Jun – Aug 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 JUN–AUG 2023

Pinocchio Sat, Jun 3 | 11am | TMT

ACADEMY MUSEUM JUN-AUG 2023 FILM

CALENDAR

TABLE OF CONTENTS

LIMITED SERIES AND SPOTLIGHTS

SPOTLIGHT: DESK SET .................................................4 KOREAN WOMEN DIRECTORS.....................................5 SUMMER OF MUSIC.................................................8 REGENERATION, REMIXED......................................14 DICK SMITH: THE GODFATHER OF MAKEUP.............17 SILENT SUNDAYS...................................................20 ONGOING SERIES FAMILY MATINEES....................................................22 AVAILABLE SPACE..................................................25 OSCAR ® SUNDAYS..................................................27 BRANCH SELECTS..................................................30

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.

Desk Set Thu, Jun 1 | 7:30pm | DGT

Post-screening Q&A with author Claire L. Evans and Associate Director of Reference and Public Services at the Margaret Herrick Library Elizabeth Youle. Network television research librarian Bunny Watson (Katharine Hepburn) finds her job threatened when efficiency expert Richard Sumner (Spencer Tracy) becomes fixated on replacing the all-female department with cutting-edge computing technology. For the movie’s fictional “EMMARAC” system, IBM provided early supercomputer prototypes to Twentieth Century-Fox Film Corporation, which are impressively captured by cinematographer Leon Shamroy’s CinemaScope lensing. At its core a workplace comedy and a battle between two genders (and Tracy and Hepburn’s eighth of nine films together), Desk Set also eerily forecasts the increased digitization and consolidation of certain careers while interrogating the capitalistic motivations behind workplace efficiency measures. To discuss the rich history of women and technology, we’re pleased to be joined by a panel of guests, including Claire L. Evans, author of the book Broad Band: The Untold Story of the Women Who Made the Internet , and Elizabeth Youle, Associate Director of Reference and Public Services at the Margaret Herrick Library. Programmed and note by K.J. Relth-Miller. DIRECTED BY: Walter Lang. WRITTEN BY: Phoebe Ephron, Henry Ephron. WITH: Katharine Hepburn, Spencer Tracy, Gig Young, Joan Blondell. 1957. 103 min. USA. Color. Scope. English. 35mm.

This program is made possible by the Alfred P. Sloan Foundation Program in Public Understanding of Science and Technology.

LIMITED SERIES A NEW WAVE OF K-CINEMA:

KOREAN WOMEN DIRECTORS JUN 8–29, 2023

Waikiki Brothers Thu, Jun 8 | 7:30pm | TMT

Korea’s #MeToo movement was first introduced in art and cultural institutions and industries in 2016 and soon expanded to more mainstream outlets of society. The growth of the movement generated platforms for feminism to release itself from misjudgment and stereotypes and move away from its distorted public perceptions within Korea. This screening series, which consists of contemporary films directed by Korean women, opens with two works by Yim Soon-rye, a prominent director and an advocate for women in film. The films explore the complexities of diverse conditions, including the trauma of domestic violence, investigations into gender and class politics, humanity’s relation to nature and the environment, and love and friendship. Each film in the series conveys its narrative through the unique lens of its director’s keen perception, remarkable sensibility, and earnest engagement with its subject(s), for a 10-film tour through this new wave of Korean women directors.

Programmed and notes by Hyesung ii.

This program is made possible in part by a grant from the Korea Foundation.

Waikiki Brothers Thu, Jun 8 | 7:30pm | TMT

synonymous popular manga series by Daisuke Igarashi, Yim’s film is a soothing entity that gently guides one through the landscape of beauty and happiness to realize the simple value of daily life. Little Forest encourages us to perceive our lives, and indeed the world, with an eye toward modest mindfulness. DIRECTED BY: Yim Soon-rye. WRITTEN BY: Hwang Seong-gu. WITH: Kim Tae-ri, Ryu Jun-yeol, Moon So-ri, Jin Ki-joo. 2018. 103 min. Korea. Color. Korean. DCP.

Yim Soon-rye’s second feature received incredible critical response upon its release in 2001, establishing Yim as one of Korea’s most significant directors. Seong-woo, lead singer and guitarist of Waikiki Brothers—a band originally formed with his friends back in high school—returns to his hometown with his bandmates in the hopes of sustaining their fragile lifeline. Unsurprisingly, the band stagnates, and Seong-woo is torn between the dream that’s out of reach and his thin grasp on reality. Yim’s insightful and humane perception of the cruel split between reality and dream in Korean modern society permeates this portrayal of her sympathetic and intricate characters. DIRECTED/WRITTEN BY: Yim Soon-rye. WITH: Lee Eol, Hwang Jung-min, Park Won-sang, Park Hae-il. 2001. 109 min. Korea. Color. Korean. DCP.

Kim Ji-Young, Born 1982 Sun, Jun 11 | 3pm | TMT

Kim Do-young’s debut feature is based on Cho Nam-ju’s bestselling novel of the same name. Upon its 2016 publication, the book prompted controversy among men in Korea, a phenomenon that deepened the valley between women and men in the country and added fuel to the hostility against feminism. Ji-young is an ordinary woman in her late 30s who tries her best to ensure everyone’s happiness, all the while subconsciously unleashing accumulations of repression, discrimination, and self- abandonment that manifest in metaphysical forms. This film may be about one woman, but it is also about the rest of us. DIRECTED/WRITTEN BY: Kim Do-young. WITH: Jung Yu-mi, Gong Yoo, Kim Mi-kyung. 2019. 118 min. Korea. Color. Korean. DCP.

Little Forest Sat, Jun 10 | 3pm | TMT

Kim Tae-ri ( The Handmaiden ) plays Hye-won, a young woman who returns to her childhood home in the country to escape the disappointments of city life, where she is greeted by an empty house and “Little Forest,” her mom’s old garden. Based on the

CART (2014)

Cart Sat, Jun 17 | 3pm | TMT

Cart , based on a true event, is Boo Ji-young’s second feature dealing with labor rights and deeply rooted issues of work exploitation especially geared toward part-time, temp workers in Korea. Sun-hee is a rather docile, passive worker who hopes to finally become a full-time employee after five years of earnest dedication at a corporate supermarket. When she and her coworkers receive sudden texts from the company notifying them of their termination, instead of remaining passive, they unite and fight back. DIRECTED BY: Boo Ji-young. WRITTEN BY: Boo Ji-young, Kim Gyung-chan. WITH: Yum Jung-ah, Moon Jeong-hee, Kim Young-ae, Kim Kang-woo. 2014. 103 min. Korea. Color. Korean. DCP.

