Apr – May 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

Hayao Miyazaki Encores �� 6–15

Pedro Almodóvar �� 16–29

Forever a Woman: ��30–39 Six Films by Kinuyo Tanaka The Path of the Cat:��40–51 Chris Marker’s Centennial Just Another Girl on the I.R.T. ��52–53 Anniversary Screening Director’s Inspiration: ��54–65 Spike Lee

Ongoing Series

Family Matinees �� 66–77

Oscar® Sundays��78–89

Branch Selects ��90–101

Available Space�� 102–107

Hours, Membership, Pricing �� 108–109

Calendar at a Glance�� 110–114

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

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

Apr 1 – May 27

HAYAO MI YAZAK I ENCORES

→ Don't miss the museum’s Hayao Miyazaki exhibition, on view through June 5!

One of the cofounders of Studio Ghibli, along with director Isao Takahata and producer Toshio Suzuki, Hayao Miyazaki has forged a singular path as a storyteller. Feats of meticulous, hand-drawn mastery, Miyazaki’s films teem with visual imagination and profound stories that explore themes of self- discovery, pacifism, environmentalism, and humanity’s capacity for both invention and destruction. In celebration of the final months of the exhibition Hayao Miyazaki , the Academy Museum is screening seven key films by the director. All will screen on English-subtitled 35mm prints, most newly-struck by the Academy Film Archive.

Programmed by Bernardo Rondeau Notes by Bernardo Rondeau and Kiva Reardon

HAYAO MI YAZAK I

Nausicaä of the Valley of the Wind

Fri, Apr 1 | 7:30pm | DGT

Hayao Miyazaki’s debut feature is based on his 1982 manga of the same name which he con- tinued writing into the early 1990s. Miyazaki’s only cinematic foray into pure science fiction, Nausicaä of the Valley of the Wind is set a thousand years after the Seven Days of Fire have devastated civilization, leaving behind a toxic, overgrown jungle. Princess Nausicaä and the people of the valley try to bring balance back into the world by restoring the bond between humanity and Earth.

DIRECTOR: Hayao Miyazaki.

WRITTEN BY: Hayao Miyazaki.

CAST: Sumi Shimamoto, Goro Naya, Yoji Matsuda, Yoshiko Sakakibara. 1984. 116 min. Japan. Color. Japanese (subtitled). 35mm.

Castle in the Sky

Fri, Apr 8 | 7:30pm | DGT

Sheeta is being pursued by sky pirates and government agents for her mysterious blue pendant in Studio Ghibli’s debut feature Castle in the Sky . The film bears some of Miyazaki’s signature motifs: a young girl awakening to her powers, an aesthetic that combines the industrial with the organic, and of course, high-flying derring-do. Such is the Ghibli affection for this film that one of its iconic robot sentinels stands guard at the Ghibli Museum, Mitaka in Tokyo. A bravura piece of hand-drawn animation, Castle in the Sky is one of Miyazaki’s most visually rich films.

DIRECTOR: Hayao Miyazaki.

WRITTEN BY: Hayao Miyazaki.

CAST: Mayumi Tanaka, Keiko Yokozawa, Kotoe Hatsui, Minori Terada. 1986. 124 min. Japan. Color. Japanese (subtitled). 35mm. New subtitled print courtesy of the Academy Film Archive, with special thanks to Studio Ghibli.

My Neighbor Totoro

Fri, Apr 15 | 7:30pm | DGT

Satsuki and little sister Mei move to the country in the dog days of summer with their father to be closer to the hospital where their mother is convalescing. Little do the sisters know, the cicada-buzzing countryside around them holds gentle forest spirits that can only be seen by children. The film includes some of Miyazaki’s most beloved creations such as fuzzy dust bunnies, the Cat Bus, and of course the Cheshire-grinned Totoro himself, whose iconic profile appears on every Studio Ghibli release to this day.

DIRECTOR: Hayao Miyazaki.

WRITTEN BY: Hayao Miyazaki.

CAST: Noriko Hidaka, Chika Sakamoto, Shigesato Itoi, Sumi Shimamoto. 1988. 86 min. Japan. Color. Japanese (subtitled). 35mm. New subtitled print courtesy of the Academy Film Archive, with special thanks to Studio Ghibli.

Princess Mononoke

Fri, Apr 29 | 7:30pm | DGT

Miyazaki’s international breakthrough, Princess Mononoke is an epic cinematic marvel. Infected by a deadly curse after killing a god, young warrior Ashitaka heads west in search of a cure. He stumbles upon a bitter conflict between Lady Eboshi, the proud people of Iron Town, and the enigmatic Princess Mononoke, a young girl raised by wolves who will stop at nothing to prevent humans from destroying her home and the forest spirits and animal gods who live there. Princess Mononoke resists an easy dichotomy of good versus evil.

DIRECTOR: Hayao Miyazaki.

WRITTEN BY: Hayao Miyazaki.

CAST: Yoji Matsuda, Yuriko Ishida, Yuko Tanaka, Kaoru Kobayashi. 1997. 133 min. Japan. Color. Japanese (subtitled). 35mm. New subtitled print courtesy of the Academy Film Archive, with special thanks to Studio Ghibli.

Spirited Away

Fri, May 6 | 7:30pm | DGT

Miyazaki’s Oscar-winning feature, and one of Japan’s highest-grossing films ever, Spirited Away invites audiences into a mind-bending supernatural realm. A wrong turn on a family road trip lands 10-year-old Chihiro in a mysterious dimension populated by all manner of creatures, most memorably the enigmatic No Face. Yearning to find her parents and return to the real world, Chihiro must work at an enchanted bathhouse serving spirits of all shapes and sizes. A tour de force of surrealist invention, Spirited Away is a timeless wonder.

DIRECTOR: Hayao Miyazaki.

WRITTEN BY: Hayao Miyazaki.

CAST: Rumi Hiiragi, Miyu Irino, Mari Natsuki, Takashi Naito. 2001. 125 minutes. Japan. Color. Japanese (subtitled). 35mm. New subtitled print courtesy of the Academy Film Archive, with special thanks to Studio Ghibli.

