Cinéphile Sundays, Fall 2016


This Fall semester, CAMS and Cinéphile Sundays will be celebrating 1966, a year when many groundbreaking and surprisingly different films entered the global arena. The films presented in this series were and are re-working the language of cinema.

All films will be shown in Collins Cinema. Screenings are free and seats are first come, first served.

Cinéphile Sundays is made possible by the Edwards Fund and our many other departmental collaborators: Russian Studies, Classical Studies, the Art Department, the McNeill Fund in the Art Department, and the Davis Museum.



Sixty Six
Lewis Klahr (2015)
September 18 (Sun) | 5 PM
A MUST-SEE EVENT: award-winning Los Angeles-based artist and filmmaker Lewis Klahr will attend this screening and present his film.

Lewis Klahr, Sixty Six


A stop-motion collage film in 12 chapters, Lewis Klahr’s Sixty Six had its world premiere at MoMA in December 2015 and was nominated for the 2016 Academy Award in Animation. Klahr’s film weaves a mobile tapestry of cinematic, pop-cultural and autobiographical memories from 1966, filtering them through a mythopoetic lens. With titles such as “Mercury,” “Jupiter Sends a Message,” and “Mars Garden,” each of Sixty Six’s chapters resonates with Greek mythology and nostalgically explores the dreams of mid-century America, more specifically those inscribed in Los Angeles’ urban texture. As Lewis Klahr suggests, “the mythology aspect opens up the storytelling and, most of all, connects to an older tradition of things. It’s not exactly history—it’s more like fictions that are useful, or long-lasting, elemental.”


Ingmar Bergman (1966)
October 2 (Sun) | 5 PM
Bergman's Persona preview image

It is hard to overestimate the power and influence of Bergman’s enigmatic psychological study of the relationship between two women. There is never enough Bergman on this campus: 1966 gives us an opportunity to bring this classic back.



Michelangelo Antonioni (1966)
October 23 (Sun) | 5 PM

Antonioni's Blow-Up preview image


Antonioni had made many important films before Blow-Up, but this 1966 work was nevertheless a game-changer, perhaps because it was his first film to be widely accessible to the English-speaking world. A study of the relationship between the photograph and the world being photographed, as well as an expression of the anomie of 60s British pop culture, Blow-Up has become a core film in CAMS 101—and as a result, we have heard over and over again from many people who name Blow-Up as the film that first blew them away, that turned them into lifelong students of film.  Don't miss this screening!



Andrei Rublev

Andrei Tarkovsky (1966)
November 6 (Sun) | 3 PM

Tarkovsky's Andrei Rublev preview image


Ostensibly charting the life of the great icon painter against the background of 15th century Russia, Andrei Rublev evokes rather than explains. Guardian critic Steve Rose calls it “the best art-house film of all time,” writing that “It asks questions about the relationship between the artist, their society and their spiritual beliefs and doesn't seek to answer them.” Tarkovsky’s work is poetry on film and it is painting on film, but above all, it is cinematic; Tarkovsky understood (and generated) a cinematic language that few, if any, other filmmakers can emulate.

One of our early and most favorite Cinéphile Sundays programs, "Slow is for the Soul", was built around three of Tarkovsky’s films. With this screening of Andrei Rublev, we further our goal of eventually screening all of Tarkovsky’s films (from his very small oeuvre of seven films, each a masterpiece). This film is long (3.5 hours), but it is also the favorite of many Tarkovsky lovers.


Only Yesterday
Isao Takahata (1991)
December 4 (Sun) | 3 PM

Takahata's Only Yesterday preview image


Produced by Studio Ghibli and directed by Miyazaki’s collaborator Takahata Isao, the animated feature Only Yesterday was the highest-grossing Japanese film of 1991. The story takes place in 1982 when the 27-year old Taeko, while traveling to the rural countryside, recalls memories of 1966, when she was 10 years old and suffered from an inferiority complex. Only Yesterday is also a powerful drama in which the Japanese postwar boom is set against the simple, difficult life of those who have decided to resist the temptation of relocating to the city and stayed in the country to live off the land. As Wikipedia puts it, “Only Yesterday is significant among progressive anime films in that it explores a genre traditionally thought to be outside the realm of animated subjects, in this case a realistic drama written for adults, particularly women.”