Feb – Mar 2022 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.

TABLE OF CONTENTS

Limited Series and Spotlights

Everyday Life: The Films of Isao Takahata ��6–17

Carnal Knowledge: �� 18–35 The Films of Pier Paolo Pasolini

Scarecrow in a Garden of Cucumbers ��36–37

Weekend With...Moufida Tlatli�� 38–41

Rare Takes: �� 42–47 The Works of Cecilia Mangini

Weekend With...Jill Sprecher ��48–51

The Godfather Trilogy �� 52–55

Ongoing Series

Branch Selects��56–67

Stories of Cinema �� 68–73

Family Matinees ��74–83

Oscar® Sundays��84–93

Available Space�� 94–99

Hours, Membership, Pricing ��100–101

Calendar at a Glance��102–105

Academy Museum Theaters DGT: David Geffen Theater TMT: Ted Mann Theater

All films not in English are subtitled, unless otherwise noted.

Feb 3 – 16

EVERYDAY L I FE : THE F I LMS OF I SAO TAKAHATA

One of Studio Ghibli’s three co-founders, alongside filmmaker Hayao Miyazaki and producer Toshio Suzuki, Isao Takahata (1935–2018) has created a body of work that is delightfully eclectic. This retrospective includes all of Takahata’s Ghibli features, beginning with the stunning World War II tragedy Grave of the Fireflies , as well as a selection of the theatrical films he made earlier in his career. Many of these earlier works also feature collaboration from a young Miyazaki, whom Takahata met when both were working at the famous Toei Animation studio. Altogether, Takahata’s films reflect a warm- hearted filmmaker fond of stories about quirky families and enchanted creatures. Unlike Miyazaki, Takahata did not draw and perhaps due to this fact he consistently experimented with different animation styles throughout his career, sometimes making films that looked like Studio Ghibli productions but sometimes venturing into radically different styles.

Programmed and notes by Bernardo Rondeau

G R AV E OF THE FIREFLIES, 1988

I SAO TAKAHATA

Grave of the Fireflies

Thu, Feb 3 | 7:30pm | TMT

Isao Takahata’s first film for Studio Ghibli is a harrowing depiction of the last days of World War II as seen through the eyes of teenager Seita and his little sister Setsuko. After Allied firebombing destroys both their house and much of Kobe city, the two must fend for themselves. Based on Nosaka Akiyuki’s semi-autobiographical account of the same name, Grave of the Fireflies is a devastating portrait of resilience in the face of tragedy.

DIRECTOR: Isao Takahata.

CAST: Tsutomu Tatsumi, Ayano Shiraishi, Yoshiko Shinohara, Akemi Yamaguchi. 1988. 89 min. Japan. Color. Japanese. DCP.

The Great Adventures of Horus, Prince of the Sun with Chie the Brat

Fri, Feb 4 | 7:30pm | TMT

Isao Takahata’s debut feature is a dazzling Iron Age saga peopled by stone giants, fearsome silver wolves, and towering mammoths made of ice. In snow-packed Norway, young Horus is on a quest to both vanquish the evil sorcerer Grunwald and reforge an ancient sword so he can become “Prince of the Sun.” On his journey, Horus winds up the local hero of a rustic hamlet and befriends one of its residents, the enigmatic Hilda. Also known by the title Little Norse Prince Valiant , Takahata’s film features screen-filling battles and mind-bending feats of wizard- ry, in part thanks to the contributions by Hayao Miyazaki in concept art, scene design, and key animation. Also screening is Chie the Brat , an early Takahata feature that adapts a long- running manga by Etsumi Haruki. A riotous predecessor to Takahata’s subsequent portrayals of family life, Chie the Brat tracks the ups and downs of “the most unfortunate girl in Japan.” That’s at least what fifth-grader Chie believes. When not working at her family’s yakitori tavern, she’s dealing with her ne’er-do-well father, local gangsters, and the mishaps of her cat Kotetsu. The film yielded a television series, also overseen by Takahata.

The Great Adventures of Horus, Prince of the Sun

DIRECTOR: Isao Takahata.

CAST: Hisako Ôkata, Etsuko Ichihara, Mikijiro Hira, Yukari Asai. 1968. 81 min. Japan. Color. Japanese. DCP.

Chie the Brat

DIRECTOR: Isao Takahata.

CAST: Chinatsu Nakayama, Norio Nishikawa, Kiyoshi Nishikawa, Kyoko Mitsubayashi.

1981. 95 min. Japan. Color. Japanese. DCP.

Only Yesterday

Sat, Feb 5 | 7:30pm | TMT

Takahata’s follow-up to Grave of the Fireflies is a far more serene memory piece. Twenty- seven-year-old Taeko reminisces about her 1960s childhood when travelling from Tokyo to the sleepy country town of Yamagata. Takahata renders these flashbacks in a different style than the present-day scenes—corners slightly fade into white, details on the edges are blurred—altogether lending these moments a sense of impermanence. A surprise smash hit in Japan, this adult animated film is a poignant look at the cost of growing up.

DIRECTOR: Isao Takahata.

CAST: Miki Imai, Toshiro Yanagiba, Yoko Honna.

1991. 118 min. Japan. Color. Japanese. 35mm.

I SAO TAKAHATA

P A N D A ! G O P A N D A ! , 1 9 7 2

Panda! Go Panda! with Panda! Go Panda! The Rainy Day Circus and Gauche the Cellist

Sun, Feb 6 | 2pm | TMT

An early collaboration with Hayao Miyazaki, Takahata’s two Panda! Go Panda! films were made at the height of Japan’s early 1970s panda craze. The first film follows free-spirited redhead Mimiko, whose resemblance to Pippi Longstocking is surely not accidental, as she discovers a baby panda asleep in the bamboo grove near her house. Soon Papa Panda shows up as well. The three quickly form an adorable family unit, but the local zookeeper may disrupt it. Foreshadows of My Neighbor Totoro are evident as Mimiko bonds with the sweetly towering Papa Panda and Baby Panda, his tiny double.

In The Rainy Day Circus , the panda family adds a new member, big-eared baby tiger Tiny, and embarks on a journey to rescue an entire train of other circus animals.

