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HATE RISING’s Jorge Ramos and Director Catherine Tambini at the Fine Arts for Q&A’s.

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This timely documentary was inspired by the incident in which journalist Jorge Ramos was ejected from a Donald Trump press conference and told by the presidential candidate to “go back to Univision.” The Mexican-born Ramos examines how hate is contagious and sits down with the white nationalists who are emboldened by the Trump campaign. An intimate portrait of our country emerges offering firsthand accounts of Americans who have been targets of hate in various parts of the country and highlights the simmering anger just beneath the surface.
Jorge Ramos will attend the 5:40PM show at the Fine Arts on Sunday, October 16 for a Q&A. HATE RISING director Catherine Tambini will be at the 7:30 PM show on Friday and Saturday for Q&A’s.
jorge
Jorge Ramos

Udo Kier in Person for a Q&A at the NoHo with his New Film COURIER-X.

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A black market smuggler is solicited by the CIA to help take down Flight TWA 800 and to cover up the Nicaraguan blackmail attempt on the Agency after the release of the online article “Dark Alliance’ by Pulitzer prize winning journalist Gary Webb.

COURIER-X star Udo Kier will participate in a Q&A after the 7:00 PM screening on Saturday, October 22nd.

https://www.youtube.com/watch?v=pQqk6-cKPmE

SILVER SKIES Q&A’s this Weekend

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With humor and compassion, Silver Skies chronicles the unexpected events that occur when a group of eccentric seniors have their lives turned upside down by the sale of their beloved apartment complex.

Q&A schedule: at the Fine Arts after the 7:20pm screening on Friday 9/30 and at the Town Center after the 4:40pm and 7:20pm screenings on Saturday, October 1.  
These are the cast members who will be in attendance:
Friday: Barbara Bain, Valerie Perrine, Mariette Hartley, Jack McGee and Jack Betts.
Saturday: Barbara Bain, Mariette Hartley, Jack McGee.
Director Rosemary Rodriguez and producer Nestor Rodriguez  will also be in attendance at both theaters at all three screenings.

South by Southwest Grand Jury Prize-Winning Documentary TOWER Opens October 14 at the Royal and Playhouse.

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On August 1st, 1966, a sniper rode the elevator to the top floor of the University of Texas Tower and opened fire, holding the campus hostage for 96 minutes. When the gunshots were finally silenced, the toll included 16 dead, three dozen wounded, and a shaken nation left trying to understand. Combining archival footage with rotoscopic animation in a dynamic, never-before-seen way, TOWER reveals the action-packed untold stories of the witnesses, heroes and survivors of America’s first mass school shooting, when the worst in one man brought out the best in so many others.

TOWER explores this untold history through the first-person stories of seven specific characters: two students who were shot that day, the two police officers who ended the siege, two civilians who inserted themselves into the story to provide aid to victims and police, and the radio reporter who broadcast live from the scene for more than an hour and a half, and whose broadcast was picked up nationally, bringing the events in Austin to listeners around the nation.

https://www.youtube.com/watch?v=GTzNkfgM1vE

Director’s Statement:

“It’s impossible to separate the University of Texas tower shootings, America’s first mass school shooting, from the current spate of school shootings that seem to happen now with increasing regularity. With the 50th anniversary of America’s first school shooting approaching, I realized that the time to explore this untold history was now – and that through a creative approach, aimed at young audiences we could aim to explore themes of mental health, guns, public policy and media response to public tragedies all through the nuanced and personal lens of first hand accounts.

TOWER. Image courtesy of Kino Lorber Films.
TOWER. Image courtesy of Kino Lorber Films.

“Growing up in Texas, I’ve had curiosity about the Tower shootings since my 7th grade Texas history teacher recounted her experiences as a student on campus that terrible day. Her firsthand visceral account stuck with me for over 35 years and it is still the direct inspiration for my approach. I realized that through the visually exciting medium of rotoscopic animation, there was a dynamic opportunity to turn this history on its head. By focusing solely on witness accounts, we could seamlessly weave re-created animated memories of those who were there with the ample archival footage from the day to create an action-packed telling that was both immediate and emotionally charged.

TOWER. Image courtesy of Kino Lorber Films.
TOWER. Image courtesy of Kino Lorber Films.

