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

fri. mar. 7

froth, meat market, cherry glazerr @ church on york
a man is ten feet tall, a hatful of rain @ an evening with don murray @ ucla film archive
little shop of horrors (1986) MIDNIGHT @ silent movie theater
corners, adult books @ lot 1
mauvais sang 7:20 9:50 PM @ silent movie theater
cesar chavez: an american hero FREE (RSVP) 7:15 PM @ melnitz movies @ ucla james bridges
a thesaurus of horrors: a history of the fear of premature burial FREE 8 PM @ machine
blue is the warmest color 8 PM @ new beverly
moment trigger @ pehrspace
down by law, stranger than paradise @ lacma
the flytraps, catholic spit @ redwood
synecdoche new york @ the crest
the big lebowski 10:30 PM @ the crest
videos from the dave travis punk rock archive FREE 8 PM @ cafe nela


sat. mar. 8

the sandwich man, island etude @ ucla film archive
mauvais sang 6:45 PM @ silent movie theater
blue is the warmest color 4:00 8:00 PM @ new beverly
julie byrne, emily reo, labs @ pehrspace
eye am 2 PM @ la turkish film fest @ egyptian
thou gild'st the even 8 PM @ la turkish film fest @ egyptian
coachwhips @ the smell
2001: a space odyssey @ aero
animation breakdown roundup 9:30 PM @ silent movie theater
dead man 5 PM, mystery train @ lacma
race & space in los angeles: 16mm films from 1949-1973 8 PM @ epfc
the artist FREE 1 PM @ la central library


sun. mar. 9

soledad's shawl 7 PM @ ucla film archive
the straight story 5 PM @ arclight hollywood
gangrene gang, adult books @ church on york
mauvais sang 4:00 9:30 PM @ silent movie theater
shark toys @ cafe nela
becket @ aero
linda perhacs FREE 5 PM @ amoeba
animation breakdown: women in animation showcase & panel 7 PM @ silent movie theater
synecdoche new york @ the crest
the royal tenenbaums 5 PM @ arclight sherman oaks


mon. mar. 10

back to the future 8 PM @ arclight hollywood
scarface 8 PM @ arclight sherman oaks
mauvais sang 10 PM @ silent movie theater
only lovers left alive @ lacma
smelveteen @ pehrspace
3:10 to yuma (2007) @ aero
just like being there @ silent movie theater
aka doc pomus @ the crest


tue. mar. 11

wild at heart @ arclight hollywood
mauvais sang @ silent movie theater
breadcrumb trail 10 PM @ silent movie theater
the detective (1954) FREE 1:30 PM @ skirball
mirage 1 PM @ lacma
finding hillywood FREE 7 PM @ usc ray stark


wed. mar. 12

cloud 9 FREE 7 PM @ goethe-institut
mauvais sang @ silent movie theater
breadcrumb trail 10 PM @ silent movie theater
16 acres 9:15 PM @ architecture & design film fest @ los angeles theatre center theater 1
requiem for a dream, jesus' son @ new beverly


thu. mar. 13

charulata FREE 7 PM @ csun armer theater
mauvais sang @ silent movie theater
breadcrumb trail 10 PM @ silent movie theater
sagrada: the mystery of creation 6:45 PM @ architecture & design film fest @ los angeles theatre center theater 2
brooklyn farmer 7:15 PM, telos: the fantastic world of eugene tssui @ architecture & design film fest @ los angeles theatre center theater 1
requiem for a dream, jesus' son @ new beverly
the raid 2 FREE (RSVP) 7:45 PM @ silent movie theater
chaplin: shorts program @ the crest
salvatore giuliano @ lacma
performance/anxiety 7 PM @ filmforum @ moca grand
l.a. witch @ harvard & stone


fri. mar. 14

what time is it there? @ ucla film archive
troll 2 MIDNIGHT @ nuart
no age @ center for the arts eagle rock
hider in the house MIDNIGHT @ silent movie theater
lost rivers 6:45 PM @ architecture & design film fest @ los angeles theatre center theater 2
the oyler house 7 PM, chavez ravine: a los angeles story @ architecture & design film fest @ los angeles theatre center theater 1
paolo soleri: beyond form 8:45 PM @ architecture & design film fest @ los angeles theatre center theater 4
my brooklyn 9:15 PM @ architecture & design film fest @ los angeles theatre center theater 2
neglected cinema FREE 6 PM @ documental @ unurban
the master (70mm) @ aero
melancholia, antichrist @ new beverly
an evening with paul mazursky @ silent movie theater
near dark MIDNIGHT @ arclight hollywood


sat. mar. 15

side street, winchester '73 (1950) @ ucla film archive
madam satan 2 PM @ egyptian
dadaismus @ hm157
drinking flowers FREE (RSVP) @ r bar
archiculture 2 PM, coast modern @ architecture & design film fest @ los angeles theatre center theater 1
brooklyn farmer 2:15 PM, telos: the fantastic world of eugene tssui @ architecture & design film fest @ los angeles theatre center theater 2
built on narrow land 4:15 PM, fagus @ architecture & design film fest @ los angeles theatre center theater 2
sagrada: the mystery of creation 8 PM @ architecture & design film fest @ los angeles theatre center theater 1
16 acres 8:15 PM @ architecture & design film fest @ los angeles theatre center theater 2
lost rivers 8:30 PM @ architecture & design film fest @ los angeles theatre center theater 4
my brooklyn 10 PM @ architecture & design film fest @ los angeles theatre center theater 1
paolo soleri: beyond form 10:15 PM @ architecture & design film fest @ los angeles theatre center theater 2
roco jet, amps for christ, ezra buchla, etc FREE @ south by south west covina @ peter f. schabarum regional park (rowland heights)
boogie nights, happiness @ aero
breadcrumb trail 10:30 PM @ silent movie theater
melancholia 7 PM, antichrist @ new beverly
bob & carol & ted & alice 5 PM, drinking buddies @ silent movie theater
all india film night FREE 8 PM @ epfc
cineastes 1 PM @ the crest


sun. mar. 16

white fence @ church on york
stray dogs 7 PM @ ucla film archive
paper moon 5 PM @ arclight hollywood
the oyler house 4 PM, chavez ravine: a los angeles story @ architecture & design film fest @ los angeles theatre center theater 1
archiculture 6:30 PM, coast modern @ architecture & design film fest @ los angeles theatre center theater 2
built on narrow land 8:30 PM, fagus @ architecture & design film fest @ los angeles theatre center theater 4
a people's art history of los angeles FREE 6 PM @ the public school
hairspray 4:00 7:30 PM, cry-baby 5:45 9:15 PM @ new beverly
rocky & bullwinkle & peabody & sherman 6:30 PM @ aero
to its logical conclusion: films on decay debris and demolition @ filmforum @ spielberg @ egyptian
cineastes 1 PM @ the crest
predator 5 PM @ arclight pasadena
next stop greenwich village 5 PM @ silent movie theater
transfer FREE 7 PM @ reel grit @ afi


mon. mar. 17

our vinyl weighs a ton @ cinerama dome
fast times at ridgemont high 8 PM @ arclight sherman oaks
telecaves @ ham & eggs
nasa space universe @ east 7th
hairspray, cry-baby @ new beverly
breadcrumb trail 10 PM @ silent movie theater
drinking flowers @ downtown standard
muscle shoals @ the crest
bouquet @ melody lounge


tue. mar. 18

kraftwerk: autobahn (7:30) @ disney hall
kraftwerk: radio-activity (10:30) @ disney hall
cul-de-sac FREE 6:30 PM @ santa monica library montana branch
y tu mama tambien @ arclight hollywood
aesthetics and the brain FREE 7 PM @ lacma brown auditorium
ennio morricone in conversation with quentin tarantino 8 PM @ lacma bing theater
hairspray, cry-baby @ new beverly
breadcrumb trail 10:20 PM @ silent movie theater
the breakfast club 8 PM @ arclight hollywood


wed. mar. 19

kraftwerk: trans europe express (7:30) @ disney hall
kraftwerk: the man-machine (10:30) @ disney hall
stopped on track FREE 7 PM @ goethe-institut
the terminator 8 PM @ cinerama dome
telecaves FREE @ hyperion tavern


thu. mar. 20

kraftwerk: computer world (7:30) @ disney hall
kraftwerk: techno pop (10:30) @ disney hall
nayak FREE 7 PM @ csun armer theater
cat people, i walked with a zombie @ new beverly
punch-drunk love, jack goes boating @ aero
boogarins @ satellite
nobunny, shannon & the clams, cherry glazerr @ echoplex
hearkenings presents: jean epstein & chris marker 8 PM @ epfc
the informer (1935) FREE 2 PM @ santa monica library montana branch
the gold rush @ the crest
please murder me 9:15 PM @ the crest
dr. strangelove FREE @ vidiots


fri. mar. 21

kraftwerk: the mix (7:30) @ disney hall
kraftwerk: tour de france (10:30) @ disney hall
cat people, i walked with a zombie @ new beverly
too late for tears, larceny @ film noir fest @ egyptian
heathers, winter @ pehrspace
the big lebowski, almost famous @ aero
nymphomaniac volume 1 MIDNIGHT @ nuart


sat. mar. 22

bleached, black lips, nobunny, death, etc @ burgerama iii @ the observatory (santa ana)
the tennors @ los globos
the virgin suicides MIDNIGHT @ silent movie theater
druid underground film festival @ hm157
sleep @ cocoanut grove ballroom (santa cruz)
the loons @ casbah (SD)
cat people 4:05 7:30 PM, i walked with a zombie 5:40 9:05 PM @ new beverly
the raid: redemption MIDNIGHT @ new beverly
born to be bad, ivy @ film noir fest @ egyptian
the ghost ease (10:45), hex horizontal (10:00) @ pehrspace
tremors @ aero
finding vivian maier FREE (RSVP) 5 PM @ silent movie theater
new works salon 8 PM @ epfc
telecaves @ handbag factory


sun. mar. 23

the tall target 7 PM, the far country @ ucla film archive
sleep, cosmonauts, allah-las, kool keith, together pangea, etc @ burgerama iii @ the observatory (santa ana)
pee-wee's big adventure 5 PM @ arclight hollywood
corners, adult books, tropical popsicle @ part time punks @ the echo
the thief of bagdad 2 PM @ egyptian
two men in manhattan, rififi @ film noir fest @ egyptian
magnolia @ aero
the mummy (1932) 5:45 PM, creature from the black lagoon @ new beverly
richard newton: flying with the angels @ filmform @ spielberg @ egyptian


mon. mar. 24

creature from the black lagoon, the mummy (1932) @ new beverly
last year at marienbad @ arclight hollywood
sound city @ the crest


tue. mar. 25

sharon jones & the dap-kings @ wiltern
strange behavior, patrick @ grindhouse film fest @ new beverly
ryan trecartin: four new movies @ lacma
die hard 8 PM @ arclight hollywood
under the skin 8 PM @ ua theater
i want my eztv @ tv tuesdays @ silent movie theater
exploding flowers (11:30) @ satellite


wed. mar. 26

the melodians @ dub club @ echoplex
it always rains on sunday, brighton rock (1947) @ noir fest @ egyptian
synecdoche new york @ aero
magnificent obsession, betty blue @ new beverly


thu. mar. 27

the adversary FREE 7 PM @ csun armer theater
linda perhacs @ hollywood forever masonic lodge
the least important things FREE 8 PM @ lacma central court
caged, detective story @ film noir fest @ egyptian
capote, the savages @ aero
la air: miko revereza 8 PM @ epfc
modern times @ the crest
starship troopers @ cinerama dome
d.o.a. 9:15 PM @ the crest
exploding flowers @ la cita
magnificent obsession, betty blue @ new beverly


fri. mar. 28

endless bummer (9:30), obnox (11:30) @ redwood
jon brion @ largo
what have they done to your daughters? MIDNIGHT @ silent movie theater
the fog (1980) (w/ john carpenter q&a) FREE (RSVP) @ cinemayhem fest @ jumpcut cafe
jenny lamour (quai des orfevres), angels over broadway @ film noir fest @ egyptian
chaplin's little tramp @ aero
shark toys, gangrene gang @ the smell
the howling @ hollywood horror fest @ new beverly
akira MIDNIGHT @ nuart
the least important things FREE 8 PM @ lacma central court


sat. mar. 29

obnox FREE 6 PM @ permanent records
ramona @ ucla film archive
the big lebowski 8 PM @ electric dusk drive-in
un chien andalou 7 PM, land without bread, etc @ the obscure objects of luis bunuel @ velaslavasay panorama
d.w. griffith at biograph part 2: introducing mary pickford (1909) @ retro format @ spielberg @ egyptian
southside 1-1000, roadblock @ film noir fest @ egyptian
the toxic avenger, class of nuke 'em high, tromeo and juliet, return to nuke 'em high volume 1 @ aero
return of the living dead 8 PM @ hollywood horror fest @ new beverly
robert schaller's celluloid visions 8 PM @ epfc
the least important things FREE 8 PM @ lacma central court


sun. mar. 30

man of the west 7 PM, the tin star @ ucla film archive
telecaves @ the smell
endless bummer, the shrills, bombon @ alex's bar (LB)
tension, alias nick beal @ film noir fest @ egyptian
it's a mad mad mad mad world @ aero
darby o'gill and the little people 3:30 PM, the 3 worlds of gulliver @ new beverly


mon. mar. 31

darby o'gill and the little people, the 3 worlds of gulliver @ new beverly
wonder boys @ greg proops film club @ silent movie theater
20 feet from stardom @ the crest


tue. apr. 1

darby o'gill and the little people, the 3 worlds of gulliver @ new beverly
the apartment @ cinerama dome


wed. apr. 2

ossessione @ film noir fest @ egyptian


thu. apr. 3

distant thunder FREE 7 PM @ csun armer theater
hardly a criminal, one way street @ film noir fest @ egyptian
gore vidal: the united states of america @ aero
city lights @ the crest
the stranger 9:15 PM @ the crest


fri. apr. 4

nightfall, and hope to die @ film noir fest @ egyptian
ladies and gentlemen the fabulous stains MIDNIGHT @ silent movie theater
nymphomaniac volume ii 11:30 PM @ nuart


