Sep – Nov 2023 Film Calendar

We invite you to explore the Academy Museum of Motion Pictures' inaugural Film Calendar. This guide covers our film series, retrospectives, spotlights, and special screenings, all inspired by the museum's dynamic exhibitions.

ACADEMY MUSEUM SEP–NOV 2023

ACADEMY MUSEUM SEP-NOV 2023 FILM

CALENDAR

TABLE OF CONTENTS

LIMITED SERIES AND SPOTLIGHTS

YASUJIRŌ OZU IN COLOR............................................4 ENTER THE VARDAVERSE: AFTERNOONS IN PARIS......6 NEW ITALIAN CINEMA / NUOVO CINEMA ITALIANO.....9 SPOTLIGHTS...........................................................12 JOHN WATERS: POPE OF TRASH.............................15 ENNIO MORRICONE................................................19 ONGOING SERIES FAMILY MATINEES....................................................23 OSCAR ® SUNDAYS..................................................26 BRANCH SELECTS..................................................29 AVAILABLE SPACE..................................................32

CALENDARS AT A GLANCE........................................34

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.

Polyester Fri, Sep 29 | 7:30pm | TMT Photo: Larry Dean

Good Morning ( お早よう ) Thu, Sep 7 | 7:30pm | TMT

LIMITED SERIES YASUJIRŌ OZU IN COLOR: THE FINAL SIX FILMS SEP 1–14, 2023

A remake of Yasujirō Ozu’s silent comedy, I Was Born, But… (1932), Good Morning is a lighthearted tale of the suburban, school-aged Hayashi brothers who simply must have a television set. When their mother refuses, they take a vow of silence that leads to worse repercussions when the neighbors assume she’s seeking vengeance for an earlier misunderstanding. As fanciful as the rich color photography, shot by late-career Ozu regular collaborator Yuharu Atsuta, are the film’s playful games of telephone sprinkled throughout this sprightly satire of consumer culture and generational divide in postwar Japan. DIRECTED BY: Yasujirō Ozu. WRITTEN BY: Yasujirō Ozu, Kōgo Noda. WITH: Masahiko Shimazu, Koji Shitara, Kuniko Miyake, Yoshiko Kuga. 1959. 93 min. Japan. Color. Japanese. 35mm.

Late Autumn ( 秋日和 ) Sat, Sep 9 | 7:30pm | TMT

The influential Japanese filmmaker and screenwriter Yasujirō Ozu ( 小津安二郎 ) was born in Tokyo, on December 12, 1903. Before his death exactly 60 years later, on December 12, 1963, Ozu would make 54 feature-length films, several of which, including his much- heralded masterpiece Tokyo Story (1953), are uttered in the same breath as history’s most beloved movies. The bulk of Ozu’s work is situated within the shomin-geki (“common people drama”) tradition, mirroring real-world tensions within multi-generational families in postwar Japan. With his iconic low-angle framing, Ozu seats his viewers next to his protagonists on the tatami mat, inviting us into intimate domestic settings to both embrace and scrutinize the complicated dynamics of mid-century Japanese life. This September, the museum will screen Ozu’s six films shot in vibrant color to celebrate the 120th anniversary of his birth. Another way to honor his legacy is at the Academy’s Margaret Herrick Library, where an exhibition of rare behind-the-scenes photographs, publicity stills, and never-before-seen snapshots from Ozu’s life and work is on display through December 2023.

THE END OF SUMMER ( 小早川家の秋 ) The End of Summer ( 小早川家の秋 ) with An Autumn Afternoon ( 秋刀魚の味 ) Thu, Sep 14 | 7:30pm | TMT The End of Summer ( 小早川家の秋 )

FLOATING WEEDS ( 浮草 ) Floating Weeds ( 浮草 ) Fri, Sep 8 | 7:30pm | TMT Shot by regular Kenji Mizoguchi and Akira Kurosawa lenser Kazuo Miyagawa ( Rashōmon , Ugetsu ), this remake of Yasujirō Ozu’s earlier A Story of Floating Weeds (1934) is faithful to the original, save for location which he updates to the Seto Inland Sea. When the aging lead actor of a traveling theater troupe docks in the seaside town of his former mistress and their now-teenaged child, his current lover, caught completely off guard, plots her revenge. In the film’s title lies a metaphor for the leisurely, at times lonely, pace of life, a recurring image in Japanese poetry that signals Ozu’s enchantment with the quotidian. DIRECTED BY: Yasujirō Ozu. WRITTEN BY: Yasujirō Ozu, Kōgo Noda. WITH: Ganjirō Nakamura, Machiko Kyō, Ayako Wakao, Hiroshi Kawaguchi. 1959. 119 min. Japan. Color. Japanese. DCP. Late Autumn ( 秋日和 ) Sat, Sep 9 | 7:30pm | TMT “To me,” Yasujirō Ozu once said, “each thing I produce is a new expression… like a painter who always paints the same rose”—an apt statement from a director who consistently remade his earlier films to infuse updated sentiments into their timeless stories. To that end, Late Autumn is a reimagining of Late Spring (1949), the film that kicked off his creative burst in the 1950s, and was lensed by the same cinematographer who captured his stunning Equinox Flower (1958), Yuharu Atsuta. Selected as Japan’s entry for the 33rd Academy Awards, Late Autumn chronicles modern courtship with Ozu’s signature compassion. DIRECTED BY: Yasujirō Ozu. WRITTEN BY: Yasujirō Ozu, Kōgo Noda. WITH: Setsuko Hara, Yoko Tsukasa, Mariko Okada, Keiji Sada. 1960. 128 min. Japan. Color. Japanese. 35mm.

Yasujirō Ozu’s sole film for Toho, the Japanese studio responsible for the Godzilla film series, was also his penultimate, and for the studio’s stable of performers, including comedic actor Hisaya Morishige and kaiju genre regular Akira Takarada, their one chance to work with the legendary filmmaker. A delicate blend of tragedy and comedy as experienced by a family unit unsettled by a foolish father’s romantic whims, The End of Summer is also a grounded reflection on grief. The film marks beloved actor Setsuko Hara’s (1920–2015) sixth and final movie with Ozu; she would retire shortly after the film’s completion with credits in nearly 100 titles. DIRECTED BY: Yasujirō Ozu. WRITTEN BY: Yasujirō Ozu, Kōgo Noda. WITH: Ganjirō Nakamura, Setsuko Hara, Yoko Tsukasa, Michiyo Aratama. 1961. 103 min. Japan. Color. Japanese. 35mm. Print courtesy of The Japan Foundation. An Autumn Afternoon ( 秋刀魚の味 ) Legendary actor Chishū Ryū (1904–1993) appeared in 52 of Yasujirō Ozu’s 54 films over their decades-long collaboration. For Ozu’s final film, Ryū plays the widowed father of three adult children who feels obligated to arrange his youngest daughter’s marriage. The film’s Japanese title, The Taste of Sanma , evokes the fish typically consumed as fall transitions into winter. Seasonal change was a matter of fact for Ozu, and his late-career output turns that fact into a kind of poetry: the film’s final words, spoken by Ryū, are one of the most lyrical endings to any film, and an unparalleled career, as one could possibly imagine. DIRECTED BY: Yasujirō Ozu. WRITTEN BY: Yasujirō Ozu, Kōgo Noda. WITH: Chishū Ryū, Shima Iwashita, Keiji Sada, Mariko Okada. 1962. 113 min. Japan. Color. Japanese. 35mm.

