Sep–Nov 2024 Film Calendar

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

ACADEMY MUSEUM SEP–NOV 2024

An American in Paris Fri, Oct 11 | 7:30pm | DGT THE WONDERS OF TECHNICOLOR

ACADEMY MUSEUM SEP-NOV 2024 FILM

CALENDAR

TABLE OF CONTENTS

LIMITED SERIES AND SPOTLIGHTS

HOLLYWOODLAND: THE ORIGINS OF THE STUDIOS.....4 JAMES BALDWIN AT THE MOVIES................................7 SPOTLIGHTS................................................................9 HASTA LA RAĺZ: TO THE ROOT......................................10 THE WONDERS OF TECHNICOLOR..........................12 GODZILLA-THON!.......................................................16 SOPHIA LOREN: LA DIVA DI NAPOLI.............................18 ONGOING SERIES OSCAR ® SUNDAYS..................................................22 BRANCH SELECTS..................................................25 FAMILY MATINEES....................................................28 AVAILABLE SPACE..................................................32

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

ACADEMY MUSEUM THEATERS

DGT: DAVID GEFFEN THEATER TMT: TED MANN THEATER

ALL NON-ENGLISH LANGUAGE FILMS ARE SUBTITLED UNLESS OTHERWISE NOTED.

ALL SCREENINGS, FILM FORMATS, AND GUESTS ARE SUBJECT TO CHANGE WITHOUT NOTICE.

Wings (1927)

LIMITED SERIES HOLLYWOODLAND:

THE ORIGINS OF THE STUDIOS SEP 5–NOV 14, 2024

By the end of the 1920s, the movie business in the United States had become a studio system. Eight studios— Universal, Fox (later Twentieth Century-Fox), Paramount, United Artists, Warner Bros., Columbia, Metro-Goldwyn- Mayer, and RKO—led the industry through vertical integration of production, distribution, and theaters. Writers, actors, directors, and other film artists were generally under contract to individual studios. The industry would begin to change in the 1950s due to a variety of factors, including a 1948 Supreme Court ruling that challenged the studio system under antitrust laws. This screening series accompanies the exhibition Hollywoodland: Jewish Founders and the Making of a Movie Capital , which tells the origin story of filmmaking in early 20th-century Los Angeles and spotlights the impact of the predominately Jewish filmmakers whose establishment of the American film studio system transformed the city into a global epicenter of cinema. It celebrates eight major studios, each through one representative title that played an instrumental role in its successful growth. Academy Museum visitors who purchase general admission to the museum are welcome to join us for same-day screenings in this film series during their visit, free of charge. HOLLYWOODLAND: JEWISH FOUNDERS AND THE MAKING OF A MOVIE CAPITAL is curated by Associate Curator Dara Jaffe and is the Academy Museum’s first permanent exhibition.

Programmed by K.J. Relth-Miller. Notes by Hyesung ii and K.J. Relth-Miller adapted from HOLLYWOODLAND exhibition texts.

Wings Thu, Sep 5 | 7:30pm | TMT Sun, Sep 8 | 2pm | TMT Mon, Sep 9 | 2pm | TMT

DIRECTED BY: William A. Wellman. WRITTEN BY: Hope Loring, Louis D. Lighton. STORY BY: John Monk Saunders. WITH: Clara Bow, Charles “Buddy” Rogers, Richard Arlen, Jobyna Ralston. 1927. 139 min. USA. B&W. English. DCP.

In 1916, Jewish producers Adolph Zukor and Jesse L. Lasky merged their studios to form the Famous Players–Lasky Corporation, which soon acquired and took the name of its distributor: Paramount Pictures. The studio’s first production facility in Hollywood was a converted barn used by Lasky and Cecil B. DeMille since 1913. Zukor was known for challenging runtime restrictions with his long-form narratives drawn from classical sources. Under his watch, Paramount films reflected the sophistication he valued. Its groundbreaking romantic war epic, William A. Wellman’s Wings , became the first film to win an Oscar for the category now known as Best Picture, an achievement that helped cement Paramount’s legacy.

Sunrise in 35mm Fri, Sep 13 | 2pm | TMT Sun, Sep 15 | 2pm | TMT Wed, Sep 18 | 2pm | DGT

Jewish, Hungarian-born William Fox, enchanted by movies, transitioned from the garment industry to nickelodeons in 1904. He combined his various theaters and distribution companies to form the Fox Film Corporation in 1915. Resolving to create better products for his theater chain, Fox moved his focus to production. F. W. Murnau’s romantic classic Sunrise , also known as Sunrise: A Song of Two Humans , produced by Fox himself, is one of the final

masterpieces of silent cinema. The story of a small- town husband who tries to repair his marriage after being tempted by a woman from the city features unforgettable visuals. Charles Rosher and Karl Struss won the first-ever Oscar for Cinematography, and the film took the Oscar for Unique and Artistic Picture. DIRECTED BY: F. W. Murnau. WRITTEN BY: Carl Mayer. WITH: George O’Brien, Janet Gaynor, Margaret Livingston, Bodil Rosing. 1927. 95 min. USA. B&W. English. 35mm. New print courtesy of the Academy Film Archive.

Four veteran film artists—actor-director Charlie Chaplin, actor Douglas Fairbanks, director D. W. Griffith, and actor Mary Pickford—established United Artists in 1919. This venture allowed them to release their own projects, gaining control of their creative output and salaries amidst the rise of the Hollywood studio system. Chaplin’s brilliance as a producer, writer, director, and star manifests through his iconic persona character, the Tramp, in his 1925 silent comedy The Gold Rush , the second feature he released under United Artists with total creative control. DIRECTED/WRITTEN BY: Charlie Chaplin. WITH: Charlie Chaplin, Mack Swain, Tom Murray, Georgia Hale. 1925. 95 min. USA. B&W. Silent. 35mm.

THE PUBLIC ENEMY

The Public Enemy in 35mm Sun, Sep 22 | 2pm | TMT Mon, Sep 23 | 2pm | TMT Wed, Sep 25 | 2pm | DGT In 1923, brothers Harry, Albert, Sam, and Jack Warner founded their namesake studio in Hollywood. The Polish Jewish family entered the movie business in 1906 when they pooled their savings to buy a Kinetoscope projector in their adopted home of Youngstown, Ohio. Harry, as studio president, and Jack, sole head of production after Sam’s untimely death, ultimately ran the company. Warner Bros. refrained from lavish, fantastical productions favored by some rivals, instead establishing a reputation for realism, urban dramas, and hard- boiled protagonists, such as the characters and sensibilities featured in William A. Wellman’s Oscar- nominated gangster picture The Public Enemy . DIRECTED BY: William A. Wellman. WRITTEN BY: Kubec Glasmon, John Bright. WITH: James Cagney, Jean Harlow, Edward Woods, Joan Blondell. 1931. 83 min. USA. B&W. English. 35mm.