sat. apr. 5

detour, film noir fest closing weekend party @ film noir fest @ egyptian


sun. apr. 6

m (1951), the hitch-hiker @ film noir fest @ egyptian


mon. apr. 7

body and flesh: the tactile cinema of luther price 8:30 PM @ redcat
drinking flowers, froth, adult books, mystic braves FREE (RSVP) @ echo


tue. apr. 8

mark mcguire @ church on york
our man in havana FREE 1:30 PM @ skirball


wed. apr. 9

appropriation and film: deconstructing the masters FREE @ hammer


thu. apr. 10

gore vidal: the united states of amnesia FREE @ hammer
the circus @ the crest
meatbodies, together pangea @ troubadour
impact 9:15 PM @ the crest


fri. apr. 11

nashville ramblers @ the barkley (pasadena)
exorcist ii: the heretic MIDNIGHT @ silent movie theater
sin nombre FREE 2:30 PM @ santa monica library fairview branch


sat. apr. 12

clueless 8 PM @ electric dusk drive-in
nashville ramblers @ casbah (SD)


sun. apr. 13

the squids @ 5 star bar


mon. apr. 14

shelly silver: intimate visions and public spaces 8:30 PM @ redcat
searching for sugarman @ the crest


tue. apr. 15

big dick @ satellite
au revoir simone @ the fonda


wed. apr. 16

om @ great american music hall (SF)


thu. apr. 17

the golden fortress FREE 7 PM @ csun armer theater
om @ center for the arts eagle rock
the great dictator @ the crest
suddenly 9:15 PM @ the crest


fri. apr. 18

wild at heart MIDNIGHT @ silent movie theater
robocop MIDNIGHT @ nuart


sat. apr. 19

rear window 8 PM @ alex theatre
the magnificent seven FREE 12:30 PM @ santa monica library main branch


sun. apr. 20

wl, colleen green @ part time punks @ the echo


mon. apr. 21

corners, cherry glazerr, mystic braves FREE (RSVP) @ echo
small new films 8:30 PM @ redcat


tue. apr. 22

wand @ echo


wed. apr. 23

nasa space universe @ roxy


thu. apr. 24

the chess players FREE 7 PM @ csun armer theater


fri. apr. 25

jon brion @ largo
fateful findings MIDNIGHT @ nuart
earth @ el rey


sat. apr. 26

harold and maude 8 PM @ electric dusk drive-in
autolux, cosmonauts, allah-las, corners, froth, l.a. witch, diiv, mystic braves, etc @ desert daze festival


sun. apr. 27

thee silver mt. zion memorial orchestra @ echoplex
kent hayward films FREE 7 PM @ 7 dudley cinema @ beyond baroque
blackfish 4 PM @ the edye @ smc performing arts center


mon. apr. 28

levitation room, mystic braves, l'aura moire FREE (RSVP) @ echo
the art of collision: montage films by henry hills 8:30 PM @ redcat


tue. apr. 29

diiv @ center for the arts eagle rock


thu. may 1

the home and the world FREE 7 PM @ csun armer theater


fri. may 2

philip glass ensemble: la belle et la bete 8 PM @ ucla royce hall
the princess bride MIDNIGHT @ nuart


sat. may 3

philip glass ensemble: music in twelve parts 5 PM @ ucla royce hall


mon. may 5

juan manuel echavarria: coping with violence defying oblivion 8:30 PM @ redcat


wed. may 7

loop, white fence @ church on york


thu. may 8

the stranger FREE 7 PM @ csun armer theater
jacco gardner @ church on york
nels cline singers @ largo


fri. may 9

sunset boulevard MIDNIGHT @ nuart


sun. may 11

pentagram, saint vitus, kadavar, dead meadow, etc @ psycho de mayo @ the observatory (santa ana)


mon. may 12

kadavar @ roxy
haskell wexler documentaries FREE 6 PM @ documental @ unurban


fri. may 16

holly golightly & the brokeoffs @ satellite
pineapple express MIDNIGHT @ nuart
juan wauters @ the echo


sat. may 17

charles bradley @ fonda


fri. may 23

el topo MIDNIGHT @ nuart


wed. may 28

the square FREE @ hammer


fri. may 30

the holy mountain MIDNIGHT @ nuart


mon. jun. 9

sweet blues: a film about mike bloomfield FREE 6 PM @ documental @ unurban


wed. jun. 11

the lady eve 8 PM @ last remaining seats @ los angeles theatre


sat. jun. 21

back to the future 2:00 8:00 PM @ last remaining seats @ united artists theatre


sat. jun. 28

citizen kane 2:00 8:00 PM @ last remaining seats @ orpheum





WHAT IT IS:


The Adversary (Pratidwandi) (1970), 110 mins.
The first of three films collectively known as “The Calcutta Trilogy” that examine the city of Kolkata’s effect on youth and the high price it extracts from them. Stylistically daring and inventive, The Adversary is one of Ray’s most politically potent and provocative films.


Aesthetics and the Brain
How does the brain process visual information? In what ways do artists drive the mechanics of vision? How can neuroscience help us to understand ways the brain forms aesthetic judgments? Join Professors Irving Biederman and Pietro Perona for a conversation about vision, aesthetics, and the brain. Biederman is the Harold W. Dornsife Professor of Neuroscience at the University of Southern California, and Perona is the Allen E. Puckett Professor of Electrical Engineering and Computation and Neural Systems at Caltech.


AKA DOC POMUS
Doc Pomus was one of the most influential songwriters of the 20th century. His work has been recorded by Ray Charles, Elvis Presley, Dr. John, and B.B. King. Having been stricken with Polio as a child, he was confined to crutches or a wheelchair for his entire adult life. Those obstacles cultivated one of the most exuberant and unlikely personalities in rock and roll. "AKA Doc Pomus" tells the inspiring and sometimes emotionally turbulent tale of Jerome Felder through the narration and production of his daughter, Sharyn. The film will be proceeded by a LIVE musical tribute to Doc Pomus.


ALIAS NICK BEAL
1949, Universal, 93 min, USA, Dir: John Farrow
A true noir rarity! The Faust legend is played out as a supernatural noir thriller, with Ray Milland as the suave devil tempting ambitious DA Thomas Mitchell and fallen woman Audrey Totter in this dark and devious doppelgänger of Capra's IT’S A WONDERFUL LIFE. Introduction by Alan K. Rode of the Film Noir Foundation.


ALL INDIA FILM NIGHT
Join us as we celebrate the beauty, power and grace of Mother India. Echo Park Film Center staff members Lisa Marr and Paolo Davanzo recently returned from a 2-month teaching and filmmaking journey through India and can't wait to share images and stories with you! The first half of the night will feature collaborative Super 8 and 16mm films made with youth communities at Desire Machine Collective in Guwahati and The National Institute of Design in Ahmedabad. Later in the evening, we invite friends and colleagues to mix up the masala with more short films, songs, photos and memories from this magical land. Program includes the Los Angeles Premiere of The Sound We See: Guwahati, the fourth in the EPFC series of City Symphonies.


AND HOPE TO DIE
LA COURSE DU LIÈVRE À TRAVERS LES CHAMPS
1972, CCFC, 99 min, France, Dir: René Clement
This adaptation of David Goodis’ novel Black Friday concerns a crook on the lam (Jean Louis Trintignant) who crosses paths with a Montreal gang plotting a big score - led by noir stalwarts Robert Ryan and Aldo Ray (speaking French!). “Froggy” (as Ryan dubs our hero) decides to join in the heist and, of course, ends up neck-deep in danger. An odd and invigorating French-Canadian-American production, this is a rarely screened homage to noir on both the page and screen, sparked by a devilish script from author Sébastien Japrisot (The Lady in the Car with Glasses and a Gun). In French with English subtitles. Introduction by Eddie Muller of the Film Noir Foundation.


ANGELS OVER BROADWAY
1940, Sony Repertory, 79 min, USA, Dir: Ben Hecht, Lee Garmes
An off-beat, mordant melodrama that was written, directed and produced by the great Ben Hecht. A con-man (Douglas Fairbanks Jr.) lures a suicidal embezzler into a rigged poker game with an unemployed chanteuse (Rita Hayworth) only to have the tables turned by a boozing playwright (Thomas Mitchell in a superb performance). Hecht received an Oscar nomination for Best Original Screenplay with co-director Lee Garmes providing the shadowed cinematography. Introduction by Alan K. Rode of the Film Noir Foundation.


ANIMATION BREAKDOWN ROUNDUP
Backyard patio reception 9:30pm, showtime approx. 10:00pm! It’s here to elate your eyes and tickle your nerves — here to unite creators, lovers and dreamers, drifting hand in hand in an ecstatic sea of color, form and sound — it’s ANIMATION BREAKDOWN ROUNDUP!, Animation Breakdown’s first-ever originally-commissioned shorts festival. Once an adored staple of arthouse theaters and college campuses worldwide, the animated anthology (Spike & Mike, The International Tournee, The Animation Show) has all but disappeared — but it’s time to change that. Today’s bounty of delectable frame-by-frame fruits must be shared with the masses on the big screen, so Roundup! creators Kevin Sukho Lee (Yo Gabba Gabba’s animation producer) and ABD’s Alex McDonald have picked up that mantle with a finely curated n’ commissioned 90+ minutes of mindblowing shorts from the finest of international talents.
Casting a wide net over their favorite filmmakers, they’ve hauled both world premieres and rarely screened works from veteran legends (like Vince Collins, Emily Hubley), current stars (such as Kirsten Lepore, Takeshi Murata, Devin Flynn, Allison Schulnik, Galen Pehrson, Amy Lockhart, Matt & Paul Layzell, Garrett Davis, Charles Huettner, Caleb Wood, Alex Schubert) and next-wavers (like Peter Millard, Sean Buckelew, Quique Rivera Rivera.) The resulting omnibus: a headfirst plunge into a world where boogiein’ ducks, intrepid space explorers, pot-smoking green punks, dancing humanoid flowers, Lynchian descents into madness and psyched-out headtrips all rub shoulders. Over a year in the making and not to be missed. So tune in, turn on, ROUNDUP!


ANIMATION BREAKDOWN: "WOMEN IN ANIMATION" SHOWCASE & PANEL
Panel/screening followed by backyard patio mixer! For this very special evening celebrating the work of female animation directors, ABD’s partnered with our friends at Women In Animation: the non-profit dedicated to uniting “a global community of professionals to empower and support women in the art, science and business of animation.” First up, an amazing WIA-assembled panel with esteemed directors, and then it’s time for an ABD-curated selection of shorts past and present. Prestigious panelists include Lauren Faust (My Little Pony, The Powerpuff Girls, Wander Over Yonder), Emily Hubley (The Toe Tactic, Hedwig & The Angry Inch, Pigeon Within), Yvette Kaplan (Beavis & Butthead, King of the Hill, Zack & Quack), Lauren Montgomery (Wonder Woman, Green Lantern: First Flight), Rebecca Sugar (Steven Universe, Adventure Time) and Lauren MacMullan (the Oscar-nominated Get A Horse!, The Simpsons). Moderated by director/actor Conrad Vernon (Shrek 2, Monsters vs. Aliens), the discussion covers animation direction across mediums: TV, features, shorts, traditional and digital, inside and out of the studio system!


Appropriation and Film: Deconstructing the Masters
Organized by Jane Weinstock
Like the appropriation artists of the 1980s, many experimental filmmakers of this period were interested in using appropriation to deconstruct the conventions of film. In Thriller (1979), Sally Potter takes Puccini’s La Bohème and Hitchcock’s Psycho and uses them to posit a female spectator. In Cinderella (1986) Ericka Beckman twists the classic fairy tale to play games with the viewer. And in Sigmund Freud’s Dora (1979), by Anthony McCall, Andrew Tyndall, Claire Pajaczkowska, Ivan Ward, and Jane Weinstock, the filmmakers employ Freud’s text to explore film language.


Archiculture
Archiculture is a documentary that examines the strengths and perils of architectural education. The film follows a group of young design students through their final semester at Pratt Institute in New York City. The students’ interactions and reactions help illustrate the challenges of being a young aspiring designer in today’s world. The film weaves back and forth between the architectural studio and the architectural profession creating convincing impressions between students and industry leading professionals. 2013, 25 mins, Directors: Ian Harris & David Krantz


The Art of Collision: Montage Films by Henry Hills
“Hills breaks down standard sounds and images, transforming them into perceptive alternatives, political critiques, and a search for occult, creative expressions that have not been said or explored before.” —Mónica Savirón
Uncovering the ethereal in the mundane and the abstract in the naturalistic, Henry Hills activates a heightened attentiveness in viewers through his signature use of montage—intensely concentrated, rhythmically complex, and replete with eccentric wit. A celebrated maker of experimental film since 1975, Hills has collaborated with New York “Language” poets, composer John Zorn and choreographer Sally Silvers, among other artists. The former longtime resident of the East Village now teaches at FAMU, the Czech national film academy in Prague, and lives in Vienna. Hills’ recent short arcana (2011, digital video, 30 min.) has collected top prizes at Curtas Vila do Conde in Portugal and the Melbourne International Film Festival. In person: Henry Hills


Bob & Carol & Ted & Alice
A cheeky glance at the Sexual Revolution from that juicy upper-middle-class SoCal perspective, courtesy of director Paul Mazursky’s first feature. Ted (Elliot Gould) and Alice (Dyan Cannon) are friends with Bob (Robert Culp) and Carol (Natalie Wood.) Having dealt with marital problems, the latter couple return from a New Age retreat, and in a new spirit of openness, shares the details of their love lives and affairs with a simultaneously terrified and titillated Ted and Alice. These disclosures forge a closer bond between the couples, and, in the twilight of the Swingin’ Sixties, the question is: how close is too close? Very wisely, Mazursky goes for keenly observed humor instead of soap opera, and brings out the best in his performers. Dir. Paul Mazursky, 1969, DCP, 101 min. (world premiere of new DCP restoration!)
Joe Swanberg (director of last year’s festival hit Drinking Buddies) counts Paul Mazursky as one of his all-time favorite filmmakers — join Joe and Paul in live conversation, plus a double feature of Drinking Buddies and Paul’s breakout swining’ 1969 hit Bob & Carol & Ted & Alice!


