We invite you to explore the Academy Museum of Motion Pictures' inaugural Film Calendar. This bi-monthly guide covers our film series, retrospectives, spotlights, and special screenings, all inspired by the museum's dynamic exhibitions.
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TABLE OF CONTENTS
Limited Series and Spotlights
Monstrous: ���������������������������������������������������������������������������������������������������� 6–19 The Dark Side of New Korean Cinema Mexico Maleficarum:����������������������������������������������������������������20–39 Resurrecting 20th Century Mexican Horror Cinema Dorothy Dandridge and Ruby Dee:����������������������������������40–55 A Shared Centennial Hollywood Chinese:��������������������������������������������������������������������������������56–87 The First 100 Years
Ongoing Series
Family Matinees����������������������������������������������������������������������������������88–101
Oscar® Sundays��������������������������������������������������������������������102–115
Branch Selects�����������������������������������������������������������������������116–127
Available Space������������������������������������������������������������������������������128–137
Hours, Membership, Pricing�������������������������������������������138–139
Calendar at a Glance���������������������������������������������������������140–144
Academy Museum Theaters DGT: David Geffen Theater TMT: Ted Mann Theater
All films not in English are subtitled, unless otherwise noted. All screenings, film formats, and guests are subject to change without notice.
Oct 1 – 29
MONSTROUS: THE DARK SIDE OF NEW KOREAN CINEMA
THIRST, 2009
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The start of the new millennium found Korea undergoing tremendous growth and transformation. Impacted by historical changes in politics and the economy in the 1990s, Korea realized major societal developments in the early 2000s, contributing to its industrial and cultural globalization, including that of Korean cinema. This series of events created opportunities for a new generation of directors to expand boundaries in filmmaking and explore new types of storytelling and artistic visions suitable for the nation’s new cultural freedom and values. A leading director of this new generation is Park Chan-wook (b. 1963)—“who put Korean cinema on the map” ( The New York Times , 2017). Park majored in philosophy in college where he encountered Alfred Hitchcock’s Vertigo (1958) and decided to become a director. When his fifth feature film, Oldboy (2003), became an international sensation, it introduced a new type of Korean horror film, creating a new cinematic language with an exceptional artistic sensibility that was supported by a production budget and practice marked- ly influenced by Hollywood blockbusters. As a result, new kinds of narratives emerged, breaking away from the general plotlines that reigned supreme in traditional Korean horror films (mostly from the 1960s) that centered on female ghosts taking vengeance, often generated by family drama. This series, bookended by two works of Park Chan-wook ( Oldboy and Thirst ), highlights the first decade of the 21st century to examine the complexities of Korean genre films, and their aesthetics and narratives in the context of a country amidst a changing world at the dawn of a new millennium. Presented in part by a grant from the Korea Foundation, the series also in- troduces viewers to the filmmakers who pioneered the global establishment of Korean horror films whose storylines span from domestic issues to war, serial killing, colonial trauma, and foreign intervention.
Films in this series contain graphic content; viewer discretion is strongly advised.
Programmed and notes by Hyesung ii
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OLDBOY, 2003, image courtesy of NEON
KOREAN HORROR
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Oldboy
Sat, Oct 1 | 7:30pm | TMT
Dae-su, a middle-aged drunkard and white- collar worker, has neither ambition nor purpose in life. One rainy night, Dae-su’s life takes a horrific turn: he is abducted and imprisoned in a windowless room for 15 years without explanation. After his release, he must find the reason for his captivity and seek redemp- tion. Oldboy , the second film in The Vengeance Trilogy of director Park Chan-wook, captivated international audiences upon its release. This film explosively explores the brutal extremes of the complex, visceral human instinct through the sophisticated lenses of storytelling, stun- ning visual compositions, and a meticulously curated soundtrack that often contradicts the brutal violence presented in its scenes.
DIRECTOR: Park Chan-wook.
WRITTEN BY: Park Chan-wook.
CAST: Choi Min-sik, Yoo Ji-tae, Kang Hye-jeong. 2003. 120 min. South Korea. Color. Scope. Korean. Rated R. DCP.
New remastered 4k DCP, courtesy of NEON.
R-Point
Sat, Oct 8 | 3pm | TMT
Kong Su-chang's directorial debut feature, R-Point , is a wartime horror film set in the early 1970s during the Vietnam War. A unit of Korean soldiers is dispatched to investigate the disappearance of an entire military squad in the desolate region known as R-Point. Terrifying events unfold as the horrific history of R-Point haunts the dispatch unit. Kong’s honest and insightful depiction of Korean soldiers in the Vietnam War is rather compli- cated—they are perpetrators of violent war crimes, but also victims of the war driven by imperialism. Horror triggered by global trauma is an unsettling theme explored in R-Point .
DIRECTOR: Kong Su-chang.
WRITTEN BY: Kong Su-chang, Pil Yeong-woo.
CAST: Kam Woo-seong, Lee Sun-kyun, Son Byung-ho.
2004. 107 min. South Korea. Color. Korean. Rated R. 35mm.
Print courtesy of KOFA.
R-POINT, 2004
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The Host
Mon, Oct 17 | 7:30pm | TMT
Oscar-winning director Bong Joon-ho's third feature film, The Host , is a monster blockbuster starring Song Kang-ho ( Parasite ) as Park Gang-du. The film begins with a US military doctor (the late Scott Wilson) ordering his assistant to illegally dump toxic chemicals down a drain that leads to the Han River. Sev- eral years later, a mutated monster emerges from the river to wreak havoc on Seoul. When the monster abducts his daughter, Gang-du and his squabbling family band together to rescue her. Equal parts creature feature, dysfunctional family comedy, and political satire, The Host is a monumental work.
DIRECTOR: Bong Joon-ho.
WRITTEN BY: Bong Joon-ho, Ha Won-jun, Baek Chul-hyun. CAST: Song Kang-ho, Byun Hee-bong, Park Hae-il, Bae Doona. 2006. 120 min. South Korea. Color. Korean. Rated R. 35mm.