HAYAO MI YAZAK I

P O N Y O , © 2 0 0 8 S T U D I O G H I B L I - N D H D M T

HAYAO MI YAZAK I

Howl’s Moving Castle

Fri, May 13 | 7:30pm | DGT

An adaptation of Diana Wynne Jones’s fantasy novel of the same name, the Oscar-nominated Howl's Moving Castle is a pitch-perfect fairy tale about aging and war, set in a dazzling steampunk world. When young hatmaker Sophie is transformed into a 90-year-old woman by the vengeful Witch of the Waste, she seeks to break the curse with the help of the enigmatic Howl, fire demon Calcifer, and the magical moving castle they inhabit.

DIRECTOR: Hayao Miyazaki.

WRITTEN BY: Hayao Miyazaki.

CAST: Chieko Baisho, Takuya Kimura, Akihiro Miwa, Tatsuya Gashuin. 2004. 119 min. Japan. Color. Japanese (subtitled). 35mm.

Ponyo

Fri, May 27 | 7:30pm | DGT

A delight for audiences of all ages, Ponyo focuses on the friendship between 5-year- old Sosuke and a magical goldfish named Brunhilde, the young daughter of a sorcerer father and a sea-goddess mother. After wandering away from her father’s four- flippered submarine, Brunhilde washes ashore and is discovered by curious Sosuke. Now renamed Ponyo, she yearns to be a real girl and join Sosuke’s family. Touching on classic Miyazaki themes about balance in nature and how friendships can blossom anywhere— even in the ocean’s depths— Ponyo is one of Miyazaki’s most charming features.

DIRECTOR: Hayao Miyazaki.

WRITTEN BY: Hayao Miyazaki.

CAST: Tomoko Yamaguchi, Kazushige Nagashima, Yuki Amami, George Tokoro. 2008. 101 min. Japan. Color. Japanese (subtitled). 35mm. New subtitled print courtesy of the Academy Film Archive, with special thanks to Studio Ghibli.

Apr 2 – May 6

PEDRO ALMODÓVAR

THE SKIN I LIVE IN, 2011

→ Explore Installation: Pedro Almodóvar, part of the museum’s core exhibition Stories of Cinema .

This selection of films by Pedro Almodóvar, the singular Spanish auteur, captures the breadth of his distinct oeuvre. Always ur- gent, irreverent, and inventive, Almodóvar elevates the quotidian to the sublime. His filmmaking style is so distinctive—from his use of color and precise shots to his melding of madcap comedies, melodrama, and forays into the realm of campy soap operas—that “Almodóvarean” is now an accepted adjective. Almodóvar came of age as an artist during Spain’s tumultuous, post-Francoist transitional years and became a fixture on the Madrid underground scene known as “La Movida Madrileña.” His work is both grounded in a global literary and cinematographic tradition and firmly entrenched in Spanish culture. Alongside references to Alfred Hitchcock, Douglas Sirk, Tennessee Williams, and of course his compatriot, Luis Buñuel, Almodóvar’s cinematic world is populated with bullfighters, gazpacho, and a myriad of distinctly Spanish characters. With plot lines that are simultaneously melodramatic, tragic, and hilarious, Almodóvar has us laughing at situations that should make us gasp or cry. Imbued with empathy and warmth, his films mine the enigmas of the human experience to arrive at a larger truth that accepts that humanity is composed of contradictions.

Programmed by Bernardo Rondeau in collaboration with Jenny He and J. Raúl Guzmán Notes by Diana Sanchez

What Have I Done to Deserve This? with Women on the Verge of a Nervous Breakdown

Sat, Apr 2 | 7:30pm | TMT

What Have I Done to Deserve This?

Almodóvar’s darkly comedic feature What Have I Done to Deserve This? depicts a woman at odds with familial and societal expectations. Pill-popping Gloria (Carmen Maura) lives in a tiny Madrid apartment with her husband, their two sons, and her mother-in-law. Despite their economic woes, her abusive husband will not allow her to look for work. But her world is enlivened by eccentric neighbors and a bright green lizard (who also happens to be the only witness to a murder).

DIRECTOR: Pedro Almodóvar.

WRITTEN BY: Pedro Almodóvar.

CAST: Carmen Maura, Luis Hostalot, Gonzalo Suárez, Ángel de Andrés-López. 1984. 101 min. Spain. Color. Spanish. DCP.

Courtesy of El Deseo.

Women on the Verge of a Nervous Breakdown

Dealing with a recent breakup, Pepa (Carmen Maura) decides to end her problems by drinking a spiked gazpacho. A series of absurd and fantastical coincidences—including a terrorist plot involving her best friend, and the arrival of her ex-lover's grown son (Antonio Banderas) to rent Pepa’s flat with his fiancée—interrupt her plan. Composed of equal parts comedy, drama, and heart, this hilarious comedy of errors played out in a Madrid apartment garnered international attention, and earned Spain an Oscar nomina- tion for Foreign Language Film.

DIRECTOR: Pedro Almodóvar.

WRITTEN BY: Pedro Almodóvar.

CAST: Carmen Maura, Antonio Banderas, Julieta Serrano, María Barranco. 1988. 88 min. Spain. Color. Spanish. 35mm. Print courtesy of the Academy Film Archive.

PEDRO ALMODÓVAR

High Heels

Sat, Apr 9 | 5pm | TMT

Almodóvar’s only collaboration with musical superstar Miguel Bosé, who plays the gregarious drag queen Femme Letal, High Heels invokes mystery and melodrama to explore the fraught relationships between mothers and daughters. Renowned celebrity Becky del Paramo (Marisa Paredes) returns to Madrid to discover that her daughter Rebeca (Victoria Abril) has married one of her old lovers, Manuel. When he is found dead, the women are the main suspects.

DIRECTOR: Pedro Almodóvar.

WRITTEN BY: Pedro Almodóvar.

CAST: Victoria Abril, Marisa Paredes, Miguel Bosé, Anna Lizaran. 1991. 112 min. Spain/France. Color. Spanish. DCP.

Courtesy of El Deseo.

HI GH HE ELS, 1991

KIKA, 1993

Law of Desire with Tie Me Up! Tie Me Down!

Sat, Apr 9 | 7:30pm | TMT

Law of Desire

Centering gay characters and steamy graphic sex, truly ahead of its time, Almodóvar’s Law of Desire delves into the depths of human desire in a brilliant film that is sensual, tragic, and absurdly hilarious. When porn director Pablo’s unrequited crush Juan leaves for the summer, he quickly picks up the extremely attractive Antonio (Antonio Banderas). After a passionate tryst, possessive Antonio goes to extreme lengths to keep Pablo to himself. Parallel to this doomed love triangle, Pablo’s transgender sister Tina (Carmen Maura) deals with personal dramas.

