Now Showing
In August 1991, Markey, SoCal zinester and director of Super-8 DIY classics The Slog Movie and Lovedolls Superstar, joined Sonic Youth on a two-week summer tour of European festival dates, along with their touted opening act, Nirvana, a Sub Pop three-piece from Aberdeen who a few months later would be the biggest band in the world. Featuring appearances by Dinosaur Jr., The Ramones, Babes in Toyland, Gumball, and members of Mudhoney, 1991: The Year That Punk Broke is a snapshot of a long-gestating underground culture at its before-the-fall moment, after which it would be fed into the mainstream and subjected to rampant corporate commodification. (Look out for timely in-joke references to Madonna: Truth or Dare, including Kurt Cobain being introduced as “Costner.”)
Q&A with Sonic Youth's Lee Ranaldo and Steve Shelley, moderated by writer Vikram Murthi, on Saturday, August 2nd
Distributor: We Got Power Films
A sort-of sequel to Wong’s Days of Being Wild and In the Mood for Love, the ’60s-set 2046 revisits Tony Leung Chiu-wai’s Chow, now a suave science-fiction writer, to chronicle his various affairs with women (including Faye Wong, Zhang Ziyi, and Gong Li), acting as distractions now that his true love, Mrs. Chen (Maggie Cheung, seen in flashback), has disappeared. Intercutting scenes from Chow’s footloose life—several of these taking place on subsequent Christmas Eves—with scenes from his novel-in-progress, set in the titular year, it’s a film of voluptuous melancholy.
Distributor: Sony Pictures Classics
Panahi’s fourth post-filmmaking ban feature begins with a smartphone video of a young woman (Marziyeh Rezaei) who, forbidden by her parents to pursue her dream of acting professionally, appears to take her own life. The video is addressed to Behnaz Jafari, who, hoping to discover with certitude the fate of its subject, asks Panahi—both actress and director play themselves—to drive her to the presumably dead woman’s home village, the two hitting the road in his SUV, along the way having a string of unusual encounters that include a meetings with a woman who’s dug her own grave and a stud bull with “golden balls.” An idiosyncratic road movie that gradually reveals itself as a meditation on the plight of actresses in conservative Iran, at once venerated and despised, and a gesture of tender solidarity from Panahi.
Distributor: Kino Lorber
A sprawling and intimate evocation of the Taiwan of Yang’s teenage years: the outset of the 1960s, a period defined by street gang activity, the political repression of the Kuomintang military government, and the ubiquity of American pop culture. A Brighter Summer Day takes its inspiration from the story of the country’s first juvenile homicide, with Chang Chen’s brooding outsider just one figure in Yang’s bustling tapestry, regarded in seemingly serene long takes that bristle with repressed emotion.
A Brighter Summer Day was restored in 2009 by the Cineteca di Bologna/L’Immagine Ritrovata laboratory, in association with The Film Foundation’s World Cinema Project, the Central Motion Picture Corporation, and the Edward Yang Estate. Scan performed at Digimax laboratories in Taipei. Restoration funded by Armani, Cartier, Qatar Airways, and Qatar Museum Authority.
Distributor: Janus Films
In her second collaboration with then-husband Godard, an audaciously avant garde, anarchically comic, inside joke-laden re-imagination/deconstruction of the movie musical, Anna Karina stars as Angela, a strip-tease artist at the seedy Zodiac Club who yearns for motherhood, busy juggling live-in boyfriend Jean-Claude Brialy and his would-be replacement, Jean-Paul Belmondo, between performances. Ravishingly photographed in richly colored studio sets and on the streets of Paris, bursting with impertinent originality, and shot through with shrapnel-like fragments of song from Charles Aznavour and Michel Legrand. “Godard’s idea of a musical is, of course, the idea of a musical… It’s the grande folie of Godard’s early career.” —J. Hoberman, The Village Voice
Distributor: Rialto Pictures
Mercilessly bullied at school and buckling under the pressure of studying for her college entrance exams, Chen Nian finds refuge in the arms of teen hoodlum Xiao Bei in Tsang’s tough and tender melodrama, a critical darling and sleeper hit in China on its release, featuring Zhou Dongyu and pop star-turned-actor Jackson Yee as its central star-crossed lovers, both giving performances of raw-edged vulnerability and absolute emotional fidelity. Unflinching in its depiction of the cruelty of the schoolyard—an extension, implicitly, of the mercilessly competitive society the classroom prepares students for—and extraordinarily delicate in its handling of illicit young romance, Better Days, combining elements of a noirish thriller and coming of age tale, is a film of lightly worn technical virtuosity and genuine moral urgency.
