20 min. a savagely funny satire of the new post- impending mass ceremony of female circum- Faty Sow; PROD Mustafa Ben Jemja, independence ruling class, as [a] fifty-ish fat cision goes wrong as this year’s class of Ouzid Dahmane and Mamadou Mbengue. cat enjoys a flourishing import business, young girls resists. They jump down wells or EMITAI [God of Thunder] Senegal, 1987, color, 157 min. In French two wives (traditional and Westernized), head for the home of Collé, herself a hold- Monday, March 10, 9:00 and Wolof with English subtitles. and a white Mercedes—and gets appointed out against tradition, and for her magical When French troops come to a Diola vil- to the Chamber of Commerce. Time to protection—the Moolaadé. This intense lage during WWII to conscript the men and GUELWAAR add that third wife, but on the wedding treatment of a burning issue is embedded confiscate the rice, the women hide the Thursday, March 13, 7:00 night he fails to rise to the occasion. Could within a three-dimensional treatment of vil- crop and the elders consult with the gods, Bad enough that political activist Guelwaar he be the victim of a xala? The film, despite lage life—with a final outburst of courage but events slowly escalate to tragedy. Based (“the noble one”) has just died mysterious- government censorship, broke Senegalese coming from the least likely source. on an actual incident., the film’s final horrific ly, but where’s the body? Misidentified and box office records and hit its targets where Ousmane Sembène. Senegal/France/ image was initially blacked out by the buried in a Muslim cemetery? But he was a they lived. DIR/SCR Ousmane Sembène; Burkina Faso/Cameroon/Morocco/Tunisia, French. DIR/SCR Ousmane Sembène. Catholic! The solution is obvious—but the PROD Paulin Vieyra. Senegal, 1975, color, 2004, color, 124 min. In Bambara and Senegal, 1971, color, 103 min. In French disinterment plans rapidly derail as a biting- 123 min. In French and Wolof with French with English subtitles. and Wolof with English subtitles. ly comic firestorm of red tape, intra-family English subtitles.

4 n TICKETS & FULL SCHEDULE at WWW.AFI.COM/SILVER OUSMANE SEMBÈNE In the Nation’s Capital—and at AFI Silver!

The 16th Annual Environmental Film Festival will be held March 11 through 22. For a complete schedule, visit www.dcenvironmentalfilmfest.org or call 202.342.2564.

THE BIG COUNTRY DIRECTOR GODFREY REGGIO IN PERSON WITH Introduced by Catherine Wyler, Artistic Director, THE QUATSI TRILOGY Rochester/High Falls Director Godfrey Reggio will appear at all three screenings of his “Qatsi” trilogy. Taking its titles from International Film Hopi Indian words, the films chronicle the rhythms of life on Earth and the destructive impact of the Festival and daughter of modern world on the environment. director William Wyle

Sunday, March 16, 3:00 Considered one of the best Westerns ever made, this classic film t s e f

spotlights rival ranchers o t o h P

and fighting over f o y s e

waterrights to a river located t r u o c

between their two properties. o t o h Retired wealthy sea captain P arrives to marry his THE BIG COUNTRY POWAQQATSI: LIFE IN TRANSFORMATION fiancée . But his values and approach to life are a mystery to the ranchers, and foreman dislikes him at first KOYAANISQATSI: LIFE OUT OF BALANCE with the trilogy’s theme, POWAQQATSI also reveals the impact of technological progress on native cul- sight – especially since he wants the girl himself. DIR/PROD William KOYAANISQATSI: LIFE OUT OF BALANCE tures—their complicated interaction with such new Wyler; SCR Jessamyn West, , James R. Webb and Sy Friday, March 14, 7:00 additions as cars and high-rises. DIR/SCR/PROD Bartlett, based on the novel by Donald Hamilton; PROD Gregory An apocalyptic vision of two different worlds, KOY- Godfrey Reggio; SCR Ken Richards; PROD Mel Peck. US, 1958, color, 165 min. NOT RATED AANISQATSI shows both: natural beauty and our Lawrence, Kurt Munkacsi and Lawrence Taub. US,

growing dependence on technology. Capturing stun- 1988, color, 99 min. In English, Hopi and Spanish ning visual images of North America, from desert with English subtitles. RATED G THE UNFORESEEN landscapes to rocket explosions, rhymthically set using Friday, March 21, 7:00 slow-motion and time-lapse techniques to a score by The American Dream of owning a house with a white picket fence Philip Glass, this ground-breaking film was the first clashes with environmental sustainability in this documentary shot full-length commercial nonverbal film. All the images in Austin, Texas. The film tracks the career of Gary Bradley, a west- are of real life, presented to show the imbalance Texas farm boy who becomes one of the largest developers in the between nature and urban culture—the latter moving NAQOYQATSI: LIFE AS WAR state. In the 1980s, Bradley had plans to transform miles of pris- at a frenetic pace, detached from the natural environ- tine hill country outside Austin into large-scale subdivisions. But ment and overwhelmed by technology. Open for dif- Sunday, March 16, 7:00 the proposed development jeopardized Barton Springs, a watering fering individual interpretation, the images inspire a Exploring the most significant event in the last 5,000 hole treasured by locals, and served as a lightning rod for mobiliz- thousand thoughts. DIR/SCR/PROD Godfrey Reggio; years of human history, the transition from the natu- ing environmental activism. DIR/PROD Laura Dunn; PROD SCR Ron Fricke, Michael Hoenig and Alton Walpole. ral to the technological milieu, NAQOYQATSI con- Douglas Sewell and Jef Sewell. US, 2007, color, 88 min. NOT US, 1982, color, 86 min. NOT RATED trasts the earthy RATED diversity of nature POWAQQATSI: LIFE IN TRANSFORMATION with the homogeniza- Saturday, March 15, 7:00 tion of technology. As Focusing on the people of the developing world— it consumes the old natural world with its from Brazil, Egypt, Hong Kong, India, Kenya, Nepal NAQOYQATSI: LIFE AS WAR and Peru—and closely observing their everyday lives infinite appetite, the in vivid color and slow motion, POWAQQATSI puts explosive tempo of technology becomes “naqoyqatsi,” the audience nearly close enough to smell the food a sanctioned aggression against the force of life itself, a cooking, the fresh fish and nearby fires. The film cele- war-life beyond the confines of the battlefield. The film brates the human-scale endeavors of craftsmanship, envisions a world made in the image of the new spiritual worship, labor and creativity that define a divine, the computer. DIR/SCR/PROD Godfrey Reggio; particular culture, capturing what is rare and beautiful PROD Joe Beirne and Lawrence Taub. US, 2002, about these people and their civilizations. In keeping color, 89 min. RATED PG THE UNFORESEEN

