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Chris Smith: American Original
August 29–September 1
Wisconsin-born filmmaker Chris Smith is best known for four independent films that limn some of the more curious aspects of the American dream: his first feature, American Job, portrays the dispiriting nature of much minimum wage work; American Movie follows an irrepressible young director cobbling together a regional horror film; Home Movie focuses on eccentric abodes that express the personalities of their owners; and The Yes Men is a "performance diary" of activist pranksters who infiltrate international conferences. Wry, empathetic, and wise, Smith's films occupy a special niche in contemporary cinema. His most recent feature, The Pool, is the director's return to fiction. Set in Goa, India, the film is a deeply moving narrative about the intersecting lives of a young hotel worker, an orphaned boy, and the owner of a swimming pool. The Department of Film is proud to present a special preview screening of The Pool on September 1, the final evening of Smith's retrospective—two days before its theatrical premiere at the Film Forum.
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| American Movie. 1999. USA. Directed by Chris Smith |
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Collaborations in the Collection: The Coen Brothers
Through August 28
The ongoing Collaborations in the Collection series samples a wide range of film collaborations, both classic and contemporary, well-known and rarely noticed, and takes into account all roles in film production, including screenwriting, producing, editing, cinematography, and music composition. These titles, when presented together, allow filmgoers an opportunity to view MoMA's collection in a different light. This summer, Collaborations spotlights Joel and Ethan Coen, whose partnership is one of the most prominent filmmaking collaborations in contemporary cinema. Going beyond writing and directing, the Coen brothers also share producing and editing responsibilities—although they frequently go uncredited or use pseudonyms. In addition to collaborating with each other, the Coens repeatedly work with the same actors, cinematographers, composer, and editor ("Roderick Jaynes," i.e. themselves). Itinerants of place, time, and genre, the Coens defy neat categories or summaries. However, their films' credit lists reveal the common thread: collaborating with the same actors and crew allows the Coens to embark on each new collective challenge with efficiency and innovation.
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No Country for Old Men. 2007. USA. Written and directed by Joel Coen, Ethan Coen
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Salvador Dalí: Consumer/Consumed
Through September 15
Salvador Dalí: Consumer/Consumed explores the pictorial and cinematic iconography produced by Dalí, and how that iconography became the catalyst for a distinct visual language that would be "consumed" by other filmmakers. Conversely, the exhibition also examines ways in which Dalí was the beneficiary of others' cinematic methodologies. Dalí frequented the Cineclub Español in Madrid, where he saw not only European avant-garde films, but also American films such as The Mark of Zorro (1920) and Tom Mix Westerns. The cinematographic language that Dalí absorbed as a viewer later played a pivotal role in the paintings and films he made; in turn, Dalí's representations were absorbed by other artists. This exhibition, which is held in conjunction with Dalí: Painting and Film, presents films that influenced Dalí as well as those that demonstrate his influence.
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| The White Sheik. 1952. Italy. Directed by Federico Fellini |
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Jazz Score
Through September 15
Comprising a film retrospective, a gallery installation, live concerts, and a panel discussion, Jazz Score celebrates some of the best original jazz composed for the cinema from the 1950s to the present. The film retrospective includes fiction features, experimental and animated shorts, and documentaries from countries as far ranging as France, Brazil, Japan, South Africa, and the U.S. Upcoming highlights include Spike Lee's She's Gotta Have It (music by Bill Lee), David Cronenberg's Naked Lunch (music by Howard Shore, with solos by Ornette Coleman), Philippe Garrel's Emergency Kisses (music by Barney Wilen), and Shohei Imamura's Dr. Akagi (music by Yosuke Yamashita).
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Looking at Music
Through December 31
Music was at the forefront of interdisciplinary experimentation in the 1960s, when the mixing of mediums took off. Portable video cameras, electric guitars, and an aura of technical innovation all fostered radical experimentation. This screening series, presented in conjunction with a selection of early media and related drawings, prints, and photographs in The Yoshiko and Akio Morita Gallery, examines the radical role of music in the early development of media art, and includes documentary and experimental films, and music videos.
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Still Moving
Ongoing
MoMA presents a regular series derived exclusively from its film collection, featuring works that have been acquired and preserved by the Museum over the last seven decades. In August, MoMA presents four classic Italian films recently restored by and acquired from Mediaset S.p.A., including Federico Fellini's I vitelloni, and Julien Duvivier's The Return of Don Camillo. In September, we mark the recent passing of producer, director, and actor Sydney Pollack, beginning with a screening of his early directorial success They Shoot Horses, Don't They?
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All
Film Programs
Name a Theater Seat
For a contribution of $5,000, your name, or the name of someone you
wish to honor or remember, can be placed on a seat in the Museum's Roy
and Niuta Titus Theater 1. To name a seat or for more information, please
contact Lisa Mantone, Director of Development, at (212) 708-9671. Contributions
to name theater seats are 100% tax-deductible.
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