KING KONG

King Kong Thu, Oct 3 | 2pm | TMT Wed, Oct 9 | 2pm | DGT Thu, Oct 10 | 2pm | TMT

In 1927, electronics company Radio Corporation of America (RCA), led by David Sarnoff, began to acquire stock in Joseph P. Kennedy’s studio, Film Booking Offices of America (FBO). Over the next year, Sarnoff and Kennedy enacted a series of mergers involving FBO and theater chain Keith-Albee-Orpheum that ultimately formed Radio-Keith-Orpheum, or RKO Radio Pictures. In the studio’s indelible 1933 picture King Kong —an essential pre-Code creature feature—the innovative audio work of Murray Spivack and Earl A. Wolcott amplifies the thrills and drama. Fay Wray’s scream and Kong’s roar cannot be unheard! DIRECTED BY: Merian C. Cooper, Ernest B. Schoedsack. WRITTEN BY: James Creelman, Ruth Rose. WITH: Fay Wray, Robert Armstrong, Bruce Cabot, Frank Reicher. 1933. 104 min. USA. B&W. English. DCP.

Drácula in 4K Sat, Oct 26 | 2pm | TMT Mon, Oct 28 | 2pm | TMT Wed, Oct 30 | 2pm | TMT

Jewish, German-born producer Carl Laemmle merged his East Coast–based studio with five others to form Universal in 1912. As president of Universal, Laemmle soon converted a 230-acre San Fernando Valley farm into Universal City, California, the world’s largest filmmaking facility. Universal produced foreign-language versions of their films to target non-English speaking markets, using the same original sets and props. George Melford’s 1931 Drácula —in Spanish, starring Carlos Villarías and

THE GOLD RUSH

The Gold Rush in 35mm Thu, Sep 26 | 2pm | TMT Sun, Sep 29 | 2pm | TMT (Free Museum Day!) Wed, Oct 2 | 2pm | DGT

Lupita Tovar—was shot at night after the English version production team left the set. It had an entirely different cast and crew, and a lower budget. DIRECTED BY: George Melford. WRITTEN BY: Baltasar Fernández Cué. WITH: Carlos Villarías, Barry Norton, Lupita Tovar, Pablo Álvarez Rubio. 1931. 104 min. USA. B&W. Spanish. 4K DCP.

Jack and Harry Cohn, along with Joe Brandt—all former employees of Universal—established their studio Cohn-Brandt-Cohn in 1918. Rebranding as Columbia Pictures in 1924, it gained enough traction to absorb neighboring low-budget studios. Originally known for comedy shorts, Columbia rose to prestige through the talent of contracted director Frank Capra, whose delightful rom-com Platinum Blonde was the first of his many collaborations with the future Oscar-winning screenwriter Robert Riskin ( It Happened One Night ). DIRECTED BY: Frank Capra. WRITTEN BY: Robert Riskin. STORY BY: Harry E. Chandlee, Douglas W. Churchill. WITH: Loretta Young, Robert Williams, Jean Harlow, Halliwell Hobbes. 1931. 90 min. USA. B&W. English. [Format TBD].

THE BIG PARADE

The Big Parade Thu, Oct 31 | 2pm | TMT Mon, Nov 4 | 2pm | TMT Wed, Nov 6 | 2pm | TMT

King Vidor’s 1925 silent war drama The Big Parade depicts World War I through a realistic lens and became the fundamental guide for other war films in Hollywood. It was produced by Metro- Goldwyn-Mayer (MGM), which was formed in 1924 by Jewish theater chain magnate Marcus Loew and is considered by many to be the grandest of all Hollywood studios. The film was met with spectacular reception upon its release, becoming one of the biggest hits of the 1920s. The Big Parade elevated the careers of its cast and crew and complemented the studio’s reputation for spectacle, high production values, and a roster of top-tier stars under the later management of Louis B. Mayer. DIRECTED BY: King Vidor. WRITTEN BY: Laurence Stallings, Harry Behn, Joseph W. Farnham. WITH: John Gilbert, Reneé Adorée, Hobart Bosworth, Claire McDowell. 1925. 151 min. USA. B&W. Silent. DCP.

PLATINUM BLONDE

Platinum Blonde Thu, Nov 7 | 2pm | TMT Wed, Nov 13 | 2pm | TMT Thu, Nov 14 | 2pm | TMT

Columbia Pictures began as a “Poverty Row” studio, a producer of B-movies located on a low-rent strip of Gower Street in Los Angeles. Jewish brothers

I Heard It through the Grapevine (1982)

LIMITED SERIES

JAMES BALDWIN

AT THE MOVIES

SEP 6–14, 2024

Whether in his deeply personal Notes of a Native Son or his acclaimed Go Tell It on the Mountain , the brilliant novelist, essayist, playwright, poet, and civil rights activist James Baldwin (1924–1987) always spoke through his writing with an incredible urgency and resonance. His convictions became further accessible through frequent televised appearances and lectures on college campuses in the 1960s, holding those in power accountable with his commanding delivery (he trained as a preacher in his youth) and sharp tongue. His persisting message, which insists on equality and humanity, remains alive today thanks to filmmakers who have supplied nuanced views on the writer and orator that artfully supplement his legacy. On the occasion of Baldwin’s centenary, the Academy Museum presents a series of films adapted from his literary works alongside documentaries that spent time with Baldwin while he was alive and posthumous pieces that reflect on his remarkable legacy. Programmed by K.J. Relth-Miller. Notes by Hyesung ii and K.J. Relth-Miller.

I Heard It through the Grapevine in 4K Fri, Sep 6 | 7:30pm | TMT Los Angeles Restoration Premiere A child during Jim Crow, Baldwin never felt at ease in the United States, first finding comfort and community abroad in Paris and later in Saint-Paul de Vence. Yet, he continued to write about the fraught existence of Black Americans and Black Europeans, and his returns to the US fueled his personal philosophy. On one such homecoming, in 1980, Baldwin acts as a docent through the history of the Civil Rights Movement, guiding filmmakers Dick Fontaine and Pat Hartley on a tour of his roots in the South for a documentary essay that “lays bare the fiction of progress in post-Civil Rights America” (Rich Blint). DIRECTED BY: Dick Fontaine, Pat Hartley. WITH: James Baldwin, Sterling Brown, David Baldwin, Chinua Achebe. 1982. 92 min. USA/UK. Color. English. 4K DCP.