Bedevilled
Sat, Oct 22 | 3pm | TMT
Longtime assistant director to Kim Ki-duk, Jang Cheol-soo's debut feature Bedevilled is a horror thriller set in Moo-do, a remote island of nine residents, where Bok-nam (Seo Young-hee from The Chaser ) is treated like a slave by her husband and the rest of the Moo-do residents. Tired of the relentless torture and abuse, Bok-nam plans an escape with her daughter, which ends in tragedy, leaving her in absolute despair. Driven by brutal rage, Bok-nam must seek revenge on those who have been “unkind” to her.
DIRECTOR: Jang Cheol-soo.
WRITTEN BY: Choi Kwang-young.
CAST: Seo Young-hee, Ji Sung-won, Park Jeong-hak, Bae Seong-woo. 2010. 115 min. South Korea. Color. Scope. Korean. 35mm.
Print courtesy of KOFA.
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THE HOST, 2006, image courtesy of Magnet Releasing
KOREAN HORROR
EPITAPH, 2007, image courtesy of 9ners Entertainment
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THE CHASER, 2008
KOREAN HORROR
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The Chaser with Epitaph
Fri, Oct 28 | 7:30pm | TMT
The Chaser
Inspired by the true story of Yoo Young-chul, one of Korea’s most infamous serial killers, The Chaser is the debut feature of Na Hong- jin ( The Wailing ). Joong-ho, a corrupt ex-cop turned heartless pimp, finds himself in debt when two of his girls mysteriously disappear. Suspicious of the last patron of the missing women, Joong-ho hatches a plan to “bait” the customer with another woman, Mi-jin. Amidst its dizzying suspense, terrifying bloody violence, and breathless chase scenes, The Chaser imagines what justice looks like under a socio-political system that is neither prac- tical nor sympathetic to victims of violence, corruption, and modernization.
DIRECTOR: Na Hong-jin.
WRITTEN BY: Na Hong-jin, Hong Won-chan, Lee Shinho.
CAST: Kim Yoon-seok, Ha Jung-woo, Seo Yeong-hee.
2008. 123 min. South Korea. Color. Scope. Korean. 35mm.
Epitaph
Epitaph , directed by brothers Jung Sik and Jung Bum-shik, is a horror film composed of three bizarre stories that unfold at the inter- section of love, death, and obsession. At Ansaeng, a hospital located in Kyung-sung during Japanese colonial rule in 1942, a series of inexplicable incidents occurs—an intern becomes obsessed with the corpse of a young woman; a girl, the sole survivor of a horrific accident, is terrorized by ghosts; and two doctors are terrified by serial murders targeting Japanese soldiers. Visually stunning with mesmerizing art direction and arrest- ing shot compositions, Epitaph is a strangely beautiful, atypical entry in the horror genre.
DIRECTOR: Jung Sik, Jung Bum-shik.
WRITTEN BY: Jung Sik, Jung Bum-shik.
CAST: Kim Bo-kyung, Kim Tae-woo, Jin Goo.
2007. 98 min. South Korea. Color. Korean. Not rated. 35mm.
Print courtesy of KOFA.
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I Saw the Devil
Sat, Oct 29 | 3pm | TMT
A Tale of Two Sisters (2003) director Kim Jee- woon teamed up with Choi Min-sik ( Oldboy ) and Lee Byung-hun ( J.S.A. ) in one of the most gruesome vengeance thrillers from Korea. Soo-hyun (Lee) is a top secret agent who loses his fiancé to a horrific murder by a psychopathic killer (Choi). Determined to seek vengeance, Soo-hyun begins an obsessive hunt for the killer. Hardcore, violent scenes are masterly balanced with stylish cinema- tography and chilling chemistry between two brilliant actors, Choi and Lee.
DIRECTOR: Kim Jee-woon.
WRITTEN BY: Kim Jee-woon, Park Hoon-jung.
CAST: Choi Min-sik, Lee Byung-hun.
2010. 144 min. South Korea. Color. Korean. 35mm.
Thirst
Sat, Oct 29 | 7:30pm | TMT
Lee Chang-dong, acclaimed director of Burning (2018) and Secret Sunshine (2007), has said of Park Chan-wook's Thirst that it "could be the most unique vampire film ever made, equipped with overflowing cinematic imagination." Park Chan-wook redefines the vampire genre with a quirky sense of humor and keen insight on the dark territories surrounding the human condition. Song Kang-ho plays a moral priest who acciden- tally turns into a vampire after volunteering for a medical experiment and is faced with the dilemmas of his new existence. In Thirst , Song showcases his exceptional mastery over satire, contributing brilliant and ironic tonality throughout the film.
DIRECTOR: Park Chan-wook.
WRITTEN BY: Park Chan-wook, Jeong Seo-kyeong.
CAST: Song Kang-ho, Kim Ok-bin, Kim Hae-sook, Shin Ha-kyun. 2009. 133 min. South Korea. Color. Scope. Korean. Rated R. 35mm.
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I SAW THE DEVIL, 2010, image courtesy of Magnet Releasing
KOREAN HORROR
Oct 6 – 27
MEXICO MALEFICARUM: RESURRECTING 20TH CENTURY MEXICAN HORROR CINEMA
MISTERIOS DE ULTRATUMBA, 1958, image courtesy of Alameda Films
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A ceremony is about to begin. Bells are tolling. Candles are lit.
“Maleficarum” is the Latin word for witchcraft, which tragically became entangled with religious prosecution and abuse. This series reclaims the word back from the fanatics to use its might to resurrect and protect the psychotronic spirit that blossomed within Mexican horror cinema during its evolution in the latter part of the 20th century. These films have historically been considered outcasts. While audiences enjoyed these delirious tales and box offices gorged on the receipts, the majority of film historians and critics openly denounced the recycled plot lines, genre mashups, and financial straightjackets under which they had to operate. Meanwhile, a peculiar flavor of cinema developed, one wearing a luchador mask, suspending vampire bats with clearly visible nylon thread, and lavishly displaying outlandish facial makeup that ventured beyond the absurd. In this cinematic ecosystem, bizarre filmic flora bloomed into a mystical space within the Mexican cinematic consciousness which revels in unhinged entertainment value, imagination that defies limitations, operatic emotions, a recurrent fear of the feminine, and a constant acknowledgement of the occult. Through the decades, many of these films have enjoyed cruel cycles of euphoric popularity on television, followed by long, quiet hibernation. The time has come to liberate monsters, lusty vampires, witches, deranged scientists, doll people, ghosts, and an Aztec living head from their extended slumber. Hear these sisters and brothers of the night awake. Their existence honors the sheer bravado and passion of the actors and filmmakers who created them. We salute all the institutions, media companies, festivals, historians, and devoted fans, from Mexico and abroad, who have protected the legacy of these films against oblivion. Still today some jewels remain inaccessible, while others are scattered into a limbo of unsupervised transfers and neglect. Join us in a ritual ceremony of resurrection, from the unlit corners of vaults and archives to the mythical canvas of the museum’s screen, where these films will once again face the light beam of the projector and deliver their Mexquisite dark gospel into your souls.