HELPLESS (2012)

LUCKY CHAN-SIL (2019)

Helpless Thu, Jun 15 | 7:30pm | TMT

Lucky Chan-sil Sun, Jun 18 | 3pm | TMT Chan-sil is a 40-something Ozu enthusiast who finds herself unemployed after the sudden death of her longtime employer, a renowned film director. Penniless, she makes desperate attempts to survive. Despite some existential disillusions, Chan-sil wants to move forward by living sincerely, committed to the modest, genuine values in her life. Inspired by her personal story, director Kim Cho-hee shares her candid insights into life through her portrayal of Chan-sil, underscoring her values of love and kindness, but also life’s random variables and unresolvable distresses, for a film that ultimately conveys a message of liberation, happiness, and decency. DIRECTED/WRITTEN BY: Kim Cho-hee. WITH: Kang Mal-geum, Kim Young-min, Youn Yuh-jung, Yoon Seung-ah. 2019. 96 min. Korea. Color. Korean. DCP.

Kim Min-hee’s ( The Handmaiden ) brilliance shines through in her masterful performance in Byun Young-joo’s third narrative feature. Based on the bestselling Japanese novel Kasha ( All She Was Worth ) by Miyuki Miyabe, Helpless is a psychological thriller about Seon-yeong’s (Kim) sudden disappearance and the devastating truth about her past, which slowly reveals itself during her fiancé’s (Lee Sun-kyun, Parasite ) investigation. Seon-yeong, an ultimate embodiment of social, cultural, emotional, and moral violence and exploitation, was never given a fair shake. There is no room for redemption or hoping for better days in Seon-yeong’s life. As the title suggests, there is only endless agony. DIRECTED/WRITTEN BY: Byun Young-joo. WITH: Kim Min-hee, Lee Sun-kyun, Cho Sung-ha. 2012. 117 min. Korea. Color. Korean. DCP.

TAKE CARE OF MY CAT (2001)

Take Care of My Cat Sun, Jun 25 | 3pm | TMT

Jeong Jae-eun’s debut feature, Take Care of My Cat , beautifully captures the essence of camaraderie between five high school girls and how their dynamics shift as they enter adulthood. Five friends grow apart as their lives take them in different directions until a stray cat shows up. Jeong’s sophisticated perceptions of girlhood and womanhood are employed in her intricate cinematic language used to portray friendships and the way environment and life changes influence relationships. DIRECTED/WRITTEN BY: Jeong Jae-eun. WITH: Bae Doona, Lee Yo-won, Ok Ji-young. 2001. 112 min. Korea. Color. Korean. DCP.

NEXT SOHEE (2022)

Next Sohee Thu, Jun 22 | 7:30pm | TMT

Bae Doona ( The Host ) plays a detective investigating the death of high school senior Sohee, an apprentice at a call center where horrific, exploitative working conditions are common practice. Based on a true story, Next Sohee depicts the jarring reality of marginalized workers in a society that values inhumane competitiveness while promoting compliance in the name of the “common good.” Jung July’s insightful criticism on a capitalistic society that justifies oppression is manifested through the endless cycles of devastation and destruction in which Sohee, and many other “next Sohees,” are placed. DIRECTED/WRITTEN BY: Jung July. WITH: Bae Doona, Kim Si-eun. 2022. 138 min. Korea. Color. Korean. DCP.

PAJU (2009)

Paju Thu, Jun 29 | 7:30pm | TMT

Crush and Blush Sat, Jun 24 | 3pm | TMT

Park Chan-ok’s second feature swims through the complex layers of humanity. Eun-mo is suspicious of her brother-in- law Joong-sik for her sister’s death, yet somehow helplessly gravitates toward him. Park’s mastery of storytelling contours the seemingly tranquil base tonality, with a perfect amount of grey, cold, and melancholy. Eun-mo’s love for Joong-sik also becomes a suffocation of its own, and Park’s brilliance blurs the dichotomous line of outcomes, navigating audiences through the unknown particles in everything, including human feeling. Paju is a lesson in letting go of one’s desire in the hopes of understanding everything. DIRECTED/WRITTEN BY: Park Chan-ok. WITH: Seo Woo, Lee Sun-kyun, Han Ye-ri, Shim Yi-young. 2009. 111 min. Korea. Color. Korean. 35mm. Print courtesy of KOFA.

Lee Kyoung-mi’s debut film Crush and Blush is a delightful comedy featuring Kong Hyo-jin. Co-written with Park Eun-gyo and Park Chan-wook, the film centers around Yang Mi-sook, a high school teacher who struggles with a chronic condition that causes her face to turn extremely red, especially under stressful circumstances. The drama begins when she shamelessly pursues a married colleague, who was once her teacher, after ten years of an enduring crush. Determined to succeed in her love mission, she boldly marches on embracing herself, however seemingly unpopular or uninteresting. DIRECTED BY: Lee Kyoung-mi. WRITTEN BY: Lee Kyoung-mi, Park Eun-gyo, Park Chan-wook. WITH: Kong Hyo-jin, Lee Jong-hyuk, Seo U, Hwang-woo Seul-hye. 2008. 101 min. Korea. Color. Korean. DCP.

The Beatles: Get Back - The Rooftop Concert Fri, Jun 30 | 7:30pm | DGT

LIMITED SERIES SUMMER OF MUSIC: CONCERT FILMS 1959-2020 JUN 10–AUG 26, 2023

Since the dawn of cinema, live musical performances have been captured on film. Among the first silent moving images there are dancers, musicians, and stage performers. Early sound cinema techniques also gravitated toward performance capture, though almost always stage-bound due to the limitations of early recording equipment. But as sound and camera technology evolved and grew lighter in weight and more amenable to location shooting, filmmakers gained more freedom to realize their cinematic visions. By mid-century, a new wave of direct, unvarnished documentary filmmaking crossed currents with the rising counterculture of music festivals and the concert film was born. This summer, the Academy Museum presents perhaps the first-ever retrospective of this magnificent hybrid form—musical spectacles with the high-wire immediacy of documentary. Spanning seven decades and several continents, genres, styles, and locations, Summer of Music ranges from dizzyingly eclectic festival bills to immersive single artist showcases, from crowd-pleasing classics to deep-cut discoveries. Beginning with Jazz on a Summer’s Day (1959) and concluding with Metallica: Through the Never in 3D, Summer of Music will showcase the Beatles and Stones, Ozzfest, Beychella, and beyond. Let’s rock!

