La Garce ( The Bitch ) Fri, Feb 16 | 7:30pm | TMT
The March Added to the National Film Registry in 2008.
away from the silver screen investing in his lifelong passion for civil rights, befriending Dr. Martin Luther King Jr. and participating in the March on Washington for Jobs and Freedom in 1963. To honor his life and legacy, the Academy Museum presents a screening of Buck and the Preacher , which features Belafonte’s fascinating character turn as the deceptive Preacher opposite Poitier’s forthright Buck for the duo’s first-ever onscreen collaboration. Programmed and note by K.J. Relth-Miller. DIRECTED BY: Sidney Poitier. WRITTEN BY: Ernest Kinoy. STORY BY: Ernest Kinoy, Drake Walker. WITH: Sidney Poitier, Harry Belafonte, Ruby Dee, Cameron Mitchell. 1972. 102 min. USA. Color. English. Rated PG. DCP.
DIRECTED BY: James Blue. WITH: Carl Rowan, Marian Anderson, Joan Baez, James L. Farmer Jr. 1964. 33 min. USA. B&W. English. 35mm. Print courtesy of the George Stevens Collection at the Academy Film Archive. Special thanks to George Stevens, Jr. The Bus DIRECTED/WRITTEN BY: Haskell Wexler. 1965. 63 min. USA. B&W. English. 35mm. Restored by the UCLA Film & Television Archive. Restoration funding provided by the National Film Preservation Foundation. Fatal Femmes: Two Parisian Crime Films by Women Fri, Feb 16 | 7:30pm | TMT From the neon-drenched underworld of early 1980s Paris come two stylish crime stories by French women filmmakers, both of whom passed at the young age of 42. A creative collaborator with Jacques Rivette on Celine and Julie Go Boating (1974), actress Juliet Berto (1947–1990) pivoted behind the camera for her directorial debut with Neige (1981), a grimy vision of Paris's carnivalesque Pigalle neighborhood, best known as the home of the Moulin Rouge and the city’s red-light district. Berto also stars as Anita, a barmaid who steps in to help peddle heroin to the desperate clients of a murdered drug dealer. Prolific film and television actress Christine Pascal (1953–1996) directs her second feature, La Garce (1984), with Isabelle Huppert starring as the mysterious woman at the heart of a Hitchcockian tale set in the world of French haute couture. After serving time for sexual assault, a disgraced cop (Richard Berry) is released from prison and finds work as a private detective. His first case takes him to Paris’s garment district, where he becomes enmeshed in a bizarre web of relations and events. Both making their Los Angeles premieres with brand-new 4K restorations courtesy of Fun City Editions, these features offer a fascinating conversation between two unique filmmaking sensibilities. Programmed and note by K.J. Relth-Miller. Neige ( Snow ) Los Angeles Restoration Premiere DIRECTED BY: Juliet Berto, Jean-Henri Roger. WRITTEN BY: Marc Villard. WITH: Juliet Berto, Jean-François Stévenin, Robert Liensol, Patrick Chesnais. 1981. 90 min. France, Belgium. Color. French. 4K DCP. Restoration by L’Immagine Ritrovata, JHR Films, and Studio Canal. La Garce ( The Bitch ) Los Angeles Restoration Premiere DIRECTED BY: Christine Pascal. WRITTEN BY: André Marc Delocque- Fourcaud, Pierre Fabre, Laurent Heynemann, Christine Pascal. WITH: Isabelle Huppert, Richard Berry, Vittorio Mezzogiorno, Jean Benguigui. 1984. 89 min. France. Color. French. 4K DCP. Restoration by Studio Canal. Remembering Harry Belafonte: Buck and the Preacher Sat, Feb 24 | 7:30pm | TMT Throughout the 96 years of his remarkable life, the singer, actor, and activist Harry Belafonte (1927–2023) broke countless barriers. Belafonte was the first solo artist to sell over a million records with his widely acclaimed album Calypso (1956). He experienced two robust periods in Hollywood: first with studio pictures like Carmen Jones (1954) and The World, the Flesh and the Devil (1959); and again, in the 1970s, when he notably teamed with longtime friend Sidney Poitier to support his debut directorial effort with Buck and the Preacher (1972) and its smash-hit follow-up, Uptown Saturday Night (1974). Citing Hollywood’s disinterest in socially conscious filmmaking as the reason behind his decade-long hiatus, Belafonte spent his time
SPOTLIGHTS (led by Jack Palance at his most chilling). The deceptively simple storyline has been imitated countless times since, but Stevens’s thoughtful direction lends it unexpected depth and resonance, aided by the rich beauty of Loyal Griggs’s Oscar-winning color cinematography. The film also earned nominations for Best Picture, Directing, A. B. Guthrie Jr.’s original screenplay, and the supporting performances of De Wilde and Palance; that same year, George Stevens received the Irving G. Thalberg Memorial Award. Programmed by K.J. Relth-Miller. Note by Robert Reneau.