Programmed and notes by K.J. Relth-Miller.

his dismay, that his daughter (Ineko Arima) will marry a man he’s never met. Though the flower of the title, the higanbana , implies a bad omen, Ozu’s cheerful balance between depicting a father’s frustration and honoring the dignity of the younger generation foregrounds the filmmaker’s understanding of youth, a progressive theme that carries through his final six films. DIRECTED BY: Yasujirō Ozu. WRITTEN BY: Yasujirō Ozu, Kōgo Noda. WITH: Shin Saburi, Ineko Arima, Kinuyo Tanaka, Teiji Takahashi. 1958. 118 min. Japan. Color. Japanese. 35mm.

EQUINOX FLOWER ( 彼岸花 ) Equinox Flower ( 彼岸花 ) Fri, Sep 1 | 7:30pm | TMT

Yasujirō Ozu’s first color film builds on the powerful themes from his unparalleled masterpiece Tokyo Story (1953) to conjure deep empathy for youth in postwar Japan. Based on the novel by Japanese author Ton Satomi, the film follows a rich businessman (Shin Saburi) as he learns, to

GOOD MORNING ( お早よう )

Band of Outsiders ( Bande à Part ) preceded by The Fiancés of Macdonald Bridge ( Les fiancés du pont Macdonald ) Sat, Sep 9 | 2pm | TMT Band of Outsiders ( Bande à Part ) Four years after Breathless (1960) , Jean-Luc Godard reimagined the gangster film even more radically with Band of Outsiders . In it, two restless young men (Sami Frey and Claude Brasseur) enlist the object of both of their fancies (Anna Karina) to help them commit a robbery—in her own home. This audacious and wildly entertaining French New Wave gem is at once sentimental and insouciant, effervescently romantic and melancholy, and it features some of Godard’s most memorable set pieces, including the headlong race through the Louvre and the unshakably cool Madison dance sequence. DIRECTED/WRITTEN BY: Jean-Luc Godard. WITH: Anna Karina, Sami Frey, Claude Brasseur, Danièle Girard. 1964. 95 min. France. B&W. French. DCP. Preceded by The Fiancés of Macdonald Bridge ( Les fiancés du pont Macdonald ) Directed by Agnès Varda for her film Cléo from 5 to 7 (1962), this silent short stars her French New Wave colleagues Jean- Luc Godard, Anna Karina, Sami Frey, and Eddie Constantine and is set on the titular bridge over the Canal Saint-Denis. DIRECTED/WRITTEN BY: Agnès Varda. WITH: Jean-Luc Godard, Anna Karina, Sami Frey, Eddie Constantine. 1962. 5 min. France. B&W. French. Digital.

Four Nights of a Dreamer ( Quatre nuits d’un rêveur ) Sat, Sep 16 | 2pm | TMT On the first night, Jacques meets Marthe, who is contemplating suicide on the Pont Neuf. Jacques’s story begins in the busy streets of Paris following strangers with whom he falls in love, as relayed to Marthe. He’s a dreamer, longing for ideal love. Marthe’s story reveals a heartbreak that she hopes to revive with Jacques’s help. Based on White Nights , Fyodor Dostoevsky’s short story, Four Nights of a Dreamer portrays the sensibility of young hearts yearning for pure love. DIRECTED/WRITTEN BY: Robert Bresson. WITH: Isabelle Weingarten, Guillaume des Forêts, Jean-Maurice Monnoyer. 1971. 87 min. France/Italy. Color. French. DCP.

Full Moon in Paris ( Les Nuits de la pleine lune ) Sat, Oct 7 | 2pm | TMT

Diva Sat, Sep 23 | 2pm | TMT

LIMITED SERIES ENTER THE VARDAVERSE:

Diva is a sensational thriller adapted from Daniel Odier’s novel of the same name, made of cult-like, obscure cinematic components driven by director Jean-Jacques Beineix’s distinctive creative style. It centers on Jules, a young postman who gets around the streets of Paris on his moped and is obsessed with opera. Jules’s trouble begins when he illicitly records the performance of an American soprano and accidentally stumbles on a tape which incriminates the corrupted chief of police. DIRECTED BY: Jean-Jacques Beineix. WRITTEN BY: Jean-Jacques Beineix, Jean Van Hamme. WITH: Frédéric Andréi, Wilhelmenia Fernandez, Roland Bertin. 1981. 117 min. France. Color. French, Italian, English, Latin. Rated R. 35mm.

AFTERNOONS IN PARIS

SEP 3–OCT 22, 2023

As the grandmother of the French New Wave, filmmaker Agnès Varda’s (1928–2019) influence on cinema history cannot be overstated. Working vigorously and spiritedly until her death at age 90 in 2019, Varda directed some two dozen features and almost as many short films, adapting her style to fit her ever-evolving curiosities and interests over her seven-decade career. For Part 3 of Enter the VardaVerse, which reflects on her place in the museum’s Director’s Inspiration gallery, currently on view in the exhibition Stories of Cinema , we track Varda’s filmmaking through the streets of Paris, where she lived on rue Daguerre for much of her life, and hold a mirror to her contemporaries. Join us on weekends this fall for cinematic getaways in the City of Lights, juxtaposing several of Varda’s rare shorts against classics old and new by the likes of Jean-Luc Godard, Robert Bresson, Jacques Rivette, Jean-Pierre Melville, Maurice Pialat, Eric Rohmer, Leos Carax, and other beloved filmmakers who shaped Paris on film in both physical and metaphorical ways. Programmed by K.J. Relth-Miller. Notes by Hyesung ii and K.J. Relth-Miller; select notes provided by distributors.

Céline and Julie Go Boating ( Céline et Julie vont en bateau: Phantom Ladies over Paris ) Sun, Sep 24 | 2pm | TMT

In Céline and Julie Go Boating , a magical world is created by Jacques Rivette’s visionary auteurship and the mesmerizing performances of his collaborators, Juliet Berto and Dominique Labourier, who play Céline and Julie, respectively. The film centers on these two Parisian women whose kinship is built on an exuberant and dreamy journey around the city of Paris. Every ground on which Céline and Julie stand becomes a metaphysical space that serves to fulfill the unfolding dreams and memories of these two women. DIRECTED BY: Jacques Rivette. WRITTEN BY: Juliet Berto, Dominique Labourier, Bulle Ogier, Marie-France Pisier, Jacques Rivette. WITH: Juliet Berto, Dominique Labourier, Bulle Ogier. 1974. 193 min. France. Color. French. DCP.

adrift in the city as she awaits test results of a biopsy. A chronicle of the minutes of one woman’s life, Cléo from 5 to 7 is a spirited mix of vivid vérité and melodrama, featuring a score by Michel Legrand ( The Umbrellas of Cherbourg ) and cameos by Jean-Luc Godard and Anna Karina, who would make the iconic, Paris-set Band of Outsiders (1964) together just two years later. DIRECTED/WRITTEN BY: Agnès Varda. WITH: Corinne Marchand, Antoine Bourseiller, Dominique Davray. 1962. 90 min. France/Italy. B&W, Color. French. DCP. Preceded by Les dites cariatides Varda’s elegant investigation of female and male sculptures dignified within the architecture of Paris is manifested against a poetically composed soundtrack, voiceover, and array of carefully examined images. Historical context around the sculptures is shared through dimensional storytelling by Varda, and her continuous effort to perceive subjects with genuine curiosity enables viewers to perceive the stationary sculptural subjects through the scope of humane appreciation. DIRECTED BY: Agnès Varda. WRITTEN BY: Charles Baudelaire and Agnès Varda. 1984. 13 min. France. Color. French. Digital.

