Mar – May 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 MAR–MAY 2023

The Adversary (Pratidwandi) Fri, Mar 24 | 7:30pm | TMT

ACADEMY MUSEUM MAR–MAY 2023 FILM CALENDAR

TABLE OF CONTENTS

LIMITED SERIES AND SPOTLIGHTS

ENTER THE VARDAVERSE: WOMEN’S LIBERATION......4 OSCAR WEEK...........................................................7 HARD LUCK WOMAN: GLORIA GRAHAME AT 100.........8 LEE UNKRICH PRESENTS THE SHINING ..................10 SATYAJIT RAY: 1970-1991.........................................11 THE HOLLYWOOD TEN AT 75....................................14 PEDRO ALMODÓ VAR: MUSES AND INFLUENCES.......16 SAMMO HUNG: FROM STUNTMAN TO STAR............18 LOURDES PORTILLO: UNA VIDA DE DIRECTORA......21 ONGOING SERIES FAMILY MATINEES....................................................23 AVAILABLE SPACE..................................................26 OSCAR ® SUNDAYS..................................................28 BRANCH SELECTS..................................................31

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.

LIMITED SERIES ENTER THE VARDAVERSE: WOMEN’S LIBERATION THROUGH FILM, 1971-1977 MAR 2– APR 8, 2023

One Sings, The Other Doesn’t Thu, Mar 2 | 7:30pm | TMT

Continuing our celebration of the prolific feminist filmmaker Agnès Varda (1928–2019), whose work and influences are highlighted in the museum’s Director’s Inspiration gallery on view in the exhibition Stories of Cinema , part two of the VardaVerse explores the rich period between 1971 and 1977 when women around the world took up cameras to tease out the theories and the demands of second wave feminism through cinema. Beginning in 1971, when Varda joined hundreds of women in signing the Manifeste des 343 , a French petition started by women who obtained illegal abortions, and running through 1977, when Varda’s One Sings, The Other Doesn’t beautifully showcased an intense female friendship through the lens of the women’s movement, this series looks to radical works made by women in Belgium, Canada, Cuba, France, West Germany, Italy, Lebanon, the former People’s Republic of the Congo, and the United States to more deeply understand Varda’s films through a symbolic dialogue with her international contemporaries. Within this collection are stories of labor struggles, body politics, sex work, liberation movements, spirituality and religion, and sexuality, which, when considered together, form a snapshot of a fertile era for independent productions by and for women, just one locus of which is Varda’s vibrant, activist oeuvre. Programmed and notes by K.J. Relth-Miller.

Women Reply: Our Bodies, Our Sex ( Réponse de femmes: Notre corps, notre sexe ) with One Sings, The Other Doesn’t Thu, Mar 2 | 7:30pm | TMT Women Reply: Our Bodies, Our Sex ( Réponse de femmes: Notre corps, notre sexe ) Commissioned by the French television channel Antenne 2, Women Reply is Varda’s contribution to what was a series of seven films that aimed to answer the prompt, “What is a woman?” Decidedly second wave in its reductive consideration of gender, this short is a time capsule of white feminism and empowerment in Western society. DIRECTED BY: Agnès Varda. 1975. 9 min. France. Color. French. DCP. One Sings, The Other Doesn’t Agnès Varda’s nuanced approach to motherhood, pregnancy, and how one should live in the churning 1970s unfolds via the continent-spanning friendship of Pomme and Suzanne, played respectively by Valérie Mairesse and Thérèse Liotard, two actresses who understood that Varda was presenting them with a chance to tell a story from the mind of an explicitly feminist artist, through the language of an emerging feminist cinema. This sprawling musical,

which was not distributed widely in the US until 2018, is essential viewing for a time in which access to reproductive healthcare in the US is as tenuous as it was five decades ago. DIRECTED/WRITTEN BY: Agnès Varda. WITH: Thérèse Liotard, Valérie Mairesse, Ali Rafie, Robert Dadiès. 1977. 116 min. France. Color. French. DCP. Semiotics of the Kitchen with Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles Made the same year as Akerman’s Jeanne Dielman… , American conceptual artist Martha Rosler (b. 1943) confronts her viewer with a stone-faced, aproned woman in her kitchen. As this unhappy housewife displays and handles her cooking tools alphabetically, their meanings are recontextualized as objects not of domestic labor, but as weapons of female rage. DIRECTED BY: Martha Rosler. 1975. 6 min. USA. B&W. Digital. Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles Recently named the greatest film of all time by the decennial Sight and Sound poll, Belgian filmmaker Fri, Mar 3 | 7:30pm | TMT Semiotics of the Kitchen

Chantal Akerman’s (1950–2015) uncompromising second feature film, made when she was only 25, masterfully illustrates the quiet rage beget by female oppression through the stoic face of actress Delphine Seyrig. Lensed by Babette Mangolte, one of the most prolific women cinematographers of her era, this domestic epic unfolds over three seemingly ordinary days in the life of a housewife, mother, and part-time sex worker in Brussels. The tension created through repetition and the smallest of gestures makes this an unequivocal masterpiece and a timeless example of feminist filmmaking. DIRECTED/WRITTEN BY: Chantal Akerman. WITH: Delphine Seyrig, Jan Decorte. 1975. 201 min. Belgium/France. Color. French. 35mm.

One Way or Another (De cierta manera)

Solidarity with One Way or Another (De cierta manera) Mon, Mar 6 | 7:30pm | TMT Solidarity A document of the literal boots on the ground at a strike at the Kitchener, Ontario-based Dare cookie factory. By framing just the feet of the workers and superimposing the film’s title atop the image throughout, Canadian experimental filmmaker Joyce Wieland (1930–1998) emphasizes the impact of organized direct action and places visual import on the physical demands required for reform. DIRECTED BY: Joyce Wieland. 1972–73. 11 min. Canada. Color.

