GWNYFCA Winner The Greater Western New York Film Critics Association’s choice for Best Film of the Year, Best Breakthrough Director, and Best Original Screenplay (both Celine Song), Past Lives makes a triumphant return to the big screen in Rochester.
Crashing into the ‘60s James Cagney, in his last onscreen appearance for twenty years, plays an ambitious Coca-Cola executive stationed in West Berlin. Hoping to win a promotion to the London branch, he agrees to chaperone the boss's carousing daughter (Pamela Tiffin) who secretly marries an East German communist (Horst Bucholz).
Merchant-Ivory in Love In the 1850s, near Boston, two unexpected guests arrive at the home of William Wentworth (Wesley Addy). Eugenia (Lee Remick) and Felix (Tim Woodward) are his niece and nephew through his half-sister. He allows them to stay in an adjacent house on the property, but is suspicious of their intentions.
As the Dryden celebrates Alfred Hitchcock’s 125th birthday with a year-long series bringing some of his best films to the screen, Dryden Roundtables take a deeper dive into the filmmaker’s work and career.
The Emergence of Kelvin Harrison, Jr. Luce Edgar (Kelvin Harrison, Jr.) is a star high school student and athlete, the proud son of his adoptive white parents, Peter and Amy (Tim Roth and Naomi Watts). When Amy is called into a parent-teacher conference with Luce’s history teacher, Harriet (Octavia Spencer), she finds that Luce has written a paper calling for violence to combat colonialism.
Finntastic!: New Films from Finland Frequently compared to The Big Chill, this film finds a group of friends getting together after a decade and discovering that their past is not what they thought it was.
Merchant-Ivory in Love Cambridge, early 20th century. Two college students, Maurice (James Wilby) and Clive (Hugh Grant), develop a close friendship that rapidly evolves into love. Succumbing to the pressures of British society, they are forced to keep their relationship a secret—taking a toll on both their lives.
Wake Up!: The Cinema of Spike Lee The publicity surrounding the release of this movie milestone divided commentators about whether it offered insight or added agit-prop to the ongoing race relations debate. What was ignored amid all the hoopla were the many pleasures of the film, from its free-form style to its vivid characterizations to its first-rate cinematography by Ernest Dickerson.
