Mar – May 2024 Film Calendar

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

ACADEMY MUSEUM MAR–MAY 2024

What's Up, Doc? in 35mm Mon, May 6 | 7:30pm | TMT FUNNY GIRLS

ACADEMY MUSEUM MAR-MAY 2024 FILM

CALENDAR

TABLE OF CONTENTS

LIMITED SERIES AND SPOTLIGHTS

OSCARS SEASON AT THE ACADEMY MUSEUM.............4 SPOTLIGHTS................................................................5 THE SEWING CIRCLE...................................................8 IN THE MIDNIGHT HOUR..............................................11 MARLON BRANDO CENTENNIAL.............................14 WEEKEND WITH... PATRICIA ROZEMA......................16 FUNNY GIRLS.........................................................18 MAY THE 4TH CELEBRATION 2024..........................21 윤여정 : YOUN YUH-JUNG.........................................22 ONGOING SERIES OSCAR ® SUNDAYS....................................................24 BRANCH SELECTS..................................................27 FAMILY MATINEES..................................................30 AVAILABLE SPACE..................................................32

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

ACADEMY MUSEUM THEATERS

DGT: DAVID GEFFEN THEATER TMT: TED MANN THEATER

ALL FILMS NOT IN ENGLISH ARE SUBTITLED, UNLESS OTHERWISE NOTED. ALL SCREENINGS, FILM FORMATS, AND GUESTS ARE SUBJECT TO CHANGE WITHOUT NOTICE.

OSCARS SEASON AT THE ACADEMY MUSEUM JAN 28–MAR 31, 2024

The Academy Museum of Motion Pictures invites you to celebrate the 96th Oscars through a series of one-of-a-kind Oscar-centered events and activities. Oscars Season at the Academy Museum runs from January 28 through March 31, 2024, and will activate the museum campus with family workshops, screenings of Oscar-winning films, in-gallery tours, nominee panel discussions, exclusive merchandise, and special pricing for The Oscars ® Experience , presented in the East West Bank Gallery, to celebrate this year’s nominees. In the days leading up to the Oscars broadcast on March 10, visitors can enjoy screenings of this year’s Oscar-nominated short films (Animated, Live Action, and Documentary) and attend programs featuring nominated filmmakers in the Animated Feature Film, Documentary Feature Film, International Feature Film, Makeup and Hairstyling, Production Design, Visual Effects, and Best Picture categories. Then, join us for our 96th Oscars viewing party, Oscars Night at the Museum—an evening to celebrate this year’s nominees and iconic Oscars moments—on Sunday, March 10, 2024 from 3pm to 8pm. The 96th Oscars will be held on Sunday, March 10, 2024, at the Dolby Theatre in Hollywood and televised live on ABC and in more than 200 territories worldwide. Check academymuseum.org/Oscars2024 for additional programming details.

96th Academy Award–Nominee Programs Breaking the Oscars Ceiling Fri, Mar 1 | 7pm | DGT Celebrate historic firsts, wins, and Oscars milestones for the LGBTQIA+ community. Animated Short Film Nominees Screening Sat, Mar 2 | 11am | DGT Animated Feature Film Panel Sat, Mar 2 | 4pm | DGT Visual Effects Panel Sat, Mar 2 | 7pm | DGT Live Action Short Film Nominees Screening Sun, Mar 3 | 11am | DGT Documentary Short Film Nominees Screening Sun, Mar 3 | 3pm | DGT Documentary Feature Film Panel Sun, Mar 3 | 7pm | DGT Production Design Panel Wed, Mar 6 | 7pm | DGT Best Picture Panel Thu, Mar 7 | 7pm | DGT

International Feature Film Panel Fri, Mar 8 | 7pm | DGT Makeup and Hairstyling Panel Sat, Mar 9 | 11am | DGT

Oscars Night at the Museum Sun, Mar 10 | 3–8pm

Join us to celebrate the 96th Oscars with red carpet photo opportunities, access to the museum galleries and Academy Museum Store, food and beverages, and of course the live Oscars broadcast on ABC. Check academymuseum.org/Oscars2024 for additional programming details. 96th Academy Award–Winner Screenings Documentary Feature Film Winner Thu, Mar 14 | 7:30pm | DGT International Feature Film Winner Sat, Mar 16 | 7:30pm | DGT Animated Feature Film Winner Sun, Mar 17 | 2pm | DGT Best Picture Winner Sun, Mar 17 | 7:30pm | DGT Screenwriting Winner Sun, Mar 24 | 7:30pm | DGT Wildcard Winner Sun, Mar 31 | 7:30pm | DGT

Sergei Parajanov at 100 Fri, Apr 19 | 7:30pm | TMT

SPOTLIGHTS

Painting in the River of Angels Wed, Mar 20 | 6pm | TMT

with Ciné-Tamaris and The Film Foundation. Restoration funding provided by the Annenberg Foundation, the Los Angeles County Museum of Art (LACMA) and The Film Foundation.

In celebration of the exhibition Painting in the River of Angels: Judy Baca and The Great Wall at the Los Angeles County Museum of Art (LACMA), join renowned artist Judy Baca, Chief Curator and Deputy Director of Curatorial and Collections at the Lucas Museum of Narrative Art Pilar Tompkins Rivas, and CEO and Wallis Annenberg Director of LACMA Michael Govan, for a discussion about the rich history of The Great Wall of Los Angeles, exploring its cultural significance and enduring impact on the county’s artistic landscape. Discover the ways in which muralism has evolved through advancing technology, and gain insights into the meticulous process of archiving the history of this pivotal artwork in Los Angeles. Co-presented with LACMA, the program will begin with a screening of MUR MURS at 6pm followed by the conversation at 7:30pm. Mur murs One of the finest examples of a documentary that aesthetically complements its subject, Varda’s prismatic monumentalization of the largescale public artworks that cover the walls and buildings of the Southland is peppered with gorgeous 16mm photography and a dash of Varda’s characteristic wit. Shot in the late ’70s upon her return to the West Coast after completing One Sings, the Other Doesn’t (1977), Mur murs features artworks spanning from Venice to Watts by artists such as Judy Baca, Harry Gamboa, Kent Twitchell, Richard Wyatt Jr., and Terry Schoonhoven. DIRECTED BY: Agnès Varda. WRITTEN BY: Agnès Varda. WITH: Juliet Berto, Agnès Varda, Judy Baca, Terry Schoonhoven. 1981. 85 min. USA. Color. English, French. DCP. Restored by Cineteca di Bologna at L’Immagine Ritrovata in association

SPELLBOUND

MUSEUM MEMBERS-ONLY SCREENING: Spellbound in 4K Sat, Mar 23 | 7:30pm | DGT North American Restoration Premiere Free for Museum Members In person: Cecilia Peck. Ingrid Bergman and Gregory Peck teamed up for one of director Alfred Hitchcock’s most commercially successful films, a romantic mystery with striking dream imagery provided by artist Salvador Dalí. Bergman plays Dr. Constance Peterson, the only female psychologist at tony Green Manors mental hospital, who finds herself becoming attracted to the hospital’s new director Dr. Anthony Edwardes (Peck).