Nature and art collaborate in Takahata’s delightful short feature Gauche the Cellist . Set in the early 20th century, Takahata’s film follows its titular cellist as he struggles with Beethoven’s Symphony No. 6. Part of the Venus Orchestra, Gauche is a diligent player but still rough around the edges. Over several nights, he is visited by different woodland animals who help him connect with music in a new way. A loving ode to the countryside—it’s no wonder the piece Gauche is trying to play is known as “the Pastoral Symphony”—Takahata’s film has echoes of classic Disney Silly Symphonies such as The Old Mill .

Panda! Go Panda!

DIRECTOR: Isao Takahata.

CAST: Kazuko Sugiyama, Kazuo Kumakura, Yoshiko Ohta, Ayao Wada. 1972. 34 min. Japan. Color. Japanese. DCP.

Panda! Go Panda! The Rainy Day Circus

DIRECTOR: Isao Takahata.

CAST: Hiroko Maruyama, Kazuko Sugiyama, Kazuo Kumakura, Yoshiko Ohta. 1973. 38 min. Japan. Color. Japanese. DCP.

I SAO TAKAHATA

Gauche the Cellist

DIRECTOR: Isao Takahata.

CAST: Hideki Sasaki, Fuyumi Shiraishi, Kaneta Kimotsuki, Masashi Amenomori. 1982. 63 min. Japan. Color. Japanese. DCP.

Pom Poko

Thu, Feb 10 | 7:30pm | TMT

A motley band of tanuki—shapeshifting wild raccoons—must battle humans to protect the idyllic Tama Hills from being converted into a bustling suburb. Takahata’s epic is a playful and entertaining adventure brimming with visual delights and surprises—the film’s nocturnal spirit parade is a showstopper that foreshadows Spirited Away . A huge hit in Japan that remains an under-screened gem in the Ghibli catalog, Pom Poko infuses Japanese mythology with madcap energy.

DIRECTOR: Isao Takahata.

CAST: Shincho Kokontei, Makoto Nonomura, Yuriko Ishida, Norihei Miki.

1994. 119 min. Japan. Color. Japanese. 35mm.

The Story of Yanagawa Waterways

Sat, Feb 12 | 2pm | TMT

A fascinating outlier in Takahata’s filmography, The Story of Yanagawa Waterways is a poetic documentary about the ways nature and humanity impact one another. In Japan’s southern Fukuoka Prefecture, the city of Yanagawa has nearly 300 miles of water- ways snaking through it. Takahata elegantly traces how these canals have been both boon and burden to locals. Employing a range of cinematic techniques including stop-motion, aerial photography, and animation, Takahata’s rarely screened film is a classic Ghibli tale of traditions challenged by technology.

DIRECTOR: Isao Takahata.

1987. 165 min. Japan. Color. Japanese. DCP.

My Neighbors the Yamadas

Sat, Feb 12 | 7:30pm | TMT

Takahata changes course once more in this adaptation of Hisaichi Ishii’s beloved slice- of-life manga. Employing a roughly sketched comic strip style, My Neighbors the Yamadas delights in the everyday misadventures of its titular family—dad, mom, older brother, little sister, granny, and Pochi the dog. Punctuated by daydreams and fantasies, Takahata’s film is a heart-warming and honest look at modern family life.

DIRECTOR: Isao Takahata.

CAST: Yukiji Asaoka, Toru Masuoka.

1999. 104 min. Japan. Color. Japanese. 35mm.

The Tale of The Princess Kaguya

Wed, Feb 16 | 7:30pm | TMT

The final feature film by Isao Takahata, The Tale of The Princess Kaguya is an adaptation of a 10th century folktale about what happens when a baby girl is found inside a bamboo stalk. Takahata follows the unusual life of this strange child as her magical powers are revealed and she bristles against the fascination showered on her. Illustrated with soft outlines and a muted palette, Takahata’s Oscar-nominated feature is a poignant tribute to the wonders of life.

DIRECTOR: Isao Takahata.

CAST: Aki Asakura, Kengo Kora, Takeo Chii, Nobuko Miyamoto. 2013. 137 min. Japan. Color. Japanese. DCP.

I SAO TAKAHATA

Feb 17 – Mar 12

CARNAL KNOWLEDGE: THE F I LMS OF PI ER PAOLO PASOL INI

ARABI AN NIGH TS, 1974

The Academy Museum honors the centennial of poet, philoso- pher, and filmmaker Pier Paolo Pasolini with a complete retrospective of his narrative films interspersed with some unique short and documentary works from his prolific career. Though he was a filmmaker for just over a decade, Pasolini’s impact on cinema is profound. An openly gay man and outspoken critic of capitalism and Europe’s bourgeois establishment, Pasolini remained in the crosshairs of the elite for his entire career, which ended tragically when he was murdered weeks before the pre- miere of his most incendiary condemnation of the upper classes: Salò, or the 120 Days of Sodom . He was 53 years old. Presented almost entirely in preserved 35mm prints, realized by Cinecittà and Cineteca di Bologna, this retrospective will traverse Pasolini’s three main periods: his reinvention of Italian neorealism as a potently lyrical vehicle for devastating portraits of modern life ( Accattone, Mamma Roma ); his searing portraits of the depravity of European society ( Teorema, Porcile ); and his shocking one-two punch of the celebratory Trilogy of Life, a celebration of the primal pleasures of sex set in antiquity, and its antithesis, the devastatingly bleak World War II horrorshow Salò . This series launches the Academy Museum's partnership with Cinecittà in support of an annual programming series of Italian Cinema.

Programmed and notes by Bernardo Rondeau Viewer discretion is strongly advised for all the films in this series.

Accattone

Thu, Feb 17 | 7:30pm | TMT

After writing a pair of novels set in the urban periphery of Rome, Pasolini, nearly 40, decided to turn to cinema to continue exploring this world and its characters. Accattone is the nickname of Vittorio—played by non-profes- sional Franco Citti, a soon-to-be Pasolini regu- lar—a young loafer roaming the hardscrabble Roman slum of Pigneto who fancies himself a pimp. The desperation of Vittorio’s sunbaked world is intensified by Tonino Delli Colli’s crisp cinematography and the strains of Bach’s St Matthew Passion (foreshadowing a future film). One of cinema’s great debuts, Accattone reimagines neorealism by eschewing any sentimentality for the poetry of the everyday.