À Nos Amours Sun, Oct 1 | 2pm | TMT

LE SAMOURAÏ

Sandrine Bonnaire portrays a 15-year-old Parisian girl, Suzanne, who escapes from her volatile homelife and agonizing confusion about love and its complexity. As her coping mechanism, Suzanne falls into a pattern of impulsive promiscuity which makes her unsentimental and cynical to the idea of love in relation to sexuality. À Nos Amours is far from the conventional coming-of- age narrative, with director Maurice Pialat’s perspective on the intricate matters he is scrutinizing conveyed in exceptionally insightful and brutally honest fashion. DIRECTED BY: Maurice Pialat. WRITTEN BY: Arlette Langmann, Maurice Pialat. WITH: Sandrine Bonnaire, Evelyne Ker, Maurice Pialat. 1983. 100 min. France. Color. French. Rated R. DCP.

Le Samouraï Sun, Sep 10 | 2pm | TMT

“There is no greater solitude than that of the samurai, unless it is that of the tiger in the jungle… perhaps…” Jean-Pierre Melville’s masterpiece Le Samouraï begins with a quote from Bushido, the code of the samurai. Alain Delon portrays Jef Costello, a lone hit man armored in his signature trench coat and fedora, living in seemingly lifeless, gloomy surroundings. When a hit on a nightclub owner goes wrong, Costello’s quiet, desolate world is interrupted by ominous variables. DIRECTED/WRITTEN BY: Jean-Pierre Melville. WITH: Alain Delon, François Périer, Nathalie Delon. 1967. 101 min. France/Italy. Color. French. 35mm. Print courtesy of The Institut Français.

CLÉO FROM 5 TO 7 (CLÉO DE 5 À 7)

Cléo from 5 to 7 ( Cléo de 5 à 7 ) preceded by Les dites cariatides Sun, Sep 3 | 2pm | TMT Cléo from 5 to 7 ( Cléo de 5 à 7 )

Agnès Varda eloquently captures Paris in the 1960s with this real-time portrait of a singer (Corinne Marchand) set

Full Moon in Paris ( Les Nuits de la pleine lune ) preceded by You’ve Got Beautiful Stairs, You Know ( T’as de beaux escaliers, tu sais ) Sat, Oct 7 | 2pm | TMT Full Moon in Paris ( Les Nuits de la pleine lune ) One of Éric Rohmer’s most renowned films, Full Moon in Paris has been heralded as “a small masterpiece” and “the very best of Rohmer.” Louise (Pascale Ogier), a young interior designer bored with her life in the sleepy suburbs, arranges to move back into her Paris apartment during the week. Balancing a steady boyfriend in the suburbs with a best friend, Octave (Fabrice Luchini), who makes plain his interest in her, and a bad boy musician who catches her eye at a party, eventually even the sophisticated and aloof Louise cannot untangle herself from the emotional realities of her various romantic encounters. DIRECTED/WRITTEN BY: Eric Rohmer. WITH: Pascale Ogier, Tchéky Karyo, Fabrice Luchini. 1984. 101 min. France. Color. French. Rated R. DCP.

Preceded by Diary of a Pregnant Woman ( L’opéra-mouffe )

Happy as Lazzaro (Lazzaro felice) Mon, Sep 11 | 8pm | TMT

Varda’s observational short film made up of juxtaposed staged scenes starts with images of a pregnant woman’s body, followed by images of a pumpkin that is cut open and gutted mercilessly. Diary of a Pregnant Woman is a gateway into the streets of “La Mouffe,” guided by the tender gaze of Varda, who was pregnant with her first child during production of the film. Varda’s sincere intention to fundamentally understand the disconnect between the disparity that exists in “La Mouffe” and the hopeful anticipation of happy lovers is conveyed without imposing subjective emotional or philosophical engagement. DIRECTED BY: Agnès Varda. 1958. 16 min. France. B&W. French. Digital.

LIMITED SERIES NEW ITALIAN

NUOVO CINEMA ITALIANO SEP 6–OCT 4, 2023

Preceded by You’ve Got Beautiful Stairs, You Know ( T’as de beaux escaliers, tu sais )

CINEMA

“Come to the Cinémathèque. You won’t be disappointed.” Varda’s tribute to celebrate the Cinémathèque française’s 50th anniversary, narrated by Isabelle Adjani, is centered around its iconic stairs, as the title suggests, and contrasting them with a series of classic film images revolving around stairs. Three minutes are more than enough for Varda to deliver an homage while employing her magical cinematic language that embeds a playful and accessible gateway to the work. DIRECTED BY: Agnès Varda. WITH: Isabelle Adjani. 1986. 3 min. France. Color. French. Digital.

With 14 Academy Award wins in the Foreign Language Film category (now called International Feature Film), Italy has historically been recognized in this category more than any other country. Beginning with the neorealism period that saw both Vittorio De Sica’s Shoeshine (1946) and The Bicycle Thief (1948) take home Honorary Awards, the country has seen nominations or wins in every decade, most notably for the virtuosic Federico Fellini. Since the turn of the century, the increasingly globalized market has created an influx of international co-productions, allowing Italian films to extend beyond the borders of the filmmakers’ birthplace to reflect the interconnected world in which we exist and in which art is made. Complementary to our limited series Ennio Morricone: Essential Scores from a Movie Maestro (screening October 6–November 25, 2023), the Academy Museum is proud to present this unique window into the last five years of cinema, Italian style. Programmed and notes by K.J. Relth-Miller.

GIRLHOOD

Girlhood Sat, Oct 21 | 2pm | TMT

Oppressed by her family, uninspired school prospects, and the boys who rule her neighborhood, Marieme (Karidja Touré) starts a new life after meeting a group of free- spirited girls. She changes her name to Vic, updates her dress code, and quits school to be accepted in the gang, hoping that this will be a way to freedom. Set primarily in the Cité de la Noue housing project on the northeastern outskirts of Paris, the girls venture into the city center for shopping trips within the Forum des Halles, a shopping mall that provides the perfect setting for female teenage rebellion and freedom. DIRECTED/WRITTEN BY: Céline Sciamma. WITH: Karidja Touré, Assa Sylla, Lindsay Karamoh, Mariétou Touré. 2014. 113 min. France. Color. French. DCP.

This film series is presented by the Academy Museum in partnership with Cinecittà.