TICKETS & FULL SCHEDULE at WWW.AFI.COM/SILVER n 5 INGMAR BERGMAN REMEMBERED, PART II

March 15 through April 28 With Ingmar Bergman's death in the summer of 2007, the SONA. , , Gunnar Björnstrand world lost one of the greatest artists in the history of cinema. and all continue to shine in various roles, now His filmography numbers over 60 works, most of them fairly joined by , arguably Bergman's greatest actress. All described as "great" and many of them landmarks in film his- films were shot by the master cinematographer . tory, representing the pinnacle of sustained work by a master Look for the third and final part of our Bergman retrospective t s e f at his craft. at the end of the year. o t o h P

f The second part of our Bergman retrospective focuses on his o

y All films in Swedish with English subtitles unless otherwise noted. s e t

r films from the , which include some of his most psycho- u o

c AFI member passes will be accepted at all screenings in the Ingmar o t logically acute works – as well as many of his most experimen- o h Bergman Series. P tal and challenging ones, none more so than the landmark PER-

disembark from their train in a foreign country seeming- ly on the brink of war, sisters Ingrid Thulin and , along with Lindblom’s young son Jorgen Lindstrom, take residence in the strangely vacant Hotel Europa. Here, the two sisters’ tense relationship begins to unravel. DIR/SCR Ingmar Bergman. Sweden, 1963, b&w, 96 min. NOT RATED s m l i F s u n a J f t o s e y f s o e t t o r h u o P c f o o t y o s h e t P r u o THROUGH A GLASS DARKLY c o t o h attended morning services, his failure to comfort a suici- P THROUGH A GLASS DARKLY [Såsom i en spegel] PERSONA dal, counsel-seeking Max von Sydow, his anguished Saturday, March 15, 3:00; Sunday, March 16, 1:00; Tuesday, March PERSONA 18, 7:00; Wednesday, March 19, 9:45; Thursday, March 20, 7:00 encounter with mistress Ingrid Thulin and finally an Saturday, March 22, 7:00; Sunday, March 23, 3:05; Tuesday, March evening high mass. The second film in the “God and The first in Bergman’s “God and Man” trilogy of cham- 25, 7:00; Wednesday, March 26, 7:00; Thursday, March 27, 9:05 ber dramas, the film won the Best Foreign Language Film Man” trilogy features Bergman’s most direct engagement with theology—implying that any affair of “Man” will This landmark film, startling and provocative in its ideas, Oscar and was nominated for its screenplay. During a stands out as the pinnacle of Bergman’s career. Nurse necessarily find itself a long way from “God.” DIR/SCR family’s island summer holiday, schizophrenic daughter ’s cheery efforts to communicate with Ingmar Bergman; PROD Allan Ekelund. Sweden, 1962, Harriet Andersson (giving perhaps the greatest single actress Liv Ullmann, mute and semi-catatonic after an b&w, 81 min. NOT RATED performance in all of Bergman’s films) experiences her onstage nervous breakdown, give way to deeply personal last moments of good cheer and lucidity before THE SILENCE [Tystnaden] confessions. Andersson’s riveting monologue of a long- descending into outright madness. Her crumbling is ago sexual encounter, “one of the rare, truly erotic brought on when she discovers her novelist father has Saturday, March 22, 1:30; Sunday, March 23, 5:00; Wednesday, March 26, 9:00 sequences in movie history,” (critic Pauline Kael) leads used her illness as raw material. DIR/SCR Ingmar to an even more intense transaction between her and The last of the “God Bergman; PROD Allan Ekelund. Sweden, 1961, b&w, 89 the watchful actress. DIR/SCR/PROD Ingmar Bergman. and Man” trilogy, this min. NOT RATED Sweden, 1966, b&w, 83 min. NOT RATED sexually provocative t s e

portrait of two f

WINTER LIGHT [Nattvardsgästerna] o t

o [Vargtimmen] h

women’s frayed per- P Saturday, March 15, 5:00; Monday, March 17, 7:00; Tuesday, March f o Saturday, March 29, 3:10; Sunday, March 30, 5:30; Tuesday, April 1, y s

sonalities prefigures e 18, 9:00; Thursday, March 20, 9:00 t r

u 7:00; Wednesday, April 2, 9:35 o c

Bergman’s masterpiece o A day in the life of rural pastor Gunnar Björnstrand bat- t o

h Holed up together in a tiny cabin on a remote island, PERSONA. Forced to P tling with his own loss of faith—through the sparsely THE SILENCE sensitive artist Max von Sydow recounts stories from his

6 n TICKETS & FULL SCHEDULE at WWW.AFI.COM/SILVER INGMAR BERGMAN REMEMBERED, PART II past to pregnant wife Liv Ullman. As the and innuendos at a drunken dinner stories become increasingly lurid, Ullman party. Bergman periodically intercuts begins to wonder if these are real memo- the narrative with direct-to-the-camera ries, or nightmares. And whether the interviews of the actors discussing their strange people von Sydow claims to have characters, creating a meditation on met on the other side of the island, a identity and its dramatic representation. baron and his family, really exist, or are DIR/SCR Ingmar Bergman; PROD Lars- just his hallucinations. But then Ullman Owe Carlberg. Sweden, 1969, color, meets the baron….Gothic horror meets 101 min. RATED R modern psychodrama in this unnerving and underrated masterpiece.DIR/SCR “A self-portrait (in composite) of Ingmar Bergman; PROD Lars-Owe Carlberg. Sweden, 1968, b&w, 90 min. the great beloved of my child- in Swedish and Norwegian with English hood.” subtitles. NOT RATED —DIRECTOR INGMAR BERGMAN s m l i F s

CRIES AND WHISPERS [Viskningar u n

SHAME [Skammen] a J f

och rop] o y

Friday, March 28, 9:20; Saturday, March 29, 9:20; s e t r

Sunday, April 6, 6:30; Tuesday, April 8, 9:45; u

Sunday, March 30, 9:20; Tuesday, April 1, 9:00; o c o Wednesday, April 9, 9:40 t o

Thursday, April 3, 9:20 h P Bergman’s existential study of life during Amid the blood-red backgrounds of a wartime begins like a chamber drama, with turn-of-the-century mansion, Liv Ullmann MARRIAGE WILL SCREEN AT AFI IN ITS presented in two parts, each running husband-and-wife classical musicians Max and Ingrid Thulin keep a death-watch ORIGINAL FULL-LENGTH VERSION IN TWO approximately 150 minutes.) DIR/SCR von Sydow and Liv Ullman ensconced in a over spinster sister Harriet Andersson. Flashbacks tell of disappointed lives, PARTS. Ingmar Bergman; PROD Lars-Owe country farmhouse, quietly waiting out the Carlberg. Sweden, 1973, color, 300 min. far-off events of an unnamed war. But then meaningless marriages and sisterly con- Part One: Saturday, April 19, 3:00 RATED PG the war comes to them, changing every- flicts—with a final, bittersweet image sug- gesting what has been lost. Oscar-nomi- Part Two: Sunday, April 20, 3:15 thing around them, inside them and THE MAGIC FLUTE [Trollflöjten] between them. As control of their village nated for Best Picture, Director, When suddenly leaves Screenplay and Costumes, it won for his wife Liv Ullmann for another woman, Friday, April 25, 7:00; Sunday, April 27, 4:20; alternates from one army to the other, von Monday, April 28, 8:45 Sydow and Ullman do what they must sim- Sven Nykvist’s lush cinematography. they are forced to confront the disinte- Considered by many the greatest film ver- ply to survive—with soul-destroying conse- DIR/SCR Ingmar Bergman; PROD Lars- gration of their marriage. This film, shot in sion of an opera, Ingmar Bergman pays lov- quences. DIR/SCR Ingmar Bergman; PROD Owe Carlberg. Sweden, 1972, color, 91 intense, intimate close-ups by master cin- ing tribute to Mozart’s exquisite work, while Lars-Owe Carlberg. Sweden, 1968, b&w, min. RATED R ematographer Sven Nykvist, chronicles the 10 years of turmoil and love that bind adding some Bergmanesque touches. He 103 min. in Swedish with English subti- had hoped to film the opera on the historic tles. RATED R SCENES FROM A MARRIAGE [Scener the couple despite their divorce and sub- ur ett äktenskap] sequent marriages. Flawless acting and stage of Drottningholm Palace in , ORIGINALLY PRESENTED AS A FIVE-HOUR, SIX- dialogue portray the brutal pain and but when the location proved unworkable, PART MINISERIES FOR SWEDISH TELEVISION, BUT uplifting peace that accompany a lifetime he re-created the theater’s stage and trap- t s

e pings in a studio at the Swedish Film f RELEASED AT NEARLY HALF THAT LENGTH FOR o

t of loving. (Note courtesy The Criterion o h

P Institute. DIR/SCR Ingmar Bergman; SCR

f AMERICAN THEATERS, SCENES FROM A

o Collection) (Original full-length version, y s

e Emanuel Schikaneder; PROD Måns t r u o c Reuterswärd. Sweden, 1975, color, 135 o t o h P min. RATED G THE PASSION OF ANNA [En Passion] Sunday, April 6, 8:30; Monday, April 7, 9:15 With its postmodern collage (compared to PERSONA’s focused high ), this film enjoys cult status as one of s m

