Upcoming repertory series include retrospectives celebrating Nicolas Roeg and Harry Dean Stanton, a survey of musicals from across the globe, Pink Floyd at the movies, and a collection of films exposing Paris' dark underbelly
Look Now: Nicolas Roeg
Starts September 1
When the Swinging Sixties faded away and the Hollywood money dried up, the postwar generation of British directors fled to Hollywood, leaving their native cinema to sink into the doldrums. Enter ace cinematographer Nicolas Roeg (DP on a succession of high profile movies such as Petulia and Far From the Madding Crowd, included in this series) who made his move and crossed over into directing, rapidly establishing himself as one of the key UK directors of the Seventies. What followed were a string of singular, dazzling, and intricately-structured puzzle films that applied dynamic and often hallucinatory visuals and ingeniously fragmented editing to the exploration of grown-up subject matter. In Roeg’s films, sexuality is foregrounded in a series of fraught, troubled relationships that are often tested to breaking point and beyond, with Roeg’s steady, overarching concern fixed on the flux and disorder of human consciousness in extremis.
Titles include: Bad Timing (1980), Castaway (1986), Don't Look Now (1973), Eureka (1983), Far From the Madding Crowd (1967), The Man Who Fell to Earth (1976),Performance (1970), Petulia (1968), Walkabout (1971), The Witches (1990)
Paris Stripped Bare
Starts September 8
Throughout movie history, Paris has been one of the most lovingly photographed, most idealized cities, every charming café and tree-lined boulevard full of romantic possibility. But for a handful of non-French filmmakers peering in, the City of Lights represents something much darker and more sinister. Inspired by Nathan Silver’s new psycho-sexual black comedy Thirst Street (opening at the Quad September 20), this series surveys Parisian portraits by directors from Italy, America, and Poland, movies that warp the city’s glorified clichés and expose the seedy underbelly festering beneath those cobblestone streets.
Titles include: La Balance (1982), Bitter Moon (1992), Exposed (1983), Frantic (1988), Last Tango in Paris (1972), The Tenant (1976), Quiet Days in Clichy (1970)
Welcome to the Machine:
Pink Floyd at the Movies
Starts September 11
One of the most successful rock bands of all time, Pink Floyd defined psychedelia for a generation of listeners and then went beyond to create a series of concept albums that were as philosophical in scope as they were technically precise. From the dreamy existential musings of Dark Side of the Moon to the anxious anti-authoritarian screed of The Wall, the English band became an ideal soundtrack to images of rebellion, revolution, and free love in the paranoid haze of the 1970s. Our series includes their thrilling 1972 concert film, ambitious projects directed by Barbet Schroeder and Michaelangelo Antonioni, and their landmark live action/animated rock opera, plus David Gilmour’s latest concert as our centerpiece.
Titles include: More (1969), Pink Floyd: Live at Pompeii (1972), Pink Floyd: The Wall (1982), La Vallee (1972), When the Wind Blows (1986), Zabriskie Point (1970)
The Whole World Sings: International Musicals
Starts September 15
While many beloved movie musicals have come from the U.S., some of the genre’s most delirious highlights have been produced far beyond the confines of Hollywood. This September, it’s all (subtitled) singing, all dancing at the Quad, as we span continents and film history to explore how multiple continents—from Europe to Asia to the Middle East and beyond—have made the musical their own. Programmed in collaboration with Bilge Ebiri.
Titles include: Black Orpheus (1959), Destiny (1997), French Cancan (1955), The Golden Eighties (1986), The Love Eterne (1963), Le Million (1931), Pyassa (1957), Simeon (1992), The Umbrellas of Cherbourg (1964), Viktor und Viktoria (1982), Zouzou (1934)
Also Starring Harry Dean Stanton
Few actors are as recognizable in American movies as Harry Dean Stanton. The singularly mild-mannered face of the New Hollywood, his repertoire expands to dozens of appearances in beloved studio, cult, and independent movies, with only a handful of starring roles to his name. In a career spanning more than 60 years, Stanton’s inimitable, gently hangdog persona revealed a capacity for harebrained agitation and profound melancholy that prove equally disarming, all while never less than at ease on camera. Stanton has worked with many of the most important names in international cinema, from Peckinpah to Wenders to Lynch. On the occasion of his starring role in Lucky (opening September 29 courtesy of Magnolia Pictures)—and keeping in mind critic Roger Ebert’s famous proclamation that no film with his presence could be without merit—the Quad is proud to present a wide-ranging selection of his most memorable roles.
Titles include: Alien (1979), Christine (1983), Cisco Pike (1972), Cockfighter (1974), Death Watch (1980), Dillinger (1973), Escape from New York (1981), Fool for Love (1985), The Last Temptation of Christ (1988), The Missouri Breaks (1976), 92 in the Shade (1975), Paris, Texas (1984), Pretty in Pink (1986), Ride in the Whirlwind (1966), Repo Man (1984), The Rose (1979), Slam Dance (1987), The Straight Story (1999), Straight Time (1978), Twister (1989), Wise Blood (1979)