Tuesday Film Series

Tuesday, August 22 at 7pm

EARTH MAMA – Exclusive Area Premiere!

Savanah Leaf (U.S. 2023) 100 min. DCP. With Tia Nomore, Erika Alexander and Doechii

A devastating and evocative portrait of motherhood refracted through the prisms of race and class, Savanah Leaf’s auspicious debut feature is a deeply affecting work of cinematic humanism. Set in the Bay Area, the film follows Gia (portrayed with immense complexity by Oakland rapper Tia Nomore) as she contends with pregnancy and poverty while longing for her children (who have been placed in foster care) and dodging Child Protective Services in the fear that they’ll take her soon-to-be-born baby from her as well. Lensed in richly textured 16mm by Jody Lee Lipes, Earth Mama is both a heartrending film about a young woman grappling with the most fundamental questions of motherhood amid utterly hostile socioeconomic conditions, and a formally sophisticated work that suggests and conjures rather than facilely connecting the dots for us (notes courtesy Film at Lincoln Center). An A24 release!

Intimate, modestly scaled and often so outwardly unassuming that you might not at first notice its artistry. It also features one of the most expressive scenes that I’ve seen all year, one that reveals a world of heartache with a single camera movement.” –  Manohla Dargis, The New York Times

Tuesday, August 29 at 7pm


Lloyd Bacon (U.S. 1933) 90 min. 35MM. With Dick Powell, Ruby Keeler, Bebe Daniels, Ginger Rogers.

42nd Street is the archetypical backstage musical. Here, the now familiar story sees striving understudy Ruby Keeler (in her film debut) get her big break when the production’s temperamental star is injured and the show must go on. The phenomenon of Berkley’s eye-popping cine-choreography, including three of Busby Berkeley’s most iconic dance numbers, is showcased in this not-to-be-missed reminder of the joys of Hollywood’s Golden Age. Co-presented with the Department of Theatre & Dance. Introduced by Professor of Theatre and dance Dustyn Martincich.

“The artistry of Berkeley remains one of the wonders of the cinema. Few filmmakers have such an instantly recognizable style. […] It’s worth celebrating his work today for its manifestly ecstatic surfaces as well as for its secretly pithy substance.” – Richard Brody, The New Yorker


Tuesday, September 5 at 7pm


Alfred Hitchcock (US 1954) 114 min. 35MM. With James Stewart, Grace Kelly, Wendell Corey.

Hitchcock’s brilliant meditation on cinema and voyeur- ism binds the viewer to the perspective of photojournalist Stewart, bound to a wheelchair with a broken leg and obsessively spying on his West Village neighbors. One of the Master of Suspense’s greatest successes. Introduced by Film/Media Studies Professor Eric Faden.


Tuesday, September 12 at 7pm


Mathieu Kassovitz (France 1995) 97 minutes. 35MM. With Vincent Cassel, Hubert Koundé, Saïd Taghmaoui. French with English subtitles.

Mathieu Kassovitz took the film world by storm with La haine, a gritty, unsettling, and visually explosive look at the racial and cultural volatility in modern-day France, specifically the low-income banlieue districts on Paris’s outskirts. Aimlessly passing their days in the concrete environs of their dead-end suburbia, Vinz (Cassel), Hubert (Koundé), and Saïd (Taghmaoui)—a Jew, an African, and an Arab—give human faces to France’s immigrant populations, their bristling resentment at their marginalization slowly simmering until it reaches a climactic boiling point. A work of tough beauty, La haine is a landmark of contemporary French cinema and a gripping reflection of its country’s ongoing identity crisis. Presented in connection with the Bucknell Humanities Center’s “Colonial Entanglements” programming (organized by Adam Burgos, Erica Delsandro and Carol White). Introduced by Professors Adam Burgos (Philosophy) & Jenna Christian (Geography). 