“Our approach is unique for a documentary, as is the structure of TOWER. The first hour of the film is set entirely in 1966, the action performed by a cast of young actors, based on the actual interviews of living survivors – these actions and interviews are then animated. It is late in the telling when one by one, the actual survivors are revealed in vibrant moments that expose the breadth of their humanity through the 50-year window of history. It’s a creative opportunity that keeps the audience guessing about who survived and who did not. Through this approach, we can engage millennials in in this relevant, untold history, at a time when active shooters on school campuses and other public places has become almost commonplace. Working with the survivors of this terrible day and reframing this history has been my greatest professional privilege.”

TOWER. Image courtesy of Kino Lorber Films.
TOWER. Image courtesy of Kino Lorber Films.

TOWER director-producer-editor Keith Maitland is the Emmy-nominated Director of THE EYES OF ME, a year-in-the-life of four blind teens, which broadcast on PBS’s Independent Lens and received a Barbara Jordan Media Award. Director of documentary features, commercials, and TV series, his credits also include seven seasons with NBC’s LAW & ORDER as an AD. Keith is currently developing narrative and documentary projects, and leading filmmaking workshops for incarcerated teens. He is a graduate of The University of Texas.

 

Begin October Immersed in Chabrol 5 x 5, Coming Soon to the Royal

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Beginning September 30th at the Royal we are pleased to feature Chabrol 5 x 5, a series five of Claude Chabrol‘s (1930-2010) best: Betty, The Swindle, Torment, Color of Lies and Night Cap. A founding father of French New Wave cinema, Chabrol’s fascination with genre films, and the detective drama in particular, fueled a lengthy and celebrated string of thrillers, which explored the human heart under extreme emotional duress. Chabrol began as a contributor to the celebrated film magazine Cahiers du Cinema alongside such legends as Francois Truffaut and Jean-Luc Godard before launching his directorial career in 1957. He quickly established himself as a versatile filmmaker whose innate understanding of genre tropes informed the complex triangular relationships at the center of many of his films, which frequently served as a prism through which commentary on class conflict could be obliquely addressed. The talent he displayed in depicting these dark deeds, as well as his status among the pantheon of French New Wave cinema, underscored his significance as one of his native country’s most prolific and wickedly gifted craftsmen.

Showtimes change daily. Click on the date for that day’s schedule: 9/30, 10/1, 10/2, 10/3, 10/4, 10/5, 10/6.

Betty: Alone and drunk, Betty, is led to a Paris restaurant by a stranger. Here she meets an older woman, Laure, with whom she strikes up an instant rapport. The two women seem to have suffered the same lot in their lives. Laure takes Betty back to her hotel and helps to cure the young woman of her depression and alcoholism. Little by little, Betty pieces together her recent history and realizes that perhaps her life is not worth living. Then she meets Mario (Jean-Francoise Garreaud), Laure’s lover.  betty
The Swindle: Betty and Victor tour quietly around France in their motor home living safely on part-time swindles…until they become involved in a scam with high stakes and international implications. Chabrol’s 50th film is a deft and entertaining thriller. “A work of superb yet unpretentious film craftsmanship. An unalloyed pleasure, adult sophisticated.” (Kevin Thomas, Los Angeles Times)  swindle_the
Torment: Paul (François Cluzet) has just bought a charming waterfront hotel in the heart of France. In debt for the next ten years, he sets to work with his beautiful new wife, Nelly (Emmanuelle Béart). The life of the young couple resembles a dream come true until Paul’s suspicions and jealousy get the best of him. His increasing obsession turns into madness that ends in a tragedy. torment
 Color of Lies: In a little village in Brittany, a 10-year-old girl is found murdered. René, an artist by profession and the girl’s art teacher, is the last person to have seen her and he is immediately questioned by the police inspector in charge of the inquiry. In this little provincial village where everyone knows one another, René soon becomes the primary suspect in the eyes of his neighbors. The suspicion threatens to destroy his life and marriage. “A gentle, but powerful psychological thriller.” (Michael Thomson, BBC.com) coloroflies
Night Cap: Chabrol’s taut thriller stars Isabelle Huppert as the villainous spider at the centre of an intricate and murderous web of deception. Huppert plays Mika, wife of celebrated pianist Andre Polonski (Jacques Dutronc) and stepmother to his son, Guillaume, whose mother died in a car wreck on his sixth birthday. Their lives are interrupted by the unexpected arrival of Jeanne (Anna Mouglalis), a young woman who has learned that she was almost switched at birth with Guillaume whilst in hospital. Also a pianist, Jeanne harbors a suspicion that she may be Andre’s daughter. Andre undertakes to continue her piano tuition, but, on entering the Polonski family, Jeanne begins to notice the icily controlled Mika behaving strangely. Her suspicions aroused, Jeanne begins the dangerous task of unraveling Mika’s dark past of secrets and lies…
nightcapbillboard_95ed65b2-e939-e411-ad7c-d4ae527c3b65

