Films Now Showing

INFERNO (1953) in 3D
65th Anniversary
It's the essential Noir City plot: illicit lovers hatch a "foolproof" scheme to bump off the woman's rich, domineering husband. But what if the husband, left for dead in the scorching desert, doesn't die? What if that husband, crippled but hell-bent on revenge, is played by the indomitable Robert Ryan? Watch as unmerciful nature takes on unbreakable man in amazing 3D and stereophonic sound! Toss in titanic, titian-tressed Rhonda Fleming as the deceitful, voluptuous vixen, and you've got perhaps the best 3D movie of the original Hollywood stereo-optic craze! Not on DVD! (Note courtesy of Noir City.) DIR Roy Ward Baker; SCR Francis M. Cockrell; PROD William Bloom. U.S., 1953, color, 83 min. NOT RATED

Followed by:
MAN IN THE DARK (1953) in 3D
65th Anniversary; 4K Digital Restoration
Strap yourselves in as Noir City presents the first screening in decades of this long-lost noir, in fully restored 3D and glorious black-and-white! Pinched by the cops after pulling off a big heist, crook Steve Rawley (Edmond O'Brien) undergoes an experimental operation to eliminate his criminal urges. It also makes him forget where he hid the loot, much to the consternation of his old gang and his itchy-fingered girlfriend (Audrey Totter). Fortunately, clues pop up (literally!) in Rawley's dreams, and soon he's leading the crooks and cops on a careening hunt for the money, culminating in a spectacular chase through Santa Monica's creepy old Pacific Ocean Park. Not on DVD! (Note courtesy of Noir City.) DIR Lew Landers; SCR George Bricker, Jack Leonard, from a story by Tom Van Dycke and Henry Altimus; PROD Wallace MacDonald. U.S., 1953, b&w, 70 min. NOT RATED

AFI Member passes not accepted.

In Mexico, families have been passing down the tradition of distilling agave for generations. Discover how this once-obscure Mexican drink has evolved into the fastest growing spirit in the world, as we follow three producers in a bio-diverse landscape, from the alluring red highlands of Jalisco to the rugged mountains of Oaxaca. This expressive documentary takes viewers beyond the spirit to discover how one delicate plant can carry the weight of a nation and the people trying to protect it. (Note adapted from Digital Cave Media.) Official Selection, 2018 Guadalajara and SXSW film festivals. DIR/SCR/PROD Nick Kovacic, Matthew Riggieri. U.S./Mexico, 2018, color, 79 min. In English and Spanish with English subtitles. NOT RATED

No AFI Member passes accepted.

[CASI 40]

Tristán reunites with his longtime friend and former lover, retired singer Lucía, when he books her a small concert tour — her first shows since starting a family six years prior. Seeing straight through his pretense, Lucía agrees to play the concerts to escape her life of domesticity and catch up after 20 years. The pair fill each other in on the two decades they have spent apart and talk about old times, as they travel from gig to gig in this sophisticated road movie with striking similarities to Richard Linklater's dialogue-driven BEFORE trilogy. Winner, Special Jury Award, 2018 Málaga Spanish Film Festival. DIR/SCR/PROD David Trueba. Spain, 2018, color, 83 min. In Spanish with English subtitles. NOT RATED

No AFI Member passes accepted.

[EL ÁNGEL]

Produced by Pedro Almodóvar, Luis Ortega's stylish, pop-infused, true-crime thriller traces the rise of one of Argentina's most notorious serial killers — Carlos Robledo Puch, the longest-serving prisoner in Argentine history. It's 1971 and Carlitos (Lorenzo Ferro) is an angel-faced Buenos Aires teen — and a successful small-time thief. When he meets the handsome and hard-as-nails Ramón (Chino Darín) at his new school, the pair are instantly drawn to one another and soon embark on an escalating journey of violent criminality. Official Selection, 2018 Cannes, New Zealand and Toronto film festivals. DIR/SCR Luis Ortega; SCR Sergio Olguín, Rodolfo Palacios; PROD Agustín Almodóvar, Pedro Almodóvar, Leticia Cristi, Pablo Culell, Esther García, Axel Kuschevatzky, Matías Mosteirín, Sebastián Ortega, Hugo Sigman. Argentina/Spain, color, 2018, 126 min. In Spanish with English subtitles. NOT RATED

No AFI Member passes accepted.

[OTRA HISTORIA DEL MUNDO]

It is the 1980s, and prankish political activism is alive and well in rural Uruguay. When a new military governor is installed in the town of Mosquitos, best friends Milo and Esmail protest by broadcasting their discontent on the radio and purloining garden gnomes. When the governor imprisons Milo, Esmail launches a propaganda campaign that seeks justice for his buddy — and offers an alternative history of his nation. Guillermo Casanova (SEAWARDS JOURNEY) has crafted a biting political satire for the ages. (Note adapted from Miami Film Festival.) Winner, Best Performance (César Troncoso), 2018 Miami Film Festival; Official Selection, Chicago Latino Film Festival. DIR/SCR Guillermo Casanova; SCR Inés Bortagaray; PROD Hugo Castro Fau, Kristina Konrad, Natacha López, Isabel Mártinez. Argentina/Uruguay, 2017, color, 105 min. In Spanish with English subtitles. NOT RATED

No AFI Member passes accepted.

[ARÁBIA]

Andre is a regular teenager living in an industrial town in Brazil near an old aluminum plant. When local factory worker Cristiano suffers an accident, Andre is asked to go to Cristiano's house to pick up clothes and documents. There he stumbles on a notebook, and it's here that ARABY begins — or, rather, transforms. As Andre reads from the journal entries, Cristiano's story comes to life, and the tales of his wanderings, adventures and loves form a fable-like road movie about a young man's 10-year journey in search of a better life. (Note adapted from Grasshopper Films.) Winner, Special Mention, 2017 Buenos Aires International Festival of Independent Cinema (BAFICI); Best Feature, 2017 Golden Apricot Yerevan International Film Festival; Honorable Mention and Special Jury Award, 2017 IndieLisboa International Independent Film Festival; Special Mention, 2017 Ljubljana International Film Festival; Official Selection, 2017 San Sebastián, Rotterdam, London, New Directors/New Films, Hamburg and Cartagena film festivals.DIR/SCR João Dumans, Affonso Uchôa; PROD Vitor Graize. Brazil, 2017, color, 97 min. In Portuguese with English subtitles. NOT RATED

No AFI Member passes accepted.

Still mourning the death of her mother, troubled teen Angela (former Nickelodeon star Ana Mulvoy-Ten) notices a sudden shift in her older sister Chloe's personality and fears that the same dark and terrifying force that may have caused her mother's death is now at work on Chloe. The tension grows as the film progresses in this angst-ridden tale of a family with some alien possession issues. A creepy and atmospheric thriller exploring a teenage girl's alienation from her family that parallels society's slowly loosening grip on reality. DIR/SCR Ross Wachsman; SCR Gregg Meller, Steven A. Mourning; PROD Alain Vo. U.S., 2018, color, 87 min. NOT RATED

Preceded by:
DON'T LOOK INTO THEIR EYES – They know you're here. Hide. When they get closer, don't move or make any noise. But whatever you do, don't look into their eyes. DIR John Rhee. U.S., 2017, color, 5 min. NOT RATED

No AFI Member passes accepted.

[LEJOS DEL SENTIDO]

After contacting a virus at the age of three, Liliana was later diagnosed with mental illness, and has lived most of her life with borderline personally disorder. She has been in and out of treatment centers but finds solace in her family and her "only friend" Carlos, who is living with schizophrenia. In her feature directorial debut, cinematographer Olivia Luengas turns the camera on her sister for an intimate and personal story that is both harrowing and heartfelt. Official Selection, 2018 Guadalajara International Film Festival. DIR/SCR/PROD Olivia Luengas; PROD Odín Acosta Ascencio. Mexico, 2018, color, 90 min. In Spanish with English subtitles. NOT RATED

No AFI Member passes accepted.

It's true that Joan Jett became mega-famous for her number-one hit "I Love Rock 'n' Roll," but that's only part of the story. That fame intensified with the music video's endless play on MTV, world tours and many hits to follow, but that staple of popularity can't properly define a musician. Jett put in her hard work long before the fame, ripping it up onstage as the backbone of the hard-rock legends The Runaways, starting her own record label out of the trunk of a car after being rejected by 23 labels and influencing many musicians — both her punk-rock cohorts and generations of younger bands — with her no-bullshit style. BAD REPUTATION is a wild ride through the burgeoning '70s punk scene and the rocky road to rock stardom as told by Jett and her close friends. Through interviews mixed with amazing archival footage, a clear theme emerges: even though people tried to define Jett, she never compromised. She will kick your ass, and you'll love her all the more for it. (Note adapted from Magnolia Pictures.) DIR Kevin Kerslake; SCR Joel Marcus; PROD Peter Afterman, Carianne Brinkman. U.S., 2018, color, 95 min. RATED R

AFI Member passes accepted.

[LE GRAND MÉCHANT RENARD ET AUTRES CONTES...]
From the creators of the Academy Award®-nominated ERNEST & CELESTINE comes another hilarious, heartwarming tale of animal misfits, destined to become a classic. The countryside isn't always as calm and peaceful as it's made out to be, and the animals on this farm are particularly agitated: a fox who mothers a family of chicks, a rabbit who plays the stork and a duck who wants to be Santa Claus. If you think life in the country is a walk in the park, think again! Directors Benjamin Renner and Patrick Imbert adapt Renner's own acclaimed graphic novel into a delirious, delightful triptych of interlocking stories, with a pacing and visual spontaneity that harkens back to classic Looney Tunes shorts and slapstick two-reelers. But underneath the gags (and there are plenty), the three stories offer a sensitive and beautiful portrayal of family and the anxieties of modern life. (Note courtesy of GKids.) DIR Patrick Imbert; DIR/SCR Benjamin Renner, from his graphic novel; SCR Jean Regnaud; PROD Damien Brunner, Didier Brunner, Vincent Tavier. France, 2017, color, 83 min. In French with English subtitles. RATED G

AFI Member passes accepted.

[AGUJERO NEGRO]

Víctor is a 30-year-old novelist living the dream life when the news that he is a father-to-be throws his world upside down. Taking it rather poorly, he spirals into a second adolescence and begins spending way too much time with Valentina, the bright but defiant 16-year-old girl who lives next door. As his pregnant wife's belly grows, so does the distance between the young couple, but Víctor just can't help digging himself deeper. Official Selection, 2018 Buenos Aires International Festival of Independent Cinema. DIR/SCR Diego Araujo; SCR/PROD Hanne-Lovise Skartveit. Ecuador/Dominican Republic, 2018, b&w, 102 min. In Spanish with English subtitles. NOT RATED

No AFI Member passes accepted.

Reeling after the flop of her latest novel, bestselling crime writer Robin Richards (Andréa Winter) is sent by her publisher to the Swedish countryside to regain inspiration. Alone there, she comes across an assortment of peculiar characters, including her driver and most obsessive fan, his explosively jealous wife and the progressively more unhinged man who owns the farm where she's staying. Totally out of place in her new surroundings — for one, she is always dressed for glamorous, big-city life — Robin discovers just how dangerous these oddballs can be. DIR/SCR Patrick von Barkenberg; SCR/PROD Andréa Winter. Sweden, 2018, color, 84 min. In English and Swedish with English subtitles. NOT RATED

Preceded by:
ALL YOU CAN CARRY – A young boy and his parents race against dawn to escape home as the reality beyond their scavenged life finally catches up with them. DIR Andrew Rose. UK, 2018, color, 11 min. NOT RATED

No AFI Member passes accepted.

[CÓMPRAME UN REVOLVER] MAD MAX: FURY ROAD meets THE FLORIDA PROJECT in Julio Hernández Cordón's (ATRÁS HAY RELÁMPAGOS, I PROMISE YOU ANARCHY) stunning dystopian coming-of-age tale. In a future Mexico, in which the kidnapping of women is commonplace and the drug cartels rule the roost, Huck lives with her father, the caretaker of an abandoned baseball camp where local gangsters gather to play. Afraid for her life, Huck is forced to hide her gender and joins with a group of lost boys to try to defeat the local capo. Winner, Outside the Box Award, 2018 Neuchâtel International Fantastic Film Festival; Official Selection, 2018 Cannes Film Festival, Directors' Fortnight. DIR/SCR/PROD Julio Hernández Cordón; PROD Maria Jose Cordova, Rodrigo Sebastian Gonzalez, Rafael Ley. Mexico/Colombia, 2018, color, 84 min. In Spanish with English subtitles. NOT RATED

No AFI Member passes accepted.