LOOKING FOR LANGSTON

Looking for Langston Sat, Sep 7 | 2pm | TMT

Looking for Langston is a poetic manifestation of the reimagined world of James Mercer Langston Hughes—an American poet, social activist, novelist, and playwright. A meditation on Hughes and the Harlem Renaissance, Isaac Julien’s 1989 black-and- white film travels between the realms of realism and surrealism, explicitly exploring desires and

thoughts on his work, private life, family, and sexuality in this short filmed in Istanbul during his residency in Turkey. Baldwin’s interviews, mixed with narration over street montages of Istanbul, ignite sparkles of nostalgia as he reminisces about his personal history, parallel to that of his country’s, the United States. DIRECTED BY: Sedat Pakay. WITH: James Baldwin. 1973. 11 min. Turkey. B&W. English. DCP. Meeting the Man: James Baldwin in Paris Originally anticipated to be a rather “generic” documentation of James Baldwin as an American writer living in Paris, Terence Dixon’s plan takes a sudden turn when growing tension between him and Baldwin about their visions of this documentary collide during production. Despite the pressure, Baldwin’s grounded brilliance, elegance, and emotional and intellectual perception shine through in his assuring rhetoric on politics and his genuine smile, laughter, and smirk shared with his fellow artist friends in Paris. DIRECTED BY: Terence Dixon. WITH: James Baldwin. 1970. 27 min. France/UK. Color. English. DCP. Baldwin’s N***** “I’ll tell you a story,” says James Baldwin in the opening scene of Horace Ové’s documentary, which consists of a recorded discussion between Baldwin and Dick Gregory at The West Indian Students’ Centre in London. Over the course of the film, they delve into the Civil Rights Movement; Black identity in America, the Caribbean, and Great Britain; and the contradicting application of racially loaded terms in relation to their history and impact. DIRECTED BY: Horace Ové. WITH: James Baldwin, Dick Gregory. 1968. 46 min. UK. B&W. English. DCP.

fantasies of Black queer artists and writers including Hughes and James Baldwin—and their ghosts. Looking for Langston is a captivating gateway to a world where the spirits of the marginalized can freely dream, exist, and love. DIRECTED/WRITTEN BY: Isaac Julien. WITH: Ben Ellison, Matthew Baidoo, Akim Mogaji, John Wilson. 1989. 45 min. UK. B&W. English. DCP.

I Am Not Your Negro Mon, Sep 9 | 7:30pm | TMT

Raoul Peck’s Oscar-nominated documentary draws on James Baldwin’s unfinished manuscript Remember This House to create a nuanced examination of the history and current state of racial inequity in the United States. Peck imagines Baldwin’s unfinished work using archival interviews of the legendary literary figure from the 1960s, narration by Samuel L. Jackson, and footage of the contemporary Black Lives Matter movement. Peck’s documentary is an incisive and unflinching work of filmmaking. DIRECTED BY: Raoul Peck. WRITTEN BY: Raoul Peck, James Baldwin. 2016. 95 min. France/USA/Belgium/Switzerland. Color. English. DCP. Courtesy of the Academy Film Archive.

IF BEALE STREET COULD TALK

If Beale Street Could Talk Fri, Sep 13 | 7:30pm | TMT

Following his 2016 film Moonlight , Barry Jenkins returns with his adaptation of James Baldwin’s If Beale Street Could Talk , turning the 1974 novel into a visual poem. The film, which received three Academy Awards nominations, including a Best Supporting Actress win for Regina King, centers on two young lovers, Fonny and Tish, critiquing systematic injustice and its horrific impact, especially on Black men in the United States. When Tish discovers she’s pregnant after Fonny is put in prison for the alleged sexual assault of another woman, she begins to find her voice and the confidence to defend Fonny, herself, and others in her community. DIRECTED/WRITTEN BY: Barry Jenkins. WITH: KiKi Layne, Stephen James, Regina King, Teyonah Parris. 2018. 119 min. USA. Color. English. DCP. James Baldwin Abroad: Three Short Documentaries Sat, Sep 14 | 7:30pm | TMT James Baldwin: From Another Place Intimately portrayed, James Baldwin shares his

Creature from the Black Lagoon (1954)

SPOTLIGHTS

Burden of Dreams in 4K, presented by Werner Herzog Sat, Sep 7 | 7:30pm | DGT Los Angeles Restoration Premiere

From the depths of the world’s largest collection of movie trailers at the Academy Film Archive, this program unearths and reassembles the cult classic thrills and chills of pre-show entertainment— presented entirely on 35mm film. These retro horror trailers span decades of suspense, from artfully macabre camp monstrosities to deranged slashers calling from inside the house. To avoid fainting, keep repeating it’s only a trailer… only a trailer… only a trailer. Programmed and note by Academy Film Archive Film Preservationists Cassie Blake and Tessa Idlewine. Total program runtime: 70 min. Creature from the Black Lagoon in 3D Sat, Oct 26 | 7:30pm | DGT Part of the museum's all-day Monster Mash! A group of scientists exploring the Brazilian Amazon discover a terrifying creature, a “Gill Man,” who becomes infatuated with the female member of their team, putting all their lives in danger. Producer William Alland claimed to have received the inspiration for the film from a dinner party story told by legendary cinematographer Gabriel Figueroa. The classic horror film reunited several key participants from Universal’s 3D hit It Came from Outer Space (1953), including Alland, actor Richard Carlson, writer Harry Essex, and director Jack Arnold. With its evocative 3D cinematography, unexpected eroticism, and the superbly designed creature suit, the film spawned two sequels and was a major inspiration for Guillermo del Toro’s 2017 Oscar winner The Shape of Water . Programmed by K.J. Relth-Miller. Note by Robert Reneau. DIRECTED BY: Jack Arnold. WRITTEN BY: Harry Essex, Arthur Ross. STORY BY: Maurice Zimm. WITH: Richard Carlson, Julie Adams, Richard Denning, Antonio Moreno. 1954. 79 min. USA. B&W. English. 3D. DCP.

In 1979, American independent filmmaker Les Blank (1935–2013) embarked on a journey with longtime friend and fellow filmmaker Werner Herzog into the jungles of Iquitos, Peru, to capture the lengthy production of Herzog’s troubled epic Fitzcarraldo (1982). The project—beleaguered by tense local politics, nervous financial backers, crew injuries, and an illness that led to Jason Robards dropping out of the lead role—took Herzog almost five years to complete. Throughout the production, Blank’s camera effortlessly and unobtrusively captures his friend’s Sisyphean struggle against time, the elements, his collaborators, and himself. Blank’s famously poetic eye for the quotidian focuses less on the daily grind of the doomed production and more on the small details that make up the world of this behind-the-scenes portrait. Considered one of the best films about filmmaking of all time, Burden of Dreams offers a sometimes harrowing, sometimes dryly humorous commentary on the complicated

experience of fulfilling an artistic vision. Programmed and note by K.J. Relth-Miller.

DIRECTED BY: Les Blank. WRITTEN BY: Michael Goodwin (narration). WITH: Werner Herzog, Klaus Kinski, Claudia Cardinale, Jason Robards. 1982. 95 min. USA. Color. English, Spanish, German. 4K DCP. Digitally restored by Les Blank Films (Harrod Blank, Anthony Matt, Paul Cope, Maureen Gosling). Audio restoration and 5.1 mix by Endpoint Audio (Nick Bergh). Don’t Go into the Vault: An Academy Film Archive Trailer Show in 35mm Sat, Oct 12 | 7:30pm | TMT Stark terror that strikes in the dark! Cold fear that grips the heart! Raw shock that sears the mind!

