Friday July 24th – Thursday July 30th

~ Sean Gilman

Featured Film:

The Apu Trilogy at the SIFF Uptown

Following a sold out run at this year’s Seattle International Film Festival, the very fine digital restoration of Satyajit Ray’s Apu Trilogy plays this week at the SIFF Uptown. Released between 1955 and 1959 and comprising the great Bengali director’s first, second and fifth feature films (Pather Panchali, Aparajito and The World of Apu, respectively), adapting two novels by Bibhutibhushan Bandyopadhyay. Warm and naturalistic in style, evincing the influence of both Jean Renoir and the Italian Neo-Realists, Ray’s films were among the first (and remain some of the few) Indian films to crossover into the European/North American canon.
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Playing This Week:

Ark Lodge Cinemas:

The Muppet Movie (James Frawley, 1979) Weds Morning Only

Central Cinema:

Willy Wonka and the Chocolate Factory (Mel Stuart, 1971) Fri-Weds
Pulp Fiction (Quentin Tarantino, 1994) Fri-Weds

Crest Cinema Center:

When Marnie was There (Hiromasa Yonebayashi) Fri-Thurs Early shows dubbed, evening shows subtitled – check showtimes Our Review
Far from the Madding Crowd (Thomas Vinterberg) Fri-Thurs

SIFF Cinema Egyptian:

Tangerine (Sean Baker) Fri-Thurs Our Review 

AMC Loews Factoria:

Bajrangi Bhaijaan (Kabir Khan) Fri-Tues

Century Federal Way:

Baahubali (S.S.Rajamouli) Fri-Tues Our Review (Hindi)
Gremlins (Joe Dante, 1984) Sun & Weds Only

Grand Cinema:

Me and Earl and the Dying Girl (Alfonso Gomez-Rejon) Fri-Thurs Our Review 
Testament of Youth (James Kent) Fri-Thurs
Charlie’s Country (Rolf de Heer, 2013) Tues Only

Grand Illusion Cinema:

A Hard Day (Kim Seonghun) Fri-Thurs Our Review 
VHS Über Alles presents Demonwarp (Emmett Alson, 1988) Sat Only VHS
EXcinema presents The Clearing (Various) Tues Only

Landmark Guild 45th:

 Testament of Youth (James Kent) Fri-Thurs

Cinemark Lincoln Square:

Baahubali (S.S.Rajamouli) Fri-Tues Our Review (Telugu)
Bajrangi Bhaijaan (Kabir Khan) Fri-Tues
Gremlins (Joe Dante, 1984) Sun & Weds Only Our Review

Regal Meridian:

Only You (Zhang Hao) Fri-Thurs
Bajrangi Bhaijaan (Kabir Khan) Fri-Thurs

Northwest Film Forum:

A Pigeon Sat on a Branch Reflecting on Existence (Roy Andersson) Fri-Mon Our Review
Do I Sound Gay? (David Thorpe) Fri-Thurs Our Review
Heaven Adores You (Nickolas Rossi) Sun Only
Our Lives in Google (Adam Sekuler) Mon Only Filmmaker in Attendance, Live Performance
Cotton Road (Laura Kissel) Tues Only Filmmaker in Attendance

AMC Pacific Place:

Jian Bing Man (Dong Chengpeng) Fri-Tues

Regal Parkway Plaza:

Bajrangi Bhaijaan (Kabir Khan) Fri-Tues
Testament of Youth (James Kent) Fri-Tues

Scarecrow Video Screening Lounge:

Castle in the Sky (Hayao Miyazaki, 1986) Sun Only
Chris Marker Group Mon Only
Marnie (Alfred Hitchcock, 1964) Tues Only
Tarzana (Steve De Jarnatt, 1972) Thurs Only Filmmaker in Attendance

Seattle Art Museum:

The Palm Beach Story (Preston Sturges, 1942) Thurs Only 35mm

Landmark Seven Gables:

Me and Earl and the Dying Girl (Alfonso Gomez-Rejon) Fri-Thurs Our Review

SIFF Film Center:

3 1/2 Minutes, Ten Bullets (Marc Silver) Fri-Thurs

Sundance Cinemas Seattle:

Cartel Land (Matthew Heineman) Fri-Thurs
The Third Man (Carol Reed, 1949) Fri-Thurs
Unexpected (Kris Swanberg) Fri-Thurs Our Review

