Posts tagged
'Arkansas Times Film Series'

Join us this month for Claire Denis’ 2008 film “35 Shots of Rum,” which the Village Voice called her “warmest, most radiant work, honoring a family of two’s extreme closeness while suggesting its potential for suffocation.”

Subtle and devastating, Roger Ebert described Yasujirō Ozu’s “Late Spring” as a film about two people who are “undone by their tact, their concern for each other, and their need to make others comfortable by seeming to agree with them.”

French director Mia Hansen-Løve's meta-drama about a filmmaking couple working on their respective screenplays shows at Riverdale 10 VIP Cinema on April 16.

More internal struggle than a traditional narrative and propelled by a hypnotic score by Philip Glass and cinematography by the legendary Roger Deakins, Martin Sorsese’s 1997 film “Kundun” is an epic about the early years of Tenzin Gyatso, who was identified as the 14th (and current) Dalai Lama at the age of 2.

Despite its outsize acting and bold Technicolor, "Imitation of Life" (1959) — director Douglas Sirk's final Hollywood film — offers a subversive critique of American notions of race, gender and class.

In keeping with our November tradition of celebrating food through film in all its gastronomic glory, we're screening Ang Lee’s 1994 comedy-drama “Eat Drink Man Woman,” an early offering by the Taiwenese filmmaker who went on to direct “Brokeback Mountain” and “Crouching Tiger, Hidden Dragon.”

Wes Craven’s 1994 attempt to rejuvenate the “Nightmare on Elm Street” franchise is a meta offering that's even darker than the original.

Partway through Jafar Panahi's second feature film, the main character breaks the fourth wall, rips off her costume and declares she doesn’t want to act anymore, leaving it up to the crew to decide how to respond.

Though many of writer and director Céline Sciamma’s films interrogate the complicated act of looking, “Portrait of a Lady on Fire” takes direct aim at the notion of the artistic muse, a tension that’s heightened by a backdrop of forbidden queer romance and the female gaze.

Until director Jennie Livingston’s 1990 documentary “Paris Is Burning,” few people beyond those intimately involved knew about the thriving subculture of drag pageants, which had been a haven for queer people of color for decades.

“Symbiopsychotaxiplasm: Take One," directed by William Greaves, is rife with disorienting split-screen editing, metacommentary and fully-indulged tangents.

The second-to-last film completed film by Orson Welles, the director behind “Citizen Kane,” “F for Fake” is a trailblazing, video essay-esque exploration of essential themes at the heart of artmaking, like authenticity and authorship.