Our annual season of films from cinema’s earliest era continues on most Tuesdays in March and April. From Sweden arrives The Phantom Chariot (screening March 2), a haunting and influential fable by Victor Sjöström. One of the very few Japanese actors to make a successful transition to Hollywood features was Sessue Hayakawa, who will be featured in…[read more]
Following up last year’s popular salute to one of American cinema’s most charismatic leading men, we’ve put together another lineup in homage to the acting and filmmaking talents of the great Paul Newman. In one of his most important early roles, Newman is a social-climbing lawyer who risks it all to defend pal Robert Vaughn…[read more]
In addition to 21 Below and Daytime Drinking, the Dryden is the only local venue that will offer theatrical screenings of these recently released acclaimed features and documentaries: HOME – March 5
THE SUN – March 6
WHAT’S THE MATTER WITH KANSAS – March 13[read more]
South Korean cinema has enjoyed a considerable revival in the last decade, particularly with the kinetic, action-packed genre exercises from filmmakers like Park Chan Wook (Old Boy) and Bong Joon-Ho (The Host). But another strain of features has also been emerging, films like those by Hong Sang-soo (Woman on the Beach), which…[read more]
George Eastman House has joined with 360 | 365 (formerly the High Falls Film Festival) to bring you the 360 | 365 George Eastman House Film Festival, a five-day paradise for movie lovers May 5 to 10 at the Dryden and Little Theatres. Additionally, the Dryden will be home to the 360 | 365 George Eastman House New Director Series…[read more]
Jacques Tati was briefly a professional rugby player, music-hall mime, and actor in short films before he began to direct his own. He translated his athleticism and miming into the physical comedy of the alter ego he would play in most of his feature films, Monsieur Hulot. With his too-short trousers, striped socks, pipe, and umbrella…[read more]
Melancholy is not an emotion that we usually associate with comedies, at least not in the laugh-a-minute, chortle-every-10-seconds type of movies that most audiences have come to expect from the genre. It takes a rare type of film artist to discover the almost inexpressible wistful sadness and small sense of loss behind the laughter and triumphs…[read more]