Sergei Parajanov at 100 Fri, Apr 19 | 7:30pm | TMT

When Dr. Peterson discovers that Dr. Edwardes seems to be as troubled as any of her patients, she investigates his dreams for clues to the mystery that surrounds him, and finds herself asking the question suggested by the film’s original poster, “Will he kiss me or kill me?” Miklos Rozsa won the first of his three Academy Awards for his theremin-infused score, featuring a memorable love theme. The film was also nominated for Best Picture, Hitchcock’s direction, supporting actor Michael Chekhov’s performance, George Barnes’s black-and-white cinematography, and Jack Cosgrove’s special effects. Programmed by K.J. Relth-Miller. Note by Robert Reneau. DIRECTED BY: Alfred Hitchcock. WRITTEN BY: Ben Hecht. ADAPTATION BY: Angus MacPhail. WITH: Ingrid Bergman, Gregory Peck, Michael Chekhov, Leo G. Carroll. 1945. 111 min. USA. B&W. English. 4K DCP.

“

Whoever tries to imitate me is lost. ”

Sergei Parajanov (1924–1990)

Considered one of the most influential and important filmmakers of the 20th century, Armenian filmmaker and poet Sergei Parajanov established himself as a paragon of visionary purity, innovation, and self-expression. Parajanov was first trained at the Moscow-based Gerasimov Institute of Cinematography (VGIK), where he developed a unique sensibility that would with time evolve beyond the socialist realist filmmaking style sanctioned by Soviet leadership. One of the many boundary-pushing, politically minded artists who would see their work censured during their lifetime, Parajanov was sentenced to hard labor in a Ukrainian prison for his outspoken disavowal of Soviet policy; there, he continued his visual artmaking practice through drawings and evocative collages. Remembered today as a thoughtful creator of ornate tableaux and a “cinematic magician” ( Artland Magazine ), Parajanov’s beloved film, The Color of Pomegranates , as well as the restoration world premiere of Mikhail Vartanov’s poetic documentary, Parajanov: The Last Spring , will screen on the occasion of the centennial of Parajanov’s birth. Programmed and note by K.J. Relth-Miller. Presented in partnership with the UCLA Film & Television Archive. Parajanov: The Last Spring in 4K DIRECTED BY: Mikhail Vartanov. WRITTEN BY: Martiros Vartaniants, Mikhail Vartanov. WITH: Sergei Parajanov, Mikhail Vartanov, Aleksandr Kaydanovskiy, Leila Alibegashvilli. 1992. 60 min. Armenia/USA. Color. Russian, Armenian, Ukranian, Georgian, English. 4K DCP. Restored by UCLA Film & Television Archive, UCLA Library in collaboration with the Parajanov-Vartanov Institute. The Color of Pomegranates ( Նռան գույնը ) DIRECTED/WRITTEN BY: Sergei Parajanov. WITH: Sofiko Chiaureli, Melkon Alekyan, Vilen Galstyan, Giorgi Gegechkori. 1969. 78 min. Soviet Union. Color. Armenian, Azerbaijani, Georgian. DCP. Restored by The Film Foundation’s World Cinema Project and the Cineteca di Bologna, in association with the National Cinema Centre of Armenia and Gosfilmofond of Russia, and funded by the Material World Charitable Foundation.

LA PALOMA

La Paloma in 4K Thu, Mar 28 | 7:30pm | TMT North American Restoration Premiere

Swiss-born theater, television, opera, and film director Daniel Schmid (1941–2006) directed over two dozen moving image works, most of which have remained virtually unknown in the United States. After an affluent upbringing, Schmid studied at the German Film and Television Academy Berlin (DFFB) in the mid-to-late 1960s, where he befriended many who would formulate the rich period of New German Cinema. Like contemporary Rainer Werner Fassbinder, Schmid developed an obsession with opera music and Hollywood melodrama while nurturing a distinct fascination with anachronism, which places much of his work outside of any recognizable period. Schmid’s decadent second feature as writer-director is a perfect embodiment of visual indulgence, bourgeois satire, compulsive romantic gestures, and tragic beauty. At once Sirkian in visual style and Lynchian in tone, La Paloma is the perfect introduction to Schmid’s alluring, dangerous oeuvre. After its restoration world premiere at the Locarno Film Festival in 2023, the Academy Museum presents the North American restoration debut of this intoxicating, maddening revelation. Programmed and note by K.J. Relth-Miller. DIRECTED/WRITTEN BY: Daniel Schmid. WITH: Ingrid Caven, Peter Kern, Peter Chatel, Bulle Ogier. 1974. 110 min. Switzerland, France. Color. German. 4K DCP. Restored by Cinémathèque Suisse with the support of Memoriav at L’immagine Ritrovata lab.