Films in this series contain graphic content; viewer discretion is strongly advised.
Programmed and notes by Abraham Castillo Flores, Guest Programmer Series generously supported by Televisa Foundation-Univision.
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El vampiro with Cronos
Thu, Oct 6 | 7:30pm | TMT
El vampiro (The Vampire)
A young woman returns to her hometown only to find that it is threatened by vampires led by the ominous Count Karol de Lavud, who is keen to take over her family’s property and steal her soul. This lauded tale of blood- lust stands as the cinematic bridge between the Hammer Film Productions and Universal Pictures cinematic interpretations, cementing the horror credentials of actor-producer Abel Salazar, debuting Spanish film actor Germán Robles, and helmer Fernando Méndez.
DIRECTOR: Fernando Méndez.
WRITTEN BY: Ramón Obón.
CAST: Germán Robles, Abel Salazar, Ariadne Welter, Carmen Montejo.
1957. 83 min. Mexico. B&W. Spanish. DCP.
Courtesy of Alameda Films.
Cronos
An antiques dealer discovers an ancient device that opens the doors to immortality and awakens the user to an uncontrollable bloodlust. Going against the conventions and expectations of a film industry that belittled the wonders of national fantasy and horror, Guillermo del Toro proved everyone wrong with his feature film debut which announced to the world the arrival of a new talented horror director who would eventually flourish into a genre patron saint.
DIRECTOR: Guillermo del Toro.
WRITTEN BY: Guillermo del Toro.
CAST: Federico Luppi, Claudio Brook, Ron Perlman, Tamara Xanath. 1993. 94 min. Mexico. Color. Spanish. Rated R. 35mm. Print courtesy of UCLA Film & Television Archive.
MEXICAN HORROR
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EL VAMPIRO, 1957, image courtesy of Alameda Films
LA BRUJA, 1954, image courtesy of Imcine Archive
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EL ESPEJO DE LA BRUJA, 1960, image courtesy of Alameda Films
MEXICAN HORROR
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El espejo de la bruja with El mundo de los muertos
Fri, Oct 7 | 7:30pm | TMT
El espejo de la bruja (A Witch’s Mirror)
Sara is a witch who works as the housekeeper to a deranged doctor prone to femicide. She communicates with ancient and omnipotent spirits through prayer and a magic mirror. Sara craves to avenge the death of her god- daughter and former wife of her employer. A delirious mélange of Rebecca , The Hands of Orlac , and Eyes Without a Face fused by the dark arts and gothic, romantic toxicity, this film is an unmissable yarn of physical and astral retribution.
DIRECTOR: Chano Urueta.
WRITTEN BY: Alfredo Ruanova, Carlos Enrique Taboada. CAST: Rosita Arenas, Armando Calvo, Isabela Corona, Dina de Marco.
1960. 75 min. Mexico. B&W. Spanish. DCP.
Courtesy of Alameda Films.
El mundo de los muertos (The World of the Dead)
DIRECTOR: Gilberto Martínez Solares. WRITTEN BY: Rafael García Travesí & Jesús Sotomayor Martínez. CAST: Santo, Blue Demon, Pilar Pellicer, Carlos León. 1970. 85 min. Mexico. Color. Spanish. DCP. Courtesy of Televisa Foundation - Univision Foundation.
This mercurial and lysergic adventure, which takes place in two different timelines and a crimson-colored netherworld, confirms that being a righteous enforcer for the Spanish Inquisition is dreadful. In his 25th film, Santo faces the spirit of a female devil worshiper who tried to kill his bloodline back in 1670. Now, in 1970, she possesses his fiancée. Watch out for Luciferian worship, witch burnings, heroic luchador Blue Demon under Satanic control, and stock footage of open-heart surgery.
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La maldición de la Llorona with Veneno para las hadas
Sat, Oct 8 | 7:30pm | TMT
La maldición de la Llorona (The Curse of the Crying Woman)
The legend of La Llorona, Mexico's founding fright mother, goes full gothic. Selma, a fiendish witch, manipulates young Amelia into performing a dark ritual to reawaken the withered corpse of Doña Marina, her foremother, better known as La Llorona. An eerie tale of cursed bloodlines and the tempting powers of evil that showcases to full effect the talents of actresses Rita Macedo and Rosita Arenas who, coincidentally, were both pregnant at the time of the shoot.
DIRECTOR: Rafael Baledón.
WRITTEN BY: Fernando Galiana, Rafael Baledón. CAST: Rosita Arenas, Rita Macedo, Abel Salazar, Carlos López Moctezuma.
1961. 80 min. Mexico. B&W. Spanish. DCP.
Courtesy of Alameda Films.
Veneno para las hadas (Poison for the Fairies)
The power play dynamics of childhood BFF relationships are expertly depicted in this scorching story where 11-year-old Veronica is determined to present herself as a witch before her new best friend, the lonely and impressionable Flavia. The crown jewel of the Taboada horror tetralogy, this is the first genre film to win an Ariel Award for Best Picture, along with seven other statuettes awarded by the Mexican Academy of Film Arts and Sciences.
DIRECTOR: Carlos Enrique Taboada.
WRITTEN BY: Carlos Enrique Taboada. CAST: Ana Patricia Rojo, Elsa María Gutiérrez, Leonor Llausás, Carmen Stein. 1984. 90 min. Mexico. Color. Spanish. DCP.
Courtesy of Imcine.