Fantastic Female-Centric Films from All Over the World this Fall at Laemmle Theatres: FATIMA, CAMERAPERSON, AS I OPEN MY EYES, SAND STORM, THE EAGLE HUNTRESS.

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Two months from today we Americans might, finally, elect our very first female President, so it’s appropriate in the weeks leading up to that day we will be screening a series of excellent movies by and about girls and women filmed and set in places as diverse as the Negev Desert in Israel, Lyon, France, Mongolia, Tunisia and the USA.

First up is FATIMA, which we open September 16 at the Royal. The title character lives in Lyon with two daughters: fifteen-year-old Souad, a teenager in revolt, and 18-year-old Nesrine, who is starting medical school. Fatima speaks French poorly and is constantly frustrated by her daily interactions with her daughters. Her pride and joy, they are also a source of worry. While recovering from a fall, Fatima begins to write to her daughters in Arabic thoughts she has never been able to express in French. Writing in the New York Times, Stephen Holden called it “a small miracle of a film.” In the Hollywood Reporter, Leslie Felperin wrote that “FATIMA offers a gentle, affecting celebration of the fortitude and intelligence of an Algerian cleaning lady struggling to raise her two daughters in contemporary France.” The film won the Cesars Awards for Best Film and Best Adapted Screenplay and was nominated for Best Actress this year.

https://www.youtube.com/watch?v=q9Gbm8vfkkk

The next week, also at the Royal, we’ll open the gorgeous documentary CAMERAPERSON. Look through the lens of master American documentary cinematographer Kirsten Johnson (“Darfur Now,” ‘The Invisible War,” “Fahrenheit 9/11,” “Citizenfour”) at a Brooklyn boxing match; life in postwar Bosnia and Herzegovina; the daily routine of a Nigerian midwife; an intimate family moment at home: these scenes and others are woven into the film, creating a tapestry of footage collected over Johnson’s 25-year career. Through a series of juxtapositions, she explores the relationships between image makers and their subjects, the tension between the objectivity and intervention of the camera, and the interaction of reality and crafted narrative. “Cinematographer Kirsten Johnson delivers a uniquely insightful memoir-cum-critical-treatise on the nature and ethics of her craft.” (Nick Schager, Variety) “Surprisingly emotional and heartfelt … CAMERAPERSON is a stunning achievement…makes a strong argument to assert the person behind the camera – who they are, how they live, and how they interact with others as a crucial focal point in the process of filmmaking.” (Katie Walsh, The Playlist)

https://vimeo.com/179496166

On October 7th we’ll open AS I OPEN MY EYES at the Royal and Playhouse. The film depicts the clash between culture and family as seen through the eyes of a young Tunisian woman balancing the traditional expectations of her family with her creative life as the singer in a politically charged rock band. Director Leyla Bouzid’s musical feature debut offers a nuanced portrait of the individual implications of the incipient Arab Spring. “Like so many of the finest portraits of real life political events, the director has cleverly kept the story small, while hinting at a much bigger picture…Bouzid has joined the ranks Arab female filmmakers worth keeping tabs on.” (Kaleem Aftab, indieWIRE) “Leyla Bouzid displays considerable talent for dramatizing how young people eroticize peril and risk due to a lack of experience.” (Chuck Bowen, Slant Magazine)