Please note: Many films in this series feature strobe lighting effects.

Programmed by Bernardo Rondeau. Notes by K.J. Relth-Miller and Bernardo Rondeau.

Jazz on a Summer’s Day Sat, Jun 10 | 7:30pm | DGT

Festival Fri, Jun 16 | 7:30pm | DGT

Inducted into the National Film Registry in 1999, Jazz on a Summer’s Day is widely considered the best jazz concert film ever made. Premiering at the Venice Film Festival in 1959, fashion photographer Bert Stern’s document of the 1958 Newport Jazz Festival ushered in a wave of concert films in the late 1960s and into the ’70s, setting their tone of intimacy and establishing a sense of place vital to the immersive experience of any filmed musical event. With electric performances by Thelonious Monk, Dinah Washington, Chuck Berry, and Louis Armstrong, the summer’s day concludes with a moving set by Mahalia Jackson. DIRECTED BY: Bert Stern. WITH: Louis Armstrong, Mahalia Jackson, Gerry Mulligan, Dinah Washington. 1959. 85 min. USA. Color. English. 4K DCP.

Years before the Summer of Love ushered in a new era of youth culture and hippie eccentricity, young audiences gathered in Newport’s windswept fields to listen to live guitar music, new and old, together. Documentarian Murray Lerner’s panoramic portrait of the Newport Folk Festival from 1963 and 1966 intersperses interviews with these idealistic, non- conforming audience members with riveting performances from a panoply of gospel, folk, and country artists: Joan Baez; Johnny Cash; Judy Collins; Donovan; Bob Dylan (both acoustic and electric); Fannie Lou Hamer; Howlin’ Wolf; Odetta; Peter, Paul and Mary; Buffy Sainte-Marie; Pete Seeger; and The Staple Singers. Nominated for a Documentary Feature Oscar, Festival brims with life and song. DIRECTED BY: Murray Lerner. WITH: Joan Baez, Bob Dylan, Howlin’ Wolf, Johnny Cash. 1967. 98 min. USA. B&W. English. 35mm. New print courtesy of the Academy Film Archive.

Monterey Pop Sat, Jun 17 | 7:30pm | DGT

Banner” is immortalized here, Wadleigh’s film was a box office smash and remains the definitive record of some of the most iconic artists of the '60s. DIRECTED BY: Michael Wadleigh. WITH: Joe Cocker; Country Joe & The Fish; Crosby, Stills, Nash & Young; Arlo Guthrie. 1970/1994. 224 min. USA. Color. English. DCP.

Mounted by producer Lou Adler and songwriter-performer John Phillips (The Mamas and the Papas), 1967’s Monterey International Pop Festival was the first major festival of the rock-and-roll era. Immortalized by the roaming camera of D. A. Pennebaker and crew, which included the likes of Albert Maysles and Richard Leacock, the festival inspired a new era of live music. The film captures the hushed— Simon and Garfunkel—the explosive—Pete Townshend smashing his Stratocaster—and plenty in-between, reveling in the styles and textures of the groovy audience as much as the light show–drenched performers. Bonus: relative newcomers Otis Redding, Jimi Hendrix, and Ravi Shankar all become legends before your eyes. DIRECTED BY: D. A. Pennebaker. WITH: Jimi Hendrix, Janis Joplin, Otis Redding, The Mamas and the Papas. 1968. 79 min. USA. Color. English. 4K DCP.

The Beatles: Get Back - The Rooftop Concert Fri, Jun 30 | 7:30pm | DGT

Oscar-winning director Peter Jackson’s epic project delved into the plentiful footage captured by director Michael Lindsay-Hogg of the Fab Four at work and play as they try to write and record what will become the album Let It Be . A key moment in this creative process has now been reconstructed by Jackson in its entirety: the Beatles’ iconic lunch hour performance atop the Apple building on Savile Row, on January 30, 1969. Drawing from Lindsay-Hogg’s extensive footage of the event and surrounding activities, Jackson has created a transportive, real-time view of John, Paul, George, and Ringo’s last live performance as a group. DIRECTED BY: Peter Jackson. WITH: John Lennon, Paul McCartney, George Harrison, Ringo Starr. 1970/2022. 60 min. USA. Color. English. DCP.

SUMMER OF SOUL (...OR, WHEN THE REVOLUTION COULD NOT BE TELEVISED) (2021)

Summer of Soul (…Or, When the Revolution Could Not Be Televised) Fri, Jun 23 | 7:30pm | DGT

Author, musician, DJ, and cultural icon Ahmir “Questlove” Thompson makes his directorial debut with this Oscar- winning documentary that revisits The Harlem Cultural Festival of 1969. Across six summer weeks, a staggering array of Black musical talent performed to packed audiences just a hundred miles south of Woodstock. However, its impact was eclipsed, in part because unlike Woodstock, footage of The Harlem Festival was largely unseen, until now. Stevie Wonder, Nina Simone, Sly & The Family Stone, Gladys Knight & The Pips, B.B. King, and others tear the roof off as contemporary interviews and snapshots of the cultural moment around the festival round out this vibrant celebration of Black music and culture. DIRECTED BY: Ahmir “Questlove” Thompson. WITH: Dorinda Drake, Barbara Bland-Acosta, Darryl Lewis, Ethel Beatty. 2021. 118 min. USA. Color. English. Rated PG-13. DCP. Woodstock: 3 Days of Peace and Music (Director’s Cut) Sat, Jun 24 | 7:30pm | DGT Arguably the definitive “summer festival,” 1969’s Woodstock Music and Art Festival is captured in all its rain-smeared, mud-drenched glory by Michael Wadleigh and crew—including film editor Thelma Schoonmaker, and recordist Larry Johnson and music mixer Dan Wallin (Oscar nominees for their work)—in this epic Academy Award– winning documentary. With unforgettable performances by Crosby, Stills, Nash & Young; Ritchie Havens; Joe Cocker; Jefferson Airplane; Santana; Janis Joplin; and, of course, Jimi Hendrix, whose ragged version of “The Star-Spangled

AMAZING GRACE (2018)

Amazing Grace Sat, Jul 1 | 4pm | TMT

Shot in Los Angeles’s New Temple Missionary Baptist Church in the winter of 1972, the Queen of Soul’s breathtaking performance remained unseen for nearly fifty years, though the record would become the best-selling gospel album of all time. Shooting without the clapperboards that would seamlessly sync the soundtrack to the twenty hours of 16mm footage in the edit, the film’s original director, Sydney Pollack, abandoned the project, leaving it untouched for over four decades. Thanks to digital technologies, the sound and image finally came together for this stirring film, released to the public in 2018, three months after Franklin’s passing. REALIZED AND PRODUCED BY: Alan Elliott. WITH: Aretha Franklin, James Cleveland, Alexander Hamilton, Cornell Dupree. 2018. 89 min. USA. Color. English. Rated G. DCP.

