Founded in 1963, as the auteur theory and European cinematic modernism were crashing on to the shores of American film culture, the New York Film Festival stands as the second-oldest film festival in North America, and one of the oldest in the world. As we count down to NYFF's historic 50th edition in 2012, the Film Society is proud to present a year-long retrospective of highlights from the festival's first 49 years, as curated by past and present members of the NYFF selection committee.

Featured Works:

The Hunt (Carlos Saura, 1966); 2 or 3 Things I Know About Her (Jean-Luc Godard, 1967); The Battle of Algiers (Gillo Pontecorvo, 1967); My Night at Maud's (Eric Rohmer, 1969); Kes (Ken Loach, 1969, pictured); L'amour fou (Jacques Rivette, 1969); The Debut (Gleb Panfilov, 1970); Mean Streets (Martin Scorsese, 1973)

Program information:

50 Years of the New York Film Festival

Program information:

Planète Manga !

Featured Works:

During the 2012 Whitney Biennial, the film and video gallery on the second floor offers a full program of timed screenings of work ranging from cinematic features to experimental shorts. As the exhibition progresses, different artists will take up residency in this space.

Program information:

Whitney Biennial 2012: Film & Video Program

This festival is copresented with the AFI Silver Theatre with the generous support of the Korea Foundation.

Featured Works:

The 2012 edition of the Korean Film Festival DC interweaves a dozen films with four installments of single-channel video art, displayed in the Freer Gallery's Meyer Auditorium as part of the Moving Perspectives exhibition series.

The films are divided into three sections: New Korean Cinema, Seoul's Desire, and A Weekend with Na Hong-jin. New Korean Cinema, our annual survey of contemporary films, includes such popular blockbusters as The Client and Sunny, as well as innovative independent films such as End of Animal and Anyang, Paradise City. Seoul's Desire presents four movies, including Foxy Festival and Cyrano Agency, about the perils and pitfalls of contemporary romantic relationships-a significant recent trend in Korean film.

The one-two punch of The Chaser and The Yellow Sea (pictured) established Na Hong-jin as one of Korea's premier action auteurs. During A Weekend with Na Hong-jin, he visits the Freer and AFI Silver Theatre to introduce and discuss both films.

Program information:

Korean Film Festival DC 2012: The Art of the Moving Image from Korea

Hollywood directors John Ford, George Stevens, and Samuel Fuller entertained audiences with American cinema classics like The Grapes of Wrath, Shane, and The Big Red One. But their most important contribution to history was their work in the U.S. Armed Forces and Secret Services, filming the realities of war and the liberation of Nazi concentration camps. Their documentation provides an essential visual record of WWII. Filming the Camps presents rare footage of the liberation of Dachau with detailed directors' notes, narratives describing burials at Falkenau, and the documentary produced as evidence at the Nuremberg trials, among other historic material. Now, for the first time in the U.S., this material is being made available to a general audience.

The exhibition, curated by historian and film director Christian Delage, was designed, created, and circulated by the Mémorial de la Shoah (Paris, France), and made possible through the generous support of the SNCF. The New York presentation of Filming the Camps is made possible through the generous support of the Pickman Exhibition Fund.

Program information:

Filming the Camps: John Ford, Samuel Fuller, George Stevens: From Hollywood to Nuremberg

Renowned artist and film-maker Patrick Keiller will create an ambitious new project for the Tate Britain Commission 2012, supported by Sotheby's. His unique installation, developed especially for the neoclassical Duveen galleries at the heart of Tate Britain, will be unveiled on 27 March 2012. The Tate Britain Commission invites an artist to develop a new work in response to the Tate Collection, highlighting the continuum of visual and intellectual ideas between historic and contemporary art.

Patrick Keiller is one of Britain's most critically acclaimed independent filmmakers. Over the past 30 years he has developed a range of imaginative and highly original films which combine deadpan images of British landscape, rural and urban, with a witty narration which draws together wide-ranging literary anecdotes, historical episodes, current affairs, economic critique and offbeat humor.

The most notable examples of Keiller's distinctive approach to filmmaking are the series of essay films that chart the progress of the fictional character Robinson, an elusive would-be scholar who wanders the English landscape, taking the viewer on unpredictable journeys. Robinson visits sites as well-known as the Bank of England or Blackpool, and others less so: the site of a meteorite fall in Oxfordshire in 1830, and nearby scenes of agrarian rebellion. With incisive commentary, voiced by Paul Scofield and latterly Vanessa Redgrave, the first in the series, London (1994), presents a witty portrait of a city in decline, while Robinson in Space (1997) offers an exploration of England's economic landscape in the 1990s and the recent Robinson in Ruins (2010, pictured) recounts Robinson's travels in search of the origins of "capitalist catastrophe".

In other work Keiller has explored ways of assembling and displaying film beyond the familiar cinema format, creating what the artist describes as "moving image landscapes". For the large-scale installation Londres, Bombay (2006) for Le Fresnoy, Lille, the artist created a 30 screen moving image reconstruction of Mumbai's railway station Chhatrapati Shivaji Terminus, one of the largest gothic revival stations in the world. In another installation, The City of the Future (2007) shown at BFI gallery the artist created a virtual landscape of the UK at the turn of the 20th century.

In his work for the Commission, Patrick Keiller will explore the Duveen Galleries' spatial and other possibilities. He comments: "As someone most usually involved with images and the linearity of narrative, I'm delighted by the invitation to devise an exhibit for a sculpture gallery."

Program information:

Patrick Keiller

Related Articles:
Space Exploration by Leo Goldsmith posted Jan. 18, 2012

Wish You Were Here: The Buffalo Avant-garde in the 1970s examines a creative ecology that flourished in Buffalo in the 1970s comprising a loosely organized group of collaborative, interdisciplinary artistic communities spanning the visual arts, film, video, performance, literature, and music. Looking back on the art and ideas these groups propagated, one might argue that aspects of postmodern and contemporary art were seeded during this time, and that Buffalo was one of a group of geographic pockets that provided fertile ground for these concepts and methodologies to take hold. Wish You Were Here identifies some of these concepts and examines the various threads of connectivity and collaboration that made Buffalo a site of radical creativity.

The title Wish You Were Here comes from a notable anecdote of the time: In the aftermath of Western New York's catastrophic Blizzard of '77, instead of closing shop, Hallwalls responded with characteristic spontaneity and tenacity by putting together a memorable Snow Show featuring snow works by fifty-five artists. One of the participants, the artist Diane Bertolo, perfectly encapsulated the ironic yet persevering sensibility of the moment when she included a postcard-shaped wall painting on which she had written, "Having a wonderful time...wish you were here."* Grounding the exhibition as a geographically based exploration of a particular era, the title suggests not only a tongue-in-cheek response typical of outsiders' (and snowed-in natives') unenthusiastic view of Buffalo, but also a poignant sensibility referring to a moment that was truly special, something not to be missed.

