Our series on the Brothers Quay ends on one of their most abstract films. Combining live-action and animation, it plays a shifting dance of light across the vivid, black and white, CinemaScope landscape of the mind: sinister, stark, fraught, haunting, and beautiful. In an exclusive new HD scan.
Structured as a strange, whimsical lesson on the nature of illusion, our next short is the Brothers Quay at their most mischievous. An exploration of the hidden wonders of art, Anamorphosis is a wonder of its own, where the visual field is rich with detail and endlessly elastic. Newly restored.
Our Brothers Quay series continues with a most hypnotic odyssey. A labyrinthine dreamscape bursting with detail and wonder, The Comb is a work of meticulously handcrafted cinema that both borrows from our world and seems projected directly from another dimension. In an exclusive new HD scan.
This week, we present a quartet of films by two masters of their medium: The Brothers Quay, whose visionary, avant-garde stop-motion has dazzled critics, filmmakers, and audiences for decades. This gem, in an exclusive new restoration, is an unforgettable dream and prime example of their art.
Despite his recent Academy Award nomination, too few people know of the devastatingly sardonic, desperate, playful, tearful animations of Don Hertzfeldt. Usually working in short form, he here combines an acclaimed triptych to make his magnum opus, a lo-fi epic, emotionally raw and very funny.
The next film in our Summer Concert Series traces not an artist or a genre, but an instrument: the banjo. Narrated by Steve Martin—who, believe it or not, is an accomplished banjo player himself—this amiable doc tells the story of a country through a set of strings that have followed it all the way.
Beloved TV comedian and award-winning art-house director Takeshi Kitano rebooting Shintaro Katsu’s 26-film blind swordsman action series seemed sacrilegious. But Kitano brings respectful invention, cleverly playing with staccato violence, meditative calm, and deadpan jokes in his own distinct way.
Is any American independent filmmaker more criminally underrated than Hal Hartley? Part of the same wave as Richard Linklater and Todd Haynes (who debuted at Sundance the year Trust won the screenwriting prize), Hartley’s tales of American eccentrics are essential—and this dark rom-com is a peak.
We conclude our tribute to the often unheralded documentary work of the great structuralist filmmaker Chantal Akerman with this sublime masterpiece. A stunningly ambitious and inquisitive cine-tour of the world that lay behind the recently raised Iron Curtain, it’s a truly eye-opening experience.
Scooping both the Best Actor and Best Actress at the Venice Film Festival, this variation on a cinematic staple—the missed connection, the brief encounter that aches—is a lovely small gem, with its two talented leads elevating this winningly intimate tale of emotional isolation and withdrawal.
Our last documentary in our tribute to Chantal Akerman headed to the American South, and now we see the great Belgian filmmaker cross the border. For a director fascinated by the constraints (domestic, gendered, social, spatial) that challenge us, the U.S.-Mexico divide is a perfect subject.
It was a story that turned the world’s head: a feminist punk collective in Russia, arrested and persecuted by the Putin regime. Covering their music, their trial, and their political dissidence, this topical Sundance prizewinner is a startling, rousing look at protest music battling the system.
While always considered an international arthouse director, Chantal Akerman spent a great deal of time in the U.S., and dedicated some of her best films to examining the unique tensions and spaces of the country. Sadly, this compassionate 1999 look at a heartland hate crime has hardly aged a day.
We conclude our selection of exclusive gems from Japan Cuts with a unique period film. While indebted to the classical Japanese cinema of Akira Kurosawa, its independent production and fresh digital style casts its incendiary look at the class relations of feudal Japan bracingly into the present.
Our partnership bringing you Japan Cuts exclusives continues with the second film from the wildly inventive indie director Momoko Ando. Over a freewheeling and unpredictable structure, Ando, with her sister Sakura Ando in the lead role, creates a magically cynical screwball comedy for modern times.
To celebrate the 10th anniversary of Japan Cuts, North America’s largest festival of new Japanese film, we’re exclusively showing three recent unreleased gems they’ve selected. This documentary is a humble tale of man and nature that challenges state injustices in light of national tragedies.
Before we continue our documentary tribute to Chantal Akerman, we wanted to provide an encounter with the director herself. Marianne Lambert, who worked on Almayer’s Folly, offers a personal exploration that ranges from her best known film, Jeanne Dielman, to discussing what ended up being her last.
It exploded with Bob Dylan, but he wasn’t even the half of it. This close-up on the fertile Greenwich Village folk scene of the 60s—featuring interviews with Arlo Guthrie, Pete Seeger, Kris Kristofferson, Carly Simon, and more—is a fond celebration of a moment in American life.
New Zealand filmmaker (and Flight of the Conchords conspirator) Taika Waititi scored a cult hit last year with What We Do in the Shadows. He also delighted Sundance in 2010 with this weird, hilarious, endearingly warm comedy, whose ingredients include a cache of stolen money and the King of Pop.
Chantal Akerman took her life last autumn, cutting short the startling, varied career of this rigorous, questioning and absolutely essential Belgian filmmaker. With her final film, in which she takes her camera into her mother’s home, we begin a series paying tribute to Akerman’s documentary work.
Opening like a new Brothers Grimm story before turning into a politically charged mystery, this hit from Berlinale combines thriller and coming-of-age story—splashed in vivid color—for a riveting, suspenseful tale of youth confronted by a large and haunted adult world.
Part 2 of our De Sade double bill was born to cause controversy. Director/Svengali Roger Vadim (…and God Created Woman) shocked audiences by using recent history to update De Sade’s dark, dangerous allegory Justine. Co-starring Catherine Deneuve in her first big role.
This week’s double bill goes to one of the most notorious writers in literary history: the Marquis de Sade, who turned 276 last month and remains just as dangerous. The libertine philosopher’s legacy forms the backbone of this wild madhouse from the famed Czech surrealist Jan Švankmajer.
Our Summer Concert Series turns to one of the great groups of the rock era: The Band. Singer/drummer Levon Helm, who gave heart and soul to classics like “The Weight” and “The Night They Drove Old Dixie Down,” reflects on a life on the road in this intimate doc, made in the last years of his life.
Yesterday, cinema lost a truly unique master: Iranian director Abbas Kiarostami. One of his many modern masterworks, Ten shows his inspired experimentation, testing the new freedom of digital cinema and turning a simple premise into one of the most inventive, acclaimed films of the 21st century.
This 4th of July, we’re celebrating American independence at Coney Island with this classic of homegrown indie cinema. “Our New Wave would never have come into being,” Francois Truffaut once said, “if it hadn’t been for the young American Morris Engel, who showed us the way with Little Fugitive.”
With a terrific cast led by Marion Cotillard, director Guillaume Canet’s lovely César nominee is an intimately detailed ensemble piece, catching the sparks that fly (and secrets that get revealed) in a vacationing group of friends who can’t be sure if they’re in a comedy or a drama.
Ace crime writer Donald Westlake (a.k.a. Richard Stark) adapts noir favorite Jim Thompson (The Killer Inside Me) to make something fiercely hard-boiled: a dateless flashback to the cynical enchantment of film noir. Anjelica Huston, John Cusack and Annette Bening re-kindle that older, darker magic.
We follow our showing of avant-garde mix-master Peter Tscherkassky’s The Exquisite Corpus with this brilliantly assaultive Cinemascope short. Using maniacally artisanal analog methods, he turns Sergio Leone’s The Good, the Bad and the Ugly into a black & white celluloid action spectacular.