English. 16mm. Print courtesy of Light Cone. One Way or Another ( De cierta manera )

Love and Anarchy

The only Afro-Latina woman ever in the Instituto Cubano del Arte e Industria Cinematográficos, Sara Gómez’s neo- realistic work of fiction and her only feature film is a portrait of romantic love in times of revolution. Boldly confronting class, race, and gender inequality, One Way or Another also questions the economy, educational opportunities, healthcare, and women’s place in society. Unfinished at the time of her death in 1974, her co-writer, the renowned filmmaker Tomás Gutiérrez Alea, whose later Fresa y Chocolate (1993) became the first Cuban film nominated for a Foreign Language Film Oscar, dedicated himself to completing the movie after she was gone. DIRECTED BY: Sara Gómez. WRITTEN BY: Sara Gómez, Tomás Gutiérrez Alea, Tomás González Pérez, Julio García Espinosa. WITH: Mario Balmaseda, Yolanda Cuéllar, Mario Limonta. 1977. 73 min. Cuba. B&W. Spanish. DCP. 2K digital restoration by Arsenal – Institut für Film und Videokunst in collaboration with Instituto Cubano de Arte e Industria Cinematográficos (ICAIC); courtesy of Janus Films. The Hour of Liberation Has Arrived with Sambizanga Thu, Mar 23 | 7:30pm | TMT The Hour of Liberation Has Arrived With The Hour of Liberation Has Arrived , Lebanese director Heiny Srour (b. 1945) became the first Arab female filmmaker to see her film screened in competition at Cannes. Centering the feminist guerrilla movement of the Dhofar Rebellion in Oman, Srour and her small crew trekked deep within the conflict to record the emancipatory People’s Liberation Army, producing a powerful record of a war and the sweeping social reforms that resulted from the uprising. Always outspoken about improving women’s place in Arab society, Srour’s empowering documentary fearlessly embodies female liberation both in front of and behind the camera. DIRECTED BY: Heiny Srour. 1974. 62 min. UK/Lebanon/France. Color. Arabic. DCP.

Take Off with Love and Anarchy Sat, Mar 4 | 7:30pm | TMT Take Off

Filmmaker Gunvor Grundel Nelson (b. 1931) has been making what she calls “personal films” both in the Bay Area and in her birthplace of Kristinehamn, Sweden, since the 1960s. Her short Take Off is described by her distributor, Canyon Cinema, as “a dance, a documentary, [and] a metaphysical strip tease.” DIRECTED BY: Gunvor Grundel Nelson. WITH: Ellion Ness. 1972. 10 min. USA. B&W. 16mm. Print courtesy of Canyon Cinema Foundation. Love and Anarchy In 2019, prolific Italian filmmaker Lina Wertmüller (1928–2021) became the second female director ever to receive an Honorary Award from the Academy for her career, preceded only by Agnès Varda in 2017. Nominated for the Palme d’Or at Cannes, her luxurious, grotesque, hilarious Love and Anarchy finds her longtime icy-eyed muse Giancarlo Giannini shacking up in a high-class brothel, biding his time before he attempts to assassinate Mussolini. Critiquing modern society by scrutinizing Italian gender roles through the faults and blunders of her male protagonists, Wertmüller places equal emphasis on sexual politics as she does on her staunch socialist ideals. DIRECTED/WRITTEN BY: Lina Wertmüller. WITH: Giancarlo Giannini, Mariangela Melato, Eros Pagni, Pina Cei. 1973. 124 min. Italy/France. Color. Italian. DCP.

Sambizanga Born in rural France to parents of West Indian and French descent, Sarah Maldoror (1929–2020), like Varda, was 90 when she passed. After working as assistant director on The Battle of Algiers (1966), Maldoror would imbue the same radical spirit as Pontecorvo’s film in her adaptation of José Luandino Vieira’s novella about the events preceding the armed struggle against Portuguese rule in Angola as told through the eyes of Maria, a dock worker’s wife who travels on foot to beg for her husband’s release after his labor organizing efforts lead to his arrest. DIRECTED BY: Sarah Maldoror. WRITTEN BY: Sarah Maldoror, Mário de Andrade, Maurice Pons. WITH: Elisa Andrade, Domingos de Oliveira, Jean M’Vondo, 1972. 102 min. Angola/France. Color. Portuguese. DCP.

Madame X: An Absolute Ruler

Madame X: An Absolute Ruler Sat, Apr 8 | 2pm | TMT

Throughout her over fifty-year career, German surrealist filmmaker Ulrike Ottinger (b. 1942) has forged a new and entirely unique cinematic language for fiction filmmaking. With her unconventional and wildly imaginative approach to form, performance, and visual style evident from her debut feature Madame X: An Absolute Ruler , Ottinger breaks open the traditionally male-led swashbuckling genre and produces a spectacular lesbian pirate film set on the ship Orlando , a nod to the titular protagonist of Virginia Woolf’s gender-bending novel. Ottinger, who herself has always identified as a lesbian, paces out a cathartic, singular journey for the creative, vibrant women who accompany this transformative voyage. DIRECTED BY: Ulrike Ottinger, Tabea Blumenschein. WRITTEN BY: Ulrike Ottinger. WITH: Tabea Blumenschein. 1977. 137 min. West Germany. Color. German. DCP.

Hester Street

Diary of an African Nun with Hester Street Sun, Mar 26 | 2pm | TMT Diary of an African Nun

Based on a short story by Pulitzer Prize–winning author Alice Walker, Julie Dash’s (b. 1952) student film, made while attending UCLA’s MFA program during the groundbreaking L.A. Rebellion period—which saw a massive surge in films made by Black students at the university—explores the interior, spiritual life of a young Black nun in Uganda as she interrogates her devotion to Catholicism. DIRECTED BY: Julie Dash. WITH: Barbara O. Jones, Barbara Young, Makimi Price, Ron Flagge. 1977. 13 min. USA. B&W. 16mm. Hester Street Set in the Jewish community of Manhattan’s Lower East Side in 1896, Joan Micklin Silver’s (1935–2020) debut feature is told through Eastern European immigrant Gitl (Carol Kane) as she grapples with maintaining her personal agency within the traditions of her Jewish faith. For Silver, a daughter of Russian Jewish immigrants, Hester Street was a personal story, which she adapted herself from Abraham Cahan’s novella Yekl: A Tale of the New York Ghetto . A universal narrative about acceptance and identity, Hester Street garnered Kane an Oscar nomination for her performance, and the film was added to the National Film Registry in 2011. DIRECTED/WRITTEN BY: Joan Micklin Silver. WITH: Steven Keats, Carol Kane, Mel Howard, Dorrie Kavanaug. 1975. 90 min. USA. B&W. Yiddish, English. 4K DCP. Hester Street was restored in 4K from the original 35mm negative by Cohen Film Collection at DuArt Media Services in New York. Color grading was approved by Marisa Silver.

