2018
JANUARY / FEBRUARY / MARCH
Program Guide
FROM OUR CURATOR
Welcome to 2018 and a new season at Lightbox Film Center. There are so many incredible film programs to look forward to in the coming months you may want to have the babysitter on standby and your favorite seat in the theater staked out in advance. Here at Lightbox we strive to present films that can’t be seen anywhere else, films that reflect a diverse perspective on the world. From obscure, nearly forgotten gems, to timeless classics to the latest works by groundbreaking artists, it all happens here. We are excited to announce that beginning this year, thanks to a generous financial contribution from longtime member and local arts supporter Louis Bluver, our recurring series Arthouse Revisited will now be known as Louis Bluver’s Arthouse Revisited. The series will continue to showcase major works by world renowned directors such as Andrei Tarkovsky, Marco Ferreri and Carl Theodor Dreyer all newly restored and presented on the big screen. Speaking of classics, we’re thrilled to once again host the UCLA Festival of Preservation this February. This year’s touring program, all on 35mm, includes comedy duo Laurel & Hardy in Sons of the Desert, documentary classic The Murder of Fred Hampton, now more 1
relevant than ever, and two all-but forgotten independent films by Hollywood outsider Juleen Compton. The entire series – co-presented by Louis Bluver – runs from February 1-24 and is a feast for film lovers. There’s always something new to explore in the vast world of moving image art. For those interested in the truly radical we continue our monthly program Subversive Elements where form and content are subjected to rigorous experimentation. This season we revisit Stan Brakhage’s seminal work Dog Star Man and present the posthumously completed feature length epic Pinochet Porn by Ellen Cantor. Later in the spring we have a lineup of recent documentaries with a host of special guests including Rosamond Purcell and Lynne Sachs. Of course that’s just the beginning. If you’re new to Lightbox or have been with us all these years you know this is where cinema as an art form thrives. We hope you’ll join us this season and experience the moving image at Philadelphia’s home for all things cinema. Jesse Pires Chief Curator
TABLE OF CONTENTS
INDEPENDENT FRAMES: AMERICAN EXPERIMENTAL ANIMATION IN THE 1970 s AND 1980s
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LOUIS BLUVER’S ARTHOUSE REVISITED 7-8 SUBVERSIVE ELEMENTS 9 NOT READY FOR PRIMETIME – DOUBLE FEATURE
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UCLA FESTIVAL OF PRESERVATION 11-14 TRACES OF TIME: NEW AMERICAN 15 NONFICTION SPECIAL ENGAGEMENTS 17-18 FAMILY MATINEES 19 BROADCASTING: VARIETY SHOW SPECIAL 21 IN COLLABORATION 22-24 IHP CULTURAL CELEBRATIONS 25 ART EXHIBIT 26 CALENDAR 27-28 LIGHTBOX INFORMATION 29-30 2 www.lightboxfilmcenter.org
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INDEPENDENT FRAMES: AMERICAN EXPERIMENTAL ANIMATION IN THE 1970s AND 1980s
Thursday, January 18 at 7pm
EXPLODED VIEW
Artists discovering animation in the mid-1960s and early 1970s did so in a culture of pop art and psychedelia, and a discursive field strongly shaped by Marshall McLuhan’s media theory. They responded by creating overwhelming works of graphic collage, violent flickering colors and sensory overload.
Adam Beckett, 1973, 16mm, 7 min.
FILM-MAKERS’ SHOWCASE
Bill Brand, 1974, 16mm, 15 min.
Francis Lee/Fred von Bernewitz, 1963, 16mm, 3 min.
JUNGLE MADNESS
3D MOVIE
Paul Sharits, 1975, 16mm (with anaglyph 3D glasses), 8 min. Print courtesy of the Anthology Film Archives.
CIRCLES OF CONFUSION Friday, January 19 at 7pm
BODYMANIA
Frank Mouris, 1968, 16mm, 6 min.
From morphing bodies engaged in rapturous copulation (Desire Pie) to disembodied parts (The Club, Seed Reel), artists respond to the waning sexual revolution and the women’s movement, expressing agency and stimulation while at the same time depicting complex forms of desire.
THE POP SHOW
WHITNEY COMMERCIAL
Don Duga, 1967, 16mm, 6 min.
YOU’RE NOT REAL PRETTY BUT YOU’RE MINE…
Fred Mogubgub, 1966, 7 min.
OH
Stan Vanderbeek, 1968, 16mm, 9 min.
SCANNING
Paul Glabicki, 1976, 16mm, 3 min.
AMERICA IS WAITING
Suzan Pitt, 1973, 16mm, 3 min. Print courtesy of the Academy Film Archive.
PESCA PISCA
Irene Duga, 1968, 16mm, 3 min.
BUST BAG
Don Duga, 1964, 16mm, 6 min.
Bruce Conner, 1981, 16mm, 4 min. Print courtesy of the Conner Family Trust.
SEED REEL
CONEY
THE CLUB
Frank and Caroline Mouris, 1975, 16mm, 5 min. Print courtesy of the Academy Film Archive.
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EVOLUTION OF THE RED STAR
Mary Beams, 1975, 16mm, 4 min. George Griffin, 1975, digital, 4 min.
ODALISQUE
Maureen Selwood, 1980, digital, 12 min.
Saturday, January 20 at 2pm
SHAPE AND STRUCTURE While structural film was the dominant form within the avant-garde tradition at the dawn of the 1970s, animators used shape and structure in a variety of ways that differentiated their works.
TEN SECOND FILM
Bruce Conner, 1966, 16mm, 10 seconds Print courtesy of the Conner Family Trust.
INCANTATION
Peter Rose, 1970, 16mm, 8 min. Print courtesy of the Academy Film Archive.
OBJECT CONVERSATION Paul Glabicki, 1985, 16mm, 10 min.
DESIRE PIE
Lisa Crafts, 1976, 16mm, 5 min.
CROCUS
PRIMARY STIMULUS
Robert Russett, 1980, 16mm, 8 min. Print courtesy of the Academy Film Archive.
Suzan Pitt, 1971, 16mm, 7 min. Print courtesy of the Academy Film Archive.
DIAGRAM FILM
FLESH FLOWS
NEURON
Adam Beckett, 1974, 16mm, 6 min.
ASPARAGUS
Paul Glabicki, 1978, 16mm, 14 min. Robert Russett, 1972, 16mm, 7 min. Print courtesy of the Academy Film Archive.
Suzan Pitt, 1979, 35mm, 20 min. Print courtesy of the Academy Film Archive.
COLORED RELATIONS
Independent Frames is supported by the Christian R. and Mary F. Lindback Foundation and the Cinema Studies Department at the University of Pennsylvania
SAUGUS SERIES
Barry Spinello, 1970, 16mm, 5 min. Pat O’Neill, 1974, 16mm, 18 min.
