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February 23, 25, 27 & March 1

Memories of Underdevelopment

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Memories of Underdevelopment

Tomás Gutiérrez Alea / 1968, Cuba
97min / digital

4K RESTORATION! One of the first Cuban films to achieve significant success abroad, Tomás Gutiérrez Alea’s intimate and densely layered Memories of Underdevelopment is a landmark work of the country’s cinema. Left behind by his wife and family in the aftermath of the Bay of Pigs, the bourgeois intellectual Sergio (Sergio Corrieri) passes his days wandering Havana and idly reflecting, his amorous entanglements and political ambivalence gradually giving way to a mounting sense of alienation. With this adaptation of an innovative novel by Edmundo Desnoes, Gutiérrez Alea developed a cinematic style as radical as the times he was chronicling, creating a collage of vivid impressions through the use of experimental editing techniques, archival material, and spontaneously shot street scenes. Appearing onthe fiftieth anniversary of its release in a stunning new 4K restoration, Memories stands as a biting indictment of its protagonist’s disengagement, and an extraordinary glimpse of life in postrevolutionary Havana. In Spanish w/ English subtitles

“ONE OF THE GREATEST FILMS EVER MADE. AS ESSENTIAL AS CINEMA GETS... this beautiful, purposefully inconsistent film shows us, maybe that kind of chaos is what’s required to build a better world, and a better cinema.” The Village Voice

“A FIRST-RATE MOVIE AND A REMARKABLE DOCUMENT… That [director Tomás Gutiérrez] Alea, who made numerous films in Cuba before his death in 1996, could be simultaneously a dangerous alien and a free-speech hero is a perverse tribute to his film’s nuanced politics. Memories is not only shot in black and white but also composed in shades of gray.” The New York Times

Showtimes:
Fri, Tues, Thur: 645pm
Sun: 445pm


February 24-26, March 1 HELDOVER!

The Insult

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The Insult

Ziad Doueiri / 2017, Lebanon
112min / digital

Academy Award Nominee: Best Foreign Language Film

In today's Beirut, a civilian dispute blown out of proportion finds Tony (Adel Karam), a Lebanese Christian, and Yasser (Kamel El Basha), a Palestinian refugee, facing off in court. As the media circus surrounding the case threatens a social explosion in divided Lebanon, Tony and Yasser reconsider their values and beliefs as revelations of trauma complicate their understanding of one another. In Arabic w/ English subtitles.

“Gripping entertainment, passionate and humane...” Village Voice

“There is something undeniably exhilarating about the film's honest assessment of the never-ending conflict between decency and cruelty that rages in every nation, neighborhood and heart.” New York Times

Showtimes:
Sat 2/24: 5pm
Sun 2/25: 7pm
Mon 2/26 & Thur 3/1: 9pm


February 24 & 28

I Am Cuba

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I Am Cuba

Mikhail Kalatozov / 1964, Cuba-Soviet Union
141min / 35mm

35MM PRINT! Produced by Mosfilm and ICAIC, this film started only a week after the Cuban missile crisis and designed to be Cuba’s answer to both Sergei Eisenstein’s propaganda masterpiece, Potemkin and Jean-Luc Godard’s freewheeling romance, Breathless, I Am Cuba turned out to be something quite unique — a wildly schizophrenic celebration of Communist kitsch, mixing Slavic solemnity with Latin sensuality. The plot, or rather plots, feverishly explore the seductive, decadent (and marvelously photogenic) world of Batista’s Cuba — deliriously juxtaposing images of rich Americans and bikini-clad beauties sipping cocktails poolside with scenes of ramshackle slums filled with hungry children and gaunt old people. Using wide-angle lenses that distort and magnify and filters that transform palm trees into giant white feathers, Urusevsky’s acrobatic camera achieves wild gravity-defying angles as it glides effortlessly through long continuous shots. But I Am Cuba is not just a catalog of bravura technique — it also succeeds in exploring the innermost feelings of the characters and their often desperate situations. Shown unsubtitled at the San Francisco International Film Festival, I Am Cuba received two standing ovations — during the screening. The first movie ever jointly presented by master filmmakers Martin Scorsese and Francis Ford Coppola, I Am Cuba is one of the great discoveries in cinema. It will change your view of cinema forever!

Showtimes:
Sat & Wed: 730pm BUY TICKETS


February 25-27 HELDOVER!

Have a Nice Day

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Have a Nice Day

Liu Jian / 2017, China
77min / digital

A hard rain is about to fall on a small town in Southern China. In a desperate attempt to find money to save his fiancée’s failed plastic surgery, Xiao Zhang, a mere driver, steals a bag containing 1 million from his boss. News of the robbery spreads fast within the town and, over the course of one night, everyone starts looking for Xiao Zhang and his money… Liu Jian delivers a whirlwind neo-noir, cementing his place as a pioneering force in independent Chinese animation. In Mandarin w/ English subtitles

“This deserves to be an animation arthouse hit to equal “Waltz With Bashir”, and it was the most politically trenchant and artistically fresh thing in Berlin. With the surface of a Tarantino-esque pulp thriller and the heart of a postmodern political art project.” The Guardian

