Frank Capra’s “Mr. Deeds Goes To Town” In 35mm at Film Forum

Mr.-Deeds-Goes-To-TownFrank Capra’s comedy-drama masterpiece “Mr. Deeds Goes To Town” (1936), starring Gary Cooper and Jean Arthur, will be screened in 35mm at Film Forum from Friday, December 27 through Thursday, January 2.

Nominated for five Academy Awards – winning Best Director for Capra – MR. DEEDS is one of eight collaborations between Capra and screenwriter Robert Riskin, who together are often credited with creating both the classic screwball and romantic comedy genres.

Cooper’s “pixilated” tuba-playing, greeting card versifying Vermonter Longfellow Deeds inherits $20 million — and then he’s whisked from Mandrake Falls to Park Avenue, as wisecracking reporter Jean Arthur dubs him the “Cinderella Man.” “Capra and Riskin’s crowning achievement… If I were to choose one film to be both the best and most representative of the decade, this would be it.” – David Shipman

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“The Girl With The Needle” From Director Magnus von Horn Sets Release

girl-with-the-needleMUBI is set to release THE GIRL WITH THE NEEDLE, an unflinching portrait of a desperate young woman in the aftermath of WWI struggling to find love and a sense of morality. THE GIRL WITH THE NEEDLE made its World Premiere at the Cannes Film Festival and was an official selection at the Toronto International Film Festival.

The film most recently won European Film Awards for best production design for Jagna Dobesz and best original score for Frederikke Hoffmeier (Puce Mary), with cinematography by Michael Dymek (A Real Pain, EO). The film was written by Magnus von Horn and Line Langebeck, who also produced.

Inspired by a true story and directed by Magnus von Horn, Variety’s 2025 ‘Director to Watch’ (The Here After, Sweat) THE GIRL WITH THE NEEDLE follows Karoline (Vic Carmen Sonne – Hlynur Pálmason’s Godland and Isabella Eklöf’s Holiday), a young factory worker, as she is struggling to survive in post WW1 Copenhagen. When she finds herself unemployed, abandoned and pregnant, she meets Dagmar (Trine Dyrholm), a charismatic woman running an underground adoption agency, helping mothers to find foster homes for their unwanted children. With nowhere else to turn, Karoline takes on the role of a wet-nurse. A strong connection is formed between the two women, but Karoline’s world shatters when she stumbles upon the shocking truth behind her work.

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BRANDO 100, Commemorating the Iconic Actor’s Centennial Year

marlon-brando-100BRANDO 100, a two-week festival of classics starring Marlon Brando, with many films screening in 35mm, will run at Film Forum from Friday, December 13 to Thursday, December 26, in commemoration of the actor’s centennial year in 2024.

The series features performances by Brando (1924-2004), the rebellious iconoclast in his most iconic and lesser seen roles. From his rarely-screened feature debut as a paralyzed, depressed ex-GI in Fred Zinnemann’s THE MEN (1950); to his definitive Stanley Kowalski in Tennessee Williams’ A STREETCAR NAMED DESIRE (adapted to film in 1951 by Elia Kazan); to his Oscar-winning performance as dockworker Terry Malloy in Kazan’s ON THE WATERFRONT (1954), and his turn as the suave, wisecracking Sky Masterson in the 1955 musical GUYS AND DOLLS. Brando’s return to form as Mafia patriarch Don Vito Corleone in Francis Ford Coppola’s THE GODFATHER (1972) reminded Hollywood of his brilliance and earned Brando his second Oscar (which he refused in protest of Hollywood’s treatment of Native Americans). The following triumph, Bernardo Bertolucci’s X-rated sensation LAST TANGO IN PARIS (1972) would go on to spark debate about the ethics of consent in filmmaking, and APOCALYPSE NOW (1979), his second collaboration with Coppola, in which he plays a rogue Army officer who descends into madness, is remembered as one of Brando’s most enigmatic performances.
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Werner Herzog’s THEATER OF THOUGHT, A Bracing Exploration of the Brain | Opens December 13 at Film Forum

Herzog-THEATER-OF-THOUGHTFilm Forum is set to present the US theatrical premiere of Werner Herzog’s THEATER OF THOUGHT opening Friday, December 13.

