Join us for a series of discussions charting a course from the birth of cinema to the brink of its modern age. We will visit a chronological series of styles and national cinemas, including actualities from the U.S. and Europe, German Expressionism, and classics from Hollywood's first few decades, as well as other movements and genres of the medium's first fifty years. Films scheduled to be discussed are:
"A Trip to the Moon" (Georges Melies, France, 1902); "The Great Train Robbery" (Edwin S. Porter, US, 1903); Shorts from Thomas Edison, The Lumiere Brothers, and more The Birth of a Nation (D.W. Griffith, US, 1915) The Battleship Potemkin (Sergei Eisenstein, USSR, 1925) The Gold Rush (Charlie Chaplin, US, 1925) The Jazz Singer (Alan Crosland, US, 1927) M (Fritz Lang, Germany, 1931) A Story of Floating Weeds (Yasujiro Ozu, Japan, 1934) It Happened One Night (Frank Capra, US, 1934) Triumph of the Will (Leni Riefenstahl, Germany, 1935) The 39 Steps (Alfred Hitchcock, UK, 1935) Stella Dallas (King Vidor, US, 1937) Double Indemnity (Billy Wilder, US, 1944)
Seventy years ago, Hollywood was closing the book on what is widely considered the greatest single year in its history. Join us for a series of discussions charting a course through the American cinema of 1939 (with a few classics from abroad thrown in). We will visit a series of genres and styles via the work of legendary directors, unforgettable stars, and an unparalleled studio system. Such essential films as The Women (George Cukor), Mr. Smith Goes to Washington (Frank Capra), and The Rules of the Game (Jean Renoir, France) will be considered. Films scheduled to be discussed are:
Mr. Smith Goes to Washington (Frank Capra) Goodbye, Mr. Chips (Sam Wood, UK) Wuthering Heights (William Wyler) Gunga Din (George Stevens) Only Angels Have Wings (Howard Hawks) Dark Victory (Edmund Goulding) The Women (George Cukor) Ninotchka (Ernst Lubitsch) Young Mr. Lincoln (John Ford) Stagecoach (John Ford) Daybreak (Marcel Carne, France) The Rules of the Game (Jean Renoir, France)
Join us for a series of discussions charting a course through the post-World War II history of motion pictures. We will take a chronological tour of international cinema, including stops in France, India, Hungary, New Zealand, and Iran. Films scheduled to be discussed are:
Sept 23: Detour (Edgar G. Ulmer, USA, 1945) Sept 30: Lola Montès (Max Ophüls, France/West Germany, 1955) Oct 7: Something Wild (Jack Garfein, USA, 1961) Oct 14: The Hero (Satyajit Ray, India, 1966) Oct 21: Harold and Maude (Hal Ashby, USA, 1971) Oct 28: Confidence (István Szabó, Hungary, 1980) Nov 4: A Dry White Season (Euzhan Palcy, USA, 1989) Nov 11: The Piano (Jane Campion, New Zealand, 1993) Nov 18: The Last Days of Disco (Whit Stillman, USA, 1998) Nov 25: About Elly (Asghar Farhadi, Iran, 2009)
Join us for a series of discussions charting a course through the post-World War II history of motion pictures. We will take a chronological tour of international cinema, including stops in Italy, Japan, West Germany, Hong Kong, and Iran. Films scheduled to be discussed are:
Citizen Kane (Orson Welles, USA, 1941)The Big Sleep (Howard Hawks, USA, 1946)Bicycle Thieves (Vittorio DeSica, Italy, 1948)Rear Window (Alfred Hitchcock, USA, 1954)All that Heaven Allows (Douglas Sirk, USA, 1955)Floating Weeds (Yasujiro Ozu, Japan, 1959)Alphaville (Jean-Luc Godard, France, 1965)The Long Goodbye (Robert Altman, USA, 1973)Ali: Fear Eats the Soul (Rainer Werner Fassbinder, West Germany, 1974)Blade Runner (Ridley Scott, USA, 1982)Vagabond (Agnes Varda, France, 1985)Chungking Express (Wong Kar-wai, Hong Kong, 1994)Ten (Abbas Kiarostami, Iran, 2002)
Join us for a series of discussions charting a course through the post-World War II history of world cinema. We will visit a chronological series of styles and national cinemas, including classical Hollywood, Italian Neorealism, the French New Wave, and other movements and genres of the last sixty years. Films scheduled to be discussed are:
Notorious (Alfred Hitchcock, US, 1946) Rashomon (Akira Kurosawa, Japan, 1950) Sunset Boulevard (Billy Wilder, US, 1950) Umberto D. (Vittorio De Sica, Italy, 1952) Imitation of Life (Douglas Sirk, US, 1959) Breathless (Jean-Luc Godard, France, 1960) The Pawnbroker (Sidney Lumet, US, 1964) Gimme Shelter (Albert & David Maysles and Charlotte Zwerin, US, 1970) The Marriage of Maria Braun (R. W. Fassbinder, Germany, 1979) A Better Tomorrow (John Woo, Hong Kong, 1986) The Limey (Steven Soderbergh, US, 1999) Paradise Now (Hany Abu-Assad, The Palestinian Territories, 2005)
Join us for a series of discussions charting a course through the post-World War II history of world cinema. We will take a chronological tour of international cinema, including stops in the UK, India, Italy, Spain, and Germany. Films scheduled to be discussed are:
Brief Encounter (David Lean, UK, 1945) Ace in the Hole (Billy Wilder, US, 1951) Pather Panchali (Satyajit Ray, India, 1955) North by Northwest (Alfred Hitchcock, US, 1959) In the Heat of the Night (Norman Jewison, US, 1967) The Conformist (Bernardo Bertolucci, Italy, 1970) Grey Gardens (Albert & David Maysles, US, 1975) Raging Bull (Martin Scorsese, US, 1980) Do the Right Thing (Spike Lee, US, 1989) Open Your Eyes (Alejandro Amenabar, Spain, 1997) Downfall (Oliver Hirschbiegel, Germany, 2004)
Join us for a series of discussions charting a course through the post-World War II history of world cinema. We will take a chronological tour of international cinema, including stops in the United Kingdom, France, Japan, and Denmark. Films scheduled to be discussed are:
The Red Shoes (Michael Powell & Emeric Pressburger, UK, 1948) The Quiet Man (John Ford, US, 1952) Paths of Glory (Stanley Kubrick, US, 1957)
A Man and a Woman (Claude Lelouch, France, 1966) Midnight Cowboy (John Schlesinger, US, 1969) Dog Day Afternoon (Sidney Lumet, US, 1975) Ordinary People (Robert Redford, US, 1980) American Movie (Chris Smith, US, 1999) Merry Christmas, Mr. Lawrence (Nagisa Oshima, Japan, 1983) Mulholland Dr. (David Lynch, US, 2001) Celebration (Thomas Vinterberg, Denmark, 1998)
Join us for a series of discussions charting a course through the post-World War II history of world cinema. We will take a chronological tour of international film, including stops in the United Kingdom, Japan, France, and Germany. Films scheduled to be discussed are:
Black Narcissus (Michael Powell & Emeric Pressburger, UK, 1947) Gun Crazy (Joseph H. Lewis, US, 1950) Salt of the Earth (Herbert J. Biberman, US, 1954) Yojimbo (Akira Kurosawa, Japan, 1961)
Marnie (Alfred Hitchcock, US, 1964) Rosemary's Baby (Roman Polanski, US, 1968) Badlands (Terrence Malick, US, 1973) The Return of Martin Guerre (Daniel Vigne, France, 1982) Tucker: A Man and His Dream (Francis Ford Coppola, US, 1988) Little Dieter Needs to Fly (Werner Herzog, Germany, 1997) The Pledge (Sean Penn, US, 2001)
Join us for a series of discussions charting a course through the post-World War II history of motion pictures. We will take a chronological tour of international cinema, including stops in Japan, France, the United Kingdom, Australia, Denmark and India. Films scheduled to be discussed are:
September 19: Gilda (Charles Vidor, USA, 1946)September 26: Drunken Angel (Akira Kurosawa, Japan, 1948)October 3: No SessionOctober 10: The Blob (Irvin S. Yeaworth, Jr., USA, 1958)October 17: Jules and Jim (François Truffaut, France, 1962)October 24: Kes (Ken Loach, UK, 1970)October 31: Gates of Heaven (Errol Morris, USA, 1978)November 7: Breaker Morant (Bruce Beresford, Australia, 1980)November 14: Babette's Feast (Gabriel Axel, Denmark, 1987)November 21: The Ice Storm (Ang Lee, USA, 1997)November 28: Monsoon Wedding (Mira Nair, India, 2001)
Join us for a series of discussions charting a course through the post-World War II history of motion pictures. We will take a chronological tour of international cinema, including stops in France, Japan, Australia, and Sweden. Films scheduled to be discussed are:
September 18: Le Silence de la mer (Jean-Pierre Melville, France, 1949) September 25: The Asphalt Jungle (John Huston, USA, 1950) October 2: Ugetsu (Kenji Mizoguchi, Japan, 1953) October 9: Cat on a Hot Tin Roof (Richard Brooks, USA, 1958) October 16: A Taste of Honey (Tony Richardson, UK, 1961) October 23: Chimes at Midnight (Orson Welles, Spain, 1966) October 30: Two-Lane Blacktop (Monte Hellman, USA, 1971) November 6: Picnic at Hanging Rock (Peter Weir, Australia, 1975) November 13: All That Jazz (Bob Fosse, USA, 1979) November 20: My Life as a Dog (Lasse Hallström, Sweden, 1985) November 27: Punch-Drunk Love (Paul Thomas Anderson, USA, 2002)
Join us for a series of discussions charting a course through the post-World War II history of motion pictures. We will take a chronological tour of international cinema, including stops in Japan, the USSR, Germany, and India. Films scheduled to be discussed are:
September 24: The Big Sleep (Howard Hawks, USA, 1946) October 1: Rashomon (Akira Kurosawa, Japan, 1950) October 8: All that Heaven Allows (Douglas Sirk, USA, 1955) October 15: Tunes of Glory (Ronald Neame, UK, 1960) October 22: Wings (Larisa Shepitko, USSR, 1966) October 29: The Beguiled (Don Siegel, USA, 1971) November 5: Ali: Fear Eats the Soul (Rainer Werner Fassbinder, Germany, 1974) November 12: Kramer vs. Kramer (Robert Benton, USA, 1979) November 19: An Enemy of the People (Satyajit Ray, India, 1989) November 26: Being John Malkovich (Spike Jonze, USA, 1999)
Join us for a series of discussions charting a course through the post-World War II history of motion pictures. We will take a chronological tour of international cinema, including stops in Japan, Italy, Germany, Spain and Iran. Films scheduled to be discussed are:
September 23: Notorious (Alfred Hitchcock, US, 1946) September 30: No Session October 7: Riot in Cell Block 11 (Don Siegel, US, 1954) October 14: Floating Weeds (Yasujiro Ozu, Japan, 1959) October 21: Downhill Racer (Michael Ritchie, US, 1969) October 28: Amarcord (Federico Fellini, Italy, 1973) November 4: The Marriage of Maria Braun (Rainer Werner Fassbinder, Germany, 1979) November 11: El Sur (Victor Erice, Spain, 1983) November 18: Time Indefinite (Ross McElwee, US, 1993) November 25: The Circle (Jafar Panahi, Iran, 2000) December 2: Support the Girls (Andrew Bujalski, US, 2018)
Join us for a series of discussions charting a course through the post-World War II history of motion pictures. We will take a chronological tour of international cinema, including stops in France, Sweden, Ireland, Brazil, and Lebanon. Films scheduled to be discussed are:
9/27: Humoresque (Jean Negulesco, US, 1946) 10/4: Les Diaboliques (Henri-Georges Clouzot, France, 1955) 10/11: The Manchurian Candidate (John Frankenheimer, US, 1962) 10/18: Persona (Ingmar Bergman, Sweden, 1966) 10/25: Badlands (Terrence Malick, US, 1973) 11/1: My Left Foot (Jim Sheridan, Ireland, 1989) 11/8: Glengarry Glen Ross (James Foley, US, 1992) 11/15: Central Station (Walter Salles, Brazil, 1998) 11/22: Grizzly Man (Werner Herzog, US, 2005) 11/29: Caramel (Nadine Labaki, Lebanon, 2007)
Please note: As this discussion series occurs on Mondays, and Mondays are a VacCinema day at BMFI, only fully vaccinated students may enroll. Each individual will be asked to show proof of vaccination by presenting their vaccination card or a clear photo of it, as well as photo ID, prior to entering BMFI. Please arrive early to allow adequate time for this process. You may visit the VacCinema page for further information.
In addition: though participants will be able to select their own seats upon entering the theater, please be mindful of others’ desire for distance when making your selection. In addition, per BMFI policy, we ask that you wear your mask when entering and exiting the theater, finding your seat, using the restroom, and navigating common areas at BMFI. You may remove your mask when seated in your theater seat, but we ask that you wear your mask when asking questions or making comments during the discussion portion of the session. Please email Jill Malcolm with any questions.