Wattstax Sat, Jul 1 | 7:30pm | DGT The Memphis-based Stax Records organized the

Wattstax benefit concert to remember the 1965 Watts uprising that shook the predominantly Black Los Angeles neighborhood just seven years prior. In the summer of 1972, documentary producer David L. Wolper brought his crew to the Los Angeles Memorial Coliseum to record the thrilling performances of gospel, soul, and funk artists such as The Staple Singers, The Bar-Kays, and Isaac Hayes, for an essential concert film celebrating the possibilities of liberation through music. Grounded by Jesse Jackson as the event’s MC, Wattstax is intercut with standup performances from Richard Pryor and crucial street-level conversations with Watts residents. DIRECTED BY: Mel Stuart. WITH: The Dramatics, The Staple Singers, Kim Weston, Jimmy Jones. 1973. 103 min. USA. Color. English. Rated R. DCP.

SOUL POWER (2008)

Soul Power Fri, Jul 21 | 7:30pm | DGT

In 1974, American R&B and soul groups shared a stage with some of Africa’s greatest musical talent for the first time during a three-night long concert held in Zaire’s capital of Kinshasa. The brainchild of South African musician Hugh Masekela and American promoter Stewart Levine, the Zaire ‘74 festival became a reality when the duo convinced boxing promoter Don King to combine the event with the “Rumble in the Jungle” match between Muhammad Ali and George Foreman. Soul Power captures the lead up to the concert and documents the bristling energy of its stellar performers such as James Brown, Bill Withers, Miriam Makeba, and the Fania All Stars. DIRECTED BY: Jeffrey Levy-Hinte. WITH: James Brown, Hugh Masekela, Stewart Levine, Muhammad Ali. 2008. 93 min. USA. Color. English. Rated PG-13. 35mm.

LADIES AND GENTLEMEN, THE ROLLING STONES (1974)

Ladies and Gentlemen, The Rolling Stones Fri, Jul 14 | 7:30pm | DGT

The Rolling Stones’ triumphant return to the big screen after the tumultuous Gimme Shelter (1970). Filmed on 16mm and in Quadrasound over two hot summer nights in Texas as The Stones supported their latest release—double-album Exile on Main Street , since considered one of rock’s benchmark works—the band tears the roof off with the help of longtime saxophonist Bobby Keys and pianist Nicky Hopkins. Ladies and Gentlemen rips the joint with the immortal five- piece, still featuring guitar wunderkind Mick Taylor tearing through a set of ragged blues and rock. DIRECTED BY: Rollin Binzer. WITH: Mick Jagger, Keith Richards, Charlie Watts, Bill Wyman. 1974. 83 min. USA. Color. English. Rated PG. DCP.

THE SONG REMAINS THE SAME (1976)

The Song Remains the Same Sat, Jul 22 | 7:30pm | DGT Rock-and-roll mythmaking at its grandest, The Song Remains the Same intercuts highlights from Led Zeppelin’s thunderous set over a three-night stand at Madison Square Garden in 1973 with fantastical visions of the individual band members’ personal lives among misty manors and ancient castles, plus an unforgettable turn by the band’s towering, gruff manager Peter Grant. The film’s singular blend of sword and sorcery with riff-spewing, long-haired abandon makes for a potent brew that has spellbound rock fans for decades. DIRECTED BY: Peter Clifton, Joe Massot. WITH: Jimmy Page, Robert Plant, John Bonham, John Paul-Jones. 1976. 138 min. UK/USA. Color. English. DCP.

engrosses its viewer in intimate moments of studio rehearsals that lead into ecstatic onstage performances for a fitting ode to this prolific, treasured Oklahoma-based musician and his surroundings. This meeting of Blank and Russell, two men who lived and breathed their respective crafts, would not be officially released until after Blank’s death in 2015, thanks to the efforts of his son Harrod to secure proper rights for distribution. This small miracle of a film emits a lingering afterglow long after the last note is sung. DIRECTED/WRITTEN BY: Les Blank. WITH: Leon Russell, Eric Andersen, Richard V. Armstrong, Audie Ashworth. 1974. 90 min. USA. Color. English. DCP.

THE LAST WALTZ (1976)

The Last Waltz Fri, Jul 28 | 7:30pm | DGT Martin Scorsese and a rogues’ gallery of great

cinematographers—Michael Chapman, Vilmos Zsigmond, and László Kovács among them—capture the farewell performance of rock icons The Band in a bespoke setting. The brainchild of promoter Bill Graham and production designed by West Side Story ’s (1961) Boris Leven, The Band’s Thanksgiving 1976 performance at San Francisco’s iconic Winterland Ballroom is intercut with casual conversations with members of the group. The crowded, smoke-ringed stage hosts raucous turns from Muddy Waters, Neil Diamond, Van Morrison, Bob Dylan, and The Staple Singers, who gracefully transform “The Weight” into a call-and-response anthem. DIRECTED BY: Martin Scorsese. WITH: Rick Danko, Levon Helm, Garth Hudson, Robbie Robertson. 1976. 117 min. USA. Color. English. Rated PG. 4K DCP.

SIGN O' THE TIMES (1987)

Sign o’ the Times Fri, Aug 4 | 7:30pm | DGT

Prince returned to the big screen after a hit debut (Oscar- winner Purple Rain ) and a flop follow-up (the underrated Under the Cherry Moon ) with a simpler yet no less ingenious concept: a concert film devoted to material from his newly released hit double-LP Sign o’ the Times . Reinventing the concert film itself, Prince brings together choreographed theatrical numbers, high ’80s silhouettes, and a neon-drenched stage blazing with funk, soul, and rock. Combining live footage from both Prince’s European tour and a performance at his residential Paisley Park studios, the film features a drum showcase for Sheila E., a music video interlude with Sheena Easton, and more plasma globes than you’ve seen in forty years. DIRECTED BY: Prince. WITH: Prince, Sheila E., Cat Glover, Doctor Fink. 1987. 85 min. USA. Color. English. Rated PG-13. DCP.