MEXICAN HORROR
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La nave de los monstruos with La cabeza viviente
Sun, Oct 9 | 2pm | TMT
La nave de los monstruos (The Ship of Monsters)
A Venusian spacecraft led by female cosmo- nauts with a cargo of male specimens from across the universe crash lands in rural Mexico. So begins an extravagant, genre-bending tale where sci-fi, western, musical, and horror tropes mutate into a zany experience that only Mexican cinema could concoct. As a robot servant repairs the ship, the cosmonauts deal with the ever-growing attention of a singing cowboy and the violent urges of their extraterrestrial prisoners.
DIRECTOR: Rogelio A. González.
WRITTEN BY: José María Fernández Unsáin & Alfredo Varela Jr. CAST: Ana Bertha Lepe, Lorena Velázquez, Lalo González Piporro, Consuelo Frank.
1960. 82 min. Mexico. B&W. Spanish. DCP.
Print courtesy of Fundacion Televisa-Fundacion Univisión. Special thanks to Evrim Ersoy and Luke Mullen of Fantastic Fest 2019 for the DCP.
La cabeza viviente (The Living Head)
A group of archeologists uncover the tomb of Acatl, a decapitated Aztec General; the maid- en Xochiquétzal; and Xiu, the priest enforcer of ancient gods. A rampage of death, marked by the blade of an obsidian knife, is unleashed toward all of those who desecrated the grave. This historically inaccurate film delivers the Aztec mummy mythos on steroids along with human heart offerings and pre-Hispanic cer- emonial stock footage from a 1960 film about the Virgin of Guadalupe.
DIRECTOR: Chano Urueta.
WRITTEN BY: Federico Curiel, Adolfo López Portillo. CAST: Mauricio Garcés, Ana Luisa Peluffo, Abel Salazar, Germán Robles.
1963. 79 min. Mexico. B&W. Spanish. DCP.
Courtesy of TV Azteca.
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LA INVASION DE LOS VAMPIROS, 1962, image courtesy of Colección y Archivo Fundación Televisa
MEXICAN HORROR
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El vampiro sangriento with La invasion de los vampiros
Fri, Oct 14 | 7:30pm | TMT
El vampiro sangriento (The Bloody Vampire)
In 19th-century rural Mexico, Count Cagliostro instructs his daughter and her fiancé in the family specialty: scientific vampire hunting. Meanwhile their neighbor Count Sigfrido von Frankenhausen drains the blood of young maidens with the help of his perverse house- keeper. An intoxicating gothic tale swamped in sadistic glee, where Frankenhausen falls prey to erotic urges whilst scientists encourage grave robbing for experimentation that promises to save humankind from the furriest vampire in Mexican horror film history.
DIRECTOR: Miguel Morayta.
WRITTEN BY: Miguel Morayta.
CAST: Begoña Palacios, Carlos Agostí, Erna Martha Bauman, Bertha Moss.
1962. 95 min. Mexico. B&W. Spanish. DCP.
Courtesy of Televisa Foundation - Univision Foundation.
La invasion de los vampiros (The Invasion of the Vampires)
The body count rises as Count Frankenhausen expands his reign of terror while a talented acolyte of Count Cagliostro fights to cure vampirism using the black roots of a mandrake tree. A deep fog, an ever-present howling wind, and a giant furry vampire hold sway over this eerie sequel which revels in the conflict between faith and science as the undead keep rising in this opulent gem that would surely make Richard Matheson smile.
DIRECTOR: Miguel Morayta.
WRITTEN BY: Miguel Morayta.
CAST: Carlos Agosti, Erna Martha Bauman, Bertha Moss, Rafael del Río. 1962. 100 min. Mexico. B&W. Spanish. DCP. Courtesy of Televisa Foundation - Univision Foundation.
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El museo del horror with El barón del terror
Sun, Oct 16 | 3:30pm | TMT
El museo del horror (The Museum of Horror)
In early 20th century Mexico, a disfigured man abducts women in order to drench their faces with scalding wax. Police remain clueless. Meanwhile a romantic triangle simmers be- tween Marta, a young nurse; Raul, a peculiar doctor; and Luis, a former actor with a physical disability. This demented, expressionistic yarn follows wax museum horror tropes while mixing heated romance with grave robbers, oneiric episodes of the dead rising, heads in formaldehyde, grotesque decomposed faces, and a couple of musical interludes.
DIRECTOR: Rafael Baledón.
WRITTEN BY: José María Fernández Unsáin.
CAST: Julio Alemán, Patricia Conde, Joaquín Cordero, Olivia Michel.
1964. 85 min. Mexico. B&W. Spanish. DCP.
Courtesy of Televisa Foundation - Univision Foundation.
El barón del terror (The Brainiac)
As Baron Vitelius burns, accused of multiple crimes by the Spanish Inquisition, he curses the bloodlines of his executioners. Some 300 years later, he comes back to sow the seeds of his revenge under a new form: a hairy human- oid brain-eating being with giant crab-like claws and a long, forked tongue. Prepare yourself to meet the most bizarre creature spawned by Mexican cinema who has crossed borders, time, and the limits of the absurd.
DIRECTOR: Chano Urueta.
WRITTEN BY: Federico Curiel, Adolfo López Portillo.
CAST: Abel Salazar, Rubén Rojo, Rosa María Gallardo, Ariadne Welter.
1961. 77 min. Mexico. B&W. Spanish. DCP.
Courtesy of Alameda Films.
MEXICAN HORROR
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EL BARÓN DEL TERROR, 1961, image from the Collection of Filmoteca Unam
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SANTA SANGRE, 1989, image courtesy of AGFA
MEXICAN HORROR
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La bruja with Santa Sangre
Fri, Oct 21 | 7:30pm | TMT
La bruja (The Witch)
A woman with severe facial deformities becomes a vehicle for revenge when she is transformed into a seductive millionaire countess whose mission is to assassinate a trio of big Pharma executives. A dark twist on the Pygmalion story, La bruja is saturated with revenge, the toxic burden of beauty, and pas- sionate quotes from Fritz Lang’s M (1931) trial scene. Emotional misery, issues of self-worth, and an organized underworld of outcasts drench the tainted heart of this devastating film.
DIRECTOR: Chano Urueta.
WRITTEN BY: Alfredo Salazar & Chano Urueta. CAST: Lilia del Valle, Ramón Gay, Julio Villarreal, Charles Rooner.
