Current Season

• Hollywood masterworks with piano accompaniment by Ben Model (September 25)
  • 35mm screenings of The Cameraman (Edward Sedgwick and Buster Keaton, 1928, USA, 78 minutes) and The Crowd
    (King Vidor, 1928, USA, 104 minutes), followed by a discussion with the musician.
• Austrian silent film with new score by Donald Sosin and Alicia Svigals (October 2)
  • Special screening of the new Filmarchiv restoration of The City Without Jews (Hans Karl Breslauer, 1924, Austria, 91 minutes), presented with the live performance of an original score by Donald Sosin and klezmer violinist Alicia Svigals. There will be a discussion with the musicians following the screening.
• Italian silent film with new guitar and mandolin score by John La Barbera (October 16)
  • Special screening of Assunta Spina (Gustavo Serena, 1915, Italy, 63 minutes). followed by a discussion with the musicians
• Visit by Mati Diop (POSTPONED, NEW DATE TBA)
  • Special screening of Cannes Grand Prix winner Atlantics (2019), followed by a discussion with the filmmaker

• Calling Mr. Smith
  (Stefan and Franciszka Themerson, 1943, UK, 9 minutes)
• A Generation
  (Andrzej Wajda, 1956, Poland, 95 minutes, 35mm)
• Kanał
  (Andrzej Wajda, 1957, Poland, 96 minutes, 35mm)

• Passenger
  (Andrzej Munk, 1963, Poland, 62 minutes)

• Paisà
  (Roberto Rossellini, 1946, Italy, 115 minutes)
• Flowers of St. Francis
  (Roberto Rossellini, 1950, Italy, 89 minutes, 35mm)

• Ashes and Diamonds
  (Andrzej Wajda, 1958, Poland, 110 minutes, 35mm)
• Night Train
  (Jerzy Kawalerowicz, 1959, Poland, 97 minutes)

• The Last Days of Summer
  (Tadeusz Konwicki, 1958, Poland, 57 minutes)

• Duck Amuck
  (Chuck Jones, 1953, USA, 8 minutes, 35mm)
• Out of the Past
  (Jacques Tourneur, 1947, USA, 97 minutes, 35mm)
• Los Olvidados
  (Luis Buñuel, 1950, Mexico, 88 minutes, 35mm)

• Innocent Sorcerers
  (Andrzej Wajda, 1960, Poland, 88 minutes)
• Barrier
  (Jerzy Skolimowski, 1966, Poland, 77 minutes, 35mm)
• The Departure
  (Jerzy Skolimowski, 1967, Poland, 93 minutes, 35mm)

• Ikiru
  (Akira Kurosawa, 1952, Japan, 142 minutes)

• House
  (Dom, Walerian Borowczyk and Jen Lenica, 1958, Poland, 11 minutes)
• Two Men and a Wardrobe
  (Roman Polanski, 1958, Poland, 15 minutes)
• The Saragossa Manuscript
  (Wojciech Has, 1965, Poland, 185 minutes)

• Pickpocket
  (Robert Bresson, 1959, France, 79 minutes, 35mm)
• On the Waterfront
  (Elia Kazan, 1954, USA, 108 minutes, 35mm)

• Man of Marble
  (Andrzej Wajda, 1977, Poland, 166 minutes)

• Wróblewski According to Wajda
  (Andrzej Wajda, 2015, Poland, 40 minutes)

• The Pink Panther
  (Blake Edwards, 1963, USA, 115 minutes, 35mm)*
  *IB Technicolor Print
• McCabe and Mrs. Miller
  (Robert Altman, 1971, USA, 121 minutes, 35mm)

• Danton
  (Andrzej Wajda, 1983, France, 132 minutes)
• Moonlighting
  (Jerzy Skolimowski, 1982, UK, 87 minutes)

• Meshes of the Afternoon
  (Maya Deren, 1943, USA, 14 minutes, 16mm)
• Visions in Meditation #1
  (Stan Brakhage, 1989, USA, 16 minutes, 16mm)
• The Dante Quartet
  (Stan Brakhage, 1987, USA, 7 minutes, 35mm)
• Once Upon a Time in the West
  (Sergio Leone, 1968, Italy/USA, 175 minutes, 35mm)

• Promised Land
  (Andrzej Wajda, 1975, Poland, 175 minutes)

• Mean Streets
  (Martin Scorsese, USA, 1973, 112 minutes, 35mm)
• Raging Bull
  (Martin Scorsese, USA, 1980, 128 minutes, 35mm)

• The Round-Up
  (Miklós Jancsó, 1966, Hungary, 90 minutes, 35mm)
• Werckmeister Harmonies
  (Béla Tarr and Ágnes Hranitzky, 2000, Hungary, 145 minutes)

• 8 ½
  (Federico Fellini, 1963, Italy, 138 minutes, 35mm)
• The Passenger
  (Michelangelo Antonioni, 1975, Italy/Spain/France, 126 minutes, 35mm)

• Daisies
  (Věra Chytlová, 1966, Czechoslovakia, 79 minutes, 35mm)
• The Firemen’s Ball
  (Miloš Forman, 1967, Czechoslovakia, 75 minutes, 35mm)
• The Ear
  (Karel Kachyňa, 1970/1989, Czechoslovakia, 93 minutes, 35mm)

• Oratorio for Prague
  (Jan Němec, 1968, Czechoslovakia, 26 minutes)

• Gare du Nord
  (Jean Rouch, 1965, France, 15 minutes, 35mm)
• My Life to Live
  (Jean-Luc Godard, 1962, France, 84 minutes, 35mm)
• Cléo from 5 to 7
  (Agnés Varda, 1961, France, 90 minutes, 35mm)

• Dragon's Return
  (Eduard Grečner, 1967, Czechoslovakia, 81 minutes)
• Marketa Lazarová
  (František Vláčil, 1967, Czechoslovakia,164 minutes, 35mm)*
  *New 35mm Print

• Killer of Sheep
  (Charles Burnett, 1977, USA, 83 minutes, 35mm)*
  *Preceded by public discussion with Burnett

• Dr. Strangelove
  (Stanley Kubrick, 1964, USA, 103 minutes, 35mm)
• The Godfather
  (Francis Ford Coppola, 1972, USA, 175 minutes, 35mm)

• Two English Girls
  (François Truffaut, 1971, France, 130 minutes, 35mm)
• Van Gogh
  (Maurice Pialat, 1991, France, 158 minutes)

• Public discussion with editor Yann Dedet

• Illumination
  (Krzysztof Zanussi, 1973, Poland, 94 minutes)
• Year of the Quiet Sun
  (Krzysztof Zanussi, 1984, Poland, Poland/USA/West Germany, 106 minutes, 35mm)

• The Seasons
  (Artavazd Peleshian, 1975, USSR, 28 minutes)
• Andrei Rublev
  (Andrei Tarkovsky, 1966/1969 ,USSR, 205 minutes, 35mm)

• Young Girls of Wilko
  (Andrzej Wajda, 1979, Poland, 118 minutes)
• The Wedding
  (Andrzej Wajda, 1973, Poland, 106 minutes)

• Yellow Earth
  (Chen Kaige, 1984, China, 91 minutes, 35mm)
• Good Men, Good Women
  (Hou Hsiao-hsien, 1995, Taiwan/Japan, 108 minutes, 35mm)*
  *New 35mm Print

• The Decalogue: 1
  (Krzysztof Kieślowski, 1988, Poland, 57 minutes)
• The Double Life of Veronique
  (Krzysztof Kieślowski, 1991, France/Poland/Norway, 98 minutes, 35mm)
• Red
  (Krzysztof Kieślowski, 1994, France/Poland/Switzerland, 99 minutes, 35mm)

• In Praise of Love
  (Jean-Luc Godard, 2001, France/Switzerland, 98 minutes, 35mm)
• Magnolia
  (Paul Thomas Anderson, 1999, USA, 188 minutes, 35mm)

• Katyń
  (Andrzej Wajda, 2007, Poland, 125 minutes)
• Ida
  (Paweł Pawlikowski, 2013, Poland/Denmark/France/UK, 82 minutes)

• Through a Glass Darkly
  (Ingmar Bergman, 1961, Sweden, 91 minutes, 35mm)
• The Silence
  (Ingmar Bergman, 1963, Sweden, 105 minutes, 35mm)

• Vampyr
  (Carl Theodor Dreyer, 1932, Germany, 73 minutes, 35mm)
• Programs of 35mm silent films from the Jean Desmet Collection
  • The Colourful World of Cinema
    • Ved Faenglets Port (Temptations of a Great City)
      (August Blom, 1911, Denmark, 38 minutes)
    • L’Orgie romaine
      (Louis Feuillade, 1911, France, 9 minutes)
    • Tra le pinete di Rodi (The Island of Rhodes)
      (Savoia, 1912, Italy, 4 minutes)
    • Lily ménagère
      (Eclair Coloris, 1914, France, 7 minutes)
    • Le Royaume des fleurs (The Kingdom of Flowers)
      (Gaumont, c. 1914, France, 7 minutes)
    • La Légende des ondines
      (Georges Denola, 1911, France, 6 minutes)
    • L’Obsession d’or (The Golden Obsession)
      (Lucien Nonguet and Pathé Frères, 1906, France, 3 minutes)
  • Perils of the Pictures
    • Ein Neuer Apparat zur Verhütung von Kinobränden (A New Apparatus for the Prevention of Cinema Fires)
      (Germany, 1912, 3 minutes)
    • Le Mystère des Roches de Kador
      (Léonce Perret, 1912, France, 38 minutes)
    • The Picture Idol
      (James Young, 1912, USA, 14 minutes)
    • Amour et science (Love and Science)
      (M.J. Hoche, 1912, France, 15 minutes)
    • Arthème opérateur
      (Ernest Servaes, 1913, France, 7 minutes)
    • Una Tragedia al cinematografo (A Tragedy at the Cinema)
      (Enrico Guazzoni, 1913, Italy, 8 minutes)
    • Al cinematografo guardate – ma non toccate (At the Cinema Look, but do not Touch)
      (Italy, 1912, 6 minutes)

