Films and Showtimes
- On Stage: The Royal Ballet's Nutcracker
- Darkest Hour
- Belle de Jour (1968)
- A Town Called Panic (2009)
- The Shape of Water
- Call Me by Your Name
- Hiroshima Mon Amour (1959)
- Member Pick: Blue Velvet (1986)
- Breathless (1960)
- Watership Down (1978)
- Cleo from 5 to 7 (1962)
- Jules and Jim (1962)
- Member Pick: Miami Connection (1987)
- BEST OF 2016 NY INT'L CHILDREN'S FILM FESTIVAL: KID FLIX
- BEST OF 2016 NY INT'L CHILDREN'S FILM FESTIVAL: PARTY MIX
- The General (1927)
- On Stage: Bernstein Centenary
- Back to the Future (1985)
- On Stage: Mozart's Cosi fan Tutte
- Porco Rosso (1992)
- On Stage: The Royal Ballet's Swan Lake
- Starring: Paul Brennan, Charles McDevitt, James Baker
- Director(s): Albert Maysles, David Maysles
- Genre(s): Documentary , Drama
- Rating: G
- Running Time: 91 min.
This new quarterly series showcases the “essential” films everyone should see on the big screen. For each month-long program, we’ll screen five films organized by one of the following themes: directors, actors, genres, and eras/movements.
Essential tickets are $9 for Adults, $8 for Students/Seniors and Members get in Free!
This famous documentary is said to have single-handedly brought back a resurgence of documentary filmmaking in the 1960-1970s.
A landmark American documentary, Salesman captures in vivid detail the bygone era of the door-to-door salesman. While laboring to sell a gold-embossed version of the Good Book, Paul Brennan and his colleagues target the beleaguered masses—then face the demands of quotas and the frustrations of life on the road. Following Brennan on his daily rounds, the Maysles discover a real-life Willy Loman, walking the line from hype to despair. [Criterion]
"This 1968 study of door-to-door Bible salesmen in the Boston area and in the south is a superb and truthful look at an American institution -- and at the troubling relationship between fact and fiction, materialism and spiritual values."- Don Druker, Chicago Reader
"It's such a fine, pure picture of a small section of American life that I can't imagine its ever seeming irrelevant, either as a social document or as one of the best examples of what's called cinema vérité or direct cinema."- Vincent Canby, New York Times