The MONDAY NIGHT FILM SERIES will only be available digitally this spring – just reserve a ticket online and we will email a link to patrons the day each show becomes available for viewing. All films are free and open to the public.

PROGRAM IS SUBJECT TO CHANGE.

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T

he Monday Night Film Series has seen a tremendous growth in popularity since Parilla Performing Arts Center first introduced it in the 2011 – 2012 season. Over the ensuing years, we have screened over a hundred of the best arthouse films ever made, by some of the most famous directors from around the globe. We are pleased to present these masterpieces, free and open to the public, for both film buffs and newcomers to the genre alike!

MIRACLE IN MILAN

 Vittorio De Sica • Italy, 1951, 101 minutes, B&W • Italian (English Subtitles)

January 17, 2022 at 7 p.m.


Once upon a time in postwar Italy . . . Vittorio De Sica’s follow-up to his international triumph Bicycle Thieves is an enchanting neorealist fairy tale in which he combined his celebrated slice-of-life poetry with flights of graceful comedy and storybook fantasy. On the outskirts of Milan, a band of vagabonds work together to form a shantytown. When it is discovered that the land they occupy contains oil, however, it’s up to the cherubic orphan Totò (Francesco Golisano)—with some divine help—to save their community from greedy developers. Tipping their hats to the imaginative whimsy of Charles Chaplin and René Clair, De Sica and screenwriter Cesare Zavattini (adapting his own novel) craft a big-hearted ode to the nobility of everyday people.

Restored from the original camera negative by Cineteca di Bologna and Compass Film, in collaboration with Mediaset, Infinity, Arthur Cohn and Variety Communications at L’Immagine Ritrovata laboratory.

THE LOWER DEPTHS

 Akira Kurosawa • Japan, 1957, 125 minutes, B&W • Japanese (English Subtitles)

January 24, 2022 at 7 p.m.


Jean Renoir and Akira Kurosawa, two of cinema’s greatest directors, transform Maxim Gorky’s classic proletariat play The Lower Depths in their own ways for their own times. Renoir, working amidst the rise of Hitler and the Popular Front in France, had need to take license with the dark nature of Gorky’s source material, softening its bleak outlook. Kurosawa, firmly situated in the postwar world, found little reason for hope. He remained faithful to the original with its focus on the conflict between illusion and reality—a theme he would return to over and over again. Working with their most celebrated actors (Gabin with Renoir; Mifune with Kurosawa), each film offers a unique look at cinematic adaptation—where social conditions and filmmaking styles converge to create unique masterpieces.

RATCATCHER

 Lynne Ramsay • United Kingdom, 1999, 93 minutes, Color • English

January 31, 2022 at 7 p.m.


In her breathtaking and assured debut feature, Lynne Ramsay creates a haunting evocation of a troubled Glasgow childhood. Set during Scotland’s national garbage strike of the mid-1970s, Ratcatcher explores the experiences of a poor adolescent boy as he struggles to reconcile his dreams and his guilt with the abjection that surrounds him. Utilizing beautiful, elusive imagery, candid performances, and unexpected humor, Ramsay deftly contrasts urban decay with a rich interior landscape of hope and perseverance, resulting in a work at once raw and deeply poetic.

BLACK ORPHEUS

 Marcel Camus • France/Brazil/Italy, 1959, 107 minutes, Color • Portuguese (English Subtitles)

February 7, 2022 at 7 p.m.


Winner of both the Academy Award for best foreign-language film and the Cannes Film Festival’s Palme d’Or, Marcel Camus’ Black Orpheus (Orfeu negro) brings the ancient Greek myth of Orpheus and Eurydice to the twentieth-century madness of Carnival in Rio de Janeiro. With its eye-popping photography and ravishing, epochal soundtrack, Black Orpheus was an international cultural event, and it kicked off the bossa nova craze that set hi-fis across America spinning.

FAYA DAYI

 Jessica Beshir • Ethiopia, 2021, 120 minutes, B/W • Amharic (English Subtitles)

February 14, 2022 at 7 p.m.