Bergman’s unique and most experimental l i t s F e f s o u t n

works. On the island of Fårö, reclusive o a h J P f f o Max von Sydow becomes involved with o y y s s e e t t r r u high-strung widow Liv Ullmann and cyni- u o o c c o o t t o cal couple Bibi Andersson and Erland o h h P P Josephson. The foursome trade barbs THE MAGIC FLUTE

TICKETS & FULL SCHEDULE at WWW.AFI.COM/SILVER n 7 ROBERT MITCHUM RETROSPECTIVE with doomy cynicism, this is a vicious love triangle: Mitchum, March 21 through May 5 a paragon with his trenchcoat and laconic cool; Greer, la Perennially underrated femme la plus fatale, a serial man-jilter whose duplicity and during his career, in murderousness know no bounds; and Douglas, blending retrospect Robert charm and menace in one of his best performances. DIR Jacques Tourneur; SCR Daniel Mainwaring based on his

t Mitchum stands out as s e f

o novel Build My Gallows High; PROD Warren Duff. US, t

o one of Hollywood's h P

f 1947, b&w, 97 min. RATED PG o greatest leading men. y s e t r

u Ruggedly built and o c THE LUSTY MEN o t

o handsome in an h P Friday, March 28, 7:00; Saturday, March 29, 7:00; Sunday, March 30, unconventional, though 3:10; Wednesday, April 2, 6:30; Thursday, April 3, 7:00 undeniable, way, the sleepy-eyed Mitchum Director Nicholas Ray combines action-packed rodeo riding possessed an easy authority, along with an with affecting melodrama in one of his best films, and air of defiance toward, and an effortless Mitchum gives one of his legend-making performances as disdain for, anyone else’s. It made him the hard-living rodeo lifer. Rodeo veteran Mitchum, off the perfect for tough guy roles in westerns and bulls since taking a bad spill, tries his hand at mentoring and crime films, but he wasn’t simply some t managing the career of eager , who quickly s e f o musclebound action hero. His laconic deliv- t o

h rises through the ranks. Kennedy’s wife P f ery and unshowy instincts gave his per- o y wants him to quit while he’s ahead and settle down, but s e t r u

formances a jazzy, offbeat vibe, allowing o he’s drawn to the rowdy rodeo lifestyle—and despite her c o t o

his wit, soul, and a kind of existential h anger, she’s drawn to Mitchum. DIR Nicholas Ray; SCR P weariness to come through. No careerist, OUT OF THE PAST David Dortort and Horace McCoy, based on the novel by he could be dismissive of his work and OUT OF THE PAST Claude Stanush; PROD . US, 1952, b&w, 113 Hollywood in general, but ironically, he Friday, March 21, 9:30; Saturday, March 22, 9:00; Sunday, March 23, min. NOT RATED never wanted for projects during his 50 1:00; Tuesday, March 25, 9:00; Thursday, March 27, 7:00 years in show business. Perhaps as a result In a film many consider the ultimate , ex–private PURSUED of this ambivalence, he gravitated toward eye Mitchum tries to make a new life in the country, but his Saturday, March 29, 1:00; Sunday, March 30, 1:00; Monday, March 31, anti-heroes and subversive fare, resulting in past catches up with him – his mob-boss former employer, 7:00 a filmography packed with quirky cult clas- and bad girl Jane Greer, with whom Mitchum’s This psychologically skewed Western features jaded Civil sics: OUT OF THE PAST, Mitchum blasé as earlier romantic idyll had ended on a murderous note. War vet Mitchum marrying his stepsister (!) Teresa Wright the doomed hero in the definitive film noir; Dizzyingly told in flashback, blending dreamy romanticism after killing her brother in a gunfight, with the duplicitous NIGHT OF THE HUNTER, ’s terrifyingly beautiful fairy tale, with ! Film-Noir Double Feature Mitchum’s deranged preacher a kind of big Saturday, March 22, 3:45; Sunday, March 23, 7:00; Monday, March with bad wolf; the anarchic and pro-outlaw 24, 7:00 CROSSFIRE THUNDER ROAD, which Mitchum wrote, Just back from WWII, a troop of Army soldiers kills time in produced and starred in; CAPE FEAR, “A 67-minute exercise in murder, paranoia, Washington, DC, but one of their number is suspected of Mitchum murderously seductive as the sexual intrigue and sweaty psychosis” the racially motivated killing vengeful Max Cady; and his late-career —GARY GIDDINS, FILM COMMENT of a Jewish man after a valedictory, THE FRIENDS OF EDDIE COYLE, chance encounter. Robert with Mitchum movingly mortal as the WHEN STRANGERS MARRY Montgomery is the seen-it- aging, two-bit gangster, one of his subtlest Released in 1944 by the iconic “poverty row” studio all police detective; and best performances. Monogram (to whom Jean-Luc Godard, inspired by the Mitchum, at his reserved studio’s stock-in-trade hardboiled crime pictures, dedicat- best, plays a cool-headed An iconoclastic one-of-a-kind, Mitchum is ed BREATHLESS), WHEN STRANGERS MARRY has the sergeant conducting his t s e

illicit charm and vaguely disreputable material that many B- own investigation in paral- f o

still the essence of cool 60 years after his t o h

pictures promise but few deliver. Director William Castle, lel—and at times in con- P f

screen debut. His best films, 12 of which o y

later the gimmicky impresario of ’50s-era horror films, ably flict—with the cops. Robert s e t are presented here, remain fresh and vital, r u

guides the excellent, on-their-way-up cast—including o Ryan’s portrayal of the big- c o while his screen persona still comes across t o

Mitchum, Kim Hunter and Dean Jagger—through this tale oted, cracked-up killer h P as relevant. of a hasty marriage, ensuing love triangle and murder set- earned him his only Oscar up. DIR William Castle; SCR Dennis J. Cooper and Philip nomination. DIR Edward AFI member passes will be accepted at all Yordan, based on the story by William K. Howard and Dmytryk; SCR John Paxton, based on the novel by screenings in the Robert Mitchum Retrospective. George Moskov; PROD Frank King, Herman King and Richard Brooks; PROD Adrian Scott. US, 1947, b&w, 86 Maurice King. US, 1944, b&w, 67 min. NOT RATED min. NOT RATED

