IHP Magazine, Spring 2014

UCLA Festival of Preservation / Roma / Le Joli Mai / Spirited Away / The Trilogy of Life / & more

SPRING

2014

April / may / june

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Je t’aime, Je t’aime (p. 37)

ta b l e o f contents 2 53rd global gala: COlors of Brazil 4 artist spotlight: Daniel Gafanhoto From Rio to Brotherly Love 5 Resident spotlight: RAAC Art show 6 Series Spotlight: UCLA Festival of Preservation 8 programs 11 Calendar 14 April 31 May 37 June tickets/box office: Tickets are available at www.ihousephilly.org + 215.387.5125 IHP’s Box Office is open from 1pm – 8pm, Tuesday – Saturday. Purchase your tickets in person or over the phone during these hours and save the processing fee.

Unless noted, all IHP screenings are free admission for IHP members; $7 students + seniors; $9 general admission.

Cover: Spirited Away (p. 40)

International House Philadelphia

53rd G LOBAL G ALA : COLORS OF BRAZIL For more than 50 years, International House Philadelphia has held a Global Gala, during which a different country or region of the world is celebrated. Last year, we travelled to the Eurasian country of Armenia, a nation rich in cultural heritage and tradition, as well as a contemporary culture that includes riotous fun music, beautiful artwork, and inspired cuisine.

This year, on May 17th, International House heads south, to the rising power and colorful country of Brazil. Known around the world for its first-class celebration of Carnaval where some of the most beautiful people on earth participate in eclectic parades with dynamic floats and street performances. Carnaval is a global celebration that extends beyond religion while crossing cultural and political divides. On the streets of Rio during Carnaval, you’ll find feathers of every color, sequins on every body, and music that has every hip shaking.

International House Philadelphia’s 53rd Global Gala: Colors of Brazil is channeling the rhythm of Carnaval for its main event on May 17th, and there is no better time to celebrate this amazing country!

In the past year alone, Philadelphia took part in a Brazilian trade mission, which successfully brought new Brazilian business to our region while introducing Brazil to our historic city of Brotherly Love. With a direct flight from Philadelphia to Brazil on US Airways starting this year, its not a moment too soon as Brazil will host the World Cup this summer, and in two short years, the Summer Olympics. Brazil has long been the jewel of South America, and now it is opening itself up to the rest of the world.

Our 53rd Global Gala: Colors of Brazil is an opportunity get a real taste of this incredible place, from Samba and Bossa Nova, to some of the best steak on earth, amazing visual artists like Beatriz Milhazes who draws inspiration from her country’s landscapes and people, free-flowing Caipirinhas (one of the tastiest drinks on earth), and a general zest for life, happiness, and the pursuit of an excellent party.

Join together with friends from around the world to celebrate the contemporary cultural and business ties between Philadelphia and Brazil.

Enjoy the people, culture, art, and cuisine of Brazil right around the corner, at International House Philadelphia.

Wednesday, April 16 at 6pm Art Exhibit Opening Daniel Gafanhoto Saturday, May 17 at 6:30pm 53rd Global Gala Colors of Brazil Saturday, June 14 at 2pm Brazilian BBQ / Alumni Reunion

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International House Philadelphia

ART I ST S P OTL I G H T

Daniel Gafanhoto: From Rio to Brotherly Love

In keeping with the theme of our 53rd Global Gala: Colors of Brazil, we are excited to exhibit the work of Brazilian-born artist, Daniel Gafanhoto, now a resident of the US and member of InLiquid, a Philadelphia based non-profit membership organization dedicated to providing opportunities for visual artists and designers.

A fine-art photographer who works digitally, Daniel photographs and processes cityscapes in a very personal way, as a demonstration of the places he has lived and visited. He believes that a place can show a lot about a person, sometimes even more than a portrait, and feels that the ways cities influence people are the most striking.

Daniel switched from traditional film to digital because it allows him more control over his subjects. His photos were always representations of personal visions based on his surroundings, but when done in film, the results were experimental.

Moving to a digital process gives him more power in his practice, as well as a very personal and accurate representation of his idea. His art comes

after he takes the photo – it is not a realistic depiction of the place, but rather influenced by his memories and feelings towards the subject, which are expressed through applied post-process techniques.

Daniel’s photos explore the city of Philadelphia and the country of Brazil, as seen through his eyes – both wonderfully rich and exciting places, full of nuance and detail.

Please join us April 16th from 6-8pm to open Daniel’s exhibit, “From Rio to Brotherly Love”. The exhibit will be on view through the end of June 2014, in IHP’s East Alcove on the Main Level.

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Resident S P OTL I G H T RAAC ART SHOW

International House Philadelphia is home to students from all over the world, who study subjects ranging from math, psychology, English language, and the fine arts, among others. From April through June, we are exhibiting some of our resident’s art work, as well as our Director of Alumni Relations (once a resident herself). This is an art show organized by the residents, with the support of our RAAC (Resident Activities and Advisory Center) Office. This exhibit represents months of hard work by our residents and demonstrates their initiative in and commitment to encouraging cross-cultural communication and understanding.

The participating artists come from several corners of the world, including China, Iraq, Mexico, and the US, and their work includes photography, print-making, and collage.

Sarvelia Peralta-Duran, who is both an IHP alum and IHP’s Director of Alumni Relations, has a B.F.A. as well as a degree in Psychology. Her works concern domestic and family relationships.

Niloofar Gholamrezaei, a resident and Resident Advisor at IHP, is studying for her M.F.A. at the

Pennsylvania Academy of Fine Arts (PAFA). Her pieces reflect an inner and poetic world, full of mood and atmosphere.

Chelsea Dombroskie is a B.F.A. student, and also studies at the Pennsylvania Academy of Fine Arts. The specific simplification and transformation of the forms in her pieces explore a psychological state of objects.

Jizhe Yang studies Urban Planning at the University of Pennsylvania. Her photographs investigate culture, anthropology, history, sociology, and modernity within urban life and architecture.

Please join us for an opening reception on April 23 from 6 - 8pm in the Australia Lounge at IHP on the Second Floor.

International House Philadelphia

series S P OTL I G H T UCLA Festival of Preservation

From the director Following a herculean effort to put together the landmark program L.A. Rebellion: Creating a New Black Cinema, now concluding its tour of North American venues, UCLA Film & Television Archive lost no time in putting together the new UCLA Festival of Preservation, which premiered in Los Angeles in 2013. It is my great pleasure, as Director of the Archive, to introduce this latest touring version of our “FOP,” which again reflects the broad and deep efforts of UCLA Film & Television Archive to preserve and restore our national moving image heritage. Even in an era of tightening budgets and ever decreasing UniversityState funding, the Archive is committed to protecting and celebrating our film and television assets.

A highlight of this year’s edition is the restoration of Gun Crazy (1950), directed by Joseph H.

Lewis, and one of the most celebrated film noirs made on Hollywood’s poverty row. Produced in part locally in Montrose, California, and starring Peggy Cummins, this reworking of the “Bonnie and Clyde” story served as a template for Arthur Penn’s more famous film. The Festival also features The Chase (1946), completed by our late preservationist, Nancy Mysel, and based on Cornell Woolrich’s classic noire novel, The Black Path of Fear.

Independent cinema also continues to be a major focus of the Archive’s preservation efforts. After premiering our restoration of Robert Altman’s Come Back to the Five & Dime, Jimmy Dean, Jimmy Dean (1982) in 2011, this festival edition introduces Altman’s first major feature, That Cold Day in the Park (1969). Further independent films include Thom Andersen’s Eadweard Muybridge, Zoopraxographer (1985) and the disarming Robert Frost: A Lover’s Quarrel with the World, directed by Shirley Clarke and Robert Hughes.

We are also pleased to offer a delightful pair of silent features, including Clara Bow’s Mantrap (1926), and Midnight Madness (1928), a seldomseen potboiler produced at Cecil B. DeMille’s independent production company.

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This Festival of Preservation marks the arrival of our new Head of Preservation, Scott MacQueen, who has contributed several Hollywood features from Paramount in the 1930s, including Double Door (1934) and Supernatural (1933). Classic Hollywood is also represented in the pairing of the racy, rambunctious International House (1933) and Thirty Day Princess (1934), teaming Cary Grant with Sylvia Sydney for one of Sydney’s rare comedic performances. This program begins with the Laurel & Hardy short Busy Bodies (1933), newly restored under the Archive’s ongoing project to rescue the comedians’ entire legacy on film.

Wednesday, April 2 at 7pm Mantrap

All of our preservation work and public programs—including this Festival—are funded by donations from individuals, foundations, corporations, and government agencies. We are most thankful for the generosity of these organizations and individuals.

Friday, April 11 at 7pm Eadweard Muybridge, Zoopraxographer / Robert Frost: A Lovers Quarrel with the World

Dr. Jan-Christopher Horak Director UCLA Film & Television Archive This series was made possible by the Christian R. and Mary F. Lindback Foundation

Thursday, April 3 at 7pm Gun Crazy Friday, April 4 at 7pm Double Door / Supernatural Wednesday, April 9 at 7pm Midnight Madness Thursday, April 10 at 7pm The Chase

Thursday, April 17 at 7pm International House / Busy Bodies Friday, April 18 at 7pm That Cold Day in the Park Saturday, April 19 at 2pm Thirty Day Princess

International House Philadelphia

programs Archive Fever! 5.0 Central to our visual culture, the archive is a repository for any personal memories, shared histories, objects, and documents through which we revisit the history of our time. In this series, we explore the myriad ways in which the archive, archival, and found materials are central to the works of film and video artists who are discovering the dynamic possibilities within archives.

elsewhere, Fulton often combined places and images to create dream-like flows of thoughts and associations. The exquisite kinetic rhythms of his camera movements and his editing, as well as his use of superimpositions, create lyrical and breathtaking visions with Fulton’s travelling camera embodying both internal and external journeys.

Saturday, May 10 at 5pm Program 1: Films of Mark Lapore

Wednesday, April 23 at 7pm Fellini’s Roma

Saturday, May 10 at 8pm Program 2: Films of Robert Fulton

Thursday, May 1 at 7pm Le Joli Mai

Family Matinees All year long, International House Philadelphia entertains families when we open the doors to all ages for our series of family friendly matinees one Saturday every month at 2pm. The series brings the big screen to children, inspiring their imaginations, and yours, too! Take this opportunity to encourage a love of film and art from a young age. Filmgoers of all ages will delight in this carefully curated selection of inspired educational and entertaining cinema from around the world.

These films will bring the best of both worlds – education and entertainment. With a diverse line-up of programming geared towards children, teens, parents, and grandparents, there’s no reason to leave anyone at home!

