Program A: COSMIC RAY, A MOVIE, THE WHITE ROSE, MARILYN TIMES FIVE, VIVIAN, TEN SECOND FILM, BREAKAWAY, MEA CULPA,
TAKE THE 5:10 TO DREAMLAND, VALSE TRISTE, HIS EYE IS ON THE SPARROW, EASTER MORNING
Program B: MONGOLOID, AMERICA IS WAITING, REPORT, CROSSROADS, LOOKING FOR MUSHROOMS
When Br... Read more
Program A: COSMIC RAY, A MOVIE, THE WHITE ROSE, MARILYN TIMES FIVE, VIVIAN, TEN SECOND FILM, BREAKAWAY, MEA CULPA,
TAKE THE 5:10 TO DREAMLAND, VALSE TRISTE, HIS EYE IS ON THE SPARROW, EASTER MORNING
Program B: MONGOLOID, AMERICA IS WAITING, REPORT, CROSSROADS, LOOKING FOR MUSHROOMS
When Bruce Conner (1933-2008) emerged from the 1950s San Francisco Beat scene with A MOVIE (1958), his groundbreaking found-footage collage, he changed forever the language of filmmaking in ways that have resonated as strongly with Hollywood as with independents. Mixing footage of skydivers, earthquakes, car chases, deep-sea diving, B westerns, atomic explosions, his first film, like many of those to follow, critiques 20th century pop culture as it embraces and embodies it. Hailed as the father of the music video (“MTV should have paid him royalties.” — Manohla Dargis, New York Times), Conner’s brilliant collages play off against music as disparate as Ray Charles’s What I Say to Marilyn Monroe singing I’m Through With Love and the music of David Byrne & Brian Eno, Devo, Respighi, Patrick Gleeson and Terry Riley. Our two programs are a rare opportunity to see Conner’s near-complete body of film work, including the theatrical premiere of his final film, the elegant EASTER MORNING.
Screening Times:
Program A 1:00, 4:15, 7:15, 10:15 • Program B 2:40, 5:45, 8:45
Separate admission for each program
