For more than four decades, Wiseman has used a lightweight 16mm camera and portable sound equipment to study human behavior in all its contradictory and unpredictable manifestations, particularly in institutional or regimented situations where authority creates an imbalance of power, or where democracy is at work. Like the great novelists of the 19th century, Wiseman combines epic narrative with intimate portraiture. His films comprise a grand panorama of American life (and more recently, the cultural life of Paris)-a kind of modern-day comédie humaine that, quite astonishingly, never loses its vitality or its currency. And though Wiseman approaches his subjects-doctors, ballet dancers, soldiers, students, welfare recipients, factory workers, fashion models, zookeepers, victims of domestic violence, Benedictine monks, the terminally ill-with a minimum of intrusion or influence, he brings a sensitive but trustworthy eye, a lawyer's penetrating skepticism, and the dramatic impulses of a storyteller to arrive at what Eugène Ionesco, one of his favorite playwrights, called an "imaginative truth." All films are directed, edited, and produced by Wiseman and from the U.S.

Featured Works:

To celebrate the recent acquisition of newly struck prints of 36 films by Frederick Wiseman (b. 1930, Boston), the Museum of Modern Art presents a comprehensive retrospective of the director's work. Featuring three to four films each month, this yearlong survey opens with Basic Training (1971, pictured), followed by a conversation with Wiseman and curator Josh Siegel, and spans his entire career, from Titicut Follies (1967) to his two most recent projects, La Danse-The Paris Opera Ballet (2009) and Boxing Gym (2010).  

Program information:

Frederick Wiseman

Cinematographers are the undersung heroes of film. They are seldom ignored entirely, for their work is critical to how films look. Yet they are often acknowledged in cursory terms, their contributions overshadowed by those of directors. It is therefore with great excitement that the Hong Kong Film Archive is presenting this program to highlight the work of two outstanding Hong Kong cinematographers, the first of its kind for Hong Kong cinema.

Ho Look-ying (1913-2003) and Bill Wong (1945- ) are both professionals. They have mastered the craft of cinematography, able to produce decent work in the most horrid of provisions. With directors of cavalier ambitions, their photography is precise and effective, with compositions that are beyond reproach. And when conditions are favorable, results can be magical.

Ho Look-ying was known in the film industry as Sheying Tianwang, Heavenly King of Photography. He started his glorious career in 1930s Shanghai as a humble trainee and moved after the war to Hong Kong, where he was active in both Mandarin and Cantonese cinemas, having photographed over a hundred films before retiring in the early 1980s.

Conditions in the Hong Kong film industry during Ho's tenure did not lend themselves to good photography. Budgets were always minuscule, schedules forever rushed, and equipment never state-of-the-art. Ho rose to the challenges of his times, overcoming the limitations and leaving behind an impressive body of work. His accomplishments were particularly memorable when he was paired with good directors or when conditions were less undesirable, such as better funding or longer production periods, as evidenced by the films featured in this program.

Bill Wong has enjoyed better production values for his work, but has to answer to the demanding calls of a rapidly changing industry that gave rise to the 1980s golden period of Hong Kong cinema.

Wong started his career in television, working with such directors as Ann Hui, Patrick Tam, and Allen Fong. He is in fact an important member of the fabled New Wave, moving on with the more high-profiled helmers onto film, maturing and excelling in the medium and helping to establish an international reputation for Hong Kong cinema. He has participated in many milestones of his time; unfortunately not all of them can be included in this program.

"Capturing Light and Shadow-A Tribute to Two Master Cinematographers" is presented with the assistance of the School of Film and Television, The Hong Kong Academy for Performing Arts, and Shu Kei, who contributed to the selection of titles.

Featured Works:

26 films

Program information:

Capturing Light and Shadow-A Tribute to Two Master Cinematographers: Ho Look-ying and Bill Wong

When Eric Rohmer died in January at the age of 89, he left behind an inimitable body of work that had beguiled critics and moviegoers for a half-century, even if they found it difficult to pinpoint Rohmer's particular je ne sais quoi. The most overtly literary of the French New Wave directors, eternally fascinated by the mysteries of human attraction, Rohmer was prized for his wry, insightful dialogue, but undervalued for a deceptively simple visual style, of which the writer Gilbert Adair noted: "He knew, in short, how to film what D.W. Griffith called ‘the wind in the trees,' how to film air." In celebration of this extraordinary career, we are delighted to present the most complete North American retrospective of Rohmer's work in more than a decade, including all of his feature films, the U.S. premiere of his 1980 TV film Catherine de Heilbronn, plus special in-person appearances by key Rohmer collaborators.