LEFT TO RIGHT: WORTH A MILLION, TU FAMILIA TE ESPERA, WHEN I GO WEST

Shifting Perspectives on Los Angeles: Ghetto Film School Sun, May 26 | 2pm | TMT

For the current exhibition Shifting Perspectives: Vertical Cinema , the Academy Museum formed a community partnership with Ghetto Film School, a nonprofit founded in 2000 to educate, develop, and celebrate the storytellers of tomorrow. The museum provided 15 Los Angeles–based filmmakers, ages 18–24, the opportunity to create works for the exhibition based on a prompt to document the cultural vitality of Los Angeles. Each one-minute film unveils a distinct lens on the city—personal to each filmmaker, yet reflective of their respective communities, neighborhoods, and homes. These films function as a unique preservation of diverse cultures and experiences in the expansive, ever-evolving landscape of Los Angeles, venturing from ancestral practices and traditions to the intricate ties between food, family, social dynamics, identity, and roots. This program will showcase director’s cuts of each film, some with newly imagined sound designs and mixes, for an intimate glimpse into the soul of Los Angeles as seen through the eyes of its vibrant and talented young storytellers. This screening will also be accompanied by conversations with the filmmakers. Note adapted from text featured in the museum’s exhibition SHIFTING PERSPECTIVES: VERTICAL CINEMA. CAROUSEL DIRECTED BY: O.C. 2023. 1 min. USA. Color. Digital. SALAZAR DIRECTED BY: Alyse Arteaga. 2023. 1 min. USA. B&W. Digital. To Eat is to Live DIRECTED BY: Aidan Bae. 2023. 1 min. USA. Color. Digital AHUEVO DIRECTED BY: Diego Aquino. 2023. 1 min. USA. B&W. Digital. Memory Lane DIRECTED BY: Ogechi Onyenechehe. 2023. 1 min. USA. B&W, Color. Digital. HartToHeart DIRECTED BY: Kian Cloma. 2023. 1 min. USA. B&W, Color. Digital. When I Go West DIRECTED BY: Octavia Anderson. 2023. 1 min. USA. Color. Digital. Coconut Pineapple DIRECTED BY: AhaNah Chapman. 2023. 1 min. USA. B&W, Color. Digital. Worth A Million DIRECTED BY: Sundiata Enuke. 2023. 1 min. USA. Color. Digital. I am Red, I am Yellow, I am Light DIRECTED BY: Jessica Muñoz. 2023. 1 min. USA. Color. Digital. Places&Faces DIRECTED BY: Matthew Cotom. 2023. 1 min. USA. Color. Digital. TAINTED muse DIRECTED BY: Xochilt Garcia. 2023. 1 min. USA. Color. Digital TU FAMILIA TE ESPERA DIRECTED BY: Memo Mora. 2023. 1 min. USA. Color. Digital. haven DIRECTED BY: Ciara Zoe. 2023. 1 min. USA. Color. Digital. Un·Fortunate DIRECTED BY: Niko Baur. 2023. 1 min. USA. Color. Digital.

AMADEUS

Amadeus in 4K Fri, May 31 | 7:30pm | DGT Restoration World Premiere

Milos Forman directed Peter Shaffer’s screenplay, based on his Tony Award–winning play, about the 18th century rivalry between journeyman court composer Antonio Salieri (F. Murray Abraham in an Academy Award–winning tour-de-force performance) and his rival, young upstart Wolfgang Amadeus Mozart (fellow Best Actor nominee Tom Hulce). Saul Zaentz’s lavish production features opulent period details, while Shaffer’s witty script speaks eloquently about the challenge of art while leaving room for Mozart’s gorgeous music to dominate. The film earned 11 nominations and its 8 Oscar wins include Best Picture, Art Direction, Costume Design, Directing, Makeup, Sound, and for

Shaffer’s adapted screenplay. Programmed by K.J. Relth-Miller. Note by Robert Reneau.

DIRECTED BY: Milos Forman. WRITTEN BY: Peter Shaffer. WITH: F. Murray Abraham, Tom Hulce, Elizabeth Berridge, Simon Callow. 1984. 158 min. USA. Color. Scope. English. Rated PG. 4K DCP. Original theatrical release version 4K restoration by the Saul Zaentz Co. and Academy Film Archive.

Sylvia Scarlett in 35mm Fri, Mar 29 | 7:30pm | TMT

While a sewing circle is commonly defined as “a social meeting of women who congregate to sew and talk together,” some women in early Hollywood co-opted this term to denote sapphic inclinations. Initiated by early silent film producer and actor Alla Nazimova, who openly identified as bisexual, her “sewing circle” was a space open and welcoming to many women. We adopt the term for this series to highlight figures long considered icons by women who love women. Throughout the decades, queer people have identified with or felt shaped or validated by the personae of these figures at a time when representation was scarce. As Richard Dyer’s classic study of movie stars Heavenly Bodies: Film Stars and Society (1986) notes, “audiences cannot make media images mean anything they want to, but they can select from the complexity of the image the meanings and feelings, the variations, inflections and LIMITED SERIES THE SEWING CIRCLE: SAPPHIC ICONS OF EARLY HOLLYWOOD MAR 22–APR 4, 2024

contradictions, that work for them.” Programmed and notes by Sari Navarro.

Salomé with Live Score by Sarah Davachi Fri, Mar 22 | 7:30pm | DGT Alla Nazimova is credited with originally using the discreet term “sewing circle” as a euphemism for her weekly sapphic gatherings for women in the film industry. Nazimova produced and starred in this screen adaptation of Oscar Wilde’s one-act play Salomé , loosely based on the biblical story of King Herod’s execution of John the Baptist. Though not credited onscreen, Nazimova also co-directed the film and wrote the screenplay under the pen name Peter M. Winters. Salomé has been noted to consist of a predominantly queer cast, which has been interpreted as Nazimova’s nod to Wilde’s sexual orientation. DIRECTED BY: Charles Bryant. WRITTEN BY: Peter M. Winters. WITH: Alla Nazimova, Rose Dione, Nigel De Brulier, Mitchell Lewis. 1922. 72 min. USA. B&W. Silent. English intertitles. DCP.

studio system during this male-dominated period. She was also openly lesbian. The Bride Wore Red was her only film collaboration with queer icon Joan Crawford, with whom many folks fearful of openly identifying with their sexuality in the early 20th century could find a kindred spirit. Crawford plays cabaret girl Anni Pavlovitch, whose social status is briefly changed by Count Armalia (George Zucco) in an experiment to prove that luck is based on chance. DIRECTED BY: Dorothy Arzner. WRITTEN BY: Tess Slesinger, Bradbury Foote. WITH: Joan Crawford, Franchot Tone, Robert Young, Billie Burke. 1937. 103 min. USA. B&W. English. 35mm. Christopher Strong Director Dorothy Arzner was known to tackle stories with complicated female leads and Christopher Strong was no exception. In her first leading role, Katharine Hepburn stars as aviatrix Lady Cynthia Darrington, who enters an illicit love affair. Though not an overtly queer storyline, when interpreted through a queer lens, Cynthia’s taboo romance with the married Sir Christopher Strong (Colin Clive) and her strained yet sentimental relationship with Christopher’s wife, Lady Elaine Strong (Billie Burke), take on new, layered meaning. A rare opportunity to see this archival 35mm print!

