Dec – Feb 2023 Film Calendar

LIMITED SERIES ENTER THE VARDAVERSE: LOS ANGELES COUNTERCULTURES

she cut The Hustler , the influence of the French New Wave wouldn’t fully creep into her hand until this film, which heavily aided in making it one of the defining works of New Hollywood cinema. Nominated for an ACE Eddie award for Best Edited Feature Film, Bonnie and Clyde is also one of the first Hollywood feature films in which a film editor received a separate title card in the opening credits. DIRECTED BY: Arthur Penn. WRITTEN BY: David Newman, Robert Benton. WITH: Warren Beatty, Faye Dunaway, Michael J. Pollard, Gene Hackman. 1967. 111 min. USA. Technicolor. English. Rated R. 35mm.

DIRECTED BY: Arthur Penn. WRITTEN BY: Alan Sharp. WITH: Gene Hackman, Jennifer Warren, Edward Binns, Melanie Griffith. 1975. 99 min. USA. Technicolor. English. Rated R. 35mm.

Reds Sun, Jan 22 | 2pm | TMT

1968-1981 JAN 13-FEB 25, 2023

Edited together with Craig McKay, Reds would earn the most accolades of both his and Dede Allen’s careers with 12 Oscar nominations, including Film Editing. Allen says she learned “how to be smarter in life” from director-writer- producer-star Warren Beatty; their positive experience on Bonnie and Clyde (1967) made her keen to support this ambitious project. Allegedly shooting for over two years with no days off and canning 2.5 million feet of film, this historical epic has been remembered by film historian Peter Biskind as “one of the most audacious and politically literate movies ever to come out of Hollywood.” DIRECTED BY: Warren Beatty. WRITTEN BY: Warren Beatty, Trevor Griffiths. WITH: Warren Beatty, Diane Keaton, Edward Herrmann, Jerzy Kosinski, Jack Nicholson. 1981. 195 min. USA. Color. English. Rated PG. 35mm. New print courtesy of the Academy Film Archive.

Rachel, Rachel Thu, Jan 12 | 7:30pm | TMT

Nominated for four Academy Awards, first-time feature director Paul Newman’s longtime spouse and creative collaborator Joanne Woodward delivers a nuanced, Oscar- nominated performance as the sheltered schoolteacher Rachel Cameron. A late bloomer burdened by a delayed sexual awakening and a demanding mother, Rachel splits time between the schoolhouse and the mother-daughter duo’s disquieted domestic life. Dede Allen’s experience with sound editing is beautifully showcased in Rachel, Rachel ’s various flashback, fantasy, and dream sequences, which make use of the audio pre-lapping technique of anticipating sound for the following scene before glimpsing its visuals, a stylistic flourish that became one of her signatures. DIRECTED BY: Paul Newman. WRITTEN BY: Stewart Stern. WITH: Joanne Woodward, James Olson, Kate Harrington, Estelle Parsons. 1968. 101 min. USA. Technicolor. English. Rated R. 35mm. Serpico Sun, Jan 15 | 3pm | TMT Marking Dede Allen’s first collaboration with veteran director Sidney Lumet, Serpico began principal photography with only five months until its scheduled holiday release. This expedited timeline forced Allen to edit during the shoot, a practice undesirable for both filmmaker and film editor which nonetheless contributes to the film’s quick clip through plain clothes detective Frank Serpico’s yearslong attempt to combat corruption from within the New York Police Department. An economy of exposition allows Pacino’s interpretation of Serpico’s true-life story to emerge as lived-in and authentic, and garnered the young star Best Actor nods at both the Oscars and the BAFTAs. DIRECTED BY: Sidney Lumet. WRITTEN BY: Waldo Salt, Norman Wexler. WITH: Al Pacino, John Randolph, Jack Kehoe, Biff McGuire, Barbara Eda-Young. 1973. 130 min. USA. Technicolor. English. Rated R. 35mm.

Lions Love (...and Lies) Fri, Jan 13 | 7:30pm | TMT

The Breakfast Club Sat, Jan 28 | 3pm | TMT

A brain, an athlete, a basket case, a princess, and a criminal walk into Saturday detention and solidify their place in the 1980s zeitgeist in this acclaimed coming-of- age movie, recognized in 2016 by the National Film Registry as a film of cultural, historical, or aesthetic significance. As remembered by actress Ally Sheedy decades after the making of John Hughes’s beloved classic, each of the five teenaged leads were encouraged to improvise; film editor Dede Allen, working just outside the main library set, would pop in on occasion to share with Hughes an angle she might need to match one character’s bit of improv. DIRECTED BY: John Hughes. WRITTEN BY: John Hughes. WITH: Emilio Estevez, Judd Nelson, Anthony Michael Hall, Molly Ringwald, Ally Sheedy. 1985. 97 min. USA. Color. English. Rated R. DCP. Mastered In 4K by Universal Pictures from the 35mm original negative with mastering services conducted by NBCUniversal StudioPost.

