Wednesday, September 20
NIGHT
WALTZ-The Music of Paul Bowles
By Owsley Brown
Winner of the Independent Spirit Award in 2000,
NIGHT WALTZ is Owsley Brown's directing debut.
Brown follows the expatriate American bad boy
novelist, Paul Bowles, through his least known
but perhaps most interesting side-his music. Bowles,
who had a lengthy career as a composer before
publishing THE SHELTERING SKY in 1949, is convinced
that his music would not be popular without his
literary fame. NIGHT WALTZ blends footage of Bowles
shot in Morocco with seven visual essays by Nathaniel
Dorsky, Rudy Burckhardt and Jerome Hiler set to
Bowles' music.
Wednesday,
October 11
Oh
Freedom After While
By Steven J. Ross
"If
ever there was a modern-day David and Goliath
story, this is it. An epic tale of courage and
perseverance, race and class, imagination and
endurance, Oh Freedom After While completely topples
popular romantic conceptions of pastoral America
during the Depression and postwar years. Owen
Whitfield and the women and men who joined the
strike will go down in history as heroes in the
struggle for civil rights, human rights, and the
rights of working people everywhere." -Robin D.
G. Kelley, New York University
Wednesday,
November 8
One
of Us
By Susan Korda
Korda
builds compelling portraits of the fascinating
and eccentric members of her family: a glamorous
mother who saved the lives of 30 strangers during
World War II, but was willing to abandon her own
daughter; a debonair father whose war experiences
left him unable to see anyone's pain but his own;
a brother reduced to shooting at portraits of
his family with a 9mm. In a searing indictment
of Germany, her family, and ultimately, herself,
Korda pulls no punches whatsoever.
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Wednesday, January 31
ALWAYS
A BRIDESMAID
By Nina Davenport
With
the growing single population, Davenport takes
on the American cultural angst shared by many
unmarried women over 30. Her job as a bridal photographer
doesn't help. The fact that her mother received
13 proposals before her blissful marriage makes
it even more depressing. Her current relationship
with a younger guy is going nowhere. So she asks
her unmarried friend Edith to reflect on her relationships
during her 90 some years. Davenport's newest film
presents us with a personal, humorous yet poignant
journey expanding upon the ever-popular topic
of relationships within an increasingly single
American landscape.
Wednesday,
February 28
UNIVERSITY
INC.
By Kyle Henry
and
THE
SUBTEXT OF A YALE EDUCATION
By Laura Dunn
The
McCOLLEGE TOUR is taking the corporatization
of academic debate to private colleges and public
universities, provoking discussion, dissension
and hopeful community building among those whose
wish to see the university play a more vital and
humanitarian role in the twenty-first century.
Each film deals with similar issues, but focuses
them through different struggles and perspectives.
SUBTEXT chronicles a year in labor strikes at
Yale and documents both economic and philosophical
disparities of an undergraduate education at one
of the wealthiest universities in America's fourth
poorest city. UNIVERSITY INC. deals with the closing
of a repertory film program as a paradigm for
interrogating the corporate ideology now guiding
the nation's largest public university, the University
of Texas-Austin. Both stories raise similar questions
about our current system of higher education.
Wednesday, April 4
TAX
DAY
By Laura Colella
On
the morning of April 15, Irene convinces Paula
to take a short walk to the post office. They
are soon taken off track when they accept an offer
from two young men to take an urban canoe ride
through the canals downtown. As they make their
way back to the post office, the women are repeatedly
diverted by numerous encounters with odd characters,
reminiscences of past adventures and sidewalk
spectacles, such as performances by bands, breakdancers,
and a volatile street magician. TAX DAY follows
their daylong vacation around town, in an ode
to the pleasures of leisure. Critics have said
that TAX DAY "has the quick-witted cleverness
of the best road movies" (Boston Herald), and
"reminds us of the potential richness of both
life and filmmaking" (Chicago Reader).
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