December 2022

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3 PM
  • Film
Sunday, November 27, 2022
3 PM
Rusudan Pirveli,
Georgia,
2010,
(75 mins)

BAMPFA Collection

A quiet young boy weaves his way through the underbelly of contemporary Georgia in this evocative update of the neorealist tradition, which “beautifully captures the way a crumbling locale permeates the characters’ lives” (Variety). 
5 PM
Sunday, November 27, 2022
5 PM
Pier Paolo Pasolini,
Italy,
1974,
(129 mins)

Imported 35mm Print
Recommended for adults only 

A magic carpet fantasy rooted in realism—filmed in North Africa, Iran, and Nepal—Arabian Nights is “Pasolini’s most beautiful film” (Tony Rayns). 
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Wednesday, November 30, 2022
7 PM
(60 mins)
This program of early avant-garde films showcases work by Polish filmmakers Stefan and Franciszka Themerson, including their recently restored masterpiece, Europa, which was long thought to be lost. 
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5 PM
  • Film
  • Performance
Sunday, December 4, 2022
5 PM
Buster Keaton,
United States,
1924,
(85 mins)
Sherlock Jr. will be Keaton’s most enduring commentary on the art of cinema. Buster plays a projectionist who dreams his way onto the screen and into a movie in which he resolves the conflicts of his own life. With The Frozen North and The Playhouse.
  • Wayne Barker
    On Piano
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7 PM
Thursday, December 8, 2022
7 PM
Seijun Suzuki,
Japan,
1966,
(83 mins)

Imported 35mm Print

An embattled ex-yakuza tries to go it alone in Suzuki’s most exquisite collaboration with art director Takeo Kimura. “One of the most brilliant genre movies ever made” (Tony Rayns).
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7 PM
  • Film
  • Performance
Friday, December 9, 2022
7 PM
Jack Blystone, Buster Keaton,
United States,
1923,
(89 mins)
Buster is heir to an Appalachian estate and, along with it, a Hatfield-McCoy-type feud. Our Hospitality, an American masterpiece, at once lyric and frenetic, is a sly satire. With The High Sign.
  • Judith Rosenberg
    On Piano
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4:30 PM
  • Film
  • In-Person
Saturday, December 10, 2022
4:30 PM
Borhane Alaouié,
Belgium, Lebanon, Tunisia,
1981,
(97 mins)

Cosponsored by the Arab Film and Media Institute

Two young people separated by the war make tapes for each other. “The monologues, by the well-known writer Ahmad Baydoun, which form the basis of this acutely observed, moving film, have acquired classical status in Lebanese cinema” (Alia Arasoughly).
  • Jonathan Mackris
    Introduction
    Jonathan Mackris, who guest curated this series, is a doctoral student in film and media at UC Berkeley.
7 PM
Saturday, December 10, 2022
7 PM
Seijun Suzuki,
Japan,
1956,
(119 mins)

Imported 35mm Print

A “double bill” of Suzuki rarities, this program includes Satan’s Town a heist film and early example of the directors inventive style and black humor; and Love Letter a surreal and haunting snowbound romance.
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5 PM
  • Film
  • Performance
Sunday, December 11, 2022
5 PM
Clyde Bruckman, Buster Keaton,
United States,
1927,
(109 mins)
Keaton plays a Civil War–era railroad engineer in love with both his girl and his train in this masterpiece of silent comedy. With The Goat.
  • Judith Rosenberg
    On Piano
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Wednesday, December 14, 2022
7 PM
(126 mins)
A selection of silent film comedy gems placing Keaton in context with contemporary innovators Roscoe Arbuckle, Mabel Normand, and Bert Williams, who appear behind and in front of the camera with weird and wonderful results.
  • Dana Stevens
    Introduction
    Dana Stevens—Slate’s film critic since 2006 and a cohost of the magazine’s weekly cultural podcast, Slate Culture Gabfest—is the author of Camera Man: Buster Keaton, the Dawn of Cinema, and the Invent
  • Judith Rosenberg
    On Piano
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7 PM
Thursday, December 15, 2022
7 PM
Seijun Suzuki,
Japan,
1966,
(86 mins)

BAMPFA Collection

Regarded as one of Suzuki’s best films, ranking twenty-fifth on Kinema Jumpo’s “200 Best Japanese Films List” from 2009, the comic Fighting Elegy is a scathing portrait of the militarism that, in the 1930s, sent young men to war.
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7 PM
  • Film
  • In-Person
  • Performance
Friday, December 16, 2022
7 PM
Edward Sedgwick, Buster Keaton,
United States,
1928,
(87 mins)
In his most self-reflexive film, Keaton plays a New York City newsreel cameraman whose love life is as jumbled as the mixed-up footage he shoots. With Cops.
  • Dana Stevens
    Introduction
    Dana Stevens—Slate’s film critic since 2006 and a cohost of the magazine’s weekly cultural podcast, Slate Culture Gabfest—is the author of Camera Man: Buster Keaton, the Dawn of Cinema, and the Invent
  • Judith Rosenberg
    On Piano
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Saturday, December 17, 2022
7 PM
Seijun Suzuki,
Japan,
1966,
(89 mins)

Imported 35mm Print

Adapting a novel by the author of The Incorrigible (Akutaro), Suzuki blends satire with melodrama to surrealistic effect to tell the story of provincial factory worker Tsuyuko (portrayed by the director’s favorite actor, Yumiko Nogawa), who tries to rebuild her life after being raped. 
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Sunday, December 18, 2022
3 PM
(64 mins)
One Week, The Scarecrow, and The Electric House, three two-reelers for all ages, reveal Keaton’s comic ingenuity through three houses as only he can imagine them.
  • Dana Stevens
    Introduction
    Dana Stevens—Slate’s film critic since 2006 and a cohost of the magazine’s weekly cultural podcast, Slate Culture Gabfest—is the author of Camera Man: Buster Keaton, the Dawn of Cinema, and the Invent
5 PM
  • Film
  • In-Person
  • Performance
Sunday, December 18, 2022
5 PM
Charles F. Reisner,
United States,
1927,
(102 mins)
Set on the Mississippi River, Steamboat Bill, Jr. seems to have a direct line to Keaton’s youth and soul in the tale of a sensitive lad trying to figure out the mettle of manhood in his overbearing dad. With The Boat.
  • Dana Stevens
    Introduction and Book Signing
    Dana Stevens—Slate’s film critic since 2006 and a cohost of the magazine’s weekly cultural podcast, Slate Culture Gabfest—is the author of Camera Man: Buster Keaton, the Dawn of Cinema, and the Invent
  • Judith Rosenberg
    On Piano
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7 PM
  • Film
Wednesday, December 21, 2022
7 PM
Ross Lipman,
United States,
2015,
(150 mins)
Lipman’s fascinating kino-essay examining a 1965 collaboration between Samuel Beckett and Buster Keaton, “testifies to an almost inexhaustible fascination with the pleasures and paradoxes of cinema” (New York Times). With the original Film by Samuel Beckett.
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