Freda (2021)

LIMITED SERIES HASTA LA RAÍZ K’A PA RUXE’EL ATÉ A RAIZ NAN RASIN LAN: TO THE ROOT SEP 16–OCT 13, 2024

In her Latin Grammy-winning record Hasta la Raíz, Mexican singer-songwriter Natalia Lafourcade pays tribute to her home country and sings of all the circumstances that build up one’s life, from family, friends, lived experiences, and home, to the importance of keeping your roots. These, along with themes of self-identity, sexuality, betrayal, and class structure are all subjects that take center stage within the growing pains of maturing. The films highlighted in this series offer a small glimpse into the varied experiences Latine/x adolescents and young adults face, in many instances, made all the more challenging due to the marginalization many of these characters experience—markedly shown in stories like Mi Amigo Ángel (1964), Bad Hair (2013), and Freda (2021). Nonetheless, there is beauty to be found in healing, unearthed through the universal experience of self-discovery and honoring one’s truth and emotions. Programmed and notes by Sari Navarro.

Mi vida loca in 35mm, presented by Allison Anders Mon, Sep 16 | 7:30pm | TMT

Told as a multi-part story following the lives of childhood best friends Mona and Marivel (Angel Aviles, Seidy López), who inherit the nicknames “Sad Girl” and “Mousie” after joining an Echo Park gang, the film follows the lives of the young women and those who formed part of the crew—exhibiting generational differences from the pachucas of the 1940s to the cholas of the 1990s. The young women are depicted with great care, which can be attributed to the bond writer-director Allison Anders formed with members of the Echo Park Locas, who were consultants and involved in all aspects of production. DIRECTED/WRITTEN BY: Allison Anders. WITH: Angel Aviles, Seidy López, Jacob Vargas, Nélida López. 1993. 92 min. USA. Color. English. 35mm. Print courtesy of the Allison Anders Collection at the UCLA Film & Television Archive.

IXCANUL

Ixcanul preceded by Mi Amigo Ángel Fri, Sep 20 | 7:30pm | TMT Ixcanul

María (María Mercedes Coroy) has never strayed outside the confines of her village, formed around the base of Ixcanul, a volcano or, in the Kaqchikel language, “the internal force of the mountain which boils looking for eruption.” While betrothed in an arranged marriage to Ignacio (Justo Lorenzo), the local plantation foreman, María forges a secret

Mosquita y Mari Fri, Sep 27 | 7:30pm | TMT

romance with Pepe (Marvin Coroy), who has his own objective of making it to the United States. Ixcanul has been noted for its authentic representation of Mayan culture in Guatemala, bringing awareness to the unique struggles Indigenous folk face as a marginalized group in the country. DIRECTED/WRITTEN BY: Jayro Bustamante. WITH: María Mercedes Coroy, María Telón, Manuel Antún, Justo Lorenzo. 2015. 93 min. Guatemala. Color. Scope. Kaqchikel, Spanish. DCP. Preceded by Mi Amigo Ángel This short film follows the events that unfold during a single day in the life of a shoeshine boy named Ángel (Roger Membreño) as he searches the streets of Tegucigalpa, Honduras, for his alcoholic father. Through Ángel’s eyes, the film offers an insight into key themes that concern the everyday lives of many Hondurans, such as religion, friendships, violence, marginalization, and alcoholism. A time capsule of a buzzing city that hasn’t much changed, Palestinian- Honduran director Sami Kafati demonstrates the realities many Honduran children face, caught in the crossfire as a consequence of the ongoing political turmoil within the nation. DIRECTED/WRITTEN BY: Sami Kafati. WITH: Ada Argentina Abraham, Roger Membreño, Adib Kafati, Fausto Cortez. 1964. 32 min. Honduras. B&W. Spanish. DCP. Restoration courtesy of the Cinemateca Universitaria Enrique Ponce Garay of the Universidad Nacional Autónoma de Honduras.

Straight A student Yolanda “Mosquita” (Fenessa Pineda) forges a friendship with the misunderstood, troublesome new girl at school, Mari (Venecia Troncoso). As Mosquita’s affections for Mari grow, and after a few shared instances of intimacy, the young women struggle to make sense of the confusing feelings blooming between them. Writer- director Aurora Guerrero developed the script from writing exercises in film school, basing the stories on a close friendship she experienced growing up. Taking place in the Huntington Park neighborhood of Southeast Los Angeles, the film illustrates the vibrant community of the predominantly Latinx district. DIRECTED/WRITTEN BY: Aurora Guerrero. WITH: Fenessa Pineda, Venecia Troncoso, Joaquín Garrido, Laura Patalano. 2012. 85 min. USA. Color. Spanish, English. DCP.

Amar te duele Sat, Sep 28 | 2pm | TMT

Set in Mexico City during the early aughts, privileged Renata (Martha Higareda) falls for aspiring comic book artist Ulises (Luis Fernando Peña), but challenged by pressures of socioeconomic class and race, they maintain a secret relationship. Amar te Duele was a hit among Mexican youth upon its release, sweeping awards at the 2003 MTV Movie Awards México, including Favorite Song for Natalia Lafourcade, who continued to gain prominence after contributing to the film’s soundtrack, the same year she released her breakout hit “En el 2000.” The film is also noted for the on-screen debut of pop group RBD member Alfonso Herrera. DIRECTED BY: Fernando Sariñana. WRITTEN BY: Carolina Rivera. WITH: Luis Fernando Peña, Martha Higareda, Ximena Sariñana, Alfonso Herrera. 2002. 104 min. Mexico. Color. Spanish, English. DCP.

THE WAY HE LOOKS (HOJE EU QUERO VOLTAR SOZINHO)

The Way He Looks ( Hoje eu quero voltar sozinho ) Mon, Sep 23 | 7:30pm | TMT Leonardo (Ghilherme Lobo), a blind teenager, spends his days with his best friend Giovana (Tess Amorim). Frustrated by school bullies and the lack of confidence and independence given to him by overprotective loved ones, he contemplates studying abroad. Leonardo’s world is quickly shaken by the arrival of new student Gabriel (Fábio Audi), challenging his dynamic with Giovana as he makes sense of newfound feelings blossoming for Gabriel. This tender gay teen romance set to music by Belle and Sebastian premiered at the 64th Berlin International Film Festival, winning the FIPRESCI Prize in the Panorama section and the Teddy Award. DIRECTED/WRITTEN BY: Daniel Ribeiro. WITH: Ghilherme Lobo, Fábio Audi, Tess Amorim, Lúcia Romano. 2014. 96 min. Brazil. Color. Scope. Portuguese. DCP.

BAD HAIR (PELO MALO)

Bad Hair ( Pelo Malo ) Sat, Sep 28 | 7:30pm | TMT

Junior (Samuel Lange), a 9-year-old boy from a disadvantaged neighborhood in Caracas, Venezuela, develops an obsession with straightening his hair—deemed socially as pelo malo (bad hair)—for his school photo. As Junior yearns to discover his identity through this fixation with his hair, it leads to rising tensions with his domineering mother Marta (Samantha Castillo), whose cause of distress

is rooted in fear over noticing Junior’s increasing queerness. Through Junior’s relationship with his hair, Pelo Malo explores questions about race, gender norms, sexuality, age, and class, influenced by the lasting effects of colonization which continue to permeate throughout Latin America. DIRECTED/WRITTEN BY: Mariana Rondón. WITH: Samuel Lange, Samantha Castillo, Nelly Ramos, María Emilia Sulbarán. 2013. 93 min. Venezuela. Color. Spanish. DCP.