DIRECTOR: Pedro Almodóvar.

WRITTEN BY: Pedro Almodóvar.

CAST: Eusebio Poncela, Carmen Maura, Antonio Banderas, Miguel Molina.

1987. 102 min. Spain. Color. Spanish. 35mm.

Tie Me Up! Tie Me Down!

In his fifth collaboration with Almodóvar, Antonio Banderas plays Ricki, who, recently out of a mental institution, seeks out porn actor Marina (Victoria Abril), with whom he had had a previous one-night stand. Convinced that they are meant to be together, he kidnaps her and keeps her tied up in her apartment, until she eventually submits to his charms. A hilarious spoof of heteronormative relationships, Tie Me Up! Tie Me Down! blends mad-cap comedy, romance, and horror, creat- ing something uniquely genuine and tender.

DIRECTOR: Pedro Almodóvar.

WRITTEN BY: Pedro Almodóvar.

CAST: Victoria Abril, Antonio Banderas, Loles León, Francisco Rabal. 1989. 101 min. Spain. Color. Spanish. 35mm. Print courtesy of Moving Image Archives, University of North Carolina School of the Arts.

PEDRO ALMODÓVAR

The Flower of My Secret

Sat, Apr 16 | 5pm | TMT

Filled with melodrama, tears, and wonderfully inventive dialogue, The Flower of My Secret contemplates the insecurities of an artist and their relationship to their work. Leo (Marisa Paredes) writes trashy novels under a pseudonym. Her marriage to Paco (Imanol Arias) is falling apart, compelling him to go to Bosnia just to get away from her.

DIRECTOR: Pedro Almodóvar.

WRITTEN BY: Pedro Almodóvar.

CAST: Marisa Paredes, Juan Echanove, Carme Elías, Rossy de Palma. 1995. 103 min. Spain/France. Color. Spanish. 35mm. Print courtesy of the Constellation Center Collection at the Academy Film Archive.

TH E FLO WER O F MY SECRE T, 1995

Live Flesh with Kika

Sat, Apr 16 | 7:30pm | TMT

Live Flesh

Almodóvar’s mature and assured feature Live Flesh explores the paradoxes of passion, desire, and love in a stylistic thriller grounded in Spanish politics. Cop David (Javier Bardem) is shot and paralyzed when his partner Sancho botches an encounter with a quarreling couple. The young man, Victor, ends up in jail, while David ends up marrying the young woman Elena, who carries the guilt of his disability. Things go awry when Victor is released four years later.

DIRECTOR: Pedro Almodóvar.

WRITTEN BY: Pedro Almodóvar.

CAST: Javier Bardem, Francesca Neri, Liberto Rabal, Angela Molina. 1997. 103 min. Spain/France. Color. Spanish. 35mm.

Kika

At the time cited as his most controversial film, Kika follows the titular character (the marvelous Verónica Forqué), a beautician who is such a charming chatterbox she is (literally) able to raise the dead. When she marries the much younger son of her lover, the fates inter- vene to upend their happiness. Reflecting on sexual violence, the media, and the paradoxes of desire, Kika features Almodóvar regulars Victoria Abril and Rossy de Palma.

DIRECTOR: Pedro Almodóvar.

WRITTEN BY: Pedro Almodóvar.

CAST: Peter Coyote, Verónica Forqué, Victoria Abril, Rossy de Palma. 1993. 114 min. Spain/France. Color. Spanish. 35mm. Print courtesy of the Sundance Institute Collection at the UCLA Film & Television Archive.

All About My Mother with Bad Education

Thu, Apr 28 | 7:30pm | TMT

All About My Mother

Winner of the Foreign Language Film Oscar in 1999, Almodóvar's moving meditation on motherhood, All About My Mother , accom- panies nurse Manuela (Cecilia Roth) after she loses her teenage son in an accident and donates his heart. She travels to Barcelona to find his father, now a transgender woman. On her journey she reunites with Agrado (Antonia San Juan) a transgender sex worker and meets an HIV-positive nun (Penélope Cruz). Her journey brings her an unexpected family.

DIRECTOR: Pedro Almodóvar.

WRITTEN BY: Pedro Almodóvar.

CAST: Cecilia Roth, Marisa Paredes, Penélope Cruz, Candela Peña. 1999. 101 min. Spain/France. Color. Scope. Spanish. 35mm. Print courtesy of the Academy Film Archive.

Bad Education

This film within a film stars Gael García Bernal and Fele Martínez as two long-lost friends who share a disturbing past. Bad Education is a meditative exploration of memory and loss, while engaging with themes of transgressive sex, drug addiction, and the Catholic Church’s legacy of sexual abuse. Loaded with powerful imagery and a compelling use of meta-fiction, it’s a pleasure to get lost in its mysterious and labyrinthine plot.

DIRECTOR: Pedro Almodóvar.

WRITTEN BY: Pedro Almodóvar.

CAST: Gael García Bernal, Fele Martínez, Daniel Giménez Cacho, Lluís Homar. 2004. 106 min. Spain. Color. Scope. Spanish. 35mm.

PEDRO ALMODÓVAR

VOLVER, 2006

Volver

Sat, Apr 30 | 5pm | TMT

Moving from small-town Spain to the country’s capital, Volver captures the depths and warmth of female relationships. Steeped in elements of the supernatural, Almodóvar creates heartwarming tragedy underlined with his signature comedy. Distinct for winning Best Actress at the 2006 Cannes Film Festival for all its female leads (Penélope Cruz, Carmen Maura, Lola Dueñas, Blanca Portillo, Yohana Cobo, and Chus Lampreave), Volver is a heart- warming celebration of women.

DIRECTOR: Pedro Almodóvar.

WRITTEN BY: Pedro Almodóvar.

CAST: Penélope Cruz, Carmen Maura, Lola Dueñas, Chus Lampreave. 2006. 121 min. Spain. Color. Scope. Spanish. 35mm. Print courtesy of the Academy Film Archive.