Dakota Johnson stars as an American newly arrived at a Berlin dance academy run by a coven of witches, including Tilda Swinton’s Mother Helena Markos, one of three roles embodied by Guadagnino’s longtime muse and collaborator. DIRECTED BY: Luca Guadagnino. WRITTEN BY: David Kajganich. WITH: Dakota Johnson, Tilda Swinton, Mia Goth, Chloë Grace Moretz. 2018. 152 min. Italy/USA. Color. English, German, French. Rated R. DCP.

HOLY MOTORS

Happy as Lazzaro ( Lazzaro felice ) Mon, Sep 11 | 8pm | TMT

Holy Motors preceded by Diary of a Pregnant Woman ( L’opéra-mouffe ) Sun, Oct 8 | 2pm | TMT Holy Motors

Nocturama Sun, Oct 22 | 2pm | TMT

For her third narrative feature, the Tuscan-born, Oscar- nominated filmmaker Alice Rohrwacher explores the harsh economic realities of rural Italy. The Cannes-winning screenplay follows Lazzaro, an innocente working as a sharecropper on the isolated Inviolata estate—so isolated, in fact, that its residents and workers are unaware that enslavement was outlawed years ago. Once released from his impossible situation, Lazzaro explores the world, bringing his own sense of humble magic to everyone he encounters. Added to Bong Joon-ho’s Sight and Sound list of 20 filmmakers to watch, Rohrwacher’s endless sense of wonder makes her one of the more fascinating storytellers to emerge this century. DIRECTED/WRITTEN BY: Alice Rohrwacher. WITH: Adriano Tardiolo, Agnese Graziani, Alba Rohrwacher, Luca Chikovani. 2018. 128 min. Italy/Switzerland/ France/Germany. Color. Italian. Rated PG-13. DCP. Courtesy of Cinecittà.

There is no redemption in Bertrand Bonello’s third feature, Nocturama , a thriller about a group of Parisian teenagers who roam around the streets of Paris, orchestrating a terrorist attack by planting bombs at multiple locations. On the night of the explosions, they gather in a department store hoping to escape the authorities. The hideout ironically becomes the teenagers’ playground as they explore materialistic desire with merchandise. Bonello stays away from contextual explanation to the story and, in turn, creates an experience of unconventional cinematic engagement. DIRECTED/WRITTEN BY: Bertrand Bonello. WITH: Finnegan Oldfield, Vincent Rottiers, Hamza Meziani. 2016. 130 min. France/Germany/Belgium. Color. French. DCP.

SUSPIRIA

Mr. Oscar (Denis Lavant) is driven around the city of Paris by his chauffer, Céline (Édith Scob), in a limousine that doubles as a dressing room, full of costumes and props for his acting gigs, aka “appointments.” In a span of a day, Mr. Oscar transforms into nine diverse characters, performed in his elaborate disguises, constantly crossing over the blurred line between the worlds of reality and fantasy beaming through “the beauty of act.” DIRECTED/WRITTEN BY: Leos Carax. WITH: Denis Lavant, Édith Scob, Eva Mendes. 2012. 115 min. France/Germany/Belgium. Color. French. DCP. Courtesy of Shout! Factory and the American Genre Film Archive.

Suspiria Wed, Sep 6 | 8pm | TMT

Lauded Sicilian filmmaker Luca Guadagnino’s remake of one of cinema’s best-known giallo films plunges even deeper into the occult themes and dark metaphors established in the 1977 version for a contemporary update on Italian auteur Dario Argento’s classic, itself inspired by Thomas De Quincy’s 1845 poetic essays on memory as experienced through psychedelics. Set in the “German Autumn” of 1977,

Daughter of Mine ( Figlia Mia ) Mon, Sep 18 | 8pm | TMT Ten-year-old Vittoria’s summer will be one with two mothers to challenge, to hate, to love, and to forgive. Shy Vittoria has a close relationship with her loving mother Tina, but their quiet Sardinian life will be upset when the young girl discovers that local party girl Angelica is her birth mother. Starring beloved actor Alba Rohrwacher, filmmaker Alice Rohrwacher’s sister, Daughter of Mine is the story of a young girl torn between two mothers; a story of imperfect motherhood and inextricable bonds, struggling with overwhelming feelings and dealing with wounds. Filmmaker Laura Bispuri represents a new, exciting female voice in Italian cinema. DIRECTED BY: Laura Bispuri. WRITTEN BY: Francesca Manieri, Laura Bispuri. WITH: Valeria Golino, Alba Rohrwacher, Sara Casu, Udo Kier. 2018. 97 min. Italy/Germany/Switzerland. Color. Italian. DCP. Courtesy of Cinecittà.

The Macaluso Sisters ( Le sorelle Macaluso ) Mon, Sep 25 | 8pm | TMT

Futura Mon, Oct 2 | 8pm | TMT

Born in Palermo, playwright, theater director, and actor Emma Dante adapted her second feature from her own acclaimed stage play about five orphaned sisters who, in a turn of autofiction, cohabitate in the filmmaker’s hometown in Sicily. A timeless piece about the joys, growths, and reconnections that define our lives, The Macaluso Sisters world premiered at the Venice Film Festival, where it received positive reviews and cemented Dante as a cross-disciplinary artist to watch. DIRECTED BY: Emma Dante. WRITTEN BY: Emma Dante, Giorgio Vasta, Elena Stancanelli. WITH: Alissa Maria Orlando, Susanna Piraino, Anita Pomario, Eleonora De Luca. 2020. 94 min. Italy. Color. Italian. DCP. Courtesy of Cinecittà.

Initially modeled in the style of Edgar Morin and Jean Rouch’s Chronicle of a Summer (1961), established 21st century Italian filmmakers Pietro Marcello (whose Martin Eden screens in this series on September 13), Francesco Munzi ( Black Souls ) and Alice Rohrwacher (see her Happy as Lazzaro on September 11) set out to ask youth across Italy about their future. When the outbreak of the coronavirus upsets life globally, the three filmmakers pause shooting and pivot their mission, ultimately creating a film that captures, perhaps more poignantly than any made during the pandemic, the reality of life for teens and young adults during this unique moment in history. DIRECTED/WRITTEN BY: Pietro Marcello, Francesco Munzi, Alice Rohrwacher. 2021. 105 min. Italy. Color. Italian. DCP.

NORMAL

Normal Wed, Sep 27 | 8pm | TMT

MARTIN EDEN

Martin Eden Wed, Sep 13 | 8pm | TMT

Roman filmmaker Adele Tulli’s observational documentary Normal is an unsettling visual journey through gender norms in contemporary society. Immersed in a kaleidoscopic mosaic of visually powerful scenes, viewers experience the ritualized performance of femininity and masculinity hidden in ordinary interactions, from birth to adulthood. Isolating the slightly grotesque, uncanny elements surrounding our everyday life, Normal meditates on what remains imperceptible about it—its governing norms, its inner mechanisms. The result is that what counts as “normal” does not feel so reassuring, anymore. DIRECTED/WRITTEN BY: Adele Tulli. 2019. 70 min. Italy/Switzerland/ Sweden/UK. Color. Italian. DCP. Courtesy of Cinecittà.