1954. 90 min. México. B&W. Spanish. DCP.
Courtesy of AGFA.
Santa Sangre
Fenix, a young former member of the circus, escapes from a psychiatric hospital to join his mother Concha, an armless woman who leads a very peculiar religious cult, in this raving tale based on notorious Mexican mass murderer, Goyo Cardenas. Prepare yourself for a spectac- ular spiritual voyage of redemption throughout the nooks and crannies of the tortured heart of the only serial killer with an elephant, clown associates, an assistant with dwarfism, and colorful sequined cowboy outfits.
DIRECTOR: Alejandro Jodorowsky.
WRITTEN BY: Alejandro Jodorowsky, Roberto Leoni, Claudio Argento. CAST: Blanca Guerra, Axel Jodorowsky, Thelma Tixou, Adan Jodorowsky. 1989. 123 min. Mexico/Italy. Color. English. Rated NC-17. DCP. Courtesy of AGFA. Restoration courtesy of Severin Films.
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El escapulario with Misterios de ultratumba
Sat, Oct 22 | 7:30pm | TMT
El escapulario (The Scapular)
A scapular is a necklace with religious motifs that reminds the wearer of their commitment to live a Catholic life. On her deathbed, a woman confesses to a priest the stories of how her three sons escaped from an early grave thanks to her blessed scapular. Set during the Mexican Revolution, this phantasmagoric film explores the labyrinths these characters will- ingly enter as they search to uphold the love, faith, and ideals that define them.
DIRECTOR: Servando González.
WRITTEN BY: Jorge Durán Chávez, Rafael García Travesi, Servando González. CAST: Enrique Lizalde, Enrique Aguilar, Carlos Cardán, Federico Falcón.
1968. 85 min. Mexico. B&W. Spanish. DCP.
Courtesy of Nuevo Cinema Latino. Special thanks to VCI Entertainment.
Misterios de ultratumba (The Black Pit of Dr. M)
In a 19th century psychiatric hospital, two doc- tors make a pact: he who dies first will reveal to the other what happens after death. The quest for this poisoned knowledge initiates a doomed expressionistic tale in the tradition of W.W. Jacobs and Edgar Allan Poe. Allow your retinas to be drawn into this vortex of sick obsession where the dead will rise, flesh will corrode, and a ghost will do everything possi- ble to keep his word.
DIRECTOR: Fernando Méndez.
WRITTEN BY: Ramón Obón.
CAST: Rafael Bertrand, Gastón Santos, Mapita Cortés, Carlos Ancira.
1958. 82 min. Mexico. B&W. Spanish. DCP.
Courtesy of Alameda Films.
MEXICAN HORROR
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Muñecos infernales with Hasta el viento tiene miedo
Sun, Oct 23 | 2pm | TMT
Muñecos infernales (The Curse of the Doll People)
Stealing religious artifacts for private collec- tions is never a good idea. When perpetrators of such sacrilege start dying under mysterious circumstances, a scholar and a medical doctor trying to unravel this enigma come face to face with Zandor, a powerful voodoo warlock and his band of harrowing doll-men assassins. While politics and cultural appropriation might be muddled in this creepy tale, in all fairness, Zandor’s revenge has a very solid point.
DIRECTOR: Benito Alazraki.
WRITTEN BY: Alfredo Salazar.
CAST: Elvira Quintana, Ramón Gay, Roberto G. Rivera, Quintín Bulnes. 1961. 80 min. Mexico. B&W. Spanish. DCP. Courtesy of Cinematográfica Calderón. Special thanks to Viviana García Besné.
Hasta el viento tiene miedo (Even the Wind Is Afraid)
Stepping aside from the realm of luchadores, monsters, and delirious absurdity, writer- director Carlos Enrique Taboada falls back on time-tested gothic traditions. Claudia lives in an all-girls boarding school. She is plagued by nightmares of a student who died of suicide. As other pupils become aware of her presence, the headmistress suppresses any mention of her. It soon becomes apparent a dark secret is being protected which the ghost is determined to uncover.
DIRECTOR: Carlos Enrique Taboada.
WRITTEN BY: Carlos Enrique Taboada.
CAST: Marga López, Maricruz Olivier, Alicia Bonet, Norma Lazareno. 1968. 90 min. Mexico. Color. Spanish. DCP. Courtesy of Nuevo Cinema Latino. Special thanks to VCI Entertainment.
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Las amantes del señor de la noche with Alucarda, la hija de las tinieblas
Thu, Oct 27 | 7:30pm | TMT
Las amantes del señor de la noche (The Lovers of the Lord of the Night)
Within a patriarchal provincial household of the 1980s, a teenage girl discovers the thorny ways of young love. At the height of roman- tic conflict, she turns to black magic under the guidance of the local sorceress. She soon discovers that the dark arts always deliver but like credit cards you have to pay them back… with interest. Isela Vega, best known as a dar- ing actress, directs her first and only feature film which demands reappraisal.
DIRECTOR: Isela Vega.
WRITTEN BY: Hugo Argüelles, Isela Vega. CAST: Isela Vega, Irma Serrano, Emilio Fernández, Elena de Haro. 1983. 75 min. Mexico. Color. Spanish. Rated R. DCP. Courtesy of Shaula Luke & Arturo Vázquez. Film Digitized by Estudios Churubusco Azteca with the generous support of the Academy Film Archive.
Alucarda, la hija de las tinieblas (Alucarda)
Cultural maverick and iconoclast Juan López Moctezuma went supernova in this scorching film sensation that raised eyebrows worldwide despite corrosive criticism and financial failure in Mexico. The love between Alucarda and Justine ignites an unforgettable film saturated with Catholic torture galore, full satanic rituals emulating the works of Goya, explosions of loud hysterical prayer, nuns who look like blood-drenched mummies, vampiric episodes, and alleged demonic possession. This is uncut Mexican nunsploitation of the highest order.
DIRECTOR: Juan López Moctezuma.
WRITTEN BY: Alexis Arroyo, Tita Arroyo, Juan López Moctezuma, Yolanda López Moctezuma. CAST: Claudio Brook, Tina Romero, David Silva, Susana Kamini.
1977. 75 min. Mexico. Color. English. Rated R. DCP.