Join us for a series of discussions charting a course through the post-World War II history of motion pictures. We will take a chronological tour of international cinema, including stops in Italy, Sweden, Germany, Hong Kong, and Argentina. Films scheduled to be discussed are:
September 19: Rome, Open City (Roberto Rossellini, Italy, 1945) October 3: Rear Window (Alfred Hitchcock, US, 1954) October 10: The Virgin Spring (Ingmar Bergman, Sweden, 1960) October 17: Faces (John Cassavetes, US, 1968) October 24: Alice in the Cities (Wim Wenders, Germany, 1974) October 31: Tootsie (Sydney Pollack, US, 1982) November 7: Black Is . . . Black Ain’t (Marlon Riggs, US, 1995) November 14: Days of Being Wild (Wong Kar-wai, Hong Kong, 1990) November 21: La Ciénaga (Lucrecia Martel, Argentina, 2000) November 28: Me and You and Everyone We Know (Miranda July, US, 2005)
Please note: As this discussion series occurs on Mondays, and Mondays are a VacCinema day at BMFI, only fully vaccinated students may enroll. Each individual will be asked to show proof of vaccination by presenting their vaccination card or a clear photo of it, as well as photo ID, prior to entering BMFI. Please arrive early to allow adequate time for this process. You may visit the VacCinema page for further information.
In addition: though participants will be able to select their own seats upon entering the theater, please be mindful of others’ desire for distance when making your selection. Masks are recommended while indoors at BMFI. Please email Jill Malcolm with any questions.
Join us for a series of discussions charting a course through the post-World War II history of motion pictures. We will take a chronological tour of international cinema, including stops in Italy, France, the United Kingdom, Japan, and Israel. Films scheduled to be discussed are:
October 2: Mildred Pierce (Michael Curtiz, USA, 1945) October 9: Miracle in Milan (Vittorio De Sica, Italy, 1951) October 16: Paths of Glory (Stanley Kubrick, USA, 1957) October 23: Au Hasard Balthazar (Robert Bresson, France, 1966) October 30: Marjoe (Howard Smith & Sarah Kernochan, USA, 1972) November 6: Local Hero (Bill Forsyth, UK, 1983) November 13: Do the Right Thing (Spike Lee, USA, 1989) November 20: After Life (Hirokazu Kore-eda, Japan, 1998) November 27: Adaptation (Spike Jonze, USA, 2002) December 4: Footnote (Joseph Cedar, Israel, 2011)
Join us for a series of discussions charting a course through the post-World War II history of motion pictures. We will take a chronological tour of international cinema, including stops in France, Algeria, Italy, and the UK. Films scheduled to be discussed are:
Beauty and the Beast (Jean Cocteau, France, 1946) From Here to Eternity (Fred Zinnemann, US, 1953) A Face in the Crowd (Elia Kazan, US, 1957) Pressure Point (Hubert Cornfield, US, 1962)
The Battle of Algiers (Gillo Pontecorvo, Italy/Algeria, 1966) Easy Rider (Dennis Hopper, US, 1969) Harlan County, USA (Barbara Kopple, US, 1976) Chinatown (Roman Polanski, US, 1974) Cinema Paradiso (Giuseppe Tornatore, Italy, 1988) Secrets & Lies (Mike Leigh, UK, 1996) Memento (Christopher Nolan, US, 2000)
Join us for a series of discussions charting a course through the post-World War II history of motion pictures. We will take a chronological tour of international cinema, including stops in the UK, France, Italy, Senegal, and Hong Kong. Films scheduled to be discussed are:
The Fallen Idol (Carol Reed, UK, 1948) Rififi (Jules Dassin, France, 1954) The Wrong Man (Alfred Hitchcock, US, 1957) Inherit the Wind (Stanley Kramer, US, 1960)
A Fistful of Dollars (Sergio Leone, Italy/Spain, 1964) Black Girl and "Borom Sarret" (Ousmane Sembene, Senegal, 1966) Harold and Maude (Hal Ashby, US, 1971)
Norma Rae (Martin Ritt, US, 1979) The Killer (John Woo, Hong Kong, 1989) Glengarry Glen Ross (James Foley, US, 1992) The Fog of War (Errol Morris, US, 2003)
Join us for a series of discussions charting a course through the post-World War II history of motion pictures. We will take a chronological tour of international cinema, including stops in the UK, France, Italy, Japan, and Iran. Films scheduled to be discussed are:
Kind Hearts and Coronets (Robert Hamer, UK, 1949) Les Diaboliques (Henri-Georges Clouzot, France, 1955) The Man Who Knew Too Much (Alfred Hitchcock, USA, 1956) Marriage Italian Style (Vittorio De Sica, Italy, 1964) Guess Who’s Coming to Dinner (Stanley Kramer, USA, 1967) Marathon Man (John Schlesinger, USA, 1976) My Beautiful Laundrette (Stephen Frears, UK, 1985)