Body and Flesh: The Tactile Cinema of Luther Price
"Luther Price is Brakhage after Punk." —Light Industry
Luther Price's painstakingly handcrafted films and slides are truly one of a kind as the artist layers viscerally distressed found film strips with provocative images, anarchic visual patterns, dirt, mold and other detritus in a sensuous, even ecstatic, vision of entropy and mortality—inscribed directly onto the film medium. Price’s uncompromising work has been presented at storefront cinemas, underground performance venues and, in recent years, museums such as MoMA and the Whitney. The program features two slide projection pieces, including Light Fractures (2013), several Super 8 films, and a new 16mm film.


BORN TO BE BAD
1950, Warner Bros., 94 min, USA, Dir: Nicholas Ray
Joan Fontaine looks sweet and innocent on the surface, but after she steals millionaire Zachary Scott away from another woman, she continues an illicit affair with novelist Robert Ryan. Things just get more complicated from there in this energetic, daring and slightly nasty little melodrama. One of Nicholas Ray's best early films, and certainly his most audacious until JOHNNY GUITAR. With Mel Ferrer - and the original deleted ending! Introduction by Eddie Muller of the Film Noir Foundation.


BREADCRUMB TRAIL
Two definitive epochs mark underground rock of the last few decades: BS (Before Slint) and AS (After Slint). A staple of the Louisville, KY scene before their 1990 album Spiderland definitively laid down the gauntlet and provided a road map for untold scores of “post-rock” bands around the globe to follow, the short-lived but long-loved Slint has remained one of music fandom’s most mythical, sphinxlike bands — but Breadcrumb Trail, the brand-new documentary by Lance Bangs, now reveals the minds behind the life-changing music.
Throughout the ‘80s, the members of Slint grew up forming bands, breaking up and reforming in different configurations: playing hardcore shows while still in elementary school, touring with Samhain as 14-year-olds, recording as melodic hardcore band Squirrel Bait at 15, forming Slint in their late teens and recording the classic Spiderland before they were 21. And then — they broke up before the album’s release, giving no interviews and vanishing into their own shadows. After two decades have passed, Bangs has assembled unseen footage of the teens writing/arranging Spiderland, as well as the first on-camera interviews with the band members and their contemporaries trying to decipher what they had been through. Also featuring Steve Albini, Ian Mackaye, David Grubbs, David Yow, James Murphy and archival material from Will Oldham! Dir. Lance Bangs, 2014, digital presentation, 90 min. Filmmaker Lance Bangs in person, plus Scott Tennent (author of the 33 1/3rd book “Slint – Spiderland”) will intro the show! (3/11 show only). Filmmaker Lance Bangs & Slint contemporary David Yow (The Jesus Lizard) in person! (3/12 show only).


BRIGHTON ROCK
1947, Rialto, 92 min, UK, Dir: John Boulting
This archetypal British noir tells the taut and tragic tale of young gangster Pinkie (Richard Attenborough) and the turmoil he brings to a beleaguered resort town trying to emerge from the ruins of war. Voted #15 in BFI's poll of Britain's greatest films.


Built on Narrow Land
Built on Narrow Land is a film that looks at a moment in Cape Cod when the spirit of European modern architecture inspired a group of bohemian designers - professionals and amateurs - to build houses that married principles of the Bauhaus to the centuries-old local architecture of seaside New England. But in 1959, with the establishment of the Cape Cod National Seashore, the fate of these houses suddenly hung in the balance. 2013, 63 min, Director: Malachi Connolly


CAGED
1950, Warner Bros., 96 min, USA, Dir: John Cromwell
Flat-out the best “women behind bars” movie ever made. Sentenced to prison for her role in a failed robbery that killed her husband, vulnerable innocent Marie Allen (Oscar-nominated Eleanor Parker) undergoes a degrading transformation in “the joint.” Parker gives the performance of her career, supported by a cell block of sensational actresses: Agnes Moorehead, Hope Emerson, Betty Garde, Jan Sterling, Lee Patrick, Jane Darwell and many more. A classic!


Cesar Chavez: An American Hero
In 1962, César and Helen Chávez began organizing the farm workers in the central valley of California.  The result of these early efforts eventually led to the formation of the National Farm Workers Association whose legendary strike and boycott in September 1965 under the combined leadership of Chávez, Dolores Huerta, and Larry Itliong, who had previously organized Filipino farm workers, was the beginning of the Chicana/o Movement.  Now called United Farm Workers, the union has survived its early Civil Rights era origins as one of the most enduring labor and social movements in the United States.  Diego Luna’s Cesar Chavez: An American Hero screening at UCLA is an occasion to reflect on film, artistic vision, human rights, and social activism.
Starring: Michael Peña, America Ferrera, Rosario Dawson, and John Malkovich.
Panel Discussion to Follow: “Mexican Cinema, UFW, Mexican Labor, and the Chicano/a Movement” With Diego Luna, Director; Arturo S. Rodríguez, President, UFW; Héctor Calderón, Professor, UCLA Department of Spanish and Portuguese.


Chaplin: Shorts Program
PAY DAY (1922) - 22 min; B&W, silent w/ musical accompaniment
Charlie is a bricklayer who sets off to celebrate pay day with his pals. But his wife is waiting with the rolling pin. Reportedly Chaplin's favorite of his short films.
SUNNYSIDE (1919) - 30 min; B&W, silent w/ musical accompaniment
Charlie is a farm laborer who’ll try anything to win over his pretty neighbor, but ends up spending a lot of time in dreamland. The 'two-reeler' is known for its two intriguing dream sequences, the second of which feels pretty modern for its day.
IDLE CLASS (1921) - 32 min; B&W, silent w/ musical accompaniment
Charlie is the spitting image of a rich woman’s drunk husband. At a masked ball, her inability to distinguish one from the other leads to much confusion. Features Chaplin in dual roles as the familiar Tramp character and as the heavy-drinking husband
TRT: 84 Min.


CHAPLIN’S LITTLE TRAMP
A century ago this month, a mustachioed man in a bowler hat wreaked hilarious havoc at the Junior Vanderbilt Cup race in Southern California as cameras rolled; the film that resulted, “Kid Auto Races at Venice,” marked the first screen appearance of Charlie Chaplin’s Little Tramp, a persona that soon would make the performer world-famous. Shorts featuring the beloved character have recently been restored on DCP from the collections of famed preservationist Serge Bromberg of Lobster Films and his colleague David Shepard, who have been working to restore the Chaplin catalog for decades.
In addition to “Kid Auto Races at Venice” (1914, 11 min. Dir. Henry Lehrman), the program includes several shorts directed by Chaplin himself:
“His Musical Career”(1914, 16 min.). The tramp and Mack Swain attempt to deliver a piano.
“The Rounders” (1914, 16 min.). The tramp gets drunk with Fatty Arbuckle.
“Behind the Screen” (1916, 30 min.). The tramp works at a chaotic movie studio.
“The Vagabond” (1916, 34 min.). The tramp rescues Edna Purviance from gypsies, and falls in love.
“Easy Street” (1917, 24 min.). The tramp joins the police force and takes on a street thug.
With live piano accompaniment by Cliff Retallick. 130 min.


Charulata (The Lonely Wife) (1964), 117 mins.
Set in late nineteenth-century, pre-independence India, Ray’s Charulata is an exquisite story of a woman’s artistic and romantic yearning. A subtle and delicate tale of a marriage in jeopardy and a woman taking the first steps toward establishing her own voice.


Chavez Ravine: A Los Angeles Story
In 1949, photographer Don Normark visited Chavez Ravine, a close-knit Mexican American village on a hill overlooking downtown Los Angeles. Enchanted, he stayed for a year and took hundreds of photographs documenting community life. But little did Normark know that he was capturing the last images of a place that was about to disappear—within a few short years, the entire neighborhood would be gone. CHAVEZ RAVINE: A Los Angeles Story tells the story of how this Mexican American community was destroyed by greed, political hypocrisy and good intentions gone awry. 2005, 24 min, Director: Jordan Mechner


The Chess Players (Shatranj Ke Khilari) (1977), 113 mins.
The Chess Players focuses on events surrounding Britain’s colonial involvement in India in the late nineteenth-century. Employing Western actors and stars from the Bombay cinema, the film was Ray’s most expensive production and one of his few to utilize English dialog.


CINEASTES
For the first time, twenty French women filmmakers are brought together in front of the same camera to talk about their profession and their status in the movie industry. They respond to questions from Julie Gayet, such as: Do women have a different viewpoint? Can we identify a specific women’s cinema that is distinctly different from films made by men? Are there differences or specific ways that women from older and younger generations work on set? Julie Gayet challenges her interviewees by evoking contrasting perspectives, such as feminist and misogynous viewpoints, to broaden the debate. Runtime: 78 minutes 


CLOUD 9
Germany, 2008, 100 min., German with English subtitles.
Starring Ursula Werner, Horst Rehberg, Horst Westphal
Inge, a seamstress in her 60’s, returns a pair of mended trousers to Karl, a customer 10 years her senior. The two are immediately drawn to each other and, within a matter of moments, have consummated their new relationship. Inge then returns home to Werner, to whom she has been happily married for 30 years. Though she tries to resist, Inge can’t deny her feelings for Karl, and the two begin to see each other regularly. Even Inge’s daughter is supportive of the affair, although she urges her mother to keep it a secret. However, Inge refuses to live a lie, and her decision to tell Werner of her relationship with Karl changes both of their lives irrevocably.
With its explicit and honest love scenes, Cloud Nine rejects more mainstream depictions of the elderly in film. It is a rare late-in-life love story and Dresen is by turns fearless and tender in his handling of the material.


Coast Modern
Coast Modern is an independent documentary by directors Mike Bernard and Gavin Froome. Travelling along the Pacific North West coastline from LA to Vancouver, the film showcases the pioneers of West Coast Modernist Architecture, and the homes that have become their legacies. Stepping inside the most inspired dwellings on the west coast, we feel how the light and space of a classic Modernist home can work in collaboration with the natural environment. Dion Neutra tells us that the way to live is to have ‘the comfort of being inside, yet you have the feeling of being outside’, and it is this established principle that contemporary Modernist architects are emulating and evolving.
This relaxed journey takes us across three generations of Modernist architecture, all finding beauty in their own times, and all taking us back to the basics of true living – a sense of place, light, and a deep connection to the earth. Interviewed in Coast Modern are some of the most respected names in architecture, including James Steele, Barbara Lamprecht, Ray Kappe, Henrik Bull, Pierluigi Serraino, Michael Folonis, Dion Neutra, Douglas Coupland, John Cava, and Barbara Bestor. 2012, 56 min, Directors: Gavin Froome & Mike Bernard


The Detective (aka Father Brown)
Father Brown (Alec Guinness) dabbles in detective work. Craziness ensues when a religious artifact that he’s been entrusted to transport from London to Rome is stolen. The character of Father Brown is loosely based on novelist G.K. Chesterson’s character of the same name. Directed by Robert Hamer. Also starring Joan Greenwood and Peter Finch. (1954, 91 min. No MPAA rating.)


DETECTIVE STORY
1951, Paramount, 103 min, USA, Dir: William Wyler
Eleanor Parker’s second Best Actress nomination in as many years is a memorable turn as the unfortunate wife of tormented NYPD detective Kirk Douglas in a splendid screen adaptation of Sidney Kingsley’s hit play. Powerfully helmed by William Wyler and nominated for four Academy Awards. Co-starring William Bendix, Lee Grant, George Macready, Cathy O’Donnell, Horace McMahon, Gladys George, Joseph Wiseman, Gerald Mohr and Frank Faylen.


DETOUR
1946, Wade Williams, 70 min, USA, Dir: Edgar G. Ulmer
“Whichever way you turn, fate sticks out a foot to trip you” in this low-budget noir classic. Hitchhiking to Hollywood, loser Tom Neal takes several wrong turns and ends up on the expressway to hell - Ann Savage plays the vixenish vagabond who ushers him there. She ends up paying a stiff toll herself. (tickets start at $25 and include afterparty)


Distant Thunder (Ashani Sanket) (1973), 101 mins.
Set during World War II, Distant Thunder tells the story of the man-made famine that caused the deaths of five million inhabitants of Colonial Bengal. An emotionally charged film that contrasts the course of terrible events and the astonishing beauty of the world.


D.W. Griffith at Biograph, Part 2: Introducing Mary Pickford (1909)
Presented by Retro Format Films on 8mm
Retro Format continues its chronological series of D.W. Griffith shorts. Film titles this evening will include Mary Pickford's first starring role in “The Violin Maker of Cremona” (10 min.), “The Lonely Villa" (8 min.), “What Drink Did” (12 min.), “Sweet and Twenty” (6 min.), “The Sealed Room” (11 min.), “1776, or The Hessian Renegades” (10 min.), and the famous “Pippa Passes; or, The Song of Conscience” (11 min.), all from 1909.
With live piano accompaniment by Cliff Retallick. 150 min.


AN EVENING WITH PAUL MAZURSKY
Few filmmakers working in the pop Hollywood idiom were able to sublimely capture the electric nature of the zeitgeist as many times throughout their brilliant career as tonight’s guest of honor, writer/director Paul Mazursky. Starting in the colorful ‘60s with his screenplay for the Peter Sellers LSD comedy I Love You, Alice B. Toklas and his debut directorial feature Bob & Carol & Ted & Alice, continuing through the ‘70s with Blume In Love, Harry and Tonto and An Unmarried Woman, into the ‘80s and beyond with films like Down and Out In Beverly Hills, Mazursky perfected the form of the dramatic comedy, earning five Oscar nominations along the way. Even more amazing still, Paul was able to craft commercial and critical successes that simultaneously addressed the most modern of subjects, and retained a timelessness that makes them just as fresh now as they have ever been. Join screenwriter Larry Karaszewski (Ed Wood, The People vs. Larry Flynt, the forthcoming Big Eyes) as he welcomes Paul to the Cinefamily stage, for an unforgettable evening of big-screen memories — plus, a screening of his autobiographical 1970 film Alex In Wonderland!
Alex In Wonderland Dir. Paul Mazursky, 1970, digital presentation, 110 min.