• Duck Amuck
  (Chuck Jones, 1953, USA, 8 minutes, 35mm)
• Los Olvidados
  (Luis Buñuel, 1950, Mexico, 88 minutes, 35mm)
• Programs of 35mm silent films from the Jean Desmet Collection
  • Cinema Fashionista
    • Laatse bioscoop wereldberichten [Newsreel]
      (1915, Netherlands, 5 minutes)
    • Fior di male (Flowers of Evil)
      (Carmine Gallone, 1915, Italy, 65 minutes)
    • La Moda vuole l’ala larga (Fashion Requires Large Hats)
      (Ambrosio, 1912, Italy, 5 minutes)
    • Concorso di bellezza fra bambini a Torino (Children’s Beauty Pageant in Torino)
      (Aquila Films, 1909, Italy, 3 minutes)
    • Patouillard a une femme qui veut suivre la mode (Patouillard’s Wife Wants to Follow the Fashion)
      (Romeo Bosetti, 1912, France, 6 minutes)

• Seventh Seal
  (Ingmar Bergman, 1957, Sweden, 96 minutes)
• Wild Strawberries
  (Ingmar Bergman, 1957, Sweden, 93 minutes)

• Ordet
  (Carl Theodor Dreyer, 1955, Denmark, 126 minutes, 16mm)
• The Magician
  (Ingmar Bergman, 1958, Sweden, 107 minutes)

• Robert Bresson film
• El Cid
  (Anthony Mann, 1961, Italy/United States, 180 minutes, 35mm)

• Music in Darkness
  (Ingmar Bergman, 1948, Sweden, 86 minutes, 16mm)
• The Cardinal
  (Otto Preminger, 1963, USA, 172 minutes, 35mm)

• Meshes of the Afternoon
  (Maya Deren, 1943, USA, 14 minutes, 16mm)
• Visions in Meditation #1
  (Stan Brakhage, 1989, USA, 16 minutes, 16mm)
• Aubade
  (Nathaniel Dorsky, 2010, USA, 11 minutes, 16mm)
• Lawrence of Arabia
  (David Lean, 1962, UK, 197 minutes, 35mm)

• A Lesson in Love
  (Ingmar Bergman, 1954, Sweden, 96 minutes, 35mm)
• Smiles of a Summer Night
  (Ingmar Bergman, 1955, Sweden, 108 minutes, 35mm)

• Hell in the Pacific
  (John Boorman, 1968, USA, 103 minutes, 35mm)
• The Fall of the Roman Empire
  (Anthony Mann, 1964, USA, 172 minutes, 35mm)

• Seven Samurai
  (Akira Kurosawa, 1954, Japan, 207 minutes, 35mm)

• Gertrud
  (Carl Theodor Dreyer, 1964, Denmark, 114 minutes, 35mm)

• Bonnie and Clyde
  (Arthur Penn, 1967, USA, 112 minutes, 35mm)
• West Side Story
  (Robert Wise, 1961, USA, 152 minutes, 35mm)

• Autumn Sonata
  (Ingmar Bergman, 1978, Sweden, 99 minutes, 35mm)
• Cries and Whispers
  (Ingmar Bergman, 1972, Sweden, 106 minutes, 35mm)

• Red Desert
  (Michelangelo Antonioni, 1964, Italy/France, 116 minutes, 35mm)
• Oedipus Rex
  (Pier Paolo Pasolini, 1967, Italy, 104 minutes, 35mm)

• The Magic Flute
  (Ingmar Bergman, 1975, Sweden, 135 minutes, 35mm)
• Amadeus
  (Miloš Forman, 1984, USA, 160 minutes, 35mm)

• Scenes from a Marriage
  (Ingmar Bergman, 1973, Sweden, 283 minutes)

• Godard/Truffaut Program

• Lilith
  (Robert Rossen, 1964, USA, 114 minutes, 35mm)
• Faces
  (John Cassavetes, 1968, USA, 130 minutes, 16mm)

• Shadows
  (John Cassavetes, 1959, USA, 81 minutes, 35mm)
• Mean Streets
  (Martin Scorsese, 1973, USA, 112 minutes, 35mm)

• The Piano Teacher
  (Michael Haneke, 2001, France/Austria/Germany, 131 minutes, 35mm)
• La Cérémonie
  (Claude Chabrol, 1995, France, 112 minutes)

• Black Girl
  (Ousmane Sembène, 1965, Senegal/France, 65 minutes, 35mm)
• The Chronicle of Anna Magdalena Bach
  (Jean-Marie Straub and Danièle Huillet, 1968,West Germany, 94 minutes, 35mm)
• Shame
  (Ingmar Bergman, 1968, Sweden, 108 minutes, 35mm)

• The Round-Up
  (Miklós Jancsó, 1966, Hungary, 90 minutes, 35mm)
• Year of the Quiet Sun
  (Krzysztof Zanussi, 1984, Poland/USA/West Germany, 106
  minutes, 35mm)

• Hour of the Wolf
  (Ingmar Bergman, 1968, Sweden, 99 minutes, 35mm)
• Passion of Anna
  (Ingmar Bergman, 1969, Sweden, 101 minutes, 35mm)

• Ivan’s Childhood
  (Andrei Tarkovsy, 1962, USSR, 97 minutes, 35mm)
• The Sacrifice
  (Andrei Tarkovsky, 1986, Sweden, 142 minutes, 35mm)

• The Ascent
  (Larisa Shepitko, 1977, USSR, 111 minutes, 35mm)
• The Mirror
  (Andrei Tarkovsky, 1975, USSR, 107 minutes, 35mm)

• The Deep Blue Sea
  (Terence Davies, 2011, UK, 96 minutes, 35mm)
• Breaking the Waves
  (Lars von Trier, 1996, Denmark, 159 minutes, 35mm)

• The Horse Thief
  (Tian Zhuangzhuang, 1986, China, 88 minutes, 35mm)
• Close-Up
  (Abbas Kiarostami, 1990, Iran, 98 minutes, 35mm)

• Fanny and Alexander
  (Ingmar Bergman, 1982, Sweden/France/West Germany, 312 minutes)

• Beau Travail
  (Claire Denis, 1999, France, 98 minutes, 35mm)
• Notre musique
  (Jean-Luc Godard, 2004, France/Switzerland, 80 minutes, 35mm)
• Le Quattro Volte
  (Michelangelo Frammartino, 2010, Italy, 88 minutes, 35mm)
   

• Vertigo
  (Alfred Hitchcock, 1958, USA, 128 minutes, 35mm)

• Early Cinema Program
  • Arrival of a Train
    (Auguste and Louis Lumière, 1895, France, 1 minute)
  • Avenue de l’Opéra
    (Alice Guy, 1900, France, 1 minute)
  • Grandma’s Reading Glass
    (G.A. Smith, 1900, UK, 2 minutes)
  • The Countryman and the Cinematograph
    (R.W. Paul, 1901, UK, 1 minute)
  • What Happened on Twenty-Third Street, New York
    (Edwin S. Porter, 1901, USA, 1
    minute)
  • Coney Island at Night
    (Edwin S. Porter, 1905, USA, 5 minutes)
  • Films of the San Francisco Earthquake
    (Robert K. Bonine, 1906, USA, 2 minutes)
  • The Life of an American Fireman
    (Edwin S. Porter, 1903, USA, 6 minutes)
  • The Great Train Robbery
    (Edwin S. Porter, 1903, USA, 11 minutes)
  • A Trip to the Moon
    (Georges Méliès, 1902, France, 14 minutes)
  • The Red Spectre
    (Segundo de Chomón, 1907, Spain/France, 8 minutes)
  • Sherlock Jr.
    (Buster Keaton, 1924, USA, 45 minutes)
• The Prestige
  (Christopher Nolan, 2006, UK/USA, 130 minutes, 35mm)

• The Kid
  (Charles Chaplin, 1921, USA, 68 minutes, 35mm)
• Solaris
  (Andrei Tarkovsky, 1972, USSR, 167 minutes, 35mm)

• A Corner in Wheat
  (D.W. Griffith, 1909, USA, 14 minutes)
• Intolerance
  (D.W. Griffith, 1916, USA, 196 minutes)

• Barry Lyndon
  (Stanley Kubrick, 1975, UK, 179 minutes, 35mm)

• Les Vampires, Episode 3:  The Red Codebook
  (Louis Feuillade, 1915, France, 42 minutes)
• The Dying Swan
  (Yevgeni Bauer, 1917, Russia, 49 minutes)
• The Dumb Girl of Portici
  (Lois Weber and Philips Smallery, 1915, USA, 112 minutes)
• Nanook of the North
  (Robert Flahery, 1922, USA, 79 minutes)

• Edvard Munch
  (Peter Watkins, 1976, Norway, 201 minutes)

• The Circus
  (Charles Chaplin, 1925, USA, 75 minutes, 35mm)
• Greed
  (Erich von Stroheim, 1924, USA, 140 minutes, 35mm)

• The Shining
  (Stanley Kubrick, 1980, USA, 140 minutes, 35mm)

• Sunrise
  (F.W. Murnau, 1927, USA, 95 minutes, 35mm)
• Destiny
  (Fritz Lang, 1921, Germany, 105 minutes)

• The Piano
  (Jane Campion, 1993, New Zealand/Australia, 121 minutes, 35mm)
• The Silence Before Bach
  (Pere Portabella, 2007, Spain, 102 minutes, 35mm)

• Young Mr. Lincoln
  (John Ford, 1961, USA, 109 minutes, 35mm)
• Ride Lonesome
  (Budd Boetticher, 1959, USA, 78 minutes, 35mm)

• Ivan the Terrible, Part 1
  (Sergei Eisenstein, 1944, USSR, 95 minutes, 35mm)
• Ivan the Terrible, Part 2
  (Sergei Eisenstein, 1946/1958, USSR, 88 minutes, 35mm)

• Revolution: New Art for a New World
  (Margy Kinmonth, 2016, UK/Russia, 85 minutes, DVD)