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INDEPENDENT FRAMES: AMERICAN EXPERIMENTAL ANIMATION IN THE 1970s AND 1980s CONTINUED Saturday, January 20 at 5pm
INTROSPECTION
American animators in the 1970s and 1980s often turned their attention inward, producing personal films which corresponded to the deeply introspective diary filmmakers that formed a key part of the New American Cinema the previous decade. Representing oneself in a mediated fashion – not only through the moving image but graphically through animation – became particularly important during this period in which more women were active in the field of animation than ever before.
MOON BREATH BEAT
Lisze Bechtold, 1981, 35mm, 5 min. Print courtesy of the Academy Film Archive.
A BRAND NEW DAY Jane Aaron, 1974, digital, 3 min.
GLASS GARDENS
Lisa Crafts, 1982, 16mm, 5 min.
ACE OF LIGHT
Sky David (formerly Dennis Pies), 1984, 35mm, 8 min. Print courtesy of the Academy Film Archive.
PENETRALIA
Karen Aqua, 1976, 16mm, 4 min.
FRANK FILM
Frank and Caroline Mouris, 1973, 35mm. Print courtesy of the Academy Film Archive.
HAIR PIECE: A FILM FOR NAPPY-HEADED PEOPLE Ayoka Chenzira, 1985, 16mm, 10 min.
PENCIL BOOKLINGS
Kathy Rose, 1978, 16mm, 14 min. Print courtesy of the Academy Film Archive.
VOICES
Joanna Priestly, 1985, 16mm, 4 min. Print courtesy of the Academy Film Archive.
HAND HELD DAY
Gary Beydler, 1975, 16mm, 6 min.
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Saturday, January 20 at 8pm
UNDERGROUND CARTOONS
FILET OF SOUL
Victor Faccinto, 1972, 16mm, 16 min.
Artist-animators working within, outside of and in response to the commercial cartoon industry found a variety of different types of expression, creating humorous, strange, philosophical or just plainly crude works as an extension of a larger counterculture.
ACADEMY LEADER VARIATIONS
Various artists, 1987, 16mm, 6 min.
NEW FANGLED
George Griffin, 1990, 2 min.
BAMBI MEETS GODZILLA
Marv Newland, 1969, 16mm, 1 min. Print courtesy of the Academy Film Archive.
RUNAWAY
Standish Lawder, 1969, 16mm, 6 min.
CURIOUS ALICE
United States Information Agency, 1971, 16mm, 13 min.
TUGGING THE WORM
James Duesing, 1987, 16mm, 9 min.
PUTTIN’ ON THE FUR
George Griffin, 1981/2016, 7 min.
QUASI AT THE QUACKADERO
Sally Cruikshank, 1975, 35mm, 10 min. Print courtesy of the Academy Film Archive.
MAKE ME PSYCHIC
Sally Cruikshank, 1978, 35mm, 8 min. Print courtesy of the Academy Film Archive.
Independent Frames is supported by the Christian R. and Mary F. Lindback Foundation and the Cinema Studies Department at the University of Pennsylvania Independent Frames is curated by Herb Shellenberger.
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LOUIS BLUVER’S ARTHOUSE REVISITED
SELECTED CLASSICS OF WORLD CINEMA AND INDEPENDENT FILM AS THEY WERE MEANT TO BE SEEN, ON THE BIG SCREEN.
Friday, January 5 at 7pm New Restoration
THE SACRIFICE
Andrei Tarkovsky, Sweden, 1986, 145 min., Swedish w/ English subtitles As a wealthy Swedish family celebrates the birthday of their patriarch Alexander (Erland Josephson, Cries and Whispers), news of the outbreak of World War III reaches their remote Baltic island — and the happy mood turns to horror. The family descends into a state of psychological devastation, brilliantly evoked by Tarkovsky’s arresting palette of luminous greys washing over the bleak landscape around their home. (The film’s masterful cinematography is by Sven Nykvist, Ingmar Bergman’s longtime collaborator.) For Alexander, a philosopher troubled about man’s lack of spirituality, the prospect of certain extinction compels the ultimate sacrifice, and he enters into a Faustian bargain with God to save his loved ones from the fear which grips them. The director’s last film, made as he was dying of cancer, The Sacrifice is Tarkovsky’s personal statement, a profoundly moving, redemptive tragedy steeped in unforgettable imagery and heart-wrenching emotion. Introduced by Ted Knighton
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Saturday, January 13 at 7pm
LA GRANDE BOUFFE
Marco Ferreri, Italy/France, 1973, 130 min., Italian & French w/ English subtitles From the molotov cocktail mind of Italian provocateur Marco Ferreri (Dillinger is Dead, The Flesh), La Grande Bouffe was reviled on release for its perversity, decadence and attack on the bourgeoisie — yet won the prestigious FIPRESCI prize after its controversial Cannes screening. Four friends played by international superstars Marcello Mastroianni (La Dolce Vita), Michel Piccoli (Belle de Jour), Ugo Tognazzi (La Cage aux Folles) and Philippe Noiret (Zazie dans le Metro) retreat to a country mansion, where they determine to eat themselves to death whilst engaging in group sex with prostitutes and a local school teacher (Andréa Ferréol, The Tin Drum), who seems to be up for anything. At once jovial and sinister, the film’s jet-black humor has a further twist as the reputed actors (whose characters use their own names) fearlessly descend into a fart-filled chaos that delivers a feast for the eyes and mind.