RAISING VICTOR VARGAS

Raising Victor Vargas Sat, Oct 12 | 2pm | TMT

After getting caught in the bedroom of a girl considered undesirable by neighborhood peers, New York Dominican teen Victor Vargas (Victor Rasuk) strives to repair the fabricated illusion of his player image by setting his sights on popular Judy Ramirez (Judy Marte). As Judy entertains Victor’s advances, only so other boys stop hitting on her, Victor finds he’s developing feelings for her. The relationship acts as a reprieve from the chaos and pressures Victor experiences at home; he’s seen as a menace and bad influence by his strict religious grandmother, a nuisance by his sister, and an idol by his little brother. DIRECTED BY: Peter Sollett. WRITTEN BY: Peter Sollett, Eva Vives. WITH: Victor Rasuk, Judy Marte, Melonie Diaz, Altagracia Guzman. 2002. 88 min. USA. Color. English. DCP.

Freda Sun, Oct 13 | 2pm | TMT

Based on writer-director Gessica Généus’s own experiences coming of age in Haiti, the film follows the life of Freda (Néhémie Bastien) with her siblings and mother, Jeanette (Fabiola Remy), in Port-au- Prince as they get by with their small corner store. Taking place in 2018, as the country is burdened with civil unrest due to the enduring consequences of colonization, Freda’s family looks for options to escape, whereas Freda herself is more reluctant due to her love for and loyalty to Haiti. The film offers a rare female perspective of the country, highlighting themes such as generational trauma and colorism. DIRECTED/WRITTEN BY: Gessica Généus. WITH: Néhémie Bastien, Djanaïna François, Fabiola Rémy, Gaëlle Bien-Aimé. 2021. 109 min. Haiti. Color. Haitian Kreyòl, French. DCP.

Gentlemen Prefer Blondes (1953)

Color is an integral part of the cinematic experience. Filmmakers worldwide use color to shape narratives, evoke mood, or establish time and location. For audiences, colors elicit emotional responses, transcending logic to resonate with the subconscious mind. Introduced in the 1930s, Technicolor IV became the prevailing color technology choice for Hollywood productions through the mid-1950s. The influential process came to define the look of studio pictures thanks to its crisp images and vibrancy. Technicolor and its color consultants advised on all aspects of production, from costume design to art direction and cinematography. Even later pictures shot on color film stocks such as Eastman, including Vertigo (1958) and Cabaret (1972), would often be printed in glorious Technicolor. This screening series, programmed to accompany the museum’s exhibition Color in Motion: Chromatic Explorations of Cinema , celebrates the vibrant and indelible impact of Technicolor on Hollywood productions and audiences. COLOR IN MOTION: CHROMATIC EXPLORATIONS OF CINEMA is curated by Senior Exhibitions Curator Jessica Niebel with Assistant Curator Sophia Serrano, Research Assistant Alexandra James Salichs, and former Curatorial Assistant Manouchka Kelly Labouba, Academy Museum of Motion Pictures. Special thanks to the project advisory group: Barbara Flueckiger, Ranjani Mazumdar, Kirsten Moana Thompson, and Joshua Yumibe. COLOR IN MOTION: CHROMATIC EXPLORATIONS OF CINEMA is among more than 70 exhibitions and programs presented as part of PST ART. Returning in September 2024 with its latest edition, PST ART: ART & SCIENCE COLLIDE, this landmark regional event explores the intersections of art and science, both past and present. PST ART is presented by Getty. For more information about PST ART: ART & SCIENCE COLLIDE, please visit pst.art. Programmed by K.J. Relth-Miller. Notes by Hyesung ii and K.J. Relth-Miller adapted from COLOR IN MOTION exhibition texts. LIMITED SERIES THE WONDERS OF TECHNICOLOR OCT 6–NOV 23, 2024

impact of this vividly realized psychological thriller. In the picture’s most memorable scenes, Kim Novak’s mysterious Madeleine is associated with green through costuming and her surroundings, such as her car and apartment. Shooting on Eastman stock and printing in Technicolor, director Alfred Hitchcock used the color to symbolize the growing obsession of private investigator Scottie (James Stewart) with Madeleine. The original costume on display in Color in Motion , worn by Novak and created by renowned costume designer Edith Head, reflects a modern, relaxed character juxtaposed to the austere woman Scottie thought he knew. DIRECTED BY: Alfred Hitchcock. WRITTEN BY: Alec Coppel, Samuel Taylor. WITH: James Stewart, Kim Novak, Barbara Bel Geddes, Tom Helmore. 1958. 126 min. USA. Technicolor. English. Rated PG. 35mm. New print courtesy of the Academy Film Archive.

VERTIGO

Vertigo in 35mm Sun, Oct 6 | 7:30pm | DGT

In Vertigo , the vibrant rendering of the Oscar- nominated art direction aids in the overwhelming

Stokowski, Deems Taylor. 1940. 125 min. USA. Technicolor. English. Rated G. DCP.

AN AMERICAN IN PARIS

An American in Paris Fri, Oct 11 | 7:30pm | DGT

THE RED SHOES

The incomparable Gene Kelly’s outstanding performance turned the 1928 George Gershwin symphonic poem into a spectacular musical film of the same name—one that garnered eight Academy Award nominations and six wins including Best Picture, Cinematography (Color), Costume Design (Color), and Art Direction (Color). The love story set in Paris is told through vibrant dance numbers choreographed by Kelly. Amplified by the elaborate hues of the set design, costumes, and props, these numbers become truly magical moments through the synergy of motion, color, and sound. DIRECTED BY: Vincente Minnelli. WRITTEN BY: Alan Jay Lerner. WITH: Gene Kelly, Leslie Caron, Oscar Levant, Georges Guétary. 1951. 114 min. USA. Technicolor. English. DCP.

The Red Shoes in 35mm Fri, Oct 25 | 7:30pm | DGT

In this “visually ravishing masterpiece” (BFI), real- life dancer Moira Shearer makes her film debut as Vicky Page, a ballerina torn between her passion for dance and her adoration of a composer. An adaptation of the fairytale by Hans Christian Andersen, the film was nominated in five categories including Best Picture, Story, and Film Editing, and won two Oscars: one for the score by Brian Easdale ( Black Narcissus , Peeping Tom ), and another for the dazzling art direction of Hein Heckroth and Arthur Lawson. Vicky’s bright red ballet slippers contrast starkly with her dress, which transforms from pure white to dirty grey as her dance consumes her, reflecting her exhaustion and despair. DIRECTED/WRITTEN BY: Michael Powell, Emeric Pressburger. WITH: Anton Walbrook, Marius Goring, Moira Shearer, Robert Helpmann. 1948. 136 min. UK. Technicolor. English. 35mm. Restored by the UCLA Film & Television Archive in association with BFI, The Film Foundation, ITV Global Entertainment Ltd., and Janus Films. Restoration funding provided by the Golden Globe Foundation, The Film Foundation, and the Louis B. Mayer Foundation. Print courtesy of The Film Foundation Conservation Collection at the Academy Film Archive.