DIRECTOR: Pier Paolo Pasolini.

CAST: Franco Citti, Franca Pasut, Silvana Corsini, Paola Guidi.

1961. 117 min. Italy. B&W. Italian. DCP.

New 4K DCP digitally restored by Cinecittà and Cineteca di Bologna.

Mamma Roma with Love Meetings

Fri, Feb 18 | 7:30pm | TMT

The immortal Anna Magnani is equally vulnerable and volcanic as the titular character in Pasolini’s second film. The writer-director returns to the desolate out- skirts of Rome for this tale of doomed maternal love set against a stark backdrop of ancient ruins and prefab apartment blocks. Former prostitute Mamma Roma is trying to start a new life in a new flat with her teenage son. But the criminal underworld she thought she had escaped slowly returns to view. Pasolini’s first documentary, Love Meetings , is a bold, verité journey throughout Italy in which the writer-director, microphone in hand, speaks with strangers and intellectuals alike about sexuality. These frank interviews and chance encounters offer a lively panorama of the Italian people on the cusp of the sexual revolution. Expanding out into discussions of gender, morality, power, and politics, all touch- stones for the filmmaker, Love Meetings is a surprising and enlightening chapter in Pasolini’s oeuvre.

Also screening is Pasolini’s contribution to the omnibus film RoGoPaG — La ricotta , which stars Orson Welles as a director struggling to film the Passion of Jesus.

Mamma Roma

DIRECTOR: Pier Paolo Pasolini.

CAST: Anna Magnani, Ettore Garofolo, Franco Citti, Silvana Corsini.

1962. 107 min. Italy. B&W. Italian. 35mm.

Print from Cinecittà.

Love Meetings

DIRECTOR: Pier Paolo Pasolini.

1965. 90 min. Italy. B&W. Italian. DCP.

New 4K DCP digitally restored by Cinecittà and Cineteca di Bologna.

La ricotta

DIRECTOR: Pier Paolo Pasolini.

CAST: Orson Welles, Mario Cipriani, Laura Betti, Edmonda Aldini. 1963. 35 min. Italy/France. B&W. Italian. 35mm.

Print from Cinecittà.

PI ER PAOLO PASOL INI

ACCATTONE, 1961

The Gospel According to St. Matthew

Mon, Feb 21 | 7:30pm | TMT

After two films documenting the ragged edges of modern life in Italy, Pasolini appeared to change course with The Gospel According to St. Matthew (the St. does not appear in the original Italian title). But the same urgent, unvarnished realism remains evident in this biblical retelling of the life of Christ from Immacu- late Conception to Crucifixion. Cast largely with non-professional actors and shot around Italy’s rugged south, Pasolini combines dialogue drawn from scripture with costuming inspired by Renaissance painter Piero della Francesca and an idiosyncratic soundtrack that features both Bach and Odetta. Also screening is Sopralluoghi in Palestina per il vangelo secondo Matteo , a documentary by Pasolini about his travels in the Holy Land seeking locations for Matthew . The director visits many of the original sites of the Gospel—Lake Tiberias, Mount Tabor, the Jordan River, the Dead Sea, and Jerusalem—and reflects on the archaic world once inhabited by Christ.

The Gospel According to St. Matthew

DIRECTOR: Pier Paolo Pasolini.

CAST: Enrique Irazoqui, Margherita Caruso, Susanna Pasolini, Marcello Morante. 1964. 137 min. Italy/France. B&W. Italian. 35mm.

Print from Cinecittà.

Sopralluoghi in Palestina per il vangelo secondo Matteo

DIRECTOR: Pier Paolo Pasolini.

1965. 54 min. Italy. B&W. Italian. 35mm.

Print from Cinecittà.

PI ER PAOLO PASOL INI

The Hawks and the Sparrows with Oedipus Rex

Fri, Feb 25 | 7:30pm | TMT

Pasolini directs Italian screen legend Totò in picaresque road movie The Hawks and the Sparrows. A father wanders the countryside by foot with his son and a talking crow in tow. As the bird inquires with the hapless duo about politics and regales them with a Franciscan parable, the father and son grow steadily hungrier. An anarchic comedy that revels in the surrealism of the modern world and cinema itself, The Hawks and the Sparrows is a madcap delight from its sung opening credits to its Chaplin-esque, silhouetted finale. Unavailable in the United States for almost twenty years, Oedipus Rex , Pasolini’s adaptation of the ancient Greek drama about a prince who kills his father, weds his mother, and blinds himself, is an earthy art cinema epic. Bookended by striking sequences in modern Italy, the film’s central tragedy, set against the stunning landscapes and architecture of northern Morocco, boasts striking costumes and a ferocious lead performance by Franco Citti ( Accattone ).

The Hawks and the Sparrows

DIRECTOR: Pier Paolo Pasolini.

CAST: Totò, Ninetto Davoli, Femi Benussi, Alfredo Leggi.

1966. 86 min. Italy. B&W. Italian. 35mm.

Print from Cinecittà.

Oedipus Rex

DIRECTOR: Pier Paolo Pasolini.

CAST: Silvana Mangano, Franco Citti, Alida Valli, Carmelo Bene. 1967. 104 min. Italy/Morocco. Color. Italian, Romanian. 35mm.

Print from Cinecittà.