SIFF Cinema Uptown:

The Apu Trilogy (Satyajit Ray, 1955-1959) Fri-Thurs
Gemma Bovery (Anne Fontaine) Fri-Thurs Our Review
Cartel Land (Matthew Heineman) Fri-Thurs

Varsity Theatre:

Caffeinated (Hanh Nguyen & Vishal Solanki) Fri-Sun Only
Shadows (John Cassavetes, 1959) Tues Only

A Hard Day (Kim Seonghun, 2014) & Unexpected (Kris Swanberg, 2015)

~ Sean Gilman

Opening this week on Seattle Screens are two fine features that played at this past Seattle International Film Festival. I reviewed them briefly when they played then, and here are some expanded versions of those short reviews.

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A Hard Day – Somewhere the dominant strain of the crime movie genre morphed from Woovian tales of moral codes in unjust societies (ala A Better Tomorrow) to Rube Goldberg narratives driven by slapstick escalations of violence. I suspect it was somewhere around the time of Infernal Affairs, as Alan Mak and Andrew Lau’s crime thriller adopted the speed and rhythm of Johnnie To’s Milkyway thrillers, matched it with Lau’s bright, digitally slick blues, grays and blacks, and neglected to add To and his vast team of writers’ depth of purpose to their ingeniously wicked plot schematics. Thus suspense and drama comes not from characters or ideals, but from complications in plot, driving the protagonists into ever more desperate and implausible actions and unlikely camera angles. A world of shifting, impenetrable surfaces, as superficial as it is mutable. Laurel & Hardy, Where the Sidewalk Ends and The Big Clock are the reference points for Kim Seonghun’s thriller, about a cop who accidentally runs over a man on an empty street at night and goes to great lengths to cover it up. And when it turns out that he wasn’t alone on that street, and that maybe the guy he thought he killed was already dead, he finds himself lost in an ever escalating spiral of darkly comic suspense sequences, moving from mere moral corruption to unbelievably, but no less thrillingly, wild cacophonies of destruction.

A Hard Day opens Friday, July 24 at the Grand Illusion.

Unexpected-22

Unexpected – The second-best Cobie Smulders film of the year so far, falling well behind Andrew Bujalski’s romantic comedy Results. Director Kris Swanberg’s story is about a high school teacher (Smulders) who becomes pregnant and bonds with one of her students, an African-American girl with dreams of going to college and who is just-as-surprisingly knocked-up. Swanberg is mostly successful at navigating a minefield of problematicism, as the two leads are developed and performed with just enough nuance that neither ends up as the source of lesson-learning for the other. The dangers in such a scenario should be obvious – this is as eyeroll-inducing a premise for an American indie film as I’ve seen in a while (and that includes Me and Earl and the Dying Girl). Still, despite exceeding expectations, there isn’t enough depth to the characters (everyone outside the two leads is broadly painted and either inexplicable or pointless) to overcome cheap plot contrivances (a key point in the film requires both women to demonstrate a complete lack of understanding of the geography of Chicago-area colleges, which is pretty much unforgivable). It’s an OK movie with a couple of fine performances. Its success lies in eliciting a shrug rather than a wince.

Unexpected open Friday July 24 at the Sundance Cinemas.

Do I Sound Gay? (David Thorpe, 2014)

~ Sue Lonac

do-i-sound-gay

Director David Thorpe’s genial, absorbing documentary Do I Sound Gay? delves into the personal and political implications of the stereotypical “gay voice,” using the director’s worries about his own voice as a launch pad into questions of shame, desire, masculinity, and self-acceptance. In it, Thorpe strikes a fine balance between telling a personal story and exploring the topic analytically as he lets us eavesdrop on funny, thoughtful conversations between him and his friends, turns the lens on his efforts to change his own voice, interviews academics and speech therapists, solicits the insights of gay celebrities, and presents some revealing (and occasionally dismaying) clips from television and cinema from the last hundred years. While not quite as probing as I would have liked it to be, the film nevertheless is a smart and appealing look at an under-examined facet of gay life and culture.