Drifting beautifully between science and spirituality, CIELO is a love letter to the night sky as experienced in Chile's Atacama Desert, one of the best places on the planet to explore and contemplate its splendor. Planet hunters in the Atacama's astronomical observatories and the desert dwellers who work the land and sea share their evocative visions of the stars and planets, their mythical stories and existential queries with remarkable openness and a contagious sense of wonder. Winner, Award for Cinematography, 2018 Salem Film Fest; Official Selection, 2017 New York Film Festival, 2018 Karlovy Vary, Full Frame and DOXA film festivals. DIR/SCR/PROD Alison McAlpine. Chile/Canada, 2017, color, 77 min. In English, Spanish, French and German with English subtitles. NOT RATED

No AFI Member passes accepted.

Twelve-year-old city boy Niilas has been living with his father for as long as he can remember and barely knows his mother. This summer, Niilas has to travel to Swedish Lapland — much against his will — where his mother and her new family live amongst the Sami, an indigenous reindeer-herding people. Despite a warm welcome, Niilas retreats inward. The only one who can get through to him is his half-sister Sunnà. The reindeer migration is fully underway and Niilas has to lend a helping hand. When a reindeer goes missing, Niilas joins in the search, and an impressive moose keeps crossing his path at the most unexpected moments. Gradually he discovers his roots, which prove to be stronger than he ever could have imagined. Against all odds, Niilas experiences the most adventurous summer of his life. (Note adapted from LevelK.) DIR/SCR Meikeminne Clinckspoor; PROD Katleen Goossens. Belgium/Sweden/Norway/Netherlands, 2017, color, 77 min. In Dutch, Swedish and Sami with English subtitles. NOT RATED. For ages 9+

This event is brought to you by the 11th-annual Kids Euro Festival, a two-week long festival of European arts and culture presenting free activities to D.C. metro area children and their families. With programs both for the general public and for school groups, more than 10,000 DC-area children and their families enjoy Kids Euro Festival programs each year. This is made possible by the 28 European Union countries and the European Union Delegation in Washington in cooperation with the European-American Cultural Foundation. This free screening of CLOUDBOY is presented with the support of the Embassy of Belgium and the Embassy of Sweden.

For the full lineup of events, visit kidseurofestival.org and follow #KidsEUFest.

A rapturous crime fable set in the Dominican Republic, COCOTE follows Alberto, a kind-hearted gardener returning home to attend his father's funeral. When he discovers that a powerful local figure is responsible for his father's death, Alberto realizes that he's been summoned by his family to avenge the murder. Questions of faith, tradition and honor course through this electrifying film, which, seemingly at the speed of thought itself, jumps between film formats, colors and aspect ratios, radically envisioning a community torn asunder by senseless violence. (Note adapted from Grasshopper Film.) Winner, Best Film, Signs of Life Section, 2018 Locarno International Film Festival; Official Selection, 2017 San Sebastián and Toronto International film festivals. DIR/SCR Nelson Carlo de Los Santos Arias; PROD Fernando Santos Diaz, Lukas Valenta Rinner. Dominican Republic/Argentina/Germany/Qatar, 2018, color/b&w, 106 min. In Spanish with English subtitles. NOT RATED

No AFI Member passes accepted.

[SEDMIKRÁSKY]
An absurdist, anarchic farce, this is probably the single boldest film to emerge from the Czech New Wave during the Prague Spring moment of the late 1960s. Two young women, both named Marie ("Marie I" and "Marie II"), decide that the state of society is beneath contempt, and stage a series of pranks to signal their refusal to take any of its institutions seriously. Banned by the Communist government, the film went on to become an underground sensation and highly influential cult classic, especially in avant-garde and feminist cinema circles. DIR/SCR Věra Chytilová; SCR Ester Krumbachová, Pavel Jurácek; PROD Rudolf Hájek. Czechoslovakia, 1966, color, 76 min. In Czech with English subtitles. NOT RATED

AFI Member passes accepted.

When a peculiar mortician (THE ROOM's Tommy Wiseau) takes in a drifter (THE ROOM's Greg Sestero), the two hatch an underground enterprise off the back of the mortician's old habits. But greed, hatred and jealousy soon come in turn, and their efforts unravel, causing the drifter to run off with the spoils and leaving the mortician adrift and the drifter on the run across the Southwest. Based on a series of true-to-life anecdotes sourced from Sestero and Wiseau's two decades of shared experiences, BEST F(R)IENDS is a unique two-volume cinematic saga that interweaves mystery, intrigue and more than a few dark laughs into the long-awaited reunion of the THE ROOM's cult icons. DIR Justin MacGregor; SCR Greg Sestero. U.S., 2018, color, 102 min (VOL 1), 93 min (VOL 2). RATED R

No AFI Member passes accepted.

Like most teenage girls, Minnie Goetze (Bel Powley) longs for love, acceptance and a sense of purpose in the world. When Minnie begins a complex love affair with her mother's (Kristen Wiig) boyfriend Monroe (Alexander Skarsgård), what follows is a sharp, funny and provocative account of one girl's sexual and artistic awakening, without judgment. Set in 1976 San Francisco, THE DIARY OF A TEENAGE GIRL begins at the crossroads of the fading hippie movement and the dawn of punk rock. News commentary of the Patty Hearst trial echoes in the background, as Minnie's young expressive eyes soak in a drug-laden city in transition — where teenage rebellion and adult responsibility clash in characters lost and longing. Minnie's hard-partying mother and absent father have left her rudderless. She first finds solace in Monroe's seductive smile, and then on the backstreets of the city by the bay. Animation serves as a refuge from the confusing and unstable world around her. Minnie emerges defiant — taking command of her sexuality and drawing on her newfound creative talents to reveal truths in the kind of intimate and vivid detail that can only be found in the pages of a teenage girl's diary. (Note adapted from Sony Pictures Classics.) DIR/SCR Marielle Heller, from the novel by Phoebe Gloeckner; PROD Miranda Bailey, Anne Carey, Bert Hamelinck, Madeline Samit. U.S., 2015, color, 102 min. RATED R

AFI Member passes accepted.

I WAKE UP SCREAMING (1941) in 35mm
Broadway promoter Victor Mature, suspected of murder, is persecuted by vengeful cop Laird Cregar. Can he find the real killer of his glamorous protégé, Carole Landis? Originally released as THE HOT SPOT, this rarely screened early noir has all the visual flourishes soon to be synonymous with the style, courtesy of the spectacular cinematography of Edward Cronjager. Betty Grable may be the female lead, but noir-heads go wild for the menacing Cregar and weaselly Elisha Cook, Jr., both memorable in juicy supporting roles. (Note courtesy of Film Noir Foundation.) DIR H. Bruce Humberstone; SCR Dwight Taylor, from the novel by Steve Fisher; PROD Milton Sperling. U.S., 1941, b&w, 82 min. NOT RATED
Archival 35mm print — not on DVD!

Followed by:
AMONG THE LIVING (1941) in 35mm
Industrialist Paul Raden (Albert Dekker) returns to his ancestral home to attend his father's funeral. He's shocked to learn from the family doctor (Harry Carey) that his twin brother John, whom he believed died as a boy, has been locked in the attic of the abandoned mansion, insane from a scandalous childhood trauma. Soon enough, John is loose and making up for lost time, particularly with lushly nubile Susan Hayward. Heisler's strong, swift direction of this Southern Gothic is abetted by the stunning cinematography of Jean Renoir collaborator Theodor Sparkuhl. (Note courtesy of Film Noir Foundation.) DIR Stuart Heisler; SCR Lester Cole, Garrett Fort; PROD Sol C. Siegel. U.S., 1941, b&w, 67 min. NOT RATED
Archival 35mm print — not on DVD!

AFI Member passes not accepted.

THE KILLERS (1946)
The film that has been called the CITIZEN KANE of film noir. It's all here: murder, betrayal, lust, flashbacks, sumptuous visuals, double- and triple-crosses, whipcrack dialogue...and sexy young'uns Burt Lancaster and Ava Gardner erupting into stardom. (Note courtesy of Noir City.) DIR Robert Siodmak; SCR Anthony Veiller, from the short story by Ernest Hemingway; PROD Mark Hellinger. U.S., 1946, b&w, 103 min. NOT RATED
New DCP restoration courtesy of Universal Pictures in collaboration with The Film Foundation

Followed by:
THE KILLERS (1964)
Mob hitmen Lee Marvin and Clu Gulager are puzzled as to why their target, former criminal-turned-schoolteacher John Cassavetes, doesn't put up more of a fight when they come calling. Curious, they investigate his past, which leads them to his ex-lover Angie Dickinson and shady L.A. real estate honcho Ronald Reagan (in his final theatrical role before running for governor). A remake of Robert Siodmak's 1946 movie of same name, THE KILLERS was directed by Don Siegel and originally intended to be the first made-for-TV feature. In the wake of the 1963 Kennedy assassination, the film was rejected by the network and redirected to its eventual B-movie studio release, due to its intense violence. The music is by a young John Williams, then known as "Johnny," already eight years into his professional composing career at age 32. DIR/PROD Don Siegel; SCR Gene L. Coon, from the story by Ernest Hemingway. U.S., 1964, color, 93 min. NOT RATED
New DCP restoration courtesy of Universal Pictures in collaboration with The Film Foundation

AFI Member passes not accepted.

THE UNDERWORLD STORY in 35mm
This beat Billy Wilder's ACE IN THE HOLE (1951) to the screen by a year, with a tale of a corrupt reporter (Dan Duryea) manipulating a small-town story for his own benefit. Duryea is the disgraced reporter exiled to Gale Storm's small-town paper just in time to catch the case of an African-American maid charged with killing her socialite boss. Duryea could care less about justice — he wants to cash in on the woman's defense fund. (Note courtesy of Film Noir Foundation.) DIR Cy Endfield; SCR Henry Blankfort, from a story by Craig Rice; PROD Hal E. Chester. U.S., 1950, b&w, 91 min. NOT RATED
35mm print courtesy of the Film Noir Foundation and UCLA Film & Television Archive.

Followed by:
SOUTHSIDE 1-1000 in 35mm
This slam-bang crime yarn from King Brothers Productions is highlighted by shot-on-location scenes in downtown LA, Hollywood and San Quentin, crafted by much of the same team responsible for GUN CRAZY, and directed by the man who made the influential STRANGER ON THE THIRD FLOOR (1940). Don DeFore plays an undercover agent infiltrating a counterfeiting ring operated by sultry racket boss Andrea King. (Note courtesy of Film Noir Foundation.) DIR/SCR Boris Ingster; SCR Leo Townsend, Boris Ingster, from a story by Milton Raison and Bert C. Brown; PROD Frank King, Maurice King. U.S., 1950, b&w, 73 min. NOT RATED
35mm preservation funded by the Film Noir Foundation, courtesy of UCLA Film & Television Archive.

AFI Member passes not accepted.

THE MAN WHO CHEATED HIMSELF
A veteran San Francisco homicide cop (Lee J. Cobb) spirals into a moral morass when his married socialite lover (Jane Wyatt, in a rare fatale role) "accidentally" bumps off her husband. Instead of playing it by the book (would that be noir?), he covers up the crime, only to have his younger brother (John Dall) — a rookie homicide dick — start putting together the pieces. This James M. Cain-style thriller gets maximum impact from its San Francisco locations, including a memorable climax at Fort Point. (Note courtesy of Film Noir Foundation.) DIR Felix E. Feist; SCR Philip MacDonald, Seton I. Miller; PROD Jack Warner, Jr. U.S., 1950, b&w, 81 min. NOT RATED
New DCP restoration courtesy of the Film Noir Foundation, UCLA Film & Television Archive and Flicker Alley

Followed by:
ROADBLOCK (1951)
After several years playing either tenacious cops or cruel torpedoes, supporting actor Charles McGraw was elevated to leading-man status by RKO boss Howard Hughes, becoming the studio's B-unit version of Robert Mitchum. Nobody could clip off tough-guy dialogue like McGraw. In this prototypical noir, he finally reveals a soft center, as an insurance investigator who goes crooked trying to satisfy an avaricious dame (Joan Dixon). An unjustly overlooked classic "B." (Note courtesy of Film Noir Foundation.) DIR Harold Daniels; SCR Steve Fisher, George Bricker; PROD Lewis J. Rachmil. U.S., 1951, b&w, 73 min. NOT RATED

AFI Member passes not accepted.