Canyon Cinema Luminaries 2014 THE TRAVELLERS – THE FILMS OF MARK LAPORE AND ROBERT FULTON Filmmaking and travelling are so deeply intertwined that they are almost inseparable in the lives and oeuvres of Mark Lapore (1952-2005) and Robert Fulton (1939-2002). This program is dedicated to these two very different artists for whom filmmaking was a way of exploring and reflecting on both the larger world and the act of seeing through film. The works of Lapore and Fulton each embody a radical and unique way of looking at other cultures or places and engaging with the space-time of landscapes or cities not our own. Both highly influential and much-loved teachers, they are among the most important experimental filmmakers of the end of the last century.

Mark Lapore spent time living and filming in Sudan, Sri Lanka, and India as well as Idaho and New York, and his work critically engages with both ethnographic and avant-garde traditions.

Influenced by the long takes and cinematography of Lumière, Warhol, and Bresson, Lapore’s patient and aesthetically exquisite cinematic observations are never prurient and always revelatory. Humble yet penetrating, inquiring rather than assertive, Lapore elaborates a complex visual ethics across his oeuvre, questioning what it means to make images of other cultures.

Robert Fulton was a professional pilot and aerial cinematographer in addition to making his own documentary and experimental films. Filming in the United States, the Andes, Nepal, Africa, and

Support provided in part by the Philadelphia Cultural Fund.

Saturday, April 5 at 2pm Castle in the Sky Saturday, May 10 at 2pm The Secret of Kells Saturday, June 21 at 2pm Spirited Away Full Exposure Full Exposure is a series dedicated to recent works by innovative film and video makers from around the world, and is a snapshot of the current state of moving image production and it’s constantly evolving practice.

Wednesday, April 30 at 7pm Faust Friday, May 2 at 7pm Vic + Flo Saw a Bear (Vic + Flo ont vu un ours)

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Motion Pictures Motion Pictures is a monthly series that focuses on different movements in film culture such as science fiction, city symphonies, and New German Cinema. It has previously featured the films of Georges Méliès, John Ford, Preston Sturges, and Andrei Tarkovsky.

Thursday, April 24 at 7pm Oedipus Rex Friday, June 27 at 7pm The Decameron Saturday, June 28 at 5pm Canterbury Tales Saturday, June 28 at 8pm Arabian Nights The Janus Collection Truly one of our national treasures, Janus Films is a vital part of American film culture. International House continues the Janus Collection with titles from their library, all in brand new or restored 35mm prints.

Saturday, April 12 at 7pm L’Avventura Friday, May 9 at 7pm Diabolique Saturday, June 21 at 7pm Loves of a Blonde The Play’s the Thing: Václav Havel - Art and Politics Václav Havel (1936–2011), the dissident and imprisoned dramatist who went on to become a world-renowned statesman as first president of the Czech Republic, changed the course of twentieth-century history by mixing theater with politics and peacefully ending communism in his country. His plays, filled with metaphor and pointed innuendo, exposed the failings of the system, and Havel became a hero in an epic struggle. This program is based on the places and people that Havel knew, from the influential Theatre on the Balustrade, where his theatrical career began, to his friendships with filmmakers of the Czech New Wave, and to his political ascendancy in Prague.

Special Thanks to: Margaret Parsons, Head of the Film Program at the National Gallery of Art, National Film Archive in Prague, The Václav Havel Library, the Mutual

Inspirations Festival 2013 Czech Television, and the Embassy of the Czech Republic.

Saturday, June 14 at 7pm The Uninvited Guest (Nezvaný host) / Every Young Man (Každý mladý muž) Monday, June 16 at 7pm The Mist (Mlha) / A Report on Party and Guests (O slavnosti a hostech) Tuesday, June 17 at 7pm The Heart above the Castle (Srdce nad Hradem) / And the Beggar’s Opera Again (A znovu Žebrácká opera) Wednesday, June 18 at 7pm Joseph Kilian aka A Person to Be Supported (Postava k podpírání) / Who Is Václav Havel... (Kdo je Václav Havel…)

Thursday, June 19 at 7pm Leaving (Odcházení)

PARTNER programs Exhumed FIlms Formed in 1997, Exhumed Films was created to provide a theatrical venue for a much beloved art form that had all but disappeared in the 1990s and is in further decline in the early 21st century: the cult horror movie.

Saturday, April 19 at 8pm The Coed Murders / Amuck Saturday, May 3 at 11am eX-fest IV Reelblack Reelblack promotes discoveries and rediscoveries in African-American films.

Tuesday, April 15 at 7pm Philly Shorts Scribe Video Center Producers’ Forum The Producers’ Forum in-person screening series is a lecture discussion program, that allows Scribe to invite important nationally and internationally recognized media makers to Philadelphia to share their work and talk about their process of creating.

Tuesday, April 22 at 7:30pm The Undocumented

International House Philadelphia

Je t’aime, Je t’aime (p. 36)

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Sundance Film Forward: The Intersection of Film and Music If You Build It 1pm (p. 20)

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UCLA Festival of Preservation Mantrap 7pm (p. 14)

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Scribe Producers’ Forum The Undocumented 7:30pm (p. 27)

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UCLA Festival of Preservation Double Door / Supernatural 7pm (p. 15)

Family Matinee Castle in the Sky 2pm (p. 16) Big Joy: The Adventures of James Broughton / Dreamwood 7pm (p. 17)

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UCLA Festival of Preservation Midnight Madness 7pm (p. 17)

Art Exhibit Opening Daniel Gafanhoto 6pm (p. 20) The Stuart Hall Project 8pm (p. 22)

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UCLA Festival of Preservation Gun Crazy 7pm (p. 14)

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Art Exhibit Opening RAAC Art Show 6pm (p. 28)

UCLA Festival of Preservation The Chase 7pm (p. 18)

UCLA Festival of Preservation International House / Busy Bodies 7pm (p. 22)

UCLA Festival of Preservation Eadweard Muybridge, Zoopraxographer / Robert Frost: A Lovers Quarrel with the World 7pm (p. 18)

UCLA Festival of Preservation That Cold Day in the Park 7pm (p. 23)

The Janus Collection L’Avventura 7pm (p. 19)

UCLA Festival of Preservation Thirty Day Princess 2pm (p. 26) Exhumed FIlms The Coed Murders / Amuck 8pm (p. 27)

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Motion Pictures: Dramatic Arts Oedipus Rex 7pm (p. 29)

Michael Snow’s Presents 7pm (p. 29)

FLAFF Tire Dié / Pelo Malo / La Caminoneta 7pm (p. 30)

Archive Fever! 5.0: Fellini’s Roma 7pm (p. 28)

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Full Exposure Faust 7pm (p. 30)

International House Philadelphia

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Full Exposure Vic + Flo Saw a Bear (Vic + Flo ont vu un ours) 7pm (p. 31)

Exhumed Films eX-Fest IV 11am (p. 32)

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The Janus Collection Diabolique 7pm (p. 32)

Family Matinee The Secret of Kells 2pm (p. 33) Canyon Luminaries Films of Mark Lapore 5pm (p. 33) Canyon Luminaries Films of Robert Fulton 8pm (p. 34)

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Views of Independent Cinema: Malik Isasis The Elegant Clockwork of the Universe 7pm (p. 35)

Natan 7pm (p. 35)

53rd Global Gala Colors of Brazil 6:30pm (p. 34)

John Hubley Centennial Short Films by John Hubley 7pm (p. 36)

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Alain Resnais: In memoriam (1922 – 2014) Je t’aime, Je t’aime 7pm (p. 36)

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The Play’s the Thing: Václav Havel Art and Politics The Mist / A Report on Party and Guests 7pm (p. 38)

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The Play’s the Thing: Václav Havel Art and Politics The Heart above the Castle / And the Beggar’s Opera Again 7pm (p. 39)

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Scribe Producers’ Forum Muslim Voices of Philadelphia 7pm (p. 42)

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The Play’s the Thing: Václav Havel Art and Politics Joseph Kilian aka A Person to Be Supported / Who Is Václav Havel...

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The Play’s the Thing: Václav Havel Art and Politics Leaving 7pm (p. 40)

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La última película 7pm (p. 37)

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Brazilian BBQ 2pm (p. 37)

The Play’s the Thing: Václav Havel Art and Politics The Uninvited Guest / Every Young Man 7pm (p. 38)

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Family Matinee Spirited Away 2pm (p. 40) The Janus Collection Loves of a Blonde 7pm (p. 41)

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Motion Pictures The Decameron 7pm (p. 42)

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Motion Pictures Canterbury Tales 5pm (p. 43) Motion Pictures Arabian Nights 8pm (p. 43)

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International House Philadelphia

Wednesday, April 2 at 7pm UCLA Festival of Preservation

Thursday, April 3 at 7pm UCLA Festival of Preservation

dir. Victor Fleming, US, 1926, 35mm, b/w, silent, 75 min.

dir. Joseph H. Lewis, US, 1950, 35mm, b/w, 86 min.

Mantrap

Live musical accompaniment by Andrew Marsh and Kate Porter Ralph Prescott (Percy Marmont), a New York divorce lawyer and his buddy, E. Wesson Woodbury (Eugene Pallette), decide to get away from it all on a camping trip near Mantrap, Canada. However, the city slickers are a bit out of their depth in the North woods. After the two get into a tussle, Joe Easter, (Ernest Torrence) the local trading post owner, takes Prescott to Mantrap, where Prescott meets Joe’s flirtatious new wife, Alverna (Clara Bow). The sparks begin to fly.

Paramount Pictures paid $50,000 for Sinclair Lewis’ long and justifiably forgotten novel, Mantrap, but happily, the female screenwriters turned Lewis’ misogynistic tirade into a funny comedy romp that is light as a feather. The credit goes to Clara Bow who represents an erotic whirlwind in an otherwise womanless Western wilderness; an outrageous, good-time girl who leads at least two men by the nose, but nevertheless eventually honors her commitment— at least until the next interesting prospect comes along. Bow, of course, perfectly embodied the Jazz Age, the first era in American history to celebrate women’s sexuality as something other than a function of man’s desire.

Preserved in cooperation with Paramount Pictures from a 35mm acetate fine grain master positive. Laboratory services

by YCM Laboratories. Preservation funding provided by David Stenn.

Gun Crazy

Bart Tare loves guns and is caught stealing one at age fourteen. After stints in reform school and the Army, Bart returns home where he meets Annie Laurie Starr, who works as a sharpshooter at a local carnival. It is love at first gunsight. They consummate their relationship with a shooting match. It is all about guns and sex, sex and guns.

