Fabien Cousteau Introduces "World Without Sun"

Wednesday February 21 7:00PM
Fabien Cousteau Introduces

Introduced by Fabien Cousteau.

Cousteau and his cohort set up in a state-of-the-art, saucer-like underwater base, and we get to live alongside these so-called oceanauts on the ocean floor, in what is perhaps the most playful and purely enchanting of the explorer-filmmaker’s works, winner of the Academy Award for Best Documentary Feature. The wit is the only thing that’s dry here, while the views from under the sea are nothing short of otherworldly.

Feras Fayyad Presents "Last Men in Aleppo"

Thursday February 22 7:00PM
Feras Fayyad Presents

Intro and Q&A with director Feras Fayyad.

Syrian filmmaker Feras Fayyad in collaboration with Aleppo Media Center filmed the Syrian war for two years, which led to this breathtaking work, an imperative piece of boots-on-the-ground reportage following the exploits of the White Helmets, a search and rescue organization who indefatigably struggle on amidst Aleppo’s humanitarian catastrophe, looking for signs of life amid the rubble of a ruined city. Displaying remarkable calm and compositional clarity amidst chaos, Last Men in Aleppo embodies the agony and euphoria of its subject’s life and death work.

Raoul Peck Presents "The Young Karl Marx"

Friday February 23 7:00PM
Raoul Peck Presents

Friday, February 23, Q&A with Raoul Peck at 7pm, 7:45pm screenings, and intro at 10pm screening. Saturday, February 24, Q&A at 4:30pm and intro and Q&A at 7:15pm screening.

From stalwart Haitian filmmaker Raoul Peck, director of the fierce and timely I Am Not Your Negro (2016), comes a new study in revolutionary consciousness, no less radical for its classical period piece trappings. August Diehl plays a wet-behind-the-ears twentysomething Marx, in Parisian exile with his wife (Phantom Thread’s Vicky Krieps) when he finds an intellectual love-match with Friedrich Engels (Stefan Konarske), the beginning of a fervid conversation conducted across the cities of Europe drawing from visceral experience of human want, and the birth of an idea of world-historical import.


Sunday March 4 1:45PM

Introduced by Amy Sillman, who will be signing copies of the new book "Amy Sillman: The ALL-OVER" following the screening.

“As Robert Smithson wrote, ‘To spend time in a movie house is to make a “hole” in one’s life.’ As a painter, I like a black hole, where you and a bunch of hardboiled noir-ish characters can disappear into the full spectrum of nocturnal grey tones. So to find a story of an artist in this spectral tonal range is irresistible. Scarlet Street is the heartwrenching story of a guy with a painting habit, played by Edward G. Robinson. He has a square day job and a terrible mistake: loving a bad girl, a blonde schemer with a despicable boyfriend in tow. They’re aiming to screw Robinson out of whatever he has. When the camera pulls around to the front of the painter’s canvases, it’s as thrilling to see their surfaces as it would be to pan across any movie star’s face. And, directed by Fritz Lang, the movie’s got that extra Germanic kick of misery. The best and most tragic artist movie ever made.”

Program notes by Amy Sillman | Print courtesy Library of Congress

Tavi Gevinson and Hilton Als Introduce "Klute"

Sunday March 4 4:00PM
Tavi Gevinson and Hilton Als Introduce

Introduced by Tavi Gevinson and Hilton Als. Tavi Gevinson is an American writer, magazine editor, and actress. Hilton Als is an American writer and theater critic.

Jane Fonda is, of course, supremely excellent in the role that won her an Oscar, that of tough-minded high-class New York prostitute Bree Daniels—who aspires to a career in acting—but she’s also the very picture of early ‘70s boho-chic, playing off Donald Sutherland’s straight arrow private investigator. A beautiful period document of the city courtesy of cinematographer Gordon Willis, featuring a disco cameo by Warhol star Candy Darling.

Stella Schnabel Introduces "Blue Velvet"

Sunday March 11 3:00PM
Stella Schnabel Introduces

Introduced by Stella Schnabel.

How could we resist including the single greatest film to be named for a fabric, in which star Isabella Rossellini’s every look is iconographic? A watershed work for Lynch, establishing his particular perverse method of deploying the symbols of Americana. Of costume designer Patricia Norris, Lynch said: “Patty reads the scripts and dials into the character and dresses them, she has great taste. When someone comes out of the dressing room, they are the character.”