THIS GUN FOR HIRE (1942)
Also screens with THE THREAT on Mon, Oct 15, 7:30 p.m.
One of the seminal films in Hollywood's noir movement, this taut thriller made stars of Alan Ladd and Veronica Lake, who'd become Paramount's biggest box-office duo of the '40s. Ladd plays lone-wolf assassin Philip Raven, who enlists Lake's aid in freeing himself from a frame-up by a secret cadre of "fifth columnists." John Seitz' camerawork presages the shadowy dread he'd bring to sunny Los Angeles in DOUBLE INDEMNITY. Co-starring Robert Preston, Laird Cregar and Lake's amazing costumes, courtesy of Edith Head. A must-see! (Note courtesy of Film Noir Foundation.) DIR Frank Tuttle; SCR Albert Maltz, W. R. Burnett, from the novel by Graham Greene; PROD Buddy G. DeSylva. U.S., 1942, b&w, 81 min. NOT RATED

Followed by:
QUIET PLEASE, MURDER in 35mm
George Sanders is a cunning forger who teams up with femme fatale Gail Patrick to swindle gullible art patrons. His ultimate coup — to steal and replicate a priceless Shakespeare folio — turns into a crazy hostage drama when the priceless artifact ends up as a needle in a haystack, hidden somewhere in the Los Angeles Public Library! This indescribably daffy and surprisingly racy rarity is an example of the 20th Century Fox B-unit at its very best! (Note courtesy of Film Noir Foundation.) DIR and SCR??John Francis Larkin, from a story by Lawrence G. Blochman; PROD Ralph Dietrich. U.S., 1942, b&w, 70 min. NOT RATED.
Archival 35mm print — not on DVD!

AFI Member passes not accepted.

DESTINY (1944) in 35mm
Originally intended as the opening segment of FLESH AND FANTASY, Universal cleaved this off and released it as a 65-minute standalone. A pair of robbers (Alan Curtis and Frank Craven) hide out in rural Paradise Valley, where the townsfolk are so pleasant and trusting, the crooks eagerly map out a plan to rob them blind. But the farmer's daughter (Gloria Jean), who really is blind, has a big surprise in store for one of the lecherous thieves. (Note courtesy of Film Noir Foundation.) DIR Reginald Le Borg; DIR/PROD Julien Duvivier; SCR Roy Chanslor, Ernest Pascal; PROD Charles Boyer. U.S., 1944, b&w, 65 min. NOT RATED
Archival 35mm print — not on DVD!

Followed by:
FLESH AND FANTASY
Considered one of the greatest French directors (his PEPÉ LE MOKO launched the "poetic realism" that informed film noir), Julien Duvivier escaped the war at home by bringing his incredible style to offbeat Hollywood films of the early '40s. This anthology of three supernatural tales — a proto-TWILIGHT ZONE — features a dazzling cast (Edward G. Robinson, Barbara Stanwyck, Charles Boyer, Robert Cummings and Thomas Mitchell) and exceptional camerawork by Stanley Cortez and Paul Ivano. (Note courtesy of Film Noir Foundation.) DIR/PROD Julien Duvivier; SCR Ernest Pascal, Samuel Hoffenstein, Ellis St. Joseph, from stories by Oscar Wilde, László Vadnay and St. Joseph; PROD Charles Boyer. U.S., 1943, b&w, 94 min. NOT RATED

AFI Member passes not accepted.

I WALK ALONE
A true rarity! Burt Lancaster plays a Prohibition-era bootlegger who gets out of prison to find that his former partner (Kirk Douglas) has gone legitimate, is enjoying the spoils of their criminal enterprise and has no intention of sharing. Can torch singer Lizabeth Scott douse the flames of retribution? (Note courtesy of Film Noir Foundation.) DIR Byron Haskin; SCR Charles Schnee, from a play by Theodore Reeves; PROD Hal B. Wallis. U.S., 1947, b&w, 97 min. NOT RATED
A seminal noir, long thought lost, revived in a new digital restoration courtesy of Paramount Pictures.

Followed by:
BODYGUARD (1948)
Hollywood's biggest badass is back! Legendary lawbreaker Lawrence Tierney is ironically cast as an insubordinate lawman who gets framed off the force and goes undercover to expose corruption and murder in the meat-packing industry. Perky Priscilla Lane provides spunky support. This early Richard Fleischer programmer moves at a breakneck pace with the story co-credited to — yes, that Robert Altman! (Note courtesy of Film Noir Foundation.) DIR Richard Fleischer; SCR Fred Niblo, Jr., Harry Essex, from a story by Robert Altman and George W. George; PROD Sid Rogell. U.S., 1948, b&w, 62 min. NOT RATED

AFI Member passes not accepted.

SHADOW OF A DOUBT (1943)
Naïve teenager Charlie (Teresa Wright) begins to suspect her beloved Uncle Charlie (Joseph Cotten), on a vacation visiting sleepy Santa Rosa, California, of actually being the fugitive "Merry Widow" serial killer. Before David Lynch was even born, Alfred Hitchcock explored malevolent evil seeping into a banal small town. It's got few of the flashy passages the director is famous for — but thanks to Cotten's mesmerizing performance, it may be the director's ultimate expression of the horror that infects everyday life. (Note courtesy of Film Noir Foundation.) DIR Alfred Hitchcock; SCR Thornton Wilder, Sally Benson, Alma Reville, from a story by Gordon McDonell; PROD Jack H. Skirball. U.S., 1943, b&w, 108 min. NOT RATED

Followed by:
ADDRESS UNKNOWN (1944)
The tale of a San Francisco art dealer who returns to Germany and falls under the spell of the Nazis was originally rendered by "Kressmann Taylor" (a woman writing as a man) as a trans-Atlantic correspondence between two increasingly estranged friends. It's brought powerfully to life through the stunning design and direction of William Cameron Menzies, and is powered by Paul Lukas' haunting performance. Not truly noir, but a revelation — few "B" movies match the impact and artistry of this WWII stunner. (Note courtesy of Film Noir Foundation.) DIR/PROD William Cameron Menzies; SCR Herbert Dalmas, from the story by Kathrine Kressmann Taylor; PROD Sam Wood. U.S., 1944, b&w, 75 min. NOT RATED

AFI Member passes not accepted.

THE ACCUSED (1949) in 35mm
Demure college professor Loretta Young finds herself in jeopardy after killing an amorous student in self-defense. As the noose tightens, both the victim's guardian Robert Cummings and a dogged homicide detective Wendell Corey fall for her — being a killer apparently makes her irresistible to men. A decidedly feminine slant on a classic noir premise. (Note courtesy of Film Noir Foundation.) DIR William Dieterle; SCR Ketti Frings, from a novel by June Truesdell; PROD Hal B. Wallis. U.S., 1949, b&w, 101 min. NOT RATED
Restored 35mm print, courtesy of the Library of Congress.

Followed by:
THE THREAT (1949)
Also screens with THIS GUN FOR HIRE (1942) on Mon, Oct 15, 7:30 p.m. Charles McGraw, the toughest man in noir, runs wild as vengeful ex-con Red Kluger, who breaks out of prison to kidnap and torture everyone who's ever done him wrong. A brutal, violent thriller inventively directed by Felix Feist. Featuring Virginia Grey and Michael O'Shea. (Note courtesy of Film Noir Foundation.) DIR Felix E. Feist; SCR Dick Irving Hyland; SCR/PROD Hugh King. U.S., 1949, b&w, 66 min. NOT RATED

AFI Member passes not accepted.

THE BIG HEAT (1953)
One of Fritz Lang's best Hollywood films tells the tale of a virtuous cop (Glenn Ford) out for revenge against the gangster who killed his wife. Assisting him in his one-man crusade against the city's corrupt power base is a kooky, sexy dame (Gloria Grahame, in perhaps her signature role) who's out for a little vengeance of her own. Featuring an all-time thuggish turn by a young Lee Marvin, THE BIG HEAT is as compact and compelling as any crime film ever made. (Note courtesy of Film Noir Foundation.) DIR Fritz Lang; SCR Sydney Boehm, from the novel by William P. McGivern; PROD Robert Arthur. U.S., 1953, b&w, 89 min. NOT RATED

Followed by:
WICKED WOMAN in 35mm
In this racy little "B" movie, scarlet woman Beverly Michaels (PICKUP) cons saloon owner Richard Egan into bilking his boozy wife out of her dough, then toys with the affections of slavering devotee Percy Helton (as you've never seen him before). She plans on dumping both and leaving a dust trail to Mexico. Michaels was definitely director Russell Rouse's kind of woman: they married after making this picture — an extra twist to this juicy noir. Featuring a title song that's a cult favorite! (Note courtesy of Film Noir Foundation.) DIR/SCR Russell Rouse; SCR/PROD Clarence Greene. U.S., 1953, b&w, 77 min. NOT RATED

AFI Member passes not accepted.

THE BLUE DAHLIA
The only original screenplay penned by legendary detective story writer Raymond Chandler was crafted under both deadline pressure (star Alan Ladd was leaving for military duty) and "the influence" (the script was banged out in a drunken fervor). No matter — it was a huge hit for Paramount, and the most famous pairing of Ladd and Veronica Lake, the most popular screen team of the 1940s. Ladd plays a returning vet suspected of murdering his unfaithful wife. (Note courtesy of Film Noir Foundation.) DIR George Marshall; SCR Raymond Chandler; PROD John Houseman. U.S., 1946, b&w, 96 min. NOT RATED

Followed by:
NIGHT EDITOR (1946)
A cop and his married socialite lover witness a brutal murder while necking in Lovers' Lane. Afraid to intervene, he's wracked by a guilty conscience. She gets totally turned on by the violence. These two are sooooo doomed. One of the raunchiest and most memorable "B" noirs ever, featuring several strange and unforgettable set pieces. Redoubtable gravel-voiced William Gargan stars as the libidinous lawman, with hot-to-trot Janis Carter portraying one of the frostiest femme fatales of the 1940s. (Note courtesy of Film Noir Foundation.) DIR Henry Levin; SCR Harold Jacob Smith, from the radio program by Hal Burdick; PROD Ted Richmond. U.S., 1946, b&w, 68 min. NOT RATED

AFI Member passes not accepted.

THE UNSUSPECTED
When the secretary of popular radio personality Claude Rains commits suicide, the commentator uses his considerable storytelling gifts to suggest murder and flush the culprit from a rat's nest of suspects. This clever and complex murder mystery — chock full of terrific character actors (including a sexy and savage Audrey Totter) — gets the deluxe noir treatment from director Michael Curtiz and ace cameraman Woody Bredell (THE KILLERS). (Note courtesy of Film Noir Foundation.) DIR/PROD Michael Curtiz; SCR Ranald MacDougall, from a novel by Charlotte Armstrong; PROD Charles Hoffman. U.S., 1947, b&w, 103 min. NOT RATED

Followed by:
HIGH TIDE (1947) in 35mm
A crusading newspaper editor (motor-mouthed Lee Tracy) gets more than he bargained for when he hires a private dick (tight-lipped Don Castle) to protect him from riled-up gangsters. Featuring one of the greatest flashback set-ups ever, this is as witty and moody as any "B" noir of the era. (Note courtesy of Film Noir Foundation.) DIR John Reinhardt; SCR Robert Presnell, Sr., from a story by Raoul Whitfield; PROD Jack Wrather. U.S., 1947, b&w, 72 min. NOT RATED
35mm restoration and preservation funded by the Film Noir Foundation and The Packard Humanities Institute.

AFI Member passes not accepted.