The fact that she says she’s a bad girl who may have been involved in prostitution and murder hardly seems to matter. They rob to make a living, eventually planning a major heist that they pull off successfully, but not before Laurie has killed two people, putting the FBI on their tail.

Long before Michael Moore analyzed America’s pathological love affair with guns, Joseph H. Lewis and Dalton Trumbo nailed it with this dirty little film noir, which loosely adapts the story of Bonnie and Clyde. Dalton Trumbo, who was blacklisted and had to use the nom-de-plume Millard Kaufman as a front, rewrote MacKinlay Kantor’s 1940 Saturday Evening Post story, putting the focus on the film’s amour fou. Originally produced on virtually no budget for Monogram by the King Brothers, the crime drama was eventually released by United Artists and therefore gained more exposure than many B films.

Preserved in cooperation with Warner Bros. from the original 35mm picture and track negatives. Laboratory services by The Stanford Theatre Film Laboratory, YCM Laboratories, Audio Mechanics, DJ Audio, Simon Daniel Sound. Special thanks to Ned Price. Preservation funding provided by the Packard Humanities Institute.

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Friday, April 4 at 7pm UCLA Festival of Preservation

Double Door

dir. Charles Vidor, US, 1934, 35mm, b/w, 75 min.

Protests from the playwright and producers notwithstanding, New Yorkers who flocked in the fall of 1933 to see Elizabeth McFadden’s play Double Door knew it was inspired by the Wendel family of Manhattan, a Gilded Age dynasty of fabulously wealthy eccentrics. What could be more gothic than seven sisters sequestered in a gloomy mansion, tainted by madness, forbidden to marry, presided over by an avaricious brother? As the 19th-Century mansions along Fifth Avenue fell before the booming commerce of the 20th Century, the Wendels became the stuff of New York legend. By 1914 their mansion stood as a solitary sentinel against the hue and cry of the emergent commercial district, staring unblinkingly at the Lord & Taylor department store across the street at Fifth Avenue and 39th Street. When the last of the line, Ella, died in 1931 at age 78, New York gasped: it was reported she had left $100 million and no heirs.

Double Door is a dark riff on this legend, compressed into a three-act melodrama. The scion became a tyrannical spinster, holding in thrall a neurotic sister and a demoralized kid brother. When the brother makes a bid for sanity and freedom and takes a bride, the wheels of madness begin to turn.

Preserved in conjunction with Universal Pictures from the 35mm nitrate studio composite answer print. Laboratory services by The Stanford Theatre Film Laboratory, Audio Mechanics, DJ Audio, Simon Daniel Sound. Special thanks to Bob O’Neil. Preservation funding provided by the Packard Humanities Institute.

Followed by:

Supernatural

dir. Victor Halperin, US, 1933, 35mm, b/w, 65 min.

Following their independent horror film White Zombie, a freak success in 1932, Victor and Edward Halperin landed at Paramount. For the only time in their careers the Halperins worked at a major studio with access to first-rate production facilities, competent supporting players and a major star in Carole Lombard. The result is a disturbing programme picture that reprises the dual performance that had just won Fredric March an Academy Award for Dr. Jekyll and Mr. Hyde (1931) and the exposé of spiritualism that Paramount explored in Darkened Rooms (1929).

But while the spiritualist in Supernatural is a fraud, its spirits are genuine and not gangsters in bed sheets, nor the whimsical dearly departed à la Thorne Smith.

Supernatural has been overshadowed by White Zombie, lacking its predecessor’s fairy tale poetics and bursts of Lugosiana. White Zombie may be maddeningly amateurish, but it resonated with audiences then, and continues today. Smarter and better made, Supernatural was not a success and has been largely forgotten. For modern critics the operetta revenants of White Zombie reflect the army of forgotten men milling on the breadlines of the Great Depression; the social subtext of Supernatural (which opened a month after Roosevelt’s 1933 bank holiday) needs no critical studies interpretation.

Preserved in conjunction with Universal Pictures from a 35mm compositenitrate print and 35mm acetate fine grain master.

Laboratory services by The Stanford Theatre Film Laboratory, Audio Mechanics, DJ Audio, Simon Daniel Sound. Special thanks to Bob O’Neil. Preservation funding provided by the Packard Humanities Institute.

International House Philadelphia

Saturday, April 5 at 2pm Family Matinee

Castle in the Sky

dir. Hayao Miyazaki, Japan, 1986, 35mm, 124 min.

A young girl with a mysterious crystal pendant falls out of the sky and into the arms and life of young Pazu. Together they search for a floating island in the sky, site of a long-dead civilization promising enormous wealth and power to those who can unlock its secrets. Castle in the Sky is an early masterpiece of storytelling and filmmaking whose imaginative and ornately detailed vision presaged later films like Princess Mononoke and Spirited Away.

Support provided in part by the Philadelphia Cultural Fund.

Free to members; $5 adults + children

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Big Joy Saturday, April 5 at 7pm

Big Joy: The Adventures of James Broughton

Wednesday, April 9 at 7pm UCLA Festival of Preservation

Midnight Madness

dirs. Eric Slade, Stephen Silha, Dawn Logsdon, US, 2013, DCP, 82 min.

dir. F. Harmon Weight, US, 1928, 35mm, b/w & tinted, silent, 65 min.

Introduction by Stephen Silha

Live musical accompaniment by Andrew Marsh and Kate Porter

Big Joy is a portrait of Bay-Area poet and filmmaker James Broughton (1913-1999).

Broughton was a transformative figure not just in cinema but in the postwar period of American arts and culture. As a key figure in the West Coast avant garde and beat movements, he intersected with the emerging counterculture movements of the era. Spiritually awakened and sexually liberated, Broughton was a fascinating and charismatic individual whose films are often exuberant celebrations of life and love. Featuring some of Broughton’s closest collaborators, friends and lovers including Pauline Kael, Anna Halprin, Sidney Peterson, Alan Watts, and partner and protegé Joel Singer. followed by:

Dreamwood

dir. James Broughton, US, 1972, 16mm, 45 min.

“Dreamwood is James Broughton’s major work to date. It is a modern day spiritual odyssey in which a man is mysteriously compelled to leave his home and embark on a voyage to a strange and magical island. On the island he faces the most improbable and intense experiences of his life, ranging from total humiliation to a deep sense of oneness with the forces of life. Heroic in concept, subtle in execution, Dreamwood is a beautiful film by a true master of the medium.” – David Bienstock

“Its very title reeks of strange people, mystery, suspense!” reads the advance publicity for this silent melodrama, loosely inspired by The Taming of the Shrew and directed by F. Harmon Weight.

Secretary Norma Forbes (Jacqueline Logan) accepts the marriage proposal of Michael Bream (Clive Brook), a wealthy diamond miner. Norma reveals to her boss and actual love interest (Walter McGrail) that she’s only marrying for the money.

Having eavesdropped through a conveniently open door, Michael, despite his genuine affections, schemes to teach his gold-digging fiancée a lesson. From New York, the newlyweds sail second class to South Africa, where Michael leads his wife to believe that he is down-and-out. They settle in a bleak shack near a mine, where Norma discovers the hardships of life in the African jungle. She sends a cable to her former employer, divulging her whereabouts. A fight ensues, which leaves Michael bound up and prey to a lion. At last realizing her affection for her husband, Mrs. Bream returns with a shotgun – setting up a suspenseful climax that can only result in no lady or no lion.

This film was preserved through a partnership of the New Zealand Film Archive, the American archival community, and the National Film Preservation Foundation, as part of a project supported by Save America’s Treasures, a partnership between the National Endowment for the Arts and the National Park Service, Department of the Interior. Preservation funding provided by Sony Pictures Entertainment.

International House Philadelphia

Thursday, April 10 at 7pm UCLA Festival of Preservation

The Chase

dir. Arthur Ripley, US, 1946, 35mm, b/w, 86 min.

Combining an original setting and timely story elements, Arthur D. Ripley crafts a highly original film noir. Chuck Scott (Robert Cummings) is a down-on-his-luck ex-serviceman, badly in need of a meal in post-war Miami. Stumbling upon a lost wallet, he traces the owner of the billfold to a palatial home. Owner Eddie Roman (Steve Cochran), a suave businessman, is pleased by “Scotty’s” honesty, and offers him a job as chauffeur. From the side, taciturn Peter Lorre as Gino, Roman’s sidekick, grimaces and bemoans these displays of honor and goodwill.

Scotty quickly catches on that Roman is bad news, probably involved in the death of a business competitor, but he keeps his mouth shut for the sake of his meal ticket. His resolve is tested, however, when Roman’s trophy wife Lorna (Michèle Morgan) appeals to him for help in secretly spiriting her from Miami to Havana as an escape from her soulless existence. Once off American shores, the couple find common ground and love. But they discover it’s not so easy to escape Roman’s octopus-like reach and influence.

And soon, Scotty finds himself at the center of his own murder mystery.

Preserved from the incomplete 35mm nitrate French composite dupe negative, and 16mm acetate picture and track negatives.

Laboratory services by Cinetech, Deluxe Media Services, Fotokem Film and Video, Audio Mechanics, Chace Audio by Deluxe, DJ Audio. Preservation funding provided by The Film Foundation and the Franco-American Cultural Fund.

Friday, April 11 at 7pm UCLA Festival of Preservation

Eadweard Muybridge, Zoopraxographer dir. Thom Andersen, US, 1975, 35mm, 59 min.

Thom Andersen’s first feature announced the arrival of one of America’s most significant documentary auteurs. Eadweard Muybridge, Zoopraxographer is at once a biography of Muybridge, a re-animation of his historic sequential photographs, and an inspired examination of their philosophical implications.

If the film seems born fully formed, this is in no small part due to intensive pre-conceptualization.

Writing first in the pages of Film Culture in 1966, Andersen established the framework which would ultimately inform the completed work before it materialized. Its practical realization began soon thereafter as a UCLA thesis film in which he meticulously re-photographed more than 3,000 of Muybridge’s images. While historiographic efforts to re-animate these studies trace to at least J. Stuart Blackton’s The Film Parade in 1932, the exercise was, in this case, just a launching pad.

Working in collaboration with prominent artists and scholars including filmmaker Morgan Fisher (who helped edit the final work), composer Mike Cohen, Muybridge biographer Robert Bartlett Haas, and narrator Dean Stockwell, Andersen took the visual idea as raw material and expanded it into a profound meditation on the nature of vision.

Preserved in consultation with Thom Andersen from the original 16mm color reversal A/B rolls and the original 16mm fullcoat magnetic soundtrack. Laboratory services by The Stanford Theatre Film Laboratory, Audio Mechanics, Endpoint Audio Labs, NT Picture and Sound, Modern VideoFilm, Inc. Preservation funding provided by the Packard Humanities Institute.