Continue reading “Do I Sound Gay? (David Thorpe, 2014)” →

Friday July 17th – Thursday July 23rd

~ Sean Gilman

Featured Film:

Rebels of the Neon God at the SIFF Film Center

The 1992 debut film from singular Taiwanese director Tsai Ming-liang opens in a newly restored version at SIFF this week. It stars Lee Kang-sheng as Hsiao-kang, a lonely young man who lives with his parents and his haunted by water and the films of François Truffaut. We’ll see his story unfold in film after film for the next two decades, but this is where it all starts. In the precisely static long-takes that are the hallmark of his minimalist style, Tsai tracks Hsiao-kang’s growing obsession with some local teenaged toughs through the arcades, malls and apartment complexes of Taipei. Our Review.
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Playing This Week:

Ark Lodge Cinemas:

A Cat in Paris (Jean-Loup Felicioli & Alain Gagnol, 2010) Weds Only

Central Cinema:

Breakfast at Tiffany’s (Blake Edwards, 1961) Fri-Tues
La femme Nikita (Luc Besson, 1990) Fri-Tues

Crest Cinema Center:

The Wolfpack (Crystal Moselle) Fri-Thurs Our Review

SIFF Cinema Egyptian:

When Marnie was There (Hiromasa Yonebayashi) Fri-Thurs Early shows dubbed, evening shows subtitled – check showtimes Our Review 
Back to the Future (Robert Zemeckis, 1985) Fri Midnight Only
The Rocky Horror Picture Show (Jim Sharman, 1975) Sat Midnight Only

AMC Loews Factoria 8:

Bajrangi Bhaijaan (Kabir Khan) Fri-Thurs

Century Federal Way:

Double Indemnity (Billy Wilder, 1944) Sun, Mon & Weds Only

Grand Cinema:

Me and Earl and the Dying Girl (Alfonso Gomez-Rejon) Fri-Thurs Our Review 
Testament of Youth (James Kent) Fri-Thurs
Emptying the Skies (Douglas & Roger Cass) Tues Only

Grand Illusion Cinema:

Stung (Bennie Diez) Fri-Thurs

Landmark Guild 45th:

Me and Earl and the Dying Girl (Alfonso Gomez-Rejon) Fri-Thurs Our Review 
Testament of Youth (James Kent) Fri-Thurs

Cinemark Lincoln Square:

Baahubali (S.S.Rajamouli) Fri-Thurs Our Review
Bajrangi Bhaijaan (Kabir Khan) Fri-Thurs
Double Indemnity (Billy Wilder, 1944) Sun, Mon & Weds Only

Regal Meridian:

Testament of Youth (James Kent) Fri-Thurs
Bajrangi Bhaijaan (Kabir Khan) Fri-Thurs

Northwest Film Forum:

A Pigeon Sat on a Branch Reflecting on Existence (Roy Andersson) Fri-Thurs Our Review
Boom! (Joseph Losey, 1968) Sat Only 35mm with Intro
RADAR: Exchanges In Dance Film Frequencies Sun Only
Polk County Pot Plane (Jim West, 1977) Weds Only VHS

AMC Loews Oak Tree:

Me and Earl and the Dying Girl (Alfonso Gomez-Rejon) Fri-Thurs Our Review

AMC Pacific Place:

Forever Young (He Jiong) Fri-Thurs

Regal Parkway Plaza:

Bajrangi Bhaijaan (Kabir Khan) Fri-Thurs
Breakup Playlist (Dan Villegas) Fri-Thurs
Testament of Youth (James Kent) Fri-Thurs

Scarecrow Video Screening Lounge:

Stardust (Mathew Vaughn, 2007) Fri Only
Scarecrows (William Wesley, 1988) Sat Only
Born in Flames (Lizzie Borden, 1983) Sun Only
My Man Godfrey (Gregory LaCava, 1936) Mon Only
Godzilla vs. the Smog Monster (Yoshimitsu Banno, 1971) Tues Only
Juggernaut (Richard Lester, 1974) Weds Only
Girlfriends (Claudia Weill, 1978) Thurs Only

Seattle Art Museum:

Lost Highway (David Lynch, 1997) Fri Only 35mm Plus Shorts
Sullivan’s Travels (Preston Sturges, 1942) Thurs Only 35mm

Landmark Seven Gables:

Me and Earl and the Dying Girl (Alfonso Gomez-Rejon) Fri-Thurs Our Review

SIFF Film Center:

Rebels of the Neon God (Tsai Ming-liang, 1992) Fri-Tues, Thurs Our Review
1001 Grams (Bent Hamer) Fri-Sun Only 
3 1/2 Minutes, Ten Bullets (Marc Silver) Mon Only
Shake the Dust (Adam Sjöberg) Thurs Only