Talk to Her with The Skin I Live In

Sat, Apr 30 | 7:30pm | TMT

Talk to Her

Two parallel stories of men in love with women in comas is made heartfelt and somehow real- istic in the world that Almodóvar creates in Talk to Her . Marco (Darío Grandinetti) falls in love with bullfighter Lydia (Rosario Flores), and cares for her after she is gored by a bull. Benigno (Javier Cámara) devotes himself to the coma- tose ballerina Alicia (Leonor Watling). Themes of masculine and feminine attributes are treated with complexity and compassion in this film that celebrates the power of language, for which Almodóvar won Best Original Screenplay.

DIRECTOR: Pedro Almodóvar.

WRITTEN BY: Pedro Almodóvar.

CAST: Javier Cámara, Leonor Watling, Darío Grandinetti, Rosario Flores. 2002. 112 min. Spain. Color. Scope. Spanish. 35mm. Print courtesy of the Academy Film Archive.

The Skin I Live In

Almodóvar’s darkest and most perverse film yet, The Skin I Live In contemplates identity, desire, and sexuality through the lens of plastic surgeon Dr. Robert Ledgard (Antonio Banderas). Scarred by a dark and tragic past, he becomes obsessed with a controversial therapy that strengthens human skin. From the isolation of his mansion, he conducts experiments on the young and beautiful Vera (Elena Anaya). His only confidant is his house- keeper Marilia (Marisa Paredes), who ensures that his macabre endeavors remain secret.

DIRECTOR: Pedro Almodóvar.

WRITTEN BY: Pedro Almodóvar.

CAST: Antonio Banderas, Elena Anaya, Marisa Paredes, Jan Cornet. 2011. 120 min. Spain. Color. Spanish. 35mm.

Broken Embraces

Fri, May 6 | 3pm | TMT

Once a celebrated filmmaker, Harry Caine né Mateo Blanco, (Lluís Homar), is blinded in a car accident. Nursing a friend’s son, he shares the story of his tragic past. Featuring an effer- vescent Penélope Cruz as aspiring actor Lena, Broken Embraces melds neo-noir and romantic thriller as its labyrinthine narrative jumps across time periods. This tale of jealousy and deception is at the same time a reflection on artistic creation and self-acceptance.

DIRECTOR: Pedro Almodóvar.

WRITTEN BY: Pedro Almodóvar.

CAST: Penélope Cruz, Lluís Homar, Blanca Portillo, José Luis Gómez. 2009. 127 min. Spain. Color. Scope. Spanish. 35mm.

PEDRO ALMODÓVAR

Apr 13 – 27

FOREVER A WOMAN: S I X F I LMS BY K I NUYO TANAKA

Tanaka during production of FOREVER A WOMAN. Courtesy Janus Films.

Kinuyo Tanaka (1909–1977) entered the Japanese film industry in her teens and went on to have a career spanning over 250 films, from the silent era to TohoScope epics. One of the most celebrated and popular actors of her time, she worked with consummate masters such as Yasujiro Ozu (10 films), Kenji Mizoguchi (15 films, including Ugetsu ), and Mikio Naruse (whose 1952 film Mother introduced her to an international audience), among many more. In 1953, in her early 40s, Tanaka boldly turned to directing her own features in an industry deprived of female filmmakers. She fulfilled her ambition with the help of the young studio Shintoho and her faithful friends Ozu and Naruse, as well as the gay activist filmmaker Keisuke Kinoshita, who penned the screenplay for her directorial debut, Love Letter , which went on to receive critical acclaim at the 1954 Cannes Film Festival. Between 1953 and 1962, Tanaka directed half a dozen films with a determined sense of freedom and touches of provocation, placing women at the forefront of her movies as mistresses, prostitutes, poets, heroines, and victims of social injustice. The Academy Museum is honored to pay tribute to Tanaka’s monumental place in film history with a retrospective comprising these six rare films, newly restored by some of the studios with which she worked: Nikkatsu, Toho, Shochiku, and Kadokawa.

Programmed and notes by Bernardo Rondeau Presented in partnership with Janus Films. This retrospective was conceived by Lili Hinstin.

Love Letter with Girls of the Night

Wed, Apr 13 | 7:30pm | TMT

Love Letter

Tanaka creates a vibrant panorama of post-war Japanese urban life in her poignant directorial debut, from a screenplay by gay activist filmmaker Keisuke Kinoshita. Two brothers share a tumbledown apartment off an alley bustling with businesses of varied legitimacy. One buys and re-sells used books at a markup. The other, a former soldier, wanders the streets pining for his lost love Michiko and winds up writing letters to French and American GIs from the Japanese women they left behind. But what happens when the elusive Michiko finally turns up? An assured first film that lays bare the traumas and dreams of a generation rebuilding their lives.

DIRECTOR: Kinuyo Tanaka.

WRITTEN BY: Keisuke Kinoshita, Fumio Niwa. CAST: Masayuki Mori, Yoshiko Kuga, Jûkichi Uno, Kyôko Kagawa.

1953. 98 min. Japan. B&W. Japanese. DCP.

Restored in 4K by Toho Co., Ltd.

Girls of the Night

Tanaka returns more urgently to the under- world of illicit crime and prostitution in the assured Girls of the Night . Framed by the passing of Japan’s Anti-Prostitution Law of 1956, Girls of the Night follows former “red light woman” Kuniko as she tries to rejoin society after being confined to the Shiragiku Ladies Dormitory. Still treated by most men as an object of either possession or disdain, Kuniko can’t seem to outrun her past, especially when she’s electrified by the bustle of crowded city nights.

DIRECTOR: Kinuyo Tanaka.

WRITTEN BY: Sumie Tanaka.

STORY BY: Masako Yana.

CAST: Hisako Hara, Akemi Kita, Masumi Harukawa.

1961. 98 min. Japan. B&W. Japanese. DCP.

Restored in 4K by Toho Co., Ltd.

LO VE LE TTER, 1953

KINUYO TANAKA

THE WAND ERING PRINCES S, 1960

F O RE VER A WOMAN, 1955

KINUYO TANAKA

Forever a Woman with The Moon Has Risen

Wed, Apr 20 | 7:30pm | TMT

Forever a Woman

Adapted from the autobiography of poet Fumiko Nakajo by frequent Naruse collabora- tor Sumie Tanaka, this pitch-perfect namida chodai (“tearjerker”) is an unsentimental portrait of a woman’s life as she must contend with a mastectomy, divorce, single motherhood to two children, and developing independence in rural Hokkaido. One of the director’s most celebrated films, Forever a Woman is rich with intriguing compositions and shadowplay, adding lyricism to this powerful ode to life.