Courtesy of Festival Internacional de Cine de Morelia. Special mention to their Projection Department for generating the existing materials. Special thanks to Pete Tombs & Manuel Santillán Durán.
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ALUCARDA, LA HIJA DE LAS TINIEBLAS, 1977, image courtesy of Cineteca Nacional Mexico
MEXICAN HORROR
Nov 3 – 25
DOROTHY DANDRIDGE AND RUBY DEE: A SHARED CENTENNIAL
Left: Dorothy Dandridge; Right: Ruby Dee
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→ Don't miss the museum's exhibition Regeneration: Black Cinema 1898–1971 , now on view!
Born just two weeks apart in Cleveland, Ohio, Black American actors Dorothy Dandridge (1922–1965) and Ruby Dee (1922–2014) each started their performance careers on the stage in acts by, for, and about Black folks. Dandridge performed with her sister Vivian on the Chitlin’ Circuit throughout the South before age 10, settling into regular schooling when her mother moved the family to Hollywood in 1930. Dee joined the American Negro Theatre as an apprentice in 1941 while studying for her undergradu- ate degree at Hunter College in New York City. Each broke into cinema—Dandridge in 1935, Dee in 1946—in small roles, race films and all-Black cast productions, working steadily and rising to household name status by the late 1950s. Over careers spanning decades—three for Dandridge and seven for Dee—each performer appeared in over three dozen films and was nominated for an Academy Award. Dandridge, given her earlier start, can claim far more “firsts,” as the first Black woman to grace the cover of Life magazine in 1954 and the first Black woman to be nominated for a Best Actress Academy Award, for Carmen Jones that same year. Dandridge constantly fought to defend her offscreen image, which tabloids mercilessly targeted throughout her career which was cut short in 1965 when she died under mysterious circumstances. Dee’s career achievements—which include an Oscar nomination for Actress in a Supporting Role for American Gangster (2007) when Dee was in her mid-80s—expand beyond Hollywood. She also made her mark—with her husband, filmmaker, actor, and frequent co-star Ossie Davis—as a Civil Rights activist; the couple were named together to the NAACP Image Awards Hall of Fame in 1989. By exploring the careers of Dee and Dandridge, we hope to paint a portrait of the opportunities for Black women actors in “classic” Hollywood. Born in the second year of the second decade of the 20th century, both women experienced the advantages and frustrations of incremental civil rights advancements for Black Americans in their lives and careers, and charted pioneering paths that have cemented their status as icons.
Presented in conjunction with Regeneration: Black Cinema 1898–1971, on view through April 9, 2023 .
Programmed and notes by K.J. Relth-Miller and Bernardo Rondeau
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Edge of the City with St. Louis Blues
Thu, Nov 3 | 7:30pm | TMT
Edge of the City
Martin Ritt’s earnest, gritty portrait of working- class life in New York City is just one of Ruby Dee’s onscreen opportunities to portray a complex woman openly aligned with the actor’s own progressive political beliefs. Based on the 1955 Philco Television Playhouse teleplay “A Man Is Ten Feet Tall,” the chemistry that emanates from Sidney Poitier and John Cassavetes’s friendship is certainly the film’s most memorable relationship. But as the wife of Poitier’s dynamic, uninhibited stevedore, Dee also shines as a friend and partner and holds the film’s emotional center during the tragic third act.
DIRECTOR: Martin Ritt.
WRITTEN BY: Robert Alan Aurthur.
CAST: John Cassavetes, Sidney Poitier, Jack Warden, Ruby Dee.
1957. 85 min. USA. B&W. English. 35mm.
This film print is from the collections of the BFI National Archive.
St. Louis Blues
For this musical biopic about American composer William C. Handy, the self-dubbed Father of the Blues, Paramount assembled an all-star Black cast, including the singular Nat King Cole as Handy, Ruby Dee as his pious sweetheart, and Eartha Kitt as a worldly nightclub singer. Now in her mid-30s and a veteran screen performer, Dee might not win the audience’s favor as her character initially dissuades Handy from composing and performing popular music, but her talent for providing a film's moral compass allows her own journey to acceptance of Handy's first love to guide the narrative's dramatic arc.
DIRECTOR: Allen Reisner.
WRITTEN BY: Robert Smith, Ted Sherdeman.
CAST: Nat King Cole, Eartha Kitt, Cab Calloway, Ruby Dee.
1958. 93 min. USA. B&W. English. DCP.
New DCP courtesy Paramount.
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ST. LOUIS BLUES, 1958
DANDRIDGE & DEE
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BRIGHT ROAD, 1953
DANDRIDGE & DEE
45
Bright Road
Fri, Nov 4 | 2pm | TMT
Dorothy Dandridge’s debut starring film role finds her portraying a novice schoolteacher in a sleepy rural town who bonds with a young boy struggling with his studies (Philip Hepburn in his sole film performance). Presiding over the school is principal Harry Belafonte, making his own cinematic debut. Adapted from an award-winning story by West Indies-raised writer Mary Elizabeth Vroman (the first Black woman to join the Screen Writers Guild thanks to this film adaptation), Bright Road is a bucolic, bittersweet coming-of-age film filled with song and heart.
DIRECTOR: Gerald Mayer.
WRITTEN BY: Emmet Lavery.
CAST: Dorothy Dandridge, Philip Hepburn, Harry Belafonte, Barbara Ann Sanders.
1953. 69 min. B&W. USA. HD-CAM.
The Jackie Robinson Story
Sun, Nov 6 | 2pm | TMT
In one of her earliest onscreen roles, Ruby Dee embodies the real-life figure of Rachel “Rae” Isum, who married pioneering baseball player Jackie Robinson just one year before he became the first African American to play in Major League Baseball in 1947. Cast to portray himself in this filmed version of his life while simultaneously boasting his best year to date with the Brooklyn Dodgers, Robinson exudes a calm, confident resolution onscreen, shared by Dee’s Rae as his endlessly supportive partner. In another stroke of realism, Dee was the exact same age as Rae during filming: both were born in 1922.
DIRECTOR: Alfred E. Green.
WRITTEN BY: Lawrence Taylor, Arthur Mann.
CAST: Jackie Robinson, Ruby Dee, Minor Watson, Louise Beavers.
