We begin our tribute with the 1918 Italian short La Tosca, a lost film found by Henri Langlois in the BAM/PFA Collection, followed by three films about the Cinémathèque française cofounder.
On the planet Solaris, scientists believe, the ocean's surface has an intelligence that can absorb human memory and materialize the objects of our thoughts.
Shards of memories—dreams of an individual, collective nightmares—do not merely haunt Tarkovsky's most challenging work, they are the film, which invents, as Ingmar Bergman noted, "a new language, true to the nature of film . . .
A frail young violinist and a gruff steamroller operator strike up an unlikely friendship in Tarkovsky’s skillful diploma film from the Soviet film academy, VGIK.
In a reversal of contemporary exhibition practices, this program presents single-channel video art and installations in a repertory film space, and suggests novel ways of considering bodies in movement.
“A movie set in India must have certain essential elements: tigers, Bengal lancers, and elephants,” recalled Jean Renoir about the advice of film financiers.
Earth is the masterpiece of the great Ukrainian director Dovzhenko; it is also his most experimental film. There seems to be a mad logic to its imagery, like the mad dance of its hero, Vasili, down the moonlit road to his death.