Lightly based on Jack London’s 1909 novel, Pietro Marcello’s sweeping narrative is rooted in the same socialist concerns as its source material, analyzing the access that wealth can unlock, and the power bestowed by proximity to it. Winning Luca Marinelli the best actor award at the 76th Venice International Film Festival for his portrayal of the striving titular character, this timeless tale brought restored attention to Italian cinema on its festival run. The film was never released in the United States due to the pandemic, making this theatrical occasion a rare opportunity to witness this new classic on the big screen. DIRECTED BY: Pietro Marcello. WRITTEN BY: Maurizio Braucci, Pietro Marcello. WITH: Luca Marinelli, Jessica Cressy, Vincenzo Nemolato, Marco Leonardi. 2019. 129 min. Italy/France/Germany. Color. Italian, Neapolitan, French. Rated PG. DCP.

ENNIO

Ennio Wed, Oct 4 | 8pm | TMT

From director Giuseppe Tornatore ( Cinema Paradiso ), Ennio celebrates the life and legacy of the legendary Italian composer Ennio Morricone, who passed away on July 6, 2020. Through interviews with directors, screenwriters, musicians, songwriters, critics, and collaborators, Tornatore’s documentary retraces the life and works of cinema’s most popular and prolific 20th century composer—who wrote over 500 scores for film and television and sold over 70 million records—from his cinema debut with Sergio Leone, to winning an Academy Award for The Hateful Eight (2015) in 2016. Screening as a culmination to our New Italian Cinema program, Ennio also coincides with the beginning of our limited series Ennio Morricone: Essential Scores from a Movie Maestro, screening October 6 through November 25, 2023. DIRECTED/WRITTEN BY: Giuseppe Tornatore. WITH: Clint Eastwood, Quentin Tarantino, Hans Zimmer, Oliver Stone. 2021. 156 min. Italy/Belgium/Japan. Color. Italian, English, French, Portuguese, Chinese. DCP.

NOTTURNO

Notturno Wed, Sep 20 | 8pm | TMT

Born in the Horn of Africa in Asmara, at the time occupied by Ethiopia, Academy Award–nominated Italian American documentary filmmaker Gianfranco Rosi has become a festival darling, with three of his recent films winning top prizes at major international festivals. This arresting, contemplative documentary follows different subjects through Middle Eastern warzones as they attempt to regain their sense of autonomy and expression in the aftermath of war. Shot in war-torn Syria, Iraq, Kurdistan, and Lebanon, Notturno world premiered in competition at the 77th Venice International Film Festival. DIRECTED/WRITTEN BY: Gianfranco Rosi. 2020. 100 min. Italy/France/ Germany. Color. Arabic, Kurdish. DCP. Courtesy of Cinecittà.

FUTURA

DAUGHTER OF MINE (FIGLIA MIA)

selected based on their application short essays. Participation is a one-year commitment and a paid opportunity. For their final program, the 2022–23 Teen Council has selected to screen Stand by Me (1986), in collaboration with the Academy Film Archive, from a list of dozens of favorites. This timeless tale of growing up and grief explores themes of masculinity, friendship, and letting go in a journey back to 1959, when the biggest problems were homework, bullies, and peculiar disappearances. Adapted from Stephen King’s novella The Body , this Rob Reiner-directed heartwarming story transcends time and generations. Notable for its superb cast, including River Phoenix, Corey Feldman, and Wil Wheaton, and legendary soundtrack, including Ben E. King’s song that informed the film’s title, the Teen Council chose to screen Stand by Me because it embodies the essence of what it is to be a teenager discovering the realities of the grown-up world. Programmed by the Academy Museum’s Teen Council. Note edited by K.J. Relth-Miller from contributions by Teen Council members Peyton Arthur, Chloe Loquet, Alexander McDaniel, and Francesca Varese-Riggen. DIRECTED BY: Rob Reiner. WRITTEN BY: Raynold Gideon, Bruce A. Evans. WITH: Wil Wheaton, River Phoenix, Corey Feldman, Jerry O’Connell. 1986. 89 min. USA. Color. English. Rated R. 35mm. New print courtesy of the Academy Film Archive.

SPOTLIGHTS The Doom Generation Fri, Sep 15 | 7:30pm | TMT

NOWHERE

Nowhere Sat, Sep 16 | 7:30pm | DGT Restoration World Premiere

“L.A.’s like nowhere. Everyone who lives here is lost.” From the opening Slowdive music cue to its outrageous finale, Gregg Araki’s long under-screened queer cult classic reverberates with rage and sexual frustration throughout, though it’s tempered, naturally, by a healthy dose of 1990s ennui. Like an episode of “ Beverly Hills, 90210 on acid” or “California’s version of Kids ,” Nowhere’ s Los Angeles- dwelling cast of dozens—including an actual Baywatch star and a character named Jujyfruit—exchange sexual partners, discuss addiction, party their brains out, and grapple with an alien invasion accompanied by the era- essential tunes of Hole, Blur, Portishead, and Massive Attack. DIRECTED/WRITTEN BY: Gregg Araki. WITH: James Duval, Rachel True, Nathan Bexton, Chiara Mastroianni. 1997. 82 min. USA. Color. English. Rated R. 4K DCP. Restoration courtesy, Vincent Pirozzi, Roundabout Entertainment, Trip Bock, Monkeyland Audio, and Beau Genot, Supervising Producer.

Totally F***ed Up with The Doom Generation Fri, Sep 15 | 7:30pm | TMT Totally F***ed Up Inspired by Jean-Luc Godard, a 33-year-old Gregg Araki set out to craft his own 16mm version of Masculin Féminin (1966) with six gay and lesbian youth for his first color film, which features primarily non-professional actors for a piece Araki himself has dubbed “a kinda cross between avant- garde experimental cinema and a queer John Hughes flick.” With muse James Duval in his breakout leading role, Araki’s Totally F***ed Up is a paean to drifting, queer youth culture, a pseudo-documentary, Gen-X love letter to the “young gays and lesbians who didn’t fit into the cultural stereotype of the ‘gay community’” of the early ’90s. DIRECTED/WRITTEN BY: Gregg Araki. WITH: James Duval, Roko Belic, Susan Behshid, Jenee Gill. 1993. 78 min. USA. Color. English. Unrated. 4K DCP. Restoration supervised by Gregg Araki courtesy of Strand Releasing and Fortissimo Films. The Doom Generation Gregg Araki’s first film that he did not shoot himself— cinematographer Jim Fealy would also lens Araki’s later Splendor (1999)—delivers a vibrant-hued Los Angeles hellscape as experienced by an attractive triad drifting through life, one held-up convenience store at a time. The film’s at-times shocking violence and raw, unfiltered sexual energy are further underscored by a soundtrack jam- packed with songs by Nine Inch Nails, The Jesus and Mary Chain, Cocteau Twins, and other tracks from seminal indie and shoegaze artists. A film for a nihilistic generation by one of its most independent voices. DIRECTED/WRITTEN BY: Gregg Araki. WITH: James Duval, Rose McGowan, Johnathon Schaech, Cress Williams. 1995. 83 min. USA. Color. English. Rated R. 4K DCP. Restoration courtesy, Vincent Pirozzi, Roundabout Entertainment, Trip Bock, Monkeyland Audio, and Beau Genot, Supervising Producer.