1950. 77 min. USA. B&W. English. 35mm.
Print courtesy of the Library of Congress.
UPTIGHT, 1968
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Carmen Jones
Thu, Nov 10 | 7:30pm | TMT
Dorothy Dandridge made history as the first African American woman ever nominated for the Best Actress Academy Award in producer- director Otto Preminger’s stylish musical adaptation of Georges Bizet’s Carmen . Updating the opera’s story to World War II-era North Carolina, Carmen Jones tells how parachute factory vixen Dandridge (singing voice provided by Marilyn Horne) seduces young private Harry Belafonte (singing by LeVern Hutcherson) into an affair with tragic results. Preminger supported his leading duo with an all-African American cast including Pearl Bailey, Brock Peters, and Diahann Carroll, though it’s Dandridge’s striking figure that appeared on the Saul Bass-designed posters for the film.
DIRECTOR: Otto Preminger.
WRITTEN BY: Harry Kleiner.
CAST: Dorothy Dandridge, Harry Belafonte, Pearl Bailey, Olga James. 1954. 108 min. Color. Scope. USA. 35mm. Print courtesy of the Academy Film Archive.
CARMEN JONES, 1954
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Uptight
Fri, Nov 11 | 2pm | TMT
Taking inspiration from John Ford’s The Informer (1935), the electric Uptight transpos- es the Irish Troubles to a Black revolutionary movement in Cleveland, Ohio. The story begins just days after the assassination of Dr. Martin Luther King Jr.—remarkable considering the film was released just six months after this shattering event. Incorporating documentary footage from King’s funeral and drawing on screenwriter and star Ruby Dee’s deep famil- iarity both with her hometown of Cleveland and off-screen civil rights causes, this searing indictment of the state of America for its Black residents is deftly directed by formerly black- listed filmmaking legend Jules Dassin.
DIRECTOR: Jules Dassin.
WRITTEN BY: Jules Dassin, Ruby Dee, Julian Mayfield.
CAST: Raymond St. Jacques, Ruby Dee, Roscoe Lee Browne, Julian Mayfield.
1968. 104 min. USA. Color. English. Rated PG. DCP.
New DCP courtesy Paramount.
Buck and the Preacher
Sun, Nov 13 | 2pm | TMT
Sidney Poitier gracefully added directing to his repertoire when he made his filmmaking debut with one of the first shot-in-color fea- tures to acknowledge the experience of Black settlers in the old West. Poitier took the job as director at the urging of longtime friend Harry Belafonte, who stars opposite the director in their delightful first onscreen collaboration. While the bond between Poitier’s Buck and Belafonte’s Preacher receives the most screen time, it’s Dee’s grounded performance as Buck’s wife that provides the affecting core of this deft and captivating piece.
DIRECTOR: Sidney Poitier.
WRITTEN BY: Ernest Kinoy.
STORY BY: Ernest Kinoy, Drake Walker.
CAST: Sidney Poitier, Harry Belafonte, Ruby Dee, Cameron Mitchell. 1972. 102 min. USA. Color. English. DCP.
New DCP courtesy Sony.
DANDRIDGE & DEE
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THE DECKS RAN RED, 1958
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The Decks Ran Red with Moment of Danger
Thu, Nov 17 | 7:30pm | TMT
The Decks Ran Red
DIRECTOR: Andrew L. Stone.
This under-screened film noir directed by Andrew L. Stone ( Stormy Weather , Cry Terror ) stars James Mason as the stringent first officer tasked with returning stranded merchant freighter S.S. Berwind from the South Pacific, but scheming sailor Broderick Crawford has other plans. Ripped from the headlines and shot in black-and-white, The Decks Ran Red boasts a bold star turn from Dandridge as the only woman aboard this ship full of lecherous, hard- scrabble marines, and a key figure in their fate.
WRITTEN BY: Andrew L. Stone.
CAST: James Mason, Dorothy Dandridge, Broderick Crawford, Stuart Whitman.
1958. 84 min. USA. B&W. English. 35mm.
Moment of Danger
Opening with an expressionistic dead-of-night heist, Moment of Danger (aka Malaga ) is a stylish thriller about world-weary London lock- smith Trevor Howard who heads to Madrid with Dandridge (fresh off Porgy & Bess ) when the pair are double-crossed by her beau. Directed by The Wild One ’s László Benedek and shot on location in England and Spain, Moment of Danger is a noir-tinged road movie that finds Dandridge giving one of her most modulated performances. Sadly, the film proved to be her final screen role. Dandridge passed away five years after its completion.
DIRECTOR: László Benedek.
WRITTEN BY: David D. Osborn, Donald Ogden Stewart. CAST: Trevor Howard, Dorothy Dandridge, Edmund Purdom, Michael Hordern.
1960. 97 min. UK/USA. B&W. English. 35mm.
Print courtesy of UCLA Film & Television Archive.
DANDRIDGE & DEE
MOMENT OF DANGER, 1960
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Island in the Sun
Sun, Nov 20 | 2pm | TMT
Dorothy Dandridge’s third and final film with Harry Belafonte is a slow-burning tropical melodrama of star-crossed romance by black- listed director Robert Rossen. Belafonte plays David Boyeur, a charismatic activist native to the fictional British colony of Santa Marta who is competing against immoral landowner Maxwell Fleury (James Mason) in upcoming elections while also having a tryst with the wealthy Mavis Norman (Joan Fontaine). Meanwhile, drugstore clerk Margot Seaton (Dandridge) strikes up a romance with English civil servant Denis Archer (John Justin). Stunningly filmed by Scope expert Freddie Young ( Lawrence of Arabia ), Island in the Sun ’s depiction of interracial coupling, now tame, led to the film being vehemently protested throughout the American South.
DIRECTOR: Robert Rossen.
WRITTEN BY: Alfred Hayes.
CAST: James Mason, Dorothy Dandridge, Joan Fontaine, Harry Belafonte. 1957. 119 min. USA. Color. Scope. English. 35mm.