DIRECTOR: Kinuyo Tanaka.

WRITTEN BY: Sumie Tanaka.

STORY BY: Fumiko Nakajo.

CAST: Yumeji Tsukioka, Ryoji Hayama, Junkichi Orimoto, Hiroko Kawasaki.

1955. 106 min. Japan. B&W. Japanese. DCP.

Restored in 4K by the Nikkatsu Corporation.

The Moon Has Risen

Yasujirô Ozu, for whom Tanaka acted in 10 films, co-wrote the screenplay for this charming and contemplative family drama set in the sleepy city of Nara where three adult sisters share a home with their father (Ozu icon Chishû Ryû). Youngest daughter Setsuko (Mie Kitahara from Crazed Fruit ) decides to be a secret matchmaker for her widowed eldest sister (Hisako Yamane) but finds herself in a romantic bind as well. Look out for Tanaka cameoing as a beleaguered servant.

DIRECTOR: Kinuyo Tanaka.

WRITTEN BY: Yasujirô Ozu, Ryosuke Saito

CAST: Chishû Ryû, Yôko Sugi, Mie Kitahara.

1955. 102 min. Japan. B&W. Japanese. DCP.

Restored in 4K by the Nikkatsu Corporation.

The Wandering Princess with Love Under the Crucifix

Wed, Apr 27 | 7:30pm | TMT

The Wandering Princess

Collaborating with screenwriter Natto Wada ( The Burmese Harp ) on an adaptation of the best-selling book by Hiroko Aiishinkakura, Tanaka’s first widescreen film spans twenty tumultuous years in the life of a young Japanese woman (played by Machiko Kyo). A daughter of nobility, she is subjected to an arranged marriage to the brother of the emperor of the “puppet state” Manchukuo during its Japanese occupation. A stranger in a strange land, she begins a new life trying to straddle two cultures amidst cataclysms of imperialism.

DIRECTOR: Kinuyo Tanaka.

WRITTEN BY: Natto Wada.

STORY BY: Hiroku Aiishinkakura.

CAST: Machiko Kyo, Eiji Funakoshi, Atsuko Kindaichi. 1960. 102 min. Japan. Color. Scope. Japanese. DCP.

Restored in 4K by Kadokawa.

Love Under the Crucifix

Tanaka’s final film was produced by Ninjin Club, a film company founded by three actresses—Yoshiko Kuga, Keiko Kishi, and Ineko Arima (all of whom star in the film). The daughter of a tea ceremony master must choose between her desire for a Christian Samurai lord and her marriage to a wealthy merchant. Though Tanaka often looked back at Japan’s recent history for her other films, Love Under the Crucifix is her only true period piece. Opening during a windswept battle, Tanaka’s 16th century romance is brimming with elegant widescreen compositions and evocative production design.

DIRECTOR: Kinuyo Tanaka.

WRITTEN BY: Masashige Narusawa, Yoshio Miyajima. CAST: Ineko Arima, Ganjirô Nakamura, Mieko Takamine, Tatsuya Nakadai.

1962. 102 min. Japan. Color. Scope. Japanese. DCP.

Restored in 4K by Shochiku Co., Ltd.

LO VE UN DER THE CR UCIFI X, 1962

KINUYO TANAKA

May 1 – 26

THE PATH OF THE CAT: CHR I S MARKER’ S CENTENN I AL

SANS S OLEIL, 1983

"A cat is never on the side of power.” - Chris Marker

A prominent figure in French cinema, Chris Marker’s influence has transcended national borders. With his blending of fiction and documentaries, explorations of time and space, as well as all but inventing the film essay form, Marker’s work has continued to inspire since his passing in 2012. Born in 1921, he was a reclusive figure, whose life itself toyed with fact and fiction. Unlike his iconic counterparts—such as Agnès Varda with her distinctive love of purple or Jean-Luc Godard and his dark glasses—Marker famously sent images of his cat in place of his own portrait and refused interviews. The name Chris Marker itself is a pseudonym, his real name being Christian Bouche-Villeneuve. Yet this retreat was not one from the world, as his films remained deeply connected to politics and people. This retrospective celebrates the recent centennial of the filmmaker, writer, journalist, photographer, philosopher, and lover of cats. Marker lived through a turbulent century, marked by war and revolution. His first foray into cinema was working on Alain Resnais’s documentary about the Nazi concentration camps, Night and Fog (1956). (Marker had been detained in camps during World War II for his communist beliefs.) In the 1950s and 1960s, his work was marked by the essay form, as he traveled to China, Siberia, and Cuba. In 1962, he came to international attention with his now-iconic sci-fi short, La Jetée , made while he was filming the sprawling documentary about contemporary French society, The Lovely Month of May . In this decade, deeply influenced by the anti-Vietnam War movement and the revolutionary spirit of May 1968, Marker put aside his auteur-driven career to work with the activist documentary collective SLON. He returned to his personal political work in the 1970s and 1980s, and became interested in digital technology in the 1990s and 2000s. Abundantly prolific and never wedded to one medium or style, Marker may have disliked the idea of a retrospective, being someone who resisted the spotlight and linearity. But his films, so filled with formal innovations, philosophical depth, and curiosity, remain endlessly engaging. This series highlights some of Marker’s beloved works, as an invitation to always choose the path less traveled.

Programmed and notes by Kiva Reardon

The Lovely Month of May

Sun, May 1 | 2pm | TMT

A monumental documentary, here Chris Marker takes to the streets to question everyday French citizens about the state of their world and society at large. The cast of characters—over a thousand—range in social class and age, and even include an owl (a recurring figure in Marker’s oeuvre). Filmed during France’s first period of peace in decades, the film is an important and iconoclastic look at French society.

DIRECTORS: Chris Marker, Pierre Lhomme.

CAST: Yves Montand, Simone Signoret (voice). 1963. 145 min. France. B&W. English. DCP.

T H E LO VELY M ONTH OF MA Y, 1963

La Jetée with Statues Also Die

Thu, May 5 | 7:30pm | TMT

La Jetée is one of the most influential sci-fi films, perhaps best known for having inspired Terry Gilliam’s 12 Monkeys . (Marker’s film was itself inspired by Alfred Hitchcock’s Vertigo ). La Jetée comprises still photographs and traces an ultimate- ly circular time travel experiment in a post-apocalyptic Paris. It plays here with Marker’s first documentary, co-directed with Alain Resnais and Ghislain Cloquet, Statues Also Die , which was banned in France for its critique of France’s colonial history.