THE LAST WALTZ (1976)

A Poem Is a Naked Person Sat, Jul 29 | 4pm | TMT

Far more than a straightforward concert film, Les Blank’s lyrical, rich portrait of singer-songwriter Leon Russell

Depeche Mode 101 Fri, Aug 11 | 7:30pm | DGT

Concert film legend D. A. Pennebaker joins forces with directors Chris Hegedus and David Dawkins to film English industrial pop royalty Depeche Mode, here in their imperial four-piece formation, during their grueling nine-month “Music for the Masses” American tour. The filmmakers also track a group of fans as they cross the country on the band’s trail. Mixing intimate backstage moments with the group and thundering live performances, 101 climaxes with the group’s triumphant set at Pasadena’s Rose Bowl on June 18, 1988. DIRECTED BY: David Dawkins, Chris Hegedus, D. A. Pennebaker. WITH: Dave Gahan, Martin Gore, Andrew Fletcher, Alan Wilder. 1989. 120 min. USA. Color. English. Rated R. 4K DCP.

Songs for Drella with Home of the Brave Sat, Aug 12 | 7:30pm | DGT

Songs for Drella Former Velvet Underground bandmates Lou Reed and John Cale reunited in 1987 after years of estrangement at the funeral of Andy Warhol, a complicated figure in both men’s careers. Cale and Reed’s reconciliation led to Songs for Drella , an hour-long song cycle of droll musical memories, some written as if recalled by Warhol himself. Filmmaker Ed Lachman (cinematographer, Carol ) sets the duo apart on a bare stage in front of a screen flashing with pop art graphics in this deceptively simple piece recorded at the Brooklyn Academy of Music, and allows the cinematic, narrative lyrics to speak for themselves. DIRECTED BY: Ed Lachman. WITH: Lou Reed, John Cale. 1990. 57 min. UK. Color. English. DCP. Home of the Brave: A Film by Laurie Anderson More performance art than conventional concert film, Home of the Brave was conceived and directed by composer, musician, and artist Laurie Anderson as a delightful, visceral expression of her fascinations with the possibilities created when intertwining language and music with multimedia technologies and a childlike sense of play. Challenging traditional notions of what constitutes pop and upending assumptions of approachability, Anderson’s endless creativity overflows into 90 minutes of delightful costume changes, choreographed movements that incorporate herself and her musicians, dynamic projected animations, and bizarre vocal transformations for a one-of-a-kind window into the singular worldview of one of art pop’s greatest minds. DIRECTED/WRITTEN BY: Laurie Anderson. WITH: Laurie Anderson, Joy Askew, Andrian Belew, William S. Burroughs. 1986. 90 min. USA/Canada. Color. English, Spanish, Japanese. DCP.

THE CURE IN ORANGE (1987)

The Cure in Orange Sat, Aug 5 | 7:30pm | DGT

Never released digitally, the first concert film by goth- fathers The Cure brings the band’s classic-era quintet to the big screen. A shockingly short-haired Robert Smith leads the band over two August nights at the bucolic, Roman-era Théâtre antique d’Orange in France’s Provence region, not far from where the group would go on to record their seminal double-album Kiss Me, Kiss Me, Kiss Me . The set boasts a slashing “One Hundred Years” and crowd chant-along “Play For Today” in addition to high-powered cuts from their latest LP The Head on the Door . Directed by longtime visual collaborator and music video director Tim Pope, The Cure in Orange captures five imaginary boys on the edge of enormity. DIRECTED BY: Tim Pope. WITH: Robert Smith, Lol Tolhurst, Simon Gallup, Porl Thompson. 1987. 94 min. UK. Color. English. 35mm.

We Sold Our Souls for Rock ’n Roll Fri, Aug 18 | 7:30pm | DGT

The Decline of Western Civilization (1981) auteur Penelope Spheeris returns to the world of loud guitars and louder personalities with this under-screened late ’90s gem. Following 1999’s edition of Ozzfest, the nomadic metal festival founded and headlined by singer-heavy metal icon Ozzy Osbourne, Spheeris captures blistering, sweat- drenched sets from future multi-platinum megastars System of a Down, Korn, and Deftones at their nu-metal infancy alongside heavy metal royalty Osbourne, Black Sabbath, and Slayer. Warning: This film features depictions of self-harm and bloodshed. DIRECTED BY: Penelope Spheeris. WITH: Ozzy Osbourne, Sharon Osbourne, Tony Iommi, Rob Zombie. 2001. 90 min. USA. Color. English. Rated R. 35mm. Print courtesy of the Academy Film Archive.

DEPECHE MODE 101 (1989)

massive brass band into her hits-keep-coming setlist. With behind-the-scenes peeks into rehearsals, family home movies, and footage of real university halftime shows sprinkled in between her dynamic numbers, Homecoming is the ultimate concert film for a new generation. DIRECTED BY: Beyoncé Knowles-Carter, Ed Burke. WRITTEN BY: Beyoncé Knowles-Carter. WITH: Beyoncé, Jay-Z, Kelly Rowland, Michelle Williams, Solange. 2019. 137 min. USA. Color. English. DCP.

DAVID BYRNE'S AMERICAN UTOPIA (2020)

David Byrne’s American Utopia Sat, Aug 19 | 7:30pm | DGT

Spike Lee, David Byrne, and cinematographer Ellen Kuras join forces for this boisterous document of Byrne’s acclaimed Broadway show. David Byrne’s American Utopia blends the songwriter’s solo music with classics by Talking Heads for a life-affirming set of music and thought. Punctuated by the irreverent choreography of Byrne and his 11-strong band, all of them untethered to amplifiers and moving freely around a glitter-curtained stage, American Utopia dances to its own communal beat. A concert film innovator himself, Byrne uses the 22 songs on American Utopia to tell a universal, euphoric story of who we are and what we want. DIRECTED BY: Spike Lee. WITH: David Byrne, Jacquelene Acevedo, Gustavo Di Dalva, Daniel Freedman. 2020. 105 min. USA. Color. English. DCP.

METALLICA: THROUGH THE NEVER (2013)

Metallica: Through the Never in 3D Sat, Aug 26 | 7:30pm | DGT

While Metallica tears apart a jam-packed arena with their performance of head-banging epics “Master of Puppets” and “One,” roadie Trip (Dean DeHaan) embarks on a fateful adventure on the streets outside the venue as pandemonium suddenly breaks out. Directed by action expert Nimród Antal and shot in visceral 3D with 24 cameras, Metallica: Through the Never is a one-of-a-kind heavy metal thrill ride. Rarely screened since its inaugural theatrical release ten years ago, this multi-dimensional rock spectacle is best enjoyed on the big screen. DIRECTED BY: Nimród Antal. WRITTEN BY: Nimród Antal, James Hetfield, Lars Ulrich, Kirk Hammett, Robert Trujillo. WITH: James Hetfield, Lars Ulrich, Kirk Hammett, Robert Trujillo. 2013. 94 min. USA. Color. English. Rated R. 3D. DCP.