Enjoy screenings of Academy Award–nominated shorts and panels with Academy Award–nominated filmmakers in the lead-up to the 95th Oscars. Purchase of museum general admission grants access to all same-day Oscar Week screenings and panels. Program times subject to change, check academymuseum.org for the most up-to-date information. Public programming for 2023 Oscar Week is made possible in part by the Ruderman Family Foundation, which promotes authentic representation in the entertainment industry and full inclusion of people with disabilities throughout all sectors of society. Oscars Night at the Museum is made possible by generous support from Bloomberg Philanthropies. Oscars Night is also supported by Clarendelle & Domaine Clarence Dillon, the Academy Museum of Motion Pictures' official wine partner.

ANIMATION Wed, Mar 8 | DGT 11am | Screening: Animated Short Films

3pm | Screening: Live Action Short Films (Encore) 6pm | Panel: International Feature Film Nominees

SAT, MAR 11: MAKEUP AND HAIRSTYLING 1pm | Panel: Makeup and Hairstyling Nominees

OSCARS NIGHT AT THE MUSEUM Sun, Mar 12 | 3-10pm

Join us for a one-of-a-kind evening celebrating the 95th Academy Awards. Come dressed in your best Hollywood glam looks! Ticket includes access to the David Geffen Theater to watch the Oscars live stream on ABC, gallery admission, food by Wolfgang Puck Catering, hosted bar, a commemorative gift, red carpet photography, access to fun photo booths, a 15% discount at the Academy Museum Store, Museum Member priority check-in and seating, and more!

LIMITED SERIES HARD LUCK WOMAN: GLORIA GRAHAME AT 100 MAR 16–25, 2023

Courtesy of the Margaret Herrick Library

“Of all the American film stars, Gloria Grahame is the only one who is also a person.”—François Truffaut, 1952 Born in 1923 as Gloria Hallward in Pasadena to an American architect and a Scottish actress, she studied at Hollywood High before finishing her senior year on the road as part of a touring production of Good Night, Ladies . Scouted by Metro-Goldwyn- Mayer on Broadway, she was rechristened Grahame by Louis B. Mayer and spent two years at the studio before moving to Howard Hughes’s RKO, where Grahame was able to play the kind of desperately droll characters that became her calling card. Beginning with Crossfire (1947), which garnered Grahame her first Oscar nomination for Best Supporting Actress, Grahame starred in an iconic cycle of ever-bleaker late film noirs. She famously quipped : “I dote on death scenes.” Curiously, it’s likely most audiences know her best from smaller parts in lighter fare, the town sexpot in It’s a Wonderful Life (1946) and an unforgettable supporting role in the widescreen, technicolor musical Oklahoma! (1955). In fact, Grahame’s Oscar win would come thanks to nine minutes of screen time in MGM’s The Bad and The Beautiful (1952). Grahame met and married her second husband, Nicholas Ray, when he directed her sophomore RKO feature—the deranged Pygmalion riff A Woman’s Secret (1949)—though their greatest collaboration came years later when Ray directed Grahame opposite Humphrey Bogart in the immortal Tinseltown noir In a Lonely Place (1950). Plagued by tabloid scandals and a turbulent personal life—she married four times—Grahame acted on screen and stage until passing away suddenly from peritonitis after an accident during surgery. She was 57 years old. Programmed and notes by Bernardo Rondeau.

1947. 85 min. USA. B&W. English. 35mm. New print courtesy of the Academy Film Archive. A Woman’s Secret Grahame ignites the screen in this sudsy near noir. She plays radio singer Estrellita, protégée to ex-chanteuse Marian Washburn (Maureen O’Hara). The women’s relationship is untangled over a series of unreliable flashbacks, offering star turns by both O’Hara and Grahame. Adapting the serialized novel Mortgage on Life by Austrian émigré writer Vicki Baum, A Woman’s Secret is also one of Citizen Kane (1941) screenwriter Herman J. Mankiewicz’s final screen credits. The sophomore effort of director Nicholas Ray, A Woman’s Secret marks the beginning of his offscreen romance with Grahame. They were married by the time the film was released in 1949. DIRECTED BY: Nicholas Ray. WRITTEN BY: Herman J. Mankiewicz. WITH: Maureen O’Hara, Melvyn Douglas, Gloria Grahame, Bill Williams. 1949. 85 min. USA. B&W. English. DCP.

Crossfire with A Woman’s Secret Thu, Mar 16 | 7:30pm | TMT Crossfire Grahame delivers an unforgettable performance as a bleach-blond, gin mill taxi dancer who gets mixed up with a discharged GI one long, strange night in Washington, DC. One of the first Hollywood films to address antisemitism, Crossfire is a taut procedural about the mysterious murder of a Jewish man. Boasting star turns from noir icons Robert Ryan (nominated for Supporting Actor) and Robert Mitchum, the film also received Oscar nominations for Directing (Edward Dmytryk) and Best Picture, though both Dmytryk and the film’s producer Adrian Scott would soon be blacklisted at the height of McCarthyism and, as members of the Hollywood Ten (see pg. 14), serve prison terms. DIRECTED BY: Edward Dmytryk. WRITTEN BY: John Paxton. WITH: Robert Young, Robert Ryan, Robert Mitchum, Gloria Grahame.

Naked Alibi Sun, Mar 19 | 2pm | TMT

Sterling Hayden is a roughneck police captain on the hunt for a cop killer in this rarely screened potboiler, partially set on the US/Mexico border. Suspecting skittish baker Gene Barry as a key suspect in a series of police murders after witnessing a hair-trigger interrogation, Hayden tracks Barry to a border town and discovers the other side of this pious, family man. Grahame shines as Barry’s ill-treated, cantina-singing mistress, caught between two worlds. DIRECTED BY: Jerry Hopper. WRITTEN BY: Lawrence Roman. WITH: Sterling Hayden, Gloria Grahame, Gene Barry, Marcia Henderson. 1954. 85 min. USA. B&W. English. 35mm.

In a Lonely Place

In a Lonely Place Sat, Mar 18 | 2pm | TMT

A fading screenwriter (Humphrey Bogart) is the prime suspect in the brutal murder of a hat-check girl. The only person who seems able to supply an alibi is the seductive woman next door: Gloria Grahame in one of her greatest performances as an aspiring actress with a troubled past. A claustrophobic noir from legendary director Nicholas Ray, In a Lonely Place adapts Dorothy B. Hughes’s taut novel of the same name and remains one of the director’s most personal films, partially shot in the same courtyard apartment complex where Ray first lived in Hollywood. DIRECTED BY: Nicholas Ray. WRITTEN BY: Andrew Solt, Edmund H. North. WITH: Humphrey Bogart, Gloria Grahame, Frank Lovejoy, Carl Benton Reid. 1950. 95 min. USA. B&W. English. 4K DCP.

