Pulitzer- and Nobel Peace Prize–winning author Toni Morrison recalls her life, challenges, and successes in this “eloquent nonfiction biopic” (Variety), featuring archival footage and interviews with Oprah Winfrey, Angela Davis, Hilton Als, and others.
Following a troupe of small-time vaudevillians led by an incorrigible dreamer (Peppino De Filippo) and his fiancée (Giulietta Masina), this was Fellini’s first look at the passions and dreams of eccentrics living beyond bourgeois society—but not his last.
A hospital nurse speaks out against the corruption of the secret police—and pays the price—in this uncompromising examination of immorality, revolution, and social conviction. “One of the most powerful accounts of the Romanian Revolution” (Film Society of Lincoln Center).
These short films made in the sixties are both political and playful, in keeping with the times. Salut les cubains screens along with two works made in the Bay Area, Uncle Yanco (on Varda’s artist uncle) and Black Panthers (featuring Huey Newton and Kathleen Cleaver).
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.
A former director and curator of the Pacific Film Archive and cofounder and codirector of the Telluride Film Festival, Tom Luddy was a friend and collaborator of Agnès Varda.
Trying to infiltrate a group of Nazis in Latin America, Cary Grant and Ingrid Bergman find themselves entangled in a cruel love affair. Hitchcock’s polished, perverse thriller exploits an espionage plot to explore the nature of love and loyalty.
Fellini’s free-spirited portrait of Rimini in the 1930s, when fascism was a fact of life. “As full of tales as Scheherazade, some romantic, some slapstick, some elegiacal, some bawdy, some mysterious . . . a film of exhilarating beauty” (New York Times).
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).
Hired to adapt Frank Herbert’s science fiction novel about interplanetary palace intrigues, Lynch came up with this legendarily baffling, dreamlike missive from the subconscious, featuring Kyle MacLachlan and a leather-clad Sting.
Fritz Lang’s late-career epic is a fantasia of flamboyant set pieces. In Part I, a German architect in India encounters a man-eating tiger and falls for an exotic temple dancer, but has competition from the local maharajah.
In the second part of Lang’s Indian epic, the romance between the German hero and his Indian beloved is imperiled, while a palace rebellion brews. The film reaches a pinnacle of exoticism with Debra Paget’s eye-popping “snake dance.”
Fellini paired with the great Italian comic everyman Alberto Sordi for this look at the not-so-young sons of the middle class, (barely) growing up in the provincial town of Rimini. “One of the screen’s great portrayals of the hell-raising and malaise of young men” (Chicago Tribune).