FANTASIA

Fantasia Thu, Oct 24 | 7:30pm | DGT

The third animated feature released by Disney is still considered the studio’s most experimental work. In Fantasia , a series of eight vignettes set to classical music demonstrate the remarkable potential of feature film animation. The segments range from the lighthearted antics of Mickey Mouse in “The Sorcerer’s Apprentice” to the sinister, epic imagery of “Night on Bald Mountain.” Experimental filmmaker Oskar Fischinger’s contributions to the film’s look and feel were tremendously significant, particularly his concept of a visual symphony. The film received two Special Awards from the Academy, both in recognition of its groundbreaking approach to the use of sound and music as a visualized form in motion pictures. DIRECTED BY: Samuel Armstrong, James Algar, Bill Roberts, Paul Satterfield, Hamilton Luske, Jim Handley, Ford Beebe, T. Hee, Norm Ferguson, Wilfred Jackson. WITH: Leopold

CABARET

Cabaret Fri, Nov 1 | 7:30pm | DGT

The second feature from director-choreographer Bob Fosse uses rich color, especially purple, in its depiction of decadent, Weimar-era Berlin. When naïve young Brian Roberts (Michael York) moves into a Berlin boardinghouse in 1931, he is unprepared for his new neighbor—the brash, would-be star Sally Bowles, played by Liza Minnelli in her Oscar-winning

chocolate manufacturer who hides five Golden Tickets in his famous Wonka Bars. The lucky ticket finders are invited to Wonka’s mysterious factory tour, where fantastical exuberance and unpredictable happenings unfold. Director Mel Stuart emphasizes the Wonka Bar’s importance through the film’s color palette: the bright orange wrapper, beautifully realized in Technicolor distribution prints at the time of its release, pops in contrast to young Charlie’s drab grey surroundings. The original “Wonka Bar” prop is now on view in the museum’s Color in Motion exhibition. DIRECTED BY: Mel Stuart. WRITTEN BY: Roald Dahl. WITH: Gene Wilder, Jack Albertson, Peter Ostrum, Roy Kinnear. 1971. 100 min. USA. Technicolor. English. 4K DCP.

performance. Purple is Sally’s color throughout the film, representing her indulgent lifestyle and her desire to one day become Hollywood royalty. The film received ten nominations, including Best Picture, and won eight Oscars including Minnelli’s—for the art direction, cinematography, film editing, adapted score, sound, Fosse’s direction, and Joel Grey’s unforgettable performance as the Master of Ceremonies. DIRECTED BY: Bob Fosse. WRITTEN BY: Jay Allen. WITH: Liza Minnelli, Michael York, Helmut Griem, Joel Grey. 1972. 124 min. USA. Technicolor. English. Rated PG. DCP.

GENTLEMEN PREFER BLONDES

Gentlemen Prefer Blondes Sat, Nov 2 | 2pm | TMT

In this 1953 musical comedy adapted from Anita Loos’s searingly funny 1925 novella—which also spawned a now-lost silent film in 1928 and a smash Broadway production in 1949—Howard Hawks’s Lorelei (Marilyn Monroe) is resplendent. She is seen throughout the picture in jewel tones and literal jewels, carefully selected by costume designer Travilla to play up the Technicolor cinematography lensed by Harry J. Wild. The film’s use of pink is observed in the museum’s Color in Motion exhibition alongside contemporary classics such as Barbie (2023) and But I’m a Cheerleader (1999), which situates the comedy as both effervescent and timeless. DIRECTED BY: Howard Hawks. WRITTEN BY: Charles Lederer. WITH: Jane Russell, Marilyn Monroe, Charles Coburn, Elliott Reid. 1953. 91 min. USA. Technicolor. English. DCP.

THE WIZARD OF OZ

The Wizard of Oz in 4K Sat, Nov 9 | 2pm | DGT

Few movies are more synonymous with color than The Wizard of Oz , MGM’s musical adaptation of L. Frank Baum’s magical book. Acclaimed for its groundbreaking transition from the sepia of Kansas to the Technicolor of Oz, the film and its saturated landscape would be incomplete without Dorothy’s iconic ruby slippers, which were silver in the original book. Costume designer Adrian had white silk pumps dyed red, covered in silk georgette, and embellished with roughly 2,300 sequins each to shine brightly on the movie’s yellow brick road. The film received five Oscar nominations, including Best Picture, and won for Herbert Stothart’s orchestral score and the immortal ballad “Over The Rainbow.” DIRECTED BY: Victor Fleming. WRITTEN BY: Noel Langley, Florence Ryerson, Edgar Allan Woolf. ADAPTATION BY: Noel Langley. WITH: Judy Garland, Frank Morgan, Ray Bolger, Bert Lahr. 1939. 101 min. USA. Technicolor. English. 4K DCP.

WILLY WONKA & THE CHOCOLATE FACTORY

Willy Wonka & the Chocolate Factory in 4K Mon, Nov 4 | 7:30pm | TMT Gene Wilder, as the iconic on-screen Willy Wonka from Roald Dahl’s 1964 novel Charlie and the Chocolate Factory , plays a mistrusting, volatile

THE BLACK PIRATE

The Black Pirate in 4K Thu, Nov 21 | 7:30pm | TMT

The Black Pirate employed Technicolor II, an early two-color process that took two filmstrips, one dyed orange-red and the other dyed blue-green, and cemented them together for projection. Douglas Fairbanks—who portrays a nobleman posing as the “Black Pirate” to seek justice for his father’s death— took a daring and adventurous route by designing the production for color cinematography in the 1920s. Bringing added dimension to the remarkable action scenes, Fairbanks ultimately realized his childhood admiration for pirate stories through innovative filmmaking of the silent era. DIRECTED BY: Albert Parker. WRITTEN BY: Dougals Fairbanks, Jack Cunningham. WITH: Douglas Fairbanks, Billie Dove, Tempe Pigott, Donald Crisp. 1926. 100 min. USA. Technicolor. Silent. 4K DCP. Restored by The Museum of Modern Art and The Film Foundation in cooperation with the British Film Institute. Funding provided by the Hollywood Foreign Press Association. Special thanks to Alexander Payne.