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Preceded by:

Robert Frost: A Lovers Quarrel with the World

Saturday, April 12 at 7pm The Janus Collection

L’Avventura

dirs. Shirley Clarke, Robert Hughes, US, 1963, 35mm, b/w, 51 min.

dir. Michelangelo Antonioni, Italy, 1960, DCP, b/w, Italian w/ English subtitles, 145 min.

“The artist, however, faithful to his personal vision of reality, becomes the lost champion of the individual mind and sensibility, against an intrusive society and officious state.” – John F. Kennedy

A girl mysteriously disappears on a yachting trip.

While her lover and her best friend search for her across Italy, they begin an affair. Antonioni’s penetrating study of the idle upper class offers stinging observations on spiritual isolation and the many meanings of love.

The opening remarks of President John F. Kennedy’s speech on the occasion of Robert Frost receiving the Congressional Gold Medal in March of 1962, also forms the epigraph for director Shirley Clarke’s powerfully human portrait of Frost, filmed just months before the iconic poet’s death in 1963. Clarke follows through on Kennedy’s theme by intercutting footage of Frost out in the world-speaking to students, touring a naval vessel, delivering a talk at Sarah Lawrence College-and scenes of his purposeful, solitary puttering around the house and grounds of his rural home in Ripton, Vermont. Clarke captures the rhythmic flow of the poet’s life, from gathering up calm to vibrant engagement.

Preserved by the Academy Film Archive and UCLA Film & Television Archive from two 35mm acetate prints. Laboratory services by The Stanford Theatre Film Laboratory, Audio Mechanics, and NT Picture and Sound. Special thanks to Joe Lindner, Robert Gitt. Preservation funding provided by the Packard Humanities Institute and the Academy of Motion Picture Arts and Sciences.

International House Philadelphia

Sunday, April 13 at 1pm Sundance Film forward:

If You Build It

dir. Patrick Creadon, US, 2013, DCP, 85 min.

If You Build It spends a year in the life of one of America’s most innovative classrooms. Designer/ activists Emily Pilloton and Matt Miller, together with their high school students, unleash the power of humanitarian design to help their struggling community in rural North Carolina.

THE INTERSECTION OF FILM AND MUSIC What goes into a successful film score? What is the ideal way for directors and composers to interact? What are some of the many roles music can play as part of the filmmaking process? How can music enhance (or ruin) a movie? These and other questions related to the intersection of film and music will be the basis of today’s discussion.

Using the documentary If You Build It as a case study, join composer Peter Golub and producer Christine O’Malley in a screening and discussion of the film and its music. O’Malley, (whose films include Wordplay, I.O.U.S.A., These Amazing Shadows) and Golub, Director of the Sundance Film Music Program and composer of many films (including Frozen River, The Great Debaters, Wordplay, The Laramie Project) will show examples from their work together and discuss the role of music in filmmaking.

Christine O’Malley has been making documentaries for film and television as a writer and producer for over 15 years. She began her work in non-fiction on the Biography series for A&E before transitioning into long form

documentaries. O’Malley served as associate producer on the Academy-Award nominated documentary film Enron: The Smartest Guys In The Room (2004).

Wordplay, the first feature length film she produced and co-wrote through her production company O’Malley Creadon Productions, was nominated for both a Critics’ Choice Award and a National Board of Review Award for “Best Documentary of 2006.” O’Malley and Creadon’s second film I.O.U.S.A., an examination of the size and scope of America’s national debt, had its world premiere at the 2008 Sundance Film Festival.

O’Malley has recently completed production on If You Build It, a feature length documentary that spends one year in the life of one of America’s most innovative classrooms.

Peter Golub is the composer of numerous films scores, as well as works for the theatre, ballet and concert hall. Recent film scores include: Frozen River (directed by Courtney Hunt, Nominated for 2 Academy Awards, Winner of Grand Jury Prize for Best Film at the 2008 Sundance Film Festival); I.O.U.S.A., (directed by Patrick Creadon); The Great Debaters (co-composed with James Newton Howard and directed by Denzel Washington); Wordplay (The Weinstein Company and IFC Films); The Laramie Project (for HBO, with Steve Buscemi, Laura Linney and Christina Ricci); American Gun (with Forest Whitaker and Donald Sutherland); and Stolen (awarded Best Music at 2003 Avignon Film Festival.

Free admission

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Tuesday, April 15 at 7pm Reelblack

philly shorts

Short films are a great way to experiment, explore ideas or break new artists. Reelblack shines the spotlight on some of Philadelphia’s brightest talent with a night of short films. New work from a dozen directors will be showcased followed by a special post-film Q&A with the filmmakers. Presented in collaboration with the Philadelphia Independent Film and Video Association and The Philadelphia Black Film Advisory Committee.

Birthday Present dir. Cedra Walton, 15 min.

Brenda

dirs. Rashawn Tucker, Talyr Williams, 10 min.

A Child Of God

dirs. Floyd Marshall, Angelique Marshall, 20 min.

Choices

dirs. Jacobi Simmons, Mike A. Pender, 17 min.

Endeavors of a Broken Spirit dir. Strohman Yukazi, 7 min.

I Dream

dir. Vernon Jordan, 5 min.

Talk It Out

dir. Derek Thompson, 15 min.

Therapy

dir. Kenneth Oyegun, 11 min.

Trip and Mary Jane

dirs. Atif R. Lanier, Mike A. Pender, 22 min.

Wednesday, April 16 at 6pm Art Exhibit Opening

Daniel Gafanhoto: From Rio to Brotherly Love In keeping with the theme of our 53rd Global Gala: Colors of Brazil, we are excited to exhibit the work of Brazilian-born artist, Daniel Gafanhoto, now a resident of the US and member of InLiquid, a Philadelphia based non-profit membership organization dedicated to providing opportunities for visual artists and designers.

A fine-art photographer who works digitally, Daniel photographs and processes cityscapes in a very personal way, as a demonstration of the places he has lived and visited. He believes that a place can show a lot about a person, sometimes even more than a portrait, and feel that the ways cities influence people are more striking than an individual character alone.

Please join us April 16th from 6-8pm to open Daniel’s exhibit, “From Rio to Brotherly Love”. The exhibit will be on view through the end of June 2014, in IHP’s East Alcove on the Main Level.

International House Philadelphia

Wednesday, April 16 at 8pm

The Stuart Hall Project

dir. John Akomfrah, UK, 2013, DCP, color & b/w, 95 min.

Highly acclaimed at this year’s Sundance and Sheffield Documentary festivals, the new film from award-winning documentarian John Akomfrah (The Nine Muses) is a sensitive, emotionally charged portrait of cultural theorist Stuart Hall.

A founding figure of contemporary cultural studies - and one of the most inspiring voices of the postwar Left - Stuart Hall’s resounding and ongoing influence on British intellectual life commenced soon after he emigrated from Jamaica in 1951.

Combining extensive archival imagery - television excerpts, home movies, family photos - with specially filmed material and a personally mixed Miles Davis soundtrack, Akomfrah’s filmmaking approach matches the agility of Hall’s intellect, its intimate play with memory, identity, and scholarly impulse traversing the changing historical landscape of the second half of the 20th century.

Thursday, April 17 at 7pm UCLA Festival of Preservation

International House

dir. Edward Sutherland, US, 1933, 35mm, b/w, 68 min.

The manic, boisterous energy that marks many Hollywood comedies of the early sound era-rarely matched in subsequent decades-owes almost entirely to the presence of vaudeville stars who found second careers on the big screen. The melding of vaudeville’s kaleidoscopic variety aesthetic with Hollywood’s narrative impulse led to the emergence at the time of a new subgenre, that film scholar Henry Jenkins dubbed the “anarchistic comedy.” In the anarchistic comedy, plotlines and characterization were shoved to the back to make way for anything-goes routines and performances.

Featuring a cast that Film Daily described in 1933 as “a fortune in marquee material,” International House rides high on dizzy turns by W.C Fields, George Burns, Gracie Allen and Peggy Hopkins Joyce. The ostensible plot is set in motion by the eccentric Dr. Wong (Edmund Breese), who calls an international conference at a swanky hotel in “Wu Hu, China,” to demonstrate his latest invention, the radioscope, which can pick up images and sound from anywhere in the world. As potential investors from the jet set descend on the hotel, various storylines emerge all in the interest of highlighting hilarious bits of comic business by the cast.

Preserved in conjunction with Universal Pictures from a 35mm composite nitrate print. Laboratory services by The Stanford Theatre Film Laboratory, Audio Mechanics, DJ Audio, Simon Daniel Sound. Special thanks to Bob O’Neil. Preservation funding provided by the Packard Humanities Institute.

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Preceded by:

Busy Bodies

dir. Lloyd French, US, 1933, 35mm, b/w, 19 min.

UCLA Film & Television Archive continues its long term initiative to restore the legacy of Laurel & Hardy, working with negatives that have survived (sometimes only barely) decades of abuse and neglect. The beloved comedians’ films have been altered for theatrical re-releases and for television, with footage often discarded, lost or damaged, and improperly stored in the bargain. In the recently-restored Busy Bodies, a masterpiece of physical comedy, Stan and Ollie report for work in the sawmill where they are employed, haplessly creating mayhem with planks and saws. The superb finish of this restoration does justice to the technical excellence of the hilarious short, far outshining all previously extant versions.

Preserved from the 35mm nitrate original picture and track negatives and a 35mm nitrate composite lavender print.

Laboratory services by YCM Laboratories, The Stanford Theatre Film Laboratory, Audio Mechanics, DJ Audio. Special thanks to: Richard W. Bann, Jeff Joseph, RHI Entertainment, LLC. Preservation funding provided by Turner Classic Movies, Jeff Joseph/SabuCat, the Packard Humanities Institute, and the Laurel & Hardy Preservation Fund, including the support of many Sons Of The Desert Tents, and in honor of National Film Preserve: Tom Luddy, Gary Meyer and Julie Huntsinger.

Friday, April 18 at 7pm UCLA Festival of Preservation

That Cold Day in the Park

dir. Robert Altman, US, 1969, 35mm, 112 min.

By 1969, Robert Altman was a prolific director of episodic television, craving a transition to feature filmmaking, but facing a steep climb toward his goal. His first few feature outings had not sufficiently captured the imaginations of audiences or the film industry to sustain a feature career.