THE GOSPEL ACCORDING TO ST. MATTHEW, 1964

Teorema with Porcile

Mon, Feb 28 | 7:30pm | TMT

Terence Stamp stars as an enigmatic young man who suddenly appears in the palatial estate of a Milanese industrialist. Slowly, each of the inhabitants of the household—among them European cinema icons Silvana Mangano and Anne Wiazemsky—become obsessed with their guest. In the process, he also manages to awaken their consciousness to realities beyond their cloistered existence. Mysterious and provocative, Teorema is a stunning blend of the sacred and profane. Pasolini’s mysterious film Porcile intercuts two separate, seemingly unrelated stories into a singular cinematic voyage. On an otherworldly, wind-swept desert, a desperate wanderer (underground cinema icon Pierre Clémenti) turns to cannibalism to survive. While in present-day Europe, a pair of French New Wave legends— Jean-Pierre Léaud and Anne Wiazemsky—play disenchanted lovers ensconced on the baronial villa of Léaud’s ex-Nazi industrialist father. As a postscript we will also screen La sequenza del fiore di carta , Pasolini’s contribution to the omnibus film Amore e rabbia , which finds Pasolini regular Ninetto Davoli walking the bustling via Nazionale in Rome, carefree as can be, as the weight of history slowly overcomes him.

Teorema

DIRECTOR: Pier Paolo Pasolini.

CAST: Terence Stamp, Silvana Mangano, Massimo Girotti, Anne Wiazemsky. 1968. 97 min. Italy. Color. Italian. 35mm.

Print from Cinecittà.

Porcile

DIRECTOR: Pier Paolo Pasolini.

CAST: Pierre Clémenti, Jean-Pierre Léaud, Anne Wiazemsky, Alberto Lionello. 1969. 98 min. Italy/France. Color. Italian. 35mm.

Print from Cinecittà.

La sequenza del fiore di carta

DIRECTOR: Pier Paolo Pasolini.

CAST: Ninetto Davoli, Rochelle Barbini, Aldo Puglisi. 1969. 11 min. Italy/France. Color. Scope. Italian. 35mm.

Print from Cinecittà.

Medea with Appunti per un’Orestiade Africana (Notes for an African Orestes)

Thu, Mar 3 | 7:30pm | TMT

In Medea , Greek American soprano Maria Callas stars in a rare non-opera role as the title character in Pasolini’s haunting adaptation of the tragedy by Euripides about a woman scorned by her husband (Jason of the Argonauts) who avenges herself with fierce abandon. The film is also ravishing in its visual imagery— Pasolini’s film was shot on location in ancient sites of Italy, Turkey, and Syria. Also screening is Pasolini’s documentary Appunti per un’Orestiade Africana about his location scouting in contemporary Uganda and Tanzania for an adaptation of Aeschylus’s tragedy The Oresteia .

Medea

DIRECTOR: Pier Paolo Pasolini.

CAST: Maria Callas, Massimo Girotti, Laurent Terzieff, Giuseppe Gentile. 1969. 110 min. Italy/France/ West Germany. Color. Italian. 35mm. Print from Cinecittà. Restored by Cinecittà and S.N.C. in 2012 in its original 35mm format with the support of Gucci.

Appunti per un’Orestiade Africana

DIRECTOR: Pier Paolo Pasolini.

1970. 73 min. Italy. B&W. Italian. 35mm.

Print from Cinecittà.

TEOREMA, 1968

The Decameron with Le mura di Sana’a (The Walls of Sana’a)

Fri, Mar 4 | 7:30pm | TMT

The first installment in Pasolini’s Trilogy of Life, The Decameron revels in the pleasures of the flesh as the writer-director transforms several 14th-century moral tales by Giovanni Boccaccio into a bawdy riot of bodies. Pasolini himself makes a rare appearance as a pupil to the painter Giotto at work on a formidable fresco.

Also screening is a ravishing portrait of the Yemenese capital of Sana’a shot while Pasolini was filming The Decameron .

The Decameron

DIRECTOR: Pier Paolo Pasolini.

CAST: Franco Citti, Ninetto Davoli, Jovan Jovanovic, Vincenzo Amato. 1971. 111 min. Italy/France/ West Germany. Color. Italian. 35mm.

Print from Cinecittà.

Le mura di Sana’a

DIRECTOR: Pier Paolo Pasolini.

1971. 13 min. Italy. Color. Italian. 35mm.

Print from Cinecittà.

PI ER PAOLO PASOL INI

The Canterbury Tales

Sat, Mar 5 | 7:30pm | TMT

Continuing his ribald run of adaptations, Pasolini turns to Chaucer’s medieval classic for another corpulent romp. A group of pilgrims are on their way to the titular cathedral city and to pass the time along their journey they share stories, each more scandalous than the last. Winner of the Golden Bear at the Berlin Film Festival, Pasolini’s film was shot in England and features the spectacular production design of Dante Ferretti.

DIRECTOR: Pier Paolo Pasolini.

CAST: Hugh Griffith, Laura Betti, Ninetto Davoli, Franco Citti. 1972. 110 min. Italy. Color. Italian, English, Latin, Scottish Gaelic. 35mm.

Print from Cinecittà.

Arabian Nights

Fri, Mar 11 | 7:30pm | TMT

Pasolini concludes his Trilogy of Life with this triumphant adaptation of Arabian Nights . Framed by the story of a young man’s quest for his beloved, the film was shot amidst the maze-like streets, mirrored palaces, bustling bazaars, and ancient cloisters of Yemen, Nepal, Iran, and Ethiopia. In these ancient sites, Pasolini searches for an intoxicating sexuality he finds no longer present in European nations.

DIRECTOR: Pier Paolo Pasolini.

CAST: Ninetto Davoli, Ines Pellegrini, Franco Citti, Franco Merli. 1974. 129 min. Italy. Color. Italian, Arabic. 35mm.

Print from Cinecittà.

Salò, or the 120 Days of Sodom

Sat, Mar 12 | 7:30pm | TMT

Pasolini’s infamous final film transposes the Marquis de Sade’s 18th-century treatise on torture to Mussolini’s Italy circa 1944. A group of representatives of the wealthy upper classes—a Duke, a Bishop, a Magistrate, and naturally, the President—have holed them- selves up in a palatial estate in the titular city of Salò where they have imprisoned a horde of young men and women to torment for their pleasure. Making disturbingly literal the way the rich exploit the poor, Salò descends into the abyss until not a fleck of light remains.

DIRECTOR: Pier Paolo Pasolini.

CAST: Paolo Bonacelli, Giorgio Cataldi, Umberto P. Quintavalle, Aldo Valletti. 1975. 116 min. Italy/France. Color. Italian. 35mm.

Print from Cinecittà.