• Battleship Potemkin
  (Sergei Eisenstein, 1925, USSR, 75 minutes. 35mm)
• Earth
  (Aleksandr Dovzhenko, 1930, USSR, 90 minutes, 35mm)

• The Fire Within
  (Louis Malle, 1963, France, 105 minutes, 35mm)
• Lacombe Lucien
  (Louis Malle, 1974, France, 138 minutes, 35mm)

• Public discussion with cinematographer Caroline Champetier

• Minnie the Moocher
  (Dave Fleischer, 1932, USA, 8 minutes, 35mm)
• Monte Carlo
  (Ernst Lubitsch, 1930, USA, 90 minutes, 35mm)
• The Criminal Code
  (Howard Hawks, 1931, USA, 97 minutes, 35mm)
• A House Divided
  (William Wyler, 1931, USA, 76 minutes, 35mm)

• Michelangelo Eye to Eye
  (Michelangelo Antonioni, 2004, Italy, 12 minutes)
• Passion
  (Jean-Luc Godard, 1982, France, 84 minutes, 35mm)
• AI Artificial Intelligence
  (Steven Spielberg, 2001, 146 minutes, 35mm)

• It Happened One Night
  (Frank Capra, 1934, USA, 105 minutes, 35mm)
• Queen Christina
  (Rouben Mamoulian, 1933, USA, 95 minutes, 35mm)

• Screening of film and video works by the faculty and staff of the Film and Electronic Arts Program

• Where Now are the Dreams of Youth?
  (Yasujiro Ozu, 1932, Japan, 92 minutes, 35mm)
• Sisters of the Gion
  (Kenji Mizoguchi, 1936, Japan, 95 minutes, 35mm)

• Parsifal
  (Hans-Jürgen Syberberg, 1982, West Germany/France, 255 minutes, 35mm)

• Meet Me in St. Louis
  (Vincente Minnelli, 1944, USA, 114 minutes, 35mm)
• Henry V
  (Kenneth Branagh, 1989, UK, 137 minutes, 35mm)

• Leo the Last
  (John Boorman, 1970, UK, 105 minutes, 35mm)
• There Will be Blood
  (Paul Thomas Anderson, 2007, USA, 146 minutes, 35mm)

• A Study in Choreography for the Camera
  (Maya Deren, 1945, USA, 4 minutes, 16mm)
• The Red Shoes
  (Michael Powell and Emeric Pressburger, 1948, UK, 132 minutes, 35mm)
• Beau Travail
  (Claire Denis, 1999, France, 96 minutes, 35mm)

• Rules of the Game
  (Jean Renoir, 1938, France, 112 minutes, 35mm)
• Henry V
  (Laurence Olivier, 1944, UK, 136 minutes, 35mm)

• The Mirror
  (Andrei Tarkovsky, 1975, USSR, 107 minutes, 35mm)
• Gertrud
  (Carl Theodor Dreyer, 1964, Denmark, 119 minutes, 35mm)

• Listen to Britain
  (Humphrey Jennings and Stewart McAllister, 1942, UK, 20 minutes, Blu-ray)
• Citizen Kane
  (Orson Welles, 1941, USA, 119 minutes, 35mm)
• Day of Wrath
  (Carl Theodor Dreyer, 1943, Denmark, 97 minutes, 35mm)

• Fanny and Alexander
  (Ingmar Bergman, 1982, Sweden/France/West Germany, 182 minutes)

• The Palm Beach Story
  (Preston Sturges, 1942, 82 minutes, 35mm)
• Objective, Burma
  (Raoul Walsh, 1945, 132 minutes, 35mm)

• Je suis Annemarie Schwarzenbach
  (Véronique Aubouy, 2014, 85 minutes)
• Vertigo
  (Alfred Hitchcock, 1958, USA, 128 minutes, 35mm)

• The Kid
  (Charles Chaplin, 1921, USA, 68 minutes, 35mm)
• Solaris
  (Andrei Tarkovsky, 1972, USSR, 167 minutes, 35mm)

• Ivan the Terrible, Part 1
  (Sergei Eisenstein, 1944, USSR, 95 minutes, 35mm)
• Ivan the Terrible, Part 2
  (Sergei Eisenstein, 1946/1958, USSR, 88 minutes, 35mm)

• Youth of the Beast
  (Seijun Suzuki, 1963, Japan, 92 minutes, 35mm)

• Ziegeunerweisen
  (Seijun Suzuki, 1980, Japan, 145 minutes, 35mm)
• Yumeji
  (Seijun Suzuki, 1980, Japan, 128 minutes, 35mm)

• Story of a Prostitute
  (Seijun Suzuki, 1965, Japan, 96 minutes, 35mm)
• Kagerō-za
  (Seijun Suzuki, 1981, Japan, 143 minutes, 35mm)

• In the Land of the Head Hunters
  (Edward S. Curtis, 1914, USA, 66 minutes, Blu-ray)
  *New reconstruction with the original score

• Edvard Munch
  (Peter Watkins, 1976, Norway, 171 minutes)

• Special Film Among the Arts Program including Caravaggio (Derek Jarman, 1986, UK, 93 minutes, 35mm)

• La Belle Noiseuse
  (Jacques Rivette, 1991, France, 238 minutes, 35mm)

• Tattooed Life
  (Seijun Suzuki, 1965, Japan, 87 minutes, 35mm)
• Fighting Elegy
  (Seijun Suzuki, 1966, Japan, 86 minutes, 35mm)
• Carmen from Kawachi
  (Seijun Suzuki, 1966, Japan, 89 minutes, 35mm)

• Macbeth
  (Roman Polanski, 1971, UK/USA, 140 minutes, 35mm)
• Throne of Blood
  (Akira Kurosawa, 1957, Japan, 108 minutes)

• Dust in the Wind
  (Hou Hsiao-hsien, 1986, Taiwan, 110 minutes, 35mm)
• Taipei Story
  (Edward Yang, 1985, Taiwan, 110 minutes, 16mm)

• To Have and Have Not (Howard Hawks, 1944, USA, 100 minutes, 35mm)
• Jean-Luc Godard Program

• The Killer
  (John Woo, 1989, Hong Kong, 111 minutes, 35mm)
• Fulltime Killer
  (Johnnie To and Wai Ka-fai, 2001, Hong Kong, 102 minutes, 35mm)

• A Study in Choreography for the Camera
  (Maya Deren, 1945, USA, 4 minutes, 16mm)
• The Red Shoes
  (Michael Powell and Emeric Pressburger, 1948, UK, 132 minutes, 35mm)
• Beau Travail
  (Claire Denis, 1999, France, 96 minutes, 35mm)

• Yellow Earth
  (Chen Kaige, 1985, 90 minutes, China, 35mm)
• Raise the Red Lantern
  (Zhang Yimou, 1994, 125 minutes, China/Hong Kong/Taiwan, 35mm)

• Night and Day
  (Chantal Akerman, 1991, Belgium/France/Switzerland, 92 minutes, 35mm)

• City of Life and Death
  (Lu Chuan, 2009, China, 135 minutes, 35mm)

• Teshigahara and Antonioni Program

• The Mirror
  (Andrei Tarkovsky, 1975, USSR, 107 minutes, 35mm)
• Sans Soleil
  (Chris Marker, 1983, France, 103 minutes, 16mm)

• Crouching Tiger, Hidden Dragon
  (Ang Lee, 2000, 120 minutes, Taiwan, 35mm)

• Vertigo
  (Alfred Hitchcock, 1958, USA, 128 minutes, 35mm)
• The Birds
  (Alfred Hitchcock, 1963, USA, 119 minutes, 35mm)

• Nostalghia
  (Andrei Tarkovsky, 1983, Italy, 125 minutes, 35mm)
• Histoire(s) du cinéma 1A, 1B, 4B
  (Jean-Luc Godard, 1988/1998, ~130 minutes)

• Stalker
  (Andrei Tarkovsky, 1979, USSR, 163 minutes, 35mm)

• Cenere
  (Febo Mari, 1916, Italy, 31 minutes)
• Il Fuoco
  (Giovanni Pastrone, 1916, Italy, 51 minutes)

• Special Abel Gance Screening

• Mother
  (Vsevolod Pudovkin, 1926, USSR, 90 minutes)
• Battleship Potemkin
  (Sergei Eisenstein, 1925, USSR, 75 minutes)

• Cinematic Mythologies Program including Beauty and the Beast (Jean Cocteau, 1946, France, 93 minutes, 35mm)*
  *New print

• The Gold Rush
  (Charles Chaplin, 1925, USA, 95 minutes, 35mm)
• The Merry Widow
  (Erich von Stroheim, 1925, USA, 126 minutes, 16mm)

• Mother and Son
  (Aleksandr Sokurov, 1997, Russia, 73 minutes, 35mm)
• Stan Brakhage Program:
  • The Dante Quartet
    (1987, USA, 7 minutes, 35mm)
  • Creation
    (1979, USA, 16 minutes, 16mm)
  • Arabic 3
    (1980, USA, 7 minutes, 16mm)
  • Visions in Meditation, Part 3: Plato’s Cave
    (1990, USA, 19 minutes, 16mm)
  • Untitled: For Marilyn
    (1992, USA, 12 minutes, 16mm)
  • First Hymn to the Night – Novalis
    (1994, 4 minutes, 16mm)
  • Chartres Series
    (1994, 9 minutes, 16mm)
  • Faust's Other: An Idyll
    (1988, 38 minutes, 16mm)
  • Faust 4
    (1989, 45 minutes, 16mm)

• Destiny
  (Fritz Lang, 1921, Germany, 105 minutes)
• Sunrise
  (F.W. Murnau, 1927, USA, 95 minutes, 35mm)

• L'Amour fou
  (Jacques Rivette, 1968, 250 minutes, 35mm)

• Major Dundee
  (Sam Peckinpah, 1965, USA, 152 minutes, 35mm)
• Two Rode Together
  (John Ford, 1961, USA, 109 minutes, 35mm)

• Pierrot le Fou
  (Jean-Luc Godard, 1965, France/Italy, 110 minutes, 35mm)
• The Story of Marie and Julien
  (Jacques Rivette, 2003, France, 150 minutes, 35mm)