The exhibition is organized around the various venues and organizations that galvanized the period: the Albright-Knox Art Gallery, a museum venue that, while fulfilling a broader mission including postwar modernist art, made a series of critically important, radical gestures in mounting exhibitions by emerging artists, including Bruce Nauman, Paul Sharits, and Steina and Woody Vasulka; Hallwalls, originated in the halls of a former icehouse in 1974 by the artists Charles Clough, Robert Longo, Cindy Sherman, and others; the Center for Exploratory and Perceptual Arts, or CEPA, an organization founded in 1974 to promote experimental photography; the renowned English department at the University at Buffalo (UB), run by notable poets and literary critics, including John Barth, Robert Creeley, and Leslie Fiedler, and the synchronous grassroots poetry movement; the downtown, independent Media Study/Buffalo and the Center for Media Study at UB, both operating by 1973 at the initiation of Gerald O'Grady and propelled by resident professors and filmmakers Hollis Frampton, Paul Sharits, Tony Conrad, the Vasulkas, and James Blue; Artpark, founded in 1974 as an unchartered land-art site where numerous artists-Gordon Matta-Clark, Antfarm, Lynda Benglis, Nancy Holt, and Alan Saret, among many others-were granted long-term residencies; the Creative Associates and Center of the Creative and Performing Arts, a radical performance and music venue developed at UB and led by Lukas Foss, Lejaren Hiller, Morton Feldman, and Jan Williams; and the Buffalo Philharmonic Orchestra, led by Foss and, later, Michael Tilson Thomas.

This exhibition is organized by Curator Heather Pesanti. This exhibition is presented by First Niagara.

Program information:

Wish You Were Here: The Buffalo Avant-garde in the 1970s

Related Articles:
Good Neighbors by Colin Beckett posted May. 03, 2012

The Amoy-dialect cinema of Hong Kong is a strange breed of works. They were produced in Hong Kong but were seldom shown in the then colony. They were made in the Amoy dialect of southern Fujian but, as far as we can determine, never shown in the province.

The films were targeted mainly towards speakers of Fujian dialects, chief among them Fujian émigrés in Southeast Asia and Mannanyu speakers of Taiwan. Ironically, residents of Fujian were not able to see them because of political barriers. The cinema came into being in the late 1940s and became popular in the 1950s, suffering decline in the 1960s.

Over 200 titles were produced in total, with established actors, directors, scriptwriters and other behind-the-scenes personnel. A few stars enjoyed great popularity, becoming household names among Fujian-speaking populations. Early projects were mostly costume pictures, but films of contemporary settings were made in increasing numbers in the second half of the 1950s.

Featured Works:

Most of the films had been lost. The Hong Kong Film Archive had throughout the years acquired a small collection of titles, some of them in prints, some in only VHS formats. We are proud to present a selected number of those films in this program. Titles blown up from VHS suffer from very poor visual qualities and will be shown free of charge.

Program information:

The Strange Case of Hong Kong Amoy Cinema

Featured Works:

Katzelmacher (Rainer Werner Fassbinder, 1969); Love is Colder Than Death (Rainer Werner Fassbinder, 1969); Gods of the Plague (Rainer Werner Fassbinder, 1970); The American Soldier (Rainer Werner Fassbinder, 1970); Why Does Herr R. Run Amok? (Rainer Werner Fassbinder and Michael Fengler, 1970); Rio das Mortes (Rainer Werner Fassbinder, 1971); The Merchant of Four Seasons (Rainer Werner Fassbinder, 1971); Ali: Fear Eats the Soul (Rainer Werner Fassbinder, 1974); Fox and His Friends (Rainer Werner Fassbinder, 1975); I Only Want You to Love Me (Rainer Werner Fassbinder, 1976); Satan's Brew (Rainer Werner Fassbinder, 1976); Veronika Voss (Rainer Werner Fassbinder, 1982, pictured)

Program information:

Rainer Werner Fassbinder's Munich

Remote Control surveys the enormous impact that television has had upon contemporary culture through a range of artistic engagement with the medium and offers a look at how the next generations are responding to digital convergence. The exhibition includes many important works that reveal the power and influence of television broadcasting on politics and society. Remote Control coincides with the digital switchover in the UK and marks the end of analogue broadcasting, representing a milestone in the evolution of the medium.

The exhibition maps the continued influence and diverse potential of TV as a social tool and new art form. In the upper galleries the works challenge the themes of politics, propaganda and identity. Adrian Piper's charged video installation Cornered (1988) confronts issues of racial identity whilst Harun Ferocki's Videograms (1992) features edited TV footage of the Romanian revolution of December 1989 and the occupation of Bucharest's television station. Richard Hamilton's Kent State (1970) uses photographs of a news broadcast of a series of anti-Vietnam protests. Fredericke Pezold challenges notions of female identity with Mundwerk (1974-75), a work consisting of 21 gelatin silver prints of photographs of her own body captured in video stills.

Remote Control also looks at television as a physical object as can be seen in Matias Faldbakken's minimal tombstone-like concrete casts of televisions (2011) and Tauba Auerbach's hypnotic images of TV static and digital binary code (2012). Julia Wachtel's A.K.A. (1992) combines hard-edge abstraction and daytime television, juxtaposing silkscreened images of faces on the afternoon talk shows with monochrome panels. Concern with fame, pop culture and consumerism dominate in the work of Jessica Diamond, Mark Leckey and Martha Rosler. Diamond's wall painting T.V. Telepathy (1989) proclaims in bold black letters "Eat Sugar Spend Money" and takes the outline of a television screen whilst Leckey weaves pop imagery such as Felix the Cat into his film collages, particularly symbolic as it was used in the 1920s as a test pattern for the first television broadcasts in the USA.

In the lower gallery the exhibition will feature rarely seen archive footage, a new installation design by Berlin-based artist Simon Denny which structures remnants of London's analogue broadcasting hardware alongside works made for TV by artists such as David Hall, Richard Serra and Ant Farm (an American artist collective). Serra's Television Delivers People (1973) was a bold statement against the medium as was Ant Farm's polemical work Media Burn.