In her hypnotic documentary feature, Ethiopian-Mexican filmmaker Jessica Beshir explores the coexistence of everyday life and its mythical undercurrents. Though a deeply personal project—Beshir was forced to leave her hometown of Harar with her family as a teenager due to growing political strife—the film she returned to make about the city, its rural Oromo community of farmers, and the harvesting of the country’s most sought-after export (the euphoria-inducing khat plant) is neither a straightforward work of nostalgia nor an issue-oriented doc about a particular drug culture. Rather, she has constructed something dreamlike: a film that uses light, texture, and sound to illuminate the spiritual lives of people whose experiences often become fodder for ripped-from-the-headlines tales of migration.

SEDUCED AND ABANDONED

 Pietro Germi • Italy, 1964, 117 minutes, B/W • Italian (English Subtitles)

February 21, 2022 at 7 p.m.


Shotgun weddings, kidnapping, attempted murder, emergency work—the things Don Vincenzo will do to restore his family’s honor! Pietro Germi’s Seduced and Abandoned was the follow-up to his international sensation Divorce Italian Style, and in many ways it’s even more audacious—a rollicking yet raw series of escalating comic calamities that ensue in a small village when sixteen-year-old Agnese (the beautiful Stefania Sandrelli) loses her virginity at the hands of her sister’s lascivious fiance. Merciless and mirthful, Seduced and Abandoned skewers Sicilian social customs and pompous patriarchies with a sly, devilish grin.

LENINGRAD COWBOYS GO TO AMERICA

 Aki Kaurismäki • Finland, 1989, 79 minutes, Color • Finnish/English (English Subtitles)

February 28, 2022 at 7 p.m.


A struggling Siberian rock band leaves the lonely tundra to tour the United States because, as they’re told, “they’ll buy anything there.” Aki Kaurismäki’s winningly aloof farce follows the musicians as they bravely make their way across the New World, carrying a bandmate (and some beer) in a coffin and sporting hairdos that resemble unicorn horns. Leningrad Cowboys Go America was such a sensation that it brought the fictional band a major real-life following.

LOOK BACK IN ANGER

 Tony Richardson • United Kingdom, 1959, 98 minutes, B/W • English

March 7, 2022 at 7 p.m.


Jimmy Porter (Richard Burton) is a university graduate, and the husband of a woman of some means, but he has rejected middle class dreams, and operates a candy stall at the local flea market. During their two year marriage, Allyson (Mary Ure) has carried the full brunt of Jimmy’s anger and frustration, as well as his intense love. As time goes on, he becomes more and more bitter, ridiculing Allyson about her middle class background. Allyson defends herself as best she can, but her husband so intimidates her that she can’t even bring herself to tell him that she is pregnant. Everything comes to a head when Allyson’s friend Helena Charles (Claire Bloom), an actress, moves in with them for awhile. She becomes witness to the turbulent relationship and the toll it is taking. When she learns about the pregnancy, she persuades Allyson to leave Jimmy and return to her parents, allowing time for the relationships to complicate even further.

YOUNG TÖRLESS

 Volker Schlöndorff • West Germany, 1966, 87 minutes, B/W • German (English Subtitles)

March 14, 2022 at 7 p.m.


At an Austrian boys’ boarding school in the early 1900s, shy, intelligent Törless observes the sadistic behavior of his fellow students, doing nothing to help a victimized classmate—until the torture goes too far. Adapted from Robert Musil’s acclaimed novel, Young Törless launched the New German Cinema movement and garnered the 1966 Cannes Film Festival International Critics’ Prize for first-time director Volker Schlöndorff.

PARIS IS BURNING

 Jennie Livingston • United States, 1990, 76 minutes, Color • English Subtitles

March 21, 2022 at 7 p.m.


Where does voguing come from, and what, exactly, is throwing shade? This landmark documentary provides a vibrant snapshot of the 1980s through the eyes of New York City’s African American and Latinx Harlem drag ball scene. Made over seven years, Paris Is Burning offers an intimate portrait of rival fashion “houses,” from fierce contests for trophies, to house mothers offering sustenance in a world rampant with homophobia and transphobia, racism, AIDS, and poverty. Featuring legendary voguers, drag queens, and trans women—including Willi Ninja, Pepper LaBeija, Dorian Corey, and Venus Xtravaganza—Paris Is Burning brings it, celebrating the joy of movement, the force of eloquence, and the draw of community.