THIS GUN FOR HIRE (1942)
Also screens with QUIET PLEASE, MURDER on Sat, Oct 13, 1:00 p.m.
One of the seminal films in Hollywood's noir movement, this taut thriller made stars of Alan Ladd and Veronica Lake, who'd become Paramount's biggest box-office duo of the '40s. Ladd plays lone-wolf assassin Philip Raven, who enlists Lake's aid in freeing himself from a frame-up by a secret cadre of "fifth columnists." John Seitz' camerawork presages the shadowy dread he'd bring to sunny Los Angeles in DOUBLE INDEMNITY. Co-starring Robert Preston, Laird Cregar and Lake's amazing costumes, courtesy of Edith Head. A must-see! (Note courtesy of Film Noir Foundation.) DIR Frank Tuttle; SCR Albert Maltz, W. R. Burnett, from the novel by Graham Greene; PROD Buddy G. DeSylva. U.S., 1942, b&w, 81 min. NOT RATED

Followed by:
THE THREAT (1949)
Also screens with THE ACCUSED (1949) on Sun, Oct 14, 8:30 p.m.
Charles McGraw, the toughest man in noir, runs wild as vengeful ex-con Red Kluger, who breaks out of prison to kidnap and torture everyone who's ever done him wrong. A brutal, violent thriller inventively directed by Felix Feist. Featuring Virginia Grey and Michael O'Shea. (Note courtesy of Film Noir Foundation.) DIR Felix E. Feist; SCR Dick Irving Hyland; SCR/PROD Hugh King. U.S., 1949, b&w, 66 min. NOT RATED

AFI Member passes not accepted.

In this female-driven, comedic take on the road-movie, former pop-star Martina (Antonella Costa) — once a big deal in her native Argentina and across South America — has hit rock bottom after a nasty break-up. Doubting her ability to sing and, even worse, having lost her sex drive, Martina feels revived when she meets the eye-catching ex-boyfriend of a Chilean fangirl who claims to be her long lost-sister. When Martina follows her young lover back to Chile, she ends up gaining an unexpected new lease on life. Official Selection, 2018 Buenos Aires and Tribeca film festivals. DIR/SCR Che Sandoval; PROD Natacha Cervi, Gregorio González, Florencia Larrea, Hernán Musaluppi. Chile/Argentina, 2018, color, 95 min. In Spanish with English subtitles. NOT RATED

No AFI Member passes accepted.

Having decided to separate from her husband, Eugenia quits her job, leaves her small Bolivian town and moves in with her father's family in another city, where she plans to take culinary lessons. Eager for new experiences — and short on cash — Eugenia accepts job as a makeup artist and then the role of a famed guerrilla fighter in an independent biopic. In this sharply observed, subtly comic look at one woman's path to empowerment, Eugenia navigates a masculine universe to find a space in which she can finally be herself. Official Selection, 2018 Mar del Plata and Guadalajara film festivals. DIR/SCR Martín Boulocq; PROD Andrea Camponovo, Rolando Lora. Bolivia, 2017, b&w, 82 min. In Spanish with English Subtitles. NOT RATED

No AFI Member passes accepted.

Hot on the heels of the first season of THE EYESLICER — a mind-melting variety TV show designed to slice, dice, then mince your eyeballs into a delicious ceviche — comes this very special Halloween edition. Featuring 12 shorts, the majority directed by women, the material ranges from an X-rated Halloween party hookup to a coming-of-age story set on the eve of Ted Bundy's execution; from a documentary about pumpkin carving and misogyny to a supercut about the gendered dangers of the bathtub; from a cursed stand-up comedy set to a woman (Carrie Coon) trapped inside a Red Lobster commercial; from a John Carpenter homage (featuring a cameo by Carpenter himself), to a sequel to Spooky Movie alum Brian Lonano's GWILLIAM. THE EYESLICER: HALLOWEEN SPECIAL is an experience like no other — a deranged, proudly transgressive anthology featuring a dozen visionary filmmakers and hosted by nine Elvira impersonators found on Craigslist, carving out a bold new space in the midnight movie genre. DIR Robin Comisar, Laura Moss, Emma Debany, Brian Lonano, Jennifer Proctor, Nellie Kluz, Sophy Romvari, Joshua Yates, Jacqueline Castel, Carlos Alberto Fernandez Lopez; PROD Dan Schoenbrun, Vanessa McDonnell. U.S., 2018, color, 94 min. NOT RATED

No AFI Member passes accepted.

Palme d'Or-winning documentarian Michael Moore (FAHRENHEIT 9/11) turns his attention to another significant date, examining the legacy of Donald Trump's ascension to the U.S. presidency on November 9, 2016. Moore's FAHRENHEIT 11/9 is a provocative and comedic look at the times in which we live. It explores the two most important questions of the Trump era: How the f**k did we get here, and how the f**k do we get out? It's the film to see before it's too late. DIR/SCR/PROD Michael Moore; PROD Carl Deal, Meghan O'Hara. U.S., 2018, color, 120 min. NOT RATED

No AFI Member passes accepted.

A pioneering film from Selma Baccar, FATMA 75 is the first nonfiction work by a woman from Tunisia. Both a feminist essay-film and the first in a series of powerful stories about strong female figures in the country, the documentary was made to mark the UN International Year of the Woman in 1975. Recounting the evolution of the status of women in Tunisia from 1930 onward, FATMA 75 explores both the fight for female emancipation and Tunisia's wider struggle for independence. The film has long been recognized as one of the most important films from North Africa but was censored in Tunisia and rarely screened until the release of Baccar's 2006 film FLOWER OF OBLIVION. Now newly restored and subtitled, FATMA 75 is a must-see of African cinema. DIR/SCR/PROD Selma Baccar. Tunisia, 1976, color, 60 min. In French and Arabic with English subtitles. NOT RATED
Restored by the Africa in Motion Film Festival in collaboration with Quinta Gammarth in Tunis as part of the Africa's Lost Classics project.

AFI Member passes accepted.

The world can be a scary place. Created to give logic to mankind's darkest fears, early myths, lore and folktales laid the foundation for what we now know as the horror genre. In this feature-length horror anthology, eight international filmmakers who have all made an impact on the festival circuit with their previous features GOODNIGHT MOMMY, BERBERIAN SOUND STUDIO, THE LURE, NOTHING BAD CAN HAPPEN, MISS LOVELY, NORWAY and the Sundance hit THE OREGONIAN (which screened at Spooky Movie 2011) have, under the production team of Ant Timpson and Tim League, collectively crafted a fun and fascinating exploration of the universal nature of fear. DIR Ashim Ahluwalia, Agnieszka Smoczynska; DIR/SCR Severin Fiala, Veronika Franz, Katrin Gebbe, Calvin Reeder, Peter Strickland, Yannis Veslemes; DIR/SCR/PROD Can Evrenol; SCR Robert Bolesto, Elif Domanic, Silvia Wolkan; PROD Robert Dehn, Nia Kingsley, Tim League, Carl W. Lucas, Dora Nedeczky, Ant Timpson, Esther Turan. New Zealand, 2018, color, 117 min. NOT RATED

No AFI Member passes accepted.

FREE SCREENINGS! Tickets are limited to 4 per reservation and are not a guarantee of admission. You must be seated at least 15 min prior to showtime. Seating is limited so please arrive early. Empty seats will be released to standby line guests.

"It’s alive! It’s alive!" Colin Clive's Henry Frankenstein determines to create life itself, but proper brain procurement proves the sticking point. James Whale's horror classic deviates wildly from Mary Shelley's source novel — and film history is all the better for it. Boris Karloff poignantly conveys the Monster’s own terror and humanity beneath memorably grotesque makeup by Jack Pierce. DIR James Whale; SCR Francis Edward Faragoh, Garett Fort, from the composition by John L. Balderston, the play by Peggy Webling and the novel by Mary Shelley; PROD Carl Laemmle, Jr. U.S., 1931, b&w, 71 min. NOT RATED

[GABRIEL E A MONTANHA]

Fellipe Barbosa's (CASA GRANDE) richly textured road movie retraces the final days of his former classmate Gabriel Buchmann (João Pedro Zappa, DISPAROS), an idealistic, open-hearted young man determined to discover the world with nothing more than his backpack and $2 a day. Barbosa lovingly recreates Buchmann's ill-fated journey through Kenya, Tanzania and Zambia, until he reaches the top of Mount Mulanje, Malawi, his last destination. Winner, Critics Award, 2017 São Paulo International Film Festival; Official Selection, 2017 Cannes Critics' Week, Busan and Vancouver film festivals; 2018 Buenos Aires, True/False and Rotterdam film festivals. DIR/SCR Fellipe Barbosa; SCR Kirill Mikhanovsky, Lucas Paraizo; PROD Roberto Berliner, Yohann Cornu, Rodrigo Letier, Clara Linhart. Brazil/France, 2017, color, 127 min. In English, Portuguese, Swahili, Chichewa and French with English subtitles. NOT RATED

No AFI Member passes accepted.

[DUH U MOČVARI]

Brother and sister Miron and Melita go to visit a friend in the northeastern Croatian town of Kopačevo for the winter holidays. One night, they are awoken by the shouting of villagers who have rescued a half-frozen boy found near the village swamp, delirious after being attacked by a ghost. The doctors cannot help him, so the children decide to take matters into their own hands and the adventure begins. They must find the secret of the ghost, save their friend and become the heroes of the village. An adventure-packed children's film with beautiful imagery, THE GHOST IN THE SWAMP won the hearts of Croatia's youngest viewers when it was released in 2006. (Note adapted from Interfilm.) DIR Branko Ištvančić; SCR Silvio Mirošničenko, Edi Mužina, from the novel by Anto Gardaš; PROD Mirko Galić, Ivan Maloča. Croatia, 2006, color, 90 min. In Croatian and Hungarian with English subtitles. NOT RATED. For ages 11+

This event is brought to you by the 11th-annual Kids Euro Festival, a two-week long festival of European arts and culture presenting free activities to D.C. metro area children and their families. With programs both for the general public and for school groups, more than 10,000 DC-area children and their families enjoy Kids Euro Festival programs each year. This is made possible by the 28 European Union countries and the European Union Delegation in Washington in cooperation with the European-American Cultural Foundation. This free screening of THE GHOST IN THE SWAMP is presented with the support of the Embassy of Croatia.

For the full lineup of events, visit kidseurofestival.org and follow #KidsEUFest.

[LOS GIGANTES NO EXISTEN]
Based on a true story, Spanish director Chema Rodríguez's second feature is a powerful drama about survival and hope in 1980s Guatemala. At the height of a ruthless civil war targeting the country's indigenous communities, nine-year-old Andrés is one of the few survivors of a massacre in his village. Adopted by one of the perpetrators of the violence, the little boy lives in fear with his adopted mother María, but the unexpected arrival of his biological sister will change everything. Official Selection, 2017 Rome Film Festival, 2018 Seville, Guadalajara, Punta del Este and Chicago Latino film festivals. DIR/SCR/PROD Chema Rodríguez; SCR León Siminiani, Francisco Vargas; PROD Elías Jiménez Trachtenberg, José Nolla, Rafael Rosal, Jorge Sánchez Gallo, Chema Álvarez. Guatemala/Spain, 2017, color, 82 min. In Spanish with English subtitles. NOT RATED

No AFI Member passes accepted.

A landmark film about female friendship — and a favorite of Stanley Kubrick, Greta Gerwig and Roger Ebert — Claudia Weill's debut feature melds the influence of second-wave feminism with a scrappy indie ethos and wry sense of humor. When Susan Weinblatt (Melanie Mayron), an aspiring photographer struggling to make it in New York, discovers that her friend and roommate Anne (Anita Skinner) is getting married and moving out, both women learn to expand their self-reliance as they awkwardly make their way into the unknown world of adulthood. The film also features an all-star male supporting cast, including Eli Wallach, Christopher Guest and Bob Balaban. DIR/SCR/PROD Claudia Weill; SCR Vicki Polon. U.S., 1978, color, 86 min. RATED PG

AFI Member passes accepted.