https://www.youtube.com/watch?v=Ws-yrRADTZg

Also on October 7 at the Royal and Playhouse we’ll begin screening SAND STORM. Set in a Bedouin village in Israel, the movie follows a mother and daughter trapped by their community’s social norms. As Jalila, a 42-year-old Bedouin woman, must host her husband’s marriage to a second, younger woman, she uncovers her daughter’s affair with a boy from her university — a liaison that’s both forbidden and could shame the family. A moving film about two generations of Arab woman negotiating their identities and desires, SAND STORM is at its core a powerful story of resistance and female empowerment. “Filmmaker Elite Zexer…quickly immers[es] us in her Bedouin village setting and deftly manipulating our emotions so that our sympathies are torn and turned on a dime. Building on her award-winning short “Tasnim” – whose character here is minor but, in keeping with the film’s complexity, hints at more than one possible future – Zexer’s first feature deservedly took home the World Cinema Dramatic prize at Sundance earlier this year.” (Amber Wilkinson, Eye for Film) “One of the most-admired films at this year’s Sundance…a lovely, deeply affecting film.” (Bilge Ebiri, New York Magazine)

https://www.youtube.com/watch?v=Gfzr3QAfI8s

And, ending the year on a high note, a film you can bring young daughters, granddaughters and nieces (and their male counterparts) to, THE EAGLE HUNTRESS. The film follows Aisholpan, a 13-year-old girl, as she trains to become the first female in twelve generations of her Kazakh family to become an eagle hunter, and rises to the pinnacle of a tradition that has been handed down from father to son for centuries. Set against the breathtaking expanse of the Mongolian steppe, the film features some of the most awe-inspiring cinematography ever captured in a documentary, giving this tale of a young girl’s quest the force of an epic narrative film. Narrated by Daisy Ridley, who played the heroine in “Star Wars: the Force Awakens”) “Aisholpan offers a real-life, profoundly inspiring testament to disregard age-old societal constraints and forge ahead with your passion.” (Jordan Raup, The Film Stage)

https://www.youtube.com/watch?v=Vfi5JS6HTH0

Modern classics returning to big screens: Merchant Ivory’s HOWARDS END, Antonioni’s BLOW-UP and LA NOTTE and a Chabrol retrospective.

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Some of the production company Merchant Ivory’s greatest triumphs are adaptations of E.M. Forster novels. There are three of them: A Room with a View (1985), Maurice (1987) and Howards End (1992), which is one of their undisputed masterpieces. Based on Forster’s 1910 novel, Howards End is a saga of class relations and changing times in Edwardian England. Margaret Schlegel (Emma Thompson, who won the Best Actress Oscar for this performance) and her sister Helen (Helena Bonham Carter) become involved with two couples: a wealthy, conservative industrialist (Anthony Hopkins) and his wife (Vanessa Redgrave), and a working-class man (Samuel West) and his mistress (Niccola Duffet). The interwoven fates and misfortunes of these three families and the diverging trajectories of the two sisters’ lives are connected to the ownership of Howards End, a beloved country home. A compelling, brilliantly acted study of one woman’s struggle to maintain her ideals and integrity in the face of Edwardian society’s moribund conformity. We played Howards End to packed, rapt houses in 1992 and are thrilled to open this fully restored digital version September 2nd at the Royal, Playhouse, Town Center and Claremont.

https://www.youtube.com/watch?v=dNJdbu4p1Fg

antonioni_notteWe’ll also soon screen two by Michelangelo Antonioni: Blow-Up (1966) and La Notte (1961). The latter, just restored by our friends at Rialto Pictures and opening at the Royal and Playhouse on September 16, takes place during a day and a night in the life of a troubled marriage, set against Milan’s gleaming modern buildings, its gone-to-seed older quarters, and a sleek modern estate, all shot in razor-sharp B&W crispness by the great Gianni di Venanzo. With Marcello Mastroianni and Jeanne Moreau starring, Antonioni creates his most compassionate examination of the emptiness of the rich and the difficulties of modern relationships. Writing in his book Devotional Cinema, Nathaniel Dorsky said of La Notte, “the real beauty of the film, the real depth of its intelligence, continues to lie in the clarity of the montage — the way the world is revealed to us moment by moment. The camera’s delicate interactive grace, participating with the fluidity of the characters’ changing points of view, is profound in itself.”

https://www.youtube.com/watch?v=yEEmVghrypo

Blow-Up, Antonioni’s first English-language production, is widely considered one of the seminal films of the 1960s. Thomas (David Hemmings) is a nihilistic, wealthy fashion photographer in mod swinging London. Filled with ennui, bored with his “fab” but oddly desultory life of casual sex and drugs, Thomas comes alive when he wanders through a park, stops to take pictures of a couple embracing, and upon developing the images believes that he has photographed a murder. Vanessa Redgrave and Sarah Miles co-star. In his review at the time, Bosley Crowther of the New York Times recognized just the film’s prescience, calling it “a fascinating picture, which has something real to say about the matter of personal involvement and emotional commitment in a jazzed-up, media-hooked-in world so cluttered with synthetic stimulations that natural feelings are overwhelmed.” Blow-Up came out 50 years ago, so we are celebrating it on September 13th at the Monica Film Center as part of our Anniversary Classics series with film critic Stephen Farber.