Oklahoma!

Oklahoma! Sat, Mar 25 | 7:30pm | TMT

The Big Heat with Human Desire Sat, Mar 18 | 7:30pm | TMT The Big Heat

Though best known for her noir roles, Grahame shines in this pastoral Rodgers & Hammerstein classic as the coquettish Ado Annie. The sole musical directed by Academy Award– winning Austrian émigré Fred Zinnemann, Oklahoma! tracks the romance between cowboy Curly (Gordon MacRae) and farm girl Laurey (20-year-old Shirley Jones in her film debut) in turn-of-the-century rural South. Brimming with iconic songs—“Oh, What a Beautiful Mornin’” and “People Will Say We’re In Love”—rousing dance numbers, and choreographer Agnes de Mille’s surreal dream ballet, Zinnemann filmed every scene twice—once in standard 35mm widescreen CinemaScope and once in the brand-new process of Todd-AO, using 70mm film at 30 frames per second. Tonight’s presentation features a restoration of the film’s lesser seen Todd-AO version. The film received four Academy Award nominations, including one for Robert Surtees’s rousing cinematography. DIRECTED BY: Fred Zinnemann. WRITTEN BY: Sonya Levien, William Ludwig. WITH: Gordon MacRae, Gloria Grahame, Shirley Jones, Rod Steiger. 1955. 147 min. USA. Color. Todd-AO. English. DCP.

Grahame is iconic as a fearless gun moll in Fritz Lang’s shocking noir The Big Heat , about a vengeful copper (Glenn Ford) on a mission to take down the gang that brought violence to his literal doorstep. Lee Marvin is unforgettable as a loudmouthed crime boss with a sadistic streak—though Grahame steals the show with her scorching performance. Adapted from a Saturday Evening Post serial, Lang’s taut thriller remains one of his most beloved American productions. DIRECTED BY: Fritz Lang. WRITTEN BY: Sydney Boehm. WITH: Glenn Ford, Gloria Grahame, Jocelyn Brando, Alexander Scourby. 1953. 89 min. USA. B&W. English. 35mm. New print courtesy of the Academy Film Archive. Human Desire Ford and Grahame reunite for this radiantly bleak railroad noir. Ford plays a returning Korean War vet and train conductor who becomes violently embroiled in the turbulent marriage of lusty Grahame and quick-tempered railroad yard manager Broderick Crawford. An adaptation of the same 1890 Émile Zola novel that Jean Renoir made into La bête humaine (1938) with Jean Gabin and Simone Simon, Human Desire is one of Lang’s iciest portraits of humanity’s bestial side. DIRECTED BY: Fritz Lang. WRITTEN BY: Alfred Hayes. WITH: Glenn Ford, Gloria Grahame, Broderick Crawford, Edgar Buchanan. 1954. 90 min. USA. B&W. English. 35mm.

SPOTL IGHT LEE UNKRICH PRESENTS THE SHINING MAR 17, 2023

The Shining Fri, Mar 17 | 7:30pm | DGT TM & © Warner Bros. Entertainment Inc. (s22), courtesy of Greg MacGillivray

Academy Award–winning director Lee Unkrich has conceived and edited perhaps the definitive compendium on the film that remains a haunting cinematic classic.

The Shining Fri, Mar 17 | 7:30pm | DGT

Written by J.W. Rinzler and published by TASCHEN in a limited edition of 1,000, the monumental book Stanley Kubrick’s The Shining features hundreds of never-before-seen photographs, rare production ephemera from the Kubrick Archive, and extensive new interviews with the cast and crew. Tonight, Unkrich will provide a deep dive into the creation of his massive new book, including never-before- seen glimpses into the making of Kubrick’s masterpiece, followed by a screening of the film. An adaptation of Stephen King’s novel, The Shining recounts a fateful winter when frustrated novelist Jack Torrance (Jack Nicholson) and his family (Shelley Duvall, Danny Lloyd) move into the cavernous, mountain-locked Overlook Hotel to care for it during the off-season. Kubrick’s mind-bending saga remains one of cinema’s most influential works. DIRECTED BY: Stanley Kubrick. WRITTEN BY: Stanley Kubrick, Diane Johnson. WITH: Jack Nicholson, Shelley Duvall, Danny Lloyd, Scatman Crothers. 1980. 146 min. USA. Color. English. 35mm. New print courtesy of the Academy Film Archive.

The Overlook Hotel facade under construction on the Elstree Studios backlot. TM & © Warner Bros. Entertainment Inc. (s22), courtesy of Jim and Ann Lloyd

Jack Nicholson and Stanley Kubrick in The Overlook Lobby set at Elstree Studios, with sound recordist Ivan Sharrock. TM & © Warner Bros. Entertainment Inc. (s22), courtesy of Murray Close

LIMITED SERIES SATYAJIT RAY: 1970–1991 MAR 24–APR 8, 2023

The Adversary (Pratidwandi) Fri, Mar 24 | 7:30pm | TMT

The Academy Museum concludes its two-part centennial tribute to writer, director, and composer Satyajit Ray (1921–1992), which we launched in 2021. The second part of this tribute finds Ray boldly grappling with India’s caste system, India’s colonial legacy, and the tumult of everyday life. He also manages another magical musical plus a pair of delightful whodunnits. Ray was born in Calcutta on May 2, 1921, into a family steeped in art and literature. His grandfather, Upendrakishore Ray, wrote children’s books and founded the first Bengali children’s magazine, Sandesh , which his grandson would later edit and turn to for source material for several films in this series. Ray’s father died when he was 3, and Satyajit was raised in the home of a maternal uncle. While working as an advertising art director, Ray viewed Vittorio de Sica’s neorealist masterpiece Bicycle Thieves (1948) and became determined to pursue filmmaking. Launching his cinematic career with the immortal Pather Panchali in 1955, Ray went on to make 36 films over three decades. These films span genres, periods, and styles, all while retaining their firm roots in the realities and histories of West Bengal. All films will screen on preserved 35mm prints from the Academy Film Archive, except where noted. Programmed and notes by Bernardo Rondeau.