American Gangster
Fri, Nov 25 | 2pm | TMT
In a role that earned her a nomination for Best Actress in a Supporting Role at the 80th Academy Awards, Ruby Dee provides American Gangster ’s moral backbone as the mother of an East Coast drug kingpin (Denzel Washington) who has turned a blind eye to her son’s illegal activities for long enough. This sweeping biographical epic, based on real-life Harlem-based heroin trafficker Frank Lucas, was shot on-location in all five boroughs of New York City using handheld cinematography to lend an authentic vibe to this well-received, true-life story.
DIRECTOR: Ridley Scott.
WRITTEN BY: Steven Zaillian.
CAST: Denzel Washington, Russell Crowe, Chiwetel Ejiofor, Ruby Dee. 2007. 157 min. USA. Color. English. Rated R. 35mm. Print courtesy of the Academy Film Archive.
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ISLAND IN THE SUN, 1957
DANDRIDGE & DEE
Nov 4 – 27
HOLLYWOOD CHINESE: THE FIRST 100 YEARS
Nancy Kwan on the set of FLOWER DRUM SONG, 1961
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Series introduction by guest programmer Arthur Dong.
Bruce Lee and I were born in the same San Francisco hospital. In Chinatown, to be exact, where there were five movie theaters, all showing Chinese films from Hong Kong. The characters may have been Chinese rather than Chinese American, but growing up and seeing faces like mine projected, larger than life, helped to nurture a multifaceted self-image. I eventually discovered art houses showing Hollywood classics like The Good Earth (1937) and The Mask of Fu Manchu (1932). Rather than an offense to my identity, these cinematic (mis)representations of the Chinese struck me as a curiosity for further study, and would lead to the creation of my Hollywood Chinese documentary, book, exhibitions, and now, this film series. Here, I’ve programmed films from cinema’s first 100 years to both critique and celebrate Hollywood’s depictions of the Chinese, as well as spotlight groundbreaking Chinese and Chinese American artists who have navigated an industry often ignorant of race. There are studio blockbusters curated alongside forgotten gems—some films are extraordinary, others downright abhorrent. Movies immerse audiences in real time, and by experiencing these films in a contemporary setting, I hope we might gain insight to what was then, and what is now. As Bruce Lee suggested, “Be water.”
Advisory: Some films in this series include racist stereotypes and tropes, including yellowface and offensive slurs.
Hollywood Chinese: The First 100 Years continues in the November Oscar® Sundays series (see pg. 110–115). Programmed and notes by Arthur Dong, Guest Programmer Program notes for Hollywood Chinese: The First 100 Years © 2022 DeepFocus Productions, Inc. Donors to the Academy Museum’s fund in support of AAPI program- ming include Esther S. M. Chui-Chao, Julia and Ken Gouw, and Dr. Peter Lam Kin Ngok of Media Asia Group Holdings Limited.
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Hollywood Chinese
Fri, Nov 4 | 7:30pm | TMT
With a treasure trove of clips from over 90 films, Hollywood Chinese traces the American film industry’s representation of the Chinese during its first 100 years. Scenes ranging from the first feature film made by Chinese Americans in 1917 to breakout Oscar wins are interwoven with interviews of Chinese and Chinese American artists who reveal stories of working in Hollywood. White actors, such as Luise Rainer and Christopher Lee, recall their yellowface performances to explain the now-controversial practice. Hollywood Chinese , produced and directed by series Guest Programmer Arthur Dong, is a fitting roadmap to embark on the upcoming film series: “[T]his is a subject at once rich and complex, encompassing social history and racial politics no less than film history. It's a challenge to make sense of material that includes Bruce Lee, Ang Lee, and Christopher Lee (he starred in five Fu Manchu pictures). But Hollywood Chinese ...manages to do it. The documentary is smart, lively, and informative.” — Mark Feeney, The Boston Globe
DIRECTOR: Arthur Dong.
WRITTEN BY: Arthur Dong.
CAST: Joan Chen, James Hong, Nancy Kwan, Ang Lee.
2007. 89 min. USA. B&W and Color. English. 35mm.
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HOLLYWOOD CHINESE, 2007
HOLLYWOOD CHINESE
DAUGHTER OF THE DRAGON, 1931
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ANNA MAY WONG
(1905—1961, b. Los Angeles Chinatown)
Anna May Wong remains the most recognizable Chinese American Hollywood actor of her time. Her unparalleled film career spanned four decades, beginning in the silent era, and included work in Europe, on worldwide stages, and into the early days of television. The films programmed here show two of Wong's contrasting on-screen personas: deceitful dragon lady and upright Chinese American citizen.
KING OF CHINATOWN, 1939
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Daughter of the Dragon with King of Chinatown
Sat, Nov 5 | 2pm | TMT
Daughter of the Dragon
After Anna May Wong’s breakthrough romantic role in The Toll of the Sea (1922), Hollywood relegated her to mostly stereotypical villain- ous parts, including the sadistic daughter of the evil Fu Manchu in Daughter of the Dragon . Wong stars opposite silent film idol Sessue Hayakawa, both in their first sound film, with both speaking standard English at a time before Hollywood latched on to the common practice of directing Asian characters to de- liver dialogue in overblown, accented broken English.
DIRECTOR: Lloyd Corrigan.
ADAPTATION BY: Lloyd Corrigan, Monte M. Katterjohn.
DIALOGUE BY: Sidney Buchman.
CAST: Anna May Wong, Warner Oland, Sessue Hayakawa, Bramwell Fletcher.
1931. 79 min. USA. B&W. English. 35mm.
Print courtesy of UCLA Film & Television Archive.
King of Chinatown
Under contract with Paramount, Anna May Wong embarked on a series of films upon which she exercised more input, starting with Daughter of Shanghai (1938), about which Wong declared, “We have the sympathetic parts for a change.” King of Chinatown casts Wong as a prominent Chinese American doctor raising funds for the Red Cross in war-torn China, inspired by the real-life Chinese American physician Dr. Margaret Chung. This fictionalized crime drama features Korean American actor Philip Ahn as Wong’s romantic interest, playing a lawyer out to expose corruption in the underbelly of Chinatown.
DIRECTOR: Nick Grinde.
WRITTEN BY: Lillie Hayward, Irving Reis.
STORY BY: Herbert Biberman.
CAST: Anna May Wong, Akim Tamiroff, Sidney Toler, Philip Ahn.
1939. 60 min. USA. B&W. English. 35mm.
HOLLYWOOD CHINESE
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