Tuesday, September 19 at 7pm


Andrew Ahn (U.S. 2016) 90 minutes. DCP. With Joe Seo, Haerry Kim. English, Korean and Spanish with English subtitles.

Andrew Ahn’s debut feature opened a dialogue about identity that runs deeper than more conventional LGBTQ coming-of-age stories. It is also a tragedy about the grim realities of an immigrant family with a shattered American dream, and the burdens of an obedient son who feels he’s the last hope for his parents’ collapsed aspirations. With a delicate cinematic touch, Spa Night masterfully unravels a young man’s conflicting emotions and loneliness while shining a light on the cultural clash between Koreans and Americans (TIFF program notes). Winner of  the Special Jury Prize for Breakthrough Performance at the 2016 Sundance Film Festival. Presented in connection with APIDA, Bucknell’s Asian Pacific Islander Desi American Student Association. Introduced by APIDA member Thao Nguyen (’25).


Tuesday, September 26 at 7pm


Julie Dash (U.S. 1991) 112 min. With Alva Rogers, Bahni Turpin, Barbara-O.

The first feature film directed by a black woman to receive a national theatrical release, Daughters of the Dust returns to theaters this fall, on the heels of last spring’s chatter around Beyoncé’s “Lemonade” – which many noted reveals the influence of Julie Dash’s neglected film. At the dawn of the 20th century, a multigenerational family in the Gullah community (former West African slaves) in the Sea Islands off of South Carolina suffers a generational split. An older group of sisters return after migrating north to New York with intentions of bringing the rest of their family to the mainland. The newly Americanized sisters view their homeland’s way of living as backwards, while the family elder struggles to pass on the knowledge of their ancestors and keep her family together. Presented in connection with the class Black Film and Antiblackness and introduced by Jaye Austin Williams, Professor of Performance Studies, Critical Black Studies, and Theatre & Dance.


Tuesday, October 3 at 7pm


Jean-Luc Godard (France 1963) 103 min. DCP. With Brigitte Bardot, Michel Piccoli, Jack Palance. French with English subtitles.

Godard’s foray into commercial filmmaking is a Cinemascope epic about marital breakdown and artistic compromise that overturns conventions of mainstream filmmaking and critiques post-Hollywood movies even while working with a star-studded cast and the biggest budget of his career. Michel Piccoli is a screenwriter trying to doctor the script for an adaptation of The Odyssey, a man torn between the demands of his disillusioned wife (Bardot), a European director (played by the legendary director Fritz Lang, representing the argument for art as cinema) and a crude, arrogant American producer (Palance, cinema as commerce). The remarkable final shot has Godard himself as the Director of Photography, turning the camera to the audience, as if to ask: “which side are you on?”

“Splendid, prophetic, visually ravishing… This pop-art masterpiece is still light years ahead of its time.” – J. Hoberman


Tuesday, October 17 at 7pm

THE LONG FAREWELL – Restoration and Re-Release!

Kira Muratova (USSR 1971) 95 min. DCP. With Zinaida Sharko, Oleg Vladimirsky. Russian with English subtitles.

This pointillist family portrait by Kira Muratova is one of the bracingly original Soviet filmmaker’s long-banned major works. A kind of psychological breakup movie, The Long Farewell traces the rift that grows between an emotionally impulsive single mother (the transcendent Sharko) and her increasingly resentful teenage son (Vladimirsky), who upends her world when he announces he wishes to live with his faraway father. The seemingly simple premise is rendered anything but simple by Muratova’s dreamy, drifting style, with off-kilter framing, editing, and dialogue continually pushing cinema’s aesthetic and expressive boundaries outward. Introduced by Lenora Murphy, Professor in the Russian Studies Program.

“In one dazzling image, Muratova conveys [a character’s] loneliness: She shows the mother simulating being next to [her son] by projecting photos of him on the walls of her apartment. Standing in the projector’s glow, [she]  gazes at the images, enduring social artifacts that — like Muratova’s films — hold small universes of comfort and pain.”The New York Times