Tuesday Series


Tuesday, January 16 at 7pm

WORKING GIRLS – Not Available on DVD!

Dorothy Arzner (U.S. 1931) 77 min. 35MM. With Judith Wood, Dorothy Hall, Charles “Buddy” Rogers.

Dorothy Arzner was the only female — let alone out lesbian —filmmaker working at a major Hollywood studio in the 1920s and ’30s, under contract at Paramount and making several pictures a year. In Working Girls, two sisters from the Midwest move to New York City in search of fortune, wind up in a homeless shelter, then quickly find jobs and men. But Arzner’s focus on the women’s internal lives and their relationship makes the film much more than a standard pre-Code comedy or morality play. Rather, it’s about two women’s lives, lived with humor, sadness, frustration, and sublimity, a nuanced examination of the intersection of class and gender in Depression-era urban America. Co-presented by Women’s & Gender Studies and CSREG. Adapted from Northwest Film Center program notes. 35mm preservation print courtesy of the UCLA Film & Television Archive.

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Tuesday, January 23 at 7pm

THE SQUARE – Area Premiere!

Ruben Östlund (Sweden 2017) min. DCP. With Claes Bang, Elisabeth Moss, Dominic West, Terry Notary. Swedish with English subtitles.

The winner of this year’s Palme d’Or at Cannes is a social satire that aims its sights most squarely on the art world, where Christian (Bang) is the respected curator of a contemporary art museum and a divorced but devoted father of two who drives an electric car and supports good causes. Co-presented by the Department of Art & Art History. 

The Square is a film with plenty on its mind, tweaking art-world pretensions and liberal pieties, exploring the gap between belief and action, contemplating the relationship between the individual and the collective… a refreshing change from the white elephants — the solemnly respectable prestige films with clear intentions and predetermined meanings — that more frequently take festival prizes.” — Dennis Lim, Artforum

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Tuesday, January 30 at 7pm

THE UMBRELLAS OF CHERBOURG

Jacques Demy (France 1964) 92 min. DCP. With Catherine Deneuve, Nino Castelnuovo, Anne Vernon. French with English subtitles.

Jacques Demy was the director who brought the American musical comedy to France, infusing the form with an eye toward how magic or fate help or hinder l’amour. Married to Agnès Varda, and enmeshed in the community of the “Left Bank Group” that was making movies alongside New Wave rebels like Godard, Demy was an original. In The Umbrellas of Cherbourg, an angelic Catherine Deneuve plays an umbrella-shop owner’s delicate daughter, glowing with first love for a handsome garage mechanic (Castelnuovo) who is shipped off to fight in Algeria. A heart-tugger with kaleidoscopic colors and lilting songs by the great composer Michel Legrand, this is one of the most revered and unorthodox movie musicals of all time.

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Tuesday, February 6 at 7pm

FACES PLACES – Area Premiere!

Agnès Varda and JR (France 2017) 90 min. DCP.

89-year-old Agnès Varda, one of the leading figures of the French New Wave, and acclaimed 33-year-old French photographer and muralist JR teamed up to co-direct this enchanting documentary road movie. Kindred spirits, Varda and JR share a lifelong passion for images and how they are created, displayed and shared; they traveled together around the villages of France in JR’s photo truck meeting locals, learning their stories and producing their epic-size portraits.

“The subject of Faces Places is the heroism of daily life… One of the crucial distinctions between the films of Varda and those of Godard is that her past surges forth into her films with a sense of equilibrium, attachment and gratitude, whereas Godard’s past enters his films with a sense of destabilization, irresolution and regret. The memorious innerlandscape of Godard’s films is one of incompletion, guilt and ruins; that of Varda’s films is one of the enduring, the venerable, the fulfilling. Godard’s films are burdened with the past; Varda’s are enriched by it.” — Richard Brody, The New Yorker

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Tuesday, February 13 at 7pm

ALI: FEAR EATS THE SOUL

Rainer Werner Fassbinder (Germany 1973) 93 min. 35MM.  With Brigitte Mira, El Hedi Ben Salem, Irm Hermann. German with English subtitles.

A beautiful homage to Douglas Sirk’s classic melodrama All That Heaven Allows (1955), Fassbinder’s improbable love story pairs a German widow with a Moroccan immigrant 20 years her junior. The prejudice and discrimination they encounter from all sides reveals a cracked humanity in this seminal work of the German New Wave. A heartwarming, and heartbreaking, romance for the eve before Valentine’s Day.

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Tuesday, February 20 at 7pm

QUEEN OF VERSAILLES

Lauren Greenfield (U.S. 2012) 103 min. 35MM.

Acclaimed photographer Lauren Greenfield (Thin, Beauty Culture) made this character-driven documentary about a billionaire family that comes from humble origins, and encounters financial challenges in the wake of the economic crisis. The American Dream depicted includes “jaw-dropping scenes of consumption and comeuppance that, writ large, strangely mirror the fortunes of less extravagant Americans” (New York Times); it also earned the director a lawsuit, when its subject accused the film of portraying his business “in an array of defamatory, derogatory and damaging ways.” Co-presented by the Samek Museum, on the occasion of the exhibition 1%: Privilege in a Time of Global Inequality.

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Tuesday, February 27 at 7pm

BLACK GIRL – Restoration!

Ousmane Sembène (Senegal 1966) 80 min. 35MM. With Mbissine Therese Diop, Anne-Marie Jelinck, Momar Nar Sene. French with English subtitles.

Ousmane Sembène was one of the most groundbreaking filmmakers who ever lived, as well as the most renowned African director of the 20th century — and yet his name still deserves to be better known in the rest of the world. His feature debut was the stirring Black Girl, a deceptively simple story about a young Senegalese woman who moves to France to work for a wealthy white family and finds herself a prisoner, both figuratively and literally. Sembène’s layered critique of the lingering colonialist mindset of a supposedly postcolonial world is a radical political statement — and one of the essential films of the 1960s. Preceded by Borom sarret, Sembène’s acclaimed 1963 short. Introduced by Alicia Hayashi Lazzarini, Post Doctoral Fellow of geography, in conjunction with her course “Contemporary Africa & Colonial Pasts: Investments and Re-Emergences.”