• The Smiling Lieutenant
  (Ernst Lubitsch, 1931, USA, 89 minutes, 35mm)

• Air Mail
  (John Ford, 1932, USA, 82 minutes, 35mm)
• Only Yesterday
  (John Stahl, 1933, USA, 105 minutes, 35mm)

• In Titan's Goblet (1991, USA, 10 minutes, 16mm)
• Lodz Symphony (1993, USA/Poland, 20 minutes, 16mm)
• Skagafjördur (2004, USA/Iceland, 33 minutes, 16mm)

• The Book of Mary
  (Anne-Marie Miéville, 1985, Switzerland/France, 27 minutes, 35mm)
• Hail Mary
  (Jean-Luc Godard, 1985, France/Switzerland/UK, 80 minutes, 35mm)
• Death in Venice
  (Luchino Visconti, 1971, Italy/France, 130 minutes, 35mm)

• New York Portrait, Parts 1-3 (1978-1990, USA, ~50 minutes, 16mm)

• Mr. Smith Goes to Washington
  (Frank Capra, 1939, USA, 129 minutes, 35mm)
• The Great McGinty
  (Preston Sturges, 1940, 83 minutes, 35mm)

• A Time to Love and a Time to Die
  (Douglas Sirk, 1958, USA, 132 minutes, 35mm)
• Germany Year 90 Nine Zero
  (Jean-Luc Godard, 1991, France, 62 minutes, 35mm)
• Chinese Roulette
  (Rainer Werner Fassbinder, 1976, West Germany, 84 minutes, 35mm)

• L'Intrus
  (Claire Denis, 2004, France/Germany, 130 minutes, 35mm)
• The Deer Hunter
  (Michael Cimino, 1978, USA, 178 minutes, 35mm)

• The Thief of Bagdad
  (Michael Powell, 1940, UK, 106 minutes, 35mm)
• Fantasia
  (Walt Disney, et al, 1940, USA, 126 minutes, 35mm)

• The Double Life of Veronique
  (Krzysztof Kieslowski, 1991, France/Poland/Norway, 98 minutes, 35mm)
• Blue
  (Krzysztof Kieslowski, 1993, France/Poland/Switzerland, 100 minutes, 35mm)

• La Bête humaine
  (Jean Renoir, 1938, France, 109 minutes, 35mm)
• Le Deuxième Souffle
  (Jean-Pierre Melville, 1966, France, 150 minutes, 35mm)

• Days of Heaven
  (Terrence Malick, 1978, USA, 95 minutes, 35mm)
• The New World
  (Terrence Malick, 2005, USA, 150 minutes, 35mm)

• Listen to Britain
  (Humphrey Jennings and Stewart McAllister, 1942, UK, 20 minutes)
• The Magnificent Ambersons
  (Orson Welles, 1943, USA, 83 minutes, 35mm)
• Day of Wrath
  (Carl Theodor Dreyer, 1943, Denmark, 97 minutes, 35mm)

• Melancholia
  (Lars von Trier, 2011, Denmark/Sweden/France/Germany, 130 minutes, 35mm)
• To the Wonder
  (Terrence Malick, 2012, USA, 110 minutes, 35mm)

• Children of Paradise
  (Marcel Carné, 1945, 190 minutes, 35mm)

Tuesday, February 3

• Vertigo
  (Alfred Hitchcock, 1958, USA, 128 minutes, 35mm)
• The Birds
  (Alfred Hitchcock, 1963, USA, 119 minutes, 35mm)

• Seven Samurai
  (Akira Kurosawa, 1954, Japan, 207 minutes, 35mm)

Friday, February 6

• Nostalghia
  (Andrei Tarkovsky, 1983, Italy, 125 minutes, 35mm)
  *New print
• Mirror
  (Andrei Tarkovsky, 1975, USSR, 108 minutes, 35mm)

Tuesday, February 10

• Queen Kelly
  (Erich von Stroheim, 1929, USA, 107 minutes, 35mm)
• Excalibur
  (John Boorman, 1981, UK, 140 minutes, 35mm)

Wednesday, February 11

• Notorious
  (Alfred Hitchcock, 1946, USA, 101 minutes, 35mm)
• The Lady from Shanghai
  (Orson Welles, 1947, USA, 87 minutes, 35mm)

• Contempt
  (Jean-Luc Godard, 1963, France/Italy, 102 minutes, 35mm)
• Band of Outsiders
  (Jean-Luc Godard, 1964, France, 94 minutes, 35mm)

• Last Holiday
  (Henry Cass, 1950, UK, 88 minutes, 35mm)

• The Captain’s Paradise
  (Anthony Kimmins, 1953, UK, 94 minutes, 35mm)

Tuesday, February 24

• Pierrot le fou
  (Jean-Luc Godard, 1965, France/Italy, 110 minutes, 35mm)
• Two or Three Things I Know About Her
  (Jean-Luc Godard, 1967, France, 87 minutes, 35mm)

• El Cid
  (Anthony Mann, 1961, Italy/USA, 182 minutes, 35mm)

Friday, February 27

• Don't Look Now
  (Nicolas Roeg, 1973, UK/Italy, 110 minutes, 35mm)
• Possession
  (Andrzej Zulawski, 1981, France/West Germany, 124 minutes, 35mm)
  *New print

Tuesday, March 3 (Special Guest Bernard Eisenschitz)

• Jean-Luc Godard Program

Wednesday, March 4 (Special Guest Bernard Eisenschitz)

There will be a public discussion with Bernard Eisenschitz about Jean-Luc Godard, montage, and international cinema in the theater at 1:30 PM

• Ivan the Terrible, Part 1
  (Sergei Eisenstein, 1944, USSR, 95 minutes, 35mm)
• Ivan the Terrible, Part 2
  (Sergei Eisenstein, 1946/1958, USSR, 88 minutes, 35mm)

• Khrustaylov, My Car!
  (Aleksei Guerman, 1998, Russia/France, 137 minutes, 35mm)
• Ro.Go.Pa.G.
  (Roberto Rossellini, Jean-Luc Godard, Pier Paolo Pasolini, and Ugo Gregoretti, France/Italy, 1963, 122 minutes, 16mm)

Wednesday, March 11 (Live Accompaniment by Trio Kavkasia and Guest Singers)

• Eliso
  (Nikoloz Shengelaia, 1928, USSR, 90 minutes, 35mm)
  *Archival print courtesy the Berkeley Academy of Art and Pacific Film Archive

Tuesday, March 24

• Nouvelle Vague
  (Jean-Luc Godard, 1990, Switzerland/France, 90 minutes, 35mm)
• Hail Mary
  (Jean-Luc Godard, 1985, Switzerland/France/UK, 107 minutes, 35mm)
  *New print

• Red Desert
  (Michelangelo Antonioni, 1964, Italy/France, 116 minutes, 35mm)
• The Conformist
  (Bernardo Bertolucci, 1970, Italy/France/West Germany, 111 minutes, 35mm)

Tuesday, March 31

• The Age of Innocence
  (Martin Scorsese, 1993, USA, 139 minutes, 35mm)
  *Studio vault print

• JLG/JLG
  (Jean-Luc Godard, 1994, France, 60 minutes, 35mm)
• Histoire(s) du cinéma 4B: Les Signes parmi nous
  (Jean-Luc Godard, 1998, France, 38 minutes, DVD)

Wednesday, April 1

• La Belle Noiseuse
  (Jacques Rivette, 1991, France/Switzerland, 238 minutes, 35mm)

Tuesday, April 7 (Filmmaker in Attendance)

There will be a post-film discussion with with co-director/editor David Tedeschi and Ian Buruma (Paul W. Williams Professor of Human Rights and Journalism)

• The 50 Year Argument
  (Martin Scorsese and David Tedeschi, 2014, USA, 97 minutes)

• Shame
  (Ingmar Bergman, 1968, Sweden, 103 minutes, 35mm)
• The Round-Up
  (Miklós Jancsó, 1966, Hungary, 90 minutes, 35mm)

Friday, April 10

• Opération béton
  (Jean-Luc Godard, 1955, Switzerland, 20 minutes, 35mm)
• Breathless
  (Jean-Luc Godard, 1960, France, 90 minutes, 35mm)
• Le Petit Soldat
  (Jean-Luc Godard, 1963, France, 88 minutes, 35mm)

• Liebelei
  (Max Ophüls, 1933, Germany, 88 minutes, 35mm)
  *Archival print courtesy Academy of Motion Picture Arts and Sciences
• Germany Year 90 Nine Zero
  (Jean-Luc Godard, 1991, France, 62 minutes, 35mm)
• Lessons of Darkness
  (Werner Herzog, 1992, West Germany, 50 minutes)

Tuesday, April 21

• Stan Brakhage program
  • Chinese Series (2003, 3 minutes, 35mm)
  • Western History (1972, 8 minutes, 16mm)
  • The Dante Quartet (1987, 7 minutes, 35mm)
  • Creation (1979, 17 minutes, 16mm)
  • Interpolations 1-5 (1992, 15 minutes, 35mm)
  • The Garden of Earthly Delights (1981, 2 minutes, 35mm)
• Mother and Son
  (Aleksandr Sokurov, 1997, Russia, 73 minutes, 35mm)
• Faust
  (F.W. Murnau, 1926, Germany, 90 minutes, 35mm)

Wednesday, April 22

• Shadows
  (John Cassavetes, 1959, USA, 81 minutes, 35mm)
• Mean Streets
  (Martin Scorsese, 1973, USA, 112 minutes, 35mm)

• Notre musique
  (Jean-Luc Godard, 2004, France/Switzerland, 80 minutes, 35mm)

Tuesday, April 28

• The Sacrifice
  (Andrei Tarkovsky, 1986, Sweden/UK/France, 142 minutes, 35mm)
  *New print
• Keep Your Right Up
  (Jean-Luc Godard, 1987, France/Switzerland, 82 minutes, 35mm)

Wednesday, April 29

• Andrei Rublev
  (Andrei Tarkovsky, 1966/1969, USSR, 185 minutes, 35mm)