https://www.youtube.com/watch?v=INIhrT8MYyU

Beginning September 30th at the Royal we are pleased to screen Chabrol 5 x 5, a series featuring five of Claude Chabrol’s best, all fully restored and digitally remastered: Betty, The Swindle, Torment, Color of Lies and Night Cap. A founding father of French New Wave cinema, Chabrol’s fascination with genre films, and the detective drama in particular, fueled a lengthy and celebrated string of thrillers, which explored the human heart under extreme emotional duress. Chabrol began as a contributor to the celebrated film magazine Cahiers du Cinema alongside such film legends as Francois Truffaut and Jean-Luc Godard before launching his directorial career in 1957. He quickly established himself as a versatile filmmaker whose innate understanding of genre tropes informed the complex triangular relationships at the center of many of his films, which frequently served as a prism through which commentary on class conflict could be obliquely addressed. The talent he displayed in depicting these dark deeds, as well as his status among the pantheon of French New Wave cinema, underscored his significance as one of his native country’s most prolific and wickedly gifted craftsmen.

https://www.youtube.com/watch?v=Lqr2PIDvMKo

WESTERN WEEKEND: A Five Film Round-up ​of Celebrated Westerns August 12-14 at the Ahrya Fine Arts

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ac-western-weekend-posterLaemmle’s Anniversary Classics presents our tribute to the sagebrush genre with the Anniversary Classics Western Weekend, a five film round-up of some of the most celebrated westerns in movie history.

The star-studded lineup features John Wayne, Clint Eastwood, Clark Gable, Marilyn Monroe, Burt Lancaster, Lee Marvin, Robert Ryan, Kevin Costner, Montgomery Clift, Natalie Wood, Eli Wallach, Lee Van Cleef and others.

The films include John Ford’s masterpiece THE SEARCHERS, popular Oscar winner DANCES WITH WOLVES, spaghetti western supreme THE GOOD, THE BAD AND THE UGLY, and rediscoveries of the irreverent THE PROFESSIONALS and the elegiac THE MISFITS.

So saddle-up for a three day celebration August 12-14; the stagecoach stops at the Ahrya Fine Arts in Beverly Hills. Each program will be introduced by Sheriff Stephen Farber, President of the Los Angeles Film Critics Association.

Schedule:

Date Title Tickets
08/12 at 7:30PM THE GOOD, THE BAD AND THE UGLY (1966) Available
08/13 at 2:15PM DANCES WITH WOLVES (1990) Available
08/13 at 7:15PM THE PROFESSIONALS (1966) Available
08/14 at 2:15PM THE SEARCHERS (1956) Available
08/14 at 5:15PM THE MISFITS (1961) Available

Tickets:

Tickets for individual shows are available NOW on Laemmle.com and at the Ahrya Fine Arts box office:

  • Single Ticket: $13
  • Premiere Card Holders (Single Ticket): $11

Anniversary Classics Western Weekend Ticket Specials (Available only at Box Office):

  • All FIVE films for $40
  • Saturday or Sunday Double Feature: TWO films for $20.
  • Premiere Card Holders Saturday or Sunday Double Feature: TWO films for $18.

Movies:

THE GOOD, THE BAD AND THE UGLY – 50th Anniversary

ac-good-bad-uglyWe open our sagebrush weekend with the “third and best of Sergio Leone’s ‘Dollars’ trilogy… the quintessential spaghetti Western,” according to Leonard Maltin. The trilogy became the most popular of the hundreds of European Westerns made in the 1960s and 70s. The Good, the Bad and the Ugly, set during the Civil War in New Mexico, is actually a prequel to A Fistful of Dollars and For a Few Dollars More, all of which starred Clint Eastwood as Blondie, or the Man with No Name. Leone and his screenwriters considered the film a satire with its emphasis on violence and deconstruction of Old West romanticism.