After 50+ years exploring the far corners of the world, Werner Herzog focuses inward — on the human brain, via the cutting-edge field of neuroscience, with its attendant ethical quandaries. Joined by Columbia professor Rafael Yuste (the film’s science advisor), the two cross the country querying innovators in cerebral research and bioethics: Can computers help people communicate telepathically? How can the brain be stimulated to curb depression, pain, or the effects of Parkinson’s? Is thought control possible? Can fear be located in the brain? And — as only the beguiling Herzog could inquire — will a scientist be able to read his mind and see his film before he’s made it? Herzog’s curiosity is at its peak in this romp through technological advances once only the stuff of science fiction.

The film had its world premiere at the 2022 Telluride Film Festival and went on to screen at the Toronto International Film Festival, as well as DOC NYC, where Herzog was awarded the festival’s Lifetime Achievement Award.

THEATER OF THOUGHT will be the 17th of Herzog’s films to debut at Film Forum, making him the second most-premiered filmmaker in the theater’s 54-year history.

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2024 Sundance Institute Latine Fellowship & Collab Scholarship Artists Selected

sundance-latine-fellowshipThe nonprofit Sundance Institute announced today the storytellers selected for the 2024 Latine Fellowship and Collab Scholarship. Now in its third year, the program aims to expand Latine representation in independent media meaningfully by providing artist development through fellowships and mentorships to10 early career Latine artists. This year’s cohort will receive an intentional immersion in a community of like-minded creatives where both professional and creative growth is nurtured through professional and creative development support, networking opportunities, access to Sundance Collab and ELEVATE.

“This year’s Latine Fellowship and Scholarship recipients come from diverse disciplines, all united by their shared goals of growth and increasing representation for a wide range of Latine voices,” said Hajnal Molnar-Szakacs, Director of Sundance Institute’s Artist Accelerator and Women at Sundance. “We are thrilled to welcome them into this Program and look forward to seeing how creative and financial support will help them advance these goals.”

The Sundance Institute Latine Fellowship will uplift five early career Latine artists working in film or television with a yearlong fellowship experience. Each fellow will receive a $10,000 unrestricted grant, bespoke artist development support, creative and tactical support on their projects, and regular opportunities for community engagement and networking. The fellows were chosen from Sundance Institute artist support programs across fiction and nonfiction.
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Michelangelo Antonioni’s First Masterpiece, IL GRIDO

IL-GRIDOIL GRIDO (1957), the widely underseen early masterwork by Italian auteur Michelangelo Antonioni, will run at Film Forum in a new 4K restoration from Friday, November 8 through Thursday, November 14.

Deserted by the mother of his child, Aldo, a factory worker (played by Hollywood tough guy Steve Cochran) wanders through the Po Valley in search of solace and connection. His romantic prospects—including a gas-station owner (Dorian Gray), a sex worker (Lyn Shaw), and an old girlfriend (Betsy Blair, Oscar nominee for the prior year’s Marty and Mrs. Gene Kelly)—fizzle out into alienation and despair.

Made three years before his international breakthrough L’avventura, this rare departure from exploring affluent society is among Antonioni’s most politically trenchant films and a raw expression of anguish that remains one of Italian cinema’s great underappreciated gems. Strikingly composed with atmospheric photography by the great Gianni Di Venanzo, IL GRIDO reveals a director in the process of discovering his artistic signature.

Directed by Michelangelo Antonioni, from the screenplay by Michelangelo Antonioni, Elio Bartolini and Ennio De Concini, the film stars Steve Cochran, Alida Valli, Betsy Blair, and Dorian Gray.