Sundance Cinemas Seattle:

Cartel Land (Matthew Heineman) Fri-Thurs
The Third Man (Carol Reed, 1949) Fri-Thurs
A Murder in the Park (Christopher S. Rech) Fri-Thurs
Lila & Eve (Charles Stone III) Fri-Thurs

SIFF Cinema Uptown:

Me and Earl and the Dying Girl (Alfonso Gomez-Rejon) Fri-Thurs Our Review 
Gemma Bovery (Anne Fontaine) Fri-Thurs Our Review
Cartel Land (Matthew Heineman) Fri-Thurs
Ardor (Pablo Fendrik) Fri-Thurs
1001 Grams (Bent Hamer) Mon-Thurs Only

Varsity Theatre:

Double Indemnity (Billy Wilder, 1944) Sun & Mon Only
Belle de jour (Luis Buñuel, 1967) Tues Only Our Podcast

A Pigeon Sat on a Branch Reflecting on Existence (Roy Andersson, 2014)

~ Michael Strenski

pigeon dance

Seven years after You, the Living, which itself came seven years after Songs from the Second Floor, the revered Swedish director Roy Andersson delivers the final film in his “Living Trilogy”, A Pigeon Sat on a Branch Reflecting on Existence. For those familiar with either of its forebears, Pigeon is more of the same. It is 100 minutes of deftly composed black comic vignettes, each detailing an indignity upon a loosely connected group of people. Critics like to relish in the depictions of capitalistic foibles and other vaguely political themes. Andersson himself claims the film was inspired by a 16th century painting. One’s enjoyment of A Pigeon Sat on a Branch Reflecting on Existence may depend on how much you are willing to believe that.

Continue reading “A Pigeon Sat on a Branch Reflecting on Existence (Roy Andersson, 2014)” →

Two Romantic Comedies: Trainwreck (Judd Apatow, 2015) and The Lady Eve (Preston Sturges, 1941)

~ Sean Gilman

trainwreck-judd-apatow-amy-schumer

The latest release from the Judd Apatow empire opens tomorrow here in Seattle, written by and starring comedian Amy Schumer and directed by Apatow himself. Schumer plays a magazine writer with commitment issues and a fondness for wine and weed. Much to her surprise, she falls for a dweeby sports surgeon (Bill Hader) and must choose between growing up and reforming her ways or losing a swell guy. The film thus deftly flips the gender roles of a typical Hollywood romantic comedy, as it’s been practiced in film and television of the past 30 years or so. That reversal is the motor of the funniest parts of the film: Schumer’s assertiveness with her boyfriends (an agonizing attempt at dirty talk from John Cena) and Hader’s heartfelt exchanges with his athlete friends (LeBron James and Amar’e Stoudemire). Filled with the surreal-improv style comedy from the supporting players that defines the Apatow brand (it’s no surprise that the clear winner this time is Tilda Swinton), the film is dragged down by the shambolic, disjunctive approach to narrative that has also come to define Apatow’s work.

Continue reading “Two Romantic Comedies: Trainwreck (Judd Apatow, 2015) and The Lady Eve (Preston Sturges, 1941)” →

Baahubali (SS Rajamouli, 2015)

~ Jhon Hernandez ~ 1 Comment

baahubali 4

One of the biggest movie events of the year happened this past weekend, but you wouldn’t know about it if you read any of the biggest English language film publications around. Baahubali: The Beginning, the latest film from SS Rajamouli, was just released. The New York Times didn’t deem it worthy of a review. Variety publishes stories of its box office success and gigantic marketing push, but can’t throw a freelancer at it. A cursory search reveals a couple of reviews from English-language publications at best. It’s a rather sad state of affairs for one of the modern cinema’s best mainstream filmmakers.