When police officer Asger Holm (Jakob Cedergren) is demoted to desk work, he expects a sleepy beat as an emergency dispatcher. That all changes when he answers a panicked phone call from a kidnapped woman who then disconnects abruptly. Asger, confined to the police station, is forced to use others as his eyes and ears as the severity of the crime slowly becomes clear. The search to find the missing woman and her assailant will take every bit of his intuition and skill, as a ticking clock and his own personal demons conspire against him. This innovative and unrelenting Danish thriller uses a single location to great effect, ratcheting up the tension as twists pile up and secrets are revealed. Director Gustav Möller expertly frames the increasingly messy proceedings against the clean Scandinavian sterility of the police department, while Cedergren's strong performance anchors the film and places the audience squarely in Holm's tragically flawed yet well-intentioned mindspace. (Note courtesy of Magnolia Pictures.) DIR/SCR Gustav Möller; SCR Emil Nygaard Albertsen; PROD Lina Flint. Denmark, 2018, color, 85 min. In Danish with English subtitles. NOT RATED

AFI Member passes accepted.

40th Anniversary
Genre legend John Carpenter's third feature (which he also co-wrote and scored) ushered in a golden age of American slasher cinema, launched the career of then 19-year-old Jamie Lee Curtis and gave the big screen one of its most enduring and indestructible villains in Michael Myers. On Halloween night in 1963, six-year-old Michael Myers murders his elder sister. After being institutionalized for 15 years, Myers breaks free — one day before Halloween, of course — and returns to his hometown to terrorize its entire population of young, female babysitters. Pursued by his former child psychiatrist, Dr. Sam Loomis (Donald Pleasence), Myers sets his sights on high school student Laurie Strode (Curtis). With the much-hyped David Gordon Green/Danny McBride sequel looming, it's time to revisit the one-and-only original. DIR/SCR/PROD John Carpenter; SCR/PROD Debra Hill. U.S., 1978, color, 91 min. RATED R

No AFI Member passes accepted.

[HEREDERA DEL VIENTO]

Director Gloria Carrión Fonseca was born during the Sandinista Revolution (1979–1989) and grew up living in fear of and fascination with the war and the military might of the U.S. Her parents fell in love amid the struggle against the Somocista dictatorship. With them, she experienced the rise and fall of the revolutionary dream. Now, 36 years later, Fonseca begins a search of that past through a kaleidoscope of memories that will challenge the myth of the revolution, redeeming the pain caused by collective amnesia. (Note courtesy of Caja de Luz.) Official Selection, 2018 Guadalajara and Buenos Aires film festivals. DIR/SCR/PROD Gloria Carrión Fonseca. Nicaragua, 2017, color, 88 min. In Spanish with English subtitles. NOT RATED

No AFI Member passes accepted.

[JEANNE DIELMAN, 23, QUAI DU COMMERCE, 1080 BRUXELLES]
A singular work in film history, Chantal Akerman's JEANNE DIELMAN, 23, QUAI DU COMMERCE, 1080 BRUXELLES meticulously details, with a sense of impending doom, the daily routine of a middle-aged widow — whose chores include making the beds, cooking dinner for her son and turning the occasional trick. In its enormous spareness, Akerman's film seems simple, but it encompasses an entire world. Whether seen as an exacting character study or one of cinema's most hypnotic and complete depictions of space and time, JEANNE DIELMAN is an astonishing, compelling movie experiment, one that has been analyzed and argued over for decades. (Note courtesy of Janus Films.) DIR/SCR Chantal Akerman; PROD Guy Cavagnac, Alain Dahan, Liliane de Kermadec, Corinne Jénart, Evelyne Paul, Paul Vecchiali. Belgium/France, 1975, color, 201 min. In French with English subtitles. NOT RATED

AFI Member passes accepted.

[ONNELIN JA ANNELIN TALVI]

In the town of Catnip, Jill and Joy live together in their own home and look forward to the enchanting winter season. One December evening, a small car — barely the size of a shoebox — pulls up in front of their house, and a teensy-weensy family gets out. It's the McTiny family, who have recently lost their home. Jill and Joy welcome the family with open arms and agree to look after them until they can find another home, but they soon discover that not all big people have good intentions toward them. (Note courtesy of The Annex Entertainment.) DIR Saara Cantell; SCR Sami Keski-Vähälä, from the novel Marjatta Kurenniemi; PROD Teea Hyytiä, Sari Lempiäinen. Finland, 2015, color, 81 min. In Finnish with English subtitles. NOT RATED. For ages 7+

This event is brought to you by the 11th-annual Kids Euro Festival, a two-week long festival of European arts and culture presenting free activities to D.C. metro area children and their families. With programs both for the general public and for school groups, more than 10,000 DC-area children and their families enjoy Kids Euro Festival programs each year. This is made possible by the 28 European Union countries and the European Union Delegation in Washington in cooperation with the European-American Cultural Foundation. This free screening of JILL AND JOY'S WINTER is presented with the support of the Embassy of Finland.

For the full lineup of events, visit kidseurofestival.org and follow #KidsEUFest.

Júlia (director Elena Martín) is an architecture student from Barcelona who decides to embark on a student exchange year in Berlin. This is how, without much consideration and driven by her inertia, Júlia leaves her parents' home for the first time in her life. Full of expectations and lacking life experience, Júlia finds herself lost in a cold and grey Berlin, undergoing a year far from what she initially imagined. Little by little, however, she builds up her life in Berlin and gets to know who she is in this new context, all while the end of her adventure draws closer and closer. (Note adapted from Patra Spanou.) DIR/SCR Elena Martín; SCR Maria Castellví, Pol Rebaque; SCR/PROD Marta Cruañas; PROD Tono Folguera, Sergi Moreno. Spain, 2017, color, 90 min. In English, Spanish, Catalan and German with English subtitles. NOT RATED

AFI Member passes accepted.

Presented in collaboration with SPAIN arts & culture as part of Mujeres de Cine, an initiative created to showcase Spanish films by female filmmakers.

Annie (Rose Byrne) is stuck in a long-term relationship with Duncan (Chris O'Dowd) — an obsessive fan of obscure rocker Tucker Crowe (Ethan Hawke). When the acoustic demo of Tucker's hit record from 25 years ago surfaces, its release leads to a life-changing encounter with the elusive rocker himself. Based on the novel by Nick Hornby, JULIET, NAKED is a comic look at life's second chances. Directed by Jesse Peretz (OUR IDIOT BROTHER). DIR Jesse Peretz; SCR Evgenia Peretz, Jim Taylor, Tamara Jenkins, from the novel by Nick Hornby; PROD Albert Berger, Ron Yerxa, Barry Mendel, Judd Apatow, Jeffrey Soros. U.S., 2018, color, 98 min. RATED R

No AFI Member passes accepted.

The first Venezuelan film to be included in Cannes Critics' Week, Gustavo Rondón Córdova's pulse-pounding debut follows a father and son as they flee the violence of their Caracas neighborhood. After 12-year-old Pedro (Reggie Reyes) seriously injures another boy in a skirmish, his father Andrés (Giovanni García, EL AMPARO) decides they must escape to save Pedro from violent retribution. Córdova, who edited 2016 AFI Latin American Film Festival opener EL AMPARO, expertly steers this unconventional chase film to its dramatic and moving conclusion. Winner, Best Film, 2018 Miami Film Festival and 2017 Lima Latin American Film Festival; Official Selection, 2017 Cannes, Karlovy Vary, San Sebastián, Munich and Chicago film festivals. DIR/SCR/PROD Gustavo Rondón Córdova; PROD Rodolfo Cova, Marianela Illas, Natalia Machado, Rubén Sierra Salles. Venezuela/Chile/Norway, 2017, color, 84 min. In Spanish with English subtitles. NOT RATED

No AFI Member passes accepted.

Oslo, 1987. Seventeen-year-old Euronymous (Rory Culkin, SCREAM 4, SIGNS) is determined to escape his traditional upbringing, and becomes fixated on creating "true Norwegian black metal" with his band Mayhem. He mounts shocking publicity stunts to put the band's name on the map, but the lines between show and reality begin to blur. Arson, violence and a vicious murder shock the nation that is under siege by these lords of chaos. Based on a true story; co-starring Emory Cohen, Jack Kilmer, Sky Ferreira and Valter Skarsgård. "A pitch-perfect black-metal dramedy about real-life head-bangers who lost their minds." – Variety. DIR/SCR Jonus Åkerlund; SCR Dennis Magnusson, from the book by Michael Moynihan and Didrik Søderlind; PROD Jack Arbuthnott, Jim Czarnecki, Kwesi Dickson, Danny Gabai, Erik Gordon, Kai-Lu Hsiung, Ko Mori, Fredrik Zander. UK/Sweden, 2018, color, 112 min. RATED R

No AFI Member passes accepted.

A group of seemingly unrelated individuals fight their way out of a virus-infested hotel, only to find themselves in a worse place than before. Every direction proves to be a deadlier test as they struggle to survive amid the carnage of blood-lusting creatures. Filmmaker Sky Wang, who was born in mainland China and immigrated to the West in his formative years, succeeds with his first Chinese feature film, which won Best Horror at the 2018 Los Angeles Film Awards. With impressive editing and directing, LOST IN APOCALYPSE is a well written and acted zombie-gangster thriller that delivers a strong message of sacrifice and persistence. DIR/SCR Sky Wang; SCR from the comic books by Ruibo Cao; PROD Iris Liu. China, 2018, color, 90 min. In Mandarin with English subtitles. NOT RATED

Preceded by:
WE SUMMONED A DEMON – They just wanted to be cool. Instead, they got a demon. Another home run from Spooky Movie alumnus Chris McInroy, whose short film DEATH METAL was a hit at the 2016 festival. DIR Chris McInroy. U.S., 2018, color, 6 min. NOT RATED

No AFI Member passes accepted.

Attention audacious film lovers, a new master of genre cinema has stepped forward with LUZ, the most unexpected revelation of this year's Berlinale (and, perhaps, of the entire year). An experimental shocker with an irresistible retro vibe, Tilman Singer's first feature fluidly assembles elements of influence from the horror and arthouse cinema of the 1970s — think Rainer Werner Fassbinder, Andrzej Zulawski and Lucio Fulci — in one compact whole. However, shot on 16mm Scope and with impeccable visuals worthy of the aforementioned greats, this is much more than a simple homage. DIR/SCR/PROD Tilman Singer; PROD Dario Mendez Acosta. Germany, 2018, color, 70 min. In German and Spanish with English subtitles. NOT RATED

Preceded by:
MY FIRST TIME - The first time always hurts. DIR Asaf Livni. Israel, 2018, color, 10 min. In Hebrew with English subtitles. NOT RATED

No AFI Member passes accepted.

[LICHT]
Set in 18th-century Vienna, Austrian director Barbara Albert's (FALLING, FREE RADICALS) stunning period piece centers on 18-year-old Maria Theresia ("Resi") Paradis (Maria Dragus), a pianist of exceptional talent who has been blind since the age of three. After countless failed attempts to restore her sight, Resi's overbearing parents decide to pursue a controversial "miracle doctor," Franz Anton Mesmer, as their last hope for a cure. Moving into the estate of the doctor and his wife, Resi begins to enjoy personal freedom for the first time. But, as Mesmer's treatments begin to succeed, Resi notices that as her sight is returning, her musical virtuosity is declining. DIR Barbara Albert; SCR Kathrin Resetarits, from the novel "Mesmerized" by Alissa Walser; PROD Nikolaus Geyrhalter, Michael Kitzberger. Austria/Germany, 2018, color, 97 min. In German with English subtitles. NOT RATED

AFI Member passes accepted.

This heavy-metal horror stars Nicolas Cage and Andrea Riseborough as a happy couple living in a remote location whose peace is upended when an unhinged cult kidnaps Riseborough's character, Mandy, and Cage's Red has to get her back. There's blood, thrashing music, a chainsaw fight and so much more. DIR/SCR Panos Cosmatos; SCR Aaron Stewart-Ahn; PROD Nate Bolotin, Daniel Noah, Adrian Politowski, Josh C. Waller, Elijah Wood. U.S./Belgium, 2018, color, 121 min. NOT RATED

No AFI Member passes accepted.

[MARLINA SI PEMBUNUH DALAM EMPAT BABAK]
Marlina (Marsha Timothy), the heroine of this powerful, provocative and visually stunning Indonesian take on the "feminist western" sub-genre, is a young widow living alone in a remote farmhouse with the embalmed corpse of her husband. When a band of robbers, entitled by centuries of male domination, arrives to steal her livestock, seize her possessions and rape her, Marlina thinks fast and acts even faster — and the next day sees her hitting the road on a journey of empowerment and redemption, a sabre in one hand and a severed head in the other. (Note courtesy of Toronto International Film Festival.) DIR Mouly Surya; SCR Garin Nugroho; SCR/PROD Rama Adi; PROD Fauzan Zidni. Indonesia/France/Malaysia/Thailand, 2017, color, 93 min. In Indonesian with English subtitles. NOT RATED

AFI Member passes accepted.