As the analogue form of television becomes obsolete, Remote Control will simultaneously unveil a ruin whilst gesturing towards the future with a live program entitled Television Delivers People. Participants and content include Auto Italia South East, Bob Stanley, exerts from Experimental TV Center selected by Stephen Sutcliffe, Jonny Woo, and Lucky PDF on the opening night.

Featured Works:

Artists featured in Remote Control: Peter d'Agostino, ANT FARM , Kevin Atherton, Tauba Auerbach, Auto Italia South East, Judith Barry, Dara Birnbaum and Dan Graham, Lyn Blumenthal and Carole Ann Klonarides, Joan Braderman, Simon Denny, Jessica Diamond, Matias Faldbakken, Harun Farocki and Andrei Ujica, David Hall, Richard Hamilton, Lynn Hershman, KRIWET, Mark Leckey, Hilary Lloyd, Stuart Marshall, Marcel Odenbach, Friederike Pezold, Adrian Piper, Michelangelo Pistoletto, Radical Software, Martha Rosler, Ira Schneider, Gerry Schum, Richard Serra, Taryn Simon, Hito Steyerl, TVTV, Julia Wachtel and Antek Walczak.

Program information:

Remote Control

With Found Footage: Cinema Exposed, EYE will officially move into its new 1,200-square-metre exhibition space. The exhibition shows how artists and filmmakers make use of the nearly inexhaustible reservoir of images that can be found in film archives, on Internet, TV and DVD.

Found Footage: Cinema Exposed forms the spectacular kick-off of the coming series of exhibitions that will be held in EYE's new building on the banks of the River IJ.

This inaugural exhibit reveals the fascination of artists and experimental filmmakers for working with found films and film fragments, to which they give a new, original twist. These images have cropped up in film archives, Internet, TV, DVD and feature films, and serve as raw material and are given another meaning in new films, installations and presentations.

Featured Works:

The participants include Bruce Conner (1933-2008) and Douglas Gordon. Visual artists Aernout Mik and Christoph Girardet designed an installation especially for this exhibit based on EYE's collection. Other participating artists include David Claerbout (1969), Anri Sala (1974), Bill Morrison (1965) and Joachim Koester (1962).

There will be film screenings, debates and lectures on the theme of found footage, all of which will be held in EYE's new cinemas and auditoriums. The program includes work from important (early) found footage artists such as Harun Farocki (1944), Gustav Deutsch (1952), Bill Morrison (1965) and Péter Forgács (1950).

In connection with the exhibition, there is a continuous film program that will run in Cinema 4 with work by Harun Farocki (1944), Phil Solomon (1954), Martin Arnold (1959) and Deimantas Narkevicius (1964), among others. The dates and times during which this ‘loop' will be shown differ from those of the exhibition.

Found Footage: Cinema Exposed was curated by Jaap Guldemond, director of exhibitions at EYE Film Institute Netherlands.

Program information:

Found Footage: Cinema Exposed

Media Museum presents the work of Dieter Meier, the multi-talented artist from Zurich, as well as his activity as director of film and video-clips.

Meier's artistic origins are characterized by radical and absurd-humorous situations, which have inspired him time and time again to direct confrontations with passers-by in public squares: in the Lucerne Art Museum, visitors recorded on a time stamp clock how much time they spent in an empty space. The idea was "(...) that they dedicate one or two minutes of their lives to me", said Meier. For a photographic project in 1976, Meier fashioned figures out of powder sugar and plasticine, before destroying them shortly afterwards. In the same year, he exhibited 48 imaginary biographies in the Zurich Kunsthaus.

Dieter Meier's works were characterized by the phenomenon of time; his actions were mostly announced and terminated with bureaucratic precision. The seeming banality and irrationality of many of his actions contrasted with the enhanced attitude of anticipation among the public. And yet Meier consciously created the insignificant, contrasting the desperate search for significance and artistic patterns of meaning with a frenzied and radical "non-meaning".

By the end of the 1970s, Meier had his fill of "art racing" and, together with Boris Blank, founded the duo YELLO. With pieces such as "The Race" or "Oh Yeah", he celebrated the success of YELLO in the international charts; many of the duo's pieces were used during the 1980s for TV programs and feature films. In the music videos of YELLO, Dieter Meier's influence from the early works can be clearly seen: thus, the plasticine figures Meier refers to as "Lost sculptures" reappear in the video "Pinball Cha Cha" (1982).

One year ago Dieter Meier opened his artistic archive for the first time for the exhibition "en passant" in the Berlin project gallery space Grieder Contemporary. The findings, thought to be partly lost, are now presented at the ZKM in the exhibition "Dieter Meier. Works 1969-2011 and the YELLO Years", which could be viewed in the Falckenberg Collection in the Deichtorhallen Hamburg in 2011.

Curator: Peter Weibel. Project Coordinator: Katrin Heitlinger.

Program information:

Dieter Meier Works: 1969-2011 and the YELLO Years

Whether film noir is a genre or a style (the subject of debate), this much can be agreed upon: from roughly 1941 to 1958, Hollywood produced a flood of deliciously dark, devilishly told tales that rendered the distinction between "high" and "low" art meaningless. Stories out of pulp fiction were filmed with visually dazzling innovation-high contrast lighting, off-kilter angles, and lingering shadows behind which anything could materialize. Some of Hollywood's greatest icons populate these films, delivering blistering dialogue as they twist and turn their way through some of the most devious plots ever devised. Small-time crooks in over their heads. Ordinary people drawn into extraordinary situations. Surly private eyes swimming upstream against corruption. Irresistible femmes fatale. Cons, dupes, and dead-people-who-aren't-really-dead. The wrongly accused, and the erroneously exonerated. Whodunits, whatsits, and who-are-they-reallys. In film noir, the past always catches up to you, and the only thing you know for sure is you're probably wrong about what you know. It's impossible to imagine the medium as a whole without film noir, not only because of the classics produced during that era, but all that have come since under the banner of neo-noir: films like Chinatown and The Long Goodbye in the 1970s, Blue Velvet, Blood Simple, and even Blade Runner in the 1980s, and L.A. Confidential, Reservoir Dogs, and The Usual Suspects in the 1990s. To name a few. Investigate their origins. Look into their backgrounds. You'll find the trail leads right here.

Featured Works:

19 films

Program information:

Film Streams Noir

Highly regarded for her politically charged performances and public "happenings", Yayoi Kusama has consistently integrated her own image within her work and has regularly appeared before the camera since the 1960s. Viewed by critics as both a feminist visionary and a prolific self-promoter, Kusama's indelible image is presented in films including Kusama's Self-Obliteration (1968), Love-In Festival (1968), Flower Orgy (1968) and Song of a Manhattan Suicide Addict (1999).