Tuesday, May 5

• In Praise of Love
  (Jean-Luc Godard, 2001, France/Switzerland, 97 minutes, 35mm)

• Melancholia
  (Lars von Trier, 2011, Denmark/Sweden/France/Germany, 130 minutes, 35mm)
• To the Wonder
  (Terrence Malick, 2012, USA, 110 minutes, 35mm)

• A Talking Picture
  (Manoel de Oliveira, 2003, Portugal/France/Italy, 96 minutes, 35mm)

• Bigger than Life
  (Nicholas Ray, 1956, USA, 95 minutes, 35mm)
• Written on the Wind
  (Douglas Sirk, 1956, USA, 99 minutes, 35mm)

• The Ten Commandments
  (Cecil B. DeMille, 1956, USA, 220 minutes, 35mm)

• The Umbrellas of Cherbourg
  (Jacques Demy, 1964, France, 91 minutes, 35mm)
• Moses and Aaron
  (Jean-Marie Straub and Danièle Huillet, 1975, West Germany/Austria/France/Italy, 107 minutes, 16mm)

• Part 1
  • La Glace à trois faces
    (1927, 38 minutes)
  • Sa tête
    (1929, 36 minutes)
  • The Fall of the House of Usher
    (1928, 66 minutes)
• Part 2
  • Mor'vran
    (1929-1930, 26 minutes)
  • Six et demi onze
    (1927, 73 minutes)

• 12:00 PM
  • La Chanson des peupliers
    (1931, 6 minutes, Archival print courtesy the Centre national du cinéma et de l'image animée, CNC)
  • Les Aventures de Robert Macaire
    (1925, 200 minutes, Restoration print courtesy the Cinémathèque française)*
    *With live musical accompaniment by Ben Model
• 5:00 PM
  • Les Berceaux
    (1932, 6 minutes, Archival print courtesy the Cinémathèque française)
  • Le Tempestaire
    (1947, 22 minutes, Restoration print courtesy the Cinémathèque française)
  • Cœur de gueux
    (1936, 73 minutes, Archival print courtesy the Cinémathèque française)
  • Les Bâtisseurs
    (1938, 54 minutes, Archival print courtesy the Centre national du cinéma et de l'image animée, CNC)

• An American in Paris
  (Vincente Minnelli, 1951, USA, 113 minutes, 35mm)
• The Band Wagon
  (Vincente Minnelli, 1953, USA, 112 minutes, 35mm)

• Blue Velvet
  (David Lynch, 1986, USA, 120 minutes, 35mm)
• Beyond Rangoon
  (John Boorman, 1995, USA, 100 minutes, 35mm)

• Van Gogh
  (Maurice Pialat, 1991, France, 158 minutes, 35mm)
  *Archival print courtesy Institut français
• Police
  (Maurice Pialat, 1985, France, 113 minutes, 35mm)
  *Archival print courtesy Institut français

• The Look of Silence
  (Joshua Oppenheimer, 2014, Denmark/Indonesia/UK, 103 minutes)

• Inaugural Bard Student Film Collective Screening

• Bird
  (Clint Eastwood, 1988, USA, 161 minutes, 35mm)
• Under the Sun of Satan
  (Maurice Pialat, 1987, France, 97 minutes, 35mm)
  *Archival print courtesy Institut français

• Program of 35mm, 16mm, and Digital works by Ashish Avikunthak

• À nos amours
  (Maurice Pialat, 1983, France, 95 minutes, 35mm)
  *Archival print courtesy Institut français
• La Gueule ouverte
  (Maurice Pialat, 1974, France, 82 minutes, 35mm)
  *Archival print courtesy Institut français

• The River
  (Jean Renoir, 1951, France/UK/India, 99 minutes, 35mm)
• Black Narcissus
  (Michael Powell and Emeric Pressburger, 1947, UK, 100 minutes, 35mm)

• The Story of My Death
  (Albert Serra, 2014, Spain/France, 148 minutes, 35mm)

• The Godfather, Part II
  (Francis Ford Coppola, 1974, USA, 200 minutes, 35mm)

• The Godfather, Part III
  (Francis Ford Coppola, 1990, USA, 170 minutes, 35mm)

• Blow-Up
  (Michelangelo Antonioni, 1966, UK/Italy, 111 minutes, 35mm)
• The Passenger
  (Michelangelo Antonioni, 1975, Italy/Spain/France, 119 minutes, 35mm)

• Animation Program including:
  • The Band Concert (Walt Disney, 1935, USA, 7 minutes, 16mm)
  • Circles (Oskar Fischinger, 1933, Germany, 3 minutes, 16mm)
  • Composition in Blue (Oskar Fischinger, 1935, Germany, 3 minutes, 16mm)
  • Allegretto (Oskar Fischinger, 1936, USA, 3 minutes, 16mm)
  • An American March (Oskar Fischinger, 1941, USA, 3 minutes, 16mm)
  • A Colour Box (Len Lye, 1935, UK, 3 minutes, 16mm)
  • Rainbow Dance (Len Lye, 1936, UK, 4 minutes, 16mm)
  • Swinging the Lambeth Walk (Len Lye, 1940, UK, 4 minutes, 16mm)

• The Aviator
  (Martin Scorsese, 2004, USA, 174 minutes, 35mm)

• Casino
  (Martin Scorsese, 1995, USA, 178 minutes, 35mm)

• Mistress America
  (Noah Baumbach, 2015, USA, 86 minutes)

• Une catastrophe
  (Jean-Luc Godard, 2008, France/Austria, 1 minute, 35mm)
  *New print
• Visions in Meditation #1
  (Stan Brakhage, 1989, USA, 16 minutes, 16mm)
  *New print
• Minnie the Moocher
  (Dave Fleischer, 1932, USA, 8 minutes, 35mm)
  *New print
• In Titan’s Goblet
  (Peter Hutton, 1991, USA, 10 minutes, 16mm)
• Beirut Outtakes
  (Peggy Ahwesh, 2007, USA, 7 minutes, Blu-ray)
• In a Lonely Place
  (Nicholas Ray, 1950, USA, 94 minutes, 35mm)
  *Restored print

• In the Mood for Love
  (Wong Kar-wai, 2000, Hong Kong/France, 98 minutes, 35mm)
  *New print

• Paisan
  (Roberto Rossellini, 1946, Italy, 134 minutes)
• Ivan's Childhood
  (Andrei Tarkovsky, 1962, USSR, 97 minutes, 35mm)

• I Am Twenty
  (Marlen Khutsiev, 1964, USSR, 164 minutes)

• Los Olvidados
  (Luis Buñuel, 1950, Mexico, 88 minutes, 35mm)

• Andrei Rublev
  (Andrei Tarkovsky, 1966-1969, USSR, 205 minutes, 35mm)

• The Hedgehog in the Fog
  (Yuri Norstein, 1975, USSR, 11 minutes)
• The Cranes are Flying
  (Mikhail Kalatozov, 1957, USSR, 95 minutes, 35mm)
• Ashes and Diamonds
  (Andrzej Wajda, 1958, Poland, 110 minutes, 35mm)

• Ivan the Terrible, Part 1
  (Sergei Eisenstein, 1944, USSR, 106 minutes, 35mm)
• Ivan the Terrible, Part 2
  (Sergei Eisenstein, 1946-1958, USSR, 88 minutes, 35mm)

• Pickpocket
  (Robert Bresson, 1959, France, 79 minutes, 35mm)
• Ordet
  (Carl Theodor Dreyer, 1955, Denmark, 126 minutes)

• Our Century
  (Artavazd Peleshian, 1983, USSR, 50 minutes)
• Solaris
  (Andrei Tarkovsky, 1972, USSR, 169 minutes, 35mm)

• Tale of Tales
  (Yuri Norstein, 1979, USSR, 29 minutes)
• The Color of Pomegranates
  (Sergei Parajanov, 1969, USSR, 75 minutes)
• Mirror
  (Andrei Tarkovsky, 1975, USSR, 106 minutes, 35mm)

• Gare du Nord
  (Jean Rouch, 1965, France, 15 minutes, 35mm)
• The Bridegroom, The Actress, and the Pimp
  (Jean-Marie Straub and Danièle Huillet, 1968, West Germany, 23 minutes, 35mm)
• The Ascent
  (Larisa Shepitko, 1977, USSR, 111 minutes, 35mm)
• Gertrud
  (Carl Theodor Dreyer, 1964, Denmark, 119 minutes, 35mm)

• Stalker
  (Andrei Tarkovsky, 1979, USSR, 163 minutes, 35mm)

• Boris Godunov
  (Valery Gergiev, 1990, USSR, 208 minutes)

• L’avventura
  (Michelangelo Antonioni, 1960, Italy, 143 minutes, 35mm)

• Year of the Quiet Sun
  (Krzysztof Zanussi, 1984, Poland, 110 minutes, 35mm)
• Nostalghia
  (Andrei Tarkovsky, 1983, USSR/Italy, 125 minutes, 35mm)

• Public lecture ("Carving Cameras: Sculpture in Film") and discussion with Professor Steven Jacobs (University of Ghent)

• Persona
  (Ingmar Bergman, 1966, Sweden, 85 minutes)
• The Double Life of Veronique
  (Krzysztof Kieślowski, 1991, France/Poland/Norway, 98 minutes, 35mm)

• Germany Year 90 Nine Zero
  (Jean-Luc Godard, 1991, France/Germany, 62 minutes, 35mm)
• Celine and Julie Go Boating
  (Jacques Rivette, 1974, France, 193 minutes, 35mm)

• Public lecture ("Rethinking Cinematic Reflexivity") and discussion with Professor Dan Yacavone (University of Edinburgh)

• The Sacrifice
  (Andrei Tarkovsky, 1986, Sweden, 149 minutes, 35mm)

• Special screening and discussion with Emmanuel Burdeau, film scholar and former editor-in-chief of Cahiers du cinéma

• Mother and Son
  (Alexander Sokurov, 1997, Russia/Germany, 73 minutes, 35mm)
• Second Circle
  (Alexander Sokurov, 1990, USSR, 93 minutes, 35mm)