The Adversary (Pratidwandi) with Company Limited (Seemabaddha) Fri, Mar 24 | 7:30pm | TMT The Adversary (Pratidwandi)

Company Limited continues Ray’s Calcutta Trilogy with a vibrantly modernist look at a fan factory sales manager whose big contract with an Iraqi client could secure him a promotion. Ray takes us on a tour of swinging Calcutta with its clubs, salons, horse races, posh restaurants, and cabarets. DIRECTED/WRITTEN BY: Satyajit Ray. WITH: Barun Chanda, Harindranath Chattopadhyay, Parumita Chowdhury, Sharmila Tagore. 1971. 112 min. India. B&W. Bengali. 35mm. Restored by the Satyajit Ray Preservation Project at the Academy Film Archive with funding from The Film Foundation. Print courtesy of the Academy Film Archive. The Middleman (Jana Aranya) Sat, Mar 25 | 2pm | TMT Ray concludes the Calcutta Trilogy by tracing the downward spiral of a promising young man. After failing to enter the corporate workforce, Somnath (Pradip Mukherjee) strikes out on his own as a “middleman” and quickly discovers how much greasing is needed to turn the wheels of commerce. A panoramic underworld film, The Middleman starkly depicts the predatory snake pit of corrupt hustlers and traffickers who populate Calcutta’s crowded margins as

Ray’s first film of the 1970s starts boldly with a series of hallucinatory negative-printed sequences. The opening chapter in Ray’s Calcutta Trilogy, The Adversary depicts medical student Siddhartha’s travails in the bustling West Bengal capital as he tries and fails to find work. Explosions rock the streets as random, communist ideology is entering middle-class discourse. Ray evokes the camera-eye immediacy of Dziga Vertov in the textures of urban life. DIRECTED/WRITTEN BY: Satyajit Ray. WITH: Dhritiman Chatterjee, Krishna Bose, Indira Devi, Kalyan Chowdhury. 1970. 110 min. India. B&W. Bengali. 4K DCP. New 4K restoration DCP, courtesy of National Film Archive of India. Company Limited (Seemabaddha) After making a film about the ups and downs of the young people of West Bengal in a desperate search for work and meaning— The Adversary— Ray turns his attention to the people who have managed to find employment.

12 Somnath slowly transitions from dealing in stationery and industrial chemicals to seedier merchandise. DIRECTED/WRITTEN BY: Satyajit Ray. WITH: Pradip Mukherjee, Satya Banerjee, Dipankar Dey, Lily Chakravarti. 1975. 131 min. India. B&W. Bengali. 35mm. Restored by the Satyajit Ray Preservation Project in 1996 through a collaboration of the Academy Film Archive, the Merchant-Ivory Foundation, and The Film Foundation. Print courtesy of the Academy Film Archive.

these characters to young audiences when he was the editor of the children’s magazine Sandesh , which his grandfather founded in the 1910s. In The Golden Fortress , the duo faces off against kidnappers, scorpions, magicians, and knife throwers. DIRECTED/WRITTEN BY: Satyajit Ray. WITH: Soumitra Chatterjee, Santosh Dutta, Siddartha Chatterjee, Kusal Chakravarty. 1974. 136 min. India. Color. Bengali. 4K DCP. New 4K restoration DCP, courtesy of National Film Archive of India.

The Chess Players (Shatranj Ke Khilari)

The Elephant God (Joi Baba Felunath)

The Chess Players (Shatranj Ke Khilari) Thu, Mar 30 | 7:30pm | TMT One of Ray’s most beloved films, The Chess Players is an elegant dissection of colonialism. Ray interweaves two parallel stories: the British-owned East India Company’s maneuverings to remove the king of Oudh, and the chess games of two Lucknow noblemen, oblivious to both domestic and national cataclysms around them. Set on the cusp of the 1857 rebellion by the Indian people against their British colonizers, The Chess Players is one of Ray’s most visually dazzling portraits of the fateful games people play. The film also stars Richard Attenborough, with narration by Amitabh Bachchan. DIRECTED/WRITTEN BY: Satyajit Ray. WITH: Sanjeev Kumar, Shabana Azmi, Saeed Jaffrey, Richard Attenborough. 1977. 113 min. India. Color. Urdu, Hindi, English. 35mm. Restored by the Satyajit Ray Preservation Project at the Academy Film Archive with funding from The Film Foundation. Print courtesy of the Academy Film Archive.

The Elephant God (Joi Baba Felunath) Sun, Apr 2 | 2pm | TMT

Ray returns to the delightful adventures of detective Feluda (Soumitra Chatterjee) and his teen sidekick Tapesh in this lively follow-up to The Golden Fortress. While holidaying in the scenic holy city of Benares (now Varanasi), our stealthy sleuth is approached by a wealthy family to retrieve an invaluable family heirloom, a golden Ganesh statue (the Elephant God of the film’s title). As Feluda and Tapesh become embroiled with art smugglers, bodybuilders, and knife throwers through the ancient city’s labyrinth-like streets, Ray offers a warm meditation on religion. DIRECTED/WRITTEN BY: Satyajit Ray. WITH: Soumitra Chatterjee, Santosh Dutta, Siddhartha Chatterjee, Utpal Dutt. 1978. 112 min. India. Bengali. 35mm. Restored by the Satyajit Ray Preservation Project at the Academy Film Archive. Print courtesy of the Academy Film Archive.

Kingdom of Diamonds (Hirak Rajar Deshe) Thu, Apr 6 | 7:30pm | TMT

Ray revisits the singing nomads Goopy and Bagha, this time in vibrant color. After a decade of life in royal repose, the duo embarks on a journey to the kingdom of Hirak at the invitation of its ruler. During their tuneful cross-country journey—Ray reveling in the grandeur and diversity of India’s landscapes— the pair discover that Hirak is a tyranny out to brainwash its citizens thanks to a secret invention. Ray’s expressionistic sets and use of rhyming dialogue make for a singular fantasy and, by the director’s own account, one of his most elaborate films. DIRECTED/WRITTEN BY: Satyajit Ray. WITH: Soumitra Chatterjee, Utpal Dutt, Tapen Chatterjee, Rabi Ghosh. 1980. 118 min. Color. Bengali. 4K DCP. New 4K restoration DCP, courtesy of National Film Archive of India. The Home and the World (Ghare Baire) Fri, Apr 7 | 7:30pm | TMT Set against the chaotic aftermath of the 1905 British partition of Bengal into Muslim and Hindu states, a love triangle forms between a Hindu landlord (Victor Banerjee), his wife

The Golden Fortress (Sonar Kella)