The Bride Wore Red in 35mm with Christopher Strong in 35mm Sat, Mar 23 | 2pm | TMT The Bride Wore Red

In the beginnings of what many refer to as the Golden Age of Hollywood, Dorothy Arzner was a trailblazer as the only woman directing films in the

Gilbert). Since the Hays Code was in effect though not yet strictly enforced, like many other films from the pre-Code period, Queen Christina manages to get away with plenty of queer-coded sequences. Austrian actress Salka Viertel, who had a close friendship with Garbo, contributed to the screenplay. DIRECTED BY: Rouben Mamoulian. WRITTEN BY: H.M. Harwood, Salka Viertel, Margaret P. LeVino. WITH: Greta Garbo, John Gilbert, Ian Keith, Lewis Stone. 1933. 99 min. USA. B&W. English. 35mm. Preceded by Queen Christina Costume Test 1933. 9 min. USA. B&W. Silent. 35mm. Preserved by the Academy Film Archive. Camille Adapted from the semi-biographical novel La dame aux camélias by Alexandre Dumas, Camille stars Greta Garbo as Marguerite Gautier, the courtesan with a heart of gold in an ill-fated romance with Armand Duval (Robert Taylor). Camille was Garbo’s first teaming with director George Cukor, and her performance earned her a third Academy Award nomination for Best Actress. Zoe Akins, who was reportedly a part of the queer Hollywood circles of the time, contributed to the screenplay. DIRECTED BY: George Cukor. WRITTEN BY: Zoe Akins, Frances Marion, James Hilton. WITH: Greta Garbo, Robert Taylor, Lionel Barrymore, Elizabeth Allan. 1936. 109 min. USA. B&W. English. 35mm.

DIRECTED BY: Dorothy Arzner. WRITTEN BY: Zoe Akins. WITH: Katharine Hepburn, Colin Clive, Billie Burke, Helen Chandler. 1933. 78 min. USA. B&W. English. 35mm. Print courtesy of the Library of Congress. Preceded by Home Movie: Boating with Dorothy Arzner and Billie Burke Ca. 1934. 4 min. USA. B&W. Silent. DCP. Digital file courtesy of the Florenz Ziegfeld-Billie Burke Collection at the Academy Film Archive.

ZOUZOU

Zouzou in 35mm preceded by Symphony in Black: A Rhapsody of Negro Life Sun, Mar 24 | 2pm | TMT Zouzou Orphans Zouzou and Jean (Joséphine Baker and Jean Gabin) grow up in a traveling circus raised by Papa Melé (Pierre Larquey). When the circus dissolves, Jean grows to be a troublesome, dallying sailor; meanwhile, Zouzou harbors romantic feelings for her adoptive brother who is none the wiser. Developed as a star vehicle for Baker, who by this time was already a cultural phenomenon in France, Zouzou features musical numbers demonstrating her on-stage talents and charm. Contemporarily, Baker is embraced by the queer community for her unconventional life and her spirited personality. DIRECTED BY: Marc Allégret. WRITTEN BY: Carlo Rim. WITH: Joséphine Baker, Jean Gabin, Pierre Larquey, Yvette Lebon. 1934. 92 min. France. B&W. French. 35mm. Preceded by Symphony in Black: A Rhapsody of Negro Life This musical short features a 19-year-old Billie Holiday in her screen debut and offers slice-of-life segments of Black experiences set to Duke Ellington’s composition “A Rhapsody of Negro Life.” Having only previously released a few singles, Holiday was a relative newcomer at the time of production. DIRECTED BY: Fred Waller. WITH: Duke Ellington, Duke Ellington Orchestra, Barney Bigard, Billie Holiday. 1935. 9 min. USA. B&W. English. DCP.

Sylvia Scarlett in 35mm Fri, Mar 29 | 7:30pm | TMT

Forced to flee their home due to her father’s shady dealings following her mother’s death, Sylvia Scarlett (Katharine Hepburn) forgoes womanhood to escape with her father by dressing in drag as a boy named Sylvester. Unexpectedly, she falls for bohemian artist Michael Fane (Brian Aherne). The film was a flop upon its release but has since garnered a cult following, particularly within LGBTQIA+ audiences due to the lesbian and gay subtext within the film. Sylvia Scarlett further cemented Hepburn as a queer icon, whose persona has heavily resonated with sapphic audiences. DIRECTED BY: George Cukor. WRITTEN BY: Gladys Unger, John Collier, Mortimer Offner. WITH: Katharine Hepburn, Cary Grant, Brian Aherne, Edmund Gwenn. 1935. 95 min. USA. B&W. English. 35mm. Pigskin Parade in 35mm preceded by One- Horse Farmers in 35mm and Twin Triplets in 35mm Sat, Mar 30 | 2pm | TMT Programmed and notes by Taylor Morales. Pigskin Parade A football movie with songs! A mix-up leads underdog Texas State to take on mighty Yale University in this Twentieth Century Fox comedy. The film is best remembered today as Judy Garland’s feature debut at age 14. Garland plays a supporting role and sings three songs. Stuart Erwin plays her quarterback brother in an Academy Award–nominated supporting performance. Betty Grable also appears in a small role, but the stars of the show are Patsy Kelly and Jack Haley as a husband-wife coaching team who must defy all odds to bring their team to victory. DIRECTED BY: David Butler. WRITTEN BY: Harry Tugend, Jack Yellen, William Conselman, Arthur Sheekman, Nat Perrin, Mark Kelly. WITH: Stuart Erwin, Patsy Kelly, Jack Haley, Judy Garland. 1936. 93 min. USA. B&W. English. 35mm. New print courtesy of the Academy Film Archive.

Queen Christina in 35mm with Camille in 35mm Mon, Mar 25 | 7:30pm | TMT Queen Christina

The first biopic to depict the queer Queen Christina of Sweden stars none other than sapphic icon Greta Garbo. The film highly dramatizes the Swedish queen’s life and veers considerably from that of the real Christina, most notably in the addition of a fictional romance with Antonio Pimentel de Prado (John

