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Believe it or not, Shanley also wrote the screenplay for Congo!

domino harvey wrote: Fri Nov 18, 2022 9:17 pm Believe it or not, Shanley also wrote the screenplay for Congo!

Clearly one to pay off a mortgage. At least I hope.

domino harvey wrote: Fri Nov 18, 2022 9:17 pm Believe it or not, Shanley also wrote the screenplay for Congo!

Laura Linney slicing up gorillas with a laser is about as good as Hollywood cinema got during the 90’s

Metrograph has a Black Friday sale on memberships - enter the code MEMBER40 and get $20 (i.e. 40%) off the membership price, and if you're in the U.S. it gives you access to their members-only streaming service (which has a small but nice selection of titles).

You end up saving $7 every time you buy a ticket for yourself, so basically, if you see at least five films in the next year, you get a return on your membership.

domino harvey wrote: Tue Nov 08, 2022 11:14 pm

Never Cursed wrote: Tue Nov 08, 2022 7:42 am Lincoln Center will screen in December a retrospective of the films of Yoshimitsu Morita, a name that is entirely new to me. Is anything of his worth a detour? I see one longtime user here has called him "the greatest director of the past thirty years" - if you really like him, what makes his work great for you?

Haru sounds interesting!

Has anyone caught any of these films yet? I haven't been able to make it out due to other obligations, which is a shame because this was probably THE weekend to go see it - they actually sent members invitations to see The Family Game (new 4K master), Deaths in Tokimeki, The Black House and Lost Paradise all for free, and each of these were introduced by producer Kazuko Misawa (as well as composer Michiru Oshima for the last film).

I haven't seen any of his films, but I definitely wanted to catch The Family Game on opening night.

This listing for Floating Weeds at Anthology gives the format as "35mm-to-DCP." What on earth does that mean?

Tom Amolad wrote: Sat Dec 17, 2022 3:54 am This listing for Floating Weeds at Anthology gives the format as "35mm-to-DCP." What on earth does that mean?

I believe it’s just a fancy way of saying that it was produced in 35mm, but they will be screening a DCP. Anthology often describes screenings with the original format of a work and the means through which they will be exhibiting it, which is novel

Thanks. Bummer. Though it seemed unlikely it would mean anything better...

Quick question - has BAM permanently shifted its focus away from repertory screenings? I haven't visited in several years since I moved further away from Fort Greene, but I don't recall seeing many repertory programs reported for them - the few I do remember were usually pretty small. When I first started going in 2009, it seemed like every day had a repertory screening, typically in a 35mm print. (Glad I took advantage of it, but I think DCP's pretty much took over within a few years.)

They have series every six weeks or so, I’d say - though it’s currently in a period of the year where most theaters like that have plenty to book and so aren’t looking to give up a screen for a week. But their November series brought rare, sold out screenings from prints of Heartbreak Kid and Happiness.

Yeah rep is just clearly less of a focus for them. I caught Bringing Out the Dead there earlier this year, but honestly their programming is pretty indistinguishable from, say, Nitehawk at this point. (and the fact that they are now promoting alcoholic beverages at the theater is just another sign of this, I suppose).

Those of us looking to pre-game the Radiance releases can catch Miami Blues in 35 at Anthology this week, and Welcome To the Dollhouse as part of a Solondz retrospective at The Roxy next week.

FWIW, I think Radiance's Miami Blues Blu-ray might be stuck with the same HD transfer that's been used before, but it should still be an improvement as Shout Factory's release was smothered in DNR.

FrauBlucher wrote: Wed Jan 18, 2023 10:38 pm Film Forum... Feb and March

So is this 4k resto of Sweet Charity different than the one Indicator released? Which I believe they had to clarify was not the complete roadshow?

Roxy Cinema is screening Sara Driver's films in February, and she'll be making a few appearances including Q&A's for You Are Not I and Sleepwalk. (The DVD set of what was then her complete filmography is currently out-of-print, so a good opportunity to catch her work in a better format.)

beamish14 wrote: Thu Jan 19, 2023 8:07 pm Mini Seijun Suzuki retrospective in collaboration with the Japan Foundation at the American Cinematheque. I implore you to see Kagero-Za and A Tale of Sorrow and Sadness, both of which looked phenomenal when I saw them at UCLA’s massive retrospective from some years back.

I am a bit annoyed that the 40 minute long Love Letter is playing by itself, and at full price

Beamish brought this up in the West Coast thread, so I decided to check Japan Society and they're showing this too, between February 3 to 11! All six films are imported 35mm prints as well. Luckily Love Letter has been paired with Satan's Town as a double feature.

I've never taken advantage of Japan Society as much as I'd like - they do have great film programs.

FWIW, FIAF has a French musical program happening right now, with films by Varda, Carax, Rivette, etc.

Kagero-za was truly wonderful and incredibly funny. Immediately ordered the Arrow release and I'm it'll be playing in the background for quite a while.

Should I shell out for an all access pass to the Tod Browning screening at Lincoln? I wasn't crazy about the 1920 Outside the Law. Does his silent output get better as the 20s go on? I saw West Of Zanzibar on TCM years ago and recall it being cool and quite gnarly.

Drucker wrote: Thu Feb 16, 2023 9:24 pm Should I shell out for an all access pass to the Tod Browning screening at Lincoln? I wasn't crazy about the 1920 Outside the Law. Does his silent output get better as the 20s go on? I saw West Of Zanzibar on TCM years ago and recall it being cool and quite gnarly.

Tough to say. Freaks is a great film, but his shortcomings as a filmmaker become more apparent elsewhere. The handful I've seen tend to be a mixed bag, but that also means they have their moments, usually pretty bizarre (in a good way) and possibly not something you've seen in a film before. If it's a good deal, it wouldn't be a bad way of seeing these for the first time. The new restoration of The Unknown screened at MoMA and it looks great - definitely see that if you haven't.

It did look great but, I gotta say, I didn't like it much. Found it overdone to the point of annoyance and exhaustion.

The five films with Chaney, starting with THE UNHOLY THREE, are well worth viewing, if for no other reason than seeing Chaney's great range as an actor. On the 100th Anniversary of his birth, Pacific Film Archive did a retrospective that included them. Made a lasting impression.

Chaney was definitely the main reason to see The Unknown. Supposedly their best film together, I dug it but not without reservation.

FWIW, the Village Voice has two write-ups that are worth reading for those wishing to check out the Tod Browning retrospective at Lincoln Center.

The late Elliott Stein wrote about a Lon Chaney retrospective in 2000, focusing on his films with Browning.

And Nick Pinkerton on Tod Browning - for a retrospective on Browning programmed as double features - in 2009.

Rare Jerry Lewis prints screening on 3/16 at The Roxy.

Advertised as a mint print of The Errand Boy and an IB Tech Alternative Preview Print of The Disorderly Orderly.

Both presented by Owen Kline, with Bob Furmanek as well.