Made in 1966 and released in the U.S. at the end of 1967, the movie was propelled to big box office when composer Ennio Morricone’s main theme became a hit instrumental recording for Hugo Montenegro in 1968. The film had mixed critical reaction in its day but has been reevaluated and embraced through the decades, and is now considered one of the great Westerns. Also starring Lee Van Cleef and Eli Wallach, with cinematography by Tonino Delli Colli.

Screens in a 4K digital restoration on Friday, August 12, at 7:30 PM.

DANCES WITH WOLVES – 25th Anniversary

ac-dancesThis film won seven Oscars in 1991, including Best Picture and Best Director Kevin Costner. (It was the first Western to be named Best Picture since Cimarron took the prize in 1931.) It remains one of the most popular Western films of all time, with one of the few positive and honest portrayals of Native American culture. And it is a genuine historical epic that deserves to be seen on the big screen, where its spectacular battle scenes and buffalo hunt can be fully appreciated.

Time magazine’s Richard Schickel praised the film by saying, “As a director, Costner is alive to the sweep of the country and the expansive spirit of the western-movie tradition.”

Special guest speakers at this showing will include actress Mary McDonnell, who was Oscar-nominated for her performance in the film and earned a second nomination for John Sayles’ Passion Fish two years later. Screens Saturday, August 13, at 2:15 PM.

THE PROFESSIONALS – 50th Anniversary

ac-profThe film was nominated for three Academy Awards in 1966, including Best Director and Best Screenplay for Hollywood veteran (and past Oscar winner) Richard Brooks. This irreverent Western boasts plenty of sardonic humor and turns many of the values of the genre upside down, but it does not skimp on production values or striking cinematography (by Oscar winner Conrad Hall). “Taut excitement throughout” was the verdict of Leonard Maltin.

The four “professionals” of the title are played by Burt Lancaster, Lee Marvin, Robert Ryan, and Woody Strode, with an outstanding supporting cast headed by Jack Palance, Claudia Cardinale, and Ralph Bellamy. And be sure to stay to savor the movie’s last line, drolly delivered by Lee Marvin, one of the great kickers in Western film history. Screens Saturday, August 13, at 7:15 PM.

THE SEARCHERS – 60th Anniversary

ac-searchOne of the finest collaborations of John Wayne and director John Ford is also one of the most influential and admired Westerns in history. At the time of its release, The New York Times’ Bosley Crowther called it “a ripsnorting Western,” but its reputation grew in later years.

In 2008 the American Film Institute named it the greatest of all Westerns. Its story of obsession and revenge influenced many later directors, including Martin Scorsese and Paul Schrader, and one of the most haunting scenes in the film was imitated in George Lucas’s Star Wars. Wayne plays Ethan Edwards, a bitter Civil War veteran who is determined to track down the Comanches who murdered his brother’s family and abducted his two nieces.

The Monument Valley locations where the movie was filmed are now iconic, and Wayne’s portrayal of the relentless, bigoted Edwards is one of his richest performances. The supporting cast includes Jeffrey Hunter, Vera Miles, Ward Bond, and Natalie Wood. Special guest speaker will be Wood’s younger sister, Lana Wood, who plays little Debbie, the girl kidnapped by the Comanches in the film’s opening section. Wood’s other credits include many popular TV series and her role as a Bond girl in Diamonds Are Forever. Screens Sunday, August 14, at 2:15 PM.

THE MISFITS – 55th Anniversary

ac-misfitsWe close the weekend with a modern take on the oater genre. This 1961 film’s themes of outsiders and non-conformists misplaced in contemporary society, with no new undiscovered frontiers, provide a fitting elegy to the Western.

Directed by John Huston from an original screenplay by playwright Arthur Miller, with apt black-and-white cinematography by Russell Metty, this drama took on a heightened valedictory tone when it became the final film for both co-stars Clark Gable and Marilyn Monroe (married to Miller at the time).

Monroe’s portrayal of a lonely divorcee is among her best roles, and Gable’s aging cowboy is considered the greatest performance of his career. He died 12 days after completing filming. A superb ensemble includes Montgomery Clift, Eli Wallach, and Thelma Ritter.

Although a box office failure at the time, the British Film Institute notes that The Misfits “scores…in the remarkable intensity of the performances and the delineation of the characters’ complex relationships. It remains one of the finest works of all involved.” Screens Sunday, August 14, at 5:30 PM.