HOMECOMING: A FILM BY BEYONCÉ (2019)

Homecoming: A Film by Beyoncé Fri, Aug 25 | 7:30pm | DGT

There never has been, and never again will be, anyone like Queen Bey, who, with her 32nd Grammy Award win in 2023, became the artist with the most Grammy wins of all time. For her historic performance at the 2018 Coachella Valley Music and Arts Festival, Beyoncé stops at nothing to emulate a halftime show at the HBCU she never attended, incorporating steppers, drill teams, breakers, and a

LIMITED SERIES REGENERATION,

REMIXED

JUL 6–16, 2023

Nope Thu, Jul 6 | 7:30pm | DGT

In celebration of the Academy Museum’s landmark exhibition Regeneration: Black Cinema 1898–1971 —ahead of its closing date of July 16, 2023—we take another look back at the period covered in the exhibition, this time using a contemporary lens. Regeneration, Remixed is a dialogue between living Black filmmakers and the complicated cultural and cinematic legacies they face. Whether through a reclamation of archival footage, a reimagining of an iconic golden age genre, or the contrast of a new musical mediation, the artists of Regeneration, Remixed offer new visions and ideas of what Black cinema was and can be. This series also includes new scores by composers Renée Baker and Kathryn Bostic of race films directed by Oscar Micheaux and Richard E. Norman, respectively.

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

Nope on 70mm Thu, Jul 6 | 7:30pm | DGT

iconic Blaxploitation heroine Foxy Brown as she confidently, accusatorily, and defiantly gazes back at the audience. Using optical printing and a soundscape of repetition employed to haunting results, Christopher Harris’s powerful short recontextualizes historic moments of Black rebellion into a radically experimental reclamation of power. DIRECTED BY: Christopher Harris. 2004. 14 min. USA. B&W. English. DCP. Restored by Canyon Cinema and the Academy Film Archive. DCP courtesy of the Academy Film Archive. Ethnic Notions Marlon Riggs’s deeply researched and deeply felt documentary illuminates how a centuries-old lineage of dehumanizing caricatures of Black people—seen everywhere from children’s books to films to household products—are tools of white supremacy. Riggs’s razor- sharp analysis and powerfully curated imagery gracefully dismantles centuries of American racial mythologies. Narrated by actor Esther Rolle and featuring Leni Sloan as Bert Williams, Ethnic Notions is an essential companion piece to the museum’s Regeneration exhibition. DIRECTED BY: Marlon Riggs. 1986. 58 min. USA. Color. English. DCP.

Academy Award–nominated writer-director Jordan Peele’s third film is a singular blend of creature feature and Western noir that betrays its adverse one-word title. Daniel Kaluuya and Keke Palmer play sparring siblings whose family’s horse ranch in remote Agua Dulce has been supplying animals for pictures since the silent era. But the sudden and strange death of patriarch Keith David finds the duo closely encountering all kinds of strange phenomena. A sci-fi cowboy saga against a backdrop of American popular culture—sitcoms, Mad magazine, theme parks, and band T-shirts— Nope doesn’t just evoke the Black Western, it completely reinvents it. DIRECTED/WRITTEN BY: Jordan Peele. WITH: Daniel Kaluuya, Keke Palmer, Brandon Perea, Steven Yeun. 2022. 130 min. USA. Color. English. Rated R. 70mm.

Reckless Eyeballing with Ethnic Notions Fri, Jul 7 | 2pm | TMT

Reckless Eyeballing This evocative title, taken from a Jim Crow-era law prohibiting a Black man from so much as gazing at a white woman, can also be ironically applied to the gaze emanating from the screen—that of Pam Grier as the

Baltimore with Lessons of the Hour Thu, Jul 13 | 7:30pm | TMT Baltimore

An homage to writer-director-producer-actor Melvin Van Peebles (1932–2021), whose 1971 film Sweet Sweetback’s Baadasssss Song ushered in the “blaxploitation” era, Isaac Julien’s film employs the look and feel of blaxploitation films, using Baltimore’s streets and museums as locations. Currently on view in conjunction with the museum’s Regeneration exhibition as a three-channel installation, Baltimore is presented here in its single-channel theatrical version. DIRECTED/WRITTEN BY: Isaac Julien. WITH: J. R. Adduci, Leia Thompson, Tony Colavito, Nato Jude. 2003. 11 min. UK. Color. English. DCP. Lessons of the Hour Named for abolitionist Frederick Douglass’s famed speech delivered at the Metropolitan African Methodist Episcopal Church in 1894, Isaac Julien’s portrait of this key Black American orator gives screen time to a figure who died mere years before his tremendous rhetoric could be documented by a motion picture camera. This single- channel version of Julien’s resonant tableau centers both Douglass’s personal life and his consistent activism, placing his history in dialogue with the contemporary movement for Black lives and the continuous struggle for justice and liberty currently reverberating throughout our country. DIRECTED/WRITTEN BY: Isaac Julien. WITH: Valerie Edmond, Charlotte Emmerson, Ray Fearon, Cara Horgan. 2019. 28 min. UK. Color. English. DCP.

BODY AND SOUL (1925)

Renée Baker scores Body and Soul Sat, Jul 8 | 7:30pm | DGT

Renée Baker is founding music director and conductor of the internationally acclaimed Chicago Modern Orchestra Project. She has created unforgettable original scores for more than 400 silent films. Tonight, she will present her music created to accompany Body and Soul , the film that introduced audiences to actor Paul Robeson. Writer- director Oscar Micheaux’s Southern picaresque is one of his most visually expressive works. Robeson portrays twin brothers, one pious, the other a crook passing for a pastor who betrays a small-town Georgia family. DIRECTED/WRITTEN BY: Oscar Micheaux. WITH: Paul Robeson, Lawrence Chenault, Chester A. Alexander, Marshall Rodgers. 1925. 79 min. USA. B&W. Silent. English intertitles. DCP. Restored by the George Eastman Museum.

