Every Thursday, Friday, and Saturday: a series for connoisseurs of cocktails and nocturnal film freaks to hobnob, clink glasses, and see some of the best and most bizarre in cinema. The Commissary will be serving drinks and a special late night menu into the wee hours. This Weekend: Jim Jarmusch's DEAD MAN.
In the interest of getting reacquainted and playing some movies we love that we think you’ll love too, we’re taking it one more time from the top—with all new selections. This Weekend: Peter Cohen's THE ARCHITECTURE OF DOOM in 35mm and Cinda Firestone's ATTICA in 16mm.
Playtime is Metrograph’s regularly-recurring weekend matinee series of studio standards, animated adventures, and foreign-language frolics, kid-friendly in content but selected because their quality has been proven plain to moviegoers of all ages. This weekend: GREMLINS.
On the Process brings together films that revel in the sweat and the elbow grease behind artistic production, whether in the practice of filmmakers like Derek Jarman and Andrei Tarkovsky or in the studios (and in the often onerous daily lives) of Gustav Klimt, Edvard Munch, and Vincent Van Gogh.
The teamwork-minded Daniel Schmidt (co-director of DIAMANTINO) comes to us all on his own to present a Dream Double Feature of two film that have helped to inspire his most strange and surprising young career.
This monthly series highlights unique archival elements, including recent restorations and film prints from the Academy Film Archive by celebrating classic moments from the Academy’s 90-year history. Up next: Haskell Wexler's MEDIUM COOL in 35mm, November 23.
A key figure in the cinema of a newly independent Niger in the 1960s and ‘70s, Moustapha Alassane was a fantasist and a fabulist—but by no means was he lost in his own fertile imagination, cut off from contemporary events.
Founded in 1935, the New York Film Critics Circle is one of America’s oldest and most-esteemed award-giving groups, serving as an early bellwether in the award’s season, and often as a needed corrective to the direction that it finally goes.
With so many naughty and nice seasonal movies to choose from, we’ve made an annual tradition of showing the best, and this year we’ve heaped up plenty of seasonal goodies under our tree, from warm-and-cozy silver screen standards to modern masterworks—because chestnuts roasting on an open fire are nice, but there’s no substitute for the glow of the cinema screen.
In anticipation of the release of Terence Malick's widely praised latest, we revisit his first four films, made over a 30 year period—a selection of searching, searing, beguiling films, plunging with unquenchable curiosity and a palpable physicality into the mystery and majesty of what it is to be alive.