Friday, January 26 at 7pm New Restoration
THE GREAT SILENCE
Sergio Corbucci, Italy/France, 1968, 105 min. On an unforgiving, snow-swept frontier, a group of bloodthirsty bounty hunters, led by the vicious Loco (Klaus Kinski, Nosferatu) prey on a band of persecuted outlaws who have taken to the hills. As the price on each head is collected one-by-one, only a mute gunslinger named Silence (Jean-Louis Trintignant, The Conformist) stands between the innocent refugees and the greed and corruption that the bounty hunters represent. But, in this harsh, brutal world, the lines between right and wrong aren’t always clear and good doesn’t always triumph. Friday, March 2 at 7pm New Restoration
THE PASSION OF JOAN OF ARC
Carl Theodore Dreyer, France, 1928, 82 min., silent w/ new musical score by Adrian Utley (Portishead) & Will Gregory (Goldfrapp) With its stunning camera work and striking compositions, Carl Th. Dreyer’s The Passion of Joan of Arc convinced the world that movies could be art. Renée Falconetti gives one of the greatest performances ever recorded on film as the young maiden who died for God and France. Long thought to have been lost to fire,
the original version was miraculously found in perfect condition in 1981—in a Norwegian mental institution. Friday, March 30 at 7pm 50th Anniversary - New Restoration
MEMORIES OF UNDERDEVELOPMENT
Tomás Gutiérrez Alea, Cuba, 1968, 96 min., Spanish w/ English subtitles A meditation on post-revolution Cuba, Memories of Underdevelopment follows the daily observations of Sergio (Sergio Corrieri), recently abandoned by his wife and parents who have fled to Miami. Sergio’s romantic encounters begin to occupy more of his time as his country’s future seems less certain. The fragmented narrative, which incorporates voiceover, newsreel footage and documentary-like passages, enhances the alienation that dominates Sergio’s experience of his lonely new world. Alea’s film is a bold statement on personal freedom within the context of political uncertainty, a masterpiece of Cuban filmmaking. Restored by the Cineteca di Bologna/L’Immagine Ritrovata laboratory and financed by The Film Foundation’s World Cinema Project. This series is presented through the generous support of Louis Bluver. 8
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SUBVERSIVE ELEMENTS
A MONTHLY SERIES DEDICATED TO EXPERIMENTAL FILM AND ARTISTS’ MOVING IMAGE. Thursday, January 25 at 7pm
DOG STAR MAN
Stan Brakhage, US, 1964, 16mm, 78 min., silent Lightbox presents a screening of Brakhage’s complete Dog Star Man, one of the major works in the history of avant-garde cinema to celebrate the republication of Brakhage’s book “Metaphors on Vision” in a new, definitive edition. “The completed Dog Star Man is a cosmological epic, consisting of a Prelude and Four Parts, corresponding to the seasons in the sequence of Winter, Spring, Summer, and Fall. He finished it soon after the book was published. It is both a demonstration of his theoretical insights into the nature and potential scope of cinema, and a work that supersedes all his theoretical speculations.” - P. Adams Sitney “Metaphors on Vision” was first published in 1963 as a special issue of Film Culture, it stands as the major theoretical statement by one of avant-garde cinema’s most influential figures. Introduced by Thomas Beard Thursday, February 22 at 7pm
PINOCHET PORN
Ellen Cantor, US, 2008-2016, 123 min., English and Spanish w/ English subtitles Five years in the making and posthumously completed, Pinochet Porn is a soap opera-like narrative about five children growing up during the Chilean Pinochet regime, and their subsequent maturation into adulthood. Shot on Super-8, this feature-length film follows a 2005 hand drawn film script “Circus Lives from Hell” depicting childhood fantasy permeated by structures of annihilation, which the characters later create in their own adult lives. The story ends with the question: Is tragedy a choice? Followed by a conversation with Lia Gangitano (Participant Inc.) and Kate Kraczon (ICA) 9
Thursday, March 15 at 7pm
DANTE NO ES ÚNICAMENTE SEVERO
Joaquim Jordà/Jacinto Esteva Grewe, Spain, 1967, 78 min. Joaquín Jordà and Jacinto Esteva Grewe’s debut feature, Dante no es únicamente severo is a filmic delirium that falls somewhere between Pop Art and the avant-garde. A major work of Spanish cinema and a touchstone of the Barcelona School Movement, Dante… stands as the manifesto film of sorts for the movement. The film addresses the issue of censorship by constantly manipulating the form especially with anti-narrative montages, obtuse language, inscrutable dialogue, and innuendo often making it difficult for the board of censors to comprehend. The film’s lack of plot and non-linear narrative becomes an interesting reflection on the inability of the cinema to tell a story. So simple and, at the same time, so profoundly subversive. In this way, it served as an example of democracy and freedom of expression under the Franco dictatorship. Presented with the cooperation of Institut Ramon Llull and Filmoteca de Catalunya.
Special thanks to Herb Shellenberger and Almudena Escobar Lopez.
NOT READY FOR PRIMETIME – DOUBLE FEATURE
Saturday, January 6 at 7pm Edgy, irreverent sketch comedy took television by storm in the late 1970s and early 1980s with the likes of Saturday Night Live and SCTV. For a generation raised on television and its abject commercialism, “the idiot box” was ripe for satire. Two prime early examples of counterculture’s skewering of the medium are the films Brand X and Dynamite Chicken. With pointed attacks on political corruption, racial tension and outdated sexual mores, nothing is sacred and every “broadcast” is a chance to promote sex, drugs and rock ‘n roll.
BRAND X
Followed by:
New restoration courtesy of Fondazione Cineteca di Bologna
Ernie Pintoff, US, 1971, 35mm, 76 min. Dynamite Chicken features Richard Pryor, Tuli Kupferberg of the Fugs and The Ace Trucking Company. The full title of the film is Dynamite Chicken: A Contemporary Probe and Commentary of the Mores and Maladies of Our Age … with Schtick, Bits, Pieces, Girls, Some Hamburger, a Little Hair, a Lady, Some Fellas, Some Religious Stuff, and a Lot of Other Things so don’t say we didn’t warn you.
Wynn Chamberlain, US, 1970, 87 min. Starring Taylor Mead, Tally Brown, Abbie Hoffman and Sally Kirkland, Wynn Chamberlain’s Brand X is “a raucous, choppy, political satire inspired by a day in the life of American television, the film appropriates TV formats ranging from talk shows and commercials to White House press conferences.” – Frieze Magazine
DYNAMITE CHICKEN
Special thanks to Harry Guerro.
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UCLA FESTIVAL OF PRESERVATION This year’s UCLA Festival of Preservation again presents a mix of classic Hollywood and independent features, documentaries, and television work, reflecting the Archive’s many stellar collections of film and video material. Thursday, February 1 at 7pm
DESERT HEARTS
Donna Deitch, US, 1986, 35mm, 96 min. Based on Jane Rule’s novel Desert of the Heart (1964), Donna Deitch’s narrative feature debut centers on a burgeoning lesbian romance between libertine casino worker Cay Rivvers (Patricia Charbonneau) and repressed university professor Vivian Bell (Helen Shaver) in Reno, Nevada in the late 1950s, a climate wherein being queer was... complicated. Landmark in its positive portrayal of sapphic romance, Deitch’s vision for the onscreen relationship explores the tension inherent in a sheltered woman accepting her newfound sexual self. Desert Hearts has been digitally restored by The Criterion Collection/Janus Films and UCLA Film & Television Archive in conjunction with Outfest UCLA Legacy Project and Sundance Institute. Friday, February 2 at 7pm DOUBLE FEATURE!