Viewer discretion is strongly advised.

PI ER PAOLO PASOL INI

SA LÒ, OR THE 120 D AYS O F SODOM, 1975

Mon, Feb 14 | 7:30pm | TMT

SCARECROW I N A GARDEN OF CUCUMBERS

SCARE CR OW I N A GARDEN OF CUCUMBERS, 1972

DIRECTOR: Robert J. Kaplan.

CAST: Holly Woodlawn, Tally Brown, Suzanne Skillen, David Margulies.

1972. 82 min. USA. English. 35mm.

New print courtesy of the Academy Film Archive.

Directed by Robert J. Kaplan and starring Andy Warhol Factory superstar and Lou Reed muse Holly Woodlawn, this musical satire about a small-town girl (Woodlawn) trying to make it in the Big Apple was nearly a lost film. Woodlawn had already worked on cult films such as Trash and Women in Revolt , and through her time at the Warhol Factory she would go on to become one of the most important trans icons of her era. Here, she brings an unforgettable charisma to the role of Eve, an aspiring actress who meets a wild cast of characters (including another member of Warhol’s Factory Tally Brown and the film debut of David Margulies) while navigating the streets of New York. When DuArt Film & Video, the lab that was storing the film’s 35mm negative, began to close its storage in 2013, this piece of 1970s underground cinema was at risk of never being screened again. The film was retrieved by the Academy Film Archive, preserving a rare and key part of Woodlawn’s legacy (she died in Los Angeles in 2015).

SPEC I AL SCREEN I NGS

Feb 19

WEEKEND WI TH . . . MOUF I DA T L AT L I

THE SILE NCES OF TH E PALACE, 1994

Weekend With... is a series that offers audiences the chance to dive deep into the work of a filmmaker, actor, or key creative over the course of one weekend. In 1994, longtime film editor Moufida Tlatli made her directorial debut at Cannes with The Silences of the Palace . The film won over audiences and critics on the festival circuits, garnering a Cannes Caméra d’Or Mention d’honneur and the FIPRESCI Prize at the Toronto Interna- tional Film Festival, and went on to have limited theatrical runs in both Europe and North America. Despite these successes, the film remains largely unscreened; what should have been a widely celebrated classic was never given the platform it merited. While Tlatli went on to make two more features, The Season of Men and Nadia and Sarra , that Tlatli isn’t more broadly celebrated is emblematic of many issues within the film canon: being both a woman and Arab, her work has been designated as “niche.” Her films, naturally, bear the specificity of the stories she was telling—those of women in the Arab world—but their artistry and themes also demand a reevaluation of what is considered “universal.” Poetically crafted and delicately acted, Moufida Tlatli’s films are an exploration of the human condition.

Programmed and notes by Kiva Reardon

The Silences of the Palace

Sat, Feb 19 | 7:30pm | TMT

A story of loss and love, The Silences of the Palace follows a mother and a daughter at two crucial times in their lives and, also, in the history of Tunisia. In the 1960s, Alia returns to the colonial palace she grew up in and, in flashbacks, recalls the struggles of her mother. Examining class, gender, and colonialism, this tour de force film also features the screen debut of now-superstar Hend Sabry.

DIRECTOR: Moufida Tlatli.

CAST: Hend Sabry, Ghalya Lacroix, Nejia Ouerghi.

1994. 114 min. Tunisia/France. Color. Arabic, French. 35mm.

The Season of Men

Sat, Feb 19 | 9:30pm | TMT

Moufida Tlatli’s second feature looks at an intergenerational group of women on Djerba Island, isolated from both broader Tunisian society and, moreover, from men who, for work, live away in Tunis for 11 months out of the year. Aïcha, who married young, wishes to follow her husband to the mainland, but first he decrees that she must bear him a son. Shifting between past and present, Tlatli examines the pains, frustrations, and joys of the women living in-between two worlds.

DIRECTOR: Moufida Tlatli.

CAST: Rabiaa Ben Abdallah, Sabah Bouzouita, Ghalia Ben Ali, Hend Sabry. 2000. 122 min. Tunisia/France. Color. Arabic, French. 35mm.

TH E SEA SON O F MEN, 2000

MOUFIDA TLATL I

Mar 5 – 20

RARE TAKES : THE WORKS OF CEC I L I A MANG I N I

TWO FORG OTTEN BOXES, 2020

Rare is perhaps the best word to describe the works of Italian filmmaker Cecilia Mangini. Rare in that despite her distinctive body of work, her collaborations with Pier Paolo Pasolini, and that she was the first woman to make documentaries in post-war Italy, her films are hard to find. They weren’t widely available online until the feminist film magazine Another Gaze mounted a retrospective of her work following her passing at the age of 93 in 2021. They are rare, too, in their form, which combines a poetic sensibility with an anthropical study of Mangini’s own Italy and its people. The most poignant rarity, however, is Mangini’s unwavering political commitment to these people, especially workers. (Mangini’s camera captured the position of, as film writer and programmer Daniela Persico wrote, "the outcasts of modernity.”) While many become cynical with age, in her 90s Mangini was still interested in picking up a camera (with the help of co-directors decades younger than she) to keep exploring, agitating, questioning, and creating. This selection of her films invites audiences to do the same.

Programmed and notes by Kiva Reardon with thanks to Another Gaze and Daniela Persico

Two Forgotten Boxes with Ignoti alla Città (Unknown to the City) and Stendalì: Suanono Ancora (Stendalì: Still They Toll)

Sat, Mar 5 | 2pm | TMT

Cecilia Mangini’s first films, written by Pier Paolo Pasolini, screen with one of her last documentaries. Ignoti alla Città and Stendalì: Suanono Ancora are “Formula 10” documentaries, which were popular in post-war Italy. Shot on one 35mm film roll, they were cost-effective films that addressed social issues. Both shorts contrast the conventional images of Italy’s post-war boom: the first in its unflinching look at life after the fall of fascism, and the second in its frank depiction of funeral rituals in southern Italy. Two Forgotten Boxes , co-directed with Paolo Pisanelli, is a fascinating documentary that plays with time and memory. When, in her 90s, Mangini found two boxes of photos she took in Vietnam in 1965, the images trigger lost memories that continue to influence her present.