• Distance
  (Nuri Bilge Ceylan, 2002, Turkey, 110 minutes, 35mm)
• The Return
  (Andrey Zvyagintsev, 2003, Russia, 110 minutes, 35mm)

• Throne of Blood
  (Akira Kurosawa, 1957, Japan, 110 minutes, 35mm)

• Henry V
  (Laurence Olivier, 1944, UK, 137 minutes, 35mm)

• Othello
  (Orson Welles, 1951, Italy/USA/Morocco, 90 minutes, 35mm)*
  *Archival print courtesy of the Library of Congress

• Woman of Tokyo
  (Yasujiro Ozu, 1933, Japan, 47 minutes, 35mm)
• Dragnet Girl
  (Yasujiro Ozu, 1933, Japan, 100 minutes, 35mm)

• Late Spring
  (Yasujiro Ozu, 1949, Japan, 110 minutes, 35mm)
• Sansho the Bailiff
  (Kenji Mizoguchi, 1954, Japan, 126 minutes, 35mm)

• Throne of Blood
  (Akira Kurosawa, 1957, Japan, 110 minutes, 35mm)
• The Lower Depths
  (Akira Kurosawa, 1957 Japan, 139 minutes, 35mm)

• Her Brother
  (Kon Ichikawa, 1960, Japan, 98 minutes, 35mm)*
• Flowing
  (Mikio Naruse, 1956, Japan, 117 minutes, 35mm)*
  *Imported archival prints courtesy of the Japan Foundation

• Mother
  (Mikio Naruse, 1952, Japan, 98 minutes, 35mm)*
  *Imported archival print courtesy of the Japan Foundation
• Ginza Cosmetics
  (Mikio Naruse, 1951, Japan, 87 minutes, 16mm)*
  *Imported archival print courtesy of the Japan Foundation

• Kanto Wanderer
  (Seijun Suzuki, 1963, Japan, 93 minutes, 35mm)*
  *Imported archival print courtesy of the Japan Foundation
• Double Suicide
  (Masahiro Shinoda, 1969, Japan, 142 minutes, 35mm)

• Humanity and Paper Balloons
  (Sadao Yamanaka, 1937, Japan, 86 minutes, 35mm)*
• Love Letter
  (Kinuyo Tanaka, 1953, Japan, 98 minutes, 16mm)*
  *Imported archival prints courtesy of the Japan Foundation

• Kikujiro
  (Takeshi Kitano, 1999, Japan, 121 minutes, 35mm)*
  *Imported archival print courtesy of the Japan Foundation
• Eijanaika
  (Shohei Imamura, 1981, Japan, 151 minutes, 35mm)*
  *Imported archival print courtesy of the Japan Foundation

• Where Chimneys are Seen
  (Heinosuke Gosho, 1953, Japan, 108 minutes, 35mm)*
  *Imported archival print courtesy of the Japan Foundation
• Ikiru
  (Akira Kurosawa, 1952, Japan, 142 minutes)

• Sanjuro
  (Akira Kurosawa, 1962, Japan, 96 minutes, 35mm)

• Hollywood masterworks with piano accompaniment by Ben Model (September 25)
  • 35mm screenings of The Cameraman (Edward Sedgwick and Buster Keaton, 1928, USA, 78 minutes) and The Crowd (King Vidor, 1928, USA, 104 minutes), followed by a discussion with the musician.
• Austrian silent film with new score by Donald Sosin and Alicia Svigals (October 2)
  • Special screening of the new Filmarchiv restoration of The City Without Jews (Hans Karl Breslauer, 1924, Austria, 91 minutes), presented with the live performance of an original score by Donald Sosin and klezmer violinist Alicia Svigals. There will be a discussion with the musicians following the screening.
• Italian silent film with new guitar and mandolin score by John La Barbera (October 16)
  • Special screening of Assunta Spina (Gustavo Serena, 1915, Italy, 63 minutes). followed by a discussion with the musicians

• A Midsummer Night’s Dream
  (Max Reinhardt and William Dieterle, 1935, USA, 143 minutes)*
  *Preserved by the Library of Congress

• Captain Blood
  (Michael Curtiz, 1935, USA, 119 minutes)
• The Sea Hawk
  (Michael Cutiz, 1940, USA, 127 minutes)

• The Ancient Law
  (E.A. Dupont, 1923, Germany, 123 minutes)*
  *Live musical accompaniment from klezmer violinist Alicia Svigals and pianist Donald Sosin
  *Trailer

• Letter from an Unknown Woman
  (Max Ophuls, 1948, USA, 86 minutes)*
  * 35mm restored print courtesy of the UCLA Film & Television Archive. Restoration funding provided by The Film Foundation.

• Treasures of the Sierra Madre
  (John Huston, 1948, USA, 126 minutes)

• The Man Who Knew Too Much
  (Alfred Hitchcock, 1956, USA, 120 minutes)

• The Sea Wolf
  (Michael Curtiz, 1941, USA, 100 minutes)
• King’s Row
  (Sam Wood, 1942, USA, 127 minutes)

• 2001: A Space Odyssey
  (Stanley Kubrick, 1968, USA, 142 minutes)

• The Killers
  (Robert Siodmak, 1946, USA, 105 minutes, 35mm)
• Angel Face
  (Otto Preminger, 1953, USA, 91 minutes, 35mm)

• The Maltese Falcon
  (John Huston, 1941, USA, 101 minutes, 35mm)
• The Big Sleep
  (Howard Hawks, 1946, USA, 111 minutes, 35mm)

• Shadow of a Doubt
  (Alfred Hitchcock, 1943, USA, 112 minutes, 35mm)
• Double Indemnity
  (Billy Wilder, 1944, USA, 107 minutes, 35mm)

• The Lady from Shanghai
  (Orson Welles, 1947, USA, 85 minutes, 35mm)
• The Postman Always Rings Twice
  (Tay Garnett, 1946, USA, 113 minutes, 35mm)

• M
  (Fritz Lang, 1931, Germany, 105 minutes, 35mm)

• The Night of the Hunter
  (Charles Laughton, 1955, USA, 92 minutes, 35mm)*
  *Film Foundation restoration print
• Dark Passage
  (Delmer Daves, 1947, USA, 106 minutes, 35mm)

• Scarlet Street
  (Fritz Lang, 1945, USA, 105 minutes, 35mm)*
  *Restored print courtesy of the Library of Congress
• Clash by Night
  (Fritz Lang, 1952, USA, 103 minutes, 35mm)

• Raw Deal
  (Anthony Mann, 1948, USA, 79 minutes, 35mm)*
  *Restored print courtesy of the Library of Congress
• Pursued
  (Raoul Walsh, 1947, USA, 105 minutes, 35mm)*
  *35mm preservation print courtesy of the UCLA Film & Television Archive. Preservation funding provided by The Film Foundation and the AFI/NEA Film Preservation Grants Program.
• Pitfall
  (André de Toth, 1948, USA, 85 minutes, 35mm)*
  *Restored by UCLA Film & Television Archive, with funding provided by the AFI/NEA Film Preservation Grants Program.

• The Smallest Show on Earth
  (Basil Dearden, 1957, UK, 80 minutes, 35mm)*
  *Imported print
• Nightmare Alley
  (Edmund Goulding, 1947, USA, 111 minutes, 35mm)
• Gun Crazy
  (Joseph H. Lewis, 1949, USA, 85 minutes, 35mm)

• Quai des Orfèvres
  (Henri-Georges Clouzot, 1947, France, 106 minutes, 35mm)
• Elevator to the Gallows
  (Louis Malle, 1958, France, 93 minutes, 35mm)

• Brighton Rock
  (John Boulting, 1948, UK, 92 minutes, 35mm)
• Odd Man Out
  (Carol Reed, 1947, UK, 116 minutes, 35mm)

• On Dangerous Ground
  (Nicholas Ray, 1952, USA, 82 minutes, 35mm)
• Stray Dog
  (Akira Kurosawa, 1949, Japan, 122 minutes, 35mm)

• The Godfather, Part II
  (Francis Ford Coppola, 1974, USA, 200 minutes, 35mm)*
  *Restored print

• The Wrong Man
  (Alfred Hitchcock, 1956, USA, 105 minutes, 35mm)

• Pickup on South Street
  (Samuel Fuller, 1953, USA, 80 minutes, 35mm)
• Night and the City
  (Jules Dassin, 1950, USA, 96 minutes, 35mm)
• He Ran All the Way
  (John Berry, 1951, USA, 78 minutes, 35mm)

• The Big Heat
  (Fritz Lang, 1953, USA, 90 minutes, 35mm)
• Murder by Contract
  (Irving Lerner, 1958, USA, 82 minutes, 35mm)
• Kiss Me Deadly
  (Robert Aldrich, 1955, USA, 106 minutes, 35mm)

• Touch of Evil
  (Orson Welles, 1958, USA, 112 minutes, 35mm)
• Point Blank
  (John Boorman, 1967, USA, 92 minutes, 35mm)

• The Killing
  (Stanley Kubrick, 1956, USA, 85 minutes, 35mm)

• Night Moves
  (Arthur Penn, 1975, USA, 100 minutes, 35mm)
• Chinatown
  (Roman Polanski, 1974, USA, 130 minutes, 35mm)

• TBA

• Russian Ark
  (Aleksandr Sokurov, 2002, Russia/Germany/Canada/Finland, 96 minutes)

• A Night on Bald Mountain
  (Alexandre Alexeieff and Claire Parker, 1933, France, 8 minutes)
• Fantasia
  (Ben Sharpsteen and the Walt Disney studio, 1940, USA, 126 minutes)

• The Devil is a Woman
  (Josef von Sternberg, 1935, USA, 79 minutes)

• Kismet
  (Vincente Minnelli, 1955, USA, 113 minutes)*
  *Imported 35mm print courtesy of the British Film Institute National Archive

• Man of Music
  (Composer Glinka, Grigori Aleksandrov, 1952, USSR, 100 minutes)

• The Cranes are Flying
  (Mikhail Kalatozov, 1957, USSR, 97 minutes)