Digitally remastered by the UCLA Film and Television Archive in conjunction with Sundance Institute and Outfest UCLA Legacy Project. Preservation funded by Sundance Institute, Outfest and the Andrew J. Kuehn Jr. Foundation.

MISS JULIE

 Alf Sjöberg • Sweden, 1951, 90 minutes, B/W • Swedish (English Subtitles)

March 28, 2022 at 7 p.m.


Swedish filmmaker Alf Sjöberg’s visually innovative, Cannes Grand Prix-winning adaptation of August Strindberg’s renowned 1888 play brings to scalding life the excoriating words of the stage’s preeminent surveyor of all things rotten in the state of male-female relations. Miss Julie vividly depicts the battle of the sexes and classes that ensues when a wealthy businessman’s daughter (Anita Björk, in a fiercely emotional performance) falls for her father’s bitter servant. Celebrated for its unique cinematic style (and censored upon its first release in the United States for its adult content), Sjöberg’s film was an important turning point in Scandinavian cinema.

BELLE DE JOUR

 Luis Buñuel • France, 1967, 100 minutes, Color • French (English Subtitles)

April 4, 2022 at 7 p.m.


Catherine Deneuve’s porcelain perfection hides a cracked interior in one of the actress’s most iconic roles: Séverine, a Paris housewife who begins secretly spending her after­noon hours working in a bordello. This surreal and erotic late-sixties daydream from provocateur for the ages Luis Buñuel is an examination of desire and fetishistic pleasure (its characters’ and its viewers’), as well as a gently absurdist take on contemporary social mores and class divisions. Fantasy and reality commingle in this burst of cinematic transgression, which was one of Buñuel’s biggest hits.

A STORY FROM CHIKAMATSU

 Kenji Mizoguchi • Japan, 1954, 102 minutes, B/W • Japanese (English Subtitles)

April 11, 2022 at 7 p.m.


One of a string of late-career masterworks made by Kenji Mizoguchi in the early 1950s, A Story from Chikamatsu is an exquisitely moving tale of forbidden love struggling to survive in the face of persecution. Based on a classic of eighteenth-century Japanese drama, the film traces the injustices that befall a Kyoto scroll maker’s wife and his apprentice after each is unfairly accused of wrongdoing. Bound by fate in an illicit, star-crossed romance, they go on the run in search of refuge from the punishment prescribed them: death. Shot in gorgeous, painterly style by master cinematographer Kazuo Miyagawa, this subtly sensuous indictment of societal oppression was heralded by Akira Kurosawa as a “great masterpiece that could only have been made by Mizoguchi.”

STALKER

 Andrei Tarkovsky • Soviet Union, 1979, 161 minutes, Color • Russian (English Subtitles)

April 18, 2022 at 7 p.m.


One of the most immersive and rarefied experiences in the history of cinema, Andrei Tarkovsky’s Stalker embarks on a metaphysical journey through an enigmatic post-apocalyptic landscape. A hired guide—the “Stalker” of the title—leads a writer and a scientist into the heart of the Zone, the restricted site of a long-ago disaster, where the three men eventually zero in on the Room, a place rumored to fulfill one’s most deeply held desires. Adapting a science-fiction novel by Arkady and Boris Strugatsky, and making what would be his final Soviet feature, Tarkovsky created a challenging and visually stunning work, his painstaking attention to material detail and sense of organic atmosphere further enriched by this vivid new digital restoration. At once a religious allegory, a reflection of contemporary political anxieties, and a meditation on film itself—among many other interpretations—Stalker envelops the viewer by opening up a multitude of possible meanings.

A RIVER CALLED TITAS

 Ritwik Ghatak • Bangladesh, 1973, 156 minutes, B/W • Bengali (English Subtitles)

April 25, 2022 at 7 p.m.


