You can buy admission tickets online. Pick a date and time to visit the Museum. Timed-entry slots are released generally one-month prior. All sales are final and payments cannot be refunded.
At the height of his cinematic powers, Oliver Stone got this miraculously personal studio film green-lit—a feat that now feels all but unthinkable. This free-wheeling, brilliantly constructed head-trip feels awfully prescient in its “there is no bottom” perspective on American history and conspiracy.
See a newly restored 2009 anime feature from Mamoru Hosoda, the Academy Award–nominated director of Belle and The Girl Who Leapt Through Time
Peckinpah’s masterpiece is at once classical and revisionist, an exemplar of the very genre it so brilliantly subverts, building towards a famously violent climax that seemed to all but put a fork in the genre.
See a newly restored 2009 anime feature from Mamoru Hosoda, the Academy Award–nominated director of Belle and The Girl Who Leapt Through Time
What is the role of the filmmaker in scientific research and conservation? Expedition films show us the work of scientists in the field and document important behavior. But does adding more humans to the scene disrupt animal activity or damage the environment? Join us for a screening of Ivohiboro: The Lost Forest, followed by a conversation about fieldwork and the collaboration between scientists and filmmaking teams.
In fall 2023, Dr. Patricia Wright—renowned primatologist, MacArthur Fellow, and pioneer in rainforest conservation—led a team of young scientists on a daring 30-day expedition into this Ivohiboro, a pristine tropical forest reigning over the rugged plains of Southeast Madagascar.
A portrait of the budding artist as a young boy, told completely from inside the child’s mind, The Long Day Closes is Terence Davies’s exquisitely beautiful work of autobiographical fantasia. Followed by book event celebrating the reissue of Terence Davies’s novel Hallelujah Now.
Terence Davies’s first three shorts are among the most accomplished debuts in film history, profoundly personal in theme and with a preternatural grasp of cinematic grammar. Consisting of Children (1976), Madonna and Child (1980), and Death and Transfiguration (1973), the films together form nothing less than the complete scope of a man’s earthly existence, set in the Liverpool of Davies’s youth.
Terence Davies broke through on the international cinema scene after his debut feature stunned audiences at the 1988 Cannes Film Festival. The film illustrates with abstraction, beauty, and occasional horror Davies’s memories of his family in 1950s Liverpool.
Davies’s first film after an eight-year hiatus following The House of Mirth was his sole feature documentary, an archival-rich yet typically personal rumination on place and time. Autobiographical elements are fused with evocative, inescapably haunting images (still and moving) of Liverpool as it changed and mutated over Davies's life.
Based on John Kennedy Toole’s celebrated Depression-era novel, The Neon Bible is Davies’s first American film, yet still fully of a piece with his nostalgia-suffused filmography. David is a young man growing up in a small Southern Bible Belt town in the 1940s. When his aunt Mae (Gena Rowlands) a former club singer, comes to stay in the threadbare home he shares with his parents, she soon becomes his sole companion.
In this aching, unorthodox historical drama, Davies tells the story of the pacifist poet and veteran Siegfried Sassoon, whose experiences fighting in the First World War forever transformed him.