Design Tour: Crashing Into the 60s
In This Moment: Revolution, Reckoning, Reparation - Volume 3
Phil(m) Fest 2024: The Blockbusters
Following our popular year-long look at the career of Philip Seymour Hoffman last year, we’re celebrating his birthday every year with a condensed, themed series of films near his birthday on July 23. This year, we’re looking at his blockbuster films, none of which screened in our series last year. In addition to being one of the most respected actors of his generation, Hoffman was no stranger to big budget thrills. In these films, his character is often duplicitous, if not outright villainous. Hoffman’s natural charisma on screen created some of the most indelible characters in recent cinema history, from action to suspense to science fiction.
July 23: The Hunger Games (Gary Ross, 2012, 142 min., DCP)
July 24: The Hunger Games: Catching Fire (Francis Lawrence, 2013, 146 min., DCP)
July 25: The Hunger Games: Mockingjay, Part 1 (Francis Lawrence, 2014, 123 min., DCP) July 26: The Hunger Games: Mockingjay, Part 2 (Francis Lawrence, 2015, 137 min., DCP)
July 27 (2 p.m.): Red Dragon (Brett Ratner, 2002, 124 min., DCP)
July 27: Mission: Impossible III (J. J. Abrams, 2006, 126 min., DCP)
Saturday Matinees!
In response to popular demand, the Dryden is bringing back daytime screenings! These repeat performances keep our audience connected to the programming during our nighttime screenings, while giving it a chance to see some of our most popular films during the day. Don’t forget to stop at Open Face for dinner after the show!
April 19 (2 p.m.): Easter Parade (Charles Walters, 1948, 103 min., 35mm)
May 10 (2 p.m.): Follow the Fleet (Mark Sandrich, US 1936, 110 min., 35mm)
May 24 (2 p.m.): M (M - Eine Stadt sucht einen Mörder, Fritz Lang, Germany 1931, 99 min., 35mm, German with English subtitles)
June 7 (2 p.m.): The Red Shoes (Michael Powell, Emeric Pressburger, UK 1948, 135 min., 35mm)
June 21 (2 p.m.): The Philadelphia Story (George Cukor, US 1940, 112 min., 35mm)
June 28: (2 p.m.): The Letter (William Wyler, US 1940, 95 min., 35mm)
Fringe Festival: The Wild and Wonderful World of the Avant-Garde
George Eastman Museum receives $98,220 grant from Helen Frankenthaler Foundation’s Frankenthaler Climate Initiative
The