8 n TICKETS & FULL SCHEDULE at WWW.AFI.COM/SILVER ROBERT MITCHUM RETROSPECTIVE Wright bent on getting her revenge on nal, but, with all due respect to De Niro, their wedding night. Written by Niven not Mitchum’s performance as ex-con Busch (DUEL IN THE SUN), directed by Max Cady. Using his natural cool and sub- Raoul Walsh (THE BIG TRAIL) and shot tle insolence, Mitchum creates a unique by the great James Wong Howe (SWEET screen villain, one possessing a laid-back SMELL OF SUCCESS), PURSUED brings menace. His unhurried, I-don’t-give-a- to the Western the mood and atmos- damn attitude makes him the perfect foil phere of a great film noir. DIR Raoul to upright—and uptight—Gregory Peck, Walsh; SCR Niven Busch; PROD Milton the DA who sent him to jail. When Cady Sperling. US, 1947, b&w, 101 min. NOT finally makes his move for revenge it’s RATED violent in the extreme, but until then he makes rooting for the bad guy fun. DIR J. t s e f

BLOOD ON THE MOON o t Lee Thompson; SCR James R. Webb, o h P

Saturday, March 29, 5:05; Sunday, March 30, f o based on The Executioners by John D. y s e 7:25; Monday, March 31, 9:10 t r

u MacDonald; PROD Sy Bartlett. US, 1962, o c o t

Drifter Mitchum goes to work as a hired o b&w, 105 min. NOT RATED h P gun for old friend Robert Preston, the THE NIGHT OF THE HUNTER leader of a coalition of homesteaders THE FRIENDS OF EDDIE COYLE 1920s Australia, a cou- sionistic lighting effects and memorably embroiled in a heated range war against Friday, May 2, 7:10; Saturday, May 3, 1:00, 7:10; stylized, even psychedelic, art design, it’s a Tom Tully’s ranching operation. But ple who’ve led and Sunday, May 4, 1:00, 7:10; Monday, May 5, 9:45 loved a footloose life marvel to look at, and Mitchum, usually Mitchum’s loyalty is shaken when he dis- World-weary Mitchum, a career criminal but who now want the paragon of cool, here gives a flamboy- covers Preston’s working an angle to with a wife and two kids struggling to make to settle down on antly over-the-top performance as the extort Tully on a crooked land deal. ends meet in the suburbs, contemplates rat- their own home- psychotic villain. DIR Charles Laughton; Double-crosses, knockdown barroom ting to the cops after getting pinched for stead —assum- SCR James Agee, based on the novel fights and a climactic shootout pace this driving a truck full of stolen whisky. Director ing Mitchum by Davis Grubb; PROD Paul Gregory. action-packed western from director Peter Yates (BULLITT, BREAKING AWAY) can leave behind , notable too for its shadowy displays great command for the details, his rambunctious US, 1955, b&w, 93 min. NOT RATED t

atmosphere, as lensed by noir specialist s

e whether it’s the taut procedural of a bank f o ways. Mitchum t o

Nicholas Musuraca. DIR Robert Wise; h

P heist or fly-on-the-wall observations of

f THUNDER ROAD

and Kerr’s natural, THE SUNDOWNERS o SCR Lillie Hayward, Luke Short and y s

e criminals in their milieu, with the local color t Friday, April 18, 7:00; Saturday, April 19, 9:15; r

knowing way with u o Harold Shumate, based on the Luke c of Boston providing a particularly

o Sunday, April 20, 9:15; Monday, April 21, 9:00; t

one another, not to mention their earthy o Short novel Gunman's Chance; PROD h P Thursday, April 24, 7:00 piquant backdrop. And Mitchum—struggling sexual chemistry, make them one of the Theron Warth. US, 1948, b&w, 88 min. A personal project for Mitchum, who in with his dilemma, defeated, but sardonic to movies’ more believable screen couples. NOT RATED addition to starring in, writing and pro- the end—gives perhaps the most affecting —former sea captain, cur- ducing the picture, even composed and performance of his brilliant career. DIR rent gentleman tramp—is along for the HEAVEN KNOWS, MR. ALLISON sang the title song, which became a radio Peter Yates; SCR/PROD Paul Monash, ride. DIR ; SCR Isobel Saturday, April 5, 1:00; Monday, April 7, 7:00 hit. Proud Tennessee war vet–turned- based on the novel by George V. Higgins. Lennart, based on the novel by Jon Salty Marine Mitchum and nun Deborah bootlegger Mitchum must contend with US, 1973, color, 102 min. RATED R Cleary. US, 1960, b&w, 133 min. NOT Kerr are marooned on a small Pacific both the feds and the mobsters who RATED island during WWII, battling the elements want a piece of his action. Full of thrilling and each other until they have to put car chases, memorable characters and THE NIGHT OF THE HUNTER their heads together to outwit an expedi- plenty of local color, THUNDER ROAD tion of Japanese soldiers. The pairing of Friday, April 11, 7:00, Saturday, April 12, 2:00, enjoyed enormous and enduring populari- 7:05; Sunday, April 13, 4:45, 9:15; Monday, April Kerr with Mitchum—the Scottish beau- ty throughout the South, becoming a 14, 9:30; Tuesday, April 15, 9:30, Wednesday, drive-in classic. DIR Arthur Ripley; SCR ty’s favorite leading man—produced ter- April 16, 6:30; Thursday, April 17, 7:00 rific screen chemistry and an Oscar nom- James Atlee Phillips and Walter Wise, The only film directed by the great actor based on the story by Robert ination for Kerr. DIR/SCR ; Charles Laughton, THE NIGHT OF THE SCR John Lee Mahin, based on the Mitchum. US, 1958, b&w, 92 min. HUNTER has enjoyed cult status across RATED PG novel by Charles Shaw; PROD Buddy five decades. Blending the frightening Alder and Eugene Frenke. US, 1957, mythological power of a Brothers Grimm CAPE FEAR b&w, 108 min. NOT RATED fable with Southern Gothic creepiness, t

Friday, April 25, 9:45; Saturday, April 26, 10:00; s e f

it’s the story of two children guarding o t

Sunday, April 27, 9:45; Wednesday, April 30, o h P

THE SUNDOWNERS their dead father’s stash of stolen money f 9:30; Thursday, May 1, 9:00 o y s e Sunday, April 6, 3:45; Wednesday, April 9, 7:00 t from a seemingly benevolent but secretly r u

Martin Scorsese’s 1991 remake of CAPE o c o

malicious preacher, played with unhinged t

Mitchum and play hus- o

FEAR may have improved on some h gusto by Robert Mitchum. With expres- P band-and-wife nomadic sheepherders in aspects of J. Lee Thompson’s 1962 origi- CAPE FEAR

TICKETS & FULL SCHEDULE at WWW.AFI.COM/SILVER n 9 BETTE DAVIS CENTENNIAL

April 4 through May 4 Driven. Daring. Provacative.