My Neighbor Totoro (Hayao Miyazaki, Japan, 1988)
Close-Up (Abbas Kiarostami, Iran, 1990) The Last of the Mohicans (Michael Mann, USA, 1992) When We Were Kings (Leon Gast, USA, 1996)
Join us for a series of discussions charting a course through the post-World War II history of motion pictures. We will take a chronological tour of international cinema, including stops in the UK, Spain, Israel, Germany, and Hong Kong. Films scheduled to be discussed are:
Great Expectations (David Lean, UK, 1946) An American in Paris (Vincente Minnelli, USA, 1951) Death of a Cyclist (Juan Antonio Bardem, Spain, 1955) The Killing (Stanley Kubrick, USA, 1956) Sallah Shabati (Ephraim Kishon, Israel, 1964) The Odd Couple (Gene Saks, USA, 1968) Aguirre, the Wrath of God (Werner Herzog, Germany, 1972) Zelig (Woody Allen, USA, 1983) Walking and Talking (Nicole Holofcener, USA, 1996) In the Mood for Love (Wong Kar-wai, Hong Kong, 2000) Capturing the Friedmans (Andrew Jarecki, USA, 2003)
Join us for a series of discussions charting a course through the post-World War II history of motion pictures. We will take a chronological tour of international cinema, including stops in the UK, Japan, Poland, the Netherlands, and South Africa. Films scheduled to be discussed are:
Rope (Alfred Hitchcock, USA, 1948)The Sound Barrier (David Lean, UK, 1952) I Live in Fear (Akira Kurosawa, Japan, 1955) Knife in the Water (Roman Polanski, Poland, 1962)Seconds (John Frankenheimer, USA, 1966)Cabaret (Bob Fosse, USA, 1972)Days of Heaven (Terrence Malick, USA, 1978)The Last Metro (Francois Truffaut, France, 1980) The Vanishing (George Sluizer, Netherlands, 1988)Crumb (Terry Zwigoff, USA, 1995)Tsotsi (Gavin Hood, South Africa, 2005)
Join us for a series of discussions charting a course through the post-World War II history of motion pictures. We will take a chronological tour of international cinema, including stops in Italy, France, Spain, Taiwan, and Iran. Films scheduled to be discussed are:
Jan. 23: Bicycle Thieves (Vittorio De Sica, Italy, 1948)Jan. 30: Magnificent Obsession (Douglas Sirk, US, 1954) Feb. 6: The 400 Blows (Francois Truffaut, France, 1959)Feb. 13: The Executioner (Luis Garcia Berlanga, Spain, 1963)Feb. 20: Medium Cool (Haskell Wexler, US, 1969)Feb. 27: The Friends of Eddie Coyle (Peter Yates, US, 1973)March 6: Koko: A Talking Gorilla (Barbet Schroeder, France, 1978)March 13: Zelig (Woody Allen, US, 1983)March 20: Boyz n the Hood (John Singleton, US, 1991) March 27: The Wedding Banquet (Ang Lee, Taiwan/US, 1993)April 3: Ten (Abbas Kiarostami, Iran, 2002)
Join us for a series of discussions charting a course through the post-World War II history of motion pictures. We will take a chronological tour of international cinema, including stops in Japan, France, Germany, and Sweden. Films scheduled to be discussed are:
Jan. 22: They Live by Night (Nicholas Ray, US, 1948) Jan. 29: Gate of Hell (Teinosuke Kinugasa, Japan, 1953) Feb. 5: Shoot the Piano Player (François Truffaut, France, 1960) Feb. 12: The Pawnbroker (Sidney Lumet, US, 1964) Feb. 19: The Merchant of Four Seasons (Rainer Werner Fassbinder, Germany, 1971) Feb. 26: Autumn Sonata (Ingmar Bergman, Sweden, 1978) March 5: A Soldier’s Story (Norman Jewison, US, 1984) March 12: The Thin Blue Line (Errol Morris, US, 1988) March 19: Fargo (Joel Coen, US, 1996) March 26: Hunger (Steve McQueen, UK/Ireland, 2008)
Join us for a series of discussions charting a course through the post-World War II history of motion pictures. We will take a chronological tour of international cinema, including stops in Italy, the USSR, France, and Palestine. Films scheduled to be discussed are:
Jan. 28: Green for Danger (Sidney Gilliat, UK, 1946)
Feb. 4: Umberto D. (Vittorio De Sica, Italy, 1952)
Feb. 11: Imitation of Life (Douglas Sirk, US, 1959)
Feb. 18: The Naked Kiss (Samuel Fuller, US, 1964)
Feb. 25: The Ascent (Larisa Shepitko, USSR, 1977)
March 4: L’argent (Robert Bresson, France, 1983)
March 11: Desert Hearts (Donna Deitch, US, 1985)
March 18: A Brief History of Time (Errol Morris, US, 1991)
March 25: Paradise Now (Hany Abu-Assad, Palestine, 2005)
April 1: A Serious Man (Joel Coen & Ethan Coen, US, 2009)
Due to our mandatory theater closure, the remaining sessions of FHDS are canceled.