• Atlantic City
  (Louis Malle, 1980, Canada/France, 104 minutes)

• The House of Mirth
  (Terence Davies, 2000, UK/Germany/USA, 140 minutes)

• Parsifal
  (Hans-Jürgen Syberberg, 1982, West Germany/France, 255 minutes, 35mm)

• Henry V
  (Kenneth Branagh, 1989, UK, 137 minutes, 35mm)

• Henry V
  (Laurence Olivier, 1944, UK, 136 minutes, 35mm)

• The Flowers of St. Francis
  (Roberto Rossellini, 1950, Italy, 89 minutes, 35mm)

• Dragon's Return
  (Eduard Grečner, 1967, Czechoslovakia, 81 minutes)
• Marketa Lazarová
  (František Vláčil, 1967, Czechoslovakia,164 minutes, 35mm)*
  *New 35mm Print

• Andrei Rublev
  (Andrei Tarkovsky, 1966/1969 ,USSR, 205 minutes, 35mm)

• Calling Mr. Smith
  (Stefan and Franciszka Themerson, 1943, UK, 9 minutes)
• A Generation
  (Andrzej Wajda, 1956, Poland, 95 minutes, 35mm)
• Kanał
  (Andrzej Wajda, 1957, Poland, 96 minutes, 35mm)

•  Passenger
  (Andrzej Munk, 1963, Poland, 62 minutes)

• Ashes and Diamonds
  (Andrzej Wajda, 1958, Poland, 110 minutes, 35mm)
• Night Train
  (Jerzy Kawalerowicz, 1959, Poland, 97 minutes)

• The Last Days of Summer
  (Tadeusz Konwicki, 1958, Poland, 57 minutes)

• Innocent Sorcerers
  (Andrzej Wajda, 1960, Poland, 88 minutes)
• Barrier
  (Jerzy Skolimowski, 1966, Poland, 77 minutes, 35mm)
• The Departure
  (Jerzy Skolimowski, 1967, Poland, 93 minutes, 35mm)

• House
  (Dom, Walerian Borowczyk and Jen Lenica, 1958, Poland, 11 minutes)
• Two Men and a Wardrobe
  (Roman Polanski, 1958, Poland, 15 minutes)
• The Saragossa Manuscript
  (Wojciech Has, 1965, Poland, 185 minutes)

• Man of Marble
  (Andrzej Wajda, 1977, Poland, 166 minutes)

• Wróblewski According to Wajda
  (Andrzej Wajda, 2015, Poland, 40 minutes)

• Danton
  (Andrzej Wajda, 1983, France, 132 minutes)
• Moonlighting
  (Jerzy Skolimowski, 1982, UK, 87 minutes)

• Promised Land
  (Andrzej Wajda, 1975, Poland, 175 minutes)

• The Round-Up
  (Miklós Jancsó, 1966, Hungary, 90 minutes, 35mm)
• Werckmeister Harmonies
  (Béla Tarr and Ágnes Hranitzky, 2000, Hungary, 145 minutes)

• Daisies
  (Věra Chytlová, 1966, Czechoslovakia, 79 minutes, 35mm)
• The Firemen’s Ball
  (Miloš Forman, 1967, Czechoslovakia, 75 minutes, 35mm)
• The Ear
  (Karel Kachyňa, 1970/1989, Czechoslovakia, 93 minutes, 35mm)

• Oratorio for Prague
  (Jan Němec, 1968, Czechoslovakia, 26 minutes)

• Dragon's Return
  (Eduard Grečner, 1967, Czechoslovakia, 81 minutes)
• Marketa Lazarová
  (František Vláčil, 1967, Czechoslovakia,164 minutes, 35mm)*
  *New 35mm Print

• Illumination
  (Krzysztof Zanussi, 1973, Poland, 94 minutes)
• Year of the Quiet Sun
  (Krzysztof Zanussi, 1984, Poland, Poland/USA/West Germany, 106 minutes, 35mm)

• Young Girls of Wilko
  (Andrzej Wajda, 1979, Poland, 118 minutes)
• The Wedding
  (Andrzej Wajda, 1973, Poland, 106 minutes)

• The Decalogue: 1
  (Krzysztof Kieślowski, 1988, Poland, 57 minutes)
• The Double Life of Veronique
  (Krzysztof Kieślowski, 1991, France/Poland/Norway, 98 minutes, 35mm)
• Red
  (Krzysztof Kieślowski, 1994, France/Poland/Switzerland, 99 minutes, 35mm)

• Katyń
  (Andrzej Wajda, 2007, Poland, 125 minutes)
• Ida
  (Paweł Pawlikowski, 2013, Poland/Denmark/France/UK, 82 minutes)

• Ziegeunerweisen
  (Seijun Suzuki, 1980, Japan, 145 minutes, 35mm)
• Yumeji
  (Seijun Suzuki, 1980, Japan, 128 minutes, 35mm)

• Kagerō-za
  (Seijun Suzuki, 1981, Japan, 143 minutes, 35mm)

• In the Land of the Head Hunters
  (Edward S. Curtis, 1914, USA, 66 minutes, Blu-ray)
  *New reconstruction with the original score

• Caravaggio (Derek Jarman, 1986, UK, 93 minutes, 35mm)
• Antonio Gaudi (Hiroshi Teshigahara, 1984, Japan, 72 minutes, 35mm)

• La Belle Noiseuse
  (Jacques Rivette, 1991, France, 238 minutes, 35mm)

• Macbeth
  (Roman Polanski, 1971, UK/USA, 140 minutes, 35mm)
• Throne of Blood
  (Akira Kurosawa, 1957, Japan, 108 minutes)

• Dust in the Wind
  (Hou Hsiao-hsien, 1986, Taiwan, 110 minutes, 35mm)
• Taipei Story
  (Edward Yang, 1985, Taiwan, 110 minutes, 16mm)

• To Have and Have Not
  (Howard Hawks, 1944, USA, 100 minutes, 35mm)
• First Name Carmen
  (Jean-Luc Godard, 1983, France, 82 minutes, 35mm)

• Yellow Earth
  (Chen Kaige, 1985, 90 minutes, China, 35mm)

• Night and Day
  (Chantal Akerman, 1991, Belgium/France/Switzerland, 92 minutes, 35mm)

• Sans Soleil
  (Chris Marker, 1983, France, 103 minutes, 16mm)

• Vertigo
  (Alfred Hitchcock, 1958, USA, 128 minutes, 35mm)

• The Kid
  (Charles Chaplin, 1921, USA, 68 minutes, 35mm)
• Solaris
  (Andrei Tarkovsky, 1972, USSR, 167 minutes, 35mm)

• A Corner in Wheat
  (D.W. Griffith, 1909, USA, 14 minutes)
• Intolerance
  (D.W. Griffith, 1916, USA, 196 minutes)

• Barry Lyndon
  (Stanley Kubrick, 1975, UK, 179 minutes, 35mm)

• Les Vampires, Episode 3:  The Red Codebook
  (Louis Feuillade, 1915, France, 42 minutes)
• The Dying Swan
  (Yevgeni Bauer, 1917, Russia, 49 minutes)
• The Dumb Girl of Portici
  (Lois Weber and Philips Smallery, 1915, USA, 112 minutes)

• Edvard Munch
  (Peter Watkins, 1976, Norway, 209 minutes)

• The Shining
  (Stanley Kubrick, 1980, USA, 140 minutes, 35mm)

• Sunrise
  (F.W. Murnau, 1927, USA, 95 minutes, 35mm)
• Destiny
  (Fritz Lang, 1921, Germany, 105 minutes)

• The Piano
  (Jane Campion, 1993, New Zealand/Australia, 121 minutes, 35mm)
• The Silence Before Bach
  (Pere Portabella, 2007, Spain, 102 minutes, 35mm)

• Young Mr. Lincoln
  (John Ford, 1961, USA, 109 minutes, 35mm)
• Ride Lonesome
  (Budd Boetticher, 1959, USA, 78 minutes, 35mm)

• Ivan the Terrible, Part 1
  (Sergei Eisenstein, 1944, USSR, 95 minutes, 35mm)
• Ivan the Terrible, Part 2
  (Sergei Eisenstein, 1946/1958, USSR, 88 minutes, 35mm)

• Revolution: New Art for a New World
  (Margy Kinmonth, 2016, UK/Russia, 85 minutes, DVD)

• Battleship Potemkin
  (Sergei Eisenstein, 1925, USSR, 75 minutes. 35mm)
• Earth
  (Aleksandr Dovzhenko, 1930, USSR, 90 minutes, 35mm)

• The Fire Within
  (Louis Malle, 1963, France, 105 minutes, 35mm)
• Lacombe Lucien
  (Louis Malle, 1974, France, 138 minutes, 35mm)

• Michelangelo Eye to Eye
  (Michelangelo Antonioni, 2004, Italy, 12 minutes)
• Passion
  (Jean-Luc Godard, 1982, France, 84 minutes, 35mm)
• AI Artificial Intelligence
  (Steven Spielberg, 2001, 146 minutes, 35mm)

• Where Now are the Dreams of Youth?
  (Yasujiro Ozu, 1932, Japan, 92 minutes, 35mm)
• Sisters of the Gion
  (Kenji Mizoguchi, 1936, Japan, 95 minutes, 35mm)

• Parsifal
  (Hans-Jürgen Syberberg, 1982, West Germany/France, 255 minutes, 35mm)

• Meet Me in St. Louis
  (Vincente Minnelli, 1944, USA, 114 minutes, 35mm)
• Henry V
  (Laurence Olivier, 1944, UK, 136 minutes, 35mm)

• Leo the Last
  (John Boorman, 1970, UK, 105 minutes, 35mm)
• There Will be Blood
  (Paul Thomas Anderson, 2007, USA, 146 minutes, 35mm)

• A Study in Choreography for the Camera
  (Maya Deren, 1945, USA, 4 minutes, 16mm)
• The Red Shoes
  (Michael Powell and Emeric Pressburger, 1948, UK, 132 minutes, 35mm)
• Beau Travail
  (Claire Denis, 1999, France, 96 minutes, 35mm)