t Temperamental. High-strung. Neurotic. s e f o t o

h With Bette Davis, you took the good P f o y

s with the bad. In the movies, of course, e t r u o

c “bad” can be better than “good”—or o t o h at least more fun—and Davis was P never better than when she was being bad. As a busy con- tract player at Warner Brothers in the 1930s, she portrayed a succession of fast-talking, thrill-seeking flappers, molls and schemers, wised-up sisters who were sometimes too smart for their own good. But the quality of her films during this time was variable, and it was only after years of bat- tling her boss, Jack Warner—at one point even taking him to court—that Davis earned a degree of self-determination. During her peak years and in her best roles, she created characters who were self-reliant, defiant of convention and unafraid of consequences: Julie Marsden in JEZEBEL; Leslie Crosbie in THE LETTER; Regina Giddens in THE LITTLE FOXES. These were tough-minded roles in tough melodramas. Like ALL ABOUT EVE as the ambitious Eve Harrington, a young starlet her rival , she also made “women’s pic- Friday, April 4, 7:00; Saturday, April 5, 3:30; Sunday, April who models herself on Davis only to supplant her in tures,” but the combative Davis, once billed as “the female 6, 1:00; Tuesday, April 8, 7:00 a win-at-all-costs rise to stardom. The most nomi- Cagney,” reinvented what was possible in such a picture: “Fasten your seatbelts, it's going to be a bumpy nated film in Oscar history with 14, winning six, laughing in the face of terminal illness in DARK VICTORY; night!” says Bette Davis’s screen apotheosis, A-list including Best Picture, Director and Screenplay nods fearlessly playing ugly, under Lon Chaney-like makeup, in actress Margo Channing. But it’s she who gets for Joseph L. Mankiewicz. DIR/SCR Joseph L. NOW, VOYAGER; and with ALL ABOUT EVE, knowingly bumped off by her duplicitous protégée Anne Baxter Mankiewicz; PROD Darryl F. Zanuck. US, 1950, taking the ax to the pretensions of show biz and stardom. b&w, 138 min. Davis enjoyed a famously long career that spanned six Pre-Code Double Feature! decades, from Hollywood’s Golden Age to the end of the 1980s. “Old age is not for sissies,” she liked to say, and Saturday, April 12, 4:00 daughter Bette Davis over breakfast, after anoth- er late night out. A socialite with criminal tastes, she walked the talk by working steadily until her death in Monday, April 14, 6:30 Davis gets in over her head with gangsters, and 1989. By then, Davis’s outsized public persona had long THE CABIN IN THE COTTON after a breathless turn of events (the butler’s not ago superseded the great work of her youth, the lines “Ah’d like to kiss ya, but I just washed my hayuh,” who he says he is, nor is the boyfriend, and between the star and her screen persona blurring every Bette Davis tells in an amus- there’s a secret code that has something to do ingly arch Southern drawl as a plantation boss’s time she’d use one of her characters’ more quotable lines with a yacht in the bay) stepsister Margaret daughter flirting with her father’s up-by-his-boot- as a catch phrase on the talk show circuit. But Davis’s best Lindsay solves the mystery—having first escaped straps employee. Soon Barthelmess ditches his work endures. Her acting, though mannered, displays her kidnappers! DIR ; SCR plain-Jane girlfriend for flashy bad girl Davis, until remarkable intuitiveness and, at times, surprising subtlety. Robert N. Lee and Eugene Solow, based on “The duty calls—in this case, unfair labor practices and And her one-of-a-kind physicality—with those outsized Five Fragments” by George Dye. US, 1934, b&w, a lynching. A classic Warner Bros. “social prob- eyes—ensures her undying uniqueness. There hasn’t been 68 min. anyone like her before or since. lem” film of the 1930s—with a dash of the sexy. DIR ; SCR Paul Green, based on Davis received an impressive 10 Oscar nominations for Best the novel by Harry Harrison Kroll. US, 1932, Actress during her career, winning for DANGEROUS in b&w, 78 min. 1935 and JEZEBEL in 1938. In 1977, she became the fifth recipient of AFI’s Life Achievement Award, the first woman with to be so honored. “Probably the fastest movie ever made.” On the occasion of her centenary, rediscover one of —FILM CURATOR WILLIAM K. EVERSON t s e f

Hollywood’s true originals: Bette Davis. o t o h P

FOG OVER FRISCO f ALL FILMS NOT RATED o y s e Delirious fun! “You promised to turn over a new t r u o c

AFI member passes will be accepted at all screenings in the leaf after your last scandalous escapade,” financier o t o h Bette Davis Series. Arthur Byron tells his high-living, low-life-loving P

10 n TICKETS & FULL SCHEDULE at WWW.AFI.COM/SILVER BETTE DAVIS Double Feature! Davis with gun in hand and her former lover dead on the floor. We know she did it, but will nobly suffering Bette and Cagney! Bette and Bogie! husband Herbert Marshall help her beat the Sunday, April 13, 1:00 rap? Seven Oscar nominations, including Best Picture, Tuesday, April 15, 6:30 Director, and Actress for Davis.DIR ; SCR JIMMY THE GENT Howard Koch, based on the play by W. Somerset Before battling her way to starring roles and top billing, Maugham. US, 1940, b&w, 95 min. Davis gave great support early in her career, as these two films demonstrate. In JIMMY THE GENT, she and THE LITTLE FOXES trade rapid-fire quips in a blithely amoral Wednesday, April 30, 6:30; Saturday, May 3, 3:10; Sunday, May 4, cult classic of screwball comedy. Davis is the former 3:10 employee of con-man private dick Cagney, sucked back Director William Wyler’s third and final film with Davis into his whirlwind schemes after having gone straight. provided her one of her juiciest roles, the brilliant and DIR Michael Curtiz, SCR Bertram Millhauser, based on ruthless Regina Giddens, one of a trio of scheming sib- the story The Heir Chaser by Laird Doyle and Ray lings in a moneyed Southern family during the Gilded Nazarro. US, 1934, b&w, 67 min. Age. Davis enlists her grasping nephew in a with plot to outmaneuver her equally greedy brothers on a hot deal, until nobly suffering husband Herbert Marshall THE PETRIFIED FOREST interferes. Unfortunately for him, no one stands in The film that made Humphrey Bogart a star, as the fugi- Regina’s—or Bette Davis’s—way! Photographed by the tive killer Duke Mantee who takes several people great Gregg Tolland, fresh off his groundbreaking work in hostage in a lonely desert diner while attempting to . DIR William Wyler; SCR Lillian evade a manhunt. Davis shines as a naïve young dreamer Hellman, based on her play; PROD Samuel Goldwyn. caught up in Bogart’s danger, trading her customary fire US, 1941, b&w, 115 min. for cool understatement and providing a well-tempered THE LITTLE FOXES counterpoint to the menace around her. DIR Archie including wearing a red gown to a white-dress ball and WHATEVER HAPPENED TO BABY JANE? Mayo, SCR Delmer Daves, based on the play by flirting with old flame George Brent—drive upright fiancé Friday, May 2, 9:20; Saturday, May 3, 9:20 Sunday, May 4, 9:20 Charles Kenyon and Robert E. Sherwood. US, 1936, into the arms of good girl . “Sister, sister, oh so fair, why is there blood all over your b&w, 83 min. DIR William Wyler; SCR Clements Ripley, Abem Finkel, hair?” Maverick filmmaker ’s lurid John Huston and Robert Buckner, based on the play by Hollywood gothic, a smash hit in 1962 and an enduring OF HUMAN BONDAGE Owen Davis. US, 1938, b&w, 104 min. camp classic, benefited tremendously from the inspired Saturday, April 19, 1:00; Wednesday, April 23, 7:00 casting of Davis and real-life rival Joan Crawford as two DARK VICTORY crazy sisters, both washed-up actresses, living together in Davis’s performance earned her industry-wide recogni- Saturday, April 26, 12:30; Monday, April 28, 6:30 a decrepit mansion in a kind of antagonistic symbiosis. tion as a serious actress, though not, controversially, an Davis: “Judy Traherne is what I’m like. She was 98 per- Davis’s former child star dreams of making a grand Oscar nomination (Davis believed her win for DAN- cent me.” At a chic restaurant, Long Island socialite Judy vaudevillian comeback, but to do so she’ll need to rid GEROUS in 1935 was a “makeup” for the slight).The Traherne (Bette Davis) announces “I think I'll have a herself of her crippled, needy sister Crawford. DIR/PROD first of several screen adaptations of the W. Somerset large order of prognosis negative!” to her doctor beau Robert Aldrich; SCR Lukas Heller, based on the novel Maughm novel was a breakthrough role for Davis: her and best friend, having discovered the secret they’ve by Henry Farrell. US, 1962, b&w, 134 min. first shot at a prestige film after several years of variable been keeping from her—that her brain tumor means casting in the Warners factory, and, as the impulsive, she has only a year to live. What follows runs the gamut uncaring wanton who brings down good doctor Leslie from drunken despair to boozy high living, with Davis’s Howard, a precedent setter for her willingness to play own rebelliousness, fierce self-determination and private unsympathetic characters. DIR ; SCR neuroticism informing her character as never before. Lester Cohen, based on the novel by W. Somerset DIR Edmund Goulding; SCR Casey Robinson, based on Maugham; PROD Pandro S. Berman. US, 1934, b&w, 83 the play by George Emerson Brewer Jr. and Bertram min. Bloch. US, 1939, b&w, 104 min. JEZEBEL THE LETTER Sunday, April 20, 1:00; Tuesday, April 22, 6:45 Saturday, April 26, 6:00; Sunday April 27, 12:30; Tuesday, April 29, This is Davis’s first of three films with director William 7:00 Wyler, who guided her to some of her greatest perform- “With all my heart, I still love the man I killed.” ances. Davis didn’t get the part of Scarlett in GONE Romantic intrigue leads to murder in exotic Malaysia in WITH THE WIND (can you imagine?), but she starred in one of William Wyler’s best movies with one of Bette this other tale of the antebellum South and won her Davis’s greatest performances. The bravura opening second Oscar for Best Actress. Headstrong and petulant sequence has shots ringing out in the tropical night, Davis is the belle of New Orleans, but her reckless ways— WHATEVER HAPPENED TO BABY JANE?