Featured Works:

Veronique and Her Dunce (Eric Rohmer, 1958); The Sign of Leo (Eric Rohmer, 1959); Présentation or Charlotte and Her Steak (Eric Rohmer, 1960); Suzanne's Career (Eric Rohmer, 1963); The Bakery Girl of Monceau (Eric Rohmer, 1963); Nadja à Paris (Eric Rohmer, 1964); On Pascal (Eric Rohmer, 1965); Six in Paris (Claude Chabrol, Jean Douchet, Jean-Luc Godard, Jean-Daniel Pollet, Eric Rohmer, and Jean Rouch, 1965); A Modern Coed (Eric Rohmer, 1966); La Collectionneuse (Eric Rohmer, 1967); My Night at Maud's (Eric Rohmer, 1969, pictured); Claire's Knee (Eric Rohmer, 1970); Chloe in the Afternoon (Eric Rohmer, 1972); The Marquise of O (Eric Rohmer, 1976); Perceval le Gallois (Eric Rohmer, 1978); Catherine de Heilbronn (Eric Rohmer, 1980); The Aviator's Wife (Eric Rohmer, 1981); A Good Marriage (Eric Rohmer, 1982); Pauline at the Beach (Eric Rohmer, 1983); Full Moon in Paris (Eric Rohmer, 1984); Summer (Eric Rohmer, 1986); Boyfriends and Girlfriends (Eric Rohmer, 1987); Four Adventures of Reinette and Mirabelle (Eric Rohmer, 1987); A Tale of Springtime (Eric Rohmer, 1990); A Tale of Winter (Eric Rohmer, 1992); The Tree, the Mayor and the Mediatheque (Eric Rohmer, 1993); Eric Rohmer: Preuves à l'appui (André S. Labarthe and Jean Douchet, 1994); Rendezvous in Paris (Eric Rohmer, 1995); A Summer's Tale (Eric Rohmer, 1996); Autumn Tale (Eric Rohmer, 1998); The Lady and the Duke (Eric Rohmer, 2001); Triple Agent (Eric Rohmer, 2004); The Romance of Astrea and Celadon (Eric Rohmer, 2007)

Program information:

The Sign of Rohmer

TIFF Cinematheque

July 29-August 10, 2010

In Memoriam: Eric Rohmer (1920-2010)-Rohmer's Six Moral Tales

Harvard Film Archive

August 20-August 30

The Human Comedies of Eric Rohmer

Featured Works:

The Thief of Bagdad (1924); They Drive by Night (1940); High Sierra (1941); They Died with Their Boots On (1941); Gentleman Jim (1942); White Heat (1949, pictured); Distant Drums (1950)

Program information:
Raoul Walsh

Ida Lupino (American, b. Great Britain, 1918-1995) was branded the "English Jean Harlow" when she arrived in Hollywood in 1932, but as part of a distinguished British theatrical dynasty, she aspired to be more than an ingenue or femme fatale. A box-office-proven actress with a lucrative contract at Warner Bros., Lupino conscientiously studied the work of the directors for whom she acted, and before long she found her way behind the camera. Her career as a feature film director (albeit an uncredited one) began in 1949, when she stepped in for the ailing Elmer Clifton on the set of Not Wanted. Soon thereafter Lupino established her own production company, The Filmmakers, and from 1949 to 1966 she nurtured a successful dual career as an A-list actress and a pioneering filmmaker dedicated to the production of films investigating the social condition of women in contemporary society. Lupino-who referred to herself as Mother on set and had a director's chair with "Mother of Us All" embroidered on the back-commenced a directorial career at a time when Hollywood was unaccustomed to women powerbrokers. The American cinema of the late 1940s was booming with directors like Samuel Fuller and Nicholas Ray, who were attracted to stories about thorny social issues and ordinary folk. These narratives fascinated Lupino, who later made half a dozen films focusing on topics once considered taboo for the commercial film industry-unwanted pregnancy, polio, bigamy, and women competing in a world of men. Ida Lupino: Mother Directs presents select films from 1949 through 1966, when she managed to brilliantly balance careers in front of and behind the camera. All films are from the U.S.

Featured Works:

They Drive by Night (Raoul Walsh, 1940); Lust for Gold (S. Sylvan Simon, 1949); Not Wanted (Elmer Clifton, 1949); Woman in Hiding (Michael Gordon, 1949); Never Fear (The Young Lovers, Ida Lupino, 1950); Outrage (Ida Lupino, 1950); Hard, Fast, and Beautiful (Ida Lupino, 1951); On Dangerous Ground (Nicholas Ray, 1951); Beware My Lovely (Harry Horner, 1952); While the City Sleeps (Fritz Lang, 1956)

Program information:

Ida Lupino: Mother Directs

In its early decades, the cinematic gaze was strongly linked to the view from a train. Since the 1980s, (digital) cinema has increasingly adopted an "airborne" point of view, akin to a flight simulator. In between lies modern cinema, an era whose visual and narrative strategies were greatly influenced by a third mode of locomotion: the automobile and its relatives. Road movies from the 1940s to the 1970s reflected profound social changes in the wake of the global economic crisis and World War II. They also expressed the attendant cultural shifts: a more open and fluid relationship to time, space, and identity. Being on the road always means: to be unstable, away from (the idea of) home, ready for encountering other ways of living. Leslie Dick: "On the road nobody knows you, you can be anybody, become anything."

This first major Filmmuseum program following the summer break is dedicated to the intimate relationship between "automobility" and cinema. The selection of 50 features and shorts is framed by American car culture and a wider historical perspective on what is commonly called the genre of "road movies." Next year's sequel to this series will mainly focus on the "nomadic" European films made since the late 1970s and on the postmodern road movie. Part one, however, is centered on films from the U.S., especially from the New Hollywood moment of the late 1960s and early 1970s.