EYE AM
This is the autofiction of M., a young film-freak looking forward to shooting his own films. On account of two consecutive retinal detachments, he almost goes totally blind. During 40 bed-ridden days, he will be obliged to lie prone with both eyes closed. This “rehearsal of blindness” will culminate in his confrontation with his own fears and evaluation of his obsessive relationship with cinema, yet M.’s tendency to make fun of life will be his biggest weapon against darkness. Written and Directed by: Hakki Kurtulus, Melik Saracoglu. Run time: 78 minutes


Fagus – Walter Gropius And The Factory For Modernity
Work on the building commenced in 1911, with plans from Walter Gropius, who later founded the “Bauhaus”. The owner, Carl Benscheidt, was strongly influenced by the ideas of the “Lebensreform” movement. Their project was to become a turning point in architectural history, and also sent out a signal for the social reform orientated industrial ethic of that time. True to his motto, “Build palaces for the workplace”, Walter Gropius designed not only an ultra modern exterior for the factory, but also, for that time, exemplary working conditions and social arrangements. This in turn was an expression of the paternalistic feelings, which Carl Benscheidt had for his staff - an early form of corporate identity, which is still evident today.
The “Fagus” factory combines the innovations of an emergent modern architecture with a new working ethic and the social responsibilities of the industrialist. 2011, 26 min, Directors: Niels Bolbrinker & Dr. Kerstin Stutterheim


FINDING VIVIAN MAIER
Found in trunks buried deep within forgotten storage lockers were 100,000 photographs charting the life of one of the 20th century’s greatest photographers — a breathtaking artist who very nearly remained a total undiscovered mystery. In much the same way that In The Realms of the Unreal’s Henry Darger was only brought to the world’s attention after his death, Finding Vivian Maier charts the impossible story of an unassuming nanny who, over the many years she lived roaming from family to family, secretly snapped an endless stream of insightful and era-defining street photography: a body of work that has since been hailed by art critics the world over. John Maloof, the film’s co-director and the young man who first brought Maier’s work to light after discovering her discarded photos in an auctioned storage box, takes us on a guided tour of both his obsessive quest to piece together a near-complete Maier archive, and the ever-deepening enigma of Maier’s equally obsessive, inwardly drawn identity. Never-before-seen photographs, films and interviews with dozens of folks who thought they knew the “real” Vivian further illuminate this most juicy of cultural whodunits. Dirs. John Maloof & Charlie Siskel, 2013, digital presentation, 83 min.


Finyé (The Wind)
Mali, 1982, 100 minutes
Written and directed by Souleymane Cissé
Starring Fousseyni Sissoko, Goundo Guissé, and Balla Moussa Keita
Writer/director Souleymane Cissé’s 1982 drama starts with a deft intimacy—following high-school classmates from two disparate worlds as they traverse the tricky roads of family and friends while keeping an eye on their futures. Ba is a young man from the village, struggling to keep his grades up, and Batrou is the sensitive daughter of a no-nonsense military man. But then Cissé shifts the ground beneath the feet of his characters—and the audience—when a political stand becomes the center of the story. What seemed to be a tried and true story of the path to adulthood becomes another altogether different one. “The wind awakens the path of man,” a title informs at the beginning of Finyé, and Cissé is out to reveal what happens when a force of nature prods another such force into action.


The Golden Fortress (Sonar Kella) (1974), 120 mins.
A young boy is haunted by memories of a previous life and is kidnapped by sinister scheming bandits. A bewitching comedy-thriller, The Golden Fortress shows Ray at his most playful and includes some of the most memorable performances in Bengali cinema.


GORE VIDAL: THE UNITED STATES OF AMNESIA
2013, 89 min, USA/Italy, Dir: Nicholas D. Wrathall
Scion of a political family and a prodigiously gifted writer, Gore Vidal fit right into high society - except for his penchant to say what was on his mind. Vidal was among the sharpest critics of post-war America, and this thought provoking and entertaining documentary illuminates his life, work and politics with archival footage and recent one-on-one interviews filled with rapier wit. Discussion following with director Nicholas D. Wrathall (April 3 screening only).


HARDLY A CRIMINAL
(APENAS UN DELINCUENTE)
1949, Film Noir Foundation, 88 min, Argentina, Dir: Hugo Fregonese
A bank employee (Jorge Salcedo) uses a loophole in Argentine law to concoct the perfect crime, planning to reap the rewards of his embezzlement after serving six years in prison. A vivid cross between NAKED CITY and BRUTE FORCE, and an evocative look at mid-20th century Buenos Aires. In Spanish with English subtitles.


A Hatful of Rain (1957)
Directed by Fred Zinnemann (High Noon, 1952) and featuring a harrowing score by Bernard Herrmann, this pioneering, realistic examination of drug addiction stars Don Murray as a returning Korean War veteran dependent on morphine due to a battle injury. In perhaps the defining role of his career, Murray’s riveting, unsettling performance twitches with the palpable anxiety and desperation of a soul in free fall.
Twentieth Century-Fox. Producer: Buddy Adler. Screenwriter: Michael V. Gazzo, Alfred Hayes. Cinematographer: Joseph MacDonald.  Editor: Dorothy Spencer. Cast: Don Murray, Eva Marie Saint, Anthony Franciosa, Lloyd Nolan, Henry Silva.  35mm, b/w, 109 min.


HASKELL WEXLER DOCUMENTARIES
WHO NEEDS SLEEP? - In 1997, after a 19-hour day on the set, assistant cameraman Brent Hershman fell asleep behind the wheel, crashed his car, and died. Deeply disturbed by Hershman's preventable death, filmmaker and multiple-Oscar-winning cinematographer Haskell Wexler shows how sleep deprivation and long work hours are a lethal combination. WHO NEEDS SLEEP? is a commentary on our quality of life.
FOUR DAYS IN CHICAGO - Academy Award-winning filmmaker and lifelong activist Haskell Wexler takes a personal look at Chicago (and its Occupy movement) over four days in May 2012 -- four days filled with politics, protest and police.
HASKELL WEXLER IN PERSON!


HEARKENINGS PRESENTS: JEAN EPSTEIN & CHRIS MARKER
Jean Epstein’s Mor-Vran (1931, 25min, 16mm) explores the sea, the rocks, the sailors, and the black-clad women in a small fishing village in Brittany. “One of the most beautiful documentaries in the history of French film, a true poem about Brittany and the sea," wrote Henri Langlois. Chris Marker and Koumiko met at the 1964 Olympics in Tokyo where she guides him through the advertisements, crowds, and mannequins on the city's streets in The Koumiko Mystery (1965, 54min, 16mm). "A romantic vision which depends on maintaining mystery, on refusing to give rational explanations of people and cities, is one which denies the possibilities of objective truth...For Marker, truth is a subset of cinema." -- Harvard Crimson


HIDER IN THE HOUSE
We’ve been huge fans of Zola Jesus dark blend of striking operatic vocals and stark brooding electronics for a long time — and we’re eager to welcome her as she presents one of the great direct-to-video discoveries of the past few decades: Matthew Patrick’s deranged 1989 psycho thriller Hider in the House. Resident lunatic/legendary madman Gary Busey sees you, hears you, lives with you — and you don’t even know he’s there. In the bug-eyed, teeth-gnashing role that he was born to play, Busey is fresh from the asylum and dialed to eleven, squirreled away in a secret attic hideaway above the home of Mimi Rogers and Michael McKean. Matthew Patrick dives head first into the wild premise to craft a tense, sleek shocker exploring family dynamics with equal measures of wit and horror. It will have you checking behind doors and under beds, questioning the creak in the night and the sounds in the walls. And, as Zola Jesus best describes it, the whole thing is set to “GARY BUSEY INSANITY MAXIMUM.” Schedules permitting, Zola Jesus will join director Matthew Patrick to discuss the film! Dir. Matthew Patrick, 1989, 35mm, 104 min.


THE HITCH-HIKER
1953, RKO, 71 min, USA, Dir: Ida Lupino
A groundbreaking, fact-based story of two pals on a Mexican fishing trip kidnapped by a serial killer who terrorizes both men into delivering him to safety. The only American film noir directed by a woman - the great Ida Lupino - features a trio of terrific performances by Frank Lovejoy, Edmond O’Brien and the odious William Talman. Introduction by Eddie Muller of the Film Noir Foundation.


The Home and the World (Ghare-Baire) (1984), 140 mins. 
Ray’s The Home and the World concerns an aristocratic but progressive man, who insisting on broadening his more traditional wife’s political horizons, drives her into the arms of a friend. An elegant, profound, and meditative work from the late-career of a master.


Island Etude (Taiwan, 2006)
Directed by Chen Huai-en
A young man embarks upon a bicycle tour around the periphery of the island of Taiwan. Along the way he encounters many fellow travelers: a graffiti artist, a lovely traveling student from Lithuania, allowing each to affect him in some way. In this moving valentine to Taiwanese civil society, “Ming’s” experiences suggest the negotiations and transformations taking place everywhere in the country… for those open to experience. 
Producer: Yang Lai-yin. Screenwriter/Cinematographer: Chen Huai-en. Editor: Chen Bo-wen. Cast: Tung Ming-hsiang, Teng An-ning, Ruta Palionyte, Danny Deng, Darren. 35mm, color, in Mandarin and Lithuanian with English subtitles, 109 min.

 
IT ALWAYS RAINS ON SUNDAY
1947, Rialto, 92 min, UK, Dir: Robert Hamer
A former barmaid, now the harried matriarch of a family in impoverished Bethnal Green, jeopardizes everything when she shelters the escaped fugitive who was once her lover. A slice-of-life noir and prototype of British “kitchen sink” drama. Googie Withers stars.


It’s A Frame-Up!
(2013, 29 min. Dir. Michael Schlesinger). In this faux 1938 short, the vaudeville team of Biffle and Shooster wangle jobs in an art gallery - on the very day a priceless painting has been delivered. With Nick Santa Maria, Will Ryan, Robert Picardo and Daniel Roebuck. “I can't think of any other intentional comedies of recent years that have given me so many, or so many varied, big laughs in the space of 30 minutes. It makes what has basically been a dead art form for the past 50 years feel vital once again.” - Tim Lucas, Video Watchdog.


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


IVY
1947, Universal, 99 min, USA, Dir: Sam Wood
Joan Fontaine memorably portrays an amoral Edwardian vixen whose hobby of seducing wayward men becomes the road to perdition. Fontaine’s tour de force performance occurred in a role originally intended for her sister Olivia de Havilland! A distinguished British cast includes Patric Knowles, Herbert Marshall and Sir Cedric Hardwicke. NOT ON DVD! Introduction by Eddie Muller of the Film Noir Foundation.


I WANT MY EZTV
Before Cinefamily found its home in the Fairfax District's cozy confines, another collective based around bringing a far-and-wide community together under one crazy multimedia umbrella took root in West Hollywood, just a few minutes away! Occupying a juicy nexus point between the realms of gallery video installation, filmmaking collective, cable public access station and nascent VHS label, EZTV -- with an office/storefront theater seated right on Santa Monica Blvd. -- was a product of the explosive creative energy emerging from L.A.'s Eighties video art scene. Its resident artists, denied access to the closed-loop worlds of both Hollywood and mainstream museums, made their own damn DIY world happen -- and judging by the outfit's treasure trove of seriously cool programming, did it quite spectacularly.  
Thanks to our friends at the ONE Archives (the world's largest LGBT media archive), tonight's slate is culled from the very best and most strange the EZTV universe has to offer, including campy music videos, out-there short films, EZTV's own in-house trailers/promos, and a 30th Anniversary screening of the collective's first homebrew hit: the John Waters-inspired, neo-J.D. melodrama Blonde Death, partially filmed clandestinely inside Disneyland!
BLONDE DEATH
A hyper-transgressive, shot-on-video crime rager -- a "Bonnie & Clyde & Clyde" for the Reagan era, replete with endlessly quotable dialogue, a local hardcore punk soundtrack and infectious bubblegum nihilism and scenes shot under the cloak of secrecy inside the borders of Disneyland! Soon after moving to Orange County with her absent father and scheming Christian stepmother, Tammy the "teenage time-bomb" is kidnapped and led into a life of senseless violence by her two bisexual, escaped-convict companions Link and Troy. Produced for only $1,000 and rich with outrageous lines like "I'm gonna give you a scaldin' Clorox enema!", this truly fearless work by James Dillinger (aka playwright/novelist/anarchist James Robert Baker) was to be his only feature film before his suicide in the mid-'80s. It's the smartest, sickest piece of New Wave cultural criticism you've never heard of -- and it's gonna blow the roof off your dinky dome. Dir. James Dillinger, 1984, analog presentation, 98 min.


JENNY LAMOUR
(QUAI DES ORFÈVRES)
1947, Rialto Pictures, 102 min, France, Dir: Henri-Georges Clouzot
Maurice (Bertrand Blier), the jealous husband of ambitious cabaret chanteuse Jenny (Suzy Delair), is blamed for murder when a lecherous movie producer turns up dead. Director Henri-Georges Clouzot spins a classic police procedural, following dauntless Inspector Antoine (French actor Louis Jouvet, in his greatest role) as he doggedly goes about untying the knots in this delightfully perplexing, character-driven mystery. In French with English subtitles. Introduction by Alan K. Rode of the Film Noir Foundation.


Juan Manuel Echavarria: Coping with Violence, Defying Oblivion
“A touching visual essay about a small town caught in the midst of a very large and dangerous conflict.” —Cinespect
A novelist–turned–artist, photographer and videomaker, Juan Manuel Echavarria screens two films in which peasants in his native Colombia devise original ways of coping with entrenched everyday violence—bloody conflict among guerrillas, army, paramilitaries and drug traffickers that has persisted for decades. In Bocas de Ceniza (Mouths of Ash, 2003–04, digital video, 18 min.), subjects look directly to the camera and mourn the toll of violence in individually created folk songs. The second documentary, Réquiem NN (2013, digital video, 67 min.), takes place in the town of Puerto Berrío on the Magdalena River—from which local residents regularly fish out the remains of victims of violence. Burying the so-called “No Names” (“NNs”), the townspeople adopt the fallen as their own: they give them names, invent personal histories, and decorate and visit their tombs. In person: Juan Manuel Echavarría, Margarita De la Vega-Hurtado. Curated by Steve Anker and Bérénice Reynaud.