TICKETS & FULL SCHEDULE at WWW.AFI.COM/SILVER n 11 2008 KOREAN FILM FESTIVAL DC April 4 through 27 at AFI Silver and Sackler Galleries of the Smithsonian Institution, and Hyunjun Min of the University of Maryland. Once again, AFI Silver joins with the Freer and Sackler Galleries to This festival is made possible by the Korean Film Council and the celebrate the cinema of South , year in and year out one of the Korea Foundation. most exciting places on the planet for moviemaking. This year’s line- All films are 35 mm and in Korean with English subtitles unless otherwise up of new films is supplemented by a selection of favorites from past noted. ALL FILMS UNRATED. years, plus a retrospective tribute to director Lee Chang-dong. The AFI member passes will be accepted at all screenings of the Korean Film festival was organized by Tom Vick, film programmer for the Freer Festival DC Director Lee Chang-dong in person with Special Director’s Award, 2002 Venice Film Festival Best Actor and Best Actress, 2003 Seattle Film Festival OASIS Saturday, April 26, 2:45 Paroled after serving time for drunk-dri- ving manslaughter, socially inept Sol t n e m

Kyung-gu attempts n i a t r e to apologize to his t n E e z victim’s family, with i s e f i L

predictably abysmal f o y s e

results. But the disas- t r u o c

trous meeting yields o t n o o h i s P i an unlikely outcome: v o r i OASIS

M he befriends the vic- f o y s

e tim’s daughter Moon So-ri, who has cerebral palsy. t r u o

c Director Lee Chang-dong, against the odds, creates a o t o h

P moving mindblower, one of the Korean New Wave’s van- DASEPO NAUGHTY GIRLS guard of edgy melodramas—courting controversy and DASEPO NAUGHTY GIRLS [Dasepo sonyo] GREEN FISH [Chorok mulkogi] breaking taboos. “A daring heartbreaker,” says The Village Friday, April 4, 9:45 (encore to Freer show) Thursday, April 24, 9:00 Voice critic Michael Atkinson. DIR Lee Chang-dong. Welcome to No Use High, where the students and Returning from the military to find his hometown South Korea, 2002, color, 132 min. teachers only seem to have one thing on their minds. transformed into a maze of skyscrapers, a young man 2007 Oscar Submission from South Korea for Best Foreign Featuring an uproarious opening musical number and a falls in with a vicious gang as his family struggles to Language Film yodeling song-and- routine by “Anthony, the make ends meet. A story of lost innocence in the new Exchange Student from ,” Lee Je-yong twist- Korean economy, the directorial debut of novelist and SECRET SUNSHINE ed musical comedy makes fun of everything from inter- screenwriter Lee Chang-dong is a surprisingly beautiful Sunday, April 27, 7:00 net dating to cross-dressing. But beneath the bawdy and moving film. DIR/SCR Lee Chang-dong; PROD Gye- Lee Chang-dong’s lat- nam Myeong and Kyun-dong Yeo. South Korea, 1997, jokes, it’s a touching story about a poor, shy girl trying est feature is one of color, 111 min. to fit in at the weirdest high school imaginable. DIR Lee the most acclaimed Je-yong; PROD Dong-gyu Ahn. South Korea, 2006, color, films of the past year. 103 min. INTENDED FOR MATURE AUDIENCES. An emotional roller- coaster about a griev- I’M A CYBORG, BUT THAT’S OK [Saibogujiman ing mother seeking e c kwenchana] i solace, its plot raises v r e S

Friday, April 11, 9:00 (encore to Freer show) thought-provoking a m e n i

questions about faith, C

Best known for the stylized violence of films like OLD- f o y s

love and loss. Actress e

BOY and LADY VENGEANCE, Park Chan-wook takes a t r u o c lighter turn with a whimsical tale of love in a mental t Jeon Do-yeon’s finely n o t e o m h n i institution between a kleptomaniac and a girl who detailed, emotionally P a t r e

t SECRET SUNSHINE

n wrenching performance

thinks she’s a robot. Park’s genius for color and visual E J C

f earned her the Best Actress award at the 2007 Cannes design is everywhere evident in this poignant, playful, o y s e

t Film Festival. DIR/SCR Lee Chang-dong, based on the pastel-hued romance. DIR/SCR Park Chan-wook; SCR r u o c novel by Chong-jun Yi; PROD Lee Hanna. South Korea, o

Seo-Gyeong Jeong. South Korea, 2006, color, 105 t o h min. P 2007, color, 142 min. I’M A CYBORG, BUT THAT’S OK

12 n TICKETS & FULL SCHEDULE at WWW.AFI.COM/SILVER FOUR FILMS BY HIROSHI TESHIGAHARA April 12 through May 4 One of the most acclaimed Japanese directors of all time, Hiroshi Teshigahara distinguished himself in the 1960s with a series of sinuous, atmospheric, and dar- ing films. Teshigahara found his spiritual partner in novelist and screenwriter Kobo Abe, with whom he collaborated on sev- eral Kafkaesque portraits of identities in peril, films that captivated mainstream

WOMAN IN THE DUNES Photo courtesy of Janus Films audiences while also touching the edges of the Japanese avant-garde. The existen- the sexes, as well as a nightmarish depiction of everyday tial ghost story PITFALL (Otoshiana), the Sisyphean struggle. DIR Hiroshi Teshigahara; SCR Kôbô Abe, based on his story; PROD Kiichi Ichikawa and shocking, erotic fable WOMAN IN THE Tadashi Oono. , 1964, b&w, 147 min. DUNES (Sunna no onna), and the sci-fi– tinged nightmare THE FACE OF ANOTHER PITFALL [Otoshiana] (Tanin no kao) are among cinema’s Saturday, April 26, 8:00; Sunday, April 27, 2:20; Tuesday, April 29, enduring enigmas and rarest pleasures. 9:00; Thursday, May 1, 7:00 Teshigahara left filmmaking for several Teshigahara’s debut feature and first collaboration with nov- years during the 1970s—at the peak of elist Kôbô Abe, PITFALL is many things: a mysterious, his creativity—to relieve his father as unsettling ghost story, a portrait of human alienation and a headmaster of the Sogetsu School of compellingly surreal critique of soulless industry, shot in Ikebana—the traditional art of flower elegant black-and-white. When a miner treks out with his arranging. In 1984 he returned to film- young son to become a migrant worker, he finds himself

