In the second part of Bondarchuk’s epic adaptation, young Natasha becomes engaged to military man Andrei, but his protracted absence leaves her vulnerable.
The creator of the acclaimed The Story of Film: An Odyssey offers a provocative reexamination of Welles’s life, work, and visual imagination, and asks how he would have met the challenges of our contemporary era.
Anna Karina plays a young woman forced to become a nun in Rivette’s notorious adaptation of Diderot’s novel. A work of “brilliant filmmaking and impassioned restraint . . . as sumptuous in its color photography as it is austere in its mise-en-scène” (New York Times).
BAMPFA Student Committee Pick Also screens in the Barbro Osher Theater on Sunday, June 16
Often heralded as the greatest rock concert film ever, Demme’s rendering of a Talking Heads performance moves from David Byrne’s solo “Psycho Killer” to the joyously collective “Take Me to the River.” The cumulative effect is of “life being lived at a joyous high” (Roger Ebert).
Graphic designer, artist, and author Marcus discusses his experimental visible language design and his career-long engagement with signs, symbols, and typographic compositions.
Bracho’s decades-spanning tale of two star-crossed lovers turns doomed romance into the highest of operatic entertainments, and showcases the charisma of legendary singer/actor Jorge Negrete, a.k.a. “El Charro Cantor.”
In Part III of War and Peace, the emphasis is on the war: it is 1812 and Napoleon’s armies are crossing into Russia. Pierre visits the battlefield as a casual observer and finds himself in the midst of chaos, while Andrei rediscovers his love of life through a brush with death.
The final installment in the four-part epic opens as the Russian army retreats, leaving Moscow in flames; it closes as the city rebuilds, and life and love begin again.
Petzold’s tale of displaced people in fascist-occupied France transposes a 1940s novel to today’s Marseille. “Moody, beguiling, and formally bold. . . . Turns history into an existential maze” (New York Times). “Like a remake of Casablanca as written by Kafka” (IndieWire).
Elvis Presley is at his big-screen best in this classic set in New Orleans, the only Elvis movie that “attempted to articulate his complex relation to African American culture” (David E. James).