Driving, drifting, fleeing, and racing are the preferred modes of transportation in this era-from its breakout successes such as Bonnie and Clyde (1967) and Easy Rider (1969) through the modernist-existentialist narratives created by Barbara Loden (Wanda), Monte Hellman (Two-Lane Blacktop), Bob Rafelson (Five Easy Pieces), Daryl Duke (Payday), and Sam Peckinpah (Bring Me the Head of Alfredo Garcia) to the "cult films" obsessed by demolition and speed (Vanishing Point, Gone in 60 Seconds or Death Race 2000). It was often early on in the careers of major directors that they tried their luck on the road, or on the run: alongside Loden, Rafelson and Dennis Hopper, this is the case with Terrence Malick, Francis Ford Coppola, James William Guercio, H.B. Halicki, Steven Spielberg, and George Lucas.

The "culture of change" that this new, post-classical generation of filmmakers laid claim to is often allegorized in a (rather vague) "quest for freedom" undertaken by their protagonists. Yet the settings chosen for these new Iliads and picaresque adventures were familiar: the road usually led into the vastness of the American continent. Road movies are thus often seen as an extension of the Western, not only due to the similar landscapes but also because of a shared skepticism towards modern civilization ("A man went looking for America and couldn't find it anywhere," as the tagline for Easy Rider has it). It may be no coincidence, then, that the earliest film in this program is by a director known for his Westerns: Like Stagecoach the year before, John Ford's The Grapes of Wrath (1940) is very much a road movie-and a strong record of the social upheavals that accompanied the dustbowl migration and the new forms of "social" crime that marked the Great Depression.

The romantic-existential drive into wide open spaces and, at the same time, into the innermost recesses of the displaced subject is foreshadowed in various examples from film noir (Detour, They Live By Night, Gun Crazy) and in the confessional, autobiographical literature of Thomas Wolfe (You Can't Go Home Again and A Western Journey, both published posthumously around 1940) and Jack Kerouac (On the Road, 1947-1957). "The hipster's journey was the pleasure principle on wheels," writes Manohla Dargis about Kerouac's beat hero, Dean Moriarty. Around the same time, another Dean, given name: James, fell victim to his own "death drive on wheels." Their modern form of masculinity is founded on speed and those fragmentary, fleeting images produced by the "visual apparatus" of man, car, and windshield.

Even before it became fully acknowledged in cinema, this archetype manifested itself in television, for example in the widely discussed series Route 66 (1960-64). Thus, the oil and auto industries not only found willing accomplices in politics (U.S. Congress passed the Interstate Highway Act in 1956), but also established long-term "media partnerships"-for a product that in itself functioned as a mass medium. Baby boomers, raised on the declarations of independence that teen culture provided, were more than willing to adopt the corresponding consumer behavior, chauvinism included: "Get in this large, sexy car, drive fast; seduce women, gain freedom; be a hero whatever the odds." (Mark Williams)

The retrospective highlights many other aspects of car culture-from hot-rod aficionados (Ingenuity in Action) through demolition derbies and stunt shows (Steel Arena) to the NASCAR circus (The Last American Hero). This culture is just as diverse and impure as the road movie itself. More than a distinct genre, the term represents a "patchwork concept," with several specific strands that are also included here, such as biker films, trucker and racing movies, and above all the "couple on the run" films. Nicholas Ray's They Live By Night (1948) is the archetypical example, and Jean-Luc Godard's Pierrot le fou (1965) delivered the definitive European response to the form.

Godard is part of a lineage without which the American road movie of the 1960s and 1970s would not have been possible: the modernist European cinema, with its new conception of movement and time. From Antonioni to Bergman and Boorman, from Rossellini's Viaggio in Italia (1954) to Matthias Weiss's radically minimalist Blue Velvet (1970), a completely different kind of "Auto-Kino" opened up, one which, out of necessity, pursued an expanse located more in the film experience itself than in the landscape outside. As Dietrich Kuhlbrodt wrote about Blue Velvet, a film in which the notion of drama becomes fully suspended: "What's important is only the state of mind: travelling. The film itself is on the move."

Featured Works:

More than 50 films

Program information:
Auto-Kino: Road Movie: 1940 to 1976

Catherine Breillat is one of the most original filmmakers in contemporary French cinema. From her first film, adapted in 1976 from her novel Une vraie jeune fille to Bluebeard in 2008, the writer-director has been ceaselessly interrogating male/female relationships conceived as a battlefield where desire intertwines with hostility, and attraction with repulsion. Breillat's cinema undermines the usual clichés that condition the representation of sex in film and delivers a crude, truthful image in works such as Tapage nocturne, Romance, Anatomie de l'enfer or Une vieille maîtresse. She also describes with unique acuity the troubles of adolescent girls in 36 fillette and A ma sœur !. For the occasion of the retrospective, the Cinémathèque française will present an exclusive screening of Catherine Breillat's latest film, Sleeping Beauty.