Join us for a series of discussions charting a course through the post-World War II history of motion pictures. We will take a chronological tour of international cinema, including stops in France, India, the Philippines, Brazil, and Germany. Films scheduled to be discussed are:
Jan. 27: Ride the Pink Horse (Robert Montgomery, US, 1947)
Feb. 3: Le Plaisir (Max Ophüls, France, 1952)
Feb. 10: The Music Room (Satyajit Ray, India, 1958)
Feb. 17: The Nutty Professor (Jerry Lewis, US, 1963)
Feb. 24: Manila in the Claws of Light (Lino Brocka, Philippines, 1975)
March 2: Vernon, Florida (Errol Morris, US, 1981)
March 9: Eve’s Bayou (Kasi Lemmons, US, 1997)
CANCELED—March 16: Central Station (Walter Salles, Brazil, 1998)
CANCELED—March 23: Thank You for Smoking (Jason Reitman, US, 2005)
CANCELED—March 30: Phoenix (Christian Petzold, Germany, 2014)
Join us for a series of discussions charting a course through the post-World War II history of motion pictures. We will take a chronological tour of international cinema, including stops in the United Kingdom, India, Czechoslovakia, Spain, and Iran. Films scheduled to be discussed are:
Jan 24: Brief Encounter (David Lean, UK, 1945) Jan 31: Ace in the Hole (Billy Wilder, US, 1951) Feb 7: Pather Panchali (Satyajit Ray, India, 1955) Feb 14: A Raisin in the Sun (Daniel Petrie, US, 1961) Feb 21: Closely Watched Trains (Jiří Menzel, Czechoslovakia, 1966) Feb 28: The Spirit of the Beehive (Victor Erice, Spain, 1973) Mar 7: Burden of Dreams (Les Blank, US, 1982) Mar 14: To Sleep with Anger (Charles Burnett, US, 1990) Mar 21: Taste of Cherry (Abbas Kiarostami, Iran, 1997) Mar 28: Capote (Bennett Miller, US, 2005)
Please note: As this discussion series occurs on Mondays, and Mondays are a VacCinema day at BMFI, only fully vaccinated students may enroll. Each individual will be asked to show proof of vaccination by presenting their vaccination card or a clear photo of it, as well as photo ID, prior to entering BMFI. Please arrive early to allow adequate time for this process. You may visit the VacCinema page for further information.
In addition: though participants will be able to select their own seats upon entering the theater, please be mindful of others’ desire for distance when making your selection. In addition, per BMFI policy, we ask that you wear your mask when entering and exiting the theater, finding your seat, using the restroom, and navigating common areas at BMFI. You may remove your mask when seated in your theater seat, but we ask that you wear your mask when asking questions or making comments during the discussion portion of the session. Please email Jill Malcolm with any questions.
Join us for a series of discussions charting a course through the post-World War II history of motion pictures. We will take a chronological tour of international cinema, including stops in France, Japan, Senegal, Taiwan, and Denmark. Films scheduled to be discussed are: January 23: Spellbound (Alfred Hitchcock, US, 1945) January 30: The River (Jean Renoir, France, 1951) February 6: Summertime (David Lean, US, 1955) February 13: An Autumn Afternoon (Yasujirō Ozu, Japan, 1962) February 20: In the Heat of the Night (Norman Jewison, US, 1967) February 27: Touki Bouki (Djibril Diop Mambéty, Senegal, 1973) March 6: Being There (Hal Ashby, US, 1979) March 13: Taipei Story (Edward Yang, Taiwan, 1985) March 20: Spellbound (Jeffrey Blitz, US, 2002) March 27: The Hunt (Thomas Vinterberg, Denmark, 2012)
Join us for a series of discussions charting a course through the post-World War II history of motion pictures. We will take a chronological tour of international cinema, including stops in France, Cuba, Poland, Taiwan, and Germany. Films scheduled to be discussed are:
January 22: Double Indemnity (Billy Wilder, US, 1944) January 29: La Poison (Sacha Guitry, France, 1951) February 5: The Fugitive Kind (Sidney Lumet, US, 1960) February 12: Memories of Underdevelopment (Tomás Gutiérrez Alea, Cuba, 1968) February 19: Harlan County, USA (Barbara Kopple, US, 1976) February 26: Blind Chance (Krzysztof Kieślowski, Poland, 1987) March 4: Rushmore (Wes Anderson, US, 1998) March 11: Doubt (John Patrick Shanley, US, 2008) March 18: Millennium Mambo (Hou Hsiao-hsien, Taiwan, 2001) March 25: Phoenix (Christian Petzold, Germany, 2014)