Two Forgotten Boxes

DIRECTORS: Cecilia Mangini, Paolo Pisanelli.

CAST: Cecilia Mangini, Camille Gendreau, Stéphane Batut. 2020. 58 min. Italy. B&W and Color. Italian, French. DCP.

Ignoti alla Città

DIRECTOR: Cecilia Mangini.

1958. 12 min. Italy. B&W. Italian. DCP.

Stendalì: Suanono Ancora

DIRECTOR: Cecilia Mangini.

1960. 11 min. Italy. Color. Italian. DCP.

The World in Shots with Essere Donne (Being Women)

Sat, Mar 12 | 2pm | TMT

Her last film before her death, co-directed with Paolo Pisanelli, The World in Shots is a beautiful documentary and ode to the art of photography, images, and cinema. Mangini, who was also an accomplished photographer, reflects on photos she took over the years while experimenting with digital filmmaking for the first time. While looking backwards, Mangini and Pisanelli refuse nostalgia, as the focus remains on Mangini’s very vibrant life in Rome and travels to Montreal and Tehran. Essere Donne is a frank depiction of the reality of the lives of women in 1960s Italy. The film was commissioned by the state, which officials regretted afterward given the short’s radical feminist militancy.

The World in Shots

DIRECTORS: Cecilia Mangini, Paolo Pisanelli.

2021. 90 min. Italy. B&W and Color. Italian, French, Farsi. DCP.

Essere Donne

DIRECTOR: Cecilia Mangini.

1965. 30 min. Italy. B&W. Italian. DCP.

CECI L IA MANGINI

My Travels with Cecilia with Tommaso and La Canta delle Marane (The Marshes’ Chant)

Sun, Mar 13 | 2pm | TMT

At the age of 86, Cecilia Mangini, with co-director Mariangela Barbanente, travelled back to her regional place of birth in the wake of a labor dispute at the town’s factory. Decades after she had filmed workers in the town, Mangini finds them again and examines what has and hasn’t changed. Her shorts on this subject are woven into the film, too. My Travels with Cecilia screens with Tommaso , a short on the grinding nature of industrial labor, and La Canta delle Marane , which showcases socioeconomic hardships belying the joyful play of a group of boys.

My Travels with Cecilia

DIRECTORS: Cecilia Mangini, Mariangela Barbanente. 2013. 74 min. Italy. B&W and Color. Italian. DCP.

Tommaso

DIRECTOR: Cecilia Mangini.

1965. 12 min. Italy. B&W. Italian. DCP.

La Canta delle Marane

DIRECTOR: Cecilia Mangini.

1962. 12 min. Italy. B&W. Italian. DCP.

CECI L IA MANGINI

All’armi siam fascisti! (To Arms, We Are Fascists!)

Sun, Mar 20 | 2pm | TMT

In 1962, in the wake of anti-fascist clashes that left protestors dead in Italy, Cecilia Mangini, with her husband Lino Del Fra and Lino Miccichè, directed the feature documen- tary All’armi siam fascisti! . A landmark piece of political filmmaking in post-war Italy, the film interrogates the Catholic Church’s role in the rise of fascism and doesn’t hesitate to call out how right-wing politics were still present in the country. Using archival footage with poetic narration, All’armi siam fascisti! remains essential viewing today.

DIRECTORS: Lino Del Fra, Cecilia Mangini, Lino Miccichè. CAST: Giancarlo Sbragia, Emilio Cigoli, Nando Gazzolo.

1962. 109 min. Italy. B&W. Italian. DCP.

AL L’ARM I SIAM FAS CISTI!, 1962

M A R 18 – 19

WEEKEND WI TH . . . J I LL SPRECHER

CLOCK WA TCHE RS, 1998

Weekend With... is a series that offers audiences the chance to dive deep into the work of a filmmaker, actor, or key creative over the course of one weekend. A native of the Midwest, Jill Sprecher draws on her own life experiences in her films, while expanding beyond the per- sonal to the existential, probing the meaning of happiness, serendipity, and the often-daily absurdities of being alive. After moving to New York, Sprecher wrote Clockwatchers , with her sister Karen, which drew on her own experiences as a temp worker. Made on a shoestring budget, the film is a case study in indie filmmaking. But the backbone of the film is the ensemble cast of then-rising comic stars who bring to life the Sprecher sisters’ script with unfor- gettable humor and tenderness. In her follow-up, Thirteen Conversations about One Thing , also cowritten with Karen, this emphasis on the ensemble remains, as do the sharp dialogue and keenly observed nuances of human drama. Rounding out the series, Sprecher selected to screen Stanley Kubrick’s The Killing , considered to be a master- piece in the heist genre and revisited time and again for its snappy hard-boiled dialogue.

Post-screening conversations with Jill Sprecher will follow each screening.

Programmed and notes by Kiva Reardon

Clockwatchers

Fri, Mar 18 | 7:30pm | TMT

Set in a painfully beige office against a constant cacophony of ringing phones, Jill Sprecher’s debut feature Clockwatchers is about a group of temp workers whose bond is strained by capitalism's daily grind when ob- jects in the workplace start to go missing. The workers—played by off-beat comic all- stars Toni Collette, Parker Posey, Lisa Kudrow, and Alanna Ubach—navigate the small indignities of “office culture,” which Sprecher’s script (cowritten by her sister Karen) skewers incisively.

DIRECTOR: Jill Sprecher.

CAST: Toni Collette, Parker Posey, Lisa Kudrow, Alanna Ubach. 1998. 96 min. USA. Color. English. 35mm.

Thirteen Conversations about One Thing

Sat, Mar 19 | 7:30pm | TMT

Thirteen Conversations about One Thing was written before Sprecher’s debut but took years to finally get made due to funding. Once again working with her sister, Sprecher penned a script constructed in 13 vignettes, set around seemingly unconnected people in New York. A lawyer (Matthew McConaughey), a professor (John Turturro), a house cleaner (Clea DuVall), and a mid-level manager (Alan Arkin) go about their daily lives, and through happenstance both cruel and kind, find connective tissues forming between them.