THE FACE OF ANOTHER Photo courtesy of Janus Films making with an unusual and unexpected moving from one eerie landscape to another, intermittently project: a poetic essay on the architecture followed (and photographed) by an enigmatic man in a THE FACE OF ANOTHER [Tanin no kao] of Spain’s Antonio Gaudi, a landmark clean white suit, and eventually coming face-to-face with his Saturday, April 12, 9:05; Sunday, April 13, 6:45; Wednesday, April 16, documentary and, like his fiction films, an inescapable destiny. DIR Hiroshi Teshigahara; SCR Kôbô 9:15; Thursday, April 17, 9:00 Abe, based on his story; PROD Tadashi Oono. Japan, enduring cult item. A staggering work of existential science fiction, THE FACE 1962, b&w, 97 min. All notes courtesy of The Criterion OF ANOTHER dissects identity with the sure hand of a Collection/Janus Films. surgeon. Burned and disfigured in an industrial accident, ALL FILMS NOT RATED then estranged from his family and friends, AFI member passes will be accepted at all agrees to his psychiatrist's radical new experiment: a face screenings in the Hiroshi Teshigahara transplant, created from the mold of a stranger. Thus fur- Series. ther alienated from the world around him, Nakadai gives in to his darker temptations. With unforgettable imagery, The National Teshigahara's film explores the limits of and the freedom in Cherry Blossom acquiring a new persona—and questions the notion of indi- Festival is an viduality itself. DIR/PROD Hiroshi Teshigahara; SCR Kôbô annual two-week, Abe, based on his novel. Japan, 1966, b&w, 124 min.

PITFALL Photo courtesy of Janus Films citywide event cel- ANTONIO GAUDÍ ebrating spring. 1966 Oscar Nomination, Best Director [documentary] The 2008 Festival [Suna no onna] Saturday, May 3, 5:30; Sunday, May 4, 5:30 is March 29 – Friday, April 18, 9:00; Saturday, April 19, 6:15; Sunday, April 20, 6:15 Less a documentary than a visual poem, Teshigahara's April 13, and will On of the 1960s’ great international art-house sensations, ANTONIO GAUDÍ takes viewers on a tour of the spectac- feature daily cultural performances, sport- WOMAN IN THE DUNES introduced many Westerners to ular works of Catalán architect Antonio Gaudí (1852– ing events, arts & crafts, demonstrations Teshigahara’s surreal, idiosyncratic worldview. An amateur 1926), including his massive, still-unfinished masterpiece, the and other special events. The National entomologist has left to study an unclassified species Sagrada Familia cathedral in Barcelona. With camera work Cherry Blossom Festival celebrates the of beetle in a remote desert. When he misses his bus back as bold and sensual as the curves of his subject's organic 96th anniversary of the gift of the cherry to civilization, he is persuaded to spend the night in the structures, Teshigahara immortalizes Gaudí on film. DIR blossom trees and the enduring friendship home of a young widow (Kiyoko Kishida) who lives in a hut Hiroshi Teshigahara; PROD Noriko Nomura. Japan, 1984, between the citizens of the United States at the bottom of a sand dune. What results is one of cine- color, 72 min. In Japanese and Spanish with English subtitles. and Japan. ma’s most bristling, unnerving and palpably erotic battles of

TICKETS & FULL SCHEDULE at WWW.AFI.COM/SILVER n 13 SILVERDOCS PRESENTS

A DREAM IN DOUBT Monday, April 21, 7:00 A story of immigrant survival, A DREAM IN DOUBT focuses a close-knit community of families who experienced a wave of frightening hate crimes in the aftermath of 9/11. Rana Singh Sodhi, a 36-year-old Indian immi- grant, finds his life forever altered by the 9/11 terror IRON LADIES OF LIBERIA attacks because his turban and beard became symbols of the IRON LADIES OF LIBERIA generation of leaders in Africa and terrorists who attacked America. Monday, March 10, 7:00 FREE! around the world. DIR Daniel Junge and Siatta Scott Johnson; PROD Henry Rana’s eldest brother, Balbir— She's already overcome tremendous Ansbacher. US, 2006, color, 77 min. who also was bearded and wore obstacles to become the first woman a turban—was America’s first ever elected president in Africa—now all IRON LADIES OF LIBERIA is part of post-9/11 hate crime murder she has to do is turn around Liberia, a the 2007–2008 ITVS Community victim, gunned down at his gas country devastated by unemployment, Campaign - VOTE DEMOCRACY! - debt, corruption and the legacy of civil station by a man who claimed war. Follow Ellen Johnson Sirleaf through encouraging new and young voters to he was rooting out a terrorist. her first year in office as she faces angry get involved in the democratic process. DIR/PROD Tami Yeager. US, mobs, ambitious political rivals and high- To learn more about the VOTE 2007, color, 56 min. NOT ranking members of the international DEMOCRACY! Campaign visit www. RATED community. Her story is inspiring a new pbs.org/independentlens/votedemocracy A DREAM IN DOUBT ABOUT AMERICAN FILM INSTITUTE (AFI)

Offering the finest in film exhibition, innovative screen education programs and the ongoing cel- ebration of excellence in film, television and digital media, AFI continues to connect audiences to the best the art form has to offer. Learn more about AFI's rich history, programs and events at www.AFI.com.

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14 n TICKETS & FULL SCHEDULE at WWW.AFI.COM/SILVER REPERTORY PROGRAM March 7 through May 8, 2008 at AFI Silver

The calendar below lists all repertory dates and special events/programs as of press time. Always MARCH FRI SAT check www.AFI.com/Silver for updated daily showtimes, additional openings and to register for n EZRA 7:00 n JUJU FACTORY 1:00 7 n FAAT KINÉ 9:45 8 n FARO, GODDESS OF AFI Silver’s weekly e-blast. THE WATERS 3:00 n MOOLAADÉ 5:00 n CLOUDS OVER CONAKRY 7:30 n HIP HOP REVOLUTION SUN MON TUES WED THURS 9:45

n NAMIBIA 1:00 n IRON LADIES OF LIBERIA n CAMP DE THIAROYE 6:45 n GUELWAAR 7:00 n KOYAANISQATSI 7:00 n THE MONEY ORDER 1:00 9 10 7:00 11 12 13 14 15 n BLACK GIRL 5:00 n DREAMS OF DUST 9:40 n CEDDO 9:20 n THE MONEY ORDER 9:15 n THROUGH A GLASS n HOLLOW CITY 6:45 n GOD OF THUNDER 9:00 DARKLY 3:00 n TARTINA CITY 8:45 n 5:00 n POWAQQATSI 7:00 n THE CURSE 9:30

16 n THROUGH A GLASS 17 n WINTER LIGHT 7:00 18 n THROUGH A GLASS 19 Montgomery College: 20 n THROUGH A GLASS 21 n THE UNFORESEEN 7:00 22 n THE SILENCE 1:30 DARKLY 1:00 n THE CURSE 8:45 DARKLY 7:00 THE TRAIN 6:30 DARKLY 7:00 n OUT OF THE PAST 9:30 n WHEN STRANGERS n THE BIG COUNTRY 3:00 n WINTER LIGHT 9:00 n THROUGH A GLASS n WINTER LIGHT 9:00 MARRY w/ n NAQOYQATSI 7:00 DARKLY 9:45 CROSSFIRE 3:45 n THE CURSE 9:30 n PERSONA 7:00 n OUT OF THE PAST 9:00