• The Mirror
  (Andrei Tarkovsky, 1975, USSR, 107 minutes, 35mm)
• Gertrud
  (Carl Theodor Dreyer, 1964, Denmark, 119 minutes, 35mm)

• Listen to Britain
  (Humphrey Jennings and Stewart McAllister, 1942, UK, 20 minutes, Blu-ray)
• Citizen Kane
  (Orson Welles, 1941, USA, 119 minutes, 35mm)
• Day of Wrath
  (Carl Theodor Dreyer, 1943, Denmark, 97 minutes, 35mm)

• Fanny and Alexander
  (Ingmar Bergman, 1982, Sweden/France/West Germany, 182 minutes)

• Color Studies of Chopin
  (Eugeniuz Cękalski, 1937-1944, USA/Poland, 11 minutes)
• The Pianist
  (Roman Polanski, 2002, France/Germany/Poland/United Kingdom, 150 minutes, 35mm)

• Calling Mr. Smith
  (Stefan and Franciszka Themerson, 1943, UK, 9 minutes)
• Kanał
  (Andrzej Wajda, 1957, Poland, 96 minutes, 35mm)
• Ashes and Diamonds
  (Andrzej Wajda, 1958, Poland, 103 minutes, 35mm)

• A Song to Remember
  (Charles Vidor, 1945, USA, 113 minutes, 16mm)
• And the Ship Sails On
  (Federico Fellini, 1983, Italy, 132 minutes, 35mm)

• Chopin’s Youth
  (Aleksander Ford, 1952, Poland, 121 minutes)
• Lolita
  (Stanley Kubrick, 1962, UK/USA, 152 minutes, 35mm)

• Camera Buff
  (Krzysztof Kieślowski, 1979, Poland, 112 minutes)
• White
  (Krzysztof Kieślowski, 1994, France/Poland, 92 minutes 35mm)

• Smiles of a Summer’s Night
  (Ingmar Bergman, 1955, Sweden, 108 minutes, 35mm)
• Camouflage
  (Krzysztof Zanussi, 1977, Poland, 100 minutes)

• Autumn Sonata
  (Ingmar Bergman, 1978, Sweden/West Germany, 99 minutes, 35mm)

• Cries and Whispers
  (Ingmar Bergman, 1972, Sweden, 106 minutes, 35mm)
• Vanina Vanini
  (Roberto Rossellini, 1961, Italy, 127 minutes, 35mm)

• Ved Faenglets Port (Temptations of a Great City)
  (August Blom, 1911, Denmark, 38 minutes)
• L’Orgie romaine
  (Louis Feuillade, 1911, France, 9 minutes)
• Tra le pinete di Rodi (The Island of Rhodes)
  (Savoia, 1912, Italy, 4 minutes)
• Lily ménagère
  (Eclair Coloris, 1914, France, 7 minutes)
• Le Royaume des fleurs (The Kingdom of Flowers)
  (Gaumont, c. 1914, France, 7 minutes)
• La Légende des ondines
  (Georges Denola, 1911, France, 6 minutes)
• L’Obsession d’or (The Golden Obsession)
  (Lucien Nonguet and Pathé Frères, 1906, France, 3 minutes)

• Ein Neuer Apparat zur Verhütung von Kinobränden (A New Apparatus for the Prevention of Cinema Fires)
  (Germany, 1912, 3 minutes)
• Le Mystère des Roches de Kador
  (Léonce Perret, 1912, France, 38 minutes)
• The Picture Idol
  (James Young, 1912, USA, 14 minutes)
• Amour et science (Love and Science)
  (M.J. Hoche, 1912, France, 15 minutes)
• Arthème opérateur
  (Ernest Servaes, 1913, France, 7 minutes)
• Una Tragedia al cinematografo (A Tragedy at the Cinema)
  (Enrico Guazzoni, 1913, Italy, 8 minutes)
• Al cinematografo guardate – ma non toccate (At the Cinema Look, but do not Touch)
  (Italy, 1912, 6 minutes)

• Laatse bioscoop wereldberichten [Newsreel]
  (1915, Netherlands, 5 minutes)
• Fior di male (Flowers of Evil)
  (Carmine Gallone, 1915, Italy, 65 minutes)
• La Moda vuole l’ala larga (Fashion Requires Large Hats)
  (Ambrosio, 1912, Italy, 5 minutes)
• Concorso di bellezza fra bambini a Torino (Children’s Beauty Pageant in Torino)
  (Aquila Films, 1909, Italy, 3 minutes)
• Patouillard a une femme qui veut suivre la mode (Patouillard’s Wife Wants to Follow the Fashion)
  (Romeo Bosetti, 1912, France, 6 minutes)

• Through a Glass Darkly
  (Ingmar Bergman, 1961, Sweden, 91 minutes, 35mm)
• The Silence
  (Ingmar Bergman, 1963, Sweden, 105 minutes, 35mm)

• Vampyr
  (Carl Theodor Dreyer, 1932, Germany, 73 minutes, 35mm)

• Seventh Seal
  (Ingmar Bergman, 1957, Sweden, 96 minutes)
• Wild Strawberries
  (Ingmar Bergman, 1957, Sweden, 93 minutes)

• Ordet
  (Carl Theodor Dreyer, 1955, Denmark, 126 minutes, 16mm)
• The Magician
  (Ingmar Bergman, 1958, Sweden, 107 minutes)

• Music in Darkness
  (Ingmar Bergman, 1948, Sweden, 86 minutes, 16mm)

• A Lesson in Love
  (Ingmar Bergman, 1954, Sweden, 96 minutes, 35mm)

• Gertrud
  (Carl Theodor Dreyer, 1964, Denmark, 114 minutes, 35mm)

• The Magic Flute
  (Ingmar Bergman, 1975, Sweden, 135 minutes, 35mm)
• Amadeus
  (Miloš Forman, 1984, USA, 160 minutes, 35mm)

• Scenes from a Marriage
  (Ingmar Bergman, 1973, Sweden, 283 minutes)

• Lilith
  (Robert Rossen, 1964, USA, 114 minutes, 35mm)
• Faces
  (John Cassavetes, 1968, USA, 130 minutes, 16mm)

• The Piano Teacher
  (Michael Haneke, 2001, France/Austria/Germany, 131 minutes, 35mm)
• La Cérémonie
  (Claude Chabrol, 1995, France, 112 minutes)

• Shame
  (Ingmar Bergman, 1968, Sweden, 108 minutes, 35mm)

• Hour of the Wolf
  (Ingmar Bergman, 1968, Sweden, 99 minutes, 35mm)
• Passion of Anna
  (Ingmar Bergman, 1969, Sweden, 101 minutes, 35mm)

• Ivan’s Childhood
  (Andrei Tarkovsy, 1962, USSR, 97 minutes, 35mm)
• The Sacrifice
  (Andrei Tarkovsky, 1986, Sweden, 142 minutes, 35mm)

• The Mirror
  (Andrei Tarkovsky, 1975, USSR, 107 minutes, 35mm)

• The Deep Blue Sea
  (Terence Davies, 2011, UK, 96 minutes, 35mm)
• Breaking the Waves
  (Lars von Trier, 1996, Denmark, 159 minutes, 35mm)

• Fanny and Alexander
  (Ingmar Bergman, 1982, Sweden/France/West Germany, 312 minutes)

• Smiles of a Summer Night
  (Ingmar Bergman, 1955, Sweden, 108 minutes, 35mm)

• Autumn Sonata
  (Ingmar Bergman, 1978, Sweden, 99 minutes, 35mm)

• Cries and Whispers
  (Ingmar Bergman, 1972, Sweden, 106 minutes, 35mm)

• A Room with a View
  (James Ivory, 1985, UK, 117 minutes)

• The Toll of the Sea
  (Chester M. Franklin, 1922, USA, 53 minutes)
• The Last Emperor
  (Bernardo Bertolucci, China/Italy/UK/France, 1987, 163 minutes)

• Senso
  (Luchino Visconti, 1954, Italy, 123 minutes)

• Rocco and His Brothers
  (Luchino Visconti, 1960, Italy/France, 168 minutes)

• The Leopard
  (Luchino Visconti, 1963, Italy/France, 185 minutes)

• Once Upon a Time in the West
  (Sergio Leone, 1968, Italy/USA/Spain, 175 minutes)

• The Age of Innocence
  (Martin Scorsese, 1993, USA, 139 minutes)

• The Immigrant
  (James Gray, 2013, USA, 120 minutes)

• Screening and Discussion with Director Charles Burnett (April 10)
  • 35mm screening of Killer of Sheep (1977, 83 minutes) preceded by a public discussion with Burnett (beginning at 6:00 PM)
• Visit by French Editor Yann Dedet (April 16-18)
  • Special screenings of Two English Girls (François Truffaut, 1971) and Van Gogh (Maurice Pialat, 1991) on Monday, April 16
  • Public discussion with editor Yann Dedet on April 18, beginning at 6:00 PM

• Redes (The Wave)
  (Emilio Gómez Muriel and Fred Zinnemann, 1936, Mexico, 59 minutes)

• Land Without Bread
  (Luis Buñuel, 1933, Spain, 30 minutes)
• Simon of the Desert
  (Luis Buñuel, 1965, Mexico, 45 minutes)

• Los Olvidados
  (Luis Buñuel, 1950, Mexico, 80 minutes)

• The Criminal Life of Archibaldo de la Cruz
  (Luis Buñuel, 1955, Mexico, 89 minutes)
• Mexican Bus Ride
  (Luis Buñuel, 1952, Mexico, 85 minutes)

• Viridiana
  (Luis Buñuel, 1961, Spain, 90 minutes)

• The Exterminating Angel
  (Luis Buñuel, 1962, Mexico, 95 minutes)

• Que viva México!
  (Sergei Eisenstein and Grigori Aleksandrov, 1932-1979, USSR/USA/Mexico, 84 minutes)

• Vera Cruz
  (Robert Aldrich, 1954, USA, 94 minutes)
• The Fugitive
  (John Ford and Emilio Fernández, 1947, USA/Mexico, 104 minutes)