Advance Screening Sept. 18; MUSEO opens at AFI Silver on Fri, Sept 21!

In Alonso Ruizpalacios' (GÜEROS) expertly crafted heist comedy, Gael García Bernal and Leonardo Ortizgris star as two 30-something slackers living with their parents in the suburbs of Mexico City. When the pair decide it's time to shake up their dead-end lives, they come up with a plan to execute the most infamous museum heist in Mexican history. Blundering through their ill-conceived scheme, they leave everything behind and set off on a journey that takes them from the Mayan ruins of Palenque to the decadent underworld of Acapulco Bay. Winner, Best Screenplay, 2018 Berlin International Film Festival; Official Selection, 2018 Karlovy Vary and Toronto film festivals. DIR/SCR Alonso Ruizpalacios; SCR/PROD Manuel Alcalá; PROD Gerardo Gatica, Alberto Muffelmann, Ramiro Ruiz. Mexico, 2018, color, 128 min. In Spanish with English subtitles. NOT RATED

No AFI Member passes accepted.

Reaching international screens the same year as George Miller's MAD MAX, this period piece played a key role in popularizing the Australian New Wave around the world. Viewers were enchanted with its breathtaking views of the Australian landscape (mainly New South Wales) while feminists found a new heroine in the fiercely independent Sybylla Melvyn (Judy Davis), who rejects marriage to find work she considers more meaningful. Producer Margaret Fink discovered the 1901 book when it was republished in 1965, and she spent 14 years trying to get the film version made. Although she didn't set out to do so, the film's crew contained a surprisingly large number of women, including director Gillian Armstrong, writer Eleanor Witcombe, the production and costume designers, the production supervisor, the bookkeeper and the accountant. With only her second feature (the first Australian color film shot in 35mm to be directed by a woman), Armstrong established herself as a major new talent, as did leading lady Davis and New Zealander leading man Sam Neill, in his first Australian film. (Note adapted from TCM Classic Film Festival.) DIR Gillian Armstrong; SCR Eleanor Witcombe, from the novel by Miles Franklin; PROD Margaret Fink. Australia, 1979, color, 100 min. RATED G

AFI Member passes accepted.

Casting a long and terrifying shadow over the genre, German silent film master F. W. Murnau's uncredited appropriation of Bram Stoker's "Dracula" set the standard for all vampire flicks to come. Max Schreck's monstrous Count Orlok is singularly frightening, repulsive and beastly, where Bela Lugosi was courtly and Christopher Lee seductive. DIR F. W. Murnau; SCR Henrik Galeen, from the novel "Dracula" by Bram Stoker; PROD Enrico Dieckmann, Albin Grau. Germany, 1922, b&w/hand-tinted color, 85 min. NOT RATED

No AFI Member passes accepted.

David Lowery's (AIN'T THEM BODIES SAINTS, A GHOST STORY) THE OLD MAN & THE GUN is based on the true story of Forrest Tucker (Robert Redford), from his audacious escape from San Quentin at the age of 70 to an unprecedented string of heists that confounded authorities and enchanted the public. Wrapped up in the pursuit are detective John Hunt (Casey Affleck), who becomes captivated with Forrest's commitment to his craft, and a woman (Sissy Spacek), who loves him in spite of his chosen profession. DIR/SCR David Lowery, from the New Yorker article by David Grann; PROD Toby Halbrooks, Bill Holderman, James M. Johnston, Anthony Mastromauro, Dawn Ostroff, Robert Redford, Jeremy Steckler, James D. Stern. U.S., 2018, color, 93 min. RATED PG-13

No AFI Member passes accepted.

[L'UNE CHANTE, L'AUTRE PAS]
Agnès Varda's unsung feminist anthem is both a buoyant chronicle of a transformative friendship and an empowering vision of universal sisterhood. When 17-year-old Pauline (Valérie Mairesse) helps struggling mother of two Suzanne (Thérèse Liotard) procure the money for an abortion, a deep bond forms between the two, one that endures over the course of more than a decade as each searches for her place in the world — encountering the dawning of the women's movement, dreamy boho musical numbers and an Iranian adventure along the way. Initially divisive for its sunny, idealized view of female liberation, ONE SINGS, THE OTHER DOESN'T now seems all the more radical — and all the more vital — for its unabashedly utopian spirit. (Note courtesy of Janus Films.) DIR/SCR Agnès Varda; PROD Ciné Tamaris. France, 1977, color, 120 min. In French with English subtitles. NOT RATED

AFI Member passes accepted.

The sequel to 2014's PADDINGTON finds the beloved bear (voiced by Ben Whishaw) now very much a part of the Brown family in Windsor Gardens, and a popular member of the local community. But when he's framed for the theft of a beautiful old pop-up book from Mr. Gruber's (Jim Broadbent) antique shop, Paddington and the Browns must work extra hard to clear the bear's good name. Hugh Grant, in a BAFTA-nominated performance, headlines the newcomers to the wonderful cast, including Brendan Gleeson, Joanna Lumley, Eileen Atkins, Noah Taylor and Tom Conti, joining Hugh Bonneville, Sally Hawkins, Julie Walters, Peter Capaldi and Imelda Staunton from the original film. DIR/SCR Paul King; SCR Simon Farnaby, from the books by Michael Bond; PROD David Heyman. UK, 2017, color, 103 min. In English. RATED PG. For ages 8+

This event is brought to you by the 11th-annual Kids Euro Festival, a two-week long festival of European arts and culture presenting free activities to D.C. metro area children and their families. With programs both for the general public and for school groups, more than 10,000 DC-area children and their families enjoy Kids Euro Festival programs each year. This is made possible by the 28 European Union countries and the European Union Delegation in Washington in cooperation with the European-American Cultural Foundation. This free screening of PADDINGTON 2 is presented with the support of the British Council.

For the full lineup of events, visit kidseurofestival.org and follow #KidsEUFest.

In the vein of such classic coming-of-age films as Francois Truffaut's THE 400 BLOWS, Diane Kurys' PEPPERMINT SODA captures a particular moment in the tumultuous life and development of young people. Anne (Eléonore Klarwein) and Frederique (Odile Michel) are sisters entering their teen years in 1963 France, torn between divorced parents and struggling with the confines of their strict school. Along the way, they undergo an awakening, both political and romantic. Kurys' celebrated film revels in the comedy and tragedy of the seemingly mundane, weaving a complex tapestry of everyday existence that also touches on the universal. (Note courtesy of Cohen Film Collection.) DIR/SCR Diane Kurys; SCR Alain Le Henry; PROD Serge Laski. France, 1977, color, 101 min. In French with English subtitles. RATED PG

AFI Member passes accepted.

Opening Night of the 13th-Annual Spooky Movie International Film Festival

Underground auteur Don Coscarelli (BUBBA HO-TEP, JOHN DIES AT THE END) launched his career as a purveyor of weird fantasy with 1979's PHANTASM, which spawned a series of sequels, becoming his signature franchise. A death-haunted young boy (A. Michael Baldwin), recently orphaned, notices weird goings-on at a local funeral parlor and discovers a bizarre grave-robbing plot hatched by a visitor from another dimension — a frightening figure known only as "The Tall Man" (Angus Scrimm). DIR/SCR/PROD Don Coscarelli. U.S., 1979/2016, color, 88 min. RATED R

Post-screening book event: sale and signing of Coscarelli's new memoir, "True Indie: Life and Death in Filmmaking."

About "True Indie"
From Don Coscarelli, the celebrated filmmaker behind many cherished cult classics, comes a memoir that's both revealing autobiography and indie-film crash course. Best known for his horror/sci-fi/fantasy films, including PHANTASM, THE BEASTMASTER, BUBBA HO-TEP and JOHN DIES AT THE END, now he's taking you on a white-knuckle ride through the wild world of the independent filmmaker.

Join Coscarelli as he sells his first feature film to Universal Pictures and gets his own office on the studio lot while still a teenager. Travel with him as he chaperones three out-of-control child actors as they barnstorm Japan, almost drowns actress Catherine Keener in her first film role and turns a short story about Elvis Presley battling a four-thousand-year-old Egyptian mummy into a beloved cult classic film.

"True Indie" is loaded with the filmmaker's behind-the-scenes stories, like setting his face on fire during the making of PHANTASM, hearing Bruce Campbell's most important question before agreeing to star in BUBBA HO-TEP and crafting a horror thriller into a franchise phenomenon spanning four decades. Find out how Coscarelli managed to retain creative and financial control of his works in an industry ruled by power-hungry predators, all without going insane or bankrupt. "True Indie" will prove indispensable for film fans, aspiring filmmakers and anyone who loves an underdog success story.

Each year, millions visit our national parks. Not everyone gets to leave. When Chelsea (Chloe Levine, from the Netflix series THE DEFENDERS and THE OA) and her miserable friends get in trouble with the cops, they flee the city and go on the run. Fueled by a hallucinogenic drug called echo, they hope to lay low — and get high — in an old family hideout in the woods. But Chelsea has reservations about going back to nature and secrets she's not sharing with her friends. When a shot rings out, her past comes crashing back, and the punks find themselves pitted against the local authority — an unhinged park ranger with an ax to grind. Over-the-top gory '80s homage. DIR/SCR/PROD Jenn Wexler; SCR Giaco Furino; PROD Heather Buckley, Larry Fessenden, Ashleigh Snead, Andrew van den Houten. U.S., 2018, color, 77 min. NOT RATED

Preceded by:
CRANIAC! – A martian living inside a young filmmaker's brain helps him project a film across the entire night sky, with radioactive consequences. DIR Paul Villanova. U.S., 2018, color, 18 min. NOT RATED

No AFI Member passes accepted.

From the country that gave us steak tartare comes a grisly tale of female sexuality and cannibalism, famous for inducing fainting among audiences at the 2016 Toronto International Film Festival. Sixteen-year-old Justine (Garance Marillier) is a shy, vegetarian student at a veterinary college, where she finds herself in the shadow of her distant and dismissive older sister Alexia (Ella Rumpf). When Justine develops an insatiable lust for flesh as the result of a gruesome hazing ritual, this grisly and gory tale of a cannibalistic coming-of-age quickly turns into a bold and bloody exploration of womanhood. (Note adapted from Toronto International Film Festival.) DIR/SCR Julia Ducournau; PROD Jean des Forêts. France/Belgium, 2016, color, 99 min. In French with English subtitles. RATED R

AFI Member passes accepted.

REEL ROCK 13 delivers jaw-dropping action, soulful journeys and rollicking humor in a brand-new collection of 2018's best climbing films. This year's edition takes viewers on a wild ride from the frigid Antarctic to the bedouin canyonlands of the Middle East. Featuring Madaleine Sorkin, Alex Honnold, Conrad Anker and many more. The full program will be announced in October.
Founded in 2006 by groundbreaking filmmakers Josh Lowell (Big UP Productions) and Peter Mortimer (Sender Films), the REEL ROCK Film Tour brings the best in climbing and adventure films to local audiences in more than 450 locations across the globe, reaching more than 150,000 audience members worldwide. REEL ROCK shows are spirited events where climbers and outdoors enthusiasts come together to celebrate and sample the ultimate in adventure filmmaking.
Run time: approx. 100 minutes, including a 20-minute intermission.

No AFI Member passes accepted.

Fourteen-year-old Segundo is set to follow in his father Noe's footsteps as a master crafter of retablos, colorful and richly detailed story-boxes that fetch high prices at their local marketplace and are in high demand within the family's small, isolated Quechua village in Peru. But while on his way to a celebration in the Andes, Segundo accidentally discovers his troubled father's secret, and the young artist's world is quickly turned inside out, his life transformed into a simmering storm of anger, confusion and a growing disillusionment with his village's often provincial way of thinking. (Note adapted from Seattle International Film Festival.) Winner, Crystal Bear, Best Feature Film and Teddy Jury Award for Best First Feature Film, 2018 Berlin International Film Festival; Jury Prize for Best Film and Best First Feature Film, 2018 Frameline San Francisco International LGBTQ Film Festival; Best Peruvian Feature Film, 2018 Lima Film Festival; Official Selection, 2018 Seattle and Galway film festivals. DIR/SCR/PROD Alvaro Delgado Aparicio; SCR Héctor Gálvez; PROD Enid Campos. Peru/Germany/Norway, 2017, color, 95 min. In Quechua and Spanish with English subtitles. NOT RATED

No AFI Member passes accepted.

