This week—in a co-presentation of the American Cinematheque and Beyond Fest—Jim Jarmusch will present his new comedy THE DEAD DON’T DIE.
The film stars Bill Murray, Adam Driver, Chloë Sevigny, Tilda Swinton, Iggy Pop, Steve Buscemi, Tom Waits, Selena Gomez, Danny Glover, Caleb Landry Jones, and Carol Kane, and the director will be on hand for a post-screening Q & A.
The Dead Don’t Die, from top: Bill Murray (left), Chloë Sevigny, and Adam Driver; Iggy Pop; Selena Gomez; Murray; Tilda Swinton. Images courtesy the filmmaker and Focus Features.
Ahead of the belated Los Angeles release of Abel Ferrara‘s ingenious Pasolini biopic, the American Cinematheque and Luce Cinecittà celebrate the great Italian filmmaker in the program The Passion of Pier Paolo Pasolini.
The director—a radical public intellectual who embraced a vivid cinematic treatment of fable-into-allegory as a means to circulate his poetry to a wider audience—made twelve features before his death at age 53. Nine of them will screen at the Aero, all in 35mm.
Pasolini’s epic “Trilogy of Life” is here—THE DECAMERON, THE CATERBURY TALES, and ARABIAN NIGHTS—as well as his earlier mythology series: OEDIPUS REX, TEOREMA, MEDEA (with Maria Callas), and the rarely screened PIGSTY, starring Pierre Clémenti and Jean-Pierre Léaud.
The retrospective will open with SALÒ—Pasolini’s polarizing take on Sade’s 120 Days of Sodom—and close with perhaps the most straightforward Christ-story ever told, THEGOSPEL ACCORDING TO ST. MATTHEW (1964).
To mark the release of NON-FICTION—the new film from Olivier Assayas—the American Cinematheque presents a double feature of Assayas’ 1996 cult film IRMAVEP and a 35mm presentation of his 2008 masterpiece SUMMER HOURS. Both screen on Thursday.
From top: Maggie Cheung in Irma Vep; Jérémie Renier (left) and Olivier Assayas on set, Summer Hours; Édith Scob and Juliette Binoche in Summer Hours; Renier, DominiqueReymond, and Charles Berling in Summer Hours; Jean-Pierre Léaud (right) and Cheung in Irma Vep.
The early film and television work of Mike Leigh extended so-called “kitchen sink realism” into the Thatcher era, and no one examined the decimation of Britain’s working class in the 1980s with the rigor and humor of Leigh in Meantime, High Hopes, and Life is Sweet.
Leigh reached an artistic apotheosis of sorts in 1993 with Naked, and an breakthrough in the United States with his follow-up Secrets & Lies (1996).
From top: Tim Roth in Meantime (1983); Marianne Jean-Baptiste and Timothy Spall in Secrets & Lies (1996); David Thewlis in Naked (1993); Ruth Sheen and Phil Davis in HighHopes (1988); Jane Horrocks in Life is Sweet(1990).
Mike Leigh—England’s greatest living filmmaker—will be in Los Angeles to present his new film PETERLOO, the story of events leading up to the Peterloo Massacre in Manchester, an event that forever changed Great Britain’s electoral system and journalistic practice.
Following an American Cinematheque screening to launch its upcoming retrospective Bleak But Never Boring: Life According to Mike Leigh, the director will participate in a conversation moderated by Jim Hemphill.
Peterloo (2019), directed by Mike Leigh. Images courtesy Cornerstone Films.
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