Showtimes:
Sun 2/25: 3pm
Mon 2/26: 7pm
Tues 2/27: 9pm


March 2-8

Pow Wow

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Pow Wow

Robinson Devor / 2016, USA
75min / digital

Almost ten years after the release of his last film, ZOO, Robinson Devor (WOMAN CHASER, POLICE BEAT) returns with POW WOW, a visually striking anthropological study of a most exotic and surreal culture: that of the Coachella Valley in Palm Springs, CA. Training a precise eye on the communities that have chosen to make their home in a part of the world that would appear to be unsuited for human habitation, Devor is carefully attuned to the absurdity and paradoxes of his subject, as well as to the historical layers and class dynamics that underlie it. POW WOW’s gaze encompasses a diverse array of landscapes and people, including legendary Las Vegas comedian Shecky Greene, an elderly Austrian heiress, trust-funders, Native Americans, and white golfers who participate in their club’s annual “pow wow” party by wearing feather headdresses. These slices of life gradually come to illustrate the story of Willie Boy, a Paiute youth who escaped a mounted posse on foot across 500 miles of desert in 1908 (and whose story would later inspire Abraham Polonsky’s 1969 film, TELL THEM WILLIE BOY IS HERE). Few contemporary filmmakers have ranged so freely from mode to mode throughout their careers (both between and within films), and POW WOW thrillingly continues Devor’s unpredictable trajectory. -Anthology Film Archives

"Hypnotic viewing…" The Stranger

"Sean Kirby’s cinematography looks deeply into faces and landscapes alike, examining domestic life and outdoor leisure, subterranean waterworks and high-tech fences, majestic vistas and plasticized suburbs with a rapt and avid eye. Adam Sekuler edits with a quietly lacerating wit, and Devor, calmly winning the participants’ confidence, sets the movie’s tone with a sardonic sequence in a perversely oblivious country-club party of Native American inspiration." The New Yorker

Showtimes:
TBA


March 3–24, Saturdays

Saturday Secret Matinees!

Saturday Secret Matinees!

Presented by the Sprocket Society
Various years & directors / approx 120 min / 16mm

10th anniversary! A weekly series of old-fashioned matinees, all on 16mm film! Each Saturday's show includes: a weekly cliffhanger episode of the classic serial FLASH GORDON CONQUERS THE UNIVERSE, plus: a classic (but secret) feature. Save big with a series pass -- available at the door!

Feature films follow bi-weekly themes:
Mar. 3 & 10: Atomic Monsters. The best-of-breed radioactive mutants to ever threaten the world.
Mar. 14 & 24: Widescreen Thrills. Rare 16mm cinemascope prints bursting from the screen with adventure.

Showtimes:
Saturdays: 2pm


March 9-15

November

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November

Rainer Sarnet / 2017, Estonia
115min / digital

In this tale of love and survival in 19th century Estonia, peasant girl Liina longs for village boy Hans, but Hans is inexplicably infatuated by the visiting German baroness that possesses all that he longs for. For Liina, winning Hans’ requited love proves incredibly complicated in this dark, harsh landscape where spirits, werewolves, plagues, and the devil himself converge, where thievery is rampant, and where souls are highly regarded, but come quite cheap. With alluring black and white cinematography, Rainer Sarnet vividly captures these motley lives as they toil to exist—is existence worth anything if it lacks a soul? In Estonian & German with English subtitles.

“A deeply peculiar folklore-informed picture in which unrequited love is more troubling than the plague, the Devil, and a forest full of ghosts, Rainer Sarnet's NOVEMBER upends any expectations moviegoers may have when they hear the words ‘black-and- white film from Estonia." Hollywood Reporter

"Suffused with sorcery and silvery light, "November," is a bizarre Estonian love story - a mishmash of folklore, farm animals and scabrous fun - in which beauty and ugliness fight to the death." New York Times

"[A] bone-chilling, hallucinatory tour de force..." Village Voice

Showtimes:
TBA


March 9-15

Before We Vanish

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Before We Vanish

Kiyoshi Kurosawa / 2017, Japan
129min / digital

In his twentieth film, acclaimed horror director Kiyoshi Kurosawa reinvents the alien movie as a unique and profoundly human tale of love and mystery. Three aliens travel to Earth on a reconnaissance mission in preparation for a mass invasion. Having taken possession of human bodies, the visitors rob the hosts of their essence – good, evil, property, family, belonging – leaving only hollow shells, which are all but unrecognizable to their loved ones. Equally hilarious, thrilling, and profound, BEFORE WE VANISH reminds audiences of the continued strength of one of Japanese cinema's most unique auteurs – and the value of the human spirit. In Japanese with English subtitles.

“Mr. Kurosawa, a prolific and skilled genre master, spins this parable with a light, nimble touch, punctuating heavy passages of exposition with punchy, modest action sequences and snatches of incongruously bouncy music." The New York Times

"Part ghost story, goofy comedy, marital melodrama, rebel youth film, action movie and sci-fi - all immensely fun and impeccably made." MUBI

"An alien invasion B movie packed with A-grade ideas and craft." The Film Stage

Showtimes:
TBA


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