The Bengali filmmaker Ritwik Ghatak’s stunningly beautiful, elegiac saga concerns the tumultuous lives of people in fishing villages along the banks of the Titas River in pre-Partition East Bengal. Focusing on the tragic intertwining fates of a series of fascinating characters—in particular, the indomitable widow Basanti—Ghatak tells the poignant story of an entire community’s vanishing way of life. Made soon after Bangladesh became an independent nation, the elliptical, painterly A River Called Titas is a grand epic from a director who has had a devoted following for decades.

CHILDREN OF PARADISE

 Marcel Carné • France, 1945, 190 minutes, B/W • French (English Subtitles)

May 2, 2022 at 7 p.m.


Poetic realism reached sublime heights with Children of Paradise, widely considered one of the greatest French films of all time. This nimble depiction of nineteenth-century Paris’s theatrical demimonde, filmed during World War II, follows a mysterious woman (Arletty) loved by four different men (all based on historical figures): an actor, a criminal, a count, and, most poignantly, a mime (Jean-Louis Barrault, in a longing-suffused performance for the ages). With sensitivity and dramatic élan, director Marcel Carné and screenwriter Jacques Prévert resurrect a world teeming with hucksters and aristocrats, thieves and courtesans, pimps and seers. And thanks to a major new restoration, this iconic classic looks and sounds richer and more detailed than ever.

YOJIMBO

 Akira Kurosawa • Japan, 1961, 110 minutes, B/W • Japanese (English Subtitles)

May 9, 2022 at 7 p.m.


The incomparable Toshiro Mifune stars in Akira Kurosawa’s visually stunning and darkly comic Yojimbo. To rid a terror-stricken village of corruption, wily masterless samurai Sanjuro turns a range war between two evil clans to his own advantage. Remade twice, by Sergio Leone and Walter Hill, this exhilarating genre-twister remains one of the most influential and entertaining films of all time.

M

 Fritz Lang • Germany, 1931, 110 minutes, B/W • German (English Subtitles)

May 16, 2022 at 7 p.m.


A simple, haunting musical phrase whistled offscreen tells us that a young girl will be killed. “Who Is the Murderer?” pleads a nearby placard as serial killer Hans Beckert (Peter Lorre) closes in on little Elsie Beckmann . . . In his harrowing masterwork M, Fritz Lang merges trenchant social commentary with chilling suspense, creating a panorama of private madness and public hysteria that to this day remains the blueprint for the psychological thriller.

LETTER NEVER SENT

 Mikhail Kalatozov • Soviet Union, 1959, 96 minutes, B/W • Russian (English Subtitles)

May 23, 2022 at 7 p.m.


The great Soviet director Mikhail Kalatozov, known for his virtuosic, emotionally gripping films, perhaps never made a more visually astonishing one than Letter Never Sent. This absorbing tale of exploration and survival concerns the four members of a geological expedition, who are stranded in the bleak and unforgiving Siberian wilderness while on a mission to find diamonds. Luxuriating in wide-angle beauty and featuring one daring shot after another (the brilliant cinematography is by Kalatozov’s frequent collaborator Sergei Urusevsky), Letter Never Sent is a fascinating piece of cinematic history and a universal adventure of the highest order.

THE ENTERTAINER

 Tony Richardson • United Kingdom, 1960, 107 minutes, B/W • English

May 30, 2022 at 7 p.m.


“Life is a beastly mess,” states the great Laurence Olivier in this superb drama of the seedy music-hall life. He plays Archie Rice, a third-rate vaudevillian whose song-and-dance routines are crusty, unappealing, and decidedly boring. His wife (Brenda de Banzie) is a shrewish alcoholic who nags him constantly about his failures. His father (Roger Livesey), a once-famous entertainer, is dying, yet Archie prevails upon him to back just one more tawdry musical revue. Archie’s world comes tumbling down onto the garbage heap he has built up through a life of self-deception, sneaky schemes, and ruthless unconcern for those who love him. Based on the play by Angry Young Man John Osborne and directed by British New Wave trailblazer Tony Richardson, THE ENTERTAINER is built around one of Olivier’s most riveting performances.