Word: hfa
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...inclusive term “cinema” is an appropriate one. As the films at the HFA demonstrate, the cultural anxieties of the Cold War did not confine themselves to a single genre. The semi-documentary “Panic in the Streets” (Elia Kazan, 1950), the noir masterpiece “The Third Man” (Carol Reed, 1949), and the low-budget sci-fi romp “Rocketship X-M” (Kurt Neumann, 1950), are equally suffused with dread, uncertainty, and black humor...
This is not a coincidence. Harvard Film Archive’s (HFA) series, running Dec. 9 through 17, celebrates Wilder’s oeuvre by showing his lesser-known films, many of which are unavailable on video...
Twelve of Wilder’s feature films and one of his short pieces will be shown at the HFA in the evenings of the upcoming weeks. Ted Barron, senior programmer at the HFA, said “Wilder is one of the great writers of cinema of all time. We wanted to do something for the works that might have been considered minor but that we think are hidden jewels...
...said Nicolas Philibert. Largely lauded as the most famous documentarian in France, if not all of Europe, five of Philibert’s nonfiction films form the simply-titled series “Nicolas Philibert: Five Films,” which screened at the Harvard Film Archive (HFA) last week. Presented through the combined efforts of the HFA, French Cultural Services, and Cahiers du Cinema—the legendary film magazine born in the 1960s from the pens of cinematic superstars like Jean-Luc Godard and Francois Truffaut—“Five Films” brought...
...drift down a river, dying off one by one (the plot of Werner Herzog’s classic “Aguirre, Wrath of God”) fail to inspire you? Fear not, Herzogophobes, because there is life after his brand of New German Cinema. The Harvard Film Archive (HFA) recognizes this salvation in an upcoming series: “Growing Up: The Films of Hans-Christian Schmid,” running from Nov. 18 through 21. The series, co-presented by the Goethe Institut Boston, aims to introduce an American audience to the varied oeuvre of Schmid. Though...