Week of December 15, 2019

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Sunday, December 15

Sunday, December 15, 2019
11 AM–7 PM

Drop-in Art Making

Sunday, December 15, 2019
3:30 PM
ruth weiss,
United States,
1961,
(80 mins)

World Premiere of BAMPFA Preservation Print!

Essay
On the Brink of Something: ruth weiss as Filmmaker
Steve Seid on ruth weiss and The Brink.

Built around the existential musings of two contentious lovers, ruth weiss’s Beat-era cinepoem jettisons narrative logic for a skeptical embrace of the moment. We showcase BAMPFA’s new preservation print alongside works by weiss’s compatriots Paul Beattie and Steven Arnold. 
In Person
  • ruth weiss
  • Robyn Beattie
    Robyn Beattie is the daughter of artist and filmmaker Paul Beattie.
  • Steve Seid
    Steve Seid, a former curator at BAMPFA, recently wrote on The Brink and awaits the publication of his book about Ant Farm’s Media Burn.
Sunday, December 15, 2019
6 PM

Programmed by Alix Blevins

This program was previously announced to start at 5 PM. We apologize for any inconvenience.

Composer Tashi Wada presents his new group featuring Julia Holter, percussionist Corey Fogel, and special guest Ezra Buchla.
Included with admission
Sunday, December 15, 2019
7 PM
Corneliu Porumboiu,
Romania,
2006,
(89 mins)
A provincial TV talk show turns into a battle over the history of the Romanian revolution in Porumboiu’s hilarious allegory, winner of the Caméra d’Or at Cannes.

Monday, December 16

Tuesday, December 17

Wednesday, December 18

Wednesday, December 18, 2019
7 PM
Joseph Losey,
France,
1976,
(122 mins)

Digital Restoration

An art dealer (Alain Delon) in WWII-era France benefits from the Nazi regime, until they begin to suspect him of being Jewish, in Joseph Losey’s chilling thriller. “A historical reconstruction with a modernist tone, evoking both Kafka and Borges” (J. Hoberman).

Thursday, December 19

Thursday, December 19, 2019
2–7 PM

Drop-in Art Making

Thursday, December 19, 2019
7 PM
Abbas Kiarostami,
France, Japan,
2012,
(109 mins)
A young escort, her older client, and her jealous lover enact their various roles depending on who’s in front of them in Kiarostami’s last narrative feature, made in Japan. “An enthralling journey” (New York Magazine).

Friday, December 20

Friday, December 20, 2019
2–7 PM

Drop-in Art Making

Friday, December 20, 2019
4 PM
Alan Elliott, Sydney Pollack,
United States,
2018,
(89 mins)
Aretha Franklin’s thrilling 1972 performance of Amazing Grace at a Watts church comes alive in this concert film, unreleased until 2018. “It’s the closest thing to witnessing a miracle—just some cameras, a crowd and a voice touched by God” (Rolling Stone).
Friday, December 20, 2019
7 PM
Agnès Varda, Didier Rouget,
France,
2019,
(115 mins)

East Bay Advance Screenings

In the last of her prodigious life’s work, the legendary, delightfully irreverent Agnès Varda conducts a personal career retrospective as only she can, with skill, charm, wit, reverie, and wonder. “A master class on filmmaking” (Toronto Star).

Saturday, December 21

Saturday, December 21, 2019
11 AM–7 PM

Drop-in Art Making

Saturday, December 21, 2019
1:30 PM
Agnès Varda, Didier Rouget,
France,
2019,
(115 mins)

East Bay Advance Screenings

In the last of her prodigious life’s work, the legendary, delightfully irreverent Agnès Varda conducts a personal career retrospective as only she can, with skill, charm, wit, reverie, and wonder. “A master class on filmmaking” (Toronto Star).
Saturday, December 21, 2019
4 PM
Abbas Kiarostami,
France, Iran,
2017,
(116 mins)
Kiarostami’s final work strips cinema down to its essence—a single frame—creating a hypnotic meditation on image making and the act of seeing that pays tribute to both cinema and the great director’s other passion, photography.
Saturday, December 21, 2019
7 PM
Yasujiro Ozu,
Japan,
1957,
(141 mins)

Bay Area Premiere of Digital Restoration

Setsuko Hara stars as a woman trying to hold her family together in Ozu’s darkest, most urban film, set in the shadowy back streets of Ginza. “Retains an enormous dramatic power, perhaps because of [its] very divergences from the Ozu oeuvre” (Michael Koresky).