Tuesday, January 14 at 7pm

LITTLE JOE – Exclusive Area Premiere!

Jessica Hausner (Austria/UK/Germany 2019) 105 min. DCP. With Emily Beecham, Ben Whishaw.

A gloss on Frankenstein like nothing you’ve seen before, Hausner’s funny and philosophical latest furthers her interests in genre cinema, group dynamics and the possibility of the fantastic in an increasingly technocratic world. Emily Beecham (awarded Best Actress at Cannes for this role) stars as Alice, a single mother and scientist who, along with her lab partner (Whishaw), is conducting experiments to create a new species of plant, a crimson flower whose scent induces happiness. Of course their happy-making plant turns out to have an agenda of its own, and what had once been a potential cash cow begins to seem increasingly like something out of Invasion of the Body Snatchers (Film at Lincoln Center notes).


Tuesday, January 21 at 7pm


Roberto Minervini (Italy/US/France 2018) 123 min. DCP.

Shot in luminous black and white, the latest from Italian-born, Texas based Roberto Minervini delves into the everyday lives of Black Americans fighting for justice and survival in the summer of 2017, weaving between wrenching storylines in New Orleans and Jackson County, Mississippi. Minervini immerses himself in the communities in which he works, and the results are often revelatory, yielding intimate and visceral moving images of rarely seen lives on the margins. What You Gonna Do observes Judy Hill, who strives to keep her family and friends afloat as her bar is threatened; the two young brothers Ronaldo and Titus, whose neighborhood is plagued by violence; and The New Black Panthers, who carry out a people’s investigation of a killing attributed to the Ku Klux Klan. This is a film of urgency, community, righteous anger and grace (Adapted from TIFF notes written by Andréa Picard).


Tuesday, January 28 at 7pm


Leontine Sagan (Germany 1931) 88 min. DCP. With Dorothea Wieck, Hertha Thiele, Emilia Unda. With German with English subtitles. Starring an all-female cast, Mädchen in Uniform is an enduring classic of lesbian cinema. A sensitive new arrival at a school for the daughters of military officers becomes hopelessly smitten with a charismatic teacher, eliciting the wrath of the headmistress. Made on the eve of Nazi ascendance, the film stands as a nuanced parable of authoritarianism, yet it’s also a moving portrait of burgeoning sapphic desire, rendered with great technical skill. “With this work the pre-war German sound film reached its highest level,” the film historian Lotte Eisner observed. “Leontine Sagan, a stage-actress… brings out the unselfconscious naïvety of the boarders’ confidences whispered across the dormitory, and the flush of love trembling in the cracked voice of the adolescent” (Adapted from Film at Lincoln Center notes). Co-presented with Bucknell’s Womens and Gender Studies program. Introduced by Literary Studies graduate student Emma Downey.

Mädchen in Uniform is a film about sexual repression in the name of social harmony, about the absent patriarchy and its forms of presence, about bonds between women which represent attraction instead of repulsion, and about the release of powers that can accompany the identification of a lesbian sexuality… The first lesson of [the film] is that lesbianism has a much larger and finer history than we often suspect, that the film indicates as much, and that we need to do ever more work on reconstructing the image of lesbian culture that has been so painfully erased. The second lesson is that, in looking backward and inward, we cannot afford to stop looking forward and outward.” – B. Ruby Rich


Tuesday, February 4 at 7pm


Josef von Sternberg (Germany 1930) 106 min. 35MM. With Emil Jannings, Marlene Dietrich, Hans Albers, Kurt Gerron. German with English subtitles.

This is the film that made Marlene Dietrich an international icon, with the role of Lola Lola, a performer in a cabaret dripping with atmospheric Weimar sleaze. Lola’s coarse crooning and signature costume—white top hat, black stockings, and little else—make the customers drool over their liverwurst, and reduce Emil Jannings’ prim professor to a groveling, crowing caricature of masochistic compulsion. Although the Dietrich on view here is looser and more casually funny than the carefully sculpted creature of the later films, her aura of sexual confidence was established from the start, and The Blue Angel’s wallow in erotic obsession would, rightly or not, color critical views of the entire Sternberg-Dietrich collaboration (Adapted from Pacific Film Archive notes). Co-presented with the Department of Theatre & Dance, and introduced by Professor Dustyn Martincich.


Tuesday, February 11 at 7pm


Fred Zinnemann (U.S. 1952) 85 min. DCP. With Gary Cooper, Grace Kelly, Katy Jurado, Lloyd Bridges.

No movie hero ever walked taller than Gary Cooper in High Noon. As Marshal Will Kane, he’s ready to turn in his badge and settle down with his new wife (Kelly) until he learns a criminal is arriving on the noon train bent on revenge. When the locals turn a deaf ear to Kane’s pleas for help (even deputy Lloyd Bridges refuses), the lawman must face a gang of killers alone. This iconic Western, named by the American Film Institute as one of the 100 greatest films of all time, won four Oscars, including a Best Actor award for Cooper and Best Song for “Do Not Forsake Me, Oh My Darlin’” (American Cinematheque program notes). Co-presented by the Literary Studies Program, and introduced by English Professor Alf Siewers, in conjunction with his course Terror with a Human Face.


Tuesday, February 18 at 7pm


Michelangelo Antonioni (Italy/France, 1962) 125 min. 35MM. With Monica Vitti, Alain Delon, Lilla Brignone, Francisco Rabal. Italian with English subtitles.

The concluding chapter of Michelangelo Antonioni’s informal trilogy on contemporary malaise (following L’avventura and La notte), L’eclisse tells the story of a young woman (Vitti) who leaves one lover (Rabal) and drifts into a relationship with another (Delon). Using the architecture of Rome as a backdrop for the doomed affair, Antonioni achieves the apotheosis of his style in this return to the theme that preoccupied him the most: the difficulty of connection in an alienating modern world. Introduced by Philosophy Professor Adam Burgos in conjunction with his course Critical Theory.


Tuesday, February 25 at 7pm


Agnès Varda (France 1987) 81 min. With Charlotte Gainsbourg, Jane Birkin, Mathieu Demy. French with English subtitles.

A truly bold, transgressive, lovely and singular film, Kung-Fu Master! is the tale of a lonely forty-year-old woman who falls in love with the classmate of her teenage daughter. Varda, one of cinema’s towering visionaries, died last year, leaving us with a vast oeuvre of personal, whimsical and fearless films. Here, she proffers pure, maternal love (innocent and consuming) crossed with the intimacy of physical desire – a provocation whose backdrop is the ongoing AIDS crisis. A director who said she preferred daydreams to psychology, Varda cast this memorable fantasy with her own and her lead actress’ family: Jane Birkin (a national figure in France, celebrated for her work as an actress as well as her liaison with singer-songwriter Serge Gainsbourg) stars, appearing with her two reallife daughters (Charlotte Gainsbourg and Lou Doillon, her child with filmmaker Jacques Doillon); the young man is played by Mathieu Demy, Varda’s son with the director Jacques Demy. 

“Groundbreaking feminist filmmaking from two people who were ahead of their time in exploring modern ideas about women as mothers, artists and individuals.” – Katie Walsh, Los Angeles Times