The Golden Fortress (Sonar Kella) Fri, Mar 31 | 7:30pm | TMT A rarely screened gem in Ray’s abundant catalogue and a film beloved to generations of Indian audiences, The Golden Fortress is set in scenic Rajasthan. Ray introduces viewers to charming private investigator Feluda (Soumitra Chatterjee) and his teenaged cousin sidekick Tapesh (Siddartha Chatterjee). Ray originally presented

(Swatilekha Chatterjee), and a charismatic revolutionary (Soumitra Chatterjee). This graceful chamber piece was completed by Ray with his son’s help after the director suffered two massive heart attacks. Ray intended for this adaptation of a Rabindranath Tagore story to be his debut film 30 years earlier. Praising the film, Pauline Kael wrote, “When it comes to truthfulness about women’s lives this great filmmaker Ray shames the American and European directors of both sexes.” DIRECTED/WRITTEN BY: Satyajit Ray. WITH: Soumitra Chatterjee, Victor Banerjee, Swatilekha Chatterjee, Manoj Mitra. 1984. 140 min. Color. Bengali. 35mm. Print courtesy of the Packard Humanities Institute Collection at the Academy Film Archive.

Branches of the Tree (Shakha Proshakha)

Branches of the Tree (Shakha Proshakha) Sun, Apr 9 | 2pm | TMT

Satyajit Ray returns to the topic of family with his most direct portrait of generational friction in the somber Branches of the Tree . When a self-made industrialist and philanthropist has a heart attack, his sons rush to his bedside. While waiting out their father’s convalescence (or demise), the reunited siblings let old resentments simmer as new secrets emerge. Former Cahiers du Cinéma editor Jean-Michel Frodon praised the film, writing, “On Ray’s screen, everything moves and breathes, everything has nuance and depth.” DIRECTED/WRITTEN BY: Satyajit Ray. WITH: Soumitra Chatterjee, Ranjit Mallick, Dipankar Dey, Mamata Shankar. 1990. 121 min. Color. Bengali. 35mm. Print courtesy of the Packard Humanities Institute Collection at the Academy Film Archive.

An Enemy of the People (Ganashatru)

An Enemy of the People (Ganashatru) with Deliverance (Sadgati) Sat, Apr 8 | 7:30pm | TMT An Enemy of the People (Ganashatru)

The Stranger (Agantuk) Sat, Apr 15 | 7:30pm | TMT

In this contemporary adaptation of Henrik Ibsen’s 1882 play An Enemy of the People (En folkefiende) , Satyajit Ray offers a scathing commentary on the Indian social system and religious orthodoxies. Ray regular Soumitra Chatterjee stars as a doctor who traces a jaundice outbreak in a West Bengal tourist destination to the holy water at a popular temple. Yet his concerns for an epidemic are met with hostility and ostracization. Produced while Ray was ill, this biting drama was made at a time when Hindu nationalist sentiments were on the rise. DIRECTED/WRITTEN BY: Satyajit Ray. WITH: Soumitra Chatterjee, Ruma Guha Thakurta, Mamata Shankar, Dhritiman Chatterjee. 1989. 100 min. Color. Bengali. 35mm. Print courtesy of the Packard Humanities Institute Collection at the Academy Film Archive. Deliverance (Sadgati) Made for India’s government-run national television service in Hindi and rarely screened in the United States, Deliverance is Ray’s angriest and starkest film. On a scorching day, a Brahmin orders an “untouchable” cobbler to cut trees in exchange for arranging a marriage. The tragic results set off a fateful chain reaction in the weather-beaten village. DIRECTED/WRITTEN BY: Satyajit Ray. WITH: Om Puri, Smita Patil, Richa Mishra, Mohan Agashe. 1981. 52 min. Color. Hindi. 35mm. Print courtesy of the Packard Humanities Institute Collection at the Academy Film Archive.

Satyajit Ray’s final film once more explores the bonds and battles of family life. Announced only by a single letter, the arrival of the long-lost, globetrotting great-uncle of Anila after 35 years is a shock to all in her Calcutta home. Regaling Anila’s young son with tall tales from his world travels, the enigmatic grand uncle Manomohan (Utpal Dutt) strikes suspicion in everyone, not the least regarding his identity. (Scholars of Ray’s work have noted the anthropologist uncle’s measured approach to science and technology echo statements Ray himself made in interviews.) Ray’s film is based on his own short story originally written for the children’s magazine he edited, Sandesh . The year following the film’s release, Ray received an Honorary Award from the Academy. He passed away on April 23, 1992. DIRECTED/WRITTEN BY: Satyajit Ray. WITH: Utpal Dutt, Dipankar Dey, Mamata Shankar. 1991. 120 min. Color. Bengali. 35mm. Print courtesy of the Packard Humanities Institute Collection at the Academy Film Archive.

LIMITED SERIES THE HOLLYWOOD TEN AT 75 APR 13–30, 2023

Force of Evil Thu, Apr 27 | 7:30pm | TMT

Seventy-five years ago, Hollywood entered one of its bleakest periods. In 1947, 10 Hollywood writers and directors famously refused to testify before the House Un-American Activities Committee (HUAC) and were held in contempt of Congress. In response, Hollywood’s top studio heads turned their backs on these filmmakers. The Hollywood Ten—Alvah Bessie, Herbert Biberman, Lester Cole, Edward Dmytryk, Ring Lardner, Jr., John Howard Lawson, Albert Maltz, Samuel Ornitz, Adrian Scott, and Dalton Trumbo—as these artists came to be known, were blacklisted from the film industry and in April 1948 were sentenced by the government to serve a year in federal prison. The persecution and blacklisting of these filmmakers were years in the making as the US government had already made its interest in Hollywood, and the left-wing views held by many within the industry, known. It became common practice to fire and/or deny employment to anyone who held Communist political views or were, in any way, deemed Communist sympathizers by their peers and the government. This series highlights key films made by and about members of the Hollywood Ten and their blacklisted colleagues, underscoring the hand these filmmakers had in how Hollywood depicted 20th-century history from the Depression through World War II and the Holocaust.

Programmed and notes by Bernardo Rondeau. Thank you, Ed Rampell.

Tender Comrade with Sahara Thu, Apr 13 | 7:30pm | TMT Tender Comrade

The Four Feathers (1939), Sahara was co-written by John Howard Lawson, the co-founder and first president of the Screen Writers Guild, and the so-called “Dean” of the Hollywood Ten. DIRECTED BY: Zoltan Korda. WRITTEN BY: John Howard Lawson, Zoltan Korda, James O’Hanlon, Philip MacDonald. WITH: Humphrey Bogart, Bruce Bennett, J. Carrol Naish, Lloyd Bridges. 1943. 97 min. USA. B&W. English. 35mm.