This event is related to the exhibition Yayoi Kusama

Program information:

Kusama on Film

Featured Works:

Compartiment tueurs (Costa-Gavras, 1965); La guerre est finie (Alain Resnais, 1966); Un homme de trop (Costa-Gavras, 1967); Z (Costa-Gavras, 1969); L'Aveu (Costa-Gavras, 1970, pictured); Les deux mémoires (Jorge Semprún, 1974); Une femme à sa fenêtre (Pierre Granier-Deferre, 1976-2011)

Program information:

Costa-Gavras and Jorge Semprún: Friendship and Commitment

A season of early Australian cinema showcasing the roles that women played in front of the camera and in film production. The program strands "Thoroughly Modern" and "Adorable Outcasts" respectively explore the creation of a modern national identity and cinematic fantasies of the exotic through images of women. Silent films will be accompanied on the Gallery's Wurlitzer Style 260 theatre organ.

Program information:

Women in Early Australian Film

FIAF is honored to present a tribute to Romy Schneider, the grand actress, icon, and lover of renowned French actor Alain Delon.

Born in Austria, Schneider nevertheless became a darling of French cinema, first with her career-making performances in the Sissi films and later through her work with directors like Claude Chabrol, Henri-Georges Clouzot, and Costa-Gavras. The two-month long series, Empress of the Screen, commemorates the 30^th anniversary of this mesmerizing actress's tragic death.

Featured Works:

Christine (Pierre Gaspard-Huit, 1958); Le Combat dans l'île (Alain Cavalier, 1962); The Swimming Pool (La Piscine, Jacques Deray, 1969); The Things of Life (Les Choses de la vie, Claude Sautet, 1970); The Train (Le Train, Pierre Granier-Deferre, 1973); A Woman at Her Window (Une Femme à sa fenêtre, Pierre Granier-Deferre, 1976); Womanlight (Clair de femme, Costa-Gavras, 1979); The Grilling (Garde à vue, Claude Miller, 1981, pictured); Clouzot's Inferno (L'Enfer d'Henri-Georges Clouzot, Serge Bromberg and Ruxandra Medrea, 2009)

Program information:

Romy Schneider: Empress of the Screen

Featured Works:

Geschlecht in Fesseln (Wilhelm Dieterle, 1928); Hell's Highway (Rowland Brown, 1932); Ann Vickers (John Cromwell, 1933); The Prisoner of Shark Island (John Ford, 1936); San Quentin (Lloyd Bacon, 1937); Each Dawn I Die (William Keighley, 1939); Brute Force (Jules Dassin, 1947); Birdman of Alcatraz (John Frankenheimer, 1961); Cool Hand Luke (Stuart Rosenberg, 1967); Punishment Park (Peter Watkins, 1971); Midnight Express (Alan Parker, 1978); The Jericho Mile (Michael Mann, 1979); Brubaker (Stuart Rosenberg, 1980); Scum (Alan Clarke, 1980); The Kiss of the Spider Woman (Hector Babenco, 1985); Lock Up (John Flynn, 1989); The Shawshank Redemption (Frank Darabont, 1994); Zonzon (Laurent Bouhnik, 1998); Carandiru (Hector Babenco, 2003); Hunger (Steve McQueen, 2008); Leonera (Pablo Trapedo, 2008); Un Prophète (Jacques Audiard, 2009, pictured)

Program information:

Prison Films

Hollywood loves Paris. Just consider the number of films set in the French capital. But Paris seen by Hollywood is not the image of a city, it's the image of a dream: the Eiffel Tower, Montmartre, the cafés, the beautiful women, the cabarets, the fashion, the gastronomy, the lovers strolling along the Seine... A magnified vision of Paris, which the French spectators enjoy just as much!

Featured Works:

100 films

Program information:

Paris Seen by Hollywood

Born Jean Alexis Moncorgé in 1904 to a family of performers, Gabin started out as a comic singer at the Moulin Rouge. His early films capitalized on this talent, but soon he switched to dramatic parts. From La Bandera in 1935 to Le Jour se lève in 1939, he was the top French star. He appeared in an extraordinary run of masterpieces, directed by the likes of Duvivier, Renoir, Carné and Grémillon, in which he portrayed the definitive working-class hero, a mythical "Oedipus in a cloth-cap". His image uniquely combined the solidity of the "ordinary" man, anchored in his community, with the tragic alienation of the criminal hero (who frequently died at the end). Depending on the films, with few exceptions (such as Renoir's La Grande illusion), he was a working-class man driven to crime, or a gangster whose genuineness was always near the surface.

Gabin's projection of authenticity was sustained by his understated performance. For Renoir, he could overwhelm the audience by merely batting his eyelids, and for the critic Roger Régent he could act with his back. Gabin's sober, modern acting style contrasted wonderfully with more theatrical players such as Louis Jouvet and Jules Berry. It was also offset by his famous on-screen explosions of rage, which according to legend (but not fact) he insisted on being part of his contracts.

The war propelled Gabin to Hollywood, where he made two films (Moontide and The Imposter) and conducted a high-profile liaison with Marlene Dietrich, before joining the Free French in combat. By the early 1950s it looked as if his era had passed. But then Jacques Becker's Touchez pas au grisbi (1954) and Renoir's French Cancan (1955) catapulted him back to the top of the box-office, where he stayed until his death in 1976, playing charismatic, avuncular and world-weary (god)father figures in a string of social melodramas and especially gangster films. Some saw this new incarnation as a reactionary bourgeois betrayal of the earlier working-class rebel, but in truth there were more continuities than differences. His rugged looks, rolling gait, rough voice and Parisian accent still anchored his characters in the same mythical social milieu, and this is why he kept his popular following. Ultimately Gabin's charisma endowed the ordinary man with dignity and prestige.

Program information:

Jean Gabin: Working-Class Hero to Godfather

She is one of the most singular and original comedians of modern cinema. She was memorable in Alain Tanner's La Salamandre. She radiates a childish and distanced charm, an "absent presence", in the films of Luis Buñuel (Le Charme discret de la bourgeoisie), Jacques Rivette (L'Amour fou, Céline et Julie vont en bateau), Werner Schroeter (Flocons d'or), Daniel Schmid (La Paloma), Barbet Schrœder (Maîtresse) and of course Marguerite Duras.