Gregg Araki’s Teen Apocalypse Trilogy Sep 15–16 | 7:30pm | TMT In person: filmmaker Gregg Araki.

Born in Los Angeles to Japanese American parents in 1959, Gregg Araki entered high school concurrently with the emergence of punk rock and a cultural moment well-suited to his teenage angst. Araki enrolled in USC film school in the early ’80s, where his student projects were inspired by new wave music, the DIY culture of underground art, and filmmakers such as Rainer Werner Fassbinder, Jim Jarmusch, and John Waters. Considered an integral part of the New Queer Cinema movement in part established at the 1992 Sundance Film Festival, where his breakout feature The Living End presented unfiltered gay male identities on screen, Araki and contemporaries Isaac Julien, Todd Haynes, Sadie Benning, and Marlon Riggs would shape a new, rebellious language for queer cinema. Araki’s three subsequent features, which comprise his wildly influential Teen Apocalypse Trilogy, would inspire an entire generation of outcasts and queer folks to embrace themselves and throw a middle finger to anyone who dared judge them. Programmed and notes by K.J. Relth-Miller.

YOUNG SOUL REBELS

Special thanks to Marcus Hu, Strand Releasing.

Young Soul Rebels Sun, Nov 12 | 2pm | TMT Los Angeles Restoration Premiere In person: Isaac Julien.

STAND BY ME

Director Isaac Julien’s debut feature film is a fascinating look at London youth culture in the late 1970s. Set during the week of Queen Elizabeth’s Silver Jubilee in 1977, Julien’s part-thriller, part-queer love story infuses the raw energy of the early ‘90s into a period piece that emphasizes the tension among the punks, skinheads, and Teddy boys of Britain’s cultural scene. Together with his partner Caz, Chris, a young Black DJ, runs pirate radio station Soul Patrol from an East End garage. When a mutual friend is

The Academy Museum Teen Council Presents Stand by Me Sat, Oct 7 | 7:30pm | TMT Made up of 31 teens ages 15 to 19 from all over Los Angeles, the Academy Museum’s Teen Council works with the museum’s education team to develop programming for their peers. Council members applied in the summer of 2022 and were

TOTALLY F***ED UP

murdered while cruising in a London park, Chris is arrested for the crime. Winner of the Critics’ Prize at Cannes, Young Soul Rebels remains as touching, as tough, and as energetic as the day it first premiered. Programmed by K.J. Relth-Miller. DIRECTED BY: Isaac Julien. WRITTEN BY: Paul Hallam, Isaac Julien, Derrick Saldaan McClintock. WITH: Valentine Nonyela, Mo Sesay, Dorian Healy, Frances Barber. 1991. 105 min. UK/France/Germany/ Spain. Color. English. Rated R. 4K DCP.

LIMITED SERIES

JOHN WATERS:

POPE OF TRASH

SEP 17–OCT 28, 2023

Hairspray Thu, Oct 5 | 7:30pm | TMT Photo: Henny Garfunkel

Anointed the “Pope of Trash” by William S. Burroughs in 1986, DIY filmmaker, author, contemporary art collector, fashion icon, and self-proclaimed “filth elder” John Waters (b. 1946) is the very definition of a self-made American iconoclast. Inspired by showman William Castle, early exploitation producer Kroger Babb, and underground experimental filmmakers such as the Kuchar Brothers (George and Mike, featured in our Available Space series on Friday, September 22), Waters’s anti- establishment vision is crystal clear from his first 8mm short, Hag in a Black Leather Jacket (1964), to his most recent film, A Dirty Shame (2004). Serving as director and writer for each of his films—and as producer, cinematographer, and editor on his first eight—Waters never fails to push the boundaries of good taste and challenge traditional institutions with every artistic endeavor, including his much-anticipated annual Artforum top 10 lists and his one-man show, This Filthy World . The Academy Museum opens a first-of-its-kind exhibition, John Waters: Pope of Trash , on September 17, and presents this accompanying retrospective screening series, kicking off with an ultra-rare screening of Eat Your Makeup (1968) presented with live commentary from Waters, and Serial Mom (1994) on 35mm with John Waters in attendance.

SMOKE SIGNALS

Smoke Signals 25th Anniversary Thu, Nov 30 | 7:30pm | TMT In person: Chris Eyre.

Programmed by K.J. Relth-Miller.

Filmed on the Coeur d’Alene Reservation in northwestern Idaho, screenwriter Sherman Alexie’s screenplay, based on his own collection of stories The Lone Ranger and Tonto Fistfight in Heaven , has been lauded by Indigenous communities for its authenticity in casting and its sublime story, which follows Victor Joseph (Adam Beach as an adult, Cody Lightning as a youth) and Thomas Builds-the-Fire (Evan Adams, Simon Baker), two young men made into brothers by circumstance who reluctantly band together to retrieve their father’s ashes. Upon its initial release, Smoke Signals was promoted by distributor Miramax as the first feature film produced, directed, and written by Indigenous artists to reach a broad audience, first at the Sundance Film Festival where it won the Audience Award and eventually on an international scale. A coming-of-age story with a light, comedic heart, Smoke Signals was added to the National Film Registry in 2018 for its cultural significance to film history. To honor National Native American Heritage Month, the Academy Museum is celebrating the film’s 25th anniversary with a screening of a 35mm release print of the film with filmmaker Chris Eyre in conversation. Programmed and note by K.J. Relth-Miller. DIRECTED BY: Chris Eyre. WRITTEN BY: Sherman Alexie. WITH: Adam Beach, Evan Adams, Irene Bedard, Gary Farmer. 1998. 88 min. USA/Canada. Color. English. Rated PG-13. 35mm. Print courtesy of the Sundance Collection at the UCLA Film & Television Archive.

Notes by Sari Navarro and K.J. Relth-Miller adapted from JOHN WATERS: POPE OF TRASH exhibition texts written by Jenny He, Dara Jaffe, Esme Douglas, and Emily Rauber Rodriguez.

Eat Your Makeup (Silent) with Live Commentary by John Waters Sun, Sep 17 | 3pm | TMT

This rarely-screened short was shot on 16mm with a Bell & Howell camera, which is on view in our current exhibition John Waters: Pope of Trash . Newly restored by the Academy Film Archive, John Waters’s third film, about women who are forced to model to the point of death, first premiered in Baltimore’s Emmanuel Episcopal Church in 1968. To celebrate opening day of the exhibition, the Academy Museum will present an ultra-rare silent screening of Eat Your Makeup with simultaneous live commentary from Waters. DIRECTED/WRITTEN BY: John Waters. WITH: Lizzy Temple Black, David Lochary, Divine, Marina Melin. 1968. 45 min. USA. B&W. English. DCP.