Three female welders at Douglas Aircraft Factory—led by Ginger Rogers—set up a communal residence while their husbands are overseas fighting in World War II. Expertly mounted by director Edward Dmytryk, this panoramic portrait of resilience on the home front was seen as patriotic propaganda on its initial release. However, Dmytryk and screenwriter Dalton Trumbo would both be subsequently indicted by HUAC, with this film used as evidence of the filmmakers’ anti-capitalist, communist views. DIRECTED BY: Edward Dmytryk. WRITTEN BY: Dalton Trumbo. WITH: Ginger Rogers, Robert Ryan, Ruth Hussey, Kim Hunter. 1944. 102 min. USA. B&W. English. 35mm. Sahara Humphrey Bogart heads up a ragtag platoon as they battle Nazis crossing the sun-beaten wilds of the film’s namesake desert. Joining Bogie’s small detachment on their war-beaten tank are six Allied stragglers, a Sudanese corporal (Rex Ingram) and his Italian prisoner (Academy Award–nominee J. Carrol Naish). Directed by Zoltan Korda with the same visionary expensiveness of his earlier arid adventure

Cloak and Dagger with None Shall Escape Fri, Apr 14 | 7:30pm | TMT Cloak and Dagger

A dizzying spy saga spanning the European continent, this virtuoso thriller from Fritz Lang is an underrated gem in the director’s body of work. Gary Cooper stars as the midwestern nuclear physicist reluctantly recruited by the US Office of Strategic Services for undercover work abroad tracking down Nazi Germany’s plans for an atom bomb. Allying with an Italian band of resistance fighters led by a bravura Lilli Palmer (in her Hollywood debut), Cooper finds himself the prey in Lang’s crackerjack cat-and-mouse games. Screenwriters Albert Maltz and Ring Lardner, Jr. were both among the blacklisted Hollywood Ten.

Force of Evil with He Ran All the Way Thu, Apr 27 | 7:30pm | TMT Force of Evil

DIRECTED BY: Fritz Lang. WRITTEN BY: Albert Maltz, Ring Lardner, Jr. WITH: Gary Cooper, Robert Alda, Lilli Palmer, Vladimir Sokoloff. 1946. 103 min. USA. B&W. English. 35mm. Restored print courtesy of the UCLA Film & Television Archive. Restoration funding provided by The Film Foundation. None Shall Escape The only Hollywood film made during World War II to depict the Holocaust, None Shall Escape was released 17 months before the fall of the Third Reich. Framed around a postwar session of the International Tribunal of War Crimes, the film uses the trial of an everyman-turned-psychotic-brownshirt (Alexander Knox) to portray the horrors of the Nazi Party. Directed by Hungarian- born Andre de Toth, the film’s screenwriter is among the incarcerated Hollywood Ten: Lester Cole. Both Knox and his co- star Marsha Hunt would also be victims of the Red Scare. DIRECTED BY: Andre de Toth. WRITTEN BY: Lester Cole, Alfred Neumann, Joseph Than. WITH: Marsha Hunt, Alexander Knox, Henry Travers, Erik Rolf. 1944. 85 min. USA. B&W. English. DCP. Red Hollywood Sat, Apr 15 | 2pm | TMT Filmmaker Thom Andersen and American expat film theorist Noël Burch draw from more than fifty features to weave together a portrait of the films from the filmmakers targeted by the House Un-American Activities Committee. Through new interviews with Paul Jarrico, Ring Lardner, Jr., Alfred Levitt, Abraham Polonsky, and others, Red Hollywood reveals how these left-leaning moviemakers were responsible for the studio system’s most unvarnished portraits of 20th-century history from the Depression through World War II and the Holocaust. DIRECTED/WRITTEN BY: Thom Andersen, Noël Burch. 1996. 113 min. USA. B&W, Color. English. DCP. New DCP, courtesy of Cinema Guild. Three Faces West Sun, Apr 16 | 2pm | TMT When a Viennese émigré doctor (Charles Coburn) and his daughter (Sigrid Gurie) make an appearance on the national radio broadcast We the People , they end up solicited by the residents of a dust-streaked corner of North Dakota in need of medical care. Part refugee drama, part contemporary Western, Three Faces West also finds Republic Pictures’ star John Wayne as the collectivist leader trying to encourage his community to go West. Elegantly photographed by future film noir legend John Alton (his first Hollywood credit) Three Faces West is co-written by Hollywood Ten member Samuel Ornitz. DIRECTED BY: Bernard Vorhaus. WRITTEN BY: F. Hugh Herbert, Joseph Moncure March, Samuel Ornitz. WITH: John Wayne, Sigrid Gurie, Charles Coburn, Spencer Charters. 1940. 81 min. USA. B&W. English. DCP. Objective, Burma! Sun, Apr 23 | 2pm | TMT An American platoon led by Errol Flynn parachutes into Burma to attack a strategic Japanese radar station during World War II. When they miss their rendezvous, the squad must trek across the jungles and swamps back to safety. Raoul Walsh’s influential war thriller, shot by the brilliant cinematographer James Wong Howe, was made at the height of the Allies’ engagement with imperial Japan and includes nationalistic epithets against the Japanese. Alvah Bessie, nominated for an Oscar for Writing (Original Story), would soon become a member of the Hollywood Ten. DIRECTED BY: Raoul Walsh. WRITTEN BY: Ranald MacDougall, Lester Cole. STORY BY: Alvah Bessie. WITH: Errol Flynn, James Brown, William Prince, George Tobias. 1945. 142 min. USA. B&W. English. 35mm.