JUST LIKE BEING THERE
Filmmaker Scout Shannon in person — plus, after the film, join us on the back patio for a gallery show compiling the best of local L.A. poster artists! Long after the gig is over, after the band’s packed up and left town, and as the memories linger, the only real and tangible thing that remains — is the poster. The art of the gig poster, which started with flair in the psychedelic late-‘60s, has truly blossomed with immense creativity in our mellifluous era of indie rock; Scout Shannon’s in-depth documentary Just Like Being There is the filmic love letter on the subject, surveying all the major artists nationwide in the artistic pursuit of elevating the Rock Show into even more blissful spheres, along with providing the real nitty-gritty on the craft of screen printing. Featuring live performances by Spoon, Nada Surf, Archers of Loaf, The Thermals and Tokyo Police Club. Tonight’s presentation of the film comes from the special 100-minute “festival” version of the film, only shown once before at SXSW 2012 and never again, and featuring bonus live performances.
Dir. Scout Shannon, 2012, digital presentation, 100 min.


KENT HAYWARD FILMS
SUNSET TO SUNSET (’10, 3m) A stop-motion walk across Los Angeles, in which the filmmaker comes face to face with the city instead of watching it blur by through a windshield.  Screened at over 25 film festivals, including Dances with Films, DocuWest, New Filmmakers and Film Independent's Cinema Lounge.  AUGUST (’13, 10m) Stolen moments, both real and imagined, from a return to rural Michigan.  STANDBY... (’93, 3m) Vintage raw footage of a series of interviews with all of the “content” cut out.  A playful look at what people do before "action" and after "cut."  SEDIMENTATION  (’96, 5m) An experimental short film exploring a condemned structure creaking over Castaic Lake.  PORTRAITS (’95-present, 6m) Excerpts from an ongoing collection of character studies.  HOMESTEAD ARTIFACT (’00, 49m) A personal documentary about the filmmaker’s family rediscovering their lost homestead in rural New Mexico and the pieces of history buried there. Los Angeles Times’ Kevin Thomas: “Deeply affecting... Hayward has succeeded beautifully.” LA Weekly: “An affecting rumination on the importance of memories.” Hayward teaches film classes at Cal State Long Beach, Loyola Marymount University and El Camino College and has worked in the entertainment industry on many film and television productions, including The Aviator, Eureka!, Terminator 3: Rise of the Machines and The Dark Knight Rises.  KENT HAYWARD IN PERSON!


LA AIR: MIKO REVEREZA
LA AIR is an artist-in-residence program that invites Los Angeles filmmakers to utilize EPFC resources in creating a new work over a four-week period. Miko Revereza was born in Manila and grew up in the San Francisco Bay Area. Since relocating to LA in 2010 he's worked primarily on music videos and live video art installations for LA's experimental music scene. His personal films explore identity and Americanization of the Filipino immigrant. DROGA! is a Super 8 tourist film about the LA landscape through the lens of Filipino immigrants. The film closely examines cultural identity by documenting the intersections of American pop culture and Filipino traditions. AYUS! is a video art piece shot on VHS. The images are screen tests of family members, canned foods and soda from the Philippines. “Ayus!" is a slang phrase in Tagalog which means "Sounds like a good plan!"


LARCENY
1948, Universal, 89 min, USA, Dir: George Sherman
Here’s one of Dan Duryea’s most obscure titles, also notable for being the first foray into film noir for crooner John Payne (of 99 RIVER STREET and KANSAS CITY CONFIDENTIAL fame). The two slicks play hustlers trying to bilk a war widow (Joan Caulfield) out of her money. Things really heat up when pistol-packing Shelley Winters, who has a thing for both men, hits town. Wisecracking scriptwriter Bill Bowers has a field day with all the slang-spewing sass. Introduction by Eddie Muller and Alan K. Rode of the Film Noir Foundation.


The Least Important Things
The Least Important Things assumes the form of a procession of free-standing theatrical vignettes which unfold in different venues throughout LACMA's campus. Audience members will be offered hints and clues to direct their experience of the work. The performance starts on the Los Angeles Times Central Court, but takes visitors through different locations of the museum campus. The performances are staged in intermediate spaces that reflect Brossa and Mast’s interest in the undefined. Los Angeles–based artist Emily Mast often works in projects that celebrate intersections between art, dance, and theater.
For The Least Important Things, Mast selected a diverse range of works by Joan Brossa (1919–1998) that were written with the intention of being staged. Brossa was a Catalan poet, playwright, graphic designer, and visual artist who made work about the limitations of language and its material nature. His “stage poetry” embraced incoherence, the everyday, and popular forms of entertainment such as magic, cabaret, and comedy routines.


Lost Rivers
Once upon a time, in almost every industrial city, countless rivers flowed. We built houses along their banks. Our roads hugged their curves. And their currents fed our mills and factories. But as cities grew, we polluted rivers so much that they became conduits for deadly waterborne diseases like cholera, which was 19th century's version of the Black Plague. Our solution two centuries ago was to bury rivers underground and merge them with sewer networks.
Today, under the city, they still flow, out of sight and out of mind… until now. That’s because urban dwellers are on a quest to reconnect with this denigrated natural world. Lost Rivers takes us on an adventure down below and across the globe, retracing the history of these lost urban rivers by plunging into archival maps and going underground with clandestine urban explorers. We search for the disappeared Petite rivière St-Pierre in Montreal, the Garrison Creek in Toronto, the River Tyburn in London, the Saw Mill River in New York, and the Bova-Celato River in Bresica, Italy. Could we see these rivers again? To find the answer, we meet visionary urban thinkers, activists and artists from around the world. 2012, 72 min, Director: Caroline Bacle


M (1951)
1951, Superior Pictures, 91 min, USA, Dir: Joseph Losey
The American version of Fritz Lang’s 1931 classic about a child murderer being simultaneously hunted by the police and the underworld receives renewed impetus in the setting of Bunker Hill locations under the direction of Joe Losey. David Wayne turns in a bravura performance as the killer and is supported by a veritable character actor’s Hall of Fame: Howard Da Silva, Luther Adler, Steve Brodie, Raymond Burr, Norman Lloyd, Walter Burke and Jim Backus. NOT ON DVD! Introduction by Eddie Muller of the Film Noir Foundation.


MADAM SATAN
Co-presented by the American Cinematheque and the Art Deco Society of Los Angeles with support from the Cecil B. DeMille Foundation.
Dance critic Debra Levine brings new insight to Art Deco favorite MADAM SATAN (MGM, 1930, dir. Cecil B. DeMille), zeroing in on the early talkie's bizarre and exceptional "ballet mecaniqué" that takes place in a zeppelin. Levine has researched the director's 40-year friendship with Theodore Kosloff, a Ballets Russes dancer who acted in more than thirty silent movies, most directed by DeMille. DeMille's consultations with Kosloff concerning MADAM SATAN, on the cusp of the Depression, resulted in the dancer's appearance as “The Spirit of Electricity.” Levine will share the back story of the development of MADAM SATAN's inimitable movie-musical sequence. Following is a screening of MADAM SATAN. Part of Hollywood Heritage's Centennial Celebration of the Lasky-DeMille partnership.  Illustrated presentation by dance critic Debra Levine.
MADAM SATAN
1930, Warner Bros., 116 min, USA, Dir: Cecil B. DeMille
This delightfully bizarre mélange of song, dance, bedroom farce and airship disaster - director Cecil B. DeMille’s only movie musical – must be seen to be believed. Angela Brooks (Kay Johnson) endures her husband Bob’s (Reginald Denny) infidelity until a masquerade ball offers her the opportunity to win back her straying spouse and put the man’s mistress (Lillian Roth) in her place. A pre-Code gem whose sets, production numbers and costumes (by designer Adrian) will leave you slack-jawed!


A Man is Ten Feet Tall
NBC, 10/2/55
Directed by Robert Mulligan  
In this powerful early television anthology directed by Robert Mulligan (To Kill A Mockingbird, 1962), Don Murray stars alongside future cinema legend Sidney Poitier as an AWOL soldier that forms an unexpected deep friendship with an African American dockworker. As racial tensions on the waterfront escalate to unbridled brutality, the fates of the two men become intractably intertwined. 
Producer: Gordon Duff. Screenwriter: Robert Alan Aurthur. Cast: Don Murray, Sidney Poitier, Martin Balsam, Michael Strong, Hilda Simms. Digital betacam, b/w, 60 min.


Man of the West (1958)
Directed by Anthony Mann
Representing his small town, Link Jones (Gary Cooper) travels to Fort Worth with a bagful of money, aiming to hire a schoolteacher.  Waylaid by bandits, Link must retrieve his money to maintain his town’s trust, though this may involve acknowledging dark truths about his own past.  Director Anthony Mann frames a fair question in this drama: whether the most virtuous man is always the most effective. 
Ashton Productions, Inc. Screenwriter: Reginald Rose, based on the novel by Will C. Brown. Cinematographer: Ernest Hall. Editor: Richard V. Heermance. Cast: Gary Cooper, Julie London, Lee J. Cobb, Arthur O’Connell, Jack Lord.  35mm, color, 100 min.


MAUVAIS SANG
“Mauvais Sang is the work of a filmmaker in love with the possibilities of filmmaking, in love with his characters, the actors playing them, their faces and expressions, and Carax puts everything in service of them.” — The Digital Fix
1980s French cinema never achieved a sweeter, higher giddiness than Mauvais Sang, an electric mixture of French New Wave elasticity, the Coen Brothers’ stark staging, the intense melodramatic pyrotechnics of Douglas Sirk, and the hyper-colored flair of old Hollywood musicals.  Less concerned with the machinations of his gangster film plot than bouncing the audience along an unending, uncoiling chain of blissful genre “moments”, Carax-as-puppetmaster glides us along the near-future story of a teenage hoodlum tasked with stealing the vaccine for an AIDS-like romantic malady, and afflicted with a deadly attraction to his employer’s young girlfriend.  The cast is super-strong (Denis Lavant, Juliette Binoche, Julie Delpy, Michel Piccoli), and Carax’s visual vocabulary is even stronger, with an infectious zeal for the filmmaking process itself pouring forth from every single perfectly-framed shot.  This is the Carax who is later felt in the even-more impossible heights of Holy Motors, and this is the Carax who rightfully earned his place as one of France’s greatest emerging talents of the Eighties. Dir. Leos Carax, 1986, DCP, 116 min.


My Brooklyn
My Brooklyn follows Director Kelly Anderson's journey to understand the forces reshaping her neighborhood. The film documents the makeover of downtown Brooklyn's Fulton Mall, a bustling and profitable African-American and Caribbean commercial district that is nonetheless viewed by the city, the media, and new residents, as a failure. As a hundred small businesses are displaced to make way for luxury condos and chain retail, Anderson uncovers the people and policies that drive seemingly natural neighborhood change. The film's ultimate question becomes who has a right to live in the city and determine its future? 2012, 75 min, Director: Kelly Anderson


Nayak (The Hero) (1966), 120 mins.
From his second original screenplay, Ray’s Nayak tells the story of a Bengali matinee idol, who while on a cross-country train journey, ends up revealing all of his personal secrets to a young journalist. A compelling meditation on fame and the fragility of public personas.


NEGLECTED CINEMA - Curator Lance Richter screens rare 16mm films that are marginalized, yet very worthy of seeing, including art, music, educational, travelogues, experimental, documentary and more. Experience the phenomenon of viewing celluloid in all its splendor, depth and REEL color.


NEW WORKS SALON
The New Works Salons series is a casual forum for the presentation and discussion of new works in film and video, with local and visiting artists in-person to introduce their work. Penelope Uribe-Abee will show a new Super 8 film: “for about 30 years, my Uncle has swept floors, cleaned bathrooms, and taken out trash on different parts of the UCLA campus. As of now, he cleans the Art building—where I coincidentally study. I find it very comforting that my Uncle cleans the building I work in, and from 5pm-2am he sweeps up the dust that falls from my shoes, or takes care of the trash I left behind that day. He is like a sandman who comes at night, I am aware and grateful for his presence. To other students, custodians are invisible and my Uncle's hard work is unknown to them. It is important to me to document his experience at UCLA before he leaves. Rick Bahto will show excerpts from his new work Concert, an hour-long Super 8 film made up of small performances in his bedroom using materials at hand. Kate Brown will show a series of short Super 8 and 16mm films used as part of A One Woman Nutcracker, a collaborative performance host by Machine Project on Valentine’s Day this year. Plus other artists TBA!


NEXT STOP, GREENWICH VILLAGE
As much an autobiography as it is a dose of good-natured ribbing on his own generation's foibles (in much the same manner as Girls functions for Lena Dunham), Paul Mazursky's Next Stop, Greenwich Village is a warm-hearted, incisive look at the pitfalls of young love in the incredible milieu of New York City in the mid-'50s. Before the modern folkie scene took root in the East Village, it was still the coolest place in town, brimming with an epic counterculture and a gaggle of aspiring artists of all kinds -- and it's here that Mazursky conducts his bittersweet remembrance, as wannabe actor Larry Lapinsky (the late Lenny Baker) seeks fame, fortune and refuge from his overbearing Jewish mother (Shelley Winters.) The supporting cast for this gauzy, breezy comedic jaunt is astounding: Christopher Walken, Jeff Goldblum, Little Shop of Horrors' Ellen Greene, and even blaxploitation legend Antonio Fargas (Car Wash, Foxy Brown.) Dir. Paul Mazursky, 1976, 35mm, 111 min.


NIGHTFALL
1957, Sony Repertory, 79 min, USA, Dir: Jacques Tourneur
One of the last true noirs of the classic era, this often-overlooked gem, based on a novel by noir legend David Goodis, features terrific direction from Tourneur and stunning cinematography by Burnett Guffey. Aldo Ray plays an artist whose life goes permanently haywire when fate interrupts a winter hunting trip. From then on it’s life on the run, dozens of double-crosses, psychotic killers on his trail, lots of de rigeur flashbacks, and a young Anne Bancroft decked out in sequins and lace. Introduction by Eddie Muller of the Film Noir Foundation.


ONE WAY STREET
1950, Universal, 79 min, USA, Dir: Hugo Fregonese
Even though he had just begun his American film career, James Mason already had his doomed-fugitive persona down pat in ODD MAN OUT and THE RECKLESS MOMENT. Here he’s a disillusioned doctor who feels responsible for his wife’s death and believes he’s only worthy of patching up wounded criminals. Deciding to take a gamble, he tricks Los Angeles gang boss Dan Duryea out of his latest haul, as well as absconding with Duryea’s more than willing moll, Marta Toren. The pair head for Mexico with the swag – but can they outrun Duryea’s seemingly limitless reach?