As the grandmother of the French New Wave—her 1955 film La Pointe Courte is unofficially considered the first of the movement— filmmaker Agnès Varda’s importance and influence on cinema history within and beyond her native France 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. Though she made her first four narrative films in France, she followed her beloved husband Jacques Demy to Hollywood in the late 1960s and adopted California as a second home, making three feature films and three shorts there within a 12-year period. Her time in the Golden State was clearly inspired by the countercultural scenes that evolved from the bevy of artists, musicians, and New Hollywood filmmakers that comprised the zeitgeist of this fertile period in visual art in Southern California. To showcase her influence and suggest her inspirations, this program—which spotlights her Los Angeles films Lions Love (…and Lies) (1969), Mur murs (1981), and Documenteur (1981)—places these three works in dialogue with various short- and long-form films created in Los Angeles during this same period that showcase the vibe of a very specific time and place through the lens of the creatives, visionaries, iconoclasts, and outsiders who make the City of Angels so uniquely vibrant. Programmed and notes by K.J. Relth-Miller.

DIRECTED BY: Agnès Varda. WRITTEN BY: Agnès Varda. WITH: Viva, James Rado, Gerome Ragni, Shirley Clarke. 1969. 115 min. USA. English. DCP. Lions Love (. . . and Lies) was restored by the Cineteca di Bologna at L’Immagine Ritrovata in association with Ciné-Tamaris and The Film Foundation. Restoration funding provided by the Annenberg Foundation, the Los Angeles County Museum of Art (LACMA), and The Film Foundation. God Respects Us When We Work, but Loves Us When We Dance with Model Shop Sat, Jan 14 | 7:30pm | TMT God Respects Us When We Work, but Loves Us When We Dance A sun-dappled afternoon in Los Angeles’s Griffith Park is the scene of the 1967 Easter Sunday Love-In, a peace-and- free-love event that finds its ecstatic energy transposed to filmmaker Les Blank’s handheld camera, which sways and spins frenetically with the attendees. Blank worked in an arguably similar mode as Varda, with both artists uniquely obsessed by the eclectic subcultures with which they found themselves surrounded. DIRECTED BY: Les Blank, Skip Gerson. 1968. 20 min. USA. Color. English. 16mm. Restored by the Academy Film Archive.

Hats Off to Hollywood with Lions Love (…and Lies) Fri, Jan 13 | 7:30pm | TMT Hats Off to Hollywood Penelope Spheeris’s thesis project for UCLA’s film school picks up with luminescent transgender personality Jennifer Michaels, the captivating subject of Spheeris’s nuanced docu-portrait, I Don’t Know (1970), for a loosely scripted hang within Los Angeles’s queer underground. DIRECTED BY: Penelope Spheeris. WITH: Jennifer Michaels, Dana Reuben. 1972. 22 min. USA. Color. English. 16mm. Preserved by the Academy Film Archive. Lions Love (…and Lies) For her first feature in the United States, Varda’s ode to the age of Aquarius coaxes her characters through the disorienting final years of the peace and love movement. Stealing Warhol superstar Viva away from the East Coast, Varda resettles her in a lavish Hollywood Hills rental with two hippie Adonises for a languid ménage à trois under the Southern California sun. The arrival of avant-garde filmmaker Shirley Clarke playing a mélange of Varda and herself threatens to disrupt the trio’s aimless existence.

Wonder Boys Sun, Jan 29 | 2pm | TMT

Dede Allen’s first feature back as film editor after her stint as a creative executive at Warner Bros. is an adaptation of Michael Chabon’s book of the same name, which has been called “the ultimate writing-program novel.” Though a box office bomb across two separate theatrical releases, this delightfully quirky Pittsburgh-set character study about perpetually stoned writing professor Grady Tripp (Michael Douglas) found its most diehard audience within critics’ circles, and was nominated for three Academy Awards including Film Editing. Don’t be fooled by the movie’s much-maligned poster: the film’s charms emerge quietly thanks to Allen’s masterful pacing. DIRECTED BY: Curtis Hanson. WRITTEN BY: Steve Kloves. WITH: Michael Douglas, Tobey Maguire, Frances McDormand, Robert Downey Jr. 2000. 112 min. USA. Technicolor. Scope. English. Rated R. 35mm. Print courtesy of the Academy Film Archive.

Night Moves Sat, Jan 21 | 7:30pm | TMT

Film editor Dede Allen’s second-to-last project with longtime collaborator Arthur Penn is a ruthless neo-noir that critiques youth culture, old money, the film industry, international art cinema, and American greed—all in under 100 minutes. Los Angeles-based private detective Harry Moseby (Gene Hackman) is hired to track a runaway daughter (Melanie Griffith in her first major film role) to Florida, where she’s living an uneasy life with her parasitic stepfather (John Crawford). Initially a commercial flop, Night Moves found popularity with its 1990s home video release and has since received critical reappraisal for Hackman’s performance and the film’s off-kilter narrative arc.