THE WOMEN

The Women Sat, Nov 23 | 2pm | TMT

Co-written by Anita Loos and Jane Murfin, The Women delivers a cast of 135, each with a speaking role, to the total exclusion of men. The delightfully witty and rapid-fire dialogue pours out of a cadre of familiar faces, including Norma Shearer, Joan Crawford, and Rosalind Russell. While the majority of the film unfolds in black-and-white, a delightful six-minute fashion show shot in dazzling Technicolor included. It features gowns by Adrian, the iconic MGM-based costume designer behind many Technicolor splendors, including The Wizard of Oz (1939) . DIRECTED BY: George Cukor. WRITTEN BY: Anita Loos, Jane Murfin. WITH: Norma Shearer, Joan Crawford, Rosalind Russell, Mary Boland. 1939. 133 min. USA. B&W, Technicolor. English. DCP.

To celebrate the anniversary of the first Gojira film, which was released in theaters in Japan exactly 70 years ago, the Academy Museum presents its first- ever all-day marathon, featuring five classic and contemporary Godzilla films. From his origin as a symbol of the atomic menace, through his years as a colossal defender of the Earth, to modern incarnations that continue to reimagine his identity, Godzilla has proven to be a remarkably malleable cinematic icon, his image as indestructible as the monster himself. Throughout the day, be on the lookout for the famous kaiju on the move around the museum! For ticket details and to discover other Godzilla- related programming, visit academymuseum.org. GODZILLA-THON! NOV 3, 2024

Programmed and notes by Robert Reneau. Special thanks to Toho International.

GOJIRA

Gojira in 35mm Sun, Nov 3 | 11am | DGT

The mysterious destruction of several ships off the Japanese coast leads to the horrifying discovery that hydrogen bomb tests have released an enormous, dinosaur-like creature from the bottom of the sea. The first of Japan’s kaiju features and still one of its finest, Gojira brought together some of the key artists of the genre, including writer-director Ishirō Honda, visual effects master Eiji Tsuburaya, and composer Akira Ifukube, whose somber themes are inextricably linked with the colossal monster. For decades, only a dubbed, recut version titled Godzilla – King of the Monsters was available in the US—incorporating added footage with Raymond Burr as an American journalist—but in 2004, the original Gojira was finally screened for American audiences. DIRECTED BY: Ishirō Honda. WRITTEN BY: Takeo Murata, Ishirō Honda. STORY BY: Shigeru Kayama. WITH: Akira Takarada, Momoko Kochi, Akihiko Hirata, Takashi Shimura. 1954. 96 min. Japan. B&W. Japanese. 35mm.

DESTROY ALL MONSTERS

SHIN GODZILLA

Destroy All Monsters Sun, Nov 3 | 1pm | DGT

Shin Godzilla Sun, Nov 3 | 5:15pm | DGT An evolving creature menaces the people of Japan as it develops into a terrifying shape familiar to a half-century of film fans—Godzilla. Neon Genesis Evangelion creator Hideaki Anno wrote and co-directed this witty and spectacular reboot of the beloved kaiju franchise, which incorporates bureaucratic satire as well as imagery invoking recent real-life Japanese disasters. The result is one of the series’s most exciting and original entries. DIRECTED BY: Hideaki Anno, Shinji Higuchi. WRITTEN BY: Hideaki Anno. WITH: Hiroki Hasegawa, Yutaka Takenouchi, Satomi Ishihara, Ren Osugi. 2016. 120 min. Japan. Color. Scope. Japanese. DCP.

In the far-off future year of 1999, the world’s monsters are safely confined to an island known as “Monsterland,” but the intervention of the alien Kilaaks threatens that fragile peace when they set the monsters free to menace the world once more. Destroy All Monsters marks the ninth big screen appearance of Godzilla, supported by the largest monster assembly to date—iconic kaiju like Rodan, Mothra, Ghidorah, and Godzilla’s son Minilla are joined by Gorosaurus, Anguiris, Kumonga, and Varan—with London, Moscow, Paris, and even New York City coming under attack in this epic sci-fi spectacle. DIRECTED BY: Ishirō Honda. WRITTEN BY: Ishirō Honda, Kaoru Mabuchi. WITH: Akira Kubo, Jun Tazaki, Yukiko Kobayashi, Yoshio Tsuchiya. 1968. 88 min. Japan. Color. Scope. Japanese. Rated G. DCP.

GODZILLA MINUS ONE

Godzilla Minus One Sun, Nov 3 | 7:30pm | DGT

GODZILLA VS. THE SMOG MONSTER

A kamikaze pilot barely survives an attack from a terrifying monster in the last days of World War II, but years later, must help save post-war Japan from the creature’s destructive return in this epic reboot of the Godzilla series. Writer-director-visual effects supervisor Takashi Yamazaki helmed this global box office smash, which managed to be a moving romantic drama about survivor’s guilt while providing a classic kaiju spectacle. Not merely the first Godzilla film to receive an Oscar nomination in any category, it was also the first non-English language film to win the Visual Effects Oscar, for Yamazaki and visual effects teammates Kiyoko Shibuya, Masaki Takahashi, and Tatsuji Nojima. DIRECTED/WRITTEN BY: Takashi Yamazaki. WITH: Ryunosuke Kamiki, Minami Hamabe, Sakura And оо̄̄ , Munetaka Aoki. 2023. 124 min. Japan. Color. Scope. Japanese. Rated PG-13. DCP.

Godzilla vs. the Smog Monster Sun, Nov 3 | 2:45pm | DGT

An alien creature, transformed by our planet’s atmosphere, becomes a colossal beast that sprays acid over its helpless victims, and only Godzilla can save the Earth from its toxic power. One of the first Toho monster movies produced after the 1970 death of visual effects master Eiji Tsuburaya—and the only one in the series written and directed by Yoshimitsu Banno— Godzilla vs. the Smog Monster is a lively kaiju film that brings the genre fully into the 1970s, with its focus on environmental dangers and a pop-flavored score by Riichirō Manabe ( Cruel Story of Youth ). DIRECTED BY: Yoshimitsu Banno. WRITTEN BY: Yoshimitsu Banno, Kaoru Mabuchi. WITH: Akira Yamanouchi, Toshie Kimura, Hiroyuki Kawase, Toshio Shiba. 1971. 96 min. Japan. Color. Scope. Japanese. Rated PG. DCP.

Arabesque (1966)

LIMITED SERIES SOPHIA LOREN: LA DIVA DI NAPOLI NOV 7–30, 2024

Born Sofia Costanza Brigida Villani Scicolone on September 20, 1934, Sophia Loren has an unrivaled career both in her native Italy and in Hollywood, appearing in nearly one hundred films over seven decades. She started as an extra for the film studio Cinecittà, before catching the attention of future husband Carlo Ponti, who cast her in her breakout role in The Gold of Naples (1954) . Collaborating with Ponti on 34 films together, frequently starring opposite the charismatic Marcello Mastroianni, and often featured in works with and by Vittorio De Sica, Loren has tackled subject matter both intense and lighthearted with a grounded earthiness and head-turning magnetism. Winner of an Academy Award for Best Actress for her devastating turn in Two Women (1960), the first time an acting award went to a performance not in the English language, Loren also received an Honorary Oscar in 1990 for “a career rich with memorable performances [that] has added permanent luster to our art form.” In celebration of her 90th birthday, the Academy Museum presents this overview of some of Loren’s most enduring performances. Programmed and notes by K.J. Relth-Miller, except where noted. This film series is presented by the Academy Museum in partnership with Cinecittà.