Featured Works:

Last Tango in Paris (Bernardo Bertolucci, 1972); Une vraie jeune fille (Catherine Breillat, 1975); Dracula and Son (Edouard Molinaro, 1976); Bilitis (David Hamilton, 1977); Tapage nocturne (Catherine Breillat, 1979); Police (Maurice Pialat, 1985); 36 fillette (Catherine Breillat, 1987); Zanzibar (Christine Pascal, 1990); Sale comme un ange (Catherine Breillat, 1991); À propos de Nice, la suite (Catherine Breillat, Costa-Gavras, Claire Denis, Raymond Depardon, Abbas Kiarostami, Pavel Lungin, Raoul Ruiz, 1995); Parfait amour! (Catherine Breillat, 1996); Romance (Catherine Breillat, 1999); Selon Matthieu (Xavier Baeuvois, 2000); À ma soeur! (Catherine Breillat, 2001); Brève traversée (Catherine Breillat, 2001); Sex Is Comedy (Catherine Breillat, 2002); Anatomie de l'enfer (Catherine Breillat, 2003, pictured); Une vieille maîtresse (Catherine Breillat, 2007); Barbe Bleue (Catherine Breillat, 2008); Sleeping Beauty (Catherine Breillat, 2010)

Program information:
Catherine Breillat

Featured Works:

Tempo massimo (Mario Mattoli, 1934); Allegri masnadieri (Marco Elter, 1937); Imputato alzatevi! (Mario Mattoli, 1939); Non ti pago! (Carlo Ludovico Bragaglia, 1942); Tutta la città canta (Riccardo Freda, 1943-1945); Botta e risposta (Mario Soldati, 1950); È arrivato il cavaliere! (Mario Monicelli and Steno, 1950); Guardie e ladri(Mario Monicelli and Steno, 1951); L'eroe sono io! (Carlo Ludovico Bragaglia, 1952); Un giorno in pretura (Steno, 1954); Lo scapolo (Antonio Pietrangeli, 1955); Cinque ore in contanti (Mario Zampi, 1961); Il mantenuto (Ugo Tognazzi, 1961); L'onorata società (Riccardo Pazzaglia, 1961); Le pillole di Ercole (Luciano Salce, 1962); Le quattro verità ("La lepre e la tartaruga", Alessandro Blasetti, 1962); I cuori infranti ("La manina di Fatma", Vittorio Caprioli, 1963); Il giovedi (Dino Risi, 1963); I crudeli (Sergio Corbucci, 1967); Lo scatenato (Franco Indovina, 1967); Io non spezzo... rompo (Bruno Corbucci, 1971); Il domestico (Luigi Filippo D'Amico, 1974); Profumo di donna (Dino Risi, 1974); Febbre da cavallo (Steno, 1976); Casotto (Sergio Citti, 1977); Fracchia la belva umana (Neri Parenti, 1981); Eccezzziunale... veramente (Carlo Vanzina, 1982); Vacanze di Natale (Carlo Vanzina, 1983); Il ragazzo di campagna (Franco Castellano and Giuseppe Moccia, 1984, pictured); Il commissario Lo Gatto (Dino Risi, 1987); Compagni di scuola (Carlo Verdone, 1988)

Program information:
Italian Comedy-The State of Things

Nobody probes deeper into the ways that men and women misread each other's feelings than Hong Sang-soo. Claire Denis, head of the jury that gave him the Prix Un Certain Regard in Cannes this year, once described seeing a Hong Sang-soo film as feeling like being hit on the head by a rock while out walking. His films certainly have the power to shake up perceptions, but he's never as aggressive as Denis implies. Most of the time, in fact, his approach is humorous, satirizing male self-delusions and female insecurities with delicious candor.

Hong arrived out of the blue (actually, from film schools in California and Chicago) just as the Korean film renaissance was getting under way in the mid 1990s. But his films were quite unlike anyone else's. The first three were tightly scripted gardens of forking paths: interlocking puzzle narratives focused as much on what could or should happen between the characters as on the socially embarrassing things that they do. Fro Turning Gate onwards, though, he's preferred to use less forward planning: he and his collaborators work from a broad outline and he writes the scenes from day to day as they go along. Since his male leads (especially the ones played by Kim Sang-kyung and Kim Tae-woo, both invariably excellent) often seem like surrogates for Hong himself, there must be some confessional side to the stories he tells. But the films are fictions, not chunks of autobiography, and the many pleasures they offer include seeing how narratives twist, turn, become echo-chambers... and then end up somewhere entirely unexpected.

There are obvious parallels between Hong's methods and those of his contemporaries Wong Kar-Wai and Apichatpong Weerasethakul, both of whom also love to explore recurring emotional "syndromes" and regard films as voyages of discovery. Another reference point is the late Eric Rohmer, since both directors are fascinated by methods of seduction and the tricks and traps of the libido. Hong, though, is a better drinker than any of them, and very much his own man. His rueful self-awareness makes it easy for viewers to get caught up in the predicaments faced by his characters. The results are touching, thoughtful, sometimes startling... and often laugh-out-loud funny.