Distributor: Well Go USA
A Mephistophelean musical wig-out, Noé’s immersive, rave-’til-dawn descent into a yawning open pit of mass hysteria is purportedly based on a 1990s news item about a Parisian dance troupe who collectively lost their minds on a cocktail of hallucinogens—a hypnotic, hallucinatory, and ultimately hair-raising depiction of a party that descends into delirium and violence over the course of one wintry night. “The best movie of the year gives new meaning to the term ‘bad trip.’ Frenzied dance numbers combined with LSD, mental breakdowns, and childhood trauma turn this nutcase drama into The Red Shoes meets Hallucination Generation. Freak out, baby, freak out!” —Joihn Waters, Artforum
Distributor: A24
A trailblazer of American independent cinema—her 1982 feature debut Smithereens was the first US indie to play in competition at Cannes—Seidelman has, in her more than 40-year career in film and television, remained remarkably attuned to the zeitgeist, whether setting the tone for the cultural the phenomenon that was Sex in the City with her pilot episode or casting rising star Madonna in her 1985 Desperately Seeking Susan. To celebrate the 40th anniversary of the beloved film, Seidelman returns to Metrograph for one very special screening.
Q&A with director Susan Seidelman on Friday, August 1st.
Distributor: Park Circus
The outbreak of a mysterious fire in a remote Scottish village sets into motion a chain of events—including the violent scapegoating of “suspicious” strangers—that will finally lead to the unraveling of the entire community in Tsangari’s ravishing, rough-hewn adaptation of Jim Crace’s Booker Prize–winning novel of the same name, featuring a harried, thrillingly in-the-moment lead performance by Caleb Landry Jones and endlessly inventive 16mm cinematography by Sean Price Williams, invoking in turns the canon of English folk horror and the films of Sergei Parajanov. A triumphal return for Tsangari, presiding genius of the Greek Weird Wave, and a film whose atmosphere of gathering unease will not soon leave you.
Introduction by cinematographer Sean Price Williams on Sunday, August 3rd
Distributor: MUBI
Returning to feature filmmaking after a 13-year hiatus, Carax reteamed with his acteur fétiche, Denis Lavant, here playing a mystery man, Oscar, chauffeured by driver Céline (Édith Scob, of Georges Franju’s 1960 Eyes Without a Face) to assignations throughout Paris in a white stretch limo, at each appointment taking on a different role: a street beggar, a motion capture suit performer, and the anarchic, carrot-topped Monsieur Merde first seen in Carax’s contribution to the anthology film Tokyo! (2008). “Weird and wonderful, rich and strange—barking mad, in fact. It is wayward, kaleidoscopic, black comic and bizarre; there is in it a batsqueak of genius, dishevelment and derangement; it is captivating and compelling.” —The Guardian
Distributor: AGFA
Like a true Bob Dylan fan, Haynes understood that no paint-by-numbers biopic would capture Dylan’s wily, elusive, trickster spirit, and so in anti-biopic I’m Not There he gives us, quite literally, a multitude of shifting Dylan surrogates. In Haynes’s hall of mirrors film, “Dylan”—mentioned by name only in an opening title card—is variously reincarnated as a preadolescent Black folk singer who calls himself “Woody Guthrie,” a Greenwich Village folkie (Christian Bale), and the actor hired to play that same folkie in a film (Heath Ledger); a Wild West outlaw gone into hiding (Richard Gere); and a former protest singer hero alienating fans with electric guitar while careening towards self-destruction (Cate Blanchett, in one of her signature roles).
Pre-screening conversation with co-founders Christine Vachon and Pamela Koffler on the 30 years of Killer Films, moderated by filmmaker Kent Jones, on Saturday, August 2nd.
Distributor: Lionsgate
Endorsed by no less a personage than Christopher Moltisanti and condemned by the CCP, Scorsese’s epic biopic covers some two decades in the life of Tenzin Gyatso, the 14th Dalai Lama, from his selection to his arrival at Lhasa’s Potala Palace to his escape from the invading Chinese communists over the Indian border. Sumptuously lensed by the storied Roger Deakins, who counts the film among his personal favorites, with Philip Glass’s original score striking the perfect note of processional grandeur, Kundun is a ravishing immersion in an ancient—and imperiled—world of solemn rite and ritual, an outlier in its director’s filmography that demands rediscovery.
