As Martin Scorsese has put it, there will be no future for cinema if we don’t preserve its past. These 11 wondrous films were made between 1946 and 2000, each one was in serious need of attention, and each one is here to discover…or re-discover.
Title: MILLER’S CROSSING ¥ Pers: BYRNE, GABRIEL ¥ Year: 1990 ¥ Dir: COEN, JOEL ¥ Ref: MIL032AH ¥ Credit: [ 20TH CENTURY FOX / THE KOBAL COLLECTION / PERRET, PATTI ]…
Director Martin Scorsese, actress Winona Ryder, and editor Thelma Schoonmaker in person!
20 years later, this stunning adaptation of Edith Wharton’s novel seems like one of Scorsese’s greatest—a magnificent lament for missed chances and lost time.
Leos Carax’s debut feature, a lush black-and-white fable of last-ditch romance drawn from a cinephilic grab bag of influences and allusions, instantly situated the young director as a modern-day heir to the great French Romantics.
This crazily plotted 1946 adaptation of Cornell Woolrich’s The Black Path of Fear, the very essence of “film noir,” features Robert Cummings as an everyman vet whose life is turned upside down when he finds a wallet that belongs to a sadistic gangster. Screening with Mark Kausler and Greg Ford's It's the Cat and Some Other Cat (total running time: 7m).
“The kind of love I have for the film,” said Nicholas Ray of The Lusty Men, “is not as a filmmaker adoring a child, it’s as a part of the literature of America.” Set in the punishing, rootless world of the rodeo circuit, this is one of Ray’s very best films, and Robert Mitchum’s Jeff McCloud is its sad, busted, but still beating heart.
As Todd McCarthy wrote, it was Pierre who “single-handedly brought the work of the late Filipino director Lino Brocka to the world’s attention.” This searing melodrama, with Bembel Roco and Hilda Koronel as doomed lovers, is one of Brocka’s greatest.
Leos Carax’s swoon-inducing portrait of love among thieves offers an ecstatic depiction of what it feels like to be young, restless and madly in love.
A camera crew travels the length of Thailand asking villagers to invent episodes in an ever-expanding story in the first feature from Apichatpong Weerasethakul: part road movie, part folk storytelling exercise, part surrealist party game.
Alain Resnais’ first English-language production largely takes place in the feverish mind of a dying novelist (John Gielgud), as he compulsively conjures a feverish labyrinthine narrative.
With Sandra, Visconti traded The Leopard’s elegiac grandeur for something grittier and pulpier—the Electra myth in the form of a gothic melodrama, starring Claudia Cardinale as a woman who returns to her ancestral home in Tuscany and has a reckoning with her family’s dark wartime past.
Nicholas Ray's widow, Susan Ray, will be present at the screening!
Nick Ray’s feature debut, adapted from Edward Anderson’s 1935 novel Thieves Like Us, is at once innovative, visually electrifying, behaviorally nuanced, and soulfully romantic.
Introduced by Eddie Muller, representing the UCLA Archive and the Film Noir Foundation!
Cy Endfield’s coruscating 1950 film, based on a true story about two men from San Jose who were lynched after their arrests for kidnapping and murder, is animated by an acute awareness of class and economic pressures and builds to a harrowing climax.