La Jetée

DIRECTOR: Chris Marker.

CAST: Hélène Chatelain, Davos Hanich, Jacques Ledoux, Jean Négroni (voice).

1962. 27 min. France. B&W. English. DCP.

Statues Also Die

DIRECTORS: Chris Marker, Alain Resnais, and Ghislain Cloquet.

CAST: Jean Négroni (voice).

1953. 30 min. France. B&W. French. 35mm.

CHRIS MARKER

Be Seeing You with Class of Struggle

Thu, May 12 | 7:30pm | TMT

Just before the cataclysmic May 1968 events, Marker with Mario Marret, as part of the SLON collective, went to Besançon where textile workers were poised to strike. They captured the fractured process but also the ultimate sense of soli- darity. When workers who collaborated with the collective on Be Seeing You were unhappy with the results, the filmmakers returned to make Class of Struggle . Under the name The Medvedkin Group, their aim was to teach workers to make their own movies. Together, these films are some of the most important politically engaged cinema.

Be Seeing You

DIRECTORS: Chris Marker, Mario Marret.

1968. 39 min. France. B&W. French. Digital.

Class of Struggle

DIRECTOR: The Medvedkin Group.

1969. 37 min. France. B&W. French. Digital.

CHRIS MARKER

A Grin Without a Cat

Sun, May 15 | 2pm | TMT

A Grin Without a Cat is Marker’s epic explo- ration of a period he called the “Third World War”: 1967 to 1977. (After the fall of the Soviet Union in 1991, Marker reworked the film.) Divided into two parts, Marker explores, in a distinct personal essay-meets-found foot- age-meets-agitprop style, the Vietnam War, Che Guevara’s death, May 1968, and upheavals in Prague and Chile. Through collage and com- mentary, A Grin Without a Cat resists defini- tive closure on a remarkable, and traumatic, decade.

DIRECTOR: Chris Marker.

1977. 180 min. France. Color. English. 35mm.

Sans Soleil

Thu, May 19 | 7:30pm | TMT

An unmissable classic, Marker’s iconic film is a breed of travelogue that invites the viewer not just to far-flung locales, but into the very nature of images themselves. Letters from Marker’s stand-in, the fictitious Sandor Krasna, are narrated by a woman as a mélange of footage—some shot by Marker, some stock footage—unspools. Capturing daily life and rituals alike in Japan and Guinea-Bissau, the documentary unpacks the nature and inherent limitations of human memory.

DIRECTOR: Chris Marker.

CAST: Alexandra Stewart (voice). 1983. 100 min. France. Color. English. 35mm.

LA JETÉE, 1962

The Case of the Grinning Cat with Chris Marker’s Bestiary: Five Short Films About Animals

Sun, May 22 | 2pm | TMT

When graffiti of an orange grinning cat appears in Paris, Marker goes searching for this mysterious mascot. His often-playful quest leads him to the streets, métro, and even the annals of art history. But Marker’s searching also intersects with the political climate following the events of September 11 and the rise of the right in France. This plays with Chris Marker’s Bestiary, a collection of short films focused on one of Marker’s favorite subjects: animals. Cats, owls, elephants, and bulls are the focus not of an anthropomorphic gaze but a quiet, curious one.

C A T LI STENIN G TO MUSIC, 1988

The Case of the Grinning Cat

DIRECTOR: Chris Marker.

2004. 58 min. France. Color. French/English. Digital.

Cat Listening to Music

DIRECTOR: Chris Marker.

1988. 3 min. France. Color. Silent. Digital.

An Owl Is an Owl Is an Owl

DIRECTOR: Chris Marker.

1990. 3 min. France. Color. English. Digital.

Zoo Piece

DIRECTOR: Chris Marker.

1990. 3 min. France. Color. Silent. Digital.

Bullfight in Okinawa

DIRECTOR: Chris Marker.

1994. 4 min. France. Color. Japanese. Digital.

Slon Tango

DIRECTOR: Chris Marker.

1993. 4 min. France. Color. Silent. Digital.

CHRIS MARKER

The Last Bolshevik

Wed, May 25 | 7:30pm | TMT

After making films as part of a collective in the 1960s named for the Russian director Aleksandr Medvedkin, Marker made a documentary on its namesake. The film is both a tribute to Medvedkin (who was a committed Bolshevik) and a journey into film history. It also serves as a history of Russia and its current place in the world.

DIRECTOR: Chris Marker.

1992. 100 min. France. Color. French. Digital.

Level Five

Thu, May 26 | 7:30pm | TMT

When Laura (played by Catherine Belkhodja) loses her lover, she’s left with the task of completing his work: a computer game of the Battle of Okinawa, a major event in World War II. In this sci-fi thriller/documentary, Laura scours the internet and interviews experts, but finds less about the facts and more about her own life. The film returns to one of Marker’s central themes—memory—as well as his exploration of the digital sphere.

DIRECTOR: Chris Marker.

CAST: Catherine Belkhodja.

1997. 106 min. France. Color. French. DCP.

CHRIS MARKER

TH E LAS T BOLS HEVIK, 1992

Wed, May 4 | 7:30pm | TMT

JUST ANOTHER G I RL ON THE I . R .T. with NEVER FORGET

JUST A NOTHER GIRL ON THE I.R.T., 1992

It was, as writer-director Leslie Harris said, the “film Hollywood dared not do”: an unabashedly frank, challenging, and humorous story of a young Black woman growing into herself. Just Another Girl on the I.R.T. features Ariyan A. Johnson’s astonishing screen debut as Chantel, a Brooklyn teenager so filled with life and opinions she often breaks the fourth wall to directly address her audience. Chantel’s parents struggle financially and fight, as she, a star student, dreams of the day when she can leave for college. So, when she gets pregnant, she hides the fact until the baby’s birth. Harris’s film, which turns 30 this year, is still radical in its depiction of sexuality and its refusal of the common Hollywood narratives of victimhood or tragedy in favor of a complex character who doesn’t just persevere but thrives. In celebration of this landmark anniversary, the Academy Film Archive is pleased to premiere a restoration of Just Another Girl on the I.R.T. and Harris’s Never Forget , a documentary short on the role of the church in African American history.

