criterionforum.org

https://analogfilmnyc.org/ is a great resource for all screenings on film

And after visiting Film Forum last night, and seeing the new 4K restoration of RAGING BULL in their small Theater 4, I can say that they get right what the Gilman Center gets wrong. The image was not washed out in any way, the image was bright and the blacks were inky, and I'd give a lot for Feher's TWILIGHT to get another run at Film Forum, I'd go in a heartbeat.

FYI, the African Film Festival has kicked off at Lincoln Center, and one of the highlights is an appearance by the great African filmmaker Souleymane Cissé - his daughter is premiering a documentary about him, and they'll be screening a pair of his films as well, including Yeleen (for which he'll do a Q&A).

Originally he was going to do a free talk with Martin Scorsese, and not surprisingly people grabbed all the tickets within minutes, but Scorsese's no longer able to make it - as a result, quite a few tickets have been released, so if anyone wanted to go regardless of Scorsese's presence, now's your chance.

Roscoe wrote: Thu May 04, 2023 1:06 pm And after visiting Film Forum last night, and seeing the new 4K restoration of RAGING BULL in their small Theater 4, I can say that they get right what the Gilman Center gets wrong. The image was not washed out in any way, the image was bright and the blacks were inky, and I'd give a lot for Feher's TWILIGHT to get another run at Film Forum, I'd go in a heartbeat.

And after visiting the IFC Center last night to see 4K restoration of THE LEOPARD, I can say that it too gets right what the Gilman Center gets wrong. Etc.

Does anyone know if the version of The Leopard IFC is screening is different than the one shown at MoMA during their Claudia Cardinale series?

They're the same

I'll also note that the 4k resto of THE LEOPARD was not shown with the Janus logo at the start. Have rights been lost?

Never Cursed wrote: Thu May 11, 2023 4:46 pm They're the same

Thanks.

Roscoe wrote: Thu May 11, 2023 7:07 pm I'll also note that the 4k resto of THE LEOPARD was not shown with the Janus logo at the start. Have rights been lost?

I believe that the U.S. rights have always been with Fox, as I know the home video releases were licensed from them.

hearthesilence wrote: Thu May 11, 2023 1:25 am FYI, the African Film Festival has kicked off at Lincoln Center, and one of the highlights is an appearance by the great African filmmaker Souleymane Cissé - his daughter is premiering a documentary about him, and they'll be screening a pair of his films as well, including Yeleen (for which he'll do a Q&A).

Originally he was going to do a free talk with Martin Scorsese, and not surprisingly people grabbed all the tickets within minutes, but Scorsese's no longer able to make it - as a result, quite a few tickets have been released, so if anyone wanted to go regardless of Scorsese's presence, now's your chance.

Cissé will now joined by Senegalese filmmaker Moussa Sène Absa. (Tickets still available too.)

MoMA has added preliminary details for its summer series, among them:

A View from the Vaults 2023: A Fox Dozen
Including:

Spoiler

-Call Her Savage (1932)
-Caravan (1934)
-Hat Check Girl (1932)
-I Am Suzanne! (1933)
-Sunnyside Up (1929)
-6 Hours to Live (1932)
-Hello, Sister! (1933)
-It's Great to Be Alive (1933)
-The Sea Wolf (1930)
-The Warrior's Husband (1933)
-Zoo in Budapest (1933)

A View from the Vaults 2023: Films in 16 and 35mm
Including:

Spoiler

-24 City (2009)
-Attenberg (2012)
-Bill Cunningham New York (2010)
-Brokeback Mountain (2005)
-Code Unknown (2000)
-Fados (Carlos Saura)
-Female Trouble (1974)
-Irma Vep (1996)
-Killer of Sheep (1977)
-Le Pont du Nord (1981)
-O'er the Land (2009)
-Pina (2011)
-Repentance (1987)
-Spring Breaks (2013)
-Surname Vit Given Name Nam (1989)
-White Material (2009)

Silent Movie Week
Including:

Spoiler

-Three Weeks (1924)
-Stella Dallas (1925)
-The Adventurer (1917)
-The Tenth Symphony (1918)
-Padlocked (1926)
-The Street of Forgotten Men (1925)
-The Lady (1925)
-What Happened to Jones (1925)

Eye Candy: The Coming of Color
Including:

Spoiler

-The Lights of Old Broadway (1925)
-The Ten Commandments (1923)
-The Phantom of the Opera (1925)
-Casanova (1927)
-The Glorious Adventure (1921)
-A Trip to the Moon (1902)
-Cyrano de Bergerac (1923)
-King of Jazz (1930)
-The Great Train Robbert (1903)
-The Lonedale Operator (1911)
-Broken Blossoms (1919)

If they're in 35mm, I'll definitely have to check out Eye Candy: The Coming of Color - I just hope they're not all weekday 1 pm screenings.

I haven't seen Broken Blossoms in years - I may see that regardless since I've only caught it on DVD.