That Cold Day in the Park represented a daring gambit in this context: quiet and cryptic. It displayed Altman’s iconoclastic fascinations: a sensitivity to schisms within supposed “normalcy,” a fascination with female subjectivity, and the construction of atmospheres as expressive of psychological states. Sandy Dennis portrays Frances Austen, a young spinster who occupies an apartment in Vancouver. There she listlessly entertains a suitor several years her senior, and engages in rote domestic routines. From her window one day, Frances spies a young man (Michael Burns) on a park bench outside, visibly cold and wet. Inviting him inside, she shows the handsome stranger, who is apparently mute, every hospitality—food, clothes, profuse conversation, and a room of his own. Little does she realize that her charming, receptive listener has a complex life of his own, to which he escapes nightly through his bedroom window. The stage is set for conflict as Frances’ loneliness takes on a ferocity that drives the story to a harrowing conclusion.

Preserved in cooperation with Paramount Pictures from the 35mm acetate original picture and track negatives, and a 35mm magnetic track. Laboratory services by YCM Laboratories, Audio Mechanics, DJ Audio. Preservation funding provided by the Hollywood Foreign Press Association and The Film Foundation.

International House Philadelphia

PLEASE HELP ADVANCE THE MISSION OF INTERNATIONAL HOUSE PHILADELPHIA BY DONATING TODAY! • Your gift is an investment in the global leaders of tomorrow – IHP resident members from more than 95 countries including the US. While at IHP, residents participate in programs and activities that expose them to American experiences and global perspectives. United cultures, shared experiences, and lifelong friendships formed at IHP give our residents a unique outlook that will one day help them to solve issues of hunger, homelessness, disease, and political conflict.

• Your gift also ensures the production of hundreds of IHP’s compelling and thought provoking arts and culture programs and events. World-class artists, authors, filmmakers, musicians, and audiences participate in a critically important dialogue of multiculturalism and inclusion. IHP programs are attended annually by over 30,000 people.

Please include your gift in the accompanying envelope, which has many options for giving, as well as membership.

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Become a Member at IHP! As a member supported organization, IHP depends upon member contributions to present our signature contemporary arts and cultural programs, and to continue providing a warm and welcoming environment for the thousands of people who come from around the world and call IHP home year after year. Please help IHP continue to serve our century-long mission by becoming a member today!

Flip through the pages of this magazine, look at all the events taking place at IHP, and consider the variety of subjects covered, the ensuing conversations and dialogue inspired by them, and the way in which this unique programming engages the local and international community.

It only happens at International House Philadelphia.

With your membership, you will receive free admission to most IHP films in International House’s Ibrahim Theater, as well as free and discounted admission to concerts, language classes, and other events and programs presented at IHP. Join today!

FOR MORE INFORMATION ON becoming a member visit www.ihousephilly.org/membership or call 215.387.5125 x2

International House Philadelphia

Saturday, April 19 at 2pm UCLA Festival of Preservation

Thirty Day Princess

dir. Marion Gering, US, 1934, 35mm, b/w, 74 min.

As Paramount enjoyed enormous critical success in the early 1930s, the Great Depression severely threatened the studio’s financial viability. By 1933, Paramount had gone into receivership. Hundreds of employees made enforced exits, including producer B.P. Schulberg who had discovered “It” girl, Clara Bow. A former independent pioneer who became one of the most powerful producers in Hollywood, Schulberg’s return to independent production saw him churning out B-pictures for Paramount throughout the early 1930s, many of them helmed by ex-Broadway director Marion Gering and featuring Sylvia Sidney. With her intensely sad eyes, trembling lips, and diminutive and waif-like sensitivity, Sidney was immediately typecast as the studio’s Depression-era heroine.

Based on a story published in Ladies’ Home Journal by Clarence Budington Kelland, Thirty Day Princess would be one of Sidney’s rare screen appearances in a light comedy. Under contract to Paramount at the time, a young Cary Grant was struggling to secure a studio identity in second-tier “tuxedo roles”. Thirty Day Princess was just such a film.

Although the old prince-and-the-pauper plot of switched identities was already becoming somewhat trite in Hollywood, critics were mostly kind to the film, claiming it a “neat little combination of Cinderella and Zenda.”

Preserved in cooperation with Universal Pictures from a 35mm nitrate composite print. Laboratory services by The Stanford Theatre Film Laboratory, Audio Mechanics, DJ Audio.

Preservation funding provided by the Packard Humanities Institute.

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Amuck Saturday, April 19 at 8pm Exhumed FIlms

THE COED MURDERS (aka What Have They Done to Your Daughters?)

dir. Massimo Dallamano, Italy, 1974, 35mm, 96 min.

Underrated cinematographer-turned-director Massimo Dallamano, known for shooting Sergio Leone’s Fistful of Dollars and For a Few Dollars More, followed-up his giallo classic What Have They Done to Solange, with this equally memorable - and no less brutal - schoolgirls and vice thriller.

When the naked body of a young girl is found hanging in an attic apartment, evidence points to foul play, launching a full investigation into the dead girl’s activities. Procedure soon leads to murdered suspects, a teenage prostitution conspiracy, and a mysterious black leather-clad, meat cleaver-wielding killer on a motorcycle!

Music by Stelvio (Nightmare City) Cipriani.

AMUCK

dir. Silvio Amadio, Italy, 1972, 35mm, 98 min.

What do you get when you cast two of the hottest Euro-babes together in the same movie? A lurid erotic thriller that really delivers the goods in an “explosion of sexual frenzy”! The gorgeous Barbara (Don’t Torture a Duckling) Bouchet stars as Greta, a young woman who takes a job as a secretary to an eccentric author (Farley Granger) to investigate the disappearance of a former lover.

Greta soon finds herself involved in a series of twisted sex games involving the author’s wife (played by Rosalba Neri of Slaughter Hotel), homemade pornography, a mentally-retarded he-man, and murder! It’s Euro-sleaze at its best, folks! $10 IHP members; $15 general admission

Tuesday, April 22 at 7:30pm Scribe Producers’ Forum

The Undocumented

dir. Marco Williams, USA, Mexico, 2013, 88 min.

Director Marco Williams in person In the loud and contentious debate over immigration, there are voices that will never be heard – those of the more than 2,500 border crossers who have perished in the vast wasteland between Sonora, Mexico and Tucson, Arizona over the last fifteen years. The Undocumented tells the story of these migrants who died while trying to cross an unforgiving desert in search of a better life, and follows them on their long journey home, shining a light on an often-forgotten but very human side of the ongoing national conversation about immigration reform.

Marco Williams is a filmmaker and a film educator.

His directing credits include Inside the New Black Panthers; Banished; Freedom Summer; I Sit Where I Want: The Legacy of Brown v. Board of Education; MLK Boulevard: The Concrete Dream; Two Towns of Jasper; Making Peace: Rebuilding our Communities; The Pursuit of Happiness: With Arianna Huffington; Without a Pass; In Search of Our Fathers; and From Harlem to Harvard. Williams is an Arts Professor at New York University at The Kanbar Institute Tisch School of the Arts, Undergraduate Department of Film and Television.

He is the Area Head of Documentary Production.

Producers’ Forums are supported by the National Endowment for the Arts, Philadelphia Cultural Fund, and the Pennsylvania Council on the Arts. $5 Scribe + IHP members; $7 Students + Seniors; $10 general admission

International House Philadelphia

Wednesday, April 23 at 6pm Art exhibit opening

RAAC art show

International House Philadelphia is home to students from all over the world, who study subjects ranging from math, psychology, English language, and the fine arts, among others. From April through June, we are exhibiting some of our resident’s art work, as well as our Director of Alumni Relations (once a resident herself). This is an art show organized by the residents, with the support of our RAAC (Resident Activities and Advisory Center) Office. This exhibit represents months of hard work by our residents and demonstrates their initiative in and commitment to encouraging cross-cultural communication and understanding.

The participating artists come from several corners of the world, including China, Iraq, Mexico, and the US, and their work includes photography, print-making, and collage.

Please join us for an opening reception on April 23 from 6 - 8pm in the Australia Lounge at IHP on the Second Floor.

Wednesday, April 23 at 7pm Archive Fever! 5.0: Twenty years after Il Maestro

Fellini’s Roma

dir. Federico Fellini, Italy, 1972, 35mm, Italian w/ English subtitles, 119 min.

Introduction by Victoria Kirkham - Professor Emerita of Romance Languages, University of Pennsylvania ‘In our opinion, Roma is not as magnificent as La dolce vita and Otto e mezzo, but it is one of the most opulent and funny portraits of Rome. The author’s personality is more strongly expressed, and shows the inventiveness of a talented man.

The city depicted in Roma is not the one described by history books, tourist guides or football team fans; it is not Pasolini’s crude city or Moravia’s gloomy city. It is a Rome of an artist who made his career and still is like Moraldo in I Vitelloni; an artist who is now trying to illustrate the features of one of most enigmatic and mysterious historical cities. He thus evokes private ghosts and endlessly talks to his friends at cafés’.

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Thursday, April 24 at 7pm Motion Pictures: Dramatic Arts

Friday, April 25 at 7pm Michael SNow’s

dir. Sir Tyrone Guthrie, Canada, 1957, 35mm, 88 min.

dir. Michael Snow, Canada, 1981, 16mm, 95 min.

Oedipus Rex

This definitive adaptation of Sophocles’ greatest play is a must for anyone interested in the dramatic arts. Sir Tyrone Guthrie’s adaptation is blessed with a remarkable ensemble cast and translated by no less a talent than William Butler Yeats. This powerful Greek tragedy is made all the more compelling by the actors wearing masks to establish the characters in the tradition of authentic Greek drama. The remarkable thing about this filmed version is that it is timeless in its importance as a record of a one-of-a kind performance at a time when classic literature was often the subject of cinema rather than the less challenging special effects of today. The superb acting and diction of Douglas Campbell as Oedipus, Douglas Rain as the Messenger (also the voice of HAL in Kubrick’s 2001: A Space Odyssey), Eleanor Stuart as Jocasta and a myriad of classically trained actors, like William Shatner, make this film, as so aptly stated by the New York Times, “Spectacular and awesome!”

Presents

Known primarily for his major works of structuralist cinema Wavelength (1967) and La Region Centrale (1971), Michael Snow is also a prolific visual artist working in painting, sculpture, and photography, as well as video and computer graphics. Presents finds Snow addressing the key theme of his artistic practice: perception via the camera apparatus. The film is a triptych where camera movement (and non-movement) are thoroughly examined. Even the title is a nod to Snow’s preoccupation with the complexities of language and communication. The results are both humorous and hypnotic.

This screening is presented in conjunction with the exhibition Michael Snow: Photo-Centric, on view at the Philadelphia Museum of Art from February 1 to April 27, 2014.