Featured Works:

The Day a Pig Fell into the Well (1996); The Power of Kangwon Province (1998); Virgin Stripped Bare by Her Bachelors (2000); On the Occasion of Remembering the Turning Gate (2002, pictured); Woman Is the Future of Man (2004); Tale of Cinema (2005); Woman on the Beach (2006); Night and Day (2008); Like You Know It All (2009); Hahaha (2010)

Program information:
Hong Sang-soo

With just two features and half a dozen shorts to his name, Portuguese filmmaker Miguel Gomes has established himself as one of the most distinctive voices in contemporary cinema, developing an exhilaratingly original, truly head-scratching, and inexplicably beguiling approach to filmmaking. Combining the meta-fictional gamesmanship and mystery of Jacques Rivette with the blurring of documentary and narrative modes that has proven a favored (and highly productive) strategy of many of today's most gifted filmmakers (Pedro Costa, Apichatpong Weerasethakul, Ulrich Seidl, and others), Gomes has confidently staked out a territory all his own. His most recent feature film, Our Beloved Month of August is truly something new under the sun, a category-exploding whatsit that's nevertheless so seductive and effortlessly compelling from moment to moment that its wanderings between different cinematic realms (conceived as a fictional film, it transformed itself into a documentary on summer music festivals in rural Portugal when the funding fell through, only to grope its way back towards fiction during production) ultimately seem almost irrelevant.

Featured Works:

The New York theatrical premiere run of Our Beloved Month of August (pictured), alongside screenings of Gomes's earlier shorts and debut feature The Face You Deserve (2004).

Program information:

The Films of Miguel Gomes

Northwest Film Forum

September 14-16, 2010

The Portuguese Melodies of Miguel Gomes

Harvard Film Archive

September 17-18, 2010

The Musical Imagination of Miguel Gomes

Celebrated the world over as one of the central figures of the postwar Italian cinema, Pier Paolo Pasolini (1922-1975) is recognized in his native land as arguably the most important Italian artist and intellectual of the twentieth century. A gifted writer and penetrating thinker, Pasolini was already renowned as a poet, novelist, critic and screenwriter before he directed his first film, Accattone, in 1960. Pasolini remained prodigiously industrious as a writer and political activist throughout his career, even as his films brought him greater celebrity-and notoriety-during the last 15 years of his life, often overshadowing other facets of his remarkably diverse accomplishments. An outspoken but unorthodox leftist, Pasolini attracted controversy from all sides of the political spectrum, with his often sexually explicit and willingly perverse films drawing the frequent ire of Italian censors. With his penchant for political critique and stylistic reinvention, Pasolini is in some ways the Italian counterpart to Jean-Luc Godard. Despite his obvious glee in shocking the bourgeoisie, Pasolini was also a thoughtful, even philosophical, filmmaker who bridged the gap between the post-neorealist group led by Fellini and Antonioni and the generation of Young Turks that included Bernardo Bertolucci and Marco Bellocchio.

Pasolini's cinema is perhaps best remembered today for its unbridled sexual imagination and its often shocking depictions of violence and unorthodox sexuality. Equally important to his oeuvre, however, is Pasolini's adamant rejection of the contemporary world. A profound nostalgia for a pre-modern way of life is expressed across Pasolini's films, in which the magical and the pagan supersede rationality and religion, and an anarchic, polymorphous eroticism replaces what Pasolini regarded as the sharply alienated and alienating state of modern existence. Pasolini refined an extraordinary visual style to express this worldview, favoring static frontal shots evocative of pre- and early Renaissance painting. Most of all, however, Pasolini prized a mode of radical stylistic impurity, using Bach and Vivaldi, for example, as the unlikely yet profoundly fitting soundtrack to his visions of life in the Roman slums. This daring juxtaposition of "high" and "low," a poetic version of the Marxist dialectic, remained one of Pasolini's most influential stylistic touches.

During his career a major source of Pasolini's notoriety was his open homosexuality, a then-rare position that he actually had little choice in establishing. In 1949, while living and teaching as a regional poet in northeast Italy, Pasolini was outed and promptly charged with corrupting a minor, resulting in the loss of both his teaching post and his membership in the Italian Communist Party. The subsequent scandal prompted Pasolini to flee to Rome and, in retrospect, may have inadvertently hastened his rise to prominence in Italian literature. Today Pasolini's grisly and still unsolved murder, perhaps at the hands of a teenaged hustler, has permanently linked his homosexuality to his public profile.

Pasolini announced his unique style and approach to narrative with his first three works- Accattone, Mamma Roma and The Gospel According to Matthew - which each offer a reworking of the legacy of postwar Italian neo-realism. In the mid-1960s Pasolini made an abrupt turn by attempting to create his own version of a popular cinema, casting the comic star Totò in a group of films, most notably Hawks and Sparrows, using humor and allegory to critique the changes brought about by Italy's economic and industrial boom. The tepid response to these unusual comedies inspired Pasolini to proclaim allegiance to "unpopular cinema," and turn to the melding of myth and scathing political critique that resulted in Oedipus Rex, Medea and Pigsty. Pasolini changed course again with his "Trilogy of Life," an unprecedentedly accessible series of literary adaptations-The Decameron, The Canterbury Tales, and Arabian Nights-until finally rejecting these films with the savage Salò, the ultimate film maudit, which he finished just days before his premature death. This retrospective covers all of the many phases of Pasolini's filmmaking by including each of his thirteen features and his most important shorts, as well as a reconstruction of La rabbia, a film long considered lost.

