Week of July 21, 2019

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Sunday, July 21

Sunday, July 21, 2019
11 AM–7 PM

Drop-in Art Making

Sunday, July 21, 2019
3 PM
Belzer offers an artist’s perspective on Hans Hofmann’s use of nature as essential source material for his abstract imagery.
Included with admission
Sunday, July 21, 2019
5:30 PM
Masaki Kobayashi,
Japan,
1959,
(193 mins)
In Part II of Kobayashi’s nine-hour epic about Japan’s occupation of China during World War II, soldier Tatsuya Nakadai tries to institute more humane procedures in his military unit, but only succeeds in attracting the ire of his fellow officers.
Special admission: General: $15; BAMPFA members: $11; UC Berkeley students: $7; UC Berkeley faculty and staff, non-UC Berkeley students, disabled persons, ages 65+ and 18 & under: $12. Screening includes 10-minute intermission.

Monday, July 22

Tuesday, July 23

Wednesday, July 24

Wednesday, July 24, 2019
6:00 PM

Open to Curator's Circle members at the $1,000 level and above

Director and Chief Curator Lawrence Rinder and artists Helen Mirra and Sean Thackrey will guide Curator's Circle members through No Horizon: Helen Mirra and Sean Thackrey, discussing their practices and the works included in the exhibition.
Curator's Circle members only event.
RSVP to Jennifer Sime at jlsime@berkeley.edu or 510-643-9632.
Wednesday, July 24, 2019
7 PM
Masaki Kobayashi,
Japan,
1961,
(206 mins)
By Part III of Kobayashi’s epic, the Japanese army is being routed by superior Russian troops. Protagonist Tatsuya Nakadai is captured by the Soviets and imprisoned, learning the bitter truth about the Red Army as liberators.
Special admission: General: $15; BAMPFA members: $11; UC Berkeley students: $7; UC Berkeley faculty and staff, non-UC Berkeley students, disabled persons, ages 65+ and 18 & under: $12. Screening includes 10-minute intermission.

Thursday, July 25

Thursday, July 25, 2019
2–7 PM

Drop-in Art Making

Thursday, July 25, 2019
7 PM
Robin Campillo,
France,
2013,
(128 mins)

Cinematography by Jeanne Lapoirie

A “simple” sex-for-hire agreement between a French bourgeois and a Ukrainian immigrant turns into something more dangerous—and more profound. “Explores interlocking themes of sexuality, immigration, and power dynamics with a cleareyed sensitivity” (New York Times). 

Friday, July 26

Friday, July 26, 2019
2–7 PM

Drop-in Art Making

Friday, July 26, 2019
6:30 PM
Fritz Lang,
United States,
1948,
(99 mins)

Archival Print

A recently married woman (Joan Bennett) begins to suspect her new husband (Michael Redgrave) is after her life in Lang’s take on the woman-in-peril gothic melodrama. “Lang’s direction is masterly. . . . A remarkable film” (Time Out).
Friday, July 26, 2019
8:30 PM
Christian Petzold,
Germany,
2018,
(101 mins)
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).

Saturday, July 27

Saturday, July 27, 2019
11 AM

Programmed by Alix Blevins

Join filmmakers Linda Scobie and Courtney Fellion to create manipulated textural images with found 35mm slides.
Included with admission
Saturday, July 27, 2019
11 AM–7 PM

Drop-in Art Making

Saturday, July 27, 2019
3:30 PM
Carroll Ballard,
United States,
1979,
(118 mins)

Digital Restoration
Recommended for ages 7 & up

A young boy’s friendship with a wild stallion anchors this mesmerizing adaptation of the classic novel. “May be the greatest children’s movie ever made” (Pauline Kael).
Saturday, July 27, 2019
6 PM
François Truffaut,
France,
1979,
(95 mins)
In 1979, Truffaut and Léaud return for a final look at Antoine Doinel, now in his thirties, but perennially adolescent.
Saturday, July 27, 2019
8 PM
Perry Henzell,
Jamaica,
1973,
(103 mins)
Starring Jimmy Cliff and buoyed by an infectious soundtrack featuring the music of Cliff, the Maytals, the Slickers, and Desmond Dekker, this Caribbean noir shot on location in Kingston, Jamaica, introduced reggae to an international audience.