EAT YOUR MAKEUP

Serial Mom Sun, Sep 17 | 7:30pm | DGT In person: John Waters, Peaches Christ. Though entirely fictional, John Waters’s dark comedy Serial Mom satirizes the true-crime genre. Beverly Sutphin

Female Trouble Thu, Sep 28 | 7:30pm | TMT Two years after Pink Flamingos (1972), John Waters’s follow-up film, Female Trouble , chronicles the life of Dawn Davenport—once again starring his muse Divine—from juvenile delinquency to death row, as deranged Dawn enters a life of depravity in the pursuit of beauty and fame. Highlighting Waters’s recurrent themes of crime, infamy, and dying for art, the film takes on classic Hollywood noir biopic with an anarchic twist. In developing the film, Waters took inspiration from the Diane Arbus photograph A young Brooklyn family going for a Sunday outing, N.Y.C. (1966). Female Trouble features Dreamlander David Lochary’s final film role. DIRECTED/WRITTEN BY: John Waters. WITH: Divine, David Lochary, Mary Vivian Pearce, Mink Stole. 1974. 89 min. USA. Color. English. Rated NC-17. 35mm.

Hairspray Thu, Oct 5 | 7:30pm | TMT Set in 1962, two years before the Civil Rights Act, Hairspray centers on Tracy Turnblad (Ricki Lake), a “pleasantly plump” teenager who attempts to racially integrate a local teen dance program, The Corny Collins Show . Considered John Waters’s most commercially successful film, and his only dance film, Hairspray was nominated for the Grand Jury Prize at the 1988 Sundance Film Festival and received six Film Independent Spirit Award nominations. In 2002, the film was adapted into a hit Broadway musical, winning eight Tony Awards, and in 2007, was remade into a musical film. Hairspray was Divine’s last Dreamland role, passing away shortly after the film’s premiere at the age of 42. DIRECTED/WRITTEN BY: John Waters. WITH: Ricki Lake, Divine, Jerry Stiller, Ruth Brown. 1988. 92 min. USA. Color. English. Rated PG. 35mm. Print courtesy of the Academy Film Archive.

(Kathleen Turner) is a suburban housewife often compared to June Cleaver. But the charming Beverly is secretly prone to murdering her neighbors for perceived crimes against polite society, such as wearing white after Labor Day and neglecting to rewind a rented videocassette. While on trial, Beverly becomes a media sensation, and is even set to be portrayed by Suzanne Somers in a made-for-television movie—the very kind Waters is spoofing. Though it was not a success at the box office upon release, Serial Mom has been propelled into cult classic status ever since. DIRECTED/WRITTEN BY: John Waters. WITH: Kathleen Turner, Sam Waterson, Ricki Lake, Matthew Lillard. 1994. 95 min. USA. Color. English. Rated R. 35mm.

PINK FLAMINGOS, Photo: Lawrence Irvine

Pink Flamingos Sat, Sep 23 | 7:30pm | TMT

After it premiered at a rented hall at the University of Baltimore in March 1972, John Waters’s third feature established his reputation as a cinematic provocateur. To hype the film’s outrageous imagery—most infamously a scene involving Divine and dog excrement—and extreme themes including incest, coprophilia, and exhibitionism, barf bags were distributed during screenings during the film's original run. Waters also knew that word of mouth— spurred by shock, sensationalism, and catchy dialogue— would fill theater seats, which led to Pink Flamingo’ s success as a midnight movie at New York’s famed Elgin Theater, where it ran for over a year. DIRECTED/WRITTEN BY: John Waters. WITH: Divine, David Lochary, Mary Vivian Pearce, Mink Stole. 1972. 93 min. USA. Color. English. Rated NC-17. 35mm.

MULTIPLE MANIACS, Photo: Lawrence Irvine

POLYESTER, Photo: Larry Dean

DESPERATE LIVING, Photo: Bob Adams

Multiple Maniacs Thu, Sep 21 | 7:30pm | TMT

Polyester Fri, Sep 29 | 7:30pm | TMT Premiering at Charles Theater in his hometown of

Desperate Living Fri, Oct 20 | 7:30pm | TMT

John Waters’s second feature, his first with synced sound, showcases his muse Divine, who leads a traveling troupe of exhibitionists cast with Dreamlanders, Waters’s go-to band of players. This first collaboration with Vincent Peranio, who created the giant lobster prop central to one of the film’s most memorable sequences, would cement their bond as collaborators; Peranio would create the distinct look and feel of all of Waters’s following films as set designer, art director, and production designer. Shot in Waters’s hometown of Baltimore, with some sequences filmed in his parents’ yard, Multiple Maniacs and its “Cavalcade of Perversions” is a prime example of Waters’s signature cacophonous barrage of bad taste and no-holds-barred anti-establishment energy. DIRECTED/WRITTEN BY: John Waters. WITH: Divine, David Lochary, Mary Vivian Pearce, Mink Stole. 1970. 96 min. USA. B&W. English. DCP.

Peggy Gravel (Mink Stole) and Grizelda Brown (Jean Hill) escape arrest by running away to Mortville, a fantastical, trash-filled slum ruled by the fascist Queen Carlotta (Edith Massey), where they receive alarming makeovers. Van Smith, a Dreamland regular, designed the makeup and costumes, amalgamating the film’s garish outfits with drastically clashing textures and colors for a full-on assault on the eyes—and taste—of the audience. The third in John Waters’s so-called “trash trinity” that started with Pink Flamingos (1972) and Female Trouble (1974), Desperate Living’ s fantastical sets were designed by his frequent collaborator Vincent Peranio with literal trash from Baltimore streets for a truly tasteless look. DIRECTED/WRITTEN BY: John Waters. WITH: Liz Renay, Mink Stole, Susan Lowe, Edith Massey. 1977. 90 min. USA. Color. English. Rated X. 35mm.

Baltimore and later screening at the Cannes Film Festival, John Waters’s first studio film winks toward the overblown melodramas of the 1950s. Polyester again stars Divine, here as Francine Fishpaw, a matriarch who wants nothing more than to keep a respectable suburban home but whose happiness is thwarted by her smut-peddling husband (David Samson) and the hunky Todd Tomorrow, played by ’50s heartthrob Tab Hunter in a role that would resuscitate his career. Reviving the “Smell-O-Vision” experiments of the 1960s with custom-made “Odorama” cards, audiences could inhale the putrid smells of the film right alongside the film’s heroine. DIRECTED/WRITTEN BY: John Waters. WITH: Divine, Tab Hunter, Edith Massey, David Samson. 1981. 86 min. USA. Color. English. Rated R. DCP.