SS Rajamouli has, over the last few years, steadily upped his scope and ambition. No longer content to tuck his most lavish and improbable images into narrative side trips or flashbacks (Yamadonga‘s trip to hell, Magadheera‘s flashback structure), Rajamouli in his last two films has focused his attention on utilizing his considerable gifts to giving shape to impossible images. His preferred tool is the CGI image, and he’s possibly one of the only filmmakers currently working not bound to traditional ideas of realism – for Rajamouli, each image is fantastic. So Eega, his fly revenge film, becomes not just about its technological advances (Rajamouli is proud of his special effects and wants to show them off – his Zemeckis or Cameron side, if you will), but about how the technology can enhance the film’s devilish sense of humor (the film shares DNA with Tex Avery and Joe Dante all while successfully invoking and playing around with the idea of the Telugu film hero). Baahubali successfully creates a world and aims for a sense of realism in its battle scenes, but will often drop an image of such iconic and mythic stature that any thought that realism is the end game here is quickly dispelled. Rajamouli demands more.

Continue reading “Baahubali (SS Rajamouli, 2015)” →

Gemma Bovery (Anne Fontaine, 2014)

~ Melissa Tamminga

Martin and Bovary

The premise of the newest film from director Anne Fontaine, Gemma Bovery, holds a good deal of promise for lovers of both the cinematic and the literary, particularly for those who welcome witty or playful re-tellings of classic works of literature. Adapted from Posy Simmonds’s graphic novel of the same name (a novel originally conceived as a serial in The Guardian), the film’s story centers around perceived parallels between the literary characters in Gustave Flaubert’s Madame Bovary – particularly Emma Bovary, her husband, Charles Bovary, and Emma’s lovers –  and the film’s characters. When Gemma Bovery (Gemma Arterton) and her husband, Charles ( Jason Flemyng), move from London to a small town in Normandy, the town’s excitable, bourgeois baker, Martin Joubert (Fabrice Luchini), is certain Gemma is the real life equivalent of the fictional Emma, and he makes it his mission to discover her in love affairs and prevent the tragic suicide that plays out in the novel.

Such a set up has all the ear marks of wonderfully droll farce or of a sly satire, a satire that could work on any number of levels – critiquing, perhaps, the often fraught French-English relationship; or the middle class, provincial prejudices; or literary pretensions; or male-female relationships.  The premise also suggests the story might hold some genuine pathos, a tender examination of love, heartbreak, and misunderstandings, perhaps.  And by many accounts (here’s one, for example), Simmonds’s original work does function on all those levels. (After watching the movie, I immediate ordered the graphic novel.) Continue reading “Gemma Bovery (Anne Fontaine, 2014)” →

Rebels of the Neon God (Tsai Ming-Liang, 1992)

~ Melissa Tamminga

TV screen red dress on bed TV screens, arcade game screens, mirrors, windows – all of these offer reflective surfaces, some more and some less reflective, some promising immersion into another sort of state, some seeming to immerse but offering very little in the way of escape from lonely self and quotidian present. These surfaces are everywhere in Tsai Ming-Liang’s newly restored and re-released feature debut of 1992, Rebels of the Neon God, a quietly absorbing film that suggests a set of startlingly germane meditations on the modern self, a thing that is simultaneously isolated and connected, revealed and covert.

The story centers around the lives of two people: one, a 20-something young man, Ah Tze, living by petty theft and residing in a lonely, constantly flooded apartment, and one, a teenaged boy, Hsiao-Kang, chafing at his bondage in cram school and living at home in uncommunicative silence with his anxiously watchful parents.  Both Ah Tze and Hsiao-Kang, though they have companions who surround them – a parent or a brother, a friend or a girlfriend – and though they pass through the teeming city of Taipei, stand as alienated figures, whose selves ricochet in the mirroring surfaces surrounding them.

Continue reading “Rebels of the Neon God (Tsai Ming-Liang, 1992)” →

Friday July 10th – Thursday July 16th

~ Sean Gilman

Featured Film:

Bill & Ted’s Excellent Adventure at the Central Cinema

One of Mike’s All-Time favorite movies returns to Seattle Screens this week with a run at the Central Cinema. The enduring story of two dopey teens gifted with a time machine to help finish their history project, the successful completion of which is the lynchpin guaranteeing an idyllic future for all humanity stars Keanu Reeves, Alex Winter and George Carlin. We discussed it awhile back on The George Sanders Show, and along with that is Our Preview.
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Playing This Week:

Ark Lodge Cinemas:

Chicken Run (Nick Park & Peter Lord, 2000) Weds Only

Central Cinema:

Bill & Ted’s Excellent Adventure (Stephen Herek, 1989) Fri-Weds Our Review
Zoolander (Ben Stiller, 2001) Fri-Weds Quote-along
The Godfather Part II (Francis Ford Coppola, 1974) Thurs Only