International House Philadelphia

Pelo Malo SATURDAY, APRIL 26 at 7pm Filadelfia Latin American Film Festival

Wednesday, April 30 at 7pm Full Exposure

dir. Fernando Birri, Argentina, 1958, Spanish w/ English subtitles, 33 min.

dir. Alexander Sokurov, Russia, 2011, DCP, German w/ English subtitles, 134 min.

Tire Dié (Toss Me a Dime)

This print was subtitled by International House and placed at MOMA for national distribution.

The first film of the first Latin American documentary film school (The Escuela Documental de Santa Fe) Tire Dié focuses on the children who wait daily for the passing train to ask for money from the passengers, shouting “Tire dié!” (toss me a dime!) in the neighborhood known as “Tire Dié” in the city of Santa Fe, Argentina. Tire Dié was part of the exhibition, Latin American Visions, produced by International House, 1989-1991.

Pelo Malo (Bad Hair)

dir. Mariana Rondon, Venezuela, Peru, Argentina, Germany, 2013, Spanish w/ English subtitles, 93 min.

Mariana Rondon to introduce and discuss film

La Camioneta

dir. Mark Kendell, Guatemala, USA, 73 min.

Mark Kendell to introduce and discuss film $5 IHP members; $7 Students + Seniors; $9 general admission

Faust

Employing elaborate camera movements, a dense soundscape, intricate production design, and spectacular locations, Faust conjures up a unique and phantasmagoric vision of the Faustian legend.

Faust, played by Johannes Zeiler, is a man in search of the ideals of the Enlightenment but he becomes obsessed with the lovely Magarethe (Isolda Dychauk) and eventually sells his soul to the Devil (Anton Adasinsky) also known as the Moneylender, so that he may possess her. Comic, cosmic, painterly, and stunningly beautiful scenes abound as the Devil takes Faust on a strange, unforgettable journey that ends in Hell itself.

The story of Faust is one of the most popular in western literature – there is the opera, play, movies, and countless other adaptations.

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Thursday, May 1 at 7pm Archive Fever

Le Joli Mai

dir. Chris Marker, France, 1963, DCP, b/w, French w/ English subtitles, 145 min.

Introduced by Sam DiOrio, Hunter College, NYC “A far-reaching meditation on the relationship between individual and society” (Film Comment), Le Joli Mai is a portrait of Paris and Parisians shot during May 1962.

It is a film with several thousand actors including a poet, a student, and an owl, a housewife, a stockbroker, a competitive dancer, two lovers, General de Gaulle, and several cats. Filmed just after the March ceasefire between France and Algeria, Le Joli Mai documents Paris during a turning point in French history: the first time since 1939 that France was not involved in any war.

Part I, “A Prayer from the Eiffel Tower,” documents personal attitudes and feelings around Paris. A salesman feels free only when he is driving his car, and then only if there is not too much traffic.

A working-class mother of eight has just got the larger apartment that she had been wanting for years. Part II, “The Return of Fantomas,” is an investigation of the political and social life of the city. Marker and Lhomme alternate between public events and private discussions: the former focusing on the Algerian situation, such as a funeral for people killed in Paris street demonstrations after the Algerian settlement.

The film ends with sweeping views of Paris, the façades of its prisons, and the faces of its people as they struggle to make sense of their moment in history.

Friday, May 2 at 7pm Full Exposure

Vic + Flo Saw a Bear (Vic + Flo ont vu un ours)

dir. Denis Côté, Canada, 2013, DCP, French w/ English subtitles, 95 min.

Vic + Flo Saw a Bear is the seventh feature in eight years for the prolific critic-turned-auteur Denis Côté, and an evolution of his distinctive visual style and artful play on generic conventions.

Set in Côté’s native northern Québéc, the film follows its eponymous heroines—a pair of audacious lesbian lovers and ex-cellmates— after their release from prison and subsequent retreat to a secluded sugar shack to live with Vic’s aged uncle Émil. Gazed upon by locals with increasing suspicion and derision, Vic and Flo soon find themselves haunted by past sins, and drift into a menacing state of danger and despair.

Exploring remote northern landscapes and the marginalized characters that inhabit them, Côté paints a ruminative portrait of spiritual isolation and doomed love that is at once grotesque, darkly humorous, poetic, and oddly uplifting. The film won the Silver Bear Alfred Bauer Prize for “a feature film that opens new perspectives” at the Berlin Film Festival. DCP supplied by M’Aidez Films.

International House Philadelphia

Saturday, May 3 at 11am Exhumed Films

ex-fest IV

Exhumed Films departs from its traditional horror programming for this 12-hour marathon showcasing exploitation films across multiple genres. As is the case with the 24 Hour Horrorthon, all film selections are a secret and are only revealed to the audience as each film is projected.

For fans of cult and genre films, this event is not to be missed! $20 IHP members; $28 general admission

Friday, May 9 at 7pm The Janus Collection

Diabolique

dir. Henri‑Georges Clouzot, France, 1955, 35mm, b/w, French w/English subtitles, 117 min.

Before Psycho, Peeping Tom, and Repulsion, there was Diabolique. This thriller from Henri‑Georges Clouzot, which shocked audiences in Europe and the U.S., is the story of two women— the fragile wife and the willful mistress of the sadistic headmaster of a boys’ boarding school—who hatch a daring revenge plot. With its unprecedented narrative twists and terrifying images, Diabolique is a heart-grabbing benchmark in horror filmmaking, featuring outstanding performances by Simone Signoret, Véra Clouzot, and Paul Meurisse.

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Saturday, May 10 at 2pm Family Matinee

The Secret of Kells

dir. Tomm Moore, Ireland/France/Belgium, 2009, digital, 75 min.

Do not miss the highly anticipated new animated masterpiece from the producers of Kirikou and the Sorceress and Triplets of Belleville! Magic, fantasy, and Celtic mythology come together in a riot of color and detail that dazzle the eyes in this sweeping story about the power of imagination and faith to carry humanity through dark times.

Features the voices of Brendan Gleeson (Harry Potter, In Bruges), Mick Lally, Evan McGuire, and Christen Mooney.

Young Brendan lives in a remote medieval outpost under siege from barbarian raids. But a new life of adventure beckons when a celebrated master illuminator arrives from foreign lands carrying an ancient but unfinished book, brimming with secret wisdom and powers. To help complete the magical book, Brendan has to overcome his deepest fears on a dangerous quest that takes him into the enchanted forest where mythical creatures hide. It is here that he meets the fairy Aisling, a mysterious young wolf-girl, who helps him along the way. But with the barbarians closing in, will Brendan’s determination and artistic vision illuminate the darkness and show that enlightenment is the best fortification against evil?

Support provided in part by the Philadelphia Cultural Fund.

Free to members; $5 adults + children

Saturday, May 10 at 5pm Canyon Cinema Luminaries 2014

THE TRAVELLERS – THE FILMS OF MARK LAPORE AND ROBERT FULTON Curated by Irina Leimbacher PROGRAM 1: FILMS OF MARK LAPORE Introduction and Q&A by Irina Leimbacher

The Sleepers

dir. Mark LaPore, USA, 1989, 16mm, 16 min.

Depression in the Bay of Bengal dir. Mark LaPore, USA, 1996, 16mm, 28 min.

The Five Bad Elements dir. Mark LaPore, USA, 1997, 16mm, 35 min.

The Glass System

dir. Mark LaPore, USA, 2000, 16mm, 20 min.

International House Philadelphia

Saturday, May 10 at 8pm Canyon Cinema Luminaries 2014

THE TRAVELLERS – THE FILMS OF MARK LAPORE AND ROBERT FULTON PROGRAM 2: FILMS OF ROBERT FULTON Introduction and Q&A by Irina Leimbacher

Starlight

dir. Robert E. Fulton, USA, 1970, b/w & color, 5 min.

Path of Cessation

dir. Robert E. Fulton, USA, 1974, b/w & color, 17 min.

Aleph

dir. Robert E. Fulton, USA, 1982, b/w, silent, 18 min.

Swimming Stone

dir. Robert E. Fulton, USA, 1982, b/w & color, 14 min.

This program will also include an excerpt from Robert Gardner’s 1973 interview with Fulton for his WGBH Screening Room series.

Irina Leimbacher is a film scholar, curator and professor of film at Keene State College in New Hampshire. She is co-founder of kino21 and was the curator of the 2009 Flaherty Film Seminar.

Saturday, May 17 at 6:30pm 53rd global gala:

Colors of brazil For more than 50 years, International House Philadelphia has held a Global Gala, during which a different country or region of the world is celebrated. Last year, we travelled to the Eurasian country of Armenia, a nation rich in cultural heritage and tradition, as well as a contemporary culture that includes riotous fun music, beautiful artwork, and inspired cuisine.

International House Philadelphia’s 53rd Global Gala: Colors of Brazil is channeling the rhythm of Carnaval for its main event on May 17th, and there is no better time to celebrate this amazing country!

In the past year alone, Philadelphia took part in a Brazilian trade mission, which successfully brought new Brazilian business to our region while introducing Brazil to our historic city of Brotherly Love. With a direct flight from Philadelphia to Brazil on US Airways starting this year, its not a moment too soon as Brazil will host the World Cup this summer, and in two short years, the Summer Olympics. Brazil has long been the jewel of South America, and now it is opening itself up to the rest of the world.

Cocktails & Silent Auction 6:30 pm, Formal Dinner 7:30 pm, Entertainment, Live Music & Dancing 8:45 pm $250 general admission visit www.ihousephilly.org/globalgala for more details

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Thursday, May 22 at 7pm Views of Independent Cinema: Malik Isasis

The Elegant Clockwork of the Universe dir. Malik Isasis, USA, 2013, digital, 115 min.

Director Malik Isasis in person Set in New York City, The Elegant Clockwork of the Universe chronicles the immediate days following Mala Adou’s disappearance, and her boyfriend Muhammad’s dogged drive to find her.

Muhammad Masood is a middle school teacher whose life is turned upside down when he awakens one morning to find Mala Adou, his lover of six years, gone—having left behind everything.

After waiting several days, he reports her missing, only to become the prime suspect in her disappearance. While under investigation, Muhammad embarks on a journey to search for Mala; he discovers a deeper mystery in the woman he thought he knew. Finding her journal, which Muhammad hides from the police, he begins to uncover some of Mala’s life, and unravel the delicately woven history he’d shared with a woman he knew almost nothing about. Muhammad and the police conduct their parallel searches, but both are unprepared for the answers they find. Set against the backdrop of the Long Island murders, nothing in this story is what it seems.

Friday, May 23 at 7pm

Natan

dirs. David Cairns, Paul Duane, UK, 2013, DCP, b/w, French w/ English subtitles, 65 min.