Program information:

Bulle Ogier

The Museum of Modern Art, in association with the Munich Film Museum and the Goethe-Institut, presents the most comprehensive retrospective ever assembled in North America of the German film, theater, and opera director Werner Schroeter (1945-2010). Featuring 40 feature films and rare early experimental shorts, very few of which ever had theatrical releases in the United States, the exhibition also includes the New York premiere of Mondo Lux (2011), a documentary portrait of Schroeter by his longtime cinematographer Elfi Mikesch, as well as interviews conducted by Alexander Kluge and others.

The full measure of Schroeter's influence on his German contemporaries, Rainer Werner Fassbinder, Rosa von Praunheim, and Hans-Jurgen Syberberg, and on Daniel Schmid, Ulrike Ottinger, Wim Wenders, and Werner Herzog, has only begun to be fully appreciated. So too his direction of actors like Isabelle Huppert, Bulle Ogier, Candy Darling, and his muse and superstar, Magdalena Montezuma, from whom he drew some of their greatest performances. Inspired, like Jack Smith, by the divas of silent-era cinema, Schroeter strove for an authenticity of feeling through extreme emotions, reaching a point, he said, of "musical and gestural excess." He found this on the steps of an ancient Roman temple and on the streets of Manila, in a Pina Bausch dance piece, a fin-de-siècle Oscar Wilde tragedy, and a Verdi aria performed by Maria Callas. Making no distinction between kitsch and high art-travesty was for him a form of exaltation-he drew from a dazzling array of sources: Shakespeare and the Passion Play, German Romanticism and Italian neorealism, 19^th-century opera and Arab pop, Jean Genet and Douglas Sirk, fashioning out of these a densely woven, ravishing, and often hallucinatory collage of images, songs, and fragmentary narratives organized around musical structures.

Fassbinder anticipated Schroeter's belated recognition when he wrote in 1977 that "Schroeter, who will in years to come assume a place in film history similar to that of Novalis, Lautréamont, and Louis-Ferdinand Céline in literature, was for 10 years an ‘underground' director-a role one did not wish to let him escape. The great filmic vision of Schroeter's world was constrained, repressed, and at the same time ruthlessly exploited. His films [were rendered] in a flash as beautiful but nonetheless exotic plants, blossoming in such a strange manner that ultimately one couldn't really deal with them.... And that is as simplistic as it is wrong and stupid. Because Werner Schroeter's films aren't esoteric; even if they are beautiful, that still doesn't make them exotic. Quite the contrary." No less admiring was the French philosopher Michel Foucault, who wrote that "what Schroeter does with a face, a cheekbone, the lips, the expression of the eyes...is a multiplying and burgeoning of the body, an exultation." All films lent by the Munich Film Museum and courtesy Monika Keppler, except where noted. Electronic subtitling provided by Sub-Ti Ltd.

Featured Works:

Verona (Werner Schroeter, 1967); Aggression (Werner Schroeter, 1968); Callas Walking Lucia (Werner Schroeter, 1968); Carla singt (Carla Sings, Werner Schroeter, 1968); Himmel hoch (Werner Schroeter, 1968); Ica Vilander (Werner Schroeter, 1968); La morte d‘Isotta (Werner Schroeter, 1968); Magdalena Montezuma (Werner Schroeter, 1968); Maria Callas Portrait (Werner Schroeter, 1968); Maria Callas singt 1957 Rezitativ und Arie der Elvira aus Ernani 1844 von Giuseppe Verdi (Maria Callas, in 1957, Sings Elvira's Aria and Recitative from Verdi's 1844 Opera Ernani, Werner Schroeter, 1968); Mona Lisa (Werner Schroeter, 1968); Paula-'je reviens' (Werner Schroeter, 1968); Salome's Dance (Werner Schroeter, 1968); Verner (Werner Schroeter, 1968); Argila (Werner Schroeter, 1969); Eika Katappa (Werner Schroeter, 1969); Neurasia (Werner Schroeter, 1969); Der Bomberpilot (Werner Schroeter, 1970); Macbeth (Werner Schroeter, 1971); Salome (Werner Schroeter, 1971); Der Tod der Maria Malibran (The Death of Maria Malibran, Werner Schroeter, 1972); Willow Springs (Werner Schroeter, 1973); Der schwarze Engel (The Black Angel, Werner Schroeter, 1974); Johannas Traum (Werner Schroeter, 1975); Les Flocons d'or (Goldflakes, Werner Schroeter, 1976); Nel Regno di Napoli (The Kingdom of Naples, Werner Schroeter, 1978); La Répétition générale (Dress Rehearsal, Werner Schroeter, 1980); Palermo oder Wolfsburg (Werner Schroeter, 1980); Weisse Reise (White Journey, Werner Schroeter, 1980); Tag der Idioten (Day of the Idiots, Werner Schroeter 1981); Liebeskonzil (Love Council, Werner Schroeter, 1982); De l'Argentine (For Example Argentina, Werner Schroeter, 1983-1985); Der Iachende Stern (The Smiling Star, Werner Schroeter, 1983); Der Rosenkönig (The Rose King, Werner Schroeter, 1986, pictured); Auf der Suche nach der Sonne (In Search of the Sun. About Ariane Mnouchine, Werner Schroeter, 1987); "Der Charme, der aus der Freiheit kommt" ("The Charm that Comes from Freedom", Alexander Kluge, 1989); Sex, Lear, and Schroeter (Peter Kern, 1990); Malina (Werner Schroeter, 1991); Poussières d'amour/Abfallprodukte der Liebe (Love's Debris, Werner Schroeter, 1996); Welche Chance hat Navigation im Meer der Liebe? (What Chance Does Navigation Have in the Sea of Love?, Alexander Kluge, 1999); Die Königin: Marianne Hoppe (The Queen, Werner Schroeter, 2000); Deux (Two, Werner Schroeter, 2002); Die Tochter des Miraculix (The Daughter of Miraculix, Alexander Kluge, 2003); Nuit de chien (Tonight, Werner Schroeter, 2008); Auf der Rasierklinge des Lebens (On the Razor Blade of Life, Alexander Kluge, 2010); Dietrich Kuhlbrodt im Gespräch mit Werner Schroeter (Werner Schroeter, 2010); Wolf Wondratschek: Laudatio auf Werner Schroeter (Werner Schroeter, 2010); Mondo Lux (Elfi Mikesch, 2011)

Program information:

Werner Schroeter

With two new publications and a retrospective of his work, the Austrian Film Museum pays tribute to an artist who, over the past three decades, has established himself as one of the most extraordinary voices in cinema. For Olivier Assayas, film is the art of constant upheaval, of restlessness, and accordingly, his work can't be easily labeled. Between his first feature Désordre (1986) and such major works as Irma Vep (1996), Les Destinées sentimentales (2000) demonlover (2002) and, most recently, L'Heure d'été (2008) and Carlos (2010), he has charted an exciting and highly dialectical path, "embracing narrative and character, dealing with the fragmentary reality of life in a global economy, and, at the same time, crafting what amounts to an ongoing, passionate spiritual autobiography." (Kent Jones). Or, in the words of the filmmaker: "I believe that in art you can move from the intimate to the universal. You can make movies that deal with what is going on within yourself, which is part of commonly shared human experience, and simultaneously you can make movies that are open to what happens in the big world around you, that deal with history, with the geo-politics of your time."