Only Lovers Left Alive
2013, 123 minutes, color, DCP
Written and directed by Jim Jarmusch; with Tom Hiddleston, Tilda Swinton, Mia Wasikowska, John Hurt, Anton Yelchin, Jeffrey Wright, Slimane Dazi, Carter Logan and Ali Amine.
Followed by a Q&A with Tilda Swinton, moderated by Henry Rollins.
Presented by the Academy of Motion Picture Arts and Science as part of an ongoing series at LACMA.  Tilda Swinton and Tom Hiddleston are a married couple separated by an ocean in writer/director Jim Jarmusch's newest film. She resides in Tangiers with her mountains of books in seemingly every language, occasionally dropping in on Elizabethan scribe Christopher Marlowe (John Hurt). He's in Detroit, recording doom-laden drone instrumentals in his cavernous home studio when not hanging out with vintage-guitar dealer Anton Yelchin. But what's a few thousand miles when you're a pair of vampires who've been together for centuries? And what happens when the two lovers’ reunion is interrupted by a surprise visit from Swinton’s impish little sister Ava (Mia Wasikowska)? Jarmusch's eternal romance is equally literate and entrancing, thrumming to Jozef van Wissem's sulfurous score and punctuated by live performances from fuzz-drenched psych-rockers White Hills and Lebanese singer Yasmine Hamdan.
Raised in Akron, Ohio, and a student of Nicholas Ray in New York University's Film School, Jarmusch has written and directed 11 features over three decades. Jarmusch’s body of work is one of the most singular in the American independent scene. Cinephilic and deliberate, Jarmusch’s films combine wry humor, modernistic compositions, languorous edits and cross-cultural characters to render the itinerant drift of life’s outliers and vagabonds. A member of the no wave band The Del-Byzanteens in the early 1980s, Jarmusch has also begun writing and recording with Dutch lutenist Jozef van Wissem and his own band SQÜRL.


OSSESSIONE
1943, 131 min, Italy, Dir: Luchino Visconti
Based on James M. Cain’s The Postman Always Rings Twice, the first acclaimed work of Italian neorealism is a gritty, earthy (and unlicensed) adaptation of the famous noir novella, much closer in tone and spirit to Cain’s tale than the 1946 Hollywood version. Clara Calamai and Massimo Girotti burn up the screen as the doomed lovers, but Visconti makes the story as much about poverty as about lust and greed. The film was reviled and banned by Italy’s Fascist government, and MGM (legal holder of the movie rights) confiscated and destroyed all the prints it could find. Yet OSSESSIONE survives, a stunning hybrid of noir and neorealism - the director’s first masterpiece. In Italian with English subtitles.


The Oyler House: Richard Neutra's Desert Retreat
In 1959 a working-class government employee in the tiny desert town of Lone Pine, California, asked world-famous modern architect Richard Neutra to design his modest family home. To his surprise, Neutra agreed. Thus began an unlikely friendship that would last for the rest of Neutra’s life. The Oyler House: Richard Neutra’s Desert Retreat tells the story of this house and its stunning desert setting, through interviews with Richard Oyler, actress Kelly Lynch, who currently owns the house, Neutra's two sons, and well-known LA real estate agent Crosby Doe. 2012, 46 min, Director: Mike Dorsey


Paolo Soleri: Beyond Form
Beyond Form is a cinéma vérité style documentary, that presents a fresh and intimate look at the legendary and multi talented artist, philosopher, urban theorist and architect Paolo Soleri. A man who had a dream to create an environment in harmony with man. This film focuses on how his body of work has inspired thousands of people over the years and why his technique and concepts have staying power. You’ll see why Soleri was green before “green” and “sustainable” ever entered the world lexicon. The lean approach has been a theme that was present through out Soleri’s life. Filmmaker Aimee Madsen created this documentary much in the spirit of Soleri’s style of frugality, doing more with less. 2013, 80 min, Director: Aimee Madsen


PATRICK
A chilling horror story about a patient in a small hospital who has been in a coma for four years following his violent murder of his mother. Despite his condition, he begins to play deadly, psychokinetic games with the staff of the hospital. "...gripping, brilliantly played..." (Brian White, Sydney Daily Mirror). 1978, Australia, 35mm, 112 minutes. Directed by Richard Franklin; written by Everett De Roche; starring Susan Penhaligon, Robert Helpmann, Rod Mullinar; music by Brian May


A PEOPLE'S ART HISTORY OF LOS ANGELES
The Llano Del Rio Collective & The Public School L.A. are pleased host a talk by author/historian/artist Nicolas Lampert for two events in relationship to his new book A People’s Art History of The United States.
First will be a public gathering, mapping, and creation of A People’s Art History of Los Angeles; second a reading by Lampert from his new book. The events will occur at 6 then 7 pm at the Public School in Los Angeles, Sunday the 16th of March.
With the gathering and mapping of A People’s Art History of Los Angeles we will collect and share historic sites and art projects that can constitute a shared people’s art history of LA. Lampert’s book discusses projects of ASCO, SPARC/Judith Baca, Woman House, and In Morning And in Rage. But what other art projects constitute our shared progressive/radical/vangardist public art history here in LA. Certainly Tongva petroglyphs, Watts Towers, The Peace Tower, and Tierra De Culebra Park; perhaps placas in the Arroyo, Not A Cornfield, the DIY bike lanes that appeared on Glendale Blvd a few years back, the Peace And Justice Center, Art In Action, or what else?  Come to the Public School at 6:00 pm and contribute to the creation of a map/guide to A Peoples Art History of Los Angeles with Nicholas Lampert - to be followed by a reading by Nicolas at 7:00.


Performance/Anxiety
Inspired by the upcoming exhibition Mike Kelley, Los Angeles Filmforum at MOCA presents a program of films and videos that explore questions of authority, performance, education, fantasy, and repression. Including works by Peggy Ahwesh; Abigail Child; Mike Kelley and Ericka Beckman; Owen Land (né George Landow); and Ron Rice; each piece in this program documents a subculture at the same time that it subverts, analyzes, and/or antagonizes so-called mainstream culture. Any interaction with authority or peers is a site for potential misunderstanding, trauma, humor, catharsis, and possibly transcendence; these works are riveting in their unflinching investigations of them all.
“Chumlum is as close to cinematic mercury as aural-optical alchemy will allow.” —Chuck Stephens, Cinemascope
“[Blind Country is] an avant-garde horror movie that is creepier than Caligari.  Beckman provides the alternately evocative and socko visuals, and Kelley the punning text and painfully naked performance—all body loathing and castration anxiety.  Shades of Frida Kahlo and George Orwell.” —Amy Taubin, Village Voice


Philip Glass Ensemble: La Belle et la Bête
One of the most celebrated and unique works in Philip Glass’ recent career, his live interpretation of Jean Cocteau’s masterpiece La Belle et la Bête is also his most challenging experiment in synchronizing music with film. 
For this production, Glass removed the film’s original dialogue track and score by Georges Auric and replaced it with his own musical score played live by the Philip Glass Ensemble. The dialogue is performed live by the vocalists who are synchronized with the actors in the film. 
“Jean Cocteau’s work was central to the modern art movement of the 20th century. More than any other artist of his time, he again and again addressed questions of art, immortality and the creative process as subjects of his work. La Belle et la Bête is an extremely thoughtful and subtle reflection on the life of an artist. Presented as a simple fairy tale, it soon becomes clear that the film takes on a deeper subject-the very nature of the creative process.” —Philip Glass


Philip Glass Ensemble: Music in Twelve Parts
“A full-body immersion into the early compositional world of Philip Glass… To hear a composer lay out his palette in such richly evocative detail is a rare and rewarding delight.” —San Francisco Chronicle
One of the most revolutionary works of composer Philip Glass’ oeuvre comes to Los Angeles for the first time. Music in Twelve Parts, an epic performance work composed by Glass for his acclaimed ensemble between 1971-1974, is simultaneously a massive theoretical exercise and a deeply engrossing work of art. 
The score is the culmination of Glass’s explorations and theories on repetition and is widely considered to be both a masterpiece of minimalism and a seminal work of 20th-century music. 
Music in Twelve Parts is a not-to-be-missed evening for Glass fans and new-music enthusiasts. The performance is comprised of four approximately 50-minute segments plus two short intermissions and an hour-long dinner break, with an on-site meal option available for advance purchase.


RACE & SPACE IN LOS ANGELES: 16mm films from 1949–1973
A program of 16mm shorts about race and place in Los Angeles. Starting with an investigation of Los Angeles’s urban “slums” in 1949 and a look at the impact of urban redevelopment plans on the area of Chavez Ravine in the 1950s, the program then turns to films that focus on individuals as a way to trace the issues relating to race, identity, and environment in the 1960s and 70s. These include student films, educational and sponsored films that explore the lives of African American, Chicano, and Japanese-American teenagers, their communities, and the challenges of their environments. Introduction & discussion by Dr. Marsha Gordon (North Carolina State University) and Dr. Allyson Nadia Field (UCLA). Projection by Dino Everett (USC). 16mm prints provided by UCLA and USC. Program:
…And Ten Thousand More (1949) 13 min. USC. Investigates the problem of slum-dwellings in Los Angeles. Chavez Ravine (1957) 5 min. USC. Examines the Chavez Ravine and its inhabitants in the wake of city plans for redevelopment for public housing and, later, Dodger Stadium. Made by USC students. Felicia (1965) 12 min. UCLA. About a female high school student’s feelings about growing up in Watts, Los Angeles. Shot by UCLA film students Alan Gorg, Trevor Greenwood, and Robert Dickson before the Watts Rebellion in August 1965. Akira (1971) 15 min. UCLA. Part of the “Minority Youth” series, the film traces a Japanese American teenager’s feelings about living in-between two cultures. Eastside Story (1974) 18 min. UCLA. Morteza Rezvani’s poetic adaptation of the short story The Somebody by Danny Santiago. Depicts the struggle of a Chicago youth for self-identity after his gang has moved away following the demolition of the East Los Angeles neighborhood.


THE RAID 2
Schedules permitting, filmmaker Gareth Evans & cast members in person! In 2012, a certain Malaysian action flick roared like a freight train through our collective moviegoing consciousness, with all the same wildly entertaining force that heralded the Stateside debuts of stars Jackie Chan and Tony Jaa, or filmmaker John Woo — and we were totally bowled over. U.K. ex-pat Gareth Evans’ impossibly fun The Raid: Redemption — a triumph of sinwey, smart, lightning-fast genre work that showcased the latest bleeding-edge innovations in martial arts moviemaking — left us gasping for more. And as if directly answering our plea, Evans has just given us an even bigger, more ambitious gift. Immediately following the harrowing events of the original, The Raid 2 tracks the first film’s lone battle-beaten cop as he’s pressured to join an anti-corruption task force, in order to guarantee protection for his wife and child. Leaving behind the single locale of the first film’s dystopian apartment block, this epic sequel spills across the streets of Jakarta, from prison yards to subway cars, as Evans packs The Raid 2 with enough jaw-dropping body blows to rival a Hollywood studio’s entire summer slate. Dir. Gareth Evans, 2014, DCP, 148 min.


Ramona (1928)
In-person:  Phil Brigandi, Dydia DeLyser, Linda B. Hall, Joanna Hearne, Hugh Munro Neely.
Restoration World Premiere!
Edwin Carewe directed the 1928 version of what had by then proven a durable story, filmed twice previously (and at least once subsequently). Adapted from Helen Hunt Jackson’s hugely popular 1884 novel, and further disseminated in a wildly successful stage version presented at Hemet, California annually since 1923, the Ramona narrative tells of a mixed-race (Scots-Native American) woman, sympathetically detailing her persecution for reasons of race. Carewe, himself of Chickasaw descent (a very rare thing in Hollywood), represented a felicitous match for the material and a sensitive interpreter of the action. Also inspired was the choice of Dolores Del Rio as the star of the 1928 version, being herself a proud Mexican actress who famously declined to be identified as “Spanish” during her career. Wearing a theme of cultural diversity on its sleeve, the Ramona story has become a touchstone to generations of Californians, and an indispensable part of the state’s imaginative cultural heritage.
Ramona, the young ward of oppressive California sheep rancher Señora Moreno, realizes that her indigenous blood will impede her life’s happiness, and sacrifices her love for her guardian’s son to save him from the taint of her sadness.  She endures much suffering before love and affirmation emerge as possibilities for her. Inspiration Pictures, Inc. Screenwriter: Finis Fox, based on the novel by Helen Hunt Jackson. Cinematographer: Robert Kurrle. Editor: Jeanne Spencer. Cast: Dolores Del Rio, Warner Baxter, Roland Drew, Vera Lewis. Michael Visaroff. 35mm, b/w, silent, approx. 80 min.


RICHARD NEWTON: FLYING WITH THE ANGELS
Richard Newton looks inside and out in these works, from days of yore, and newly made.  He has consistently tested the boundaries of performance, media, and materials over a practice now stretching over forty years.  Newton has made a large number of films and videos along with his installations and performances, sharing his same concerns, with some confronting the laws of the land or the rules of good taste, some seemingly casual, others rigorous. Richard Newton in person! Program running time:  81 minutes
“In 1972, I began working with cans, glass bottles, bread, produce and other cast-offs.  Partly from a need to survive and partly from a sense of fascination for the abundance of America, my practice of dumpster diving and recycling became a means to create environmental works of art.  Beggar’s Banquet, 1972, created from one night’s bounty of discarded fruits and vegetables installed as 2 lavish pyramids was included in the Getty’s “Pacific Standard Time: Los Angeles Art, 1945 - 1980.”
“My early art films and videos have shown at museums, galleries, ciné clubs, festivals, and on television.  Flying with the Angels, directed and produced with Nancye Ferguson, won many awards and screened at festivals and independent venues around the world.  Another one of my short films, Swift Nudes, won first prize at Certamen Internacional de Cine Ciutat D’Igualada, Barcelona, Spain.  My first feature film, small white house won the award for Best First Feature and was runner-up as best film in the festival at the 19th Festival Internacional de Cinema, Figueira da Foz, Portugal.  small white house also won at the ARCO ‘91, 1st Exhibition of Experimental Cinema, Madrid, Spain. Many of my films were shown at various venues during The Getty’s Pacific Standard Time, including the Los Angeles Filmforum’s Alternative Projections: Experimental Film in Los Angeles 1945-1980.”