Preceded by One-Horse Farmers

precursor to modern day fancams found on social media platforms, Barriga reimagines Garbo and Dietrich cast as lovers in a fictional film. DIRECTED BY: Cecilia Barriga. WITH: Marlene Dietrich, Greta Garbo. 1991. 14 min. Spain. Color. English. DCP. Preservation of this video was made possible by the Moving Image Archiving and Preservation masters program at New York University, the Women’s Film Preservation Fund, and Women Make Movies. Hallelujah in 35mm with Safe in Hell Mon, Apr 1 | 7:30pm | TMT Hallelujah One of the first films with an all-African American cast produced by a major studio, this musical follows sharecropper Zeke Johnson (Daniel L. Haynes) and chronicles his relationship with swindler Chick (Nina Mae McKinney), pushing him toward a dishonorable path. This was Nina May McKinney’s first film role, after being discovered by director King Vidor—earning her a contract at MGM, making McKinney the first Black actor with this accomplishment. It has been noted that during the production of this film, McKinney met and entered a brief affair with actor Pepi Lederer. DIRECTED BY: King Vidor. WRITTEN BY: Wanda Tuchock, King Vidor, Richard Schayer, Ransom Rideout. WITH: Daniel L. Haynes, Nina Mae McKinney, William Fountaine, Harry Gray. 1929. 109 min. USA. B&W. English. 35mm. Restored by the Library of Congress and The Film Foundation. Funding provided by the Hobson/Lucas Family Foundation. Safe in Hell New Orleans sex worker Gilda (Dorothy Mackaill) murders her former boss—who had brought on Gilda’s struggles—and sets his apartment ablaze. To escape a murder charge, she sets off to a Caribbean island where booze is legal and criminals live without recourse. Nina Mae McKinney plays a dynamic supportive role as hotel manager Leonie in this pre- Code fare. Safe in Hell was McKinney’s next substantial role following Hallelujah ; many studios at the time failed to create positive roles for Black contract players, leading McKinney to look for opportunities in Europe where she was dubbed “The Black Garbo.” DIRECTED BY: William A. Wellman. WRITTEN BY: Houston Branch, Joseph Jackson, Maude Fulton. WITH: Dorothy Mackaill, Donald Cook, Nina Mae McKinney, Ralf Harolde. 1931. 73 min. USA. B&W. English. DCP.

In the early 1930s, filmmaker Hal Roach paired comedic actors Thelma Todd and Patsy Kelly as the female answer to Laurel and Hardy. Todd and Kelly starred in 21 shorts beginning in 1933 until Todd’s untimely death in 1935. In One-Horse Farmers, the two actors purchase a farming plot at Paradise Acres sight unseen and arrive to find their slice of heaven is not what they expected. The land may not be fertile, but this short is fertile ground for sapphic interpretation, with Kelly, who was an out lesbian, sharing a home and even a bed with her costar. DIRECTED BY: Gus Meins. WITH: Thelma Todd, Patsy Kelly. 1934. 17 min. USA. B&W. English. 35mm. Preserved by the Academy Film Archive. Twin Triplets In this Todd/Kelly short, the duo gets into a variety of comic scrapes as they try to sell a bogus story to a newspaper about newly born sextuplets. DIRECTED BY: William H. Terhune. WITH: Thelma Todd, Patsy Kelly. 1935. 19 min. USA. B&W. English. 35mm. Preserved by The Packard Humanities Institute in collaboration with the UCLA Film & Television Archive.

SHANGHAI EXPRESS

Shanghai Express in 35mm preceded by Meeting Two Queens Sun, Mar 31 | 2pm | TMT Shanghai Express

In this pre-Code classic, Marlene Dietrich stars alongside Anna May Wong as courtesans aboard a train bound for Shanghai that is hijacked by rebels. Also aboard the train is Captain Donald Harvey (Clive Brook) a former love of Dietrich’s Shanghai Lily. Nonetheless, it is the palpable chemistry displayed between Lily and Wong’s Hui Fei that is enthralling. Dietrich has long been considered a bisexual icon; she made no secret of her sexual fluidity, and she shattered gender norms by presenting equally masculine and feminine in her way of dressing offscreen. Content advisory: This film contains a performance with a white actor in yellowface. DIRECTED BY: Josef von Sternberg. WRITTEN BY: Jules Furthman, Harry Hervey. WITH: Marlene Dietrich, Clive Brook, Anna May Wong, Warner Oland. 1932. 82 min. USA. B&W. English. 35mm. New print courtesy of the Academy Film Archive. Preceded by Meeting Two Queens An experimental short by filmmaker Cecilia Barriga, who cuts and re-edits scenes from studio pictures featuring Greta Garbo and Marlene Dietrich. A

Pandora’s Box Thu, Apr 4 | 7:30pm | DGT Los Angeles Restoration Premiere

Pandora’s Box chronicles the life and ultimate downfall of the charming and amoral Lulu (Louise Brooks), whose somewhat impish behavior and alluring sensuality leads to the misfortune of those who love her. The film is noted to feature one of the first depictions of a lesbian character in Countess Augusta Geschwitz (Alice Roberts). Brooks considered herself to be sexually liberated, eschewing labels; she reveled in encouraging speculation about her sexual inclinations, choosing to surround herself with notable sapphic figures of the time. DIRECTED BY: G.W. Pabst. WRITTEN BY: Ladislaus Vajda. WITH: Louise Brooks, Fritz Kortner, Francis Lederer, Carl Goetz. 1929. 141 min. USA. B&W. Silent. English intertitles. DCP. Restored in 2K from the best surviving 35mm elements at Haghefilm Conservation under the supervision of the Deutsche Kinemathek with the cooperation of George Eastman Museum, the Cinémathèque Française, Cineteca di Bologna, Národní filmový archiv, and Gosfilmofond.

LIMITED SERIES

IN THE MIDNIGHT HOUR: A HISTORY OF LATE-NIGHT MOVIES APR 5–MAY 25, 2024

Donnie Darko in 4K Fri, May 10 | 7:30pm | DGT

In New York City, at the beginning of the 1970s, one man revolutionized the way underground cinema was brought to an audience. Credited with launching midnight screenings of wild and weird films, Ben Barenholtz (1935–2019) would program his transgressive cinematic discoveries at Chelsea’s Elgin Theater into the late hours of the night, sometimes for months-long runs and typically to packed houses. His first success was with Alejandro Jodorowsky’s acid Western El Topo , at the peak of what J. Hoberman and Jonathan Rosenbaum called “the counterculture cash-in” of 1970 in their 1983 book, Midnight Movies . On the occasion of the Academy Museum’s exhibition John Waters: Pope of Trash , and in honor of Waters’s third feature Pink Flamingos ’s success at the Elgin Theater as a raucous late-night mainstay in 1972, this series presents an overview of cult favorites that first found their fans in the midnight hour. Programmed by K.J. Relth-Miller. Notes by Patrick Lowry and K.J. Relth-Miller.

Pink Flamingos presented by John Waters Sat, Apr 6 | 7:30pm | DGT After it premiered at a rented hall at the University of Baltimore in March 1972, John Waters’s third feature established his reputation as a cinematic provocateur. To hype the film’s outrageous imagery—most infamously a scene involving Divine and dog excrement—and extreme themes including incest, coprophilia, and exhibitionism, barf bags were distributed during screenings during the film’s original run. Waters also knew that word of mouth—spurred by shock, sensationalism, and catchy dialogue—would fill theater seats, which led to Pink Flamingos ’s success as a midnight movie at New York’s famed Elgin Theater, where it ran for over a year. DIRECTED/WRITTEN BY: John Waters. WITH: Divine, David Lochary, Mary Vivian Pearce, Mink Stole. 1972. 93 min. USA. Color. English. Rated NC-17. DCP.