Distributor: Walt Disney Pictures / 20th Century Fox
Inspired by Frank Ripploh’s Taxi zum Klo, Van Sant’s smudgy black-and-white debut, planted firmly on the cracked concrete of the filmmaker’s hometown of Portland, Oregon, prophesied and broke ground for the ’90s New Queer Cinema, while also anticipating its filmmaker’s career-long exploration of issues concerning gay life, class, and race. White liquor store clerk Walt (Tim Streeter), living on the city’s tattered fringes, seeks erotic ecstasy in the arms of the undocumented Mexican teenagers who hang around his shop—but any attempt at honest connection with his objects of desire is necessarily complicated by the barriers of language, money, and more. As achingly honest and as uncomfortable a film as Van Sant ever made, addressing the myriad complexions that arise when love and lust face gaping divides.
Distributor: Janus Films
Panahi plays himself in this ingeniously imagined and executed, vertigo-inducing rumination on the relationships between art and life, belief and evidence, and much else besides. Living in a rustic border town so as to remotely direct a film about an Iranian couple trying to secure fake passports that’s being shot on the other side of the Turkish border, Panahi gradually comes to the unsettling conclusion that the story of the movie he’s making has uncanny parallels to events he sees happening around him, and is participant in, during his off hours. “Panahi, whose courage and honesty are beyond doubt, has made a movie that calls those very qualities into question, a movie about its own ethical limits and aesthetic contradictions.” —The New York Times
Distributor: Janus Films
Assayas’s spry discourse-driven ensemble piece brings together Guillaume Canet as Alain, the editor of a Parisian publishing house; a splendidly rumpled Vincent Macaigne as Léonard, one of Alain’s stable of writers, long accustomed to drawing on his love affairs for his fiction; Juliette Binoche as Selena, a television actress who’s married to Alain and sleeping with Léonard; and Christa Théret as Alain’s lover and his company’s “head of digital transition,” who urges him towards the discontinuation of publishing physical books. A fluid, witty, and rueful film about lives and industries in crisis, the anxieties of relevance and influence, the interrelation between personal and professional compromise, and the vying impulses of technophobia and technophilia in the digital age.
Distributor: IFC Films
Tarkovsky’s penultimate film, and his first shot outside the USSR, channels the filmmaker’s own sense of displacement into the story of a homesick Russian poet (Oleg Yankovsky)—in Italy to do research on 18th-century Russian expatriate composer Pavel Sosnovsky—who becomes fixated on the messianic ambitions of a holy fool, Domenico (Erland Josephson), whom he encounters when visiting the Tuscan countryside, which is filmed by DP Giuseppe Lanci as a melancholy, sodden dreamscape in which our protagonist finds echoes of the distant homeland. “Delicate, selectively desaturated tones give the impression of a film simultaneously monochromatic and in color… [If] not Tarkovsky’s most personal film, it is arguably his most self-reflexive.” —J. Hoberman, The New York Times
Distributor: Kino Lorber
Sherman’s first and only feature film is a mordantly hilarious horror-comedy starring Carol Kane as a timid copy editor lorded over by boss Barbara Sukowa who begins taking out her frustrations at her workplace by first picking off co-workers, then taking them home to be arranged in cozy domestic tableaux. From a razor-sharp screenplay co-written by Todd Haynes, with a richly saturated visual style recalling Sherman’s legendary Untitled Film Stills project, Office Killer is both a beloved cult object and the film that gave production company Killer Films its name.
Q&A with producers and Killer Films co-founders Christine Vachon and Pamela Koffler moderated by writer Esther Zuckerman on Sunday, August 3rd.
Print courtesy of Yale Film Archive
Distributor: Cindy Sherman Studio
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A radically against-type Robin Williams stars in acclaimed music video director Romanekâs feature debut as Sy Parrish, punctilious and polite photo technician at a lab attached to a SavMart big-box store who, obsessed with his work to the point of abjuring all human contact, lives vicariously through the lives of regular customers as observed in the snapshots he develops for them. His discovery that the head of his favorite household, the Yorkins, appears to be having an affair, which coincides with the threat of his nine-year employment by SavMart coming to an end, gives the obsessive Parrish new outlets for his manias, as heâand the unnervingly absorbing One Hour Photoârush towards a psychopathic break, a clammily chilly journey thanks to the cinematography of regular David Fincher collaborator Jeff Cronenweth.