Recently engaged Brad Majors (Barry Bostwick) and Janet Weiss (Susan Sarandon) stumble upon a castle in the middle of the night that is definitely not a hunting lodge for "rich weirdos." A jump to the left and a step to the right later, they find themselves as guests of Dr. Frank-N-Furter (Tim Curry). The sweetest of sweet transvestites, Frank-N-Furter does his best to make them shiver with anticipation at what he has in store for everyone at the Annual Transylvanian Convention. A satirical, musical tribute to classic science fiction and horror B-movies, THE ROCKY HORROR PICTURE SHOW has become more than just a movie. For generations of fans young and old, the experience has been a beacon and a touchstone, and for many, a way of life. DIR/SCR Jim Sharman; SCR Richard O'Brien, from his musical play; PROD Michael White. UK/U.S., 1975, color, 100 min. RATED R

For the fourth year in a row, we are proud to welcome the Bloody Mayhem Theatre Company shadowcast!

No AFI Member passes accepted.

[YO NO ME LLAMO RUBEN BLADES]

2018 Oscar® Selection, Panama

Latin American icon Rubén Blades was at the center of the New York Salsa revolution in the 1970s. His socially charged lyrics and explosive rhythms brought Salsa music to an international audience. He has won 17 Grammys®, acted in Hollywood, earned a law degree from Harvard and even run for president of his native Panama. This revealing portrait details Ruben's incredible 50-year career and his struggle to come to terms with his legacy. (Note adapted from SXSW Film Festival.) DIR/SCR/PROD Abner Benaim; PROD Gema Juarez Allen. Panama/Argentina/Colombia, 2018, color, 84 min. In English and Spanish with English subtitles. NOT RATED

No AFI Member passes accepted.

[FERRUGEM]

High schoolers Tati and Renet are instantly drawn to each other at a late-night party, but when cellphone footage of their romantic encounter is leaked to the whole class, Tati must fight to maintain her dignity in the halls of the school. A thriller for the smartphone generation, RUST deftly comments on the pitfalls of social media and the digital wildfires that can spread and ruin young lives. Winner, Ibero American Competition Jury Award, 2018 Seattle International Film Festival; Official Selection, 2018 Sundance and Galway film festivals. DIR/SCR Aly Muritiba; SCR Jessica Candal; PROD Antônio Junior. Brazil, 2018, color, 100 min. In Portuguese with English subtitles. NOT RATED

No AFI Member passes accepted.

Actress-turned-filmmaker Asia Argento (QUEEN MARGOT, THE STENDHAL SYNDROME, xXx) made her directorial debut with this semi-autobiographical portrait of a young actress (Argento) who, despite her popularity and success, experiences despair and degradation at the hands of an abusive industry. Her harrowing journey toward redemption leads her on a sordid spree of excess across America and Europe while trying to recapture her innocence and find true love. (Note adapted from Film Movement.) DIR/SCR Asia Argento; PROD Claudio Argento, Dario Argento, Stefano Curti. Italy, 2000, color, 91 min. In English, Italian and French with English subtitles. RATED R

AFI Member passes accepted.

The children's book series "Scary Stories to Tell in the Dark" has become a touchstone for entire generations of people who grew up taken in by the gothic tales, the whimsical tone and the ghostly illustrations. Follow Peter Schwartz, son of the books' author Alvin Schwartz, as he explores the history of these beloved books, which were many young readers' introduction to the horror genre. The documentary combines archival footage with interviews with the author's family, scholars, folklorists, artists and children's book authors R.L. Stine, Q.L. Pearce, and more. Along the way, we learn of a censorship case involving the books that received national attention. The documentary culminates with a meeting between Peter Schwartz and the PTA mother at the center of that debate. DIR/SCR/PROD Cody Meirick. U.S., 2018, color, 82 min. NOT RATED

No AFI Member passes accepted.

María Luisa lives in a conservative Catholic village in rural Colombia. Designated male at birth and shunned by her family, she has found enough love in her god and in herself to keep going despite it all. Through extensive interviews with María and her friends and acquaintances, we come to discover her difficult past and the promise for her future. This touching documentary is a portrait of resilience brimming with humanity. (Note adapted from Museum of Modern Art.) Winner, Best Colombian Director, 2018 Cartagena International Film Festival; Official Selection, 2017 Locarno Film Festival, 2018 Edinburgh International Film Festival and Doc Fortnight. DIR/SCR/PROD Rubén Mendoza; PROD Amanda Sarmiento. Colombia, 2017, color, 90 min. In Spanish with English subtitles. NOT RATED

No AFI Member passes accepted.

[STRĂJERII]

In this fun children's adventure tale, 19 kids spend a few days in a mountain camp together with their caregivers, Florentina and Vasile. When little Radu gets lost in the woods, all the others, including his little sister, are worried sick and imagine all kinds of terrible scenarios. But Radu receives help from where he least expects it. (Note adapted from Transylvania International Film Festival.) DIR/SCR/PROD Liviu Marghidan. Romania, 2018, color, 73 min. In Romanian with English subtitles. NOT RATED. For ages 9+

This event is brought to you by the 11th-annual Kids Euro Festival, a two-week long festival of European arts and culture presenting free activities to D.C. metro area children and their families. With programs both for the general public and for school groups, more than 10,000 DC-area children and their families enjoy Kids Euro Festival programs each year. This is made possible by the 28 European Union countries and the European Union Delegation in Washington in cooperation with the European-American Cultural Foundation. This free screening of THE SENTRIES presented with the support of the Embassy of Romania.

For the full lineup of events, visit kidseurofestival.org and follow #KidsEUFest.

[SKAMMERENS DATTER]

The Shamer's daughter, Dina, has unwillingly inherited her mother's supernatural ability. She can look straight into a person's soul and make them feel ashamed of their wrongdoings. When the sole heir to the throne of Dunark is wrongfully accused of the horrible murders of his family, Dina's mother is lured there under false pretenses to make him confess. Neglecting to use her ability for the wrong purposes, she is taken prisoner. It is now up to Dina to uncover the truth behind the murders, but soon she finds herself whirled into a dangerous power struggle with her own life at risk. (Note adapted from Trust Nordisk.) DIR Kenneth Kainz; SCR Anders Thomas Jensen, from the novel by Lene Kaaberbøl; PROD Eva Juel Hammerich, Nina Lyng. Denmark/Norway/Czech Republic/Iceland/Sweden, 2015, color, 96 min. In Danish with English subtitles. NOT RATED. For ages 11+

This event is brought to you by the 11th-annual Kids Euro Festival, a two-week long festival of European arts and culture presenting free activities to D.C. metro area children and their families. With programs both for the general public and for school groups, more than 10,000 DC-area children and their families enjoy Kids Euro Festival programs each year. This is made possible by the 28 European Union countries and the European Union Delegation in Washington in cooperation with the European-American Cultural Foundation. This free screening of THE SHAMER'S DAUGHTER is presented with the support of the Embassy of Denmark.

For the full lineup of events, visit kidseurofestival.org and follow #KidsEUFest.

[EL SILENCIO DEL VIENTO]

Álvaro Aponte Centeno assured debut feature is a powerful drama of loss and hope which tackles the global immigration crisis from a highly personal perspective. Rafael has no time to mourn the death of his sister. He is part of a human trafficking network that brings an endless stream of migrants from the Dominican Republic to Puerto Rico. Balancing caring for his mother and daughter with his illicit activities, Rafael begins to reach a crisis point. DIR/SCR Álvaro Aponte Centeno; PROD Maite Rivera Carbonell. Puerto Rico/Dominican Republic/France, 2018, color, 85 min. In Spanish with English subtitles. NOT RATED

No AFI Member passes accepted.

Indian director Rohena Gera expertly mixes a nuanced tale of forbidden love and self-realization with a sharp class study in her narrative debut, which premiered at the Cannes Critics' Week sidebar earlier this year. Recently widowed, Ratna (Tillotama Shome) decides to move from her small rural village to take a job in the big city as a live-in housekeeper for Ashwin (Vivek Gomber), an architect from an upper-crust Mumbai family. When Ashwin is jilted by his equally upper-crust fiancé, he spends time working and brooding in his apartment and slowly builds a connection with Ratna, who has big dreams and a quiet but infectious sense of optimism. As the pair connect, however, unspoken — and spoken — class and gender barriers come into play, and Ratna's ambitions and hopes are thrown into jeopardy. DIR/SCR/PROD Rohena Gera; PROD Brice Poisson. India/France, 2018, color, 99 min. In English and Hindi with English subtitles. NOT RATED

AFI Member passes accepted.

When a slew of pizza delivery boys are slain on the job, two daring survivors set out to catch the culprits behind the bizarre crime spree. Somehow, this mystery involves both a werewolf and a pizza restaurant built on a gateway to hell. Starring Chance Bennett (aka Chance the Rapper), Zazie Beetz (ATLANTA), Joe Keery (STRANGER THINGS) and Hannibal Buress (TAG). "A fresh, unique spin on the battle between good and evil in a small town…A24 delivers a hilarious horror film destined to be a stoner classic." – IndieWire. DIR/SCR Austin Vesely; PROD Kevin McGrail, Brandon Riley. U.S., 2018, color, 83 min. RATED R

Preceded by:
MR. MACHINE – A girl brings her new boyfriend out for dinner with friends and reveals to them that he's a computer hacker. DIR Jeff Wish. U.S., 2017, color, 9 min. NOT RATED

No AFI Member passes accepted.

[EL MOTOARREBATADOR]

Petty thief Miguel supports himself by stealing purses from the elderly, but when his latest victim, Elena, suffers an amnesia-causing blow to the head, he becomes plagued by guilt. Scheming his way into Elena's life, Miguel's plan is to help her heal. But Elena's growing suspicion and Miguel's dark past begin to threaten their coexistence. Agustín Toscano's (THE OWNERS) second feature is a provocative mix of tragicomedy and psychological thriller, which astutely tackles questions of family, class and morality in contemporary Argentina. Official Selection, 2018 Cannes Directors' Fortnight, Munich and Midnight Sun film festivals. DIR/SCR Agustín Toscano; PROD Georgina Baisch, Natacha Cervi, Hernán Musaluppi, Cecilia Salim. Argentina/Uruguay, 2018, color, 93 min. In Spanish with English subtitles. NOT RATED

No AFI Member passes accepted.

Winner of the prize for Best Screenplay in the Un Certain Regard section of the 2018 Cannes Film Festival, Meryem Benm'Barek-Aloïsi's astounding feature debut is a gripping social drama examining the complex intersection of gender and class in contemporary Morocco. Twenty-year-old Sofia (Maha Alemi) lives with her parents in Casablanca. When a post-dinner stomach pain turns out to be the onset of labor, Sofia unexpectedly bears a child out of wedlock — which is illegal in Morocco — and is thrown into an impossible position in which, with the help of her cousin Lena (Sarah Perles), she must track down her baby's father, dodge arrest and placate her family — all against the clock, and with a newborn child in tow. Benm'Barek's nuanced exploration of the hypocrisy at work in such a situation is coupled with a refusal to provide easy answers and a protagonist who finds agency in ways you'd least expect. DIR/SCR Meryem Benm'Barek-Aloïsi; PROD Oliver Delbosc. France/Qatar, 2018, color, 80 min. In French and Arabic with English subtitles. NOT RATED

AFI Member passes accepted.

The signature film of Italian horror maestro Dario Argento sends fresh-faced American dancer Suzy Bannion (Jessica Harper) off to a prestigious ballet school in Germany, where she is greeted by students fleeing in panic, secretive headmistresses (Joan Bennett and Alida Valli) and a series of murders and supernatural occurrences that grow increasingly gruesome. Does something more than the spirit of the dance live within the school's walls? Propelled by a pounding soundtrack (by Italian rock band Goblin) and bold, almost impossibly stylized Technicolor visuals, this film is a landmark work of cinematic horror. DIR/SCR Dario Argento; SCR Daria Nicolodi, from the book "Suspiria de Profundis" by Thomas De Quincey; PROD Claudio Argento. Italy, 1977, color, 98 min. Dubbed in English. NOT RATED

AFI Member passes accepted.