HE WALKED BY NIGHT
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Followed by:
OPEN SECRET
John Reinhardt, US, 1948, 35mm, 68 min., b/w In the back room of a seedy, small town bar, a group of men pronounce someone guilty of an unknown crime. A “lost” film noir, Open Secret teeters between gritty murder mystery and exposé of social injustice. Restored by UCLA Film & Television Archive with funding provided by The Packard Humanities Institute Thursday, February 8 at 7pm
THE MURDER OF FRED HAMPTON
Howard Alk, US, 1971, 35mm, 88 min. A group of independent filmmakers in Chicago, fashioning themselves as The Film Group, set out to profile Chairman Fred Hampton, the leader of the Illinois chapter of the Black Panther Party, and ended up documenting the last nine months of his life. The Murder of Fred Hampton serves as a document of the late 1960s, and a reflection on today’s Black Lives Matter movement. Restored by UCLA Film & Television Archive with funding provided by the National Film Preservation Foundation and The Packard Humanities Institute
Alfred Werker/Anthony Mann (uncredited), US, 1948, 35mm, 79 min., b/w Inspired by the true story of Erwin “Machine Gun” Walker’s shocking Los Angeles crime spree throughout 1945 and 1946, He Walked By Night is a superbly crafted documentary-style noir thriller. The film’s efficient parallel narrative structure is divided between the methodical LAPD team led by veteran character actor Roy Roberts and rugged newcomer Scott Brady, and their psychoticallycunning cop killer target (Richard Basehart). Jack Webb, in his first credited film role, plays a forensic technician.
Preceded by:
Restored by UCLA Film & Television Archive with funding provided by the George Lucas Family Foundation and The Film Foundation
Restored by UCLA Film & Television Archive with funding provided by the National Film Preservation Foundation
THE JUNGLE
Charlie “Brown” Davis/Jimmy “Country” Robinson/David “Bat” Williams, US, 1967, 22 min., b/w The Jungle provides a view into street life through the lens of gang members themselves and offers an early example of modern, independent African American filmmaking. Harold Haskins, a Temple University social worker, initiated a project for North Philadelphia high school students to create this documentary. It was named to the National Film Registry in 2009.
Friday, February 9 at 7pm DOUBLE FEATURE!
STRANDED
Juleen Compton, US, 1965, 35mm, 90 min. Stranded follows Raina, a young American woman (played by Juleen Compton), traveling through Greece with her American lover (Gary Collins), and her French, gay, best friend (Gian Pietro Calasso). Raina partakes in several love affairs, yet Compton never judges her on-screen alter-ego by stigmatizing female sexuality – unlike other films of this time. Stranded was Compton’s first feature she wrote, directed, starred in, self-financed and distributed. The film shares the cinematic experimentation and stylish, youth-centric rebellion of the French New Wave made more radical by its progressive portrayals of female independence and sexuality, beatnik culture, and discussions of homosexuality. Restored by UCLA Film & Television Archive with funding provided by Century Arts Foundation Followed by:
THE PLASTIC DOME OF NORMA JEAN
Juleen Compton, US, 1966, 35mm, 82 min. Written, directed, and self-financed by Juleen Compton, The Plastic Dome of Norma Jean tells the story of a clairvoyant teenage girl, Norma Jean (Sharon Henesy), taken advantage of by a boy band, fashioned after The Beatles, and determined to exploit the young woman’s powers as part of a hoax revival. With a cast of unknowns including a young Sam Waterson, it is an uncommon portrayal, for the mid-60s, of female agency.
Saturday, February 10 at 5pm
SONS OF THE DESERT
William A. Seiter, US, 1933, 35mm, 65 min., b/w Drawing on story elements from their earlier shorts We Faw Down and Be Big, Stan Laurel and Oliver Hardy’s Sons of the Desert begins at a secret meeting of the boys’ eponymously titled fraternal lodge. Amid secret handshakes and tarbooshes, the “exhausted ruler” swears attendance at the lodge’s annual convention in Chicago. When the wives forbid them to go, Hardy comes up with a ruse to fool the missus (the magnificent Mae Busch). When the charade is exposed, the culminating last act is perhaps the funniest of Laurel and Hardy’s career. Restored by UCLA Film & Television Archive with funding provided by the George Lucas Family Foundation and The Film Foundation Preceded by:
BERTH MARKS
Lewis R. Foster, US, 1929, 35mm, 19 min., b/w In Berth Marks, Stan Laurel and Oliver Hardy share an upper berth in a sleeping car. That’s all, and that’s plenty funny. Adjusting to long sound takes in this, there’s obvious extempore interplay that gives their banter a spontaneous vitality. Berth Marks has been known forever in a severely cropped edition marred by an ersatz, sweetened sound mix done in 1936. We can now see and hear everything in front of the camera in 1929. Restored by UCLA Film & Television Archive with funding provided by The Packard Humanities Institute
Restored by UCLA Film & Television Archive with funding provided by Century Arts Foundation
The UCLA Festival of Preservation is Co-Presented by Louis Bluver 12 www.lightboxfilmcenter.org
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UCLA FESTIVAL OF PRESERVATION CONTINUED Friday, February 16 at 7pm
GOOD REFERENCES
Saturday, February 10 at 8pm
LOS TALLOS AMARGOS (THE BITTER STEMS)
Fernando Ayala, Argentina, 1956, 35mm, 88 min., b/w, Spanish w/ English subtitles, Music by Astor Piazzolla Los tallos amargos is based on a novel by journalist Adolfo Jasca and tells the story of Alfredo Gaspar, a Buenos Aires journalist who is down on his luck. He meets a Hungarian immigrant and together they create a fake journalism correspondence school as a getrich-quick scheme. After a brief period of initial success, Alfredo becomes more and more paranoid, and eventually commits a murder, which he then attempts to cover up. But he can’t run away from his conscience. Los tallos amargos switches between objective and subjective points of view with abandon, showing how Ayala, one of the most prolific and courageous directors working in Argentina, was unafraid of going to the darkest corners of the human psyche. In 1957, the film won the Silver Condor Award (Premio Cóndor de Plata), the Argentine equivalent of the Oscars. Restored by UCLA Film & Television Archive with funding provided by Film Noir Foundation
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R. William Neill, US, 1920, 35mm, 60 min., b/w, Silent w/ live accompaniment Good References follows a down-on-her-luck woman named Mary (played by Constance Talmadge) whose lack of references makes it impossible for her to gain employment. When a friend falls ill, Mary impersonates her in order to take a job as secretary to an elderly socialite. Things immediately start going downhill when she is tasked to introduce a ne’er-do-well nephew to high society—but ends up bailing him out of a string of scandals instead. Preservation funded by The Packard Humanities Institute, Barbara Roisman Cooper and Martin M. Cooper
Preceded by:
TRAMP STRATEGY
Alice Guy, US/France/The Netherlands, 1911, 35mm, 12 min., b/w, silent w/ Dutch intertitles A mischievous vagabond infiltrates a bourgeois household in this newly discovered one-reel comedy by the pioneering female director Alice Guy. Restored by UCLA Film & Television Archive with funding provided by New York Women in Film & Television’s Women’s Film Preservation Trust and The Film Foundation
Saturday, February 24 at 7pm
TROUBLE IN PARADISE
Saturday, February 17 at 7pm
THE LOST MOMENT
Martin Gabel, US, 1947, 35mm, 89 min., b/w The Lost Moment, adapted from 19th-century American author Henry James’ The Aspern Papers, follows an unscrupulous New York publisher (Robert Cummings) scoundrel who plots to acquire Jeffrey Ashton’s love letters to his withered muse (Agnes Moorehead) even if it requires wooing the tedious great-niece, Miss Tina (Susan Hayward). James’ themes remain even as the film hysterically reaches for metaphysical overtones. Restored by UCLA Film & Television Archive with funding provided by The Packard Humanities Institute
Ernest Lubitsch, US, 1932, 35mm, 81 min., b/w The playboy/thief Gaston Monescu (Herbert Marshall) meets the expert pickpocket Lily (Miriam Hopkins) on the Riviera, and they, of course, fall in love. Initially, they try to steal from each other—a kind of foreplay among thieves—then realize their mutual interests make them a perfect team. In Paris, Gaston gets a job as personal secretary to the wealthy heiress to a perfume company, Madame Mariette Colet (Kay Francis), hiring Lily as a maid, so they can rob her blind. Unfortunately, while cleaning up the corruption on her company’s board, and settling into a comfortable lifestyle, he also falls in love with her, and must decide between two women, one who offers excitement, the other, stability. Ernst Lubitsch had become a master of the marital comedy in the silent era and no director was better at exposing the false morality of the bourgeoisie when pursuing sexual desire. Restored by UCLA Film & Television Archive with funding provided by the George Lucas Family Foundation and The Film Foundation Preceded by:
Preceded by:
MOODS OF THE SEA
DINAH
Slavko Vorkapich/John Hoffman, US, 1941, 35mm, 10 min., b/w Subjectivity informs Slavko Vorkapich and John Hoffman’s Moods of the Sea, a lyrical documentary utilizing Felix Mendelssohn’s “Fingal’s Cave” as musical accompaniment. True to Vorkapich’s interest in montage, the images from the constantly moving camera are cut precisely to the music, and each sequence reaches a rhythmic crescendo with the melody.
