GME News
This rapturously beautiful 2005 feature by Hou Hsiao-hsien is a triumph about the melancholy play of time and memory. The action is broken into three different love stories, each set in a different era—a 1966 pool hall, a prosperous 1911 brothel, and contemporary Taipei—but starring the same leads, the impossibly glamorous Shu Qi and Chang Chen.
Read MoreAt its 50th Anniversary Gala, announcing the rebranding of the “Film Society of Lincoln Center” to “Film at Lincoln Center”, GME President Jon Gartenberg facilitated use of a clip from CBS’s Camera 3 program (courtesy of producer Stephan Chodorov) celebrating the first edition of the New York Film Festival in 1963.
Read MoreThai visionary Apichatpong Weerasethakul drifts through dream states in this Palme d’Or-winning jungle ghost story in which a dying man reconnects with the spirit of his dead wife as he journeys through his previous lives.
Read MoreOver the past two decades, GME has assembled a curated collection of significant films throughout the entire course of moving image history, which we offer in DVD and Blu-ray editions to educational institutions in North America. A substantial number of these films are represented in Anthology Film Archives’s Essential Cinema Repertory program.
Read MoreJonas Mekas on his film THIS SIDE OF PARADISE (1999): "I had the fortune to spend some time, mostly during the summers, with Jackie Kennedy's and her sister Lee Radziwill's families and children. Cinema was an integral, inseparable, as a matter of fact, a key part of our friendship."
Read MoreLight Industry presents an evening devoted to Lis Rhodes, occasioned by “Telling Invents Told”, a new collection of her writings published by The Visible Press and edited by María Palacios Cruz. Rhodes was one of the key figures to emerge from the London Film-Makers’ Co-operative in the 1970s. In her films the site of female subjectivity is analyzed like a crime scene.
Read MoreIt is stupid to treat Charlie as a clown of genius. If there had never been a cinema he would undoubtedly have been a clown of genius, but the cinema has allowed him to raise the comedy of circus and music hall to the highest aesthetic level. Chaplin needed the medium of the cinema to free comedy completely from the limits of space and time imposed by the stage or the circus arena. The best Chaplin films can be seen over and over again with no loss of pleasure – indeed the very opposite is the case.
Read MoreWerner Schroeter’s only U.S. production, WILLOW SPRINGS (1973) and Jean-Marie Straub & Danièle Huillet’s CLASS RELATIONS (KLASSENVERHÄLTNISSE) (West Germany, 1984) among the most incisive observations about the United States have been made by those born beyond its shores. In these films, and others in this series, one encounters many Americas, perspectives on a nation that reveal the peculiarities of its customs, the drama of its natural splendor, and the lacerating contradictions of its political mythologies.
Read MoreMaya Deren, the godmother of the American avant-garde, created trance-state explorations of consciousness, movement, the body, and nature rooted in the dream logic of surrealism and awash in unforgettably uncanny images. From the time-and space-collapsing psychodrama of her forever influential debut MESHES OF THE AFTERNOON to the mesmerizing dance film RITUAL IN TRANSFIGURED TIME, these profoundly personal landmarks of experimental film showed that cinema could be a direct conduit to the unconscious mind. Plus David Lynch’s neo-noir freak-out MULHOLLAND DRIVE.
Read More“Shot in fits and starts on a minuscule budget, MYSTERIOUS OBJECT AT NOON was modeled on the Exquisite Corpse add-an-element structure famous from French surrealism, in which drawings or texts are passed from person to person to elaborate upon, with the original materials hidden so that each addition does not adhere in any “logical” or predetermined way, resulting in a collective, randomly assembled piece (Hail Duchamp).”
– James Quant, "Mysterious Object at Noon"
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