Featured Works:

Accattone (Pier Paolo Pasolini, 1961); Mamma Roma (Pier Paolo Pasolini, 1962, pictured); La Ricotta (Pier Paolo Pasolini, 1963); The Rage of Pasolini (La Rabbia di Pasolini, Giuseppe Bertolucci and Pier Paolo Pasolini, 1963-2008); Love Meetings (Comizi d'amore, Pier Paolo Pasolini, 1964); The Gospel According to Matthew (Il Vangelo secondo Matteo, Pier Paolo Pasolini, 1964); Seeking Locations in Palestine for the Film "The Gospel According to Matthew" (Sopralluoghi in Palestina per il film "Il Vangelo secondo Matteo", Pier Paolo Pasolini, 1965); Hawks and Sparrows (Uccellacci e uccellini, Pier Paolo Pasolini, 1966); Oedipus Rex (Edipo Re, Pier Paolo Pasolini, 1967); Teorema (Pier Paolo Pasolini, 1968); Medea (Pier Paolo Pasolini, 1969); Pigsty (Porcile, Pier Paolo Pasolini, 1969); Notes for an African Orestes (Appunti per un'Orestiade Africana, Pier Paolo Pasolini, 1970); The Decameron (Il Decameron, Pier Paolo Pasolini, 1971); The Walls of Sana'a (Le mura di Sana, Pier Paolo Pasolini, 1971); The Canterbury Tales (Pier Paolo Pasolini, 1972); Arabian Nights (Il fiore delle mille e una notte, Pier Paolo Pasolini, 1974); Salo (Pier Paolo Pasolini, 1975)

Program information:

The Complete Pier Paolo Pasolini

Featured Works:

Hell of a Reporter (Ernst Laemmle, 1929); Menschen am Sonntag (Curt Siodmak, Robert Siodmak, Edgar G. Ulmer, Fred Zinnemann and Rochus Gliese, 1930); Der Mann, der seinen Mörder sucht (Robert Siodmak, 1931); Emil und die Detektive (Gerhard Lamprecht, 1931); Her Grace Commands (Hanns Schwarz, 1931); A Blonde's Dream (1932); Ein Mädel der Strasse (Hans Steinhoff, 1932); The Blue from the Sky (Victor Janson, 1932); Mauvaise graine (Alexander Esway and Billy Wilder, 1934); Bluebeard's Eighth Wife (Ernst Lubitsch, 1938); Ninotchka (Ernst Lubitsch, 1939); Midnight (Mitchell Leisen, 1939); Ball of Fire (Howard Hawks, 1941); The Major and the Minor (Billy Wilder, 1942); Five Graves to Cairo (Billy Wilder, 1943); Double Indemnity (Billy Wilder, 1944); Die Todesmühlen (Hans Burger, 1945); The Lost Weekend (Billy Wilder, 1945); A Foreign Affair (Billy Wilder, 1948); The Emperor Waltz (Billy Wilder, 1948); Sunset Blvd. (Billy Wilder, 1950); The Big Carnival (Billy Wilder, 1951); Stalag 17 (Billy Wilder, 1953); Sabrina (Billy Wilder, 1954); The Seven Year Itch (Billy Wilder, 1955); Love in the Afternoon (Billy Wilder, 1957); The Spirit of St. Louis (Billy Wilder, 1957); Witness for the Prosecution (Billy Wilder, 1957); Some Like It Hot (Billy Wilder, 1959); The Apartment (Billy Wilder, 1960); One, Two, Three (Billy Wilder, 1961); Irma la Douce (Billy Wilder, 1963, pictured); Kiss Me, Stupid (Billy Wilder, 1964); The Fortune Cookie (Billy Wilder, 1966); The Private Life of Sherlock Holmes (Billy Wilder, 1970); Avanti! (Billy Wilder, 1972); The Front Page (Billy Wilder, 1974); Fedora (Billy Wilder, 1978); Buddy Buddy (Billy Wilder, 1981)

Program information:
Billy Wilder: The Romantic Cynic

This is an exploration of the urban experience through film. Each year at the Toronto International Film Festival a different city is featured.

Featured Works:

Block-C (Zeki Demirkubuz, 1994); Somersault in a Coffin (Dervis Zaim, 1997); Waves (Belmin Söylemez, 2001); Distant (Nuri Blige Ceylan, 2002, pictured); My Only Sunshine (Reha Erdem, 2008); Science Lab (Eytan Ipeker, 2008); 10 to 11 (Pelin Esmer, 2009); Dark Cloud (Theron Patterson, 2009); 40 (Emre Sahin, 2010); Ascents in February (Yoel Meranda, 2010); Hair (Tayfun Pirselimoglu, 2010); Not Be Or... (Yoel Meranda, 2010); On Thin Ice (Burçak Kaygun, 2010); Rauscht (Yoel Meranda, 2010); September 12 (Özlem Sulak, 2010); Straitscaping (Yoel Meranda, 2010); The Majority (Seren Yüce, 2010)

Program information:
TIFF City to City: Istanbul

The Mexican Revolution was the first major armed conflict of the 20th century and from its beginning in 1910 images of the democratic struggle against the regime of Porfirio Díaz were circulated around the globe thanks to the advent of what would become the dominant medium of the 20th century, the cinema. Coinciding with citywide centennial celebrations of the Mexican Revolution, the Archive approaches cinematic representations of the Revolution from an international perspective with a series of classic films from Mexico and elsewhere that depict the Revolution through the frame of their specific national, industrial, and historical contexts.