RIFIFI
1955, Rialto Pictures, 122 min, France, Dir: Jules Dassin
Back from the pen, tough guy Jean Servais rejoins his cronies and freshly imported safecracker César the Milanese (Dassin himself, billed as Perlo Vita) for a little jewelry store smash-and-grab job - but Servais wants the whole works! The central heist is an edge-of-your-seat, 30-minute sequence without dialogue or music, so detailed that it provided a feasible blueprint for real-life pros. "A vivid exercise that more or less invented the idea of French film noir. ... For the French, RIFIFI had Hollywood pizzazz; for Americans, it had Continental sophistication. For both, it seemed to possess an authoritative naturalism." – J. Hoberman. "The best film noir I have ever seen. A marvel of skill and inventiveness." - François Truffaut. In French with English subtitles. Introduction by Eddie Muller of the Film Noir Foundation.


ROADBLOCK
1951, Warner Bros., 73 min, USA, Dir: Harold Daniels
After several years of playing tenacious cops or cruel gunmen, character actor Charles McGraw was elevated to leading-man status by RKO boss Howard Hughes, becoming the studio's "B" version of Bob Mitchum. Nobody could clip off dialogue like McGraw. In this prototypical noir, he finally reveals a soft center, as an insurance investigator who goes crooked trying to satisfy an avaricious dame (Joan Dixon). Introduction by Alan K. Rode of the Film Noir Foundation.


ROBERT SCHALLER’S CELLULOID VISIONS
Filmmaker Robert Schaller shows recent short 16mm pinhole films along with other works, including his new film Mailfor film and live cello. Schaller’s films present a re-envisioning of the world in which sight is filtered through the kind of rhythmic structures that more often characterize music, and the human tendency to reduce the seen to a name is frustrated by the fleetingness and ephemerality of images which instead defy easy grasp. He strives to create deeply personal and embodied visions of the physical world—of landscape and dance in particular—grounding the physicality of subject in an embrace of the materiality of celluloid itself. Celluloid film presents a wonderful mixture of the wholly immaterial image entirely produced by a wholly physical process. In this admixture Schaller finds a potent analogy to the human condition which his film work embraces: on the one hand, he pre-plans films down to the frame on paper and visualizes rhythms using a computer, but then builds cameras out of boxes and tape and strips of metal, makes his own emulsions and film stocks, processes everything by hand in buckets, edits on a light table, shoots with only a metronome and the slow-motion movement of his body as means to control to exposure, framing, and timing. Through this rootedness in the messy reality of process and presence he finds a path towards the sublime, towards a way to create and share at least a fragmentary view of the irreducible splendor of existence.


Rocky & Bullwinkle & Peabody & Sherman
Darrell Van Citters and Jerry Beck will sign their books, The Art of Jay Ward Productions and The Art of Mr. Peabody & Sherman, at 5:30 PM in the lobby.
Legendary animator Jay Ward brought a flying squirrel named Rocky, a moose named Bullwinkle, a dog named Mr. Peabody, a boy named Sherman and dozens of other classic characters to television in the 1950s and ’60s in a madcap mix of puns, pop culture parody, inside jokes and cliffhanger endings. Join us for an evening of animated gems from Jay Ward Productions, including selections from “The Rocky & Bullwinkle Show,” “Fractured Fairy Tales,” “Dudley Do-Right of the Mounties,” “Peabody's Improbable History,” “Aesop & Son” and “Hoppity Hooper.”
A panel discussion follows the shorts with series artist Sam Clayberger, writer Allan Burns and voice actress June Foray, moderated by Darrell Van Citters. Screening: 120 min.


Ryan Trecartin: Four New Movies
2013, 138 min, color, HD Video
Written by Ryan Trecartin; directed by Ryan Trecartin
Includes an introduction by director Ryan Trecartin
Junior War (25 min)
Comma Boat (34 min)
Center Jenny (54 min)
Item Falls (26 min)
First presented in the 55th Venice Biennale in 2013, Ryan Trecartin’s four new movies explore his continued interest in language and the construction of identity. Incorporating repurposed footage from 1999—while the artist was in high school—as well as a wealth of new material shot on a 360-degree sound stage, the works present structural innovations in the nature of film, scriptwriting, and collaboration. Through a visual language of seeming chaos, he propels a conversation about life today and the profound and still uncertain ways in which humans will be affected by the digital era. Ryan Trecartin is in attendance to introduce this screening.


Sagrada – The Mystery Of Creation
La Sagrada Familia in Barcelona: a unique, fascinating building project with Antoni Gaudí, a brilliant architect, an enormous number of workers and a history full of extreme highs and lows. The history of this building, which has been under construction since 1882 and is today only half finished, is the point of departure for a film about this mysterious process of “creation,” the question of our human creative power and to what ends we would like to use it. 2012, 89 min, Director: Stefan Haupt


Salvatore Giuliano
1962, 123 min, black and white, DCP
Written by Suso Cecchi D’Amico, Enzo Provenzale, Francesco Rosi, Franco Solinas; directed by Francesco Rosi; with Salvo Randone and Frank Wolff
Includes a conversation with director James Gray
For nearly two decades, the Hollywood Foreign Press Association (HFPA) has provided enormous support for the ongoing restoration of classic films. With funding provided by the HFPA, The Film Foundation (TFF) has completed the restoration of 85 films. On March 13, the HFPA, in partnership with TFF and Film Independent at LACMA, premieres its restoration of Salvatore Giuliano, as part of its continuing celebration honoring HFPA’s commitment to film preservation.
This month offers the final installment of the restoration series underwritten by the HFPA: Francesco Rosi’s superb 1962 social melodrama, Salvatore Giuliano. Rosi, who Martin Scorsese calls “one of the true masters of cinema,” worked with cowriters Suso Cecchi d’Amico, Enzo Provenzale, and Franco Solinas to build a potent and intense meditation around one of Italy’s most infamous real-life figures.
A polarizing black marketer who simultaneously made his place in the annals of Italian history and the country’s popular culture, Giuliano and his reign of crime were breathlessly covered by the press. He was a combination of Robin Hood and Clyde Barrow—his life could easily be interpreted through art. Indeed, the influence of Rosi’s seminal torn-from-the-headlines drama can be felt in former Esquire magazine editors Robert Benton and David Newman’s script for Bonnie and Clyde, the film of which was directed by Arthur Penn.
But Rosi’s take on the titular character eschews pop flamboyance for a studied, documentary-like intimacy. In the film, Giuliano doesn’t exist so much as a camera subject as he does a ghostly presence alluded to by others—a technique adopted by Andrew Dominik for his 2007 film The Assassination of Jesse James by the Coward Robert Ford. Despite this approach, Giuliano’s impact on Italy is undeniable. And Rosi’s starkly hypnotic vision, told in a style that left its stamp on later works such as Alejandro Gonzalez Inarritu’s Amores Perros, has a timeless richness that endures and continues to motivate filmmakers in search of a deeper truth.
Restored by Cineteca di Bologna at L'Immagine Ritrovata, in association with The Film Foundation. Restoration funding provided by the Hollywood Foreign Press Association and The Film Foundation.


The Sandwich Man (Taiwan, 1983)
Directed by Hou Hsiao-hsien, Wan Jen, Jong Cheung-Tsang
Based on short stories by the nativist writer Huang Chunming, the three episodes in this film explore the local and everyday effects of distant modernizing forces in Taiwan during the 1960s. One of the seminal films of the Taiwan New Cinema, The Sandwich Man launched the careers of its three young directors and shaped Taiwan’s onscreen image for years. 
Producer: Ming Ji. Screenwriter: Wu Nien-chen. Cinematographer: Chen Kun Hao. Editor: Liao Ching-song. Cast: Chen Bo Jeng, Cho Sheng-li, Chiang Hsia, Jing Ding, Yang Li-Yin. Digital video, color, in Mandarin and Taiwanese with English subtitles, 102 min.


SCAVENGER HUNT
After our own years-long search, we’ve finally located a 35mm print of this rollicking not-on-DVD, not-to-be-missed rarity! It’s a rib-tickling shot to the funny bone, as a mind-boggling, all-star cast competes against each other in a $200 million race against time. The will of the dearly-departed eccentric game inventor Milton Parker (Vincent Price) is specific: his fifteen would-be heirs are to participate in a highly unusual scavenger hunt, winner take all. Filled to the brim with that-guys and what’s-’er-names, Scavenger Hunt is a veritable clown car of crazed character actors, legendary stars and those long forgotten — all in a barrage of kooky cameos: Richard Benjamin, Scatman Crothers, Ruth Gordon, Cloris Leachman, Cleavon Little, Roddy McDowall, Tony Randall, a young Arnold Schwarzenegger and many, many more. Plus, it’s a wild dash through the San Diego Zoo, the streets of Hollywood and the mad, mad, mad, mad world of Southern California, as the film highlights an amazing batch of our own Southland locales. Did we mention that it’s also from Michael Schultz — the director of Car Wash, The Last Dragon and Sgt. Pepper’s Lonely Hearts Club Band?! Dir. Michael Schultz, 1979, 35mm, 116 min.


Shelly Silver: Intimate Visions and Public Spaces
"By staking her right to documentary material as well as fictional writing, Shelly Silver sizes up the likelihood of an imaginary point of view reaching a truth more subtle than autobiographical truth." —Cinema du Reel
This screening of two works by Shelly Silver begins with What I'm Looking For (2004, digital video, 15 min.), the second in her trilogy of fictional essay films shot in public spaces, which explores the relationship between a female photographer and subjects met on the Internet. The program continues with Touch (2013, digital video, 68 min.), in which a gay man recounts, mostly in Mandarin, his return to New York’s Chinatown after 50 years in order to care for his dying mother. Like the narrator—a librarian, cataloguer and recorder—the city has changed and yet the past still haunts familiar streets. The character is an invention of the filmmaker, but as her narrator confides, “words make the impossible imaginable, therefore possible.” Currently chair of Columbia’s Visual Arts Program, Silver has utilized video, film and still photography to investigate contested territories between public and private, narrative and documentary, the watcher and the watched.


Side Street (1950)
Directed by Anthony Mann
A hard-up postman with a baby on the way impulsively steals an envelope of cash, but his ill-considered moment of weakness leads him on a fatalistic descent into a seamy underworld of gangsters, call girls, and unlucky corpses. The starkly photographed architectural jungle of director Anthony Mann’s isolating, imposing Manhattan presages the forbidding mountain ranges of his later Westerns.
Metro-Goldwyn-Mayer Corp. Producer: Sam Zimbalist. Screenwriter: Sydney Boehm. Cinematographer: Joseph Ruttenberg. Editor: Conrad A. Nervig. Cast: Farley Granger, Cathy O’Donnell, James Craig, Paul Kelly, Jean Hagen. 35mm, b/w, 83 min.


16 Acres
The rebuilding of ground zero is the most architecturally, politically, and emotionally complex urban renewal project in American history. From the beginning, the effort has been fraught with controversy, delays and politics.  The struggle has encompassed ten years, nineteen government agencies, a dozen projects, and over $20 billion.
16 ACRES is the inside story of the last ten years at the site, told by the key players who have shaped it. At the heart of the narrative is the dramatic tension between noblest intentions and the politics, hubris, and ideology that is the bedrock of New York. "We wanted an answer to the question: what's the real story behind why it's taken so long to rebuild?" says writer/co-producer Matt Kapp. "To our surprise, no other documentaries had attempted to answer that question." Few Americans, even New Yorkers, know much about what has really gone on behind the scenes.
As with all great urban projects, from the Pyramids to Rome’s Coliseum to Rockefeller Center, a small group of powerful people will dictate the outcome. Who are they and what motivates them? "Our core creative approach was to tell the story fundamentally as a first-person narrative – without any narration – told by the key players themselves," says director/editor Richard Hankin. "Many of them are true New York characters, and in many ways it's a quintessentially New York story." 2012, 90 min, Director: Richard Hankin


Small New Films
“Mysterious and lush explorations of the visual world... Rick Bahto’s Super 8mm films play like formalist, haiku-like postcards to distant friends.” —San Francisco Cinematheque
Since 2002, the Echo Park Film Center (EPFC) has been an influential proponent of small-gauge film, particularly Super 8mm and 8mm. This survey of handmade films affirms the independent spirit of the EPFC community in an aesthetically eclectic range of works from personal diary films to cross-disciplinary collaborations, from documentary portraiture to hand-processed abstraction. Drawing on young experimenters from the center’s education and residency programs as well as artists commissioned to make brand-new films for EPFC’s 12-year anniversary, the program includes Kate Brown’s 4X3, Marilyn Hernandez’s Perforated Damage, Alee Peoples’ Waxing and Milking, a film for two projectors by Rick Bahto, and shorts by Paul Clipson, Chloe Reyes and Pablo Valencia—all projected from Super 8 or 8mm camera originals. Co-sponsored by the Echo Park Film Center.  Curated by Rick Bahto. 


Soledad's Shawl (El Rebozo de Soledad) (Mexico, 1952)
Directed by Roberto Gavaldón.  
Alberto Robles (Arturo de Córdova) is a doctor serving an impoverished rural community.  Mindful of the brilliant career he could be enjoying in Mexico City, his resulting ambivalence is complicated by his attraction to poor Soledad (Stella Inda), who has also caught the attention of an exploitative local political boss.  De Córdova’s understanding of warring, internal impulses is perfectly modulated for this stirring portrayal of conscience in action. Producer: Eduardo Fernández, Rodolfo Landa. Screenwriter: Javier López Ferrer, José Revueltas, Roberto Gavaldón. Cinematographer: Gabriel Figueroa. Editor: Charles L. Kimball. Cast: Arturo de Córdova, Stella Inda, Pedro Armendáriz, Carlos López Moctezuma, Domingo Soler. 35mm, b/w, in Spanish with English subtitles, 108 min.


SOUTHSIDE 1-1000
1950, Warner Bros., 73 min, USA, Dir: Boris Ingster
Slam-bang crime drama courtesy of the King Brothers is highlighted by downtown L.A., Hollywood and San Quentin prison locations as Don DeFore goes undercover to smash up a counterfeiting ring. Sultry Andrea King, George Tobias, Barry Kelley and Morris Ankrum co-star. Introduction by Alan K. Rode of the Film Noir Foundation.