Assayas was born in Paris in 1955, to a family with Hungarian and Italian roots. His father (pen name: Jacques Rémy) was a busy screenwriter in the film and TV industry, but the son took a different path towards cinema: from rock music and painting (his first chosen art form) to a deep engagement with the legacy of Guy Debord and Situationism, to film criticism. As a writer for Cahiers du cinéma between 1980 and 1985, he was partly responsible for some of the magazine's legendary special issues. In Made in Hong-Kong (1984), for instance, he demonstrated a deep understanding of Chinese film culture, which went far beyond other contemporary perspectives. Later, he published a book of interviews with Ingmar Bergman (1990) and a short monograph on Kenneth Anger (1999), which, along with his documentary HHH-Portrait de Hou Hsiao-hsien (1997), can be viewed as a "cinephile trilogy." Assayas' autobiographical book of 2005, A Post-May Adolescence, is now being released by the Film Museum in an English edition. In many ways, it also serves as a companion text to Assayas' upcoming film, Après-Mai.

Since Une nouvelle vie (1993), all of Assayas' films have attempted to capture the world anew through cinema, to connect with lived experience in the most intricate ways. At the same time, they reflect on specific film genres and eras-three obvious examples are Les Destinées sentimentales (his 19^th century epic), Clean (2004; his "New Hollywood film") and Carlos (his political Euro-thriller). But none of these works are simply hommages; they are fragile acts of self-realization, staking out positions, keeping track of the filmmaker's own transformation as a human being. If Assayas' so-called "typical(ly French)" works-L'Enfant de l‘hiver (1989), Fin août, début septembre (1998) or L'Heure d'été-are marked by moments of change, or by a quivering between fear and hope, then his "untypical, international" films, such as the fabulous "film maudit" demonlover and the B-thriller Boarding Gate (2007), serve as variations on this theme.

The key to Assayas' work so far can be found in a masterful pair of films, L'Eau froide (1994) and Irma Vep. The former, deeply autobiographical, pays tribute to teenage life in the early 70s, and to the night as a zone of freedom, listening to music, dancing and hanging out; the latter presents cinema as a machine of illusions, which, if handled properly, can guide us directly to the core of reality. With L'Eau froide, Assayas developed the fluidity of his gaze, that observant gliding which has characterized his movies ever since; in Irma Vep he gave free reign to his love for formal experimentation, culminating in a final apotheosis of personal filmmaking which also feels like a rediscovery of the medium. Perhaps L'Eau froide was a farewell to the kind of person one can no longer be, while Irma Vep is an acceptance of what one became instead. And the movement continues.

The Film Museum is honored to welcome Oliver Assayas for a masterclass and several Q&As during the opening weekend of the retrospective. The new monograph on the filmmaker, edited by Kent Jones, and Assayas' book "A Post-May Adolescence" will be launched on May 11 in the presence of both authors. The retrospective and publications have been organized with kind support from the French Institute in Paris and the Institut français in Austria.

Program information:

Olivier Assayas: The Complete Works

It was no modest demand being made by a group of 26 signatories when they read out a manifesto at the VIII West German Short Film Festival in Oberhausen in February 1962, calling for nothing less than a radical break with the West German film industry in a statement that culminated with "the old cinema is dead. We believe in the new cinema." In the early 60s, the state of German film was not just artistically desolate, but also economically finished. It was practically impossible for young, critical filmmakers to find their place in the German film industry: as the classic method of getting into film by working as an assistant to an experienced director was stymied by the big age difference between the younger and older generations, this meant they were effectively forced to teach themselves. Peter Schamoni stated that, "back then, there was no way for us to reach the film industry. We had no way of realizing scripts or ideas within existing German film production, so we began to make short films that we ourselves produced." The 26 signatories-directors, cameramen, producers and one actor, not a single one of them a woman-were a loosely connected group, which had formed from the DOC 59 association founded by Haro Senft and Ferdinand Khittl in Munich in 1959. Discussed in the press with interest and approval, the film branch itself reacted derisively to the manifesto, giving the young filmmakers the name "Obermünchhausener".

The manifesto was only 22 lines long, contained little actual content and was largely concerned with sending out a signal. It was carried by a feeling of necessity and an atmosphere of change and set out clear intentions: "We state our demand to create a new kind of German feature film." Although the signatories did not develop a genuine aesthetic language of their own, they were bound together by a critical attitude towards the years of plenty brought by the economic boom. As far as cultural policy was concerned, the manifesto paved the way for the foundation of the "Kuratorium junger deutscher Film" in 1965 and laid the groundwork for the New German Cinema of the late 60s and 70s. In this way, the manifest became a symbol of renewal in German cinema. However, a clear discrepancy exists between the manifesto's impact and the fact that the vast majority of its signatories were unable to enjoy a lasting career in film. Apart from a few exceptions, such as Alexander Kluge and Edgar Reitz, who have both found their place in German film history, most of the signatories are completely forgotten today.

As part of the "Provoking Reality-50 Years of the Oberhausen Manifesto" project, nearly 40 short films by the signatories have been restored and preserved for posterity in collaboration with the Federal Film Archive and the Deutsche Kinemathek.

We are showing seven full-length films made between 1961 and 1967, which give an impression of the first feature films made by the Oberhausen group. In a series of six thematic short film programs curated by Ralph Eue, the films made by the Oberhausen group are also placed alongside those made by their companions and contemporaries.

Program information:

50 Years of the Oberhausen Manifesto

Featured Works:

21 films

Program information:

Retrospective Seijun Suzuki

Agnès Varda, Steven Spielberg and Universal Pictures, Robert De Niro, John Boorman, Andrei Konchalovsky, Roman Polanski, the World Cinema Foundation, Jerry Lewis, Lawrence of Arabia, Claude Miller, Nastassja Kinski, Alfred Hitchcock, Keisuke Kinoshita, The Dance Cinematheque, Roberto Rossellini as well as Georges Lautner and all their friends starr in Cannes Classics 2012.