Distributor: Walt Disney Pictures / 20th Century Fox
Elmore Leonard’s favorite settings for his crime novels were his hometown of Detroit and his second home in south Florida, and Soderbergh’s adaptation of a 1996 Leonard page-turner moves between both, as Jennifer Lopez’s US Marshal gets caught up in career criminal George Clooney’s breakout from the Glades Correction Institution in Palm Beach County and finds herself part of the team tasked with bringing him to justice… though that’s not all she wants from the handsome rogue. A masterclass in movie star chemistry and the irresistible pleasures of snappy patter and loop-the-loop twists, with Michael Keaton briefly reprising the role he plays in Quentin Tarantino’s own Leonard adaptation, Jackie Brown.
Distributor: Universal
With her beguiling presence and spry, screwball energy, Parker Posey made her name as the queen of American indie cinema during its ’90s boom. The recently restored Party Girl captures an ascendent Posey in wickedly fine form as Mary, the toast of NYC nightlife, who finds herself working off a debt at a local library after being arrested for throwing a rave. The perfect mix of style, verve, and the Dewey Decimal System.
Distributor: Swank Motion Pictures / Film Rise
Three lovers spin in a vortex of pent-up desire, deceit, and resentment in Sachs’s fresh, honest, and acerbically funny Paris-set take on messy, modern relationships, inspired by Frank Ripploh’s Taxi zum Klo. Just like its dynamic leads—Franz Rogowski, Adèle Exarchopoulos and Ben Whishaw, the three razor-sharp points in a neurotic love triangle—this refreshingly fluid relationship drama simply oozes sex appeal. “Fiercely sexy and piercingly sad... Vivid and sensual.” —The Guardian
Distributor: MUBI
Anderson went small and Adam Sandler went serious, and the results were the best work either of them have ever done, a heartfelt little love story inspired by the real-life tale of California’s Pudding Man, starring Sandler as rage-o-holic Barry Egan, Emma Watson as the girl who calms him down, and an unforgettable performance from Philip Seymour “ShutShutShutShutShutUp” Hoffman playing the mattress-monger heavy.
Distributor: Park Circus
Shortly before beginning his youth-oriented “Onomichi Trilogy,” Obayashi made a very different kind of schoolgirl tale with the kaleidoscopic, turbocharged live-action cartoon School in the Crosshairs, loosely based on Taku Mayumura’s novel Psychic School Wars, in which teenaged Yuka (Hiroko Yakushimaru) discovers not only that she has the gift of telekinesis, but that she’s going to have to use it to get the best of a gang of Gestapo-like hall monitors led by rival Masami Hasegawa and the insidious space invader who’s backing her up. An invigorating, everything but the kitchen sink barrage of visual effects, infused with its heroine’s spirited rebelliousness.
A man (Han Sanming) and a woman (Zhao Tao) search for their respective spouses while the threat of a massive man-made ecological event looms in the background: the construction of the Three Gorges Dam on the Yangtze River, which poses an immediate threat to the town of Fengjie, where both have arrived to meet their spouses. Personal catastrophe echoes destruction on an epic scale in Jia’s justly acclaimed film, which illustrates the terrifying ability of the monolithic Chinese state to permanently alter a landscape at will, and the impact of such changes on the psychosocial makeup of a city.
Distributor: Big World Pictures
Jarmusch announced himself as a thrillingly original deadpan humorist with this bleakly funny black-and-white comedy played out in single set-up long takes, its nonaction set into slow motion when Screamin’ Jay Hawkins-loving Hungarian teenager Eszter Balint lands in the Brooklyn apartment of defiantly Americanized layabout cousin John Lurie, who extols the virtues of the TV dinner and the NFL to her before they light out on a road trip to soak up the majesty of such exotic locales as Cleveland and Florida. (Quoth Richard Edson as the Lurie character’s tag-along pal: “They got pelicans down there, and flamingoes… All those weird birds.”)