Cinerama:

Jaws (Steven Spielberg, 1975) Weds Only Laser Projection

Crest Cinema Center:

The Wolfpack (Crystal Moselle) Fri-Thurs Our Review

SIFF Cinema Egyptian:

When Marnie was There (Hiromasa Yonebayashi) Fri-Thurs Early shows dubbed, evening shows subtitled – check showtimes Our Preview 
We are Still Here (Ted Geoghegan) Sat & Sun Midnight Only

Century Federal Way:

Spaceballs (Mel Brooks, 1987) Sun & Weds Only

Grand Cinema:

A Little Chaos (Alan Rickman) Fri-Thurs
Me and Earl and the Dying Girl (Alfonso Gomez-Rejon) Fri-Thurs Our Review 
Gemma Bovery (Anne Fontaine) Fri-Thurs
The Circle (Stefan Haupt) Tues Only
Tangerine (Sean Baker) Weds Only

Grand Illusion Cinema:

Felt (Jason Banker) Fri-Thurs

Landmark Guild 45th:

Me and Earl and the Dying Girl (Alfonso Gomez-Rejon) Fri-Thurs Our Review 
Testament of Youth (James Kent) Fri-Thurs

Cinemark Lincoln Square:

Baahubali (S.S.Rajamouli) Fri-Thurs
Spaceballs (Mel Brooks, 1987) Sun & Weds Only

Northwest Film Forum:

The Tribe (Myroslav Slaboshpytskiy) Fri-Thurs
Table Read: “Idaho ’73” Mon Only
Videoasis Weds Only

AMC Loews Oak Tree:

Me and Earl and the Dying Girl (Alfonso Gomez-Rejon) Fri-Thurs Our Review

Regal Meridian:

Testament of Youth (James Kent) Fri-Thurs

AMC Pacific Place:

Forever Young (He Jiong) Fri-Thurs
Me and Earl and the Dying Girl (Alfonso Gomez-Rejon) Fri-Thurs Our Review

Regal Parkway Plaza:

Me and Earl and the Dying Girl (Alfonso Gomez-Rejon) Fri-Thurs Our Review
Breakup Playlist (Dan Villegas) Fri-Thurs
Far from the Madding Crowd (Thomas Vinterberg) Fri-Thurs

Scarecrow Video Screening Lounge:

Yes or No (Sarasawadee Wongsompetch, 2010) Fri Only
Seconds (John Frankenheimer, 1966) Sat Only
The Big Sleep (Howard Hawks, 1946) Sun Only
An American in Paris (Vincente Minnelli, 1951) Mon Only At the Seattle Public Library
A Day in the Country (Jean Renoir, 1936) Mon Only
Rebecca (Alfred Hitchcock, 1940) Tues Only
Kiss Me Deadly (Robert Aldrich, 1955) Weds Only
Cohen & Tate (Eric Red, 1989) Thurs Only

Seattle Art Museum:

The Lady Eve (Preston Sturges, 1941) Thurs Only 35mm

SIFF Film Center:

Fair Play (Andrea Sedláčková) Fri Only 
Václav Havel – A Life in Freedom (Andrea Sedláčková) Fri Only 
Grey Gardens (Ellen Hovde, Muffie Meyer & the Maysles) Sat Only
Krasno (Ondřej Sokol) Sat Only 
The Icing (Jan Hrebejk) Sat Only 
Clownwise (Viktor Tauš) Sun Only
To See the Sea (Jiří Mádl) Sun Only

AMC Southcenter:

Breakup Playlist (Dan Villegas) Fri-Thurs

Sundance Cinemas Seattle:

Strangerland (Kim Farrant) Fri-Thurs
The Third Man (Carol Reed, 1949) Fri-Thurs
Batkid Begins (Dana Nachman) Fri-Thurs
The Suicide Theory (Dru Brown) Fri-Thurs

SIFF Cinema Uptown:

Me and Earl and the Dying Girl (Alfonso Gomez-Rejon) Fri-Thurs Our Review 
Grey Gardens (Ellen Hovde, Muffie Meyer & the Maysles) Fri, Sun-Thurs
A Story of Floating Weeds (Yasujiro Ozu, 1934) Sat Only Live Accompaniment

Varsity Theatre:

When a Woman Ascends the Stairs (Mikio Naruse, 1960) Tues Only