John Garfield stars in this film noir classic: an indictment of avaricious capitalism set on the borderline between the criminal underworld and decent society. Garfield plays a shady Wall Street attorney who joins forces with a mobster (Roy Roberts) to take over the numbers racket in New York City, even if it risks the safety of Garfield’s own brother (Thomas Gomez). The directorial debut of Abraham Polonsky, working from his original script, Force of Evil captures the bold expressionism of Manhattan, culminating in a fateful rendezvous by the George Washington Bridge. Polonsky, though not a member of the Hollywood Ten, was himself blacklisted. DIRECTED BY: Abraham Polonsky. WRITTEN BY: Abraham Polonsky, Ira Wolfert. WITH: John Garfield, Thomas Gomez, Marie Windsor, Howland Chamberlin. 1948. 78 min. USA. B&W. English. DCP. Restored by the UCLA Film & Television Archive and The Film Foundation with funding provided by The Hobson/Lucas Family Foundation. DCP courtesy of The Film Foundation Conservation Collection at the Academy Film Archive. He Ran All the Way Garfield made his final film appearance in this claustrophobic blacklist classic. The actor plays a petty thief whose botched robbery sends him running into a public swimming pool for cover. Seducing his way into the tenement flat of fellow swimmer Shelley Winters, Garfield holds her hostage in this proto-home invasion thriller. Director John Berry went into exile, while the film’s co-screenwriters, Dalton Trumbo and Hugo Butler, were both blacklisted. Garfield passed away one year after this film’s release from a heart attack. He was 39. DIRECTED BY: John Berry. WRITTEN BY: Hugo Butler, Guy Endore. WITH: John Garfield, Shelley Winters, Wallace Ford, Norman Lloyd. 1951. 78 min. USA. B&W. English. 35mm. Spartacus Sat, Apr 29 | 7:30pm | DGT The first grand-scale production from director Stanley Kubrick, Spartacus remains one of the most visually epic films produced on 70mm. Producer Kirk Douglas stars as the brazen gladiator who leads his enslaved colleagues in an uprising against their Roman oppressors. Packed with memorable turns from a stunning cast—Sir Laurence Olivier, Jean Simmons, Charles Laughton, Tony Curtis, Nina Foch, Herbert Lom, and Academy Award–winner Peter Ustinov—plus superlative production value, Spartacus garnered a total of four Academy Award wins including Art Direction, Costume Design, and Cinematography, Color. The film is also the first time since 1950 that a member of the Hollywood Ten, screenwriter Dalton Trumbo, received an onscreen writing credit, in effect helping to break the blacklist. DIRECTED BY: Stanley Kubrick. WRITTEN BY: Dalton Trumbo. WITH: Kirk Douglas, Laurence Olivier, Jean Simmons, Charles Laughton. 1960. 195 min. USA. Color. 70mm. New print courtesy of the Academy Film Archive. Salt of the Earth Sun, Apr 30 | 2pm | TMT Made by three blacklisted filmmakers—director Herbert J. Biberman, producer Paul Jarrico, and writer Michael Wilson— Salt of the Earth depicts the struggle for fair wages of Chicano workers and their wives in a New Mexico zinc mine. Working with a largely non-professional cast, many of whom were involved in the protests that inspired the film, Salt of the Earth was also produced with the International Union of Mine, Mill and Smelter Workers. DIRECTED BY: Herbert J. Biberman. WRITTEN BY: Michael Wilson. WITH: Will Geer, David Wolfe, David Sarvis, Mervin Williams. 1954. 94 min. USA. B&W. 35mm. Preserved by The Museum of Modern Art.

LIMITED SERIES PEDRO ALMODÓVAR: MUSES AND INFLUENCES APR 21–29, 2023

Kika Fri, Apr 21 | 7:30pm | TMT

The singular Academy Award–winning Spanish auteur Pedro Almodóvar (b. 1949)—whose immersive, multichannel media installation is on view as part of the Academy Museum’s Stories of Cinema exhibition—was the focus of a career retrospective film series at the museum in 2022. With 23 features to date and an active filmmaking practice since the 1970s, Almodóvar’s vibrant films have touched many genres, from melodrama and comedy to drama and high-camp musical. To present a dimensional experience of the director’s rich works, we’ve pulled from some of his most iconic inspirations for a program that highlights his influences, including Luis Buñuel, Nicholas Ray, Ingmar Bergman, and 1950s American science fiction, as well as his many muses, including Gena Rowlands and Joan Crawford. To launch this series, which we’ve timed to celebrate the release of the Academy Museum’s visually stunning book, Pedro Almodóvar: Installation/Instalación (2023, DelMonico Books), we’re kicking off the series with his sensational 1993 feature Kika , a still from which graces the cover of our dazzling new publication. Programmed and notes by K.J. Relth-Miller, except where noted.

dream,” and in Almodóvar, who references the film’s color palette and story arc for Women on the Verge of a Nervous Breakdown (1988). In Breakdown , Almodóvar literalizes his inspiration when voice actress Pepa (Carmen Maura) is seen dubbing Johnny Guitar into Spanish. DIRECTED BY: Nicholas Ray. WRITTEN BY: Philip Yordan. WITH: Joan Crawford, Sterling Hayden, Mercedes McCambridge. 1954. 110 min. USA. Color. English. Not Rated. 35mm.

Kika Fri, Apr 21 | 7:30pm | TMT At the time cited as his most controversial film, Kika follows the titular character (the marvelous Verónica Forqué), a beautician who is such a charming chatterbox she is (literally) able to raise the dead. When she marries the much younger son of her former lover, the fates intervene to upend their happiness. Reflecting on sexual violence, the media, and the paradoxes of desire, Kika features Almodóvar regulars Victoria Abril and Rossy de Palma. Note by Diana Sanchez. DIRECTED/WRITTEN BY: Pedro Almodóvar. WITH: Peter Coyote, Verónica Forqué, Victoria Abril, Rossy de Palma. 1993. 114 min.

Opening Night Sat, Apr 22 | 7:30pm | TMT

Ferociously independent American filmmaker John Cassavetes directs wife and longtime creative collaborator Gena Rowlands in an arresting, immersive film about the unraveling of an aging stage actress after she witnesses the death of a young fan. Drawing on that tragic scene for a pivotal moment in All About My Mother , Almodóvar reinforces his admiration for middle-aged female stage performers in the closing dedication to his 1999 film by singling out Rowlands by name, whose gravity and spirit in Opening Night would easily find their place within any Almodóvarean melodrama. DIRECTED/WRITTEN BY: John Cassavetes. WITH: Gena Rowlands, John Cassavetes, Joan Blondell. 1977. 140 min. USA. Color. English. Rated PG-13. 35mm. Print courtesy of UNC School of the Arts’ Moving Image Archives.

Spain/France. Color. Spanish. DCP. Viewer discretion is strongly advised.

Johnny Guitar Sat, Apr 22 | 2pm | TMT

Nicholas Ray’s unorthodox Western about the perilous future of resolute Arizona saloon owner Vienna (Joan Crawford) and reformed outlaw Johnny Guitar (Sterling Hayden) was snubbed by American critics and audiences alike upon its original release. It found fans in Europe, notably in Cahiers du cinéma contributor François Truffaut, who hailed the film as “a Western

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