ILLUSIONS (1982)

Illusions with America Fri, Jul 14 | 2pm | TMT Illusions

Looking back to 1940s Hollywood, Julie Dash’s short film scrutinizes the sexist, racist practices of the entertainment industry through the experience of Mignon Duprée (Lonette McKee), a white-passing Black woman employed at National Studios. Selling her illusion of whiteness to maintain her employment, Mignon is tasked with dubbing a voice of a Black singer over a white female performance in a film, creating a dual subversion and the primary tension of the piece. Our protagonist’s experience is not just an evocation of Franz Fanon’s “by any means necessary” ethos; her actions are also Dash’s emotional commentary on survival and self-preservation. DIRECTED/WRITTEN BY: Julie Dash. WITH: Lonette McKee, Rosanne Katon, Ned Bellamy, Jack Rader. 1982. 34 min. USA. B&W. English. 16mm. Preservation print courtesy of the UCLA Film & Television Archive. America “So much of the spirit of this piece,” Garrett Bradley has said about her stunning short work America , “is about disrupting the symbols and the iconography around how America is defined.” Asking us to acknowledge the fact that

SIDEWALK STORIES (1989)

Sidewalk Stories Sun, Jul 9 | 2pm | TMT

Writer-director-actor Charles Lane lovingly renders a Chaplinesque fable on the forsaken streets of lower Manhattan in this indie classic that premiered at Cannes. Lane plays a street artist attempting to scrape together a living by sketching passersby in Greenwich Village. Finding refuge in abandoned buildings, one wintry night he stumbles upon a little girl (Lane’s real-life daughter) whose father has just been murdered and must find her mother. Without using a single intertitle, Lane’s playful and poignant film is propelled by the music of composer Marc Marder, and the expressive performances of Lane and his costars, seamlessly translating the visual language of a century ago. DIRECTED/WRITTEN BY: Charles Lane. WITH: Charles Lane, Nicole Alysia, Tom Alpern, Edie Falco. 1989. 97 min. USA. B&W. Silent. DCP.

Black history cannot be separated from the history of this country, Bradley (who also edited the film) intersperses scenes from the never-completed Lime Kiln Club Field Day (1913), considered the oldest project boasting an all-Black cast, with contemporary documentary footage of Black youth for one poignant vision of a Black future. DIRECTED BY: Garrett Bradley. WITH: Charles Adams, Donna Crump, Victoria Hardway, Edward Spots. 2019. 27 min. USA. B&W. English. DCP.

The Flying Ace In The Flying Ace , the charismatic Laurence Criner plays a former World War I pilot-turned-maverick detective out to get a stolen satchel filled with $25,000 of company payroll and the gang of railroad thieves who took it. From the studio and director that made the now-lost feature Regeneration (1923), the film that gave the museum’s exhibition its name, The Flying Ace was filmed in Jacksonville, Florida. A spirited entertainment with chases, aerial derring-do, romantic intrigue, and an evocative cast of characters, The Flying Ace was added to the National Film Registry in 2021. DIRECTED/WRITTEN BY: Richard E. Norman. WITH: Laurence Criner, Kathryn Boyd, Boise De Legge, Harold Platt. 1926. 65 min. USA. B&W. Silent. English intertitles. 35mm. Preserved by the Library of Congress.

SOMETHING GOOD - NEGRO KISS (1898)

Kathryn Bostic scores Something Good - Negro Kiss and The Flying Ace Sat, Jul 15 | 7:30pm | DGT Composer and singer-songwriter Kathryn Bostic is the first female African American score composer in the Academy of Motion Picture Arts and Sciences. Tonight, Bostic presents the world premieres of new scores to two films: Something Good - Negro Kiss and The Flying Ace . Something Good - Negro Kiss Believed to be the earliest cinematic display of Black affection, Something Good - Negro Kiss portrays the joyous embrace of tenderness between a well-dressed man and a woman in an ornate dress. DIRECTED BY: William Nicholas Selig. WITH: Gertie Brown, Saint Suttle. 1898. 1 min. USA. B&W. Silent. 35mm. Restored 35mm print courtesy of USC HMH Foundation Moving Image Archive.

COMPENSATION (1999)

Compensation Sun, Jul 16 | 2pm | TMT

Director Zeinabu irene Davis’s first feature showcases two love stories: one set at the dawn of the 20th century, the other in the last year of it. Featuring a deaf woman and a hearing man (Michelle A. Banks, John Earl Jelks), both couples face the specter of death when the man is diagnosed with tuberculosis in the early story, and the woman with AIDS in the contemporary one. Inspired by a poem by Paul Laurence Dunbar, the film considers the ephemeral nature of love and life while illustrating the enduring challenges of race and racism. DIRECTED BY: Zeinabu irene Davis. WRITTEN BY: Marc Arthur Chéry. WITH: John Earl Jelks, Michelle A. Banks, Nirvana Cobb, Kevin L. Davis. 1999. 95 min. USA. B&W. English, American Sign Language. DCP. Digital presentation courtesy of the UCLA Film & Television Archive.

LIMITED SERIES DICK SMITH:

THE GODFATHER

OF MAKEUP JUL 20–AUG 24, 2023

The Godfather Thu, Jul 20 | 7:30pm | TMT

For Yale pre-med student Richard Emerson Smith (1922–2014), a routine library trip would lead to his encounter with Paint, Powder and Makeup , a book that altered the course of his career from dentistry to the art of transforming actors through makeup. Known professionally as Dick Smith, the American special makeup effects artist got his start at WNBC-TV in 1945, where he worked as Department Head of Makeup through 1959 to develop his craft and reimagine the possibilities of prosthetics. Developing his methods and makeups from his Larchmont, New York, basement workshop, Smith is best remembered for his realistic aging makeup, most notably for Dustin Hoffman as Jack Crabb in Little Big Man (1970) and F. Murray Abraham as Antonio Salieri in Amadeus (1984), the latter for which he won an Academy Award with Paul LeBlanc. Smith’s experimentation with materials went beyond full-face masks to employ multiple overlapping foam latex pieces, allowing actors a fuller range of facial expressions and resulting in massive shifts in the field. His career achievements were celebrated in 2011 with an Academy Honorary Award “for his unparalleled mastery of texture, shade, form and illusion." To highlight Smith’s work on Marlon Brando’s makeup for The Godfather (1972), currently celebrated in our gallery The Art of Moviemaking: The Godfather , on view through January 5, 2025, this screening series showcases some of Smith’s greatest achievements in movie makeup magic.