DIRECTED BY: George Stevens. WRITTEN BY: A. B. Guthrie Jr. WITH: Alan Ladd,Jean Arthur, Van Heflin, Jack Palance. 1953. 118 min. USA. Color. English. 4K DCP.
THE MANCHURIAN CANDIDATE - TRAILER
The Unseen Scene: An Academy Film Archive Trailer Show Thu, Feb 29 | 7:30pm | TMT
Documenting a Movement: Dr. Martin Luther King Jr. and Civil Rights Mon, Jan 15 | 7:30pm | TMT In the United States, Martin Luther King Jr. Day was first signed into law in 1983, officially creating a federal holiday to honor this prominent leader of the 1960s civil rights movement. Ninety-five years after King Jr. was born, the Academy Museum pays tribute to his impact and legacy with two films showcasing the 1963 March on Washington for Jobs and Freedom. In the historic short film The March , filmmaker James Blue documents this significant moment with over a dozen camera and sound technicians capturing over 11 hours of footage and audio, culminating at the nation’s capital with Dr. Martin Luther King Jr.’s “I Have a Dream” speech. For the feature film The Bus , activist filmmaker Haskell Wexler boarded a bus in San Francisco with a group of Black and white activists to embark on the three-day, cross-country journey to Washington DC to join the March. Following the two films, local scholars, activists, and emerging filmmakers will discuss the enduring importance of speaking truth to power through the documentation of political movements. Programmed by Lohanne Cook, K.J. Relth-Miller, and Eduardo Sanchez. Note by K.J. Relth-Miller.
Existing in the liminal space between marketing and art, trailers are multifaceted in their function: at worst, a blatant misrepresentation or catalyst of spoilers; at best, a film in miniature to be appreciated in its own right. Presented entirely on 35mm film, primarily sourced from the world’s largest collection of movie trailers at the Academy Film Archive, this program highlights classic coming attractions containing unique material created solely for promotion. Rather than wholly consisting of the expected selection of scenes from the films advertised, these retro trailers incorporate elements extending beyond the final cut. Exclusive material takes on various forms, ranging from specialty artwork and animation to behind-the-scenes footage, introductions hosted by filmmakers, elaborate marketing campaigns, and even trailers that refrain from exhibiting a single frame of the film itself. By serving as experimental companion pieces to feature presentations, these short films take on a dimension of their own. Programmed and note by Academy Film Archive Film Preservationists Cassie Blake and Tessa Idlewine.
SHANE
The George Stevens Lecture on Directing presents the 70th Anniversary of Shane Sun, Dec 10 | 7:30pm | DGT In person: George Stevens Jr. and Christopher Nolan. Initiated in 1982, the Academy’s George Stevens Lecture on Directing presents this 70th anniversary screening of Stevens’s classic Western, Shane , which in 1993 was selected for preservation by the National Film Registry. Alan Ladd (in his most iconic role) is a gunfighter hired by a pioneer family (Jean Arthur, Van Heflin, Brandon De Wilde) to defend their farm from a menacing cattle baron and his enforcers
Total program runtime: 70 min.
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