23 n OUT OF THE PAST 1:00 24 n CROSSFIRE w/ 25 n PERSONA 7:00 26 n PERSONA 7:00 27 n OUT OF THE PAST 7:00 28 n THE LUSTY MEN 7:00 29 n PURSUED 1:00 n PERSONA 3:05 WHEN STRANGERS n OUT OF THE PAST 9:00 n THE SILENCE 9:00 n PERSONA 9:05 n SHAME 9:20 n HOUR OF THE WOLF MARRY 7:00 3:10 n THE SILENCE 5:00 n BLOOD ON THE MOON n CROSSFIRE w/ 5:05 WHEN STRANGERS n THE LUSTY MEN 7:00 MARRY 7:00 n SHAME 9:20 30 n PURSUED 1:00 31 n PURSUED 7:00 1 APRIL 2 Montgomery College: 3 n THE LUSTY MEN 7:00 4 n ALL ABOUT EVE 7:00 5 n HEAVEN KNOWS, MR. n THE LUSTY MEN 3:10 n BLOOD ON THE MOON n THE LUSTY MEN 6:30 n SHAME 9:20 n DASEPO NAUGHTY ALLISON 1:00 9:10 n HOUR OF THE WOLF 5:30 n HOUR OF THE WOLF n HOUR OF THE WOLF GIRLS 9:45 n ALL ABOUT EVE 3:30 n BLOOD ON THE MOON 7:00 9:35 7:25 n SHAME 9:00 n SHAME 9:20

n ALL ABOUT EVE 1:00 n HEAVEN KNOWS, MR. n ALL ABOUT EVE 7:00 n THE SUNDOWNERS 7:00 n NIGHT OF THE HUNTER n NIGHT OF THE HUNTER 6 7 8 9 10 11 12 2:00, 7:05 n THE SUNDOWNERS 3:45 ALLISON 7:00 n n 7:00 CRIES AND WHISPERS CRIES AND WHISPERS n n 9:45 9:40 n I’M A CYBORG, BUT CABIN IN THE COTTON n CRIES AND WHISPERS THE PASSION OF ANNA w/FOG OVER FRISCO 9:15 THAT’S OK 9:00 6:30 4:00 n THE PASSION OF ANNA 8:30 n THE FACE OF ANOTHER 9:05

13 n JIMMY THE GENT w/THE 14 n CABIN IN THE COTTON 15 n JIMMY THE GENT w/THE 16 Montgomery College: 17 n NIGHT OF THE HUNTER 18 n THUNDER ROAD 7:00 19 n OF HUMAN BONDAGE PETRIFIED FOREST 1:00 PETRIFIED FOREST 6:30 7:00 1:00 w/FOG OVER FRISCO n NIGHT OF THE HUNTER n WOMAN IN THE DUNES n NIGHT OF THE HUNTER 6:30 n NIGHT OF THE HUNTER 6:30 n THE FACE OF ANOTHER 9:00 n SCENES FROM A 4:45, 9:15 n 9:30 n 9:00 MARRIAGE, Part I 3:00 NIGHT OF THE HUNTER THE FACE OF ANOTHER n n THE FACE OF ANOTHER 9:30 9:15 WOMAN IN THE DUNES 6:45 6:15 n THUNDER ROAD 9:15

20 n JEZEBEL 1:00 21 n THUNDER ROAD 9:00 22 n JEZEBEL 6:45 23 n OF HUMAN BONDAGE 24 n THUNDER ROAD 7:00 25 n THE MAGIC FLUTE 7:00 26 n DARK VICTORY 12:30 n SCENES FROM A 7:00 n GREEN FISH 9:00 n CAPE FEAR 9:45 n OASIS 2:45 MARRIAGE, Part II 3:15 n THE LETTER 6:00 n WOMAN IN THE DUNES 6:30 n PITFALL 8:00 n THUNDER ROAD 9:30 n CAPE FEAR 10:00

27 n THE LETTER 12:30 28 n DARK VICTORY 6:30 29 n THE LETTER 7:00 30 Montgomery College: 1 MAY 2 n THE FRIENDS OF EDDIE 3 n THE FRIENDS OF EDDIE n PITFALL 2:20 n THE MAGIC FLUTE 8:45 n PITFALL 9:00 n THE LITTLE FOXES 6:30 COYLE 7:10 COYLE 1:00, 7:10 n PITFALL 7:00 n THE MAGIC FLUTE 4:20 n CAPE FEAR 9:30 n WHATEVER HAPPENED n THE LITTLE FOXES 3:10 n CAPE FEAR 9:00 TO BABY JANE? 9:20 n SECRET SUNSHINE 7:00 n ANTONIO GAUDI 5:30 n CAPE FEAR 9:45 n WHATEVER HAPPENED TO BABY JANE? 9:20

n THE FRIENDS OF EDDIE n THE FRIENDS OF EDDIE 48 HOUR FILM PROJECT 48 HOUR FILM PROJECT 48 HOUR FILM PROJECT 4 COYLE 1:00, 7:10 5 COYLE 9:45 6 7:00, 9:30 7 7:00, 9:30 8 7:00, 9:30 n THE LITTLE FOXES 3:10 n ANTONIO GAUDI 5:30 n WHATEVER HAPPENED TO BABY JANE? 9:20

n New African n Environmental n Ingmar Bergman n Robert Mitchum n Bette Davis n Korean Film n Hiroshi n Special Films Festival Film Festival Remembered, Festival DC Teshigahara Engagements COLOR KEY Part 2

TICKETS & FULL SCHEDULE at WWW.AFI.COM/SILVER n 15 SPECIAL ENGAGEMENT

“Hopelessly retro, Coming in April! eternally avant-garde, and one of the most influ- ential movies ever made (as well as one of the most reviled), LAST YEAR AT MARIENBAD is both utterly lucid and provoca- s e r u

tively opaque—an elabo- t c i P o t l a i

rate joke on the world's R f o y s e t r

corniest pickup line and a u o c s o t o drama of erotic fixation h P that takes Vertigo to the next level of abstraction….[It] New 35mm Print of the WORLD-WIDE SENSATION! eludes tense. The movie is what it 1961 Winner of the Golden Lion, Venice Film Festival is—a sustained mood, an empty LAST YEAR AT MARIENBAD [L’Année increasingly dreamlike sequences and disorienting segues, allegory, a choreographed jumping back and forth in time, Albertazzi pushing for dernière à Marienbad] moment outside of time, and a seduction and Seyrig seeming to bend—or is it the other “Haven’t we met somewhere before?” urbane Giorgio way around? In her first leading role, Seyrig looks gor- shocking intimation of perfection. Albertazzi asks stunning Delphine Seyrig during a chic geous styled in Coco Chanel, who later advertised her gathering at a baroque chateau. And he keeps asking her, signature fragrance in a memorable 1980s television politely but persistently, throughout the mansion’s plush commercial inspired by the film. DIR ; SCR Alain Robbe-Grillet; PROD Pierre Courau and ”—J. HOBERMAN, THE VILLAGE VOICE interiors, its mirrored walls and marble statuary, across the game tables of its casino, and outdoors in the maze- Raymond Froment. France//West GermanyAustria, like garden that warps space like a de Chirico . 1961, b&w, 94 min. In French with English subtitles. Their question-and-answer games plays out through NOT RATED

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