Two Women ( La ciociara ) in 4K with Sophia Loren and Edoardo Ponti Thu, Nov 7 | 7:30pm | DGT In person: Sophia Loren and Edoardo Ponti. This harrowing tale finds Cesira (Sophia Loren), a grocer in Rome and mother of 13-year-old Rosetta (Eleonora Brown), fleeing the 1943 German invasion of the Italian capital city for her childhood village of Ciociaria, facing danger unflinchingly as her will to survive is challenged amidst the devastation of World War II. Marking her homecoming after a four-year contract with Paramount, Loren reteams with director Vittorio De Sica and producer Carlo Ponti to deliver a tour-de-force performance that garnered the Best Actress prize at the 14th Cannes Film Festival and made her the first non-English- language performer to win an Oscar. DIRECTED BY: Vittorio De Sica. WRITTEN BY: Cesare Zavattini. WITH: Sophia Loren, Jean-Paul Belmondo, Eleonora Brown,

Carlo Ninchi. 1960. 101 min. Italy/France. B&W. Italian, German, English. 4K DCP. Courtesy of Cinecittà. Digital restoration by Titanus.

The Life Ahead ( La vita davanti a sé ) with Sophia Loren and Edoardo Ponti Fri, Nov 8 | 7:30pm | DGT In person: Sophia Loren and Edoardo Ponti. “Sophia Loren delivers a towering performance in her son Edoardo Ponti’s 2020 adaptation of the novel Madame Rosa , which embodies the range, intelligence, and innate charisma of the legendary actress. Previously adapted in 1977 by Moshé Mizrahi, with Simone Signoret in the lead role, Ponti moves Romain Gary’s novel to Bari, Italy, where a Holocaust survivor turned children’s caretaker (Loren) forms an unlikely friendship with a bitter street kid (a spectacular Ibrahim Gueye) after he robs her. By turns tender and haunted, the storied

role of Rosa is imbued here with the unmistakable wisdom of a seasoned performer, who subtly nods to her own illustrious on-screen persona with subtlety and grace.” — Film at Lincoln Center. DIRECTED BY: Edoardo Ponti. WRITTEN BY: Ugo Chiti, Edoardo Ponti. WITH: Sophia Loren, Ibrahima Gueye, Renato Carpentieri, Iosif Diego Pirvu. 2020. 94 min. Italy. Color. Scope. Italian, Spanish, Hebrew, Romanian. Rated PG-13. DCP.

YESTERDAY, TODAY AND TOMORROW (IERI, OGGI, DOMANI)

Yesterday, Today and Tomorrow ( Ieri, oggi, domani ) in 4K preceded by Human Voice ( Voce umana) Thu, Nov 14 | 7:30pm | TMT Yesterday, Today and Tomorrow ( Ieri, oggi, domani ) Vittorio De Sica, Sophia Loren, and Marcello Mastroianni—who collaborated on Too Bad She’s Bad (1954) a decade prior—reunite for a tryptic of stories that saw wild box office success (over $8 million in 1963) and resulted in the Academy Award for Best Foreign Language Film at the 37th Oscars ceremony. Both Loren and Mastroianni star in each episode as lovers in Naples, Milan, and Rome respectively, with Loren showcasing her versatility as a criminal who welcomes multiple pregnancies to avoid jail time; a materialistic industrialist’s wife; and, in the film’s most iconic sequence, a strip-teasing escort. DIRECTED BY: Vittorio De Sica. WRITTEN BY: Eduardo De Filippo, Isabella Quarantotti, Cesare Zavattini, Billa Billa. WITH: Sophia Loren, Marcello Mastroianni, Aldo Giuffrè, Agostino Salvietti. 1963. 118 min. Italy. Color. Italian. 4K DCP. Courtesy of Cinecittà. Digital restoration by Cineteca di Bologna and The Film Foundation. Preceded by Human Voice (Voce umana) Loosely adapted from Jean Cocteau’s monologue- based drama for the stage, La voix humaine , and relocated to 1950s Naples, this poignant short finds Angela (Sophia Loren) recalling a love lost years ago, told through flashbacks and over the phone with an unheard person. Directed by Loren's son with famed producer Carlo Ponti, Voce umana reminds us of the painful power of longing and reinforces the ongoing legacy of a screen diva. DIRECTED BY: Edoardo Ponti. WRITTEN BY: Erri De Luca, Edoardo Ponti. WITH: Sophia Loren, Virginia Da Brescia, Enrico Lo Verso, Alessandra Bonarota. 2014. 26 min. Italy. Color. Scope. Italian. DCP. Courtesy of Cinecittà.

THE GOLD OF NAPLES (L'ORO DI NAPOLI)

The Gold of Naples ( L’oro di Napoli ) in 4K Sat, Nov 9 | 7:30pm | TMT North American Restoration Premiere Based on Giuseppe Marotta’s popular novel, The Gold of Naples is a charming anthology tribute to the coastal city of its title and was a pivotal film in Sophia Loren’s career: her role in the segment “Pizza on Credit” went far to cement her as a star after three years of work as an extra and in bit parts. This was also her first collaboration with filmmaker Vittorio De Sica, with whom she would make several films over the course of her career, and the start of her relationship with producer Carlo Ponti. DIRECTED BY: Vittorio De Sica. WRITTEN BY: Cesare Zavattini, Vittorio De Sica, Giuseppe Marotta. WITH: Silvana Mangano, Sophia Loren, Eduardo De Filippo, Paolo Stoppa. 1954. 131 min. Italy. B&W. Italian. 4K DCP. Digital restoration by Cinecittà and Filmauro.

The Sign of Venus ( Il segno di Venere ) Mon, Nov 11 | 7:30pm | TMT

Cemented by 1955 as a leading lady, Sophia Loren made the unexpected choice to take a supporting role to Franca Valeri, whose star was also on the rise as both performer and writer. With The Sign of Venus , Valeri shares a co-writing credit with four established male writers and screen time with Loren as the women play polar-opposite cousins Cesira and Agnese, both unlucky in love in their own unique ways. While Agnese (Loren) is dizzy with advances, Cesira (Valeri) longs for romance but is constantly thwarted. As a nod to astrology and the psychic who attempts to foretell fate, the title hints at the irony of each’s romantic woes. DIRECTED BY: Dino Risi. WRITTEN BY: Edoardo Anton, Ennio Flaiano, Franca Valeri, Dino Risi, Cesare Zavattini. STORY BY: Edoardo Anton, Luigi Comencini, Franca Valeri. WITH: Sophia Loren, Franca Valeri, Vittorio De Sica, Raf Vallone. 1955. 101 min. Italy. B&W. Italian. DCP. Courtesy of Cinecittà.

TOO BAD SHE'S BAD (PECCATO CHE SIA UNA CANAGLIA)

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