El Topo Fri, Apr 5 | 11:59pm | DGT

Alejandro Jodorowsky’s notorious cult film is credited with starting the theatrical midnight movie trend. Knowing the psychedelic Western laced with sex, violence, and religious iconography would appeal to a counterculture audience, the Elgin Theater in New York City booked midnight screenings of El Topo seven nights a week, where it ran continuously from December 1970 through June 1971 with no paid advertising. The film did not receive a major distribution deal in the United States, but the word-of-mouth success garnered from the Elgin Theater screenings led to cinemas across the country booking the film in the same midnight timeslot, which remained the only way to see the film for many years. DIRECTED/WRITTEN BY: Alejandro Jodorowsky. WITH: Alejandro Jodorowsky, Brontis Jodorowsky, Mara Lorenzio, David Silva. 1970. 125 min. Mexico. Color. English. DCP.

Eraserhead in 35mm preceded by Asparagus in 35mm Mon, Apr 15 | 7:30pm | DGT Eraserhead

The film that J. Hoberman and Jonathan Rosenbaum call a “nightmare sitcom of the urban soul” carries the torch as the first film to intentionally hold its world premiere in a midnight slot at the boundary-pushing Los Angeles–based festival Filmex in 1977. Yet even this audacious statement couldn’t save David Lynch’s astonishing, surreal debut from the misinterpretation of mainstream critics. Thankfully, the ever-intrepid Ben Barenholtz, who lays claim to inventing the midnight movie, opened the film in New York City at several theaters, where it ran at midnight for close to three years; here in Los Angeles, Eraserhead ran at midnight at the Nuart Theatre for nearly four years straight. DIRECTED/WRITTEN BY: David Lynch. WITH: Jack Nance, Charlotte Stewart, Allen Joseph, Jeanne Bates. 1977. 89 min. USA. B&W. English. 35mm. Asparagus Acquired by Ben Barenholtz in 1978 for the explicit purpose of whetting the audience’s appetite before screenings of Eraserhead , Suzan Pitt’s singular animated hallucination played before David Lynch’s feature for two years at both the Waverly in New York and Los Angeles’s Nuart Theatre. You can see more of Pitt’s vibrant body of work in our Available Space program So Dreamy, So Sinister: Animation by Suzan Pitt on May 16. DIRECTED BY: Suzan Pitt. 1979. 19 min. USA. Color. 35mm. Restored by the Academy Film Archive.

NIGHT OF THE LIVING DEAD

Night of the Living Dead Mon, Apr 8 | 7:30pm | DGT

Filmed in rural Pennsylvania on a low six-figure budget by first-time 28-year-old filmmaker George Romero, this now-definitive zombie flick was effectively dead- on-arrival when it first premiered in cinemas at the end of 1968. Too frightening for family matinees and too raw for general audiences, Night of the Living Dead first found its diehard fans at a Washington, DC revival house in 1971, followed shortly by a near-continuous midnight run from 1971 through 1973 in New York City at both the Waverly (now IFC Center) and the now- shuttered Olympia and Bijou theaters. DIRECTED BY: George A. Romero. WRITTEN BY: George A. Romero, John Russo. WITH: Duane Jones, Judith O’Dea, Karl Hardman, Marilyn Eastman. 1968. 96 min. USA. B&W. English. DCP.

The Harder They Come Fri, Apr 12 | 7:30pm | DGT

Following its major success in Jamaica, Roger Corman’s New World Pictures acquired United States distribution rights and released The Harder They Come across the US in 1973. Initially failing to find an audience, the film did very well with midnight showings, bringing in a slightly older audience interested in seeing the first feature from Jamaica. Aided by the release of its soundtrack, which features songs by the star Jimmy Cliff and helped popularize reggae music in the US, the fandom grew rapidly. At the Elgin Theater in New York City, the film ran consistently from late 1974 through early 1977 in its midnight timeslot. DIRECTED BY: Perry Henzell. WRITTEN BY: Perry Henzell, Trevor D. Rhone. WITH: Jimmy Cliff, Janet Bartley, Carl Bradshaw, The Maytals. 1972. 103 min. Jamaica. Color. English. Rated R. DCP.

UP IN SMOKE

Up in Smoke Sat, Apr 20 | 7:30pm | DGT

After building up a dedicated following in the stand- up comedy scene and releasing comedy albums throughout the ’70s, Cheech and Chong took their act to the big screen, with huge success. Directed by Lou Adler, who produced their records, the film was not embraced by many critics, but became immediately popular with stoners and outsider young adults. First earning impressive sales in pre-release screenings, it became extremely profitable through its run. The following year the film had two midnight screenings at the Cannes Film Festival and quickly became a mainstay of midnight movies, establishing itself as a cult classic and the archetypal stoner film. DIRECTED BY: Lou Adler. WRITTEN BY: Tommy Chong, Cheech Marin. WITH: Cheech Marin, Tommy Chong, Tom Skerritt, Stacy Keach. 1978. 86 min. USA. Color. English. Rated R. DCP.

ERASERHEAD

15 Years of the American Genre Film Archive: Donnie Darko in 4K Fri, May 10 | 7:30pm | DGT Richard Kelly’s feature debut as a writer-director, blending teen angst with elements of sci-fi and horror, did not have a successful run during its initial release, but strong word of mouth kept adventurous filmgoers buying tickets as the number of screens showing the film dwindled. After its home video release generated new interest, pushing it into cult status, the Pioneer Theater in New York City began midnight screenings. Those continued for 28 months straight, only stopping at the distributor’s request when planning for a re-release. That success at the Pioneer continued to fuel the film’s following and solidified it as the new midnight movie of its era. DIRECTED/WRITTEN BY: Richard Kelly. WITH: Jake Gyllenhaal, Jena Malone, Drew Barrymore, James Duval. 2001. 114 min. USA. Color. English. Rated R. 4K DCP. 15 Years of the American Genre Film Archive: Glen or Glenda Sat, May 11 | 7:30pm | TMT The directorial debut from infamous B-movie auteur Ed Wood, who was posthumously dubbed the Worst Director of All Time, Glen or Glenda is a surprisingly tender, early depiction of a trans woman in 1950s America. Though a contemporary lens finds offensive terminology within this 70-year-old cult classic, Wood’s daring dive into the then- underground world of the trans experience ran at midnight at the Thalia in New York for five weekends in the summer of 1978 and traveled to China, to Belgium as Louis ou Louise , and to Argentina as Yo cambié mi sexo . Decades on, the film remains an imperfect yet significant milestone for trans representation in outsider filmmaking. DIRECTED/WRITTEN BY: Edward D. Wood Jr. WITH: Bela Lugosi, Lyle Talbot, Timothy Farrell, Dolores Fuller. 1953. 65 min. USA. B&W. English. Rated PG. DCP.