DIRECTOR: Jill Sprecher.

CAST: Matthew McConaughey, John Turturro, Clea DuVall, Alan Arkin. 2002. 102 min. USA. Color. English. 35mm.

The Killing

Sat, Mar 19 | 9:30pm | TMT

Invited to pick a film, Jill Sprecher chose to screen Stanley Kubrick’s The Killing . Sterling Hayden leads a large cast of exceptional character actors that includes Timothy Carey, Ted de Corsia, Elisha Cook Jr., Coleen Gray, and Marie Windsor. This classic follows a group of crooks who plan a daring and never- before-executed heist of a race track—and, just as dramatically, what happens after the crime is committed. Though it didn’t fare well at the box office, the film was critically acclaimed upon its release and cemented Kubrick’s reputation as a director to watch.

DIRECTOR: Stanley Kubrick.

CAST: Sterling Hayden, Coleen Gray, Vince Edwards, Jay C. Flippen.

1956. 84 min. USA. B&W. English. 35mm.

Print courtesy of the Academy Film Archive.

J I LL SPRECHER

M A R 21 – 24

THE GODFATHER TR I LOGY

T H E G OD FATHER, 1972

The 1970s were a transformative period in American cinema, as filmmakers and studios took advantage of new cultural freedoms and found audiences eager to embrace entertainment with a genuinely adult sensibility. The 1972 release of The Godfather , directed by Francis Ford Coppola, was a towering achievement of Hollywood cinema of the era, as it managed to approach narratively and thematically complex subject matter in a way that used the lavish resources of the studio system while employing a new generation of actors to bring the story to life. The film was the top box office earner of its year, earned rave reviews and received 10 nominations and three Oscars, including Best Picture and Best Actor for Marlon Brando’s commanding per- formance. The film helped such stars as Al Pacino, James Caan, Robert Duvall, and Diane Keaton rise to prominence, and the craft elements were equally expert, with top talents such as cinematographer Gordon Willis, composer Nino Rota, and production designer Dean Tavoularis contributing to the film’s detailed and evocative depiction of America’s past. Despite the film’s momentous success, a sequel to The Godfather was far from inevitable, but Coppola and cowriter Mario Puzo found a way to expand the scope of the narrative while enriching its exploration of family and the American experience. The Godfather Part II was the first sequel to receive a Best Picture Oscar, one of the film’s six Academy Awards and 11 nominations. Sixteen years later, Coppola reunited many of the key cast and crew members for the concluding chapter, The Godfather Part III , nominated for seven Academy Awards including Best Picture, moving the story closer to the present while exploring the characters in new unexpected ways.

In honor of the 50th anniversary of the original Godfather , the Academy Museum will be screening Coppola’s complete trilogy, concluding with the director’s 2020 recut of the third chapter.

Programmed by Bernardo Rondeau Notes by Robert Reneau

The Godfather

Mon, Mar 21 | 7:30pm | DGT

Gangster films were no longer a popular genre when Paramount optioned Mario Puzo’s novel about an aging head of a crime family and the son reluctant to join the family business, but Francis Ford Coppola’s faithful and emo- tionally resonant film version was a box office blockbuster as well as one of the most critically acclaimed American films of all time, with many of the finest actors of the modern era playing their first star-making roles.

DIRECTOR: Francis Ford Coppola.

CAST: Marlon Brando, Al Pacino, James Caan, Robert Duvall.

1972. 177 min. USA. Color. English. DCP.

The Godfather Part II

Wed, Mar 23 | 7:30pm | DGT

The Godfather Part II is often cited as the rare example of a sequel that equals or even surpasses the original, but it is both a sequel and a prequel, extending the tragic story of Michael Corleone and his family into the late 1950s while looking back at young Vito (Robert De Niro in an Oscar-winning performance) and his experience as an immigrant in New York, in a gorgeously crafted production rich with novelistic detail.

DIRECTOR: Francis Ford Coppola.

CAST: Al Pacino, Robert Duvall, Diane Keaton, Robert De Niro.

1974. 200 min. USA. Color. English. DCP.

GODFATHER TRI LOGY

Mario Puzo’s The Godfather, Coda: The Death of Michael Corleone

Thu, Mar 24 | 7:30pm | TMT

Nearly two decades after the events of Part II , Michael Corleone is a respected member of society with close ties to the Vatican, yet is now, in the words of his ex-wife Kay, “more dangerous than you ever were.” Coppola’s thoughtful, autumnal conclusion to the Corleone family saga finds Michael increasingly unable to balance the challenges of his two worlds, and unprepared for the loss he must ultimately face.

DIRECTOR: Francis Ford Coppola.

CAST: Al Pacino, Diane Keaton, Talia Shire, Andy Garcia. 1990/2020. 158 min. USA. Color. English. DCP.

TH E GOD FATHE R PART II, 1974

Ongoing Series

BRANCH SELECTS

CITIZ EN KANE, 1941

Films in the Branch Selects series screen every Tuesday at 7:30pm in the David Geffen Theater.

Branches of the Academy of Motion Picture Arts and Sciences represent distinct craft and professional areas of moviemaking. Working with members of Academy Branches, the Academy Museum presents a weekly series: Branch Selects. Each week, this series highlights a movie— presented chronologically from silent cinema to contemporary films—that represents a major achievement in the evolution of cinema and its unique crafts. In February and March, the films were chosen by the Visual Effects, Actors, Marketing and Public Relations, Short Films and Feature Animation, Makeup Artists and Hairstylists, Cinematographers, Production Designers, Producers, and Film Editors branches, respectively.

Notes by Kiva Reardon and Robert Reneau

Citizen Kane

Tue, Feb 1 | 7:30pm | DGT Selected by the Visual Effects Branch.

One of the best-known films in global cinematic history—and a cornerstone of the Academy Museum’s Stories of Cinema exhibition— Citizen Kane is still praised and studied for its artistry. Directed, produced, and starring Orson Welles, the film details the life of fictional newspaper magnate Charles Foster Kane. From matte painting to rear projection to live action miniatures, visual effects were integral to capturing the interiority and realism of Kane’s universe.

DIRECTOR: Orson Welles.

