Kurosawa and Lubitsch in ravishing color and Ford and Visconti in eye-popping black and white, epics from Marcel Ophüls and King Hu, early features from Hou, Sembene and Brocka, a hidden film from Manoel de Oliveira, and Brian De Palma’s hallucinatory Blow Out—all part our 2015 selection of revivals.
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One of Brian De Palma’s greatest films and one of the great American films of the 1980s,
is such a hallucinatory, emotionally and visually commanding experience that the term “thriller” seems insufficient.
Inspired by the life of a 16th-century warlord and Shakespeare’s
, Akira Kurosawa’s astonishing medieval epic was a decade in the planning and making. The finished work is, to put it mildly, a mind-blowing experience.
When it comes to the wuxia film, all roads lead back to the great King Hu. His three-years-in-the-making masterpiece has now been restored in its complete version.
North American Premiere
The late, great Manoel de Oliveira stipulated that this film—made in 1982, when he was 73—be released only after his death. Oliveira’s improbable career took the form of a long goodbye, but this actual farewell, a droll, convivial auto-elegy, is no less touching in its simplicity and lucidity.
This year marks the 25th anniversary of The Film Foundation. Following his successful campaign in the early ’80s to develop a more durable color film stock, Martin Scorsese founded the organization to raise awareness of the fragility of film and to create a genuine consciousness of film preservation. Since its inception in 1990, TFF has partnered with archives, studios, and labs around the world to restore over 700 films. We’re presenting seven of their newest restorations.
Mbissine Thérèse Diop is by turns magnetic and devastating in Ousmane Sembene’s debut feature. A formative and eye-opening work, and one of the director’s finest.
Hou Hsiao-hsien in person!
This “group portrait of four laddish adolescents on the razzle in Kaohsiung as they approach the onset of adult life” (Tony Rayns) was the film that Hou Hsiao-hsien considered it to be his real beginning as a moviemaker, and it was the first great work of the Taiwanese New Wave.
Q&A with Martin Scorsese!
The legendary Ernst Lubitsch’s portrait of a turn-of-the-century hedonist extraordinaire is a very funny comedy of manners and a lovely rendering of Old New York in glorious, candy-box Technicolor, beautifully restored.
Filipino cinema’s watershed work—and the first to screen at the Cannes Film Festival—is a wildly perverse mother-daughter saga, a revenge tragedy of ancient Greek proportions, and a gut-punching study of social injustice.
John Ford’s soulful, heartbreaking adaptation of four O’Neill short plays is a black-and-white tone poem on the aching loneliness of life at sea and the longing for home.
Marcel Ophüls in person!
The third of Marcel Ophüls’ monumental inquiries into the questions of individual and collective guilt, spanning the Nuremberg trials and the French-Algerian war through the disaster of Vietnam.
Luchino Visconti’s rich, expansive masterpiece, the story of a mother and her grown sons who head north from Lucania in search of work, has an emotional intensity and tragic grandeur matched by few other films.