Dave Fleischer, US, 1932, 35mm, 7 min. By the early 1930s, John, Herbert, Harry and Donald Mills, a.k.a. The Mills Brothers, had established themselves as one of the biggest acts on radio with their unique four-part harmonizing accentuated by their uncanny ability to imitate musical instruments with their voices. They made their big screen debut in Paramount’s The Big Broadcast (1932) before being featured in three Fleischer Bros. “Screen Song” shorts, including this one.
Restored by UCLA Film & Television Archive with funding provided by the National Film Preservation Foundation
Restored by UCLA Film & Television Archive with funding provided by The International Animated Film Society (ASIFA-Hollywood) The UCLA Festival of Preservation is Co-Presented by Louis Bluver 14
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TRACES OF TIME: NEW AMERICAN NONFICTION Thursday, March 8 at 7pm
AN ART THAT NATURE MAKES: THE WORK OF ROSAMOND PURCELL
Molly Bernstein, US, 2015, 75 min. Finding unexpected beauty in the discarded and decayed, photographer Rosamond Purcell has developed a body of work that has garnered international acclaim, graced the pages of National Geographic and over 20 published books, and has attracted admirers such as Jonathan Safran Foer, Errol Morris and Stephen Jay Gould. An Art that Nature Makes details Purcell’s fascination with the natural world – from a mastodon tooth to a hydrocephalic skull – offering insight into her unique way of recontextualizing objects both ordinary and strange into sometimes disturbing but always breathtaking imagery. Followed by a conversation with Rosamond Purcell Friday, March 16 at 7pm
TIP OF MY TONGUE
Lynne Sachs, US, 2017, 80 min. Twelve New Yorkers born in the early 1960s across several continents “visit” every year of their lives in a brash, self-reflexive experiment about what it’s meant to live in America over the last half century. Director and participant Lynne Sachs guides her collaborators across the landscape of their memories. She gives each person the same historical timeline as a catalyst for an exploration of the relationship between their personal lives and the times in which they have lived. Initially strangers with nothing in common but their age, the group works together writing, performing and filming. Using the backdrop of the horizon as it meets the water in each of NYC’s five boroughs as well as abstracted archival material, Sachs’ project becomes an activator in the resurrection of complex, sometimes paradoxical reflections. In the dreamscape of the movie, each participant embraces shards of the past, knowing that his 15
or her connection to a historical moment may be tenuous but allowing for that ambiguity and mystery. In this way, traditional timelines are replaced by a multi-layered, cinematic architecture that both speaks to and visualizes the nature of historical expression. Followed by a conversation with Lynne Sachs Saturday, March 17 at 6pm
POW WOW
Robinson Devor, US, 2016, 75 min. Country clubbers, workers, lovers, rivals, gods, ghosts, Hollywood retirees, Native Americans, Hispanics, whites, the fleeting and the eternal, the deep and the dead, the people behind the gates, all mix up in this chronicle of a dying American joy. Using modern-day characters to illuminate an infamous 1908 manhunt for Willie Boy, a Native American who outran a mounted posse on foot across 500 miles of desert in the Coachella Valley, Pow Wow presents individuals that have, in many ways, utilized the desert to survive and run free. Saturday, March 17 at 8pm
THROUGH THE REPELLENT FENCE
Sam Wainwright Douglas, US, 2017, 74 min. Through the Repellent Fence follows art collective Postcommodity as they strive to construct Repellent Fence, a two-mile long outdoor artwork that straddles the U.S.-Mexico border. Postcommodity consists of three Native American artists who “put land art in a tribal context.” Aided by the communities on both sides of the border, in 2015 the artists installed a series of 28 huge, inflatable spheres emblazoned with an insignia known as the “open eye” that has existed in Indigenous cultures from South America to Canada for thousands of years. “It’s a metaphorical suture stitching together cultures that have inhabited these lands long before borders were drawn.”
BECOME A MEMBER!
ALL MEMBERS RECEIVE: • • • •
Free admission to Lighbox Film Center screenings Guest passes to Lighbox Film Center screenings Discounted admission to Collaborators' screenings, festivals, and IHP programs And more!
Memberships start at $75 for an individual with special rates for students and young professionals.
Learn more and sign up at lightboxfilmcenter.org
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SPECIAL ENGAGEMENTS
Friday, January 12 at 7pm
Saturday, February 3 at 6pm & 8pm
George T. Nierenberg, US, 1979, 56 min. At a time when tap dancing’s popularity was on the wane, George T. Nierenberg crafted an exhilarating documentary that, along with the skyrocketing success of Gregory Hines, brought the art form to a new audience. Featuring music by Lionel Hampton and the dance artistry of Bunny Briggs, Chuck Green, and Harold “Sandman” Sims, No Maps on My Taps showed on multiple television outlets in the US and abroad and screened in theaters and college campuses. The three veteran tap dancers performed live with the film all over the world.
Philippe Garrel, France, 2017, 76 min. After a devastating breakup, the only place twentythree-year old Jeanne has to stay in Paris is the small flat of her father, Giles. But when Jeanne arrives, she finds that her father’s new girlfriend has moved in too: Arianne, a young woman her own age. Each is looking for their own kind of love in a city filled with possibilities.