Featured Works:

The Cannes Classics 2012 programme includes 13 feature films, two shorts, a mini-concert and four documentaries. All these films will be world premieres.

Program information:

Cannes Classics 2012

Featured Works:

Nocturne (Lars von Trier, 1980); Befrielsesbilleder (Lars von Trier, 1982); The Element of Crime (Lars von Trier, 1984); Epidemic (Lars von Trier, 1987); Medea (Lars von Trier, 1988); Europa (Lars von Trier, 1991); The Kingdom (TV mini-series, "Riget", Lars von Trier, 1994); Breaking the Waves (Lars von Trier, 1996); The Idiots (Lars von Trier, 1998); The Kingdom (TV mini-series,"Riget II", 1998); Dancer in the Dark (Lars von Trier, 2000); Dogville (Lars von Trier, 2003); Dogville Confessions (Sami Saif, 2003); The Five Obstructions (segment "The Perfect Human: Avedøre, Denmark", Lars von Trier, 2003); A Conversation with Lars von Trier (Eva Ziemsen, 2005); Manderlay (Lars von Trier, 2005); The Boss of It All (Lars von Trier, 2006); To Each His Own Cinema (segment "Occupations", Lars von Trier, 2007); Antichrist (Lars von Trier, 2009); Melancholia (Lars von Trier, 2011, pictured)

Program information:

Retrospective Lars von Trier

Featured Works:

Take the Money and Run (Woody Allen, 1969); MASH (Robert Altman, 1970); Duel (Steven Spielberg, 1971); McCabe & Mrs. Miller (Robert Altman, 1971, pictured); The Last Picture Show (Peter Bogdanovich, 1971); THX 1138 (George Lucas, 1971); Mean Streets (Martin Scorsese, 1973);The Conversation (Francis Ford Coppola, 1973); The Last Detail (Hal Ashby, 1973); The Sugarland Express (Steven Spielberg, 1974); Carrie (Brian de Palma, 1976); Taxi Driver (Martin Scorsese, 1976); The Deer Hunter (Michael Cimino, 1978)

Program information:

The New Hollywood of the 70s

Apart from the familiar world of feature films, there exists a lesser-known world of industrial films, instructional and informational sponsored short films that were shown in schools, at corporate events, in the workplace, and at commercial theaters before features. Documentary filmmaker Caroline Martel's installation Industry/Cinema takes an illuminating journey through film history by juxtaposing industrial images with those from popular or canonical films made between 1903 and 1991. With headphones and channel switches, visitors can toggle back and forth between the soundtracks. Images and sounds comment on each other, often in surprising ways, allowing for a singular interactive experience. Scenes from films by Thomas Edison, Charles Chaplin, François Truffaut, and Stanley Kubrick are shown alongside such archival gems as How Business Girls Keep Well, Along These Lines, and The Speech Chain, an AT&T film with a computer singing "Daisy Bell," which was sung by the computer HAL in 2001: A Space Odyssey.

Made possible with support from the General Delegation of Quebec in New York.

Program information:

Industry/Cinema: An Installation by Caroline Martel

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Dream Factory by Aaron Cutler posted May. 16, 2012

At first glance, Wes Anderson's films may seem whimsical-like fancifully designed supertoys. But within the colorful, beautifully realized worlds that Anderson creates on screen, there is surprising depth and emotional resonance. On the occasion of his new film, Moonrise Kingdom, which Focus Features releases on May 25, here is a chance to see Anderson's feature films on the big screen, along with Orson Welles's The Magnificent Ambersons, a movie that inspired him. And as an exclusive treat for Moving Image audiences, Anderson has created a video introduction for each of the films.

Program information:

Wes Anderson's Worlds

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The Substance of Style, Pt 1 by Matt Zoller Seitz posted Mar. 30, 2009
The Substance of Style by Matt Zoller Seitz posted May. 17, 2012

Little known in the US, António Reis (1927-1991) is revered in his native Portugal as a visionary artist whose films and many years as a beloved teacher and mentor exerted an immeasurable influence over the post-Salazar rebirth of Portuguese cinema and the new generation of filmmakers that emerged in the 1980s and 1990s. Born in Oporto, Reis found renown first as a poet before meeting the great Manoel de Oliveira who invited Reis to be assistant director on Oliveira's first radical masterpiece, Rite of Spring, working alongside another important collaborator, Paulo Rocha. The pioneering mode of poetic ethnographic cinema which Oliveira and Reis defined guided the course of the four extraordinary works Reis co-directed with his wife, the psychologist Margarida Cordeiro (b. 1939), culminating in Trás-os-Montes, a lyrical search for the very "soul" of Portuguese culture and history in the myths and peasant folklore embodied in Portugal's remote far-north region. Admired by the likes of Joris Ivens, Jean Rouch and Jean-Marie Straub, the films of Reis and Cordeiro invented a poetically liberated and hypnotically cinematographic film language, a style and sensibility that set the course of Portugal's lasting tradition of radical cinema, exerting a formative influence, for example, upon João Cesar Monteiro. Yet equally important was Reis' career and legacy as a long-time senior professor of film production and aesthetics at Lisbon's Escola Superior de Teatro e Cinema. As a tribute to Reis' inspiration of the most important talents in contemporary Portuguese cinema, this retrospective includes a selection of works by Reis' students including Pedro Costa, João Pedro Rodrigues and Joaquim Saphino.

Featured Works:

Rite of Spring (O Acto da Primavera, Manoel de Oliveira, 1962); Change of Life (Mudar de Vida, Paulo Rocha 1966); Jaime (António Reis and Margarida Cordeiro, 1974); Trás-os-Montes (António Reis and Margarida Cordeiro, 1976); Ana (António Reis and Margarida Cordeiro, 1985); A Girl in Summer (Vítor Gonçalves, 1986); The Shepherd (O Pastor, João Pedro Rodrigues, 1988); Blood (O Sangue, Pedro Costa, 1989); The Sand Rose (Rosa de Areia, António Reis and Margarida Cordeiro, 1989); Glória (Manuela Viegas, 1999); This Side of Resurrection (Deste Lado da Ressurreição, Joaquim Sapinho, 2011, pictured)

Program information:

The School of Reis: The Films and Legacy of António Reis and Margarida Cordeiro

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Disquieting Objects by Gabe Klinger posted May. 03, 2011

Experience the dark side of modern living with this series of mid-century film noirs. Shot on location and set amid the bustle of major cities such as Los Angeles and San Francisco-as well as their sun-soaked periphery, beach cities, and desert oases-these ten films inject the Golden State's benign climate with a heady dose of postwar angst. These mass entertainments, many of them B pictures largely neglected in their day, interweave tabloid sensationalism with expressionistic flourishes, progressive undertones, and lithe formalism. They also offer troubling forecasts of America's traumas to come in the 1960s and 1970s.