2010 that continues to this day. House ’s breakneck pacing, whiplash tone, and unpredictable plot about seven Japanese schoolgirls who visit an aunt in the countryside only to find her home infested with a supernatural presence is, as anyone who has seen it will insist, a singular cinematic experience. DIRECTED BY: Ōbayashi Nobuhiko. WRITTEN BY: Katsura Chiho, Ōbayashi Chigumi. WITH: Ikegami Kimiko, Jinbo Miki, Ōba Kumiko, Matsubara Ai. 1977. 88 min. Japan. Color. Japanese. 35mm.

Hellbound: Hellraiser II in 35mm Sat, May 25 | 7:30pm | TMT

The first film to screen in the inaugural year of Toronto International Film Festival’s Midnight Madness section in 1988—then called Festival of Festivals—this follow-up to Clive Barker’s original horror film, also based on his own novella The Hellbound Heart , elaborates on the implications of the enigmatic Lament Configuration and the realm of the iconic Pinhead and the Cenobites, this time with even more blood, gore, and surreal descents into hell. The openly gay Barker’s first Hellraiser film has since been embraced by the LGBTQIA+ community as a definitive entry into the queer horror canon, and these themes continue, though less overtly, into the sequel. DIRECTED BY: Tony Randel. WRITTEN BY: Peter Atkins. WITH: Clare Higgins, Ashley Laurence, Kenneth Cranham, Imogen Boorman. 1988. 99 min. UK. Color. English. Rated R. 35mm.

THE ROCKY HORROR PICTURE SHOW

The Rocky Horror Picture Show Thu, May 30 | 7:30pm | DGT

This evergreen late-night classic and its audience’s zealous commitment to repeat viewings, shadow plays, elaborate cosplay, and practically mandatory audience participation might just make The Rocky Horror Picture Show the ultimate cult movie. After running at Greenwich Village’s Waverly Theater in 1976 for 95 weeks, Dr. Frank-N-Furter and the “Time Warp” flourished nationwide in the midnight hour in hubs like Austin, Philadelphia, Toronto, and Honolulu. Shortly after its premiere, a near-religious devotion to the magic of Rocky Horror ’s theatrical experience made its way to Los Angeles’s Nuart Theatre, which first launched weekly Saturday night screenings in September 1986 that continue to this day. DIRECTED BY: Jim Sharman. WRITTEN BY: Jim Sharman, Richard O’Brien. WITH: Tim Curry, Susan Sarandon, Barry Bostwick, Richard O’Brien. 1975. 100 min. UK/USA. Color. English. Rated R. DCP.

HOUSE ( ハウス )

House ( ハウス ) in 35mm Fri, May 24 | 7:30pm | TMT Perennial midnight fare at repertory theaters around the country to this day, Ōbayashi Nobuhiko’s indescribable psychedelic horror flick was first brought to the attention of the Criterion Collection, who, through their theatrical arm, Janus Films, brought it to the IFC Center in New York, where it had a sustained midnight engagement beginning in

LIMITED SERIES FOREVER A CONTENDER:

A CENTENNIAL TRIBUTE

TO MARLON BRANDO APR 11–MAY 13, 2024

One-Eyed Jacks Thu, Apr 11 | 7:30pm | DGT

Considered one of the great American screen actors of the 20th century, Marlon Brando (1924–2004) cut his teeth on the Stanislavski system, which he learned from beloved New York–based acting teacher Stella Adler. An admirer of the virtuosic Fredric March and tough guy James Cagney but with a natural approach to character atypical of the stylized screen acting of the period, Brando quickly distinguished himself from his peers. His breakthrough performance as Stanley Kowalski in A Streetcar Named Desire (1951), a role he originated on Broadway, led to the first of his eight Academy Award nominations throughout his six-decade career, taking home Oscars for On the Waterfront (1954) and The Godfather (1972). Brando would venture into directing only once, take calculated risks in international films by lauded auteurs, return to Tennessee Williams, and branch out into musicals, surprising audiences with his unexpected choices. Remembered today as much for his off-screen activism as for the physicality of his on-screen presence, the many faces and phases of Brando’s astonishing career are represented here and in our Oscar ® Sundays series (page 24) this spring in what would have been his centennial year. Programmed by K.J. Relth-Miller. Notes by K.J. Relth-Miller and Robert Reneau. Special thanks to The Brando Estate.

The Wild One Sun, Apr 14 | 2pm | TMT

One-Eyed Jacks in 4K Thu, Apr 11 | 7:30pm | DGT

Receiving billing above the film’s title, Marlon Brando was met with soaring praise for his performance in his fifth feature as the vicious Johnny Straibler, whose leather- and denim-clad outfits became wildly en vogue for rebellious youth eager to self-identify with 1950s counterculture. The original script, deemed by the Production Code Administration to be “a story of violence and lawlessness to such a degree [that it is]… anti-social,” was initially rejected even though its contents were based on a true story of rival biker gangs originally published in Harper’s . Brando confessed in his autobiography Brando: Songs My Mother Taught Me that more than most characters, he deeply identified with Johnny, and that pathos shines through the snarl. DIRECTED BY: Laszlo Benedek. WRITTEN BY: John Paxton. WITH: Marlon Brando, Mary Murphy, Robert Keith, Lee Marvin. 1953. 79 min. USA. B&W. English. DCP.

Marlon Brando took on his only feature directing project—following the last-minute departure of original director Stanley Kubrick—with this character-oriented Western about a bank robber who tracks down the friend (frequent Brando co-star Karl Malden) who betrayed him. The Academy Award–nominated VistaVision color cinematography by Charles Lang Jr. ( How the West Was Won ) makes strong use of the film’s scenic locations in Mexico and California, with vivid imagery of Brando riding his horse against the backdrop of the Monterey coastline. DIRECTED BY: Marlon Brando. WRITTEN BY: Guy Trosper, Calder Willingham. WITH: Marlon Brando, Karl Malden, Katy Jurado, Pina Pellicer. 1961. 141 min. USA. Color. English, Spanish. 4K DCP.