A Trip to the Moon will be interesting - it's reported to be Lobster's color restoration, which MoMA actually played at To Save and Project in 2011 (around the same time as the release of Scorsese's Hugo). I was there and it looked great, but it was a pretty unique experience as they played it twice: once with live spoken narration (specifically written for the film when it was originally exhibited) and again with a newly recorded score by Air (same guys who made Moon Safari which is a pretty great album).

MoMA is presenting some films by Julia Reichert in her memory this weekend. Her collaborator Steve Bognar will be present for several post-screening discussions.

Film Forum is screening THE PLOT AGAINST HARRY in a brand-new 35mm print on Saturday (May 20) at 1pm. Frustrating because I already have another commitment at that exact time. (Last time this was scheduled for a screening in NYC, I think it was at Quad Cinema as part of a program curated by Louis CK to promote his new movie...as you may remember, the entire program was pulled because of you-know-what.)

This will be followed by a Q&A with director Michael Roemer, moderated by Azazel Jacobs.

hearthesilence wrote: Fri May 19, 2023 6:49 am Film Forum is screening THE PLOT AGAINST HARRY in a brand-new 35mm print on Saturday (May 20) at 1pm. Frustrating because I already have another commitment at that exact time. (Last time this was scheduled for a screening in NYC, I think it was at Quad Cinema as part of a program curated by Louis CK to promote his new movie...as you may remember, the entire program was pulled because of you-know-what.)

This will be followed by a Q&A with director Michael Roemer, moderated by Azazel Jacobs.

Wow! Roemer is really getting a big revival with this and Vengeance is Mine. I really hope that some kind of box set is in the works

Film Desk just issued their first Blu-ray, and I think they may have been involved in a retrospective of his work that was shown in France. (I vaguely remember a social media post on it - it was basically the handful of features he directed.) I could see it happening so fingers crossed!

Not a rep screening, but if you are interested in seeing Oppenheimer in a proper IMAX presentation at Lincoln Square, tickets are already for sale and a lot of the best seats already seem taken. I think films generally only run for two weeks in IMAX here (excepting, say, the latest Avatar) but I don't want to take my chances and already grabbed tickets.

Not New York City, but it's the same state: the Nitrate Picture Show starts this weekend at the George Eastman House up in Rochester, NY, and it's a rare chance to see some actual nitrate prints - very few theaters can legally project them.

Listings are here for both nitrate screenings and others and they even have technical information for each nitrate print.

For example:

Der blaue Engel: This print was struck in 1931. Its shrinkage of 1.1% is very low for a 92-year-old element, and aside from some warpage, it is in excellent condition.

Force of Evil: This original release print of excellent photographic quality was made towards the end of the nitrate era. However, it is one of the most challenging for a projectionist. At 0.9%-0.95% shrinkage, it contains over 100 splices and is significantly warped.

Fritz Lang's You and Me: ...the original release print UCLA received from Paramount. With modest shrinkage (1.00%-1.05%), very few splices, light scratches, and perforations which are mostly intact, it is one of the best prints ever screened at the festival.

This exhibition of Duel in the Sun was selected from two prints in Martin Scorsese’s collection; unlike the antagonistic McCanles brothers, they work well together. Shrinkage ranges from 0.65% to 0.9%, and both prints exhibit a fair amount of stiffness and curled edges. Repair tape has been applied to chipped edges, pulled perforations, and failing cement splices. The number of splices per reel varies greatly, but of the greatest concern are the frequently cracked perforations. The best reels of each print have been utilized to balance print safety with exhibition appeal.

The Wizard of Oz: This nitrate print beautifully presents the natural – though still very colorful – palette which Technicolor strove for over 20 years to achieve, making this screening the rarest of cinematic events. It is composed almost entirely of nitrate stock bearing a 1945 UK edge code. Approximately 800 feet at the beginning of the original reel 5 suffered water damage at some point in its history and was replaced by the owner with footage from a 1964 acetate print. It is in remarkably good condition overall with very few splices, light to medium scratches, and shrinkage ranging from 0.5% to 0.8%.

Devastating that I'm missing this

hearthesilence wrote: Wed Jun 07, 2023 10:41 pm Lincoln Center announced their summer programming, including a newly struck 70mm print of Boogie Nights.

The Music Box theater in Chicago will also be playing the 70mm print of Boogie Nights, alongside 70mm prints of Nope, Babylon, and Inception.

July 7 – July 23

Anthology rings in July with a series of eight films by the great Nagisa Ōshima, one of the towering figures of postwar Japanese cinema whose films remain socio-politically uncompromising, formally audacious, and stylistically innovative even today. The selection includes early rarities such as PLEASURES OF THE FLESH and JAPANESE SUMMER: DOUBLE SUICIDE, pioneering Japanese New Wave classics like DEATH BY HANGING, BOY and DIARY OF A SHINJUKU THIEF, and his later masterpiece, MERRY CHRISTMAS MR. LAWRENCE, which boasts indelible performances by David Bowie, Tom Conti, and Takeshi Kitano, and both a performance and score by Ryuichi Sakamoto (who died this past spring), with all eight films screening on 35mm!