 As part of this series, the Archive is also pleased to partner with the Latin American Cinemateca of Los Angeles (LACLA) for three nights of related film screenings and discussions at The Autry National Center and the Downtown Independent in October, including screenings of Fernando de Fuentes' complete Revolution Trilogy, El Compadre Mendoza (1933), El Prisionero (1933) and Vámanos con Pancho Villa (1936), presented in newly restored 35mm prints. For more information about these events, please visit www.lacla.org

Featured Works:

Viva Villa! (Jack Conway, 1934); Enamorada (Emilio Fernández, 1946); Viva Zapata! (Elia Kazan, 1952, pictured); La Soldadera (The Female Soldier, José Bolaños, 1966); Pedro Páramo (Carlos Velo, 1966); Duck, You Sucker (Giù la testa, Sergio Leone, 1971)

Program information:

¡Viva La Revolución!: The Mexican Revolution on Film

Barbara Hammer (American, b. 1939) is renowned for creating the earliest and most extensive body of avant-garde films on lesbian life and sexuality. In the late 1960s she was drawn to experimental film while studying film at San Francisco State University. During that time she came out as a lesbian, an act that helped radicalize her approach to directing. Galvanized by the second wave of feminism in the 1970s, she soon became a pioneer of queer cinema. Hammer has since directed more than 80 films, using avant-garde strategies to explore lesbian and gay sexuality, identity, and history, along with other heretofore unrepresented voices. In the 1970s her films dealt with the representation of taboo subjects through performance, and in the 1980s she began using an optical printer to make films that explore perception. In the 1990s she began making documentaries about hidden aspects of queer history. Hammer says, "It is a political act to work and speak as a lesbian artist in the dominant art world and to speak as an avant-garde artist to a lesbian and gay audience. My presence and voice address both issues of homophobia [and] the need for an emerging community to explore a new imagination."

Featured Works:

Schizy (1968); Dyketactics (1974); Menses (1974); Sisters! (1974); Women's Rites or Truth Is the Daughter of Time (1974); Jane Brakhage (1975); Moon Goddess (1975); Superdyke (1975); Home (1976); Superdyke Meets Madame X (1976); Women I Love (1976); The Great Goddess (1977); Double Strength (1978); Pond and Waterfall (1981); Pools (1981); Sync Touch (1981, pictured); The Lesbos Film (1981); Audience (1982); Tourist (1984); Optic Nerve (1985); Would You Like to Meet Your Neighbor? A New York Subway Tape (1985); Snow Job: The Media Hysteria of AIDS (1986); Place Mattes (1987); Endangered (1988); Still Point (1989); Vital Signs(1989); Sanctus (1990); Nitrate Kisses (1992); Out in South Africa (1995); Tender Fictions (1995); The Female Closet (1998); Two Bad Daughters (1998); Devotion: A Film About Ogawa Productions (2000); History Lessons (2000); My Babushka: Searching Ukrainian Identities (2001); Resisting Paradise (2003); Lover/Other (2006); A Horse Is Not a Metaphor (2008); Generations (2010)

Program information:
Barbara Hammer

A wide-reaching retrospective devoted to contemporary non-fiction cinema. Contemporary documentary cinema is so incredibly varied and versatile that even the classic notion of the term has to be questioned. Requirements traditionally associated with the documentary (like objectivity, a serious tone, and lack of expressiveness) are no longer considered essential and can even be deliberately avoided. Rather than documentaries, it seems more fitting to talk of non-fiction cinema, a term with the virtue of encompassing this new heterodoxy of the genre, rich in multifarious expressions, alternative paths, and unexpected solutions. The new cinema based on real materials shuns the reporting format and seeks other forms of recording the world around us and our relationship with it. The .doc - New paths of non-fiction cycle aims to show some of the most suggestive proposals to have appeared the world over in the last decade.

Featured Works:

Mysterious Object at Noon (Apichatpong Weerasethakul, 2000); The Filth and the Fury (Julien Temple, 2000); En construcción (José Luis Guerin, 2001); Le souvenir d'un avenir (Chris Marker and Yannick Bellon, 2001); Auge/Maschine- Parts 1, 2, 3 (Harun Farocki, 2002-2003); Los rubios (Albertina Carri, 2003); S-21, la machine de mort Khmère rouge (Rithy Panh, 2003); The Five Obstructions (Lars von Trier and Jorgen Leth, 2003); Tie Xi Qu: West of the Tracks - Parts 1,2,3 (Bing Wang, 2003); The Devil and Daniel Johnston (Jeff Feuerzeig, 2005, pictured); The Wild Blue Yonder (Werner Herzog, 2005); Más allá del espejo (Joaquim Jordá, 2006); Lucio (José María Goenaga and Aitor Arregi, 2007); My Winnipeg (Guy Maddin, 2007); Profit Motive and the Whispering Wind (John Gianvito, 2007)

Program information:
.doc - New paths of non-fiction

Other retrospectives at the Festival include:
Don Siegel

Featured Works:

Living Russia, or The Man with a Camera (Dziga Vertov, 1929); À propos de Nice (Jean Vigo, 1930); Orson Welles' Sketch Book III (Orson Welles, 1955); The Fountain of Youth (Orson Welles, 1958); Viva Italia (Orson Welles, 1958); Die Parallelstrasse (Ferdinand Khittl, 1962); Notes Towards an African Orestes (Pier Paolo Pasolini, 1970); De Verliefde Camera (Ed van der Elsken, 1971); London (Orson Welles, 1971); La Soufrière (Werner Herzog, 1977); Le camion (Marguerite Duras, 1977); The Camera: Je or La Camera: I (Babette Mangolte, 1977); Das Todesmagazin oder: Wie werde ich ein Blumentopf? (Rosa von Praunheim, 1979); Reverse Angle (Wim Wenders, 1982); Sans soleil (Chris Marker, 1983); Tempo di viaggio (Tonino Guerra and Andrei Tarkovsky, 1983); The Assault of the Present on the Rest of Time (Alexander Kluge, 1985); Routine Pleasures (Jean-Pierre Gorin, 1986); Das Kino und der Tod (Hartmut Bitomsky, 1988); The Last Clone (Vlado Kristl, 1988); Blue (Derek Jarman, 1993); JLG/JLG - autoportrait de décembre (Jean-Luc Godard, 1994); Lorraine! (1994); Middle of the Moment (Nicolas Humbert and Werner Penzel 1995); De grote vakantie (Johan van der Keuken, 2000); The Gleaners & I (Agnès Varda, 2000); The Sea That Thinks (Gert de Graaff,  2000); Elegy of a Voyage (Aleksandr Sokurov, 2001); The Sweetest Sound (Alan Berliner, 2001, pictured); From the Other Side (Chantal Akerman, 2002); War at a Distance (Harun Farocki, 2003); My Winnipeg (Guy Maddin, 2007)

Program information:
I and the Camera

Twenty years after her death, Delphine Seyrig is remembered as someone with a rich, multiple, combative, and open-minded personality. She was an actress, filmmaker, and activist, the icon of a particular modernity in the films of Alain Resnais (Last Year at Marienbad, Muriel), François Truffaut (Baisers volés), Marguerite Duras (India Song, Baxter, Vera Baxter), and Chantal Akerman (Jeanne Dielman, 23 Quai du commerce, 10800 Bruxelles). With her non-naturalistic acting style and with her singular voice, she was a unique symbol of elegance and distinction. She was involved in the defense of women's rights; she directed the film Sois belle et tais-toi and co-directed with Carole Roussopoulos Maso et Miso vont en bateau and Scum Manifesto.

Featured Works:

37 films

Program information:
Delphine Seyrig

Ten outstanding documentary films from Austria, made between 1979 and 2006, selected and presented by ten curators from Austria and abroad - with this attenuated portrait of a rich film culture the Austrian Documentary Film Association dok.at celebrates its ten-year anniversary. Each curator was invited to choose one feature film which for them, personally or culturally, marks an extraordinary moment in the history of Austrian documentary cinema.

Although the selection was guided by subjective preferences rather than any critical orthodoxy, the filmmakers in this program represent the key figures who have contributed to the international success of the Austrian documentary: Michael Pilz, Ruth Beckermann and Peter Schreiner (the generation in Austria, which, around 1980, first expressed a modern approach to documentary); Ulrich Seidl, Egon Humer, Michael Glawogger and Nikolaus Geyrhalter (who in the 1990s explored new and controversial working methods); Gerhard Friedl, Arash T Riahi and Anja Salomonowitz (three examples of the enormous formal variety seen in the past decade). Despite this broad thematic and stylistic spectrum, the program makes clear that the Austrian documentary is essentially an auteur cinema - in combination with numerous outstanding craftspeople and supportive producers. It is a cinema of constant self-questioning and border-crossing which often denies a rigid separation between "poetry and truth"; a cinema which is interested in alternative ways of describing and imagining the present and the recent past.

A joint presentation of the Austrian Film Museum and dok.at. Q & As with the filmmakers and curators will be offered at each screening. On September 26, the projection of Michael Pilz' epic "Himmel und Erde"/"Heaven and Earth" (1979-82) will be accompanied by the launch of a new Film Museum DVD, dedicated to this landmark in modern Austrian film history.

Featured Works:

Himmel und Erde [Teil 1] (Michael Pilz, 1979-1982); Himmel und Erde [Teil 2] (Michael Pilz, 1979-1982); Kinderfilm (Peter Schreiner, 1985); Postadresse: 2640 Schlöglmühl (Egon Humer, 1990); Tierische Liebe (Ulrich Seidl, 1995); Jenseits des Krieges (Ruth Beckermann, 1996); Megacities. 12 Geschichten vom Überleben (Michael Glawogger, 1998); Pripyat (Nikolaus Geyrhalter, 1999); Hat Wolff von Amerongen Konkursdelikte begangen? (Gerhard Friedl, 2004); Exile Family Movie (Arash T. Riahi, 2006); Kurz davor ist es passiert (Anja Salomonowitz, 2006, pictured)

Program information:
Imaginations: 10 Austrian Documentaries

Gamblers betting it all in games they can't win, samurais heading into their final battles, lovers realizing their bonds are no match for an uncaring destiny: Welcome to the remarkable universe of Masahiro Shinoda. A spectacular filmmaker key to the Japanese New Wave, Shinoda was fascinated by both traditional Japanese aesthetics and the modernity of cinema.

Featured Works:

Mr. Shinoda will be in attendance for the tribute presented as part of the 150th Anniversary Celebration of Japan-NYC Friendship.

Program information:

Elegant Elegies: The Films of Masahiro Shinoda