Presented in conjunction with California Design, 1930-1965: "Living in a Modern Way"

Featured Works:

9 films

Program information:

The Sun Sets in the West: Mid-Century California Noir

The great Korean actor Choi Min-sik made a strong impression last year as the sadistic murderer at the center of I Saw The Devil. Choi perfected a brutally haunting screen persona in the 2003 blockbuster Oldboy, but he is a versatile performer known for his work in drama, comedy, and romance, on the big and small screens. These three films showcase Choi's range and demonstrate why he is one of South Korea's most treasured performers.

To view Korean Cinema Now programs presented in 2011, click here.

Presented in collaboration with the Korea Society

Featured Works:

Failan (Song Hae-sung, 2001); Painted Fire (Chihwaseon, Im Kwon-taek, 2002); Oldboy (Park Chan-wook, 2003, pictured)

Program information:

Korean Cinema Now

A bold, uncompromising filmmaker of uncommon gifts, Alexei Gherman is one of Russian cinema's reigning masters. Gherman-whose name is often transliterated as German, but also as Guerman and Gherman, to emphasize its hard "g" pronunciation-first came to wide international attention in the 1980s, as one of the major cinematic discoveries of glasnost. In the 1970s, he had been one of most distinctive and decidedly nonconformist directors working at Leningrad's famed Lenfilm Studios, where, away from Moscow's prying eyes, Soviet filmmakers had traditionally enjoyed more freedom than their colleagues elsewhere. But if Gherman stands as something of a symbol for the independent "Lenfilm spirit," he is also a significant example of the heavy price often paid by iconoclastic artists in the pre-glasnost Soviet Union: Gherman's career was repeatedly interrupted by official disapproval, censorship, and the shelving of his all-too-few films.

Featured Works:

This touring exhibition, which originated at the Film Society of Lincoln Center in New York in March, offers the first complete North American retrospective of Gherman's directorial work. Made up of the five features films Gherman has completed to date, it includes new 35mm prints of the rarely-seen The Seventh Companion (1967) and the long-banned masterpiece Trial on the Road (1971), and also includes Kazakh director Ardak Amirkulov's magnificent epic The Fall of Otrar (1990), a film produced and co-written by Gherman (and released in North America under Martin Scorsese's imprimatur).

Program information:

Alexei the Great: The Films of Alexei Gherman, Russian Master

Film Society of Lincoln Center

War and Remembrance: The Films of Aleksei Guerman

March 14-20, 2012

Yerba Buena Center for the Arts

War and Remembrance: The Films of Aleksei Guerman

May 17-31, 2012

Harvard Film Archives

History Through the Wrong End of the Telescope: The Films of Aleksei Guerman

June 22-25, 2012

Featured Works:

Blind Husbands (Erich von Stroheim, 1919); Foolish Wives (Erich von Stroheim, 1922); Merry-Go-Round (Erich von Stroheim, 1923); Greed (Erich von Stroheim, 1924); The Merry Widow (Erich von Stroheim, 1925); The Wedding March (Erich von Stroheim, 1928, pictured); Queen Kelly (Erich von Stroheim, 1929); The Great Gabbo (Erich von Stroheim, 1929); As You Desire Me (George Fitzmaurice, 1932); Hello, Sister! (Erich von Stroheim, 1933); Five Graves to Cairo (Billy Wilder, 1943); The Great Flamarion (Anthony Mann, 1945); Sunset Blvd. (Billy Wilder, 1950)

Program information:

Von Stroheim

Co-Presented by the Goethe-Institut Los Angeles

Between 1969 and his death at age 37 in 1982, brilliant enfant terrible German director Rainer Werner Fassbinder made 30 films and numerous television productions, including the 15-hour mini-series Berlin Alexanderplatz. Even as he averaged two to three films per year, his work maintained a meticulous, rigorous style, marked by stunning shot composition, laser-precision blocking and deep characterization ranging from bitterly crystal clear to hypnotically allusive. Fassbinder returned to the same themes and fixations again and again: money, sex, pride and cruelty. Postwar Germany is often his cinematic landscape -the place of drained, falsified dreams where his characters make the most of things and act with their own best interests in mind.

Fassbinder himself was plain, drug-addicted and gay, and had much in common with the outsiders he created. He was notorious for the same cruel nature seen in his films, and behaved heartlessly toward those who loved and surrounded him. Still, over the course of his short, astonishing career, he collected a team of dazzling recurring players, including cinematographer Michael Ballhaus and actresses Hanna Schygulla, Margit Carstensen, Brigitte Mira and Irm Hermann. Whether the strain of working with the director was worth the staggering output is hard to say-Ballhaus "burned out" after The Marriage of Maria Braun and went to work with Martin Scorsese. But, as film critic and ardent fan Roger Ebert wrote: "Fassbinder was a genius. That much everyone admitted."

Featured Works:

Love is Colder Than Death (1969); Gods of the Plague (1970); The American Soldier (1970); Beware of a Holy Whore (1971); The Merchant of Four Seasons (1971); The Bitter Tears of Petra von Kant (1972);  Ali: Fear Eats the Soul (1974); Effi Briest (1974); Fear of Fear (1975); Fox and His Friends (1975); Mother Küsters Goes to Heaven (1975); Chinese Roulette (1976); Satan's Brew (1976); The Marriage of Maria Braun (1979); Lola (1981, pictured);  Veronika Voss (1982)

Program information:

Cruelly, Madly, Deeply: The Films of Rainer Werner Fassbinder

You may not have heard yet that the Philippines is happening. It's time you discovered it. This is a showcase of new cinema from one of the most exciting independent film scenes in the world: 29 films, 24 US premieres, 5 days. From drama, to documentary, to mockumentary, to cutting-edge experimental work, it's the most comprehensive survey of contemporary Filipino cinema presented in the United States. Don't miss a thing.

New Filipino Cinema is curated by Joel Shepard, YBCA's Film/Video Curator, and Philbert Ortiz Dy, resident film critic of Clickthecity.com and writer-at-large for Esquire Philippines.

All films are presented digitally, in their original language with English subtitles.

Program information:

New Filipino Cinema