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“Lets Get Lost”, Documentary Portrait of Jazz Legend Chet Baker, Opens November 1 at Film Forum

Photo by William Claxton

“Lets Get Lost” (1988), Bruce Weber’s Academy Award-nominated documentary portrait of the elusive jazz icon Chet Baker, will run at Film Forum in a new 4K restoration from Friday, November 1 through Thursday, November 7.

A James Dean look alike pretty boy whose jazz trumpeting and melancholy epitomized 50s cool, Chet Baker had become, when famed photographer Bruce Weber finally caught up with him after three decades of fandom, an alcoholic and a junkie, whose petulantly angelic looks peeping out from behind a gaunt, valleyed and crevassed face could have starred for Sam Peckinpah.

Two visually stunning and musically moving hours with the iconic jazz trumpeter in the most romantically erotic jazz documentary ever made, shot by D.P. Jeff Preiss in stark, brooding film noir black & white.

Shifting back and forth from past to present, from Baker’s breakout performance and his controversial “doomed youth” years, to his poignant late-career decline and struggles with addiction, LET’S GET LOST forms a dreamy, improvisational quality offering a rare, behind-the-scenes glimpse into the decadent life of jazz music’s original bad-boy.

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Andrei Tarkovsky’s “The Sacrifice”, New 4K Restoration Opens October 25 at Film Forum

Andrei-Tarkovsky-THE-SACRIFICETHE SACRIFICE (1986), Russian expat master Andrei Tarkovsky’s final film, will run at Film Forum in a new 4K restoration from Friday, October 25 through Thursday, October 31.

Opening with a small group of familiar players in a tense isolated situation, THE SACRIFICE unfolds to encompass the director’s cosmic view as, faced with nuclear holocaust, a mystic sacrifice must be offered to restore the world — with unforeseen results.

Produced in Sweden with a cast headed by Bergman star Erland Josephson (Scenes from a Marriage, Cries and Whispers) the film was shot by Bergman’s longtime cinematographer, two-time Oscar winner Sven Nykvist. The director’s last work – made as he was dying of cancer – THE SACRIFICE is Tarkovsky’s personal statement, a profoundly moving, redemptive tragedy steeped in unforgettable imagery, including an astounding long take at the film’s finale.

The film was awarded the Grand Prix and a prize for artistic contribution (in recognition of Nykvist’s cinematography) at the 1986 Cannes Film Festival, and won the 1988 BAFTA for Best Foreign Language Film.

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Japan Society Announces First North American Retrospective on Kaizo Hayashi

Kaizo-Hayashi

To Sleep So as to Dream © Video Detective Agency

Japan Society Announces First North American Retrospective on Kaizo Hayashi, Independent Luminary of 80s and 90s Cinema

Japan Society has announced the first North American retrospective on director Kaizo Hayashi, one of the great luminaries of independent Japanese cinema in the 1980s and 1990s.

The world of Kaizo Hayashi is one of cinematic reverie and enchantment, whose reverence for film history—transposing genre and stylistic conventions from benshi and silent era serials to jidaigeki and hardboiled noir—results in one of the most imaginative and inspiring filmographies of the post-studio era. Invoking the mystery and intrigue of the moving image, amidst the flutter of celluloid frames, his cinema of the past brims with ingenuity and far-flung imagination, conjuring fantasies of what dreams may come.
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John Ford’s Epic Western “The Searchers” New 4K Restoration at Film Forum

the-searchers-restrorationA new 4K restoration of John Ford’s monumental western THE SEARCHERS (1956), starring John Wayne and Natalie Wood, will run at Film Forum from Friday, September 13 through Thursday, September 19.

After John Wayne returns home to Texas from the Civil War, he sets out to track down the surviving members of his family who’ve been abducted by Comanches. With Jeffrey Hunter, they go on a dangerous multi-year quest to rescue his kidnapped niece Natalie Wood.

“THE SEARCHERS showed Ford’s willingness to make a more ‘modern’-seeming Western for an audience that wanted greater psychological realism from the genre… the film turns the concept of Western heroism inside out, showing the lone gunman who acts in the name of nascent civilization as a warped, destructive force.” – Joseph McBride in Searching for John Ford

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