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

The Godfather Thu, Jul 20 | 7:30pm | TMT

Vito Corleone, one of the most iconic characters of 20th century American cinema, was immortalized by Marlon Brando on screen (for which he won an Oscar for Best Actor); behind the scenes, credit is shared with makeup artist Dick Smith for his collaboration with the actor on the Don’s iconic look. For the scenes in which Corleone is aged beyond Brando’s 48 years, Smith upheld the actor’s request to spend minimal time in the makeup chair by moving away from prosthetics and into more creative techniques, including the application of old age stipple and a dental plumper to add that recognizable droop to his jowls. DIRECTED BY: Francis Ford Coppola. WRITTEN BY: Mario Puzo, Francis Ford Coppola. WITH: Marlon Brando, Al Pacino, James Caan, Robert Duvall. 1972. 177 min. USA. Technicolor. English, Italian, Latin. Rated R. 4K DCP.

THE EXORCIST (1973)

The Exorcist (Director's Cut) Thu, Jul 27 | 7:30pm | TMT William Friedkin’s screen adaptation of William Peter Blatty’s novel about a seemingly ordinary girl who becomes

possessed by the devil presented filmgoers with unprecedented images of horror. Always aiming for realism even with his most fantastical creations, makeup artist Dick Smith’s process for finalizing actress Linda Blair’s transformation into the demonic Regan required weeks of camera tests and multiple application variations. Collaborating with special effects supervisor Marcel Vercoutere, Smith employed his mastery with foam latex to create a life-size body cast of Blair for the iconic, horrifying head-spinning scene and fashioned a hidden, plastic mouthpiece to produce Regan’s projectile vomit. DIRECTED BY: William Friedkin. WRITTEN BY: William Peter Blatty. WITH: Ellen Burstyn, Max von Sydow, Lee J. Cobb, Kitty Winn. 1973. 121 min. USA. Color. English. Rated R. DCP.

ALTERED STATES (1980)

SCANNERS (1981)

Altered States Thu, Aug 3 | 7:30pm | TMT

Scanners Thu, Aug 10 | 7:30pm | TMT

For William Hurt’s film acting debut in Ken Russell’s adaptation of Paddy Chayefsky’s novel about a psychopathologist who turns to self-experimentation hoping for higher consciousness, makeup artist Dick Smith metamorphosized Hurt in various innovative ways. For one “altered state,” Hurt was outfitted with a full-body foam latex suit; for another, air bladders were affixed to Hurt’s body to create an unsettling swelling effect. The achievements in Altered States , The Elephant Man , and other films released in 1980 led to the creation of the Makeup category at the Academy Awards, inaugurated at the 1981 ceremony, and renamed Makeup and Hairstyling in 2012. DIRECTED BY: Ken Russell. WRITTEN BY: Paddy Chayefsky. WITH: William Hurt, Blair Brown, Bob Balaban, Charles Haid. 1980. 103 min. USA. Color. English. Rated R. DCP.

“10 seconds. The pain begins. 15 seconds. You can’t breathe. 20 seconds. You explode.” Working with special effects supervisor Gary Zeller ( Dawn of the Dead ) and a team of special makeup artists including Stephan Dupuis ( Robocop ), Tom Schwartz ( Galaxy of Terror ), and Chris Walas ( The Fly ), Smith organized, designed, and fabricated makeups for the final scenes in Canadian genre master David Cronenberg’s science-fiction thriller with unnerving realism, again using inflatable bladders to create the bleeding, pulsing veins for the film’s climax and working with the special effects team to create unbelievable on- screen transformations. DIRECTED/WRITTEN BY: David Cronenberg. WITH: Jennifer O’Neill, Stephen Lack, Patrick McGoohan, Lawrence Dane. 1981. 103 min. Canada. Color. English. Rated R. DCP.

perfecting his aging makeup techniques for 175-year-old Barnabas Collins (Jonathan Frid), experimenting with methods he would bring with him to MGM’s film adaptation just three years later, with Frid reprising his iconic role. A self-proclaimed perfectionist, Smith was intent on developing his techniques not just for himself, but also to share with the next generation of makeup artists, to what he acknowledged was the entire industry’s mutual benefit. DIRECTED BY: Dan Curtis. WRITTEN BY: Sam Hall, Gordon Russell. WITH: Jonathan Frid, Joan Bennett, Grayson Hall, Kathryn Leigh Scott. 1970. 97 min. USA. Color. English. Rated PG. 35mm.

THE HUNGER (1983)

The Hunger with House of Dark Shadows Thu, Aug 17 | 7:30pm | TMT The Hunger

To realize the rapid aging of David Bowie’s John Blaylock, a vampire promised immortality but not eternal youth by the exponentially more powerful Miriam (Catherine Deneuve), director Tony Scott called upon the legendary talents of advanced-age makeup expert Dick Smith, credited here for his “makeup illusions,” to gradually turn the mid-30s actor-musician into a desperate, 200-year-old insomniac over the course of a six-stage deterioration. Trained in miming techniques by Marcel Marceau protégé Lindsay Kemp, Bowie employs his experience with physical performance to convey John’s devastating plight beneath multiple layers of prosthetics. DIRECTED BY: Tony Scott. WRITTEN BY: Ivan Davis, Michael Thomas. WITH: Catherine Deneuve, David Bowie, Susan Sarandon, Cliff De Young. 1983. 97 min. UK/USA. Color. Scope. English. Rated R. DCP.

AMADEUS (1984)

Amadeus Thu, Aug 24 | 7:30pm | TMT

Winner of eight Academy Awards, including Best Picture and Makeup for Dick Smith and Paul LeBlanc ( Black Swan ), Amadeus chronicles the rivalry between composers Wolfgang Amadeus Mozart (Tom Hulce) and Antonio Salieri (F. Murray Abraham) in the court of Emperor Joseph II. Unanimously revered for Smith's makeup depicting the weight of time on Salieri’s face, the authenticity also found in the masquerade party scenes as well as the day-to-day looks of the 18th century Viennese ruling class make the pair’s contributions to this beloved epic integral to the film’s verisimilitude. DIRECTED BY: Milos Forman. WRITTEN BY: Peter Shaffer. WITH: F. Murray Abraham, Tom Hulce, Elizabeth Berridge, Simon Callow. 1984. 158 min. USA. Color. Scope. English. Rated PG. 35mm. New print courtesy of the Academy Film Archive.

HOUSE OF DARK SHADOWS (1970)

House of Dark Shadows It was during his tenure on the wildly popular ABC television series Dark Shadows in 1967 that Dick Smith began

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