DIRECTOR: Leslie Harris.

Just Another Girl on the I.R.T.

WRITTEN BY: Leslie Harris.

CAST: Ariyan A. Johnson, Kevin Thigpen, Ebony Jerido.

1992. 92 min. USA. Color. DCP.

Digitally restored from the origi- nal 16mm A/B negatives, and a new DCP created in collaboration between Sundance Institute, the Academy Film Archive, and UCLA Film & Televi- sion Archive. Thanks to Miramax and Paramount for permission to screen the film.

Never Forget

DIRECTOR: Leslie Harris.

1998. 4 min. USA. Color. DCP.

SPEC I AL SCREEN I NG

May 7 – 28

D I RECTOR’ S I NSP I RAT I ON: SP I KE LEE

4 L IT TLE GIRLS, 1997

→ Explore the Director’s Inspiration: Spike Lee gallery, part of the museum’s core exhibition Stories of Cinema .

Shelton Jackson “Spike” Lee (b. 1957) brings his signature approach to every “Spike Lee Joint.” Not only a director but a writer, producer, and actor, he exercises a high level of creative control over his projects. Lee’s extensive and provocative filmography reveals an unwavering devotion to examining race relations in the United States from a Black perspective. Lee seeks to jostle his viewers out of complacency and often employs techniques to break the fourth wall, such as having his characters tell the audience to “wake up!” His formal filmmaking techniques have been carefully honed from a lifetime spent both making and studying film, reflecting the inspiration he draws from other moviemakers working across a range of eras, genres, and global cinemas. Inspired by the Academy Museum’s Director’s Inspiration: Spike Lee gallery—where visitors are immersed in Lee’s filmography, collaborations, and influences through posters, props, costumes, scripts, photographs, and more surprises from the director’s personal collection—this film series of the same name courses a journey through Lee’s Joints and works by other directors that have impacted his evolution as a filmmaker.

Programmed by Bernardo Rondeau in collaboration with Dara Jaffe Notes by Robert Reneau

Rashomon

Sat, May 7 | 5pm | TMT

Akira Kurosawa’s classic, time-shifting drama about a fateful encounter between a samurai, his wife, and a bandit in a desolate forest received an Honorary Foreign Language Film Award from the Academy of Motion Picture Arts and Sciences in 1951. With striking black- and-white cinematography by Kazuo Miyagawa and Oscar-nominated Art Direction (Black-and- White), not to mention Toshiro Mifune's ferocious performance, Rashomon remains one of global cinema's most influential films.

DIRECTOR: Akira Kurosawa.

WRITTEN BY: Akira Kurosawa, Shinobu Hashimoto. CAST: Toshiro Mifune, Machiko Kyo, Masayuki Mori, Takashi Shimura.

1950. 88 min. Japan. B&W. Japanese. 35mm.

Restored by the Academy Film Archive, The National Film Center of the National Museum of Modern Art, Tokyo, and Kadokawa Pictures, Inc.

She’s Gotta Have It

Sat, May 7 | 7:30pm | TMT

Spike Lee’s microbudget feature She's Gotta Have It announced him as a filmmaking force to be reckoned with upon its release in 1986 and earned Lee a special Award of the Youth at the Cannes Film Festival. Tracy Camilla Johns plays Nola Darling, an independent young woman struggling to balance the men in her life, among them Lee himself playing the droll Mars Blackmon. Boasting vivid black-and-white cinematography by Ernest Dickerson and a jazz score by the filmmaker’s father, Bill Lee, She's Gotta Have It is a signature piece of American independent cinema.

DIRECTOR: Spike Lee.

WRITTEN BY: Spike Lee.

CAST: Tracy Camilla Johns, Redmond Hicks, John Canada Terrell, Joie Lee. 1986. 84 min. USA. B&W and Color. English. 35mm.

SPIKE LEE

4 Little Girls

Fri, May 13 | 3pm | TMT

Spike Lee was a first-year student at New York University when he originally had the idea to make a film about the 1963 Ku Klux Klan bombing of a Birmingham church that killed Addie Mae Collins, Carol Denise McNair, Cynthia Wesley, and Carole Robertson. But it wasn't until he was an established filmmaker that he felt he was ready to tackle this pow- erful story. Lee received an Oscar nomination for Documentary Feature for the film, which features archival footage as well as interviews with friends and family of the girls, remem- bering them as more than tragic victims.

DIRECTOR: Spike Lee.

1997. 102 min. USA. Color. English. 35mm.

Print courtesy of the Academy Film Archive.

RA SH OMON, 1950

Ace in the Hole with A Face in the Crowd

Fri, May 13 | 7:30pm | TMT

Ace in the Hole

Kirk Douglas plays an amoral reporter who sees the plight of a man trapped in a cave-in as a golden opportunity for a comeback in Billy Wilder’s scathing exposé of journalistic ethics. Inspired by the Floyd Collins incident of 1925, often considered the first major media event, Wilder’s film (also released as The Big Carnival ) is one of his bleakest and most cynical, and was nominated for an Oscar for Writing (Story and Screenplay).

DIRECTOR: Billy Wilder.

WRITTEN BY: Billy Wilder, Lesser Samuels, Walter Newman.

CAST: Kirk Douglas, Jan Sterling, Bob Arthur, Porter Hall. 1951. 112 min. USA. B&W. English. 35mm.

A Face in the Crowd

The writer and director of On the Waterfront , Budd Schulberg and Elia Kazan, reteamed for this startling and prescient look at the insidi- ous power of celebrity. Andy Griffith (brilliantly subverting his folksy persona) plays Lonesome Rhodes, a drifter who becomes a TV sensation with the aid of an ambitious producer (Patricia Neal) who soon regrets her role in his rise.

DIRECTOR: Elia Kazan.

WRITTEN BY: Budd Schulberg.

CAST: Andy Griffith, Patricia Neal, Anthony Franciosa, Walter Matthau.

1957. 126 min. USA. B&W. English. 35mm.

Restored by the UCLA Film & Television Archive in cooperation with Castle Hill Productions, Inc., with funding provided by the Hollywood Foreign Press Association and the Film Foundation. Print courtesy of the Film Foundation Conservation Collection at the Academy Film Archive.