NO MAPS ON MY TAPS
Followed by:
ABOUT TAP
George T. Nierenberg, US, 1985, 23 min. George Nierenberg’s brilliant and blissful followup to No Maps on my Taps is introduced by Gregory Hines, who shares his childhood memories of watching and imitating the tap dance greats at the Apollo Theater. About Tap features stylistic performances and recollections by three of America’s leading male tap dancers: Steve Condos, Jimmy Slyde and Chuck Green.
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LOVER FOR A DAY
Lover for a Day premiered in the Directors’ Fortnight at Cannes, where it was awarded the SACD prize from the French Writers and Directors Guild, and was an Official Selection of the 2017 New York Film Festival.
Friday, March 9 at 7pm
Saturday, March 10 at 7pm
Frank Ripploh, Germany, 1980, 35mm, 98 min. Writer-director Ripploh also inhabits the lead role in this landmark film of German queer cinema, playing an elementary school teacher whose days in the classroom are followed by seamy nights cruising the public toilets for anonymous hookups, grading papers in the john as he waits for his next likely prospect—a cozily compartmentalized arrangement that’s shaken up when he meets commitment-minded Bernd.
King Hu, Taiwan/Hong Kong, 1979, 184 min., Mandarin w/ English subtitles A travelling scholar, intent on translating a Buddhist sutra, loses his way in the mountains. Time and space collapse around him as he continues his journey, encountering ghostly visitations amid a haunting fantasia of color, light and landscape.
TAXI ZUM KLO
Print courtesy of Breaking Glass Pictures
LEGEND OF THE MOUNTAIN
King Hu rose to prominence in the 1960s and 70s as a superb director of wuxia, a subgenre of samurai film dealing with swords, sorcery and chivalrous heroes. Legend of the Mountain comes from the director’s later period, when his artistry, specifically his landscape compositions, was at the height of its powers. The film’s astonishing nature shots, shot on location in the Korean countryside, are reminiscent of Terrence Malick, while the reflective blend of myth and history is all Hu’s own.
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FAMILY MATINEES
Saturday, January 13 at 2pm
WHEN MARNIE WAS THERE
Hiromasa Yonebayashi, Japan, 2014, 103 mins., English The newest feature from Japan’s famed Studio Ghibli is a sweeping story of friendship, mystery and discovery that delivers stirring emotions and breathtaking animation as only Ghibli can. Saturday, February 17 at 2pm
MUNE: GUARDIAN OF THE MOON
Alexandre Heboyan and Benoît Philippon, France, 2014, 88 mins., English As legend has it, the first Guardian of the Sun threw a harpoon into the cosmos and roped the sun to bring light and warmth to all of humanity. Family Matinees are sponsored by
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Saturday, March 10 at 2pm
SHINE ON! THE BEST ANIMATED FILMS FROM THE 2017 CHILDREN’S FILM FESTIVAL SEATTLE
Various, 2017, 64 mins., For all ages. Films are in English or with English subtitles What makes you shine? The characters in these sweet and funny films have special things that make them glow and grow. Join them as they play with their friends and families, discover new things about themselves, and take journeys to near and far. If you close your eyes and make a wish, you might even be able to join them on a trip to the moon!
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New Jersey:
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Berlin • Cherry Hill • Glassboro • Haddonfield Marlton • Moorestown • Voorhees • Washington Twp.
Coming Soon: Cherry Hill – Liberty View Some limitations or restrictions may apply for businesses. 2For Republic Bank Customers.
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BROADCASTING: VARIETY SHOW SPECIAL
Wednesday, February 28 at 7pm Video art history has not satisfactorily acknowledged the tremendous achievement of Ernie Kovacs, a rogue artist whose stage and canvas was broadcast television. Kovacs experimented with video, imaging effects, and live broadcast decades before video art began to be displayed in art galleries, and his work was a catalyst for such artists as Nam June Paik, William Wegman, Laurie Anderson, and Jaime Davidovich. This special presentation at Lightbox, organized in conjunction with Broadcasting: EAI at ICA, will consider Kovacs’s legacy, both locally — his first television appearances were on NBC’s Philadelphia affiliate — and within a larger context of artists making work for or about broadcast.
in concert with their means of circulation, from the democratic platform of public access television to the instantaneity of social media. Drawing primarily from the collection of Electronic Arts Intermix (EAI), which was founded in New York in 1971 with a mission to distribute and preserve video and media art work, Broadcasting will focus on how artists exploit the act of “broadcast” as a subject, a means of intervention, and as a form of participation. The exhibition is co-curated by Rebecca Cleman, Director of Distribution at Electronic Arts Intermix (EAI) and Alex Klein, Dorothy and Stephen R. Weber (CHE’60) Curator at ICA. More information at icaphila.org
Broadcasting: EAI at ICA (February 2nd – March 25th) brings together an intergenerational group of artists whose time-based artworks are produced
Free Admission
21 Image courtesy of Ediad Productions
IN COLLABORATION SCRIBE VIDEO CENTER PRODUCERS’ FORUM Wednesday, January 17 at 7pm
STRONG ISLAND
Yance Ford, USA, 2017, 107 min. Strong Island chronicles the arc of a family across history, geography and tragedy and how their lives were shaped by the enduring shadow of race in America. A deeply intimate and meditative film, Strong Island asks what one can do when the grief of loss is entwined with historical injustice, and how one grapples with the complicity of silence, which can bind a family in an imitation of life, and a nation with a false sense of justice. With filmmaker Yance Ford in person This screening is co-sponsored with the Film and Media Arts Department of Temple University Free Admission Tuesday, February 13 at 7pm
QUEST
Jon Olshefski, USA, 2017, 90 min. Filmed with vérité intimacy for over a decade, Quest is the moving portrait of a family in North Philadelphia. Christopher “Quest” Rainey, along with his wife Christine’a, aka “Ma Quest,” open the door to their home music studio, which serves as a creative sanctuary from the strife that grips their neighborhood. Over the years, the family evolves as everyday life brings a mix of joy and unexpected crisis, Quest is a tender depiction of an American family whose journey is a profound testament to love, healing and hope. With filmmaker Jon Olshefski in person
Preceded by:
SEE ME ON THE BEAT
Phillip Asbury This short illustrates how a dance can be a magical, high adrenaline, jovial, and rejuvenating experience. When a couple is in synch with each other and with the music, sometimes dancing can transcend space and time. This screening is co-sponsored with the Film and Media Arts Department of Temple University $10, $8 Students/Seniors, $5 Scribe and IHP members Wednesday, March 14 at 7pm
SIGHTED EYES|FEELING HEART
Tracey Heather Strain, USA, 2017, 118 min. In the late 1950s, Lorraine Hansberry wrote “A Raisin in the Sun,” a play about the struggles of an ordinary black family on Chicago’s South Side, and became the first female African-American playwright to be produced on Broadway. Nearly six decades later her acclaimed, groundbreaking play remains a beloved theatrical jewel, but the fascinating story of its author is not widely known. In Sighted Eyes | Feeling Heart, award-winning filmmaker Tracy Heather Strain explores the influences, life and work of this passionate writer and civil-rights advocate. Through interviews with those who knew her best, rare archival material, and the journals of the writer herself. With Producer/Director Tracey Heather Strain in person $10, $8 Students/Seniors, $5 Scribe and IHP members
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WOLF HUMANITIES CENTER
REVIVING AND REVIEWING THE “RACE FILM.” This series revisits so-called “race films”: works of independent African American cinema produced from the 1910s to the 1940s. The afterlives of these films are manifest in their recurring religious themes, the vexed politics of their preservation and restoration, and their creative in influence on later filmmakers. Co-presented by Wolf Humanities Center and Cinema and Media Studies at the University of Pennsylvania in collaboration with Lightbox Film Center at International House Philadelphia. Free Admission Wednesday, January 31 at 7pm
BLOOD OF JESUS
Spencer Williams, 1941, 68 min. This “masterpiece of folk cinema that has scarcely lost its power to astonish” centers on a woman who journeys between heaven and hell after her husband accidentally shoots her. Wednesday, February 7 at 7pm
BODY AND SOUL
Oscar Micheau, 1925, 102 min. Paul Robeson plays both the saintly Sylvester Jenkins and his ex-con brother, the “Reverend” Isaiah, who wows the church ladies with his oratory, then sullies their virgin daughters and makes off with their life savings. Featuring a new soundtrack by DJ Spooky.