Bernard Natan could be described as one of the fathers of French cinema. How did he come to be completely forgotten, especially so in France? How is it that what little attention is paid to him centers on his alleged career as a pioneer and performer in early gay and BDSM porn? Why was Bernard Natan’s name erased from the history of cinema, despite the fact that he dominated the French film industry for much of the ‘20s and ‘30s?

David Cairns and Paul Duane have excavated an extraordinary tale that aims to rewrite the history of European cinema. The man who brought sound cinema to France, the man who brought Cinemascope to the screen before the word existed, the French equivalent of Louis B. Mayer or Samuel Goldwyn, came to an end so tragic that it seems barely believable. Rumors and falsehoods have swarmed around his story for decades but this documentary finally brings the truth to light.

International House Philadelphia

Eggs Saturday, May 24 at 7pm John Hubley Centennial Short Films by John Hubley

Saturday, May 31 at 7pm Alain Resnais: In memoriam (1922 – 2014)

Introduced by Emily Hubley

New 35mm Print!

A special program of assorted short films by award winning animator John Hubley. Hubley was a former Disney animator who, after leaving Disney in the 1940s and despite having been blacklisted, went on to create some of the most remarkable animated films up until his death in 1977. Closely collaborating with his wife, Faith, and their children, Hubley’s films are richly textured, whimsical tales that are considered timeless classics.

Presented by The Cinema Conservancy.

Adventures of an Asterisk

dir. John Hubley, US, 1956, 35mm, 11 min.

Tender Game

dir. John Hubley, US, 1958, 35mm, 6 min.

Moonbird

dir. John Hubley, US, 1959, 35mm, 10 min.

The Hat

dirs. John and Faith Hubley, US, 1964, 35mm, 19 min.

Windy Day

dirs. John and Faith Hubley, US, 1968, 35mm, 10 min.

Urbanissimo

dir. John Hubley, US, 1967, 35mm, 6 min.

Of Men and Demons

dirs. John and Faith Hubley, US, 1968, 35mm, 9 min.

Eggs

dir. John Hubley, US, 1970, 35mm, 10 min.

Je T’aime, Je T’aime

dir. Alain Resnais, France, 1968, 35mm, 91 min.

Time and memory have been a major preoccupation of filmmaker Alain Resnais (Hiroshima Mon Amour, Last Year at Marienbad) and this 1968 foray into the science fiction genre is no exception. Recovering from a suicide attempt, a man is recruited to test a newly developed time machine. A resulting glitch causes the man to re-live various non-sequential episodes from his past which include a relationship with a woman whose death he may or may not have caused. Je t’aime, Je t’aime joins the ranks of Chris Marker’s La Jetee and Michel Gondry’s Eternal Sunshine of the Spotless Mind as a poetic vision of fragmented time and forgotten images.

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Friday, June 13 at 7pm

La última película

dirs. Raya Martin, Mark Peranson, Canada, Denmark, Mexico, Philippines, 2013, DCP, Spanish w/ English subtitles, 88 min.

Filmmaker Alex Ross Perry, along with his local guide (Gabino Rodríguez), traverses the Yucatán in the days leading up to the “end of the world” with the idea of making his last movie. They look at possible locations, journeying to Chichen Itza on December 21, encountering a surrealistic gathering of New Agers and Mayan mystics.

They meet a local TV reporter (Iazua Larios), who the filmmaker casts in his psychadelic Western.

After the film is shot, the misunderstood and egomaniacal filmmaker decides to remain in Mexico, editing his masterpiece, forever.

An experimental, romantic comedy that relates the end of cinema with the end of the world, La última película attempts to reimagine the atmosphere and the excitement of the heyday of American independent cinema, alluding to ’70s Westerns and road movies, their sense of adventure, and the experiences involved in their creation. A critical act combining fiction and documentary, it looks backwards and forwards at the same time, and creates an infinite, oneiric gesture that attempts to save cinema with one last gunshot.

Saturday, June 14 at 2pm

Brazilian BBQ + Alumni Reunion Join us at International House as we wrap up our celebration of Brazil, and welcome back IHP alumni from around the world for our annual reunion. We’ll be serving up a traditional churrasco featuring meats, live music, and the most delicious caipirinhas in Philadelphia. Don’t miss this opportunity to gather in the IHP courtyard and enjoy a summer evening with friends from around the world. visit www.ihousephilly.org for more details

International House Philadelphia

A Report on Party and Guests

Every Young Man SAturday, June 14 at 7pm The Play’s the Thing: Václav Havel Art and Politics

The Uninvited Guest (Nezvaný host)

dir. Vlastimil Venclík, 1969, Czech w/ English subtitles, 22 min.

When a boorish official enters and makes himself at home in a young couple’s flat, it’s soon apparent that all the flats in the building face the same dilemma-each has its own intruder. After completing this short parable on socialist living, director Vlastimil Venclík was forbidden to make a film for twenty years.

Every Young Man (Každý mladý muž)

dir. Pavel Jurácek, 1966, Czech w/ English subtitles, 83 min.

A soldier’s life under socialism is the focus of Every Young Man, Pavel Jurácek’s absurdist drama in two parts. The first part follows a young recruit and his corporal on an outing into town to find a doctor (Václav Havel has a role as a patient awaiting treatment), while the second is set in an army camp, as young soldiers tackle their daily routines. The film ends with a heart-rending and unforgettable dancehall sequence.

Free admission

Monday, June 16 at 7pm The Play’s the Thing: Václav Havel Art and Politics

The Mist (Mlha)

dir. Radúz Cincera, 1966, Czech w/ English subtitles, 28 min.

In the early 1960s, Prague’s celebrated Theatre on the Balustrade was a center for experimentation, mime, and theater of the absurd. It’s the place where Václav Havel began as a dramaturge and stagehand, and where his plays were later produced. The Mist poetically captures this famous theater from different perspectives, as well as other Prague landmarks at dawn.

A Report on Party and Guests (O slavnosti a hostech) dir. Jan Nemec, 1968, Czech w/ English subtitles, 71 min.

In A Report on the Party and the Guests, a pleasant afternoon outing is cut short when a few pushy intruders force a group of friends to play a round of ridiculous party games. Jan Nemec’s absurdist parable on the behavior of authority figures is a landmark of the Czech New Wave of the brief Prague Spring.

Free admission

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And the Beggar’s Opera Again

Joseph Kilian AKA A Person to be Supported

Tuesday, June 17 at 7pm The Play’s the Thing: Václav Havel Art and Politics

Wednesday, June 18 at 7pm The Play’s the Thing: Václav Havel Art and Politics

dir. Jan Nemec, 2007, Czech with subtitles, 48 min.

dir. Pavel Jurácek, 1963, Czech w/ English subtitles, 38 min.

The Heart above the Castle (Srdce nad Hradem)

In The Heart above the Castle, Havel takes director Jan Nemec behind the scenes of the 2002 NATO Summit in Prague. Traveling into areas normally inaccessible and interviewing people normally unreachable (heads of state, for example), the footage shows a surprisingly “human side” of top politicians, capturing comical commentaries, hesitancies, and small stresses, and bringing the formal world of politics and the grandeur of NATO into the realm of the everyday.

And the Beggar’s Opera Again (A znovu Žebrácká opera)

dir. Olga Sommerová, 1996, Czech w/ English subtitles, 60 min.

Through Olga Sommerová’s creatively intercut film, two productions of Václav Havel’s Beggar’s Opera reveal the political dynamics of the former Czechoslovakia before and after the Velvet Revolution in 1989. The dress rehearsal of the play’s world premiere in 1975 captures the stress of artists who conspired through theater against the totalitarian regime. The production is contrasted with the relaxed atmosphere of the dress rehearsal of the play performed again in 1995 by the theatrical group Divadlo na tahu at Havel’s cottage in the village of Hrádecek.

Free admission

Joseph Kilian aka A Person to Be Supported (Postava k podpírání) In Joseph Kilian, a man searches for an old acquaintance in Prague. On a whim, he enters a state-run cat rental shop and leases a feline for a day. When his search for Kilian proves futile, he attempts to drop off the cat, but finds that the rental store has completely vanished.

Who Is Václav Havel...

(Kdo je Václav Havel…)

dir. Helena Matiášová, 1977, Czech w/ English subtitles, 11 min.

Who is Václav Havel . . . is a short propaganda film, produced for the communist regime in the 1970s to disparage Havel, his plays, and his supposed wealth.

Free admission

International House Philadelphia

Thursday, June 19 at 7pm The Play’s the Thing: Václav Havel Art and Politics

Leaving (Odcházení)

dir. Václav Havel, 2011, Czech w/ English subtitles, 94 min.

In 2008, Havel returned to the theater with a new play, Leaving, in which an ex-government official tries to reenter his former life. His film version premiered shortly before his death in December 2011. As the action unfolds on a rural estate, comparisons to Havel’s own life become clear: “Before the 1989 Revolution, I had an idea for a character like King Lear, who loses power. It might have been the influence of the 1968 generation— the people who had been party members . . . after ‘68 they were thrown out and started to live ordinary lives, and pretended they didn’t mind, but they did.”

Free admission

Saturday, June 21 at 2pm Family Matinee

Spirited Away

dir. Hayao Miyazaki, 2002, Japan, 35mm, 125 min.

Hayao Miyazaki’s Academy Award-winning masterpiece Spirited Away was the biggest box office hit of all time in Japan and a film that helped redefine the possibilities of animation for American audiences and a generation of new filmmakers.

Wandering through an abandoned carnival site, ten-year-old Chichiro is separated from her parents and stumbles into a dream-like spirit world where she is put to work in a bathhouse for the gods, a place where all kinds of nonhuman beings come to refresh, relax, and recharge. Here she encounters a vast menagerie of impossibly inventive characters — shape-shifting phantoms and spirits, some friendly, some less so — and must find the inner strength to outsmart her captors and return to her family. Combining Japanese mythology with Through the Looking Glass-type whimsy, Spirited Away cemented Miyazaki’s reputation as an icon of inspired animation and wondrous, lyrical storytelling.

Support provided in part by the Philadelphia Cultural Fund.

Free to members; $5 adults + children

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Saturday, June 21 at 7pm The Janus Collection

Loves of a Blonde

dir. Milos Forman, Czechoslovakia, 1965, 35mm, b/w, Czech w/ English subtitles, 82 min.

With sixteen women to each man, the odds are against Andula in her desperate search for love— that is, until a rakish piano player visits her small factory town and temporarily eases her longings.

A tender and humorous look at Andula’s journey, from the first pangs of romance to its inevitable disappointments, Loves of a Blonde (Lásky jedné plavovlásky) immediately became a classic of the Czech New Wave and earned Milos Forman the first of his Academy Award nominations.