GUYS AND DOLLS

MUTINY ON THE BOUNTY

Guys and Dolls Sat, Apr 27 | 2pm | TMT

Mutiny on the Bounty in 35mm Sat, May 11 | 2pm | TMT

The smash hit Broadway musical—inspired by the humorous short stories of Damon Runyon—became a lavish CinemaScope musical under the direction of Oscar-winner Joseph L. Mankiewicz ( All about Eve ). Marlon Brando was cast as the charming gambler Sky Masterson opposite another entertainment legend, Frank Sinatra, as Nathan Detroit. For his only movie musical, Mankiewicz gave the film a stylized look befitting its stage origins, while Brando sings the classic “Luck Be A Lady.” DIRECTED/WRITTEN BY: Joseph L. Mankiewicz. WITH: Marlon Brando, Jean Simmons, Frank Sinatra, Vivian Blaine. 1955. 150 min. USA. Color. Scope. English. DCP.

Two-time Oscar-winner Lewis Milestone ( All Quiet on the Western Front ) directed this lavish remake of the Nordhoff-Hall classic about the 18th century Royal Navy crew who rebelled against their tyrannical commander. Trevor Howard made a restrained, chilling Captain Bligh, while Marlon Brando’s droll performance as Fletcher Christian took a very different approach from the classic heroism of Clark Gable’s portrayal in the 1935 film, emphasizing Christian’s upper-class British background. The film was shot at gorgeous Tahitian locations and earned seven Oscar nominations including Best Picture. DIRECTED BY: Lewis Milestone. WRITTEN BY: Charles Lederer. WITH: Marlon Brando, Trevor Howard, Richard Harris, Tarita. 1962. 179 min. USA. Color. Scope. English. 35mm.

THE FUGITIVE KIND

The Fugitive Kind Sun, Apr 28 | 2pm | TMT Based on Tennessee Williams’s 1957 play Orpheus Descending , Sidney Lumet’s drama of drifter Valentine “Snakeskin” Xavier (Marlon Brando) seeking the straight-and-narrow path via a new start in small-town Mississippi could at face value be considered a departure for the director, though only by way of location; the picture’s themes of class divide and social tension are on par with Lumet’s interest in the working-class of 1960s America. Brooding alongside a dynamic Joanne Woodward and the earthy yet defeated Anna Magnani ( Mamma Roma ), Brando delivers another in a series of grounded performances aligned with his well-known off-screen sympathies for social justice issues. DIRECTED BY: Sidney Lumet. WRITTEN BY: Tennessee Williams, Meade Roberts. WITH: Marlon Brando, Anna Magnani, Joanne Woodward, Maureen Stapleton. 1960. 119 min. USA. B&W. English. DCP.

BURN! (¡QUEIMADA!)

Burn! ( ¡Queimada! ) in 35mm Mon, May 13 | 7:30pm | TMT

Director Gillo Pontecorvo followed his classic The Battle of Algiers (1966) with this epic 19th century Caribbean drama, loosely inspired by real events. Marlon Brando plays Sir William Walker, a British mercenary sent to a Portuguese colony to stir up rebellion among its workers, who finds his loyalties torn between his assignment and the people he is betraying. The project was a particular favorite of Brando’s, who was instrumental in getting the troubled production completed, and Ennio Morricone contributed a typically distinctive and powerful score. Please note we will be screening the English language version of the film. DIRECTED BY: Gillo Pontecorvo. WRITTEN BY: Franco Solinas, Giorgio Arlorio. WITH: Marlon Brando, Evaristo Márquez, Renato Salvatori, Dana Ghia. 1969. 131 min. France/Italy. Color. English. Rated R. 35mm.

I've Heard the Mermaids Singing Fri, Apr 26 | 7:30pm | TMT

LIMITED SERIES WEEKEND WITH... PATRICIA ROZEMA APR 26–29, 2024

Weekend With… is a series that offers audiences the chance to dive deep into the work of a filmmaker, actor, or creative over the course of one weekend. Considered part of the informally defined collection of independent filmmakers to make up the Toronto New Wave in the 1980s and early 1990s, filmmaker, television director, artist, and educator Patricia Rozema (b. 1958) found breakout success at the 1987 Cannes Film Festival when her first feature, I’ve Heard the Mermaids Singing , nabbed the Prix de la Jeunesse in the Director’s Fortnight section, making it the first English-language Canadian film in the festival’s forty-year history to win an award. Rozema’s subsequent career, which has encompassed narrative features, shorts, documentaries, and episodes of hit television series as both director and writer, maintains her first feature’s lighthearted irreverence, stylistic bravado, eye for magical realism, and distinctly queer sensibility. Currently inspiring the next generation of filmmakers as an adjunct professor at UCLA’s School of Theater, Film & Television, Rozema joins the Academy Museum and the UCLA Film & Television Archive for a weekend-long trip through her playful outlook on artmaking. Programmed and notes by K.J. Relth-Miller and Film Programmer at the UCLA Film & Television Archive Amanda Salazar.

Co-presented by the UCLA Film & Television Archive. Please note screening locations below.

In-person: Patricia Rozema.

I’ve Heard the Mermaids Singing Fri, Apr 26 | 7:30pm | TMT

DIRECTED/WRITTEN BY: Patricia Rozema. WITH: Sheila McCarthy, Paule Baillargeon, Ann-Marie MacDonald, Richard Monette. 1987. 83 min. Canada. Color. English. Rated R. DCP.

Supported by government funding thanks in part to an endorsement from David Cronenberg, Patricia Rozema’s feature debut centers on Polly Vandersma (Sheila McCarthy), a Girl Friday for the curator of a private art gallery in Toronto. Through a video diary and Polly’s literal flights of fancy that unfold in her mind’s eye, Rozema’s delicate and distinct world-building reveal Polly’s purity of soul, sexual awakening, and ultimate growth. Offsetting her film’s deep psychological and spiritual meaning with a lightheartedness, Rozema has said about Mermaids : “It’s about the artist in all of us. And the discovery of sexual difference. It’s also about some serious ’80s shoulder pads.”

Mansfield Park in 35mm Sat, Apr 27 | 7:30pm | TMT

Called “the best thing to happen to Austen in a long time” by Xtra Magazine , writer-director Patricia Rozema boldly enters the “Austen-mania” of the ’90s (five other Jane Austen adaptations were filmed for the big screen in the decade, and that’s not counting Clueless !) with this loose interpretation of the British author’s complex 1814 novel. A rags-to- riches tale of Fanny Price (Frances O’Connor), sent by her struggling parents to her wealthy uncle, Mansfield Park rejects the lure of rendering Austen in a purely elegant mode, facing the realities of the

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