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Wednesday, February 14 at 7pm
BORDERLINE
Kenneth MacPherson, 1930, 63 min. Two couples’ lives become violently intertwined in this avant-garde feature depicting racism in a Swiss village. Paul Robeson stars alongside his wife, Eslanda Robeson, and H.D. (Hilda Doolittle). Wednesday, February 21 at 7pm
WATERMELON WOMAN
Cheryl Dunye, 1996, 90 min. This “fake documentary” stars the director as a fictionalized version of herself. Dunye plays a black lesbian filmmaker who, captivated by an elusive, queer 1930s black film actress, decides to make a film about her.
EXHUMED FILMS
Friday, February 23 Join Exhumed Films for another one-of-a-kind cult repertory cinema experience at Lightbox Film Center! As of print time, the titles for this double-feature (or triple-feature?) have not been determined, but check our website for further details! www.exhumedfilms.com
ISRAELI FILM FESTIVAL
March 3, 4, and 24 2018 marks the 22nd year of the Israeli Film Festival of Philadelphia, a celebration of Israeli culture, with the aim of enriching the American vision of Israeli culture and society through film. Each season, a slate of feature films and documentaries are selected to provide a diverse and impartial reflection of Israel. Information on Opening Night of the festival follow; details on the other screenings being held at Lightbox Film Center will be published soon at www.iffphila.com and www.ihousephilly.org/ iffphila. Saturday, March 3 at 8pm
MAKTUB
Oded Raz, Israel, 2017, 100 min. Guy Amir and Hanan Savyon, the acclaimed writers and stars behind Israeli TV mega-hits such as Scarred, Asfur, and Ma Bakarish, play partners in crime in this hilarious, politically incorrect caper. Maktub means fate, and certainly the destiny of these two small-time enforcers for a Jerusalem mob protection racket irrevocably changes when they survive a suicide bombing and wind up fulfilling the wishes of those who leave notes at the Wailing Wall.
INTERCULTURAL JOURNEYS
Sunday, March 11 at 7pm
DUAL FACE | DWIMUKA
Featuring Didik Nini Thowok A gesture. A smile. A costume. All define our identity—or do they? Renowned Indonesian crossgender dancer Didik Nini Thowok reveals a radiant and insightful artistic interpretation. As Indonesia’s most acclaimed cross-gender dance artist, Didik Nini Thowok is the successor of many cross-gender dance forms in Indonesia. Combining diverse classical, modern and contemporary movement techniques, Thowok crosses intersecting layers of gender and cultural identity through richly storied dances and his own distinctive comedic expression. $20 General Admission $15 Young Friends (30 and under) and Lightbox Members $10 Students with valid ID and Children under 18
2018 PENN BIOETHICS FILM FESTIVAL
March 20-22, 2018 To celebrate the 200th anniversary of the novel, “Frankenstein” is the theme of the third annual Bioethics Film Festival. Visit www. pennbioethicsfilmfest.org for a full schedule and more information.
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215.387.5125
INTERNATIONAL HOUSE PHILADELPHIA CULTURAL CELEBRATIONS
Thursday, February 15 at 7pm
Friday, March 23 at 8pm
The Lunar, or Chinese, New Year is also known as the Spring Festival and is a time to wish one another luck and prosperity for the upcoming year. International House Philadelphia will welcome the Year of the Dog with our annual celebration that has typically seen sell-out crowds and is among our most popular and sought after events. The evening includes an exhilarating Lion Dance and show of traditional music and dance performances and martial arts demonstrations, followed by a reception featuring tastings of traditional Chinese cuisine.
Nowruz is the Persian New Year, the first day of spring and beginning of the year in the Persian calendar. Celebrate this popular event by enjoying a variety of Middle Eastern delicacies and teas, experiencing Persian music and dance, and participating in interactive cultural activities. Guests will learn about the symbolic haft-seen table display and be part of a celebration observed in over 15 countries around the world.
LUNAR NEW YEAR
NOWRUZ
ihousephilly.org/nowruz $15 General Public; $10 IHP Members & Alumni
ihousephilly.org/lunarnewyear Thursday, March 1 at 7pm
CARNIVAL
The festive Carnival season occurs before the liturgical season of Lent and typically involves a celebration or parade combining some elements of a circus, masks, and a public street party. Inspired by the carnivals in Brazil and the Caribbean, our colorful party will feature performances, music, and dance. Party-goers are encouraged to join the festivities in mask and costume.
ihousephilly.org/carnival
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ART EXHIBIT
IN COLLABORATION WITH DA VINCI ART ALLIANCE An exhibition encompassing the experiences of artists as they explore aspects of their lifetime and creative practice that reflect social turmoil or respond to a life well lived. Presented in conjunction with the UCLA Festival of Preservation, which features a variety of films connected by the underrepresented experiences of marginalized communities and social injustices they endured.