Distributor: Janus Films
15994 better days 99+ A Metrograph Programming Base Data Automations Interfaces Forms Capsule Text Assayas, who provides a ruminative voice-over to his pandemic era film à clef, re-teams with a hilariously neurotic and navel-gazing Vincent Macaigne, here playing his director’s on-screen avatar, chain-smoking middle-aged filmmaker Paul, who we see in the midst of negotiating the terms of his separation with his younger ex-partner, Flavia (Maud Wyler), and details concerning their daughter’s upbringing via Zoom while self-isolating (and self-flagellating) in his rundown family home in the French countryside in the company of raffish music journalist brother Micha Lescot and girlfriends Nina D’Urso and Nora Hamzawi. A film, funny and moving in turn, about the blistering friction of cabin fever and the ghosts that linger around the scenes of childhood memories.
Exclusive preview screening
Distributor: Music Box Films
A fairy tale construction at once grim and florid, Argento’s best-known film finds Jessica Harper’s American ballet dancer arriving at an exclusive academy in Germany where she discovers a dark past and occult forces at work in the present. With some of Argento’s most perversely ingenious set pieces, a plum part for former Fritz Lang muse Joan Bennett, and a spine-tingling theme by Goblin that will haunt you to the grave.
Presented in the English-language version
Distributor: Walt Disney Studios
Panahi directs and stars in this docufiction miracle, which finds him posing as a share taxi driver in Tehran who, rather than demanding cash payment from customers for his services, asks only to hear something about their lives. From shift to shift, Panahi collects a marvelous bounty of quotidian anecdotes and opinions from a parade of passengers who represent the diversity of the Iranian capital, ranging from pirate video vendors to human rights lawyers. One of several films completed surreptitiously by Panahi despite his having been forbidden to practice his trade for 20 years by the Iranian government, Taxi Tehran is the song of a city sung by its residents, and proof positive that you can’t keep a born filmmaker down.
Distributor: Kino Lorber
A landmark of 1980s queer European cinema and a magnet for controversy upon its release, seized by US Customs among other indignities, the semi-autobiographical, warts and all Taxi zum Klo—newly restored for its 45th anniversary—stars writer/director Ripploh as “Frank,” a dedicated public school teacher accustomed to filling his leisure hours with anonymous sex—and lots of it—whose routine of cruising public toilets is interrupted when he falls for Bernd, a sweet soul who wants to share Frank’s life… but doesn’t share his insatiable appetite for sexual variety. “A tragicomic story about the impossibility of a couple’s life… Neither a pornographic film, nor a sociological exposé, nor a moral lesson.” —Frank Ripploh
The film was scanned with ARRISCAN XT by Salzgeber in Germany in 4K resolution from 35mm negative. Sound was taken from a digital source produced by Frank Ripploh in the year 2000. Grading was performed using Davinci Resolve and based on the grading of the year 2000 supervised by Frank Ripploh before his death.
Distributor: Altered Innocence
For the operatic final film in Leone and star Clint Eastwood’s “Man with No Name” trilogy, production designer Carlo Simi brought the American Civil War to the plains and rugged plateaus of Spain, creating an epic canvas against which Leone could unfold his tale of the race for a hidden cache of Confederate coin Eastwood’s mercenary antihero (“The Good”), Lee Van Cleef’s savage, sadistic gunman (“The Bad”), and Eli Wallach’s cunning Mexican bandito (“The Ugly”). “Leone’s masterpiece and the greatest of all Spaghetti Westerns.”—J. Hoberman, The Village Voice
Distributor: Park Circus
One of Truffaut’s most personal and beautiful films, photographed “in fecund greens and withering yellows” [Dave Kehr, Chicago Reader] by DP Néstor Almendros, and one of the least known of Truffaut’s major works—audiences, it seems, weren’t ready for this stark rumination on death from a filmmaker known for his gentle humor and twinkling personability. Truffaut, not far removed from his own premature end, stars himself alongside Nathalie Baye in this adaptation of Henry James’s short story “Altar of the Dead,” about a newspaper obituary writer who has become obsessed with the memory of friends departed from this mortal coil, represented here by images of the director’s own deceased loved ones.