STOPPED ON TRACK
Germany, 2011, 110 min., German with English subtitles.
Starring Milan Peschel, Steffi Kühnert, Inka Friedrich
This intelligent and startlingly raw drama portrays a German postal worker's small window of time between the diagnosis of a terminal brain tumor and death. After Frank learns of his suddenly truncated future, he and wife Simone must wrestle with breaking the news to their children, and with Frank's increasingly erratic - even hostile - behavior. Trenchant observations and true-ringing moments emerge from the cast's entirely improvised dialogue 


STRANGE BEHAVIOR
Teenage students become mindless killers after volunteering for an experimental college program. Michael Murphy stars as the police chief father looking for answers. With Fiona Lewis, Louise Fletcher, Dan Shor, Arthur Digham, Dey Young and Scott Brady as a Chicago cop. Set in Galesburg, Illinois but filmed, strangely enough, in New Zealand. Another original thriller from the director of Strange Invaders. AKA Dead Kids. 1981, Australia/USA/New Zealand, 35mm, 87 minutes. Directed by Michael Laughlin; written by Bill Condon; music by Tangerine Dream


The Stranger (Aguntuk) (1991), 120 mins.
In his final film, Ray tells the story of a bourgeois couple who receive news that a man claiming to be the wife’s long-lost uncle will be staying with them after years of travel. The Stranger is a complex and humane portrait of a world both corrupt and sadly beautiful.


Stray Dogs (Taiwan/France, 2013)
Los Angeles Premiere!
Tsai Ming-liang searingly renders the situational and emotional experiences of a homeless family in remote, indifferent Taipei, with a pendant beauty that suggests memory and dream more than actual presence. Highly figurative and enigmatic, the film shuttles its characters between alienating atmospheres where the filmmaker’s languorous treatment of duration, and performances qualifying as almost pure pantomime, hauntingly pose the question: what is next for these human souls? 
Producer: Jacques Bidou, Marianne Dumoulin. Screenwriter: Tung Cheng Yu, Song Peng Fei, Tsai Ming-liang. Cinematographer: Liao Pen Jung, Sun Wen Jong. Editor: Lei Chen Ching. Cast: Lee Kang-sheng, Lee Yi-chieh, Lee Yi-cheng, Lu Yi-ching, Chen Shiang-chyi. Digital video, color, in Mandarin with English subtitles, 138 min.


SWEET BLUES: A Film About Mike Bloomfield
Filmmaker Bob Sarles (in person) together with his longtime partner Christina Keating, through their production company Ravin’ Films, have produced documentary and concert films about artists including Jefferson Airplane, John Lee Hooker, Dr. John, Phil Lesh, Otis Redding, Buddy Guy, Stax Records and the psychedelic music era for clients including The Rock and Roll Hall of Fame, The Stax Museum of American Soul Music, VH1, Columbia Records, Time Life and PBS.  They are currently in production on a documentary film about American satirist and counter culture hero Paul Krassner.  We will be presenting their latest film about the late great blues guitarist Mike Bloomfield as well as some choice nuggets from their extensive body of music related films. 


The Tall Target (1951)
Directed by Anthony Mann
A terse historical thriller in which hard-boiled New York City cop Dick Powell operates outside the law to thwart a plot to assassinate Abraham Lincoln as he travels to his inauguration.  Paranoia and suspicion permeate the shadowy confines of the train as the broodingly relentless Powell strives to identify the conspirators and expose their machinations.  
Metro-Goldwyn-Mayer Corp. Producer: Richard Goldstone. Screenwriter: George Worthing Yates, Art Cohn. Cinematographer: Paul C. Vogel. Editor: Newell P. Kimlin. Cast: Dick Powell, Paula Raymond, Adolphe Menjou, Marshall Thompson, Ruby Dee.  35mm, b/w, 78 min.


TELOS: The Fantastic World of Eugene Tssui
“Telos: The Fantastic World of Eugene Tssui” presents the vision of a maverick architect inspired by nature’s form and function. Tssui’s ideas, always focused on sustainability, have been ahead of their time for over thirty years. Tssui is a man who, in his own words, is trying to do no less than to “change the world.”
“Telos” constructs a complex portrait of a fascinating character fueled by unswerving selfassuredness and unyielding creativity. The opening montage introduces his aesthetic, featuring architectural models with vibrant colors and unusual shapes that conjure images of enormous plants, birds or insects. Undaunted by the slow pace of acceptance for his radical ideas Tssui sports a serious expression…and a high-collared, purple sequined suit. What first appears to be a questionable fashion choice is later explained as the prototype for a wearable, solar energy capture system. His non-conformist attire is another avenue for Tssui to explore his pedagogical principles: conscious design for social evolution with creativity as an integral factor. There is more to this man than first meets the eye. 2014, 58 min, Director: Kyung Lee


TENSION
1949, Warner Bros., 95 min, USA, Dir: John Berry
Vampy sexpot Audrey Totter is married to mild-mannered druggist Richard Basehart - but she sleeps with every “real man” she sees. So Basehart takes the noir way out - kill his wife’s lover and disappear into a new identity. But cops Barry Sullivan and William Conrad smell a rat. Then Audrey and Barry eye each other ... and the tension is stretched to the breaking point. John Berry’s expert direction steamrolls plot holes flat - and Audrey is a 100-proof hoot. Introduction by Alan K. Rode of the Film Noir Foundation.


A Thesaurus of Horrors: A History of the Fear of Premature Burial
Librarian Megan Rosenbloom, director of Death Salon, takes you on an exploration of the Victorian obsession with premature burial based on books from the era, and how those hilariously lurid books inspired the works of Edgar Allan Poe. Megan will delve into some of the purported tales of live burial, the entrepreneurs who made safety coffins, the societies formed to protect against this primal fear, and how this fear trickles down into our modern culture.


THE THIEF OF BAGDAD (1924)
1924, Warner Bros., 155 min, USA, Dir: Raoul Walsh
Raoul Walsh performs a high-wire act as director and comes out the winner in this magical melange of fantasy and fun. Working with his good friend, actor-producer Douglas Fairbanks, proved a match made in Hollywood heaven. Walsh's fine, realistic tone keeps Fairbanks in check as the actor tries again and again to go for physical hijinks and enough balletic action to take the audience's breath away. There are special effects galore, some of them straight from Walsh's imagination. Production design by the great William Cameron Menzies adds just the right zing to Fairbanks' and Walsh's vision in this tale about a clever thief named Ahmed who steals the heart of a princess and must win her love in the end. It's an Arabian Nights fantasy that Walsh infuses with gusto and bravado. The sets are sumptuous and the characters deliciously entertaining in this landmark silent film, one of the highlights of Walsh's earlier career. Also featuring the seductive Anna May Wong and a beautiful Julanne Johnston. Originally premiered at the Egyptian Theatre!
Douglas Fairbanks historian Tracey Goessel will give a 30-minute illustrated presentation on Fairbanks and his work on THE THIEF OF BAGDAD on the exact 90th anniversary of its original premiere at the Egyptian Theatre. She will also display some Fairbanks artifacts from her collection.


THOU GILD'ST THE EVEN
In a small Anatolian town life goes on: Cemal is an assistant referee in football games, Yasemin works in an egg factory, Defne is a street vendor who sells books, Doctor Irfan is occupied with his patients... In this town with two suns and three full moons in the sky, Cemal, who can see through the walls, has no expectation out of life and looks for a way out with Yasemin, who can move objects with her fingers, as he tries to deal with the distress that fell on his. However, Defne, who can freeze time, will muddle things up and actions of Yasemin’s immortal boss will contradict the invisible elementary school teacher’s advice, who is trying to eliminate the worries of Cemal. Written and Directed by: Onur Unlu. Run time: 107 minutes


The Tin Star (1957)
Directed by Anthony Mann
A bounty hunter (Henry Fonda), once a lawman, finds it necessary to don the “tin star” once again, to support a local sheriff (Anthony Perkins) in keeping civic order and tamping down mob rule.  Hardly more lawful than the murderous outlaws they pursue, the townspeople figure here as the real narrative problem: manifesting the threat of violence as a danger that lurks not without, but within. 
Pearlsea Co., Paramount Pictures Corp. Producer: William Perlberg, George Seaton. Screenwriter: Dudley Nichols, based on a story by Barney Slater. Cinematographer: Loyal Griggs. Editor: Alma Macrorie. Cast: Henry Fonda, Anthony Perkins, Betsy Palmer, Michel Ray, Neville Brand. 35mm, b/w, 93 min.


To Its Logical Conclusion: Films on Decay, Debris, and Demolition
Filmmakers Jason Byrne and Laska Jimsen in person!
Implicit in the reality of decay, debris, and demolition is the idea of what came before, what no longer exists, and what now only lives in memory and experience.  Our encounters with landscapes, buildings, and objects are deeply subjective and vividly personal, but the connective potential of those experiences and the inherent poignancy their ephemerality brings, are perhaps uniquely suited to motion pictures as a vehicle of expression.  This program features five works which look at decay and demolition, transformation and transubstantiation, as embodied in the landscapes and spaces that surround us.
Los Angeles Filmforum has for some time been eager to screen Jason Byrne’s remarkable SCRAP VESSEL, in which the filmmaker’s journey on a freighter destined for the scrapheap becomes an exploration of space which collapses history, time, and memory in a beautifully rendered, multilayered, audiovisual portrait.  Screening with SCRAP VESSEL is Laska Jimsen’s sharp, strangely touching examination of a Christmas tree processing facility, BEAVER CREEK YARD, and Vanessa Renwick’s trio of PORTRAIT films, which examine three different structures in the Pacific Northwest that represent a varied, open-ended conflict within their surroundings.
TRT: 79min.


TOO LATE FOR TEARS
1949, 99 min, USA, Dir: Byron Haskin
A ruthless housewife is determined to keep an ill-gotten satchel of cash, even if it means murder. One of the great noirs of the classic era, long thought lost but now returned to the big screen! Starring Lizabeth Scott, Dan Duryea, Arthur Kennedy. Introduction by Eddie Muller and Alan K. Rode of the Film Noir Foundation.


TRANSFER
A wealthy, aging couple has their minds transferred into healthy, youthful bodies, but find their arrangement turning unpredictable after learning their hosts can reclaim their flesh for four hours each night. Dir. Damir Lukacevic, 2011, 1 hr 33 min.


TWO MEN IN MANHATTAN
DEUX HOMMES DANS MANHATTAN
1959, Cohen Film, 84 min, France, Dir: Jean-Pierre Melville
When a French delegate to the United Nations vanishes into thin air, two French journalists comb nocturnal Manhattan in search of answers. Melville's obsession with the look and sound of American culture is given free rein in this jazzily directed homage to film noir and New York. In French and English with English subtitles. Introduction by Eddie Muller of the Film Noir Foundation.


UNDER THE SKIN
The Los Angeles premiere of Under the Skin, the new sci-fi thriller starring Scarlett Johannsen and directed by Jonathan Glazer (Sexy Beast, Birth). Surreal, sexy and downright terrifying, the film's story is told obliquely, heightening the feeling of an other-wordly horror. A brilliant avant music score and spectacularly unusual special effects complete the atmosphere. Scarlett plays an alien visitor disguised in human skin preying on men in her most genuinely daring performance. (2014, 108 mins). Director Jonathan Glazer and composer Mica Levi will be in-person to discuss the making of this sci-fi masterpiece. Co-presented by Cinefamily. 


WHAT HAVE THEY DONE TO YOUR DAUGHTERS?
Giallo! Poliziotteschi! The two great Italian genres of the 1970s — the horror-/psycho-thriller and the cop-oriented action flick — collide in this heart-stopping explosion of pure sleazoid excitement. While investigating the suicide of a young girl, hard-nosed detectives piece together details of a teenage prostitution racket, pitting our heroic crime solvers against a black-gloved, hatchet-wielding motorcycle maniac. Director Massimo Dallamano (legendary cinematographer on A Fistful of Dollars and For a Few Dollars More) followed his exploitation classic What Have They Done To Solange? with another violent tale of schoolgirls in peril, adding gruesome savagery to an atmospheric police procedural, contrasting brutish thrills with stunning Techniscope cinematography. Showcasing a lush Stelvio Cipriani score and highly memorable set pieces (the frenzied, propulsive chase sequence will leave your jaw on the floor), Daughters is exciting, heavy stuff — the kind of entertainment best experienced on the big screen. And, it’s never been available on DVD, or even VHS in the States! Dir. Massimo Dallamano, 1974, 35mm, 96 min.


WHAT TIME IS IT THERE?
Directed by Tsai Ming-liang
For two decades the Malaysian-Taiwanese auteur Tsai Ming-liang has explored spatial, temporal, and psychological displacement in the global city. Here Tsai’s perennial leading man Hsiao-Kang sells his dual time wristwatch to a young woman about to leave Taipei for Paris. Despite the earthly time zones that separate them, they find a connection via memory, ghosts, and—thanks to Truffaut alter ego Jean-Pierre Léaud—the cinema itself.
Producer: Bruno Pesery. Screenwriter: Tsai Ming-liang, Yang Pi-ying. Cinematographer: Benoît Delhomme. Editor: Chen Sheng-chang. Cast: Lee Kang-sheng, Chen Shiang-chyi, Lu Yi-ching, Miao Tien, Jean-Pierre Léaud.  35mm, color, in Mandarin, Taiwanese and French with English subtitles, 116 min. 


Winchester '73 (1950)
Directed by Anthony Mann
Cowboy Lin McAdam wins a prized Winchester rifle in a contest, only to have it stolen by a rival. Unbeknownst to McAdam, the rival is actually a long lost brother who had murdered their father, setting off an epic, Cain-and-Abel struggle between good and evil. Winchester ’73 helped kick off a tidal wave of complex, adult Westerns in the 1950s that eschewed the genre’s previously black and white morality.
Universal-International Pictures Co., Inc. Producer: Aaron Rosenberg. Screenwriter: Robert L. Richards, Borden Chase. Cinematographer: William Daniels. Editor: Edward Curtiss. Cast: James Stewart, Shelley Winters, Dan Duryea, Stephen McNally, Rock Hudson. 35mm, b/w, 92 min.