Join us for a series of discussions covering an array of films that were initially released fifty years ago. We will take a brief tour of international cinema, including stops in Italy, the UK, and France. Films scheduled to be discussed are:
The Birds (Alfred Hitchcock, USA) Hands over the City (Francesco Rosi, Italy) Hud (Martin Ritt, US) Shock Corridor (Samuel Fuller, US) Tom Jones (Tony Richardson, UK) Contempt (Jean-Luc Godard, France)
Join us for a series of discussions covering an array of films that were initially released fifty years ago. We will take a brief tour of international cinema, including stops in Italy, the UK, France, and Italy. Films scheduled to be discussed are:
A Hard Day's Night (Richard Lester, UK) Hush . . . Hush, Sweet Charlotte (Robert Aldrich, USA) World Without Sun (Jacques-Yves Cousteau, France/Italy) Goldfinger (Guy Hamilton, UK) The Americanization of Emily (Arthur Hiller, USA) Red Desert (Michelangelo Antonioni, Italy)
Join us for a series of discussions covering an array of films that were initially released fifty years ago. We will take a brief tour of international cinema, including stops in the UK, Czechoslovakia, and Italy. Films scheduled to be discussed are:
5/4: Repulsion (Roman Polanski, UK) 5/11: Von Ryan's Express (Mark Robson, US) 5/18: Loves of a Blonde (Milos Forman, Czechoslovakia) 5/25: No Discussion 6/1: Cat Ballou (Elliot Silverstein, US) 6/8: Fists in the Pocket (Marco Bellocchio, Italy) 6/15: The Collector (William Wyler, US)
Join us for a series of discussions covering an array of films that were initially released fifty years ago. We will take a brief tour of international cinema, including stops in Japan, the United Kingdom, and Sweden. Films scheduled to be discussed are:
4/30: Rosemary’s Baby (Roman Polanski, US) 5/7: Death by Hanging (Nagisa Oshima, Japan) 5/14: Salesman (Albert Maysles, David Maysles, Charlotte Zwerin, US) 5/21: Yellow Submarine (George Dunning, UK) 5/28: No Discussion 6/4: The Swimmer (Frank Perry, US) 6/11: Shame (Ingmar Bergman, Sweden)
Join us for a series of discussions covering an array of films that were initially released fifty years ago. We will take a brief tour of international cinema, including stops in Algeria, the Soviet Union, and the United Kingdom. Films scheduled to be discussed are:
5/6: The Learning Tree (Gordon Parks, US) 5/13: Z (Costa-Gavras, Algeria/France) 5/20: Midnight Cowboy (John Schlesinger, US) 5/27: No Discussion 6/3: The Color of Pomegranates (Sergei Parajanov, USSR) 6/10: They Shoot Horses, Don’t They? (Sydney Pollack, US) 6/17: The Prime of Miss Jean Brodie (Ronald Neame, UK)
Join us for a series of discussions covering an array of films that were initially released fifty years ago. We will take a brief tour of international cinema, including stops in France, Germany, and the United Kingdom. Films scheduled to be discussed are:
May 2: Buck and the Preacher (Sidney Poitier, US) May 9: Love in the Afternoon (Éric Rohmer, France) May 16: The Candidate (Michael Ritchie, US)* May 23: Aguirre, the Wrath of God (Werner Herzog, West Germany) June 6: Deliverance (John Boorman, US) June 13: Frenzy (Alfred Hitchcock, UK) June 20: The Candidate (Michael Ritchie, US)
*Please note: the May 16 session has been rescheduled for June 20 due to instructor illness. Thank you for your understanding.
Please note: As this discussion series occurs on Mondays, and Mondays are a VacCinema day at BMFI, only fully vaccinated students may enroll. Each individual will be asked to show proof of vaccination by presenting their vaccination card or a clear photo of it, as well as photo ID, prior to entering BMFI. Please arrive early to allow adequate time for this process. You may visit the VacCinema page for further information.
In addition: though participants will be able to select their own seats upon entering the theater, please be mindful of others’ desire for distance when making your selection. In addition, per BMFI policy, we ask that you wear your mask when entering and exiting the theater, finding your seat, using the restroom, and navigating common areas at BMFI. You may remove your mask when seated in your theater seat, but we ask that you wear your mask when asking questions or making comments during the discussion portion of the session. Please email Jill Malcolm with any questions.