International House Philadelphia

Tuesday, June 24 at 7pm Scribe Producers’ Forum

MUSLIM VOICES OF PHILADELPHIA Scribe Video Center’s Muslim Voices of Philadelphia is a new community history project, using media to explore some of the rich histories of Philadelphia area Muslim communities. This selection includes a series of short community media pieces, utilizing interviews and oral-history research to discuss contemporary practices and experiences. Philadelphia is an important historic center for Islam in America. In addition to the presence of major figures like Malcolm X (El-Hajj Malik El-Shabazz), and movements like the Ahmadiyya movement, vibrant and diverse Muslim populations have emerged and settled in the region. Muslim Voices of Philadelphia shares stories that are both part of the history of Islam in Philadelphia and the history of the city itself.

Working with Scribe, members of local Muslim communities and religious and cultural organizations, collaborated with media arts producers and scholars. They explored how to best tell their stories, and how to address their complex cultural experiences, including how they choose to define themselves. These collaborative pieces focus on diverse topics, including key organizational and institutional histories, immigration, conversion stories, and the experience of women in Islam.

Free admission Muslim Voices of Philadelphia has been supported by the Pew Center for Arts and Heritage and the National Endowment for the Arts Art Works.

Friday, June 27 at 7pm Motion Pictures: The Trilogy of Life

The Decameron

dir. Pier Paolo Pasolini, Italy, 1971, 35mm, Italian w/ English subtitles, 111 min.

Pier Paolo Pasolini weaves together a handful of Giovanni Boccaccio’s fourteenth-century moral tales in this picturesque free-for-all. The Decameron explores the delectations and dark corners of an earlier and, as the filmmaker saw it, less compromised time. Among the chief delights are a young man’s exploits with a gang of grave robbers, a flock of randy nuns who sin with a strapping gardener, and Pasolini’s appearance as a pupil of the painter Giotto, at work on a massive fresco. One of the director’s most popular films, The Decameron, trans­posed to Naples from Boccaccio’s Florence, is a cutting takedown of the pieties surrounding religion and sex.

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Saturday, June 28 at 5pm Motion Pictures: The Trilogy of Life

Saturday, June 28 at 8pm Motion Pictures: The Trilogy of Life

dir. Pier Paolo Pasolini, Italy, 1972, 35mm, Italian w/ English subtitles, 111 min.

dir. Pier Paolo Pasolini, Italy, 1974, 35mm, Italian w/ English subtitles, 130 min.

Canterbury Tales

Eight of Geoffrey Chaucer’s lusty tales come to life on-screen in Pier Paolo Pasolini’s gutsy and delirious The Canterbury Tales, which was shot in England and offers a remarkably earthy recreation of the medieval era. From the story of a nobleman struck blind after marrying a much younger and promiscuous bride to a climactic trip to a hell populated by friars and demons (surely one of the most outrageously conceived and realized sequences ever committed to film), this is an endlessly imaginative work of merry blasphemy, framed by Pasolini’s portrayal of Chaucer himself.

Arabian Nights

Pier Paolo Pasolini traveled to Africa, Nepal, and the Middle East to realize this ambitious cinematic treatment of a selection of stories from the legendary The Thousand and One Nights.

This is not the fairy-tale world of Scheherazade or Aladdin, though. Instead, the director focuses on the book’s more erotic tales, framed by the story of a young man’s quest to reconnect with his beloved slave girl. Full of lustrous sets and costumes and stunning location photography, Arabian Nights is a fierce and joyous exploration of human sexuality.

Spring Semester Registration Tuesday, April 1 – Friday, April 11 (Monday - Friday 10am – 5pm) Spring Semester April 22 – July 4 Summer Semester Registration Monday, June 30 – Thursday, July 10 (Monday - Friday 10am – 5pm) Summer Semester July 14 – August 29 To learn more contact us: 215.895.6592 • languages@ihphilly.org www.ihousephilly.org

Housing available FOr SUmmer & Fall Flexible short and long-term leases Apartments • Efficiencies • Single rooms • Private rooms Apply i n per son: i n ternat ional house phi l a de l phi a 3 701 ch estn u t st re e t or onli n e at www.ihouse phi l ly.org

International House Philadelphia:

A Unique Location for Your Next Event or Meeting!

Whether you are planning a business conference, an intimate soiree, an executive meeting, or a large social event, International House Philadelphia has the space and services to meet your needs and make your event a success. Located in the heart of Philadelphia’s University City, IHP has over 8,500 square feet of available space with the capacity to meet the needs of groups as small as 10, or as large as 600.

To inquire about hosting your event in IHP’s Ibrahim Theater or any of our other wonderful event spaces, please email events@ihphilly.org or call 215.895.6539.

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getting here International House Philadelphia is located at 3701 Chestnut Street, in the University City neighborhood, one block south of Market Street and one block north of Walnut Street.

Public Transportation: It’s a short walk from either of the Green Line’s 36th Street stops or the Market-Frankford El’s 34th Street stop. From Center City, take the 21 bus west on Walnut Street to 37th Street. From West Philly, take the 21 bus east on Chestnut to 37th.

Parking: It’s easy to park in University City!

Discounted parking for International House patrons is now available at the Science Center Parking Garage, located at 3665 Market Street. There is a special rate of $5.00 per vehicle when you bring your parking stub to the International House Box Office or Front Desk to be stamped when attending events.

Monday–Friday: 6:00am – 8:00pm (discounted rate after 4:00pm) Saturday & Sunday: 6:00am – 3:00pm Any cars not retrieved by the end of parking hours will remain in the garage until the following morning.

There are two other parking lots just a short distance away. These are located at 38th & Walnut, and 36th & Chestnut.

Plenty of street parking is also available on Chestnut and Market Streets, as well as throughout University City. Street parking is free after 8pm.

Contact Us:

General Information

215.387.5125 or info@ihphilly.org

Executive, Development, & Languages Tanya Steinberg, President & CEO * Elina Cher, Individual Engagement Manager Jessie Falcone, Development Services Manager Lauren Fenimore, Foundations Research Manager Clara Fomich, Executive Assistant & Office Manager Sarvelia Peralta-Duran, Alumni Relations Director Farah Siah, Language Program Manager Arts, communications, & events Bill Parker, Arts, Communications & Events Director * Robert Cargni-Mitchell, Associate Director of Arts Sarah Christy, Conference Center Manager Sasha Dages, Marketing & Communications Manager Patrick DiGiacomo, Box Office Supervisor & Membership Manager Cory Espinosa, Junior Graphic Designer James Fraatz, Production House Manager Justin Miller, Graphic Designer Jesse Pires, Program Curator Herbert Shellenberger, Program Office Manager Admissions, Resident Services, & Operations Glenn Martin, Admissions & Resident Services Director * Michael Beachem, Resident Services Associate Director Edwin Garcia Ramos, Admissions Coordinator Emily Martin, Admissions Coordinator Eugene Park, Front Desk Coordinator Marlon Patton, Cashier & Front Desk Supervisor Raj Persad, Maintenance Manager David Gasonu, Maintenance Staff Amar Persad, Maintenance Staff Ronald Persaud, Maintenance Staff Deborah Houda, Facilities Manager Al Towns, Facilities Supervisor Reginald Brown, Facilities Staff Melvin Carand, Facilities Staff Phillip Carter, Facilities Staff Joseph Clinton, Facilities Staff Sylvie Hoeto, Facilities Staff Mirjana Janic, Facilities Staff Yefim Klurfeld, Facilities Staff Linda Stanton, Facilities Staff Human Resources & Services Scott Drinnan, HR & Services Director * Anna Wang, HR Coordinator Alex Rivkin, IT Manager

Like us on Facebook at www.facebook.com/ihousephilly.

Follow us on Twitter at www.twitter.com/ihousephilly.

Moshe Caspi, Security Services & Systems Manager Larry Moore, Lead Security Guard Giora Azvolinsky, Security Guard Semere Dugassa, Security Guard Vipin Maxwell, Security Guard Lulzim Murtaj, Security Guard Ron Smith, Security Guard Robert Wooten, Security Guard Business Office Lina Yankelevich, Finance Director * Angela Bachman, Finance Manager * Member of the Leadership Team

International House Philadelphia

International House Philadelphia:

THE NEXUS BETWEEN INTERNATIONAL CULTURE AND INTERNATIONAL BUSINESS

The generous support of our Members, Friends, and Benefactors allows International House Philadelphia to continue the tradition of offering lifelong learning through Arts, Culture, and Humanities to an increasing number of people each year.

1st Advantage Abstract, LLC, Arcadia University, Audrey Allen Immigration Law, LLC, Berwind Fund LLC, CETRA Language Solutions, Christian R. and Mary F. Lindback Foundation, Dentex Dental Group, Ltd, Dole Food Company, Drexel University, Drexel University Office of International Programs, Elliott Lewis Corporation, Gap International, GMI Contractors, Graboyes Commercial Window Company, Greenfield Intercultural Center, HSBC Bank USA, Institute of Contemporary Art, The Jerome M. and Anne Zaslow Family Fund, Laura Solomon and Associates, Levon Nazarian Foundation, Masterpieces Fine Art & Custom Framing, Inc, Max Hansen Caterer, Moore College of Art & Design, Morgan Stanley, National Endowment for the Arts, Oliver Fire Protection & Security, Penn Cleaning, Pennsylvania Council on the Arts, The Pew Center for Arts & Heritage, Philadelphia University, PNC Bank, Progressive Business Publications, Prometrics, Inc., Provincial Foundation, RBS Citizens Bank, Real Property Solutions LLC, Scribe Video Center, Shelly Electric Company, Sheraton Philadelphia University City Hotel, Shox Surgical, South Jersey Periodontics & Dental Implants LLC, Stelmakh & Associates, Stephen Philibosian Foundation, Temple University, Tiagha & Associates Ltd., University City Science Center, University of Pennsylvania, University of the Sciences, Wells Fargo Bank, Zipcar We are also thankful for the support of our in-kind donors and our many generous members and annual donors.

JOIN TODAY! International House Philadelphia is a multicultural residential center, a source of distinctive programming, and the embodiment of an ideal. It has a critical three-fold mission: to maintain a diverse and welcoming community for scholars from around the world, while introducing them to the American experience; to broaden the horizons of its residents and the Greater Philadelphia community through high quality international arts and humanities programs; and to encourage understanding, respect, and cooperation among the people of all nations.

IHP is an independent, member supported non-profit.

Nonprofit. Org. US Postage PAID Philadelphia, PA Permit No. 5335