Mean Streets

Sat, May 14 | 5pm | TMT

Martin Scorsese’s gritty and stylish look at two friends in New York’s Little Italy, inspired by his own experiences, put him on the map as a distinctive new voice in American cinema. Harvey Keitel is Charlie, a devout Catholic who half-heartedly takes part in his family’s life of crime, while Robert De Niro is Johnny Boy, a charismatic live wire who willfully screws up everything he touches.

DIRECTOR: Martin Scorsese.

WRITTEN BY: Martin Scorsese, Mardik Martin. CAST: Robert De Niro, Harvey Keitel, David Proval, Amy Robinson.

1973. 112 min. USA. Color. English. 35mm.

Do the Right Thing

Sat, May 14 | 7:30pm | TMT

Propelled by Public Enemy’s immortal “Fight the Power,” Spike Lee’s searing panorama of a summer day-in-the-life of a Brooklyn neigh- borhood remains one of his most enduring films, and garnered the filmmaker his first Academy Award nomination for the film’s Original Screenplay. As the temperature rises and tensions build along racial fault lines, a Bed-Stuy neighborhood, graced with striking murals commissioned by production design- er Wynn Thomas, starts coming apart at the seams. More than three decades later the film is as relevant as ever. Boasting an ensemble cast including acting legends Ossie Davis and Ruby Dee, Samuel L. Jackson, John Turturro, Giancarlo Esposito, Martin Lawrence, Bill Nunn, Supporting Actor Oscar nominee Danny Aiello, Rosie Perez in her film debut, and Lee himself, Do the Right Thing remains a landmark of American cinema.

DIRECTOR: Spike Lee.

WRITTEN BY: Spike Lee.

CAST: Danny Aiello, Ossie Davis, Ruby Dee, Spike Lee. 1989. 120 min. USA. Color. English. 35mm. New print courtesy of the Academy Film Archive.

SPIKE LEE

BICYC LE THIE VES, 1948

SPIKE LEE

Bicycle Thieves

Sat, May 21 | 5pm | TMT

The heartbreaking story of a struggling working man in post-war Italy is a classic of neorealist cinema and the recipient of a 1949 Special Foreign Language Film Award. Cesare Zavattini wrote the Oscar-nominated screen- play, and Lamberto Maggiorani, a factory worker with no previous acting experience, was cast as Antonio, whose efforts to retrieve the stolen bicycle he needs to help support his family strain his relationship with his young son.

DIRECTOR: Vittorio De Sica.

WRITTEN BY: Cesare Zavattini.

CAST: Lamberto Maggiorani, Enzo Staiola, Lianella Carell, Elena Altieri.

1948. 89 min. Italy. B&W. Italian. 35mm.

He Got Game

Sat, May 21 | 7:30pm | TMT

Spike Lee and Denzel Washington reunited for the first time since 1992’s Malcolm X for this searing family drama. Washington plays an ex- con who pins his hopes on his estranged son, a high school basketball star (real-life NBA pro Ray Allen). Lee’s unusually eclectic music choices for the film feature both new songs by Public Enemy and the classic orchestral Americana of Aaron Copland.

DIRECTOR: Spike Lee.

WRITTEN BY: Spike Lee.

CAST: Denzel Washington, Ray Allen, Milla Jovovich, Rosario Dawson. 1998. 136 min. USA. Color. English. 35mm.

DO THE R IGHT TH ING, 1989

Bamboozled

Fri, May 27 | 3pm | TMT

One of Spike Lee’s most daring films is a satirical comedy about a dissatisfied, Harvard-educated TV executive (Damon Wayans) who tries to get fired by programming an old-fashioned minstrel show, only to find that his creation is an unexpected and unwanted smash. The supporting cast includes legendary dancer-choreographer Savion Glover in a rare film appearance.

DIRECTOR: Spike Lee.

WRITTEN BY: Spike Lee.

CAST: Damon Wayans, Savion Glover, Jada Pinkett-Smith, Tommy Davidson. 2000. 135 min. USA. Color. En- glish. 35mm.

BlacKkKlansman

Sat, May 28 | 7:30pm | TMT

This 1970s-set seriocomic crime drama, inspired by an unlikely but true story, received six Oscar nominations, including Best Picture and Directing, and earned Spike Lee an Oscar for Adapted Screenplay. John David Washington gives a star-making performance as Ron Stallworth, a real-life Colorado policeman who managed to infiltrate the local Ku Klux Klan, and Supporting Actor nominee Adam Driver plays his partner Philip “Flip” Zimmerman.

DIRECTOR: Spike Lee.

WRITTEN BY: Charlie Wachtel, David Rabinowitz, Kevin Willmott, Spike Lee. CAST: John David Washington, Adam Driver, Laura Harrier, Topher Grace.

2018. 135 min. USA. Color. English. DCP.

SP I KE LEE

BL ACK K KLANS MAN, 2018

Ongoing Series

FAMI LY MAT I NEES

THE SECR ET WO RLD OF ARR IETTY, 2010

Page 1 Page 2 Page 3 Page 4 Page 5 Page 6 Page 7 Page 8 Page 9 Page 10 Page 11 Page 12 Page 13 Page 14 Page 15 Page 16 Page 17 Page 18 Page 19 Page 20 Page 21 Page 22 Page 23 Page 24 Page 25 Page 26 Page 27 Page 28 Page 29 Page 30 Page 31 Page 32 Page 33 Page 34 Page 35 Page 36 Page 37 Page 38 Page 39 Page 40 Page 41 Page 42 Page 43 Page 44 Page 45 Page 46 Page 47 Page 48 Page 49 Page 50 Page 51 Page 52 Page 53 Page 54 Page 55 Page 56 Page 57 Page 58 Page 59 Page 60 Page 61 Page 62 Page 63 Page 64 Page 65 Page 66 Page 67 Page 68 Page 69 Page 70 Page 71 Page 72 Page 73 Page 74 Page 75 Page 76 Page 77 Page 78 Page 79 Page 80 Page 81 Page 82 Page 83 Page 84 Page 85 Page 86 Page 87 Page 88 Page 89 Page 90 Page 91 Page 92 Page 93 Page 94 Page 95 Page 96 Page 97 Page 98 Page 99 Page 100 Page 101 Page 102 Page 103 Page 104 Page 105 Page 106 Page 107 Page 108 Page 109 Page 110 Page 111 Page 112 Page 113 Page 114 Page 115 Page 116