[TIEMPO COMPARTIDO]

Pedro and his family are stuck sharing their dream getaway in a tropical resort with Abel and his strange brood due to a clerical error. While each man is offered a suspicious compensation package, only Abel accepts, and the two families soon bond — much to Pedro's chagrin. A terrible tennis court accident leads to a discovery that has Pedro convinced dark forces are at play with Abel and the hotel management in this dark comedy that ratchets up the weird to an oddball crescendo. Winner, Best Supporting Actor and Best Actor in a Minor Role, 2018 Ariel Awards Mexico; Best Actor, 2018 Guadalajara International Film Festival; Special Jury Prize for Screenwriting, 2018 Sundance Film Festival. DIR/SCR Sebastian Hofmann; SCR/PROD Julio Chavezmontes. Mexico/Netherlands, 2018, color, 96 min. In English and Spanish with English subtitles. NOT RATED

No AFI Member passes accepted.

In 1989 Havana, Russian literature professor Malin gets a mysterious note at the university with orders from the government sending him to a local hospital, where he is expected to act as translator between the Cuban doctors and the families of young patients from the Chernobyl disaster. Initially reluctant to continue, Malin becomes deeply devoted to his patients, though his relationship with his pregnant wife and young son suffers. This emotionally rich drama is rooted in historical facts — 20,000 Chernobyl victims were eventually treated in Cuba. (Note adapted from Sundance Film Festival.) Winner, Best Director Award, 2018 Shanghai International Film Festival; Official Selection, 2018 Sundance, Guadalajara and San Francisco film festivals. DIR Rodrigo Barriuso; DIR/PROD Sebastián Barriuso; SCR/PROD Lindsay Gossling. Cuba/Canada, 2018, color, 107 min. In Spanish and Russian with English subtitles. NOT RATED

No AFI Member passes accepted.

[VIOLETA AL FIN]

Recently divorced, 72-year-old Violeta lives alone in her childhood home, tending to her lush tropical garden and making plans to turn her property into a boarding house. She even takes in her swim instructor as a tenant to get the process started. But when she discovers the bank is about to seize her property, Violeta breaks all the rules to hold onto her home and her freedom. (Note adapted from Habanero Film Sales.) Official Selection, 2017 Busan, Ventana Sur, Mar del Plata, Costa Rica and Havana film festivals; 2018 Guadalajara and Los Angeles Latino film festivals. DIR/SCR Hilda Hidalgo; PROD Laura Imperiale. Costa Rica/Mexico, 2017, color, 87 min. In Spanish with English subtitles. NOT RATED

No AFI Member passes accepted.

With her first and only feature film — a hard-luck drama she wrote, directed and starred in — Barbara Loden turned in a groundbreaking work of American independent cinema, bringing to life a kind of character seldom seen on screen. Set amid a soot-choked Pennsylvania landscape, and shot in an intensely intimate vérité style, the film takes up with distant and soft-spoken Wanda (Loden), who has left her husband, lost custody of her children and now finds herself alone, drifting between dingy bars and motels, and callously mistreated by a series of men — including a bank robber who ropes her into his next criminal scheme. A rarely seen masterpiece that has nonetheless exerted an outsize influence on generations of artists and filmmakers, WANDA is a compassionate and wrenching portrait of a woman stranded on society's margins. (Note courtesy of Janus Films.) DIR/SCR Barbara Loden; PROD Harry Shuster. U.S., 1970, color, 102 min. NOT RATED
Restored by UCLA Film & Television Archive. Restoration funding provided by The Film Foundation and GUCCI.

AFI Member passes accepted.

[LA TELENOVELA ERRANTE] In 1990, the late Raúl Ruiz (1941–2011) conducted six days of acting workshops in his native Chile, yielding a small wealth of 16mm footage that was never edited together until Valeria Sarmiento, Ruiz's wife and chief collaborator, returned to it nearly six years after Ruiz's death. The result is a wildly inventive, episodic work of political satire born of Ruiz and Sarmiento's vision of "Chilean reality" as a grand pastiche of soap-opera tropes — in other words, that the best way to understand the political and economic realities Chileans face is to view their situation through the sublime and ridiculous prism of the telenovela. (Note courtesy of Film Society at Lincoln Center.) Winner, Special Mention, Best Latin-American Film, 2017 Mar del Plata Film Festival; Official Selection, 2017 Locarno Film Festival, 2018 Rotterdam Film Festival. DIR/SCR/PROD Raúl Ruiz; DIR Valeria Sarmiento; SCR Pía Rey; PROD Leo Kocking, Andrés Racz. Chile, 2017, color, 80 min. In Spanish with English subtitles. NOT RATED

Winner of the Teddy Award at the 1996 Berlinale and a landmark work of New Queer Cinema, THE WATERMELON WOMAN is the story of Cheryl (director Cheryl Dunye), a twenty-something black lesbian struggling to make a documentary about Fae Richards, a beautiful and elusive 1930s black film actress popularly known as "The Watermelon Woman." While uncovering the meaning of Fae Richards' life, Cheryl experiences a total upheaval in her personal life. Her love affair with Diana (Guinevere Turner, AMERICAN PSYCHO, GO FISH), a beautiful white woman, and her interactions with the gay and black communities are subject to the comic yet biting criticism of her best friend Tamara (Valerie Walker). Meanwhile, each answer Cheryl discovers about "The Watermelon Woman" evokes a flurry of new questions about herself and her future. (Note adapted from First Run Features.) DIR/SCR Cheryl Dunye; PROD Alexandra Juhasz, Barry Swimar. U.S., 1996, color, 90 min. NOT RATED

AFI Member passes accepted.

[¿QUIÉN ERES TÚ?]

Ari Maniel Cruz follows his acclaimed 2016 hit BEFORE THE ROOSTER CROWS with this uncompromising look at the political and personal effects of Alzheimer's disease. While health secretary Dr. Eduardo Suárez vehemently opposes the new health reform proposed by the governor, his wife is beginning to show signs of early-onset Alzheimer's. Forced to resign from his post, Suárez takes care of his wife and watches from the sidelines while an investigation into government corruption threatens to bring down the current administration. Official Selection, 2017 New York Latino Film Festival; 2018 Panama and Chicago Latino film festivals. DIR/SCR Ari Maniel Cruz; PROD Esteban Lima. Puerto Rico, 2017, color, 98 min. In Spanish with English subtitles. NOT RATED

No AFI Member passes accepted.

[ETERNITY]

2018 Oscar® Selection, Peru

The first Peruvian film shot in the indigenous language of Aymara, WIÑAYPACHA tells the story of an elderly couple, Willka (Sun) and Phaxsi (Moon), struggling to survive in a remote part of the Andes as they wait in vain for the return of their son Antuco (Star) from the city. Taking inspiration from the experiences of his grandparents, filmmaker Oscar Catacora blends acute attention to mundane daily details with stunning, sublime cinematography to capture a snapshot of the protagonists' hopes, dreams and struggles, alongside the indifferent, sometimes harsh beauty of their surrounding environment. Winner, Best First Film and Best Cinematography, Ibero-American Competition, 2018 Guadalajara Film Festival; Official Selection, 2018 Lima and Mar del Plata film festivals. DIR/SCR Oscar Catacora; PROD Tito Catacora. Peru, 2017, color, 86 min. In Aymara with English subtitles. NOT RATED

No AFI Member passes accepted.

[КРЫЛЬЯ aka KRYLYA]
For her first feature after graduating from the All-Russian State Institute for Cinematography (VGIK), Ukrainian filmmaker Larisa Shepitko trained her lens on the fascinating Russian character actress Maya Bulgakova, who gives a marvelous performance as a once-heroic Russian fighter-pilot now living a quiet, disappointingly ordinary life as a school principal. Subtly portraying one woman's desperation with elegant, spare camera work and casual, fluid storytelling, Shepitko, with WINGS, announced herself as an important new voice in Soviet cinema. (Note courtesy of Criterion Collection.) DIR Larisa Shepitko; SCR Valentin Ezhov, Natalya Ryazantseva; PROD V. Maslov. USSR, 1966, b&w, 85 min. In Russian with English subtitles. NOT RATED

AFI Member passes accepted.

Evil spreads across the English countryside as witch hunter Vincent Price literally needles confessions out of suspected witches while collecting money from local magistrates. Burnings, drownings and hangings are all in a day's work, as Price gives his most brutal, scornful and bullying performance, drained of camp. "Quite possibly the greatest British horror film ever made." – BritishHorrorFilms.co.uk (Note courtesy of BAMcinématek.) DIR/SCR Michael Reeves; SCR Tom Baker, Ronald Bassett, based on the poem by Edgar Allan Poe; PROD Louis M. Heyward, Arnold L. Miller, Philip Waddilove. UK, 1968, color, 87 min. NOT RATED

AFI Member passes accepted.

[LA CASA LOBO]

Picture David Lynch's ERASERHEAD reimagined by stop-motion, avant-garde filmmakers The Brothers Quay, and you have a good place to start wrapping your head around the gonzo fairytale that is THE WOLF HOUSE. On the run from a German cult, holed up in a shack in the Chilean woods, Maria takes refuge with her two pigs as the spirit of the house slowly drives her insane. This beautiful nightmare of a film was initially conceived as a series of traveling exhibitions that spanned various studios to show the public a work in constant flux. Winner, Caligari Film Prize, 2018 Berlin International Film Festival; Jury Distinction, 2018 Annecy International Animation Film Festival; Official Selection, 2018 Cartagena, Hong Kong and Fantastic Fest film festivals. DIR/SCR Joaquín Cociña, Cristóbal León; SCR Alejandra Moffat; PROD Niles Atallah, Catalina Vergara. Chile/Germany, 2018, color, 75 min. In Spanish and German with English subtitles. NOT RATED

No AFI Member passes accepted.

YOU MIGHT BE THE KILLER takes place in a parallel universe in which the stuff of horror movies is commonplace, the supernatural is accepted and everyone knows the rules. Sam and Chuck attempt to navigate this world and maybe even stop the killing. A twist on the slasher genre, and adapted from a viral Twitter thread by New York Times-bestselling authors Sam Sykes and Chuck Wendig, YOU MIGHT BE THE KILLER is set to become one of the best horror comedies of the year. Starring Fran Kranz (THE CABIN IN THE WOODS, THE DARK TOWER) and Alyson Hannigan (BUFFY THE VAMPIRE SLAYER, HOW I MET YOUR MOTHER). DIR/SCR Brett Simmons; SCR/PROD Thomas P. Vitale; PROD Griff Furst. U.S., 2018, color, 90 min. NOT RATED

Preceded by:
THE RECURRING – A woman with a traumatic past begins to suspect she is being haunted. DIR Alexi Papalexopoulos. U.S., 2018, color, 7 min. NOT RATED

No AFI Member passes accepted.

(aka ZOMBI 2 aka ZOMBIE FLESH EATERS)
It's hard to describe Italian horror maestro Lucio Fulci's unofficial — and unauthorized — sequel to George Romero's 1978 DAWN OF THE DEAD (which was re-edited by Dario Argento and released in Italy as ZOMBI), but we're going to try. When a lone zombie is found aboard the abandoned boat of a New York scientist, the scientist's daughter teams up with an intrepid journalist to travel to Matul, a remote Caribbean island where her father had been working. The pair finally make it to the island just in time to discover that a terrifying disease has been turning the islanders into zombies — and that the doctor overseeing its containment has lost control. Featuring an iconic battle between a zombie and great white shark, conquistador zombies and an eye-slicing scene to rival UN CHIEN ANDALOU, ZOMBIE aka ZOMBI 2 is an all-time undead classic. DIR Lucio Fulci; SCR Elisa Briganti, Dardano Sacchetti, Chuck Smith; PROD Fabrizio De Angelis, Ugo Tucci. Italy, 1979, color, 91 min. In English and Spanish with English subtitles. RATED R

AFI Member passes accepted.