Distributor: The Film Desk
Corman never heard of a youth culture trend that he couldn’t exploit, but his finest films as director were the cycle of atmospheric adaptations from the unhip stories of Edgar Allen Poe that he made with Vincent Price, featured here as the Satanist Prince Prospero, a cruel dictator in medieval Italy who holes up with the local gentry while his subjects are ravaged by the plague. The color-coded cinematography is courtesy a certain Nicolas Roeg, whose blood reds will sear your corneas.
Distributor: Park Circus
“Sitting somewhere on the edges of fiction and reality, the cinema of Australian-born filmmaker Amiel Courtin-Wilson is not easy to define. His films, often rooted in real-life encounters with marginalized figures, unspool from Amiel’s immersion in the lives of his subjects. This couldn’t be any clearer than in his 2016 film, The Silent Eye. Set entirely in the Brooklyn apartment of free jazz pioneer Cecil Taylor, who Amiel lived downstairs from for two years before making the film, The Silent Eye captures, with great sensitivity, an emotionally powerful, improvised performance between Taylor and longtime collaborator, Japanese Butoh dancer Min Tanaka. Observing what feels like a private ritual, Amiel summons a shared language between two old friends. Evoking a world that exists outside the frame and building on what Fred Moten has described as Cecil Taylor’s ability to see ‘gestures and spaces in an aurality that exceeds but does not oppose visual-spatial determination.’ —Series curator Jason Evans, This Long Century.
Q&A with director Amiel Courtin-Wilson and This Long Century founder Jason Evans on Saturday, August 2nd
In which FBI Special Agent Dale Cooper appears where last we left him, trapped now for 25 years in the Black Lodge, while his psychopathic, stringy-haired doppelgänger leaves a trail of destruction behind him on our terrestrial plane. Escaping the Lodge following a visit to a fortress-like structure towering over a wine-colored sea, Cooper returns to Earth in the body of a second manufactured doppelgänger, or tulpa, called Dougie Jones, a corrupt and debt-riddled employee of the Lucky 7 Insurance agency in Las Vegas, whom he replaces while Jones is shacked up with an escort named Jade. Jade, finding “Jones” (in fact Cooper) disoriented and incoherent, lacking all memory of his identity and the basic niceties of human interaction, drops the seeming idiot at a nearby casino, where he promptly wins 30 megajackpots in a row.
Introduction by Sound and Music Supervisor, Dean Hurley on Saturday, July 5th
In which Dale Cooper’s doppelgänger sends his own son, Richard Horne, to a dreadful death by electrocution before heading for Twin Peaks, there to be shot down by fast-acting receptionist Lucy Moran, his corpse unleashing an orb inhabited by the corrupting spirit of BOB which will subsequently be pummeled into submission by Freddie, a cockney lad who followed a beckoning dream to Twin Peaks, here fulfilling his predestined purpose. The real Cooper, freshly awakened from a coma induced by sticking a fork in an electrical socket, his long-absent memory restored, arrives shortly thereafter, thence to be transported back in time to the night of the murder of Laura Palmer, which brought him to Twin Peaks so many years ago. Preventing the murder and causing a disturbance in the timeline, Cooper eventually finds himself at a diner in Odessa, Texas, where he encounters a waitress who is the spitting image of Palmer. Believing her to be the missing girl, now in middle age, he drives her to the Palmer home in Twin Peaks for a happy family reunion, but our misguided Perceval has not found his Grail. “What… year is it?”
Introduction by Sound and Music Supervisor Dean Hurley on Sunday, July 6th
In which Deputy Chief Hawk and Sheriff Frank Truman puzzle over clues as to the location of the long-missing FBI Special Agent Dale Cooper, while Cooper’s wicked doppelgänger appears to be killed in a shootout in South Dakota with criminal associate Ray Monroe. In White Sands, New Mexico, 1945, the first atomic bomb is detonated. Eleven years later two disheveled woodsmen emerge from the New Mexico desert to violently occupy a local radio station, from which they broadcast the cryptic phrase: “This is the water and this is the well. Drink full and descend. The horse is the white of the eyes and dark within.” A creature, part insect, part bullfrog, freshly hatched from an egg, crawls down the throat of a sleeping young woman. Nine Inch Nails perform. Back in Twin Peaks, Jerry Horne is convinced that his foot is talking.
Pre-screening conversation with Sound and Music Supervisor Dean Hurley on his creative collaboration with David Lynch on Saturday, July 5th
Introduction by cinematographer Peter Deming on Tuesday, July 29th