NYC Weekend Watch is our weekly round-up of repertory offerings.
Film at Lincoln Center
“Never Look Away: Serge Daney’s Radical 1970s” brings films by Kurosawa, Bresson, Tati, Godard and more.
IFC Center
As Francis Ford Coppola’s latest recut, One from the Heart: Reprise, continues, Bertrand Bonello’s masterpiece Coma gets a New York premiere; Ken Russell’s Whore, Saw III, and Mad Max: Beyond Thunderdome also have late showings.
Roxy Cinema
A Ryan O’Neal retrospective brings The Driver on 35mm and Partners, while Cronenberg’s Crash shows on a print; City Dudes returns on Saturday and Sunday brings a puppet program and the Iranian feature Downpour plays on Sunday.
Film Forum
A 4K restoration of The Pianist begins a run while I Heard It Through the Grapevine and The Third Man continue; The Sunshine Boys plays on Sunday.
Museum of the Moving Image
A retrospective of snubbed performances brings films by Howard Hawks,...
Film at Lincoln Center
“Never Look Away: Serge Daney’s Radical 1970s” brings films by Kurosawa, Bresson, Tati, Godard and more.
IFC Center
As Francis Ford Coppola’s latest recut, One from the Heart: Reprise, continues, Bertrand Bonello’s masterpiece Coma gets a New York premiere; Ken Russell’s Whore, Saw III, and Mad Max: Beyond Thunderdome also have late showings.
Roxy Cinema
A Ryan O’Neal retrospective brings The Driver on 35mm and Partners, while Cronenberg’s Crash shows on a print; City Dudes returns on Saturday and Sunday brings a puppet program and the Iranian feature Downpour plays on Sunday.
Film Forum
A 4K restoration of The Pianist begins a run while I Heard It Through the Grapevine and The Third Man continue; The Sunshine Boys plays on Sunday.
Museum of the Moving Image
A retrospective of snubbed performances brings films by Howard Hawks,...
- 1/26/2024
- by Nick Newman
- The Film Stage
Los Angeles hosts annual showcase featuring extensive array of work from contemporary and veteran film-makers
The annual celebration of Iranian cinema run by the University of California, Los Angeles, is a vital occasion for two dynamic and overlapping constituencies: cinephiles and Iranians in Los Angeles. The festival's screenings routinely draw large audiences, eager to see films from a nation distinguished by its rich and sustained contribution to world cinema. This year's programme underscored the depth and diversity of cinematic voices in Iranian life.
In recent years, the archive has expanded the scope to include older films, working with Iran's national film archive and exiled filmmakers such as Parviz Sayyad to present seminal works such as The Lor Girl (Dokhtar-e Lor; 1933), directed by Ardeshir Irani; Masoud Kimiai's Caesar (Qaisar; 1969); and Sayyad's own Dead End (Bon Bast; 1977). This year, the festival began with a screening of Bahram Beyzaie's first feature film,...
The annual celebration of Iranian cinema run by the University of California, Los Angeles, is a vital occasion for two dynamic and overlapping constituencies: cinephiles and Iranians in Los Angeles. The festival's screenings routinely draw large audiences, eager to see films from a nation distinguished by its rich and sustained contribution to world cinema. This year's programme underscored the depth and diversity of cinematic voices in Iranian life.
In recent years, the archive has expanded the scope to include older films, working with Iran's national film archive and exiled filmmakers such as Parviz Sayyad to present seminal works such as The Lor Girl (Dokhtar-e Lor; 1933), directed by Ardeshir Irani; Masoud Kimiai's Caesar (Qaisar; 1969); and Sayyad's own Dead End (Bon Bast; 1977). This year, the festival began with a screening of Bahram Beyzaie's first feature film,...
- 7/31/2013
- The Guardian - Film News
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