EAST ALCOVE GALLERY
Exhibition on view January 23 – March 17 Opening Reception: Tuesday, January 23 at 6pm
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JANUARY
FEBRUARY
Friday, January 5 at 7pm The Sacrifice p.7
Thursday, February 1 at 7pm Desert Hearts p.11
Saturday, January 6 at 7pm Brand X & Dynamite Chicken p.10
Friday, February 2 at 7pm He Walked by Night & Open Secret p.11
Friday, January 12 at 7pm No Maps on My Taps & About Tap p.17
Saturday, February 3 at 6pm & 8pm Lover for a Day p.17
Saturday, January 13 at 2pm When Marnie Was There p.19
Wednesday, February 7 at 7pm Body and Soul, p.23
Saturday, January 13 at 7pm La Grande Bouffe p.7
Thursday, February 8 at 7pm The Murder of Fred Hampton & The Jungle p.11
Wednesday, January 17 at 7pm Strong Island p.22
Friday, February 9 at 7pm Stranded & The Plastic Dome of Norma Jean p.12
Thursday, January 18 at 7pm Exploded View p.3
Saturday, February 10 at 5pm Sons of the Desert & Berth Marks p.12
Friday, January 19 at 7pm Bodymania p.3
Saturday, February 10 at 8pm Los Tallos Amargos (The Bitter Stems) p.13
Saturday, January 20 at 2pm Shape and Structure p.4
Tuesday, February 13 at 7pm Quest & See Me On The Beat p.22
Saturday, January 20 at 5pm Introspection p.5
Wednesday, February 14 at 7pm Borderline p.23
Saturday, January 20 at 8pm Underground Cartoons p.6
Thursday, February 15 at 7pm Lunar New Year p.25
Tuesday, January 23 at 6pm Personally Speaking - Art Exhibit p.26
Friday, February 16 at 7pm Good References & Tramp Strategy p.13
Thursday, January 25 at 7pm Dog Star Man p.9
Saturday, February 17 at 2pm Mune: Guardian of the Moon p.19
Friday, January 26 at 7pm The Great Silence p.8
Saturday, February 17 at 7pm The Lost Moment & Moods of the Sea p.14
Wednesday, January 31 at 7pm Blood of Jesus p.23
Thursday, February 22 at 7pm Pinochet Porn p.9
Wednesday, February 21 at 7pm Watermelon Women p.23
Thursday, March 15 at 7pm Dante no es Ăşnicamente severo p.9
Friday, February 23 Exhumed Films p.24
Friday, March 16 at 7pm Tip of My Tongue p.15
Saturday, February 24 at 7pm Trouble in Paradise & Dinah p.14
Saturday, March 17 at 6pm Pow Wow p.15
Wednesday, February 28 at 7pm Broadcasting: Variety Show Special p.21
Saturday, March 17 at 8pm Through the Repellent Fence p.15
MARCH
Tuesday March 20 - Thursday March 22 2018 Penn Bioethics Film Festival p.24
Thursday, March 1 at 7pm Carnival p.25
Friday, March 23 at 8pm Nowruz p.25
Friday, March 2 at 7pm The Passion of Joan of Arc p.8
Saturday, March 24 Israeli Film Festival p.24
Saturday, March 3 at 8pm Israeli Film Festival p.24
Friday, March 30 at 7pm Memories of Underdevelopment p.8
Sunday, March 4 Israeli Film Festival p.24
STAFF
Thursday, March 8 at 7pm An Art that Nature Makes: The Work of Rosamond Purcell p.15 Friday, March 9 at 7pm Taxi Zum Klo p.18 Saturday, March 10 at 2pm Shine On! The Best Animated Films from The 2017 Children’s Film Festival Seattle p.19 Saturday, March 10 at 7pm Legend of the Mountain p.18 Sunday, March 11 at 7pm Dual Face & Dwimuka p.24 Wednesday, March 14 at 7pm Sighted Eyes & Feeling Heart p.22
Sarah Christy Director of Programs and Events Chrissie DiAngelus Director of Marketing & Communications Jesse Pires Chief Curator Patrick DiGiacomo Programs & Membership Manager Robert E. Cargni Theater & Galleries Manager Nana-Ama A. Kyeremeh Conference Center & Events Manager Joseph Ehrman-Dupre Programs Development Manager James Fraatz Technical Manager Julio Perez Jr. Graphic Designer
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WELCOME TO LIGH Lightbox Film Center is Philadelphia’s premier exhibitor of film and moving image art. When you join our independent, nonprofit theater, you gain unparalleled access to hundreds of events each year, ranging from film screenings, live performances, and multidisciplinary works to artist talks and receptions. You engage with a passionate community of cinephiles, celebrating the projected image as a framework for diverse ideas and perspectives. To join, visit ihousephilly.org/membership
Like us on Facebook at www.facebook.com/LightboxFilmCenter Follow us on Twitter at www.twitter.com/LightboxFilmCtr Follow us on Instagram @LightboxFilmCenter
Lightbox Film Center is supported by The Andy Warhol Foundation for the Visual Arts; Christian R. and Mary F. Lindback Foundation; the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania and the National Endowment for the Arts, a federal agency; Wyncote Foundation; and the Philadelphia Cultural Fund.
Cover Image: Saturday, January 20 at 8pm
CURIOUS ALICE
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FOR MORE INFORMATION ON OUR F W W W. L I G H T B O X F
HTBOX FILM CENTER TICKETS • Advanced tickets can be purchased online at www.ihousephilly.org/calendar for most listed films and events. • Tickets can be purchased at the Box Office, which is open Tuesday - Saturday from 12 to 8pm and at other select times. Phone: 215.387.5125 x2 •
Unless noted, tickets prices for Lightbox Film Center films are $10 for General Admission, $8 for seniors and students. Ticket prices for Family Matinees are $5 and children under the age of 2 are free.
• Lightbox Film Center Members and IHP Residents enjoy free admission to most films.
GETTING HERE Lightbox Film Center is located in International House Philadelphia at 3701 Chestnut Street in the heart of University City. It is easily reached by public transportation or car. Metered street parking is available on Chestnut and nearby streets. Discounted parking for IHP guests is available at the Sheraton University City parking garage, 3549 Chestnut Street. Bring your parking receipt to the IHP Front Desk or Box Office for a validation stamp to receive a $2.00 discount on the regular parking rates at the Sheraton garage, which is open 24 hours.
GENERAL INFORMATION • Call 215.387.5125, email info@ihphilly.org or visit www.ihousephilly.org. • To rent IHP’s Ibrahim Theater for a film screening or special event: 215.387.2275 or email events@ihphilly.org.
FILMS AND UPCOMING EVENTS VISIT: FILMCENTER.ORG
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WWW.LIGHTBOXFILMCENTER.ORG 1-215-387-5125
Lightbox Film Center is Philadelphia’s premier exhibitor of film and moving image art. The signature arts program of International House Philadelphia, an independent nonprofit organization, Lightbox presents an unparalleled slate of repertory, nonfiction, experimental and international cinema. Beyond the traditional movie theater experience, Lightbox delivers enriching film programs with artist talks, live music and other multidisciplinary programs.
3701 Chestnut Street, Philadelphia, PA 19104