Join us for a series of discussions covering an array of films that were initially released fifty years ago. We will take a brief tour of international cinema, including stops in Italy, France, and the United Kingdom. Films scheduled to be discussed are:
May 1: Mean Streets (Martin Scorsese, USA) May 8: Love & Anarchy (Lina Wertmüller, Italy) May 15: American Graffiti (George Lucas, USA) May 22: F for Fake (Orson Welles, France) June 5: The Long Goodbye (Robert Altman, USA) June 12: The Hireling (Alan Bridges, UK)
Join us for a series of discussions covering an array of films initially released fifty years ago. We will take a brief tour of international cinema, including stops in Germany, France, and Iran. Films scheduled to be discussed are:
April 29: The Parallax View (Alan J. Pakula, USA) May 6: The Enigma of Kaspar Hauser (Werner Herzog, West Germany) May 13: Young Frankenstein (Mel Brooks, USA) May 20: General Idi Amin Dada: A Self Portrait (Barbet Schroeder, France) June 3: Chinatown (Roman Polanski, USA) June 10: The Traveler (Abbas Kiarostami, Iran)
Join us for a series of discussions charting a course through some of the diverse genres that constitute the cinema. During our stops at these cinematic destinations, we will consider two contrasting entries in each of the following categories: film noir, melodrama, documentary, screwball comedy, animation, and musicals, respectively. Films scheduled to be discussed are:
The Big Heat (Fritz Lang, 1953) Brick (Rian Johnson, 2005) Humoresque (Jean Negulesco, 1946) Far from Heaven (Todd Haynes, 2002) Salesman (Albert & David Maysles and Charlotte Zwerin, 1968) Man on Wire (James Marsh, 2008) The Awful Truth (Leo McCarey, 1937) Raising Arizona (Joel and Ethan Coen, 1987) Snow White and the Seven Dwarfs (David Hand, 1937) Persepolis (Vincent Paronnaud and Marjane Satrapi, 2007) Love Me Tonight (Rouben Mamoulian, 1932) Singin' in the Rain (Stanley Donen and Gene Kelly, 1952)
Join members of BMFI’s faculty for a series of discussions charting a course through the post-World War II history of world cinema. We will take a chronological tour of international film, including stops in Algeria, the United Kingdom, France, and Italy. Films scheduled to be discussed are:
All the King’s Men (Robert Rossen, USA, 1949) The Manchurian Candidate (John Frankenheimer, USA, 1962) Dr. Strangelove (Stanley Kubrick, USA, 1964) Z (Costa Gavras, Algeria, 1969) The Day of the Jackal (Fred Zinnemann, UK, 1973)
General Idi Amin Dada: A Self Portrait (Barbet Schroeder, France, 1974) All the President’s Men (Alan J. Pakula, USA, 1976) Dave (Ivan Reitman, USA, 1993) Evita (Alan Parker, USA, 1996) Election (Alexander Payne, USA, 1999) Good Morning, Night (Marco Bellocchio, Italy, 2003)
Join us for a series of discussions charting a course through the history of world cinema, with a focus on movies about motion pictures. We will take a chronological tour of international film, including stops in the Soviet Union, the United Kingdom, Italy, France, and China. Films scheduled to be discussed are:
“A Film Johnnie” (George Nichols, USA, 1914); “Behind the Screen” (Charlie Chaplin, USA, 1916); Sherlock, Jr. (Buster Keaton, USA, 1924) Man with a Movie Camera (Dziga Vertov, USSR, 1929) Sullivan’s Travels (Preston Sturges, USA, 1941) The Bad and the Beautiful (Vincente Minnelli, USA, 1952) Peeping Tom (Michael Powell, UK, 1960) 8 ½ (Federico Fellini, Italy, 1963) Day for Night (Francois Truffaut, France, 1973) The Purple Rose of Cairo (Woody Allen, USA, 1985) The Player (Robert Altman, USA, 1992) Shadow of the Vampire (E. Elias Merhige, USA, 2000) Electric Shadows (Xiao Jiang, China, 2004)
Join us for a series of discussions charting a course through the history of world cinema, with a focus on movies about motion pictures. We will take a chronological tour of international film, including stops in Germany, France, Spain, and Canada. Films scheduled to be discussed are:
"His New Job" (Charlie Chaplin, USA, 1915); The Cameraman (Edward Sedgwick, USA, 1928) Hollywood Cavalcade (Irving Cummings, USA, 1939) It's a Great Feeling (David Butler, USA, 1949) Whatever Happened to Baby Jane (Robert Aldrich, USA, 1962) Beware of a Holy Whore (Rainer Werner Fassbinder, Germany, 1971) The Stuntman (Richard Rush, USA, 1980) White Hunter, Black Heart (Clint Eastwood, USA, 1990) Swimming with Sharks (George Huang, USA, 1994) Irma Vep (Olivier Assayas, France, 1996) The Girl of Your Dreams (Fernando Trueba, Spain, 1998) Ararat (Atom Egoyan, Canada, 2002)