CAST: Joseph Cotten, Dorothy Comingore, Agnes Moorehead, Orson Welles.

1941. 119 min. USA. B&W. English. 35mm.

Print courtesy of the Academy Film Archive.

On the Waterfront

Tue, Feb 8 | 7:30pm | DGT Selected by the Actors Branch.

In Elia Kazan’s On the Waterfront , a once-famed prize boxer, Terry Malloy, faces a new fight, navigating the corrupt world of his dockworker union. Marlon Brando’s Oscar-winning perfor- mance as Malloy is unforgettable and became renowned for his use of the Method acting technique, which encourages an actor’s deep connection with the character’s psyche. The film also marked the screen debut of Eva Marie Saint, for which she won a Best Supporting Actress Academy Award. The film won a total of eight Oscars including Best Picture and Director.

DIRECTOR: Elia Kazan.

CAST: Marlon Brando, Karl Malden, Lee J. Cobb, Eva Marie Saint. 1954. 108 min. USA. B&W. English. 35mm. Print courtesy of the Academy Film Archive.

ON THE WATERFRONT, 1954

BRANCH SELECTS

ONE HUND RED AN D ONE DAL MATIA NS, 1961

BRANCH SELECTS

Sweet Smell of Success

Tue, Feb 15 | 7:30pm | DGT Selected by the Marketing and Public Relations Branch.

Ernest Lehman was inspired by his own experiences as a Broadway press agent to create his novelette Tell Me About It Tomorrow! as well as its classic film adaptation Sweet Smell of Success (written with Clifford Odets), with Tony Curtis giving arguably the greatest performance of his career as the desperate publicist Sidney Falco. Burt Lancaster is the fearsome Winchell-esque columnist, Alexander Mackendrick provided the taut direction, and James Wong Howe’s evocative cinematography are among the many highlights.

DIRECTOR: Alexander Mackendrick.

CAST: Burt Lancaster, Tony Curtis, Susan Harrison, Martin Milner.

1957. 96 min. USA. B&W. English. 35mm.

Print courtesy of the Academy Film Archive.

One Hundred and One Dalmatians

Tue, Feb 22 | 7:30pm | DGT Selected by the Short Films and Feature Animation Branch.

When a litter of dalmatian puppies is dognapped and the humans can’t pick up the scent of their trail, the animal world takes up the task to save the pups. Featuring one of Disney’s iconic villains, the fur-loving Cruella De Vil, the film’s use of xerography helped the film become a success, thereby saving anima- tion at Disney. Sequels and decades later, live action reboots have cemented this beloved animated feature in the popular imagination.

DIRECTORS: Wolfgang Reitherman, Hamilton S. Luske, Clyde Geronimi. CAST: Rod Taylor, J. Pat O'Malley, Betty Lou Gerson, Martha Wentworth.

1961. 80 min. USA. Color. English. DCP.

Harakiri

Tue, Mar 1 | 7:30pm | DGT Selected by the Makeup Artists and Hairstylists Branch.

A down-on-his-luck samurai shows up at a lord’s manor requesting to commit ritual suicide, only to unveil a complex agenda of honor and revenge in this gripping drama from director Masaki Kobayashi, which combines wrenching tragedy with thrilling action. The 17th century hairstyles, courtesy of Gyôemon Kimura and Yoshiko Kimura, tell a vivid story all by themselves—fittingly enough as hair proves to be a key part of the storyline.

DIRECTOR: Masaki Kobayashi.

CAST: Tatsuya Nakadai, Akira Ishihama, Shima Iwashita, Tetsuro Tanba.

1962. 133 min. Japan. B&W. Japanese. 35mm.

I Am Cuba

Tue, Mar 8 | 7:30pm | DGT Selected by the Cinematographers Branch.

A coproduction between the then-largest stu- dio in the USSR and the Cuban Film Institute, I Am Cuba , a piece of agitprop, is composed of short stories about everyday Cuban people. Over time, the film’s revolutionary fervor and images haven’t lost their poignancy thanks to the black-and-white cinematography by Sergei Urusevsky. I Am Cuba ’s visuals remain striking in their modernism, which upended conventionality with breathtaking tracking shots and an acrobatic camera that freely roamed nightclubs, beaches, and barrios during extended takes.

DIRECTOR: Mikhail Kalatozov.

CAST: Luz Maria Collazo, Jose Gallardo, Raul Garcia, Sergio Corrieri. 1964. 141 min. Cuba/USSR. B&W. Spanish. DCP.

HA RAK I RI, 1962

BRANCH SELECTS

THE GRAD UATE, 1967

Doctor Zhivago

Tue, Mar 15 | 7:30pm | DGT Selected by the Production Designers Branch.

John Box and his Oscar-winning production design team built early 20th century Moscow on elaborate sets in Spain as well as created Zhivago’s unforgettable “ice palace” for this David Lean-directed romantic epic, from the novel by Nobel Prize-winner Boris Pasternak, which became a box office smash. Omar Sharif and Julie Christie lead the all-star cast, with Maurice Jarre’s score (featuring the popular “Lara’s Theme”) receiving one of the film’s five Oscars.

DIRECTOR: David Lean.

CAST: Geraldine Chaplin, Julie Christie, Tom Courtenay, Omar Sharif.

1965. 197 min. USA. Color. English. 35mm.

Print courtesy of the Academy Film Archive.

The Graduate

Tue, Mar 22 | 7:30pm | DGT Selected by the Producers Branch.

Producer Lawrence Turman first learned of Charles Webb’s novel The Graduate from a review in The New York Times , and having fallen in love with the book he used his own money to option it for the screen. Mike Nichols received the Directing Oscar; Dustin Hoffman, Anne Bancroft, and Katharine Ross were nom- inated for their performances; and the Simon & Garfunkel songs became an inextricable part of the film’s enduring legacy.

DIRECTOR: Mike Nichols.

CAST: Anne Bancroft, Dustin Hoffman, Katharine Ross, William Daniels.

1967. 105 min. USA. Color. English. 35mm.

Print courtesy of the Academy Film Archive and Sony Pictures Entertainment.

BRANCH SELECTS

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