FEMALE TROUBLE, Photo: Bruce Moore

LIMITED SERIES ENNIO MORRICONE:

ESSENTIAL SCORES FROM A MOVIE MAESTRO OCT 6–NOV 25, 2023

The Good, the Bad and the Ugly (Il Buono, il brutto, il cattivo) Fri, Oct 6 | 7:30pm | DGT

“Ennio Morricone was more than one of the world’s great soundtrack composers—he was one of the world’s great composers, period. He was one of those musicians who could make an unforgettable melody with just a small fistful of notes.” – John Zorn A jaunty electric guitar riff. A wailing harmonica. A powerful vocal crescendo. The unique elements of an effective film score make it instantly recognizable, sometimes even more so than a famous actor’s face. Such is the case for many of the over 500 original film and television scores written by Italian composer Ennio Morricone (1928–2020), the so-called Maestro of film music, who, according to composer John Zorn, “was always open to trying new sounds, new instruments, new combinations— rarely drawing from the same well twice.” Ennio Morricone developed his ear at a young age as cultivated by his musician father, who encouraged his studies on the trumpet. Though he started his career in television, providing music for Italy’s first-ever broadcast in 1954 on through contemporary productions, Morricone is best remembered for his film scores, most specifically his collaborations with Dario Argento, Sergio Leone, Pier Paolo Pasolini, Elio Petri, and Giuseppe Tornatore in his native Italy, and Brian De Palma, Terrence Malick, and Quentin Tarantino in Hollywood. Over a career spanning eight decades, Morricone’s influence on cinema music will be felt for generations to come. This series offers an overview of many iconic scores from across the Maestro’s multifaceted career. Programmed by K.J. Relth-Miller and Bernardo Rondeau. Notes by K.J. Relth-Miller and Robert Reneau.

A DIRTY SHAME, Photo: Jim Bridges

Cecil B. Demented with A Dirty Shame Sat, Oct 28 | 7:30pm | TMT Cecil B. Demented

PECKER, Photo: Michael Ginsberg

Pecker with Cry-Baby Thu, Oct 26 | 7:30pm | TMT Pecker

A ragtag crew of underground filmmakers known as the Sprocket Holes, who abhor conventional cinema, rebel against the tenets of mainstream Hollywood in this send-up of filmmakers who take themselves too seriously. To further cement the crew’s cinephilic fervor, John Waters imagined a tattoo featuring the name of a boundary-pushing director— Kenneth Anger, Pedro Almodóvar, William Castle—for each member. The Sprocket Holes’s director and leader is the title character (Stephen Dorff) who commands them to kidnap Hollywood star Honey Whitlock (Melanie Griffith) and force her to act in their latest film, shot guerrilla style among unsuspecting Baltimore crowds. DIRECTED/WRITTEN BY: John Waters. WITH: Melanie Griffith, Stephen Dorff, Alicia Witt, Adrian Grenier. 2000. 87 min. USA. Color. English. Rated R. 35mm. A Dirty Shame John Waters’s most recent film, A Dirty Shame asks if a concussive knock to the head is all it takes to turn a sex- averse prude—called a “neuter”—into an insatiable sex addict. Ultimately, a Baltimore neighborhood finds itself divided in a war between the neuters and the sex addicts, the latter led by sexual healer Ray Ray (Johnny Knoxville), with several characters—including protagonists Sylvia and Caprice Stickles (Tracey Ullman and Selma Blair)— switching sides more than once. The film’s production design from Vincent Peranio and special effects enable a physical universe that visually and thematically echoes the newfound sexuality experienced by its denizens. DIRECTED/WRITTEN BY: John Waters. WITH: Tracey Ullman, Johnny Knoxville, Selma Blair, Chris Isaak. 2004. 89 min. USA. Color. English. Rated NC-17. 35mm.

Pecker (Edward Furlong) is an unassuming but passionate amateur photographer who finds art in the mundane or bleak moments of everyday life in the Hampden neighborhood of Baltimore. When he becomes an overnight success in New York City, his life and that of his loved ones is turned upside down. While the titular character is presented as a figure similar to photographer Diane Arbus, he is also reminiscent of John Waters himself, who also transitioned from DIY roots to the “legitimate” art world. The film comments on the commercialization of underground art, celebrity, and the risks of selling out. DIRECTED/WRITTEN BY: John Waters. WITH: Edward Furlong, Christina Ricci, Mary Kay Place, Martha Plimpton. 1998. 87 min. USA. Color. English. Rated R. 35mm. Cry-Baby Set in the 1950s, Waters’s Cry-Baby follows an endearing gang of juvenile delinquents led by Wade “Cry-Baby” Walker (Johnny Depp). Cry-Baby and his group, known as the Drapes, face off against the conformist Squares when Cry-Baby falls for one of their own, goody-two-shoes Allison (Amy Locane)—wooed by Cry-Baby’s bad-boy with a heart of gold persona. Always heavily involved in the soundtracks of his films, Waters’s specific pairings of song and dance denote his deep musical interest and knowledge. Cry-Baby was Water's first musical film. DIRECTED/WRITTEN BY: John Waters. WITH: Johnny Depp, Ricki Lake, Amy Locane, Susan Tyrrell. 1990. 85 min. USA. Color. English. Rated PG-13. 35mm. Print courtesy of the Academy Film Archive.

This film series is presented by the Academy Museum in partnership with Cinecittà.

The Good, the Bad and the Ugly ( Il Buono, il brutto, il cattivo ) Fri, Oct 6 | 7:30pm | DGT

Once upon a Time in the West ( C’era una volta il west ) Sat, Oct 21 | 7:30pm | DGT

The final film in Sergio Leone’s “Man with No Name” Western trilogy is an epic story of greed and betrayal set against the backdrop of the Civil War. The Good is the bounty hunter Blondie (Clint Eastwood), The Bad is the mercenary Angel Eyes (Lee Van Cleef), and The Ugly is the bandit Tuco (Eli Wallach), with the three men finding themselves constantly switching alliances in a cross- country search for a hidden fortune. Ennio Morricone’s score includes the soaring “Ecstasy of Gold” as well as his classic main theme, his most instantly recognizable composition, whose cover version by Hugo Montenegro became a hit single in the US. DIRECTED BY: Sergio Leone. WRITTEN BY: Age & Scarpelli, Luciano Vincenzoni, Sergio Leone. STORY BY: Luciano Vincenzoni, Sergio Leone. WITH: Clint Eastwood, Lee Van Cleef, Eli Wallach, Aldo Giuffrè. 1966. 179 min. Italy. Color. Scope. English. Rated R. 4K DCP.

Sergio Leone assembled a memorable international cast for his Western about a young woman (Claudia Cardinale), unexpectedly widowed, who finds herself struggling for survival against powerful forces including the mercenary Frank (an unforgettably evil Henry Fonda). Selected by the National Film Registry in 2009, Leone’s epic features vivid Techniscope cinematography by Tonino Delli Colli, memorable standalone sequences (the train station opening is a classic film all by itself), and a typically magnificent score by Ennio Morricone. DIRECTED BY: Sergio Leone. WRITTEN BY: Sergio Donati, Sergio Leone. STORY BY: Dario Argento, Bernardo Bertolucci, Sergio Leone. WITH: Claudia Cardinale, Henry Fonda, Jason Robards, Charles Bronson. 1968. 165 min. USA/Italy. Color. Scope. English. Rated PG-13. DCP. Courtesy of Cinecittà, 4K digital restoration by Cineteca di Bologna in association with Paramount and Leone Film Group.

Page 1 Page 2-3 Page 4-5 Page 6-7 Page 8-9 Page 10-11 Page 12-13 Page 14-15 Page 16-17 Page 18-19 Page 20-21 Page 22-23 Page 24-25 Page 26-27 Page 28-29 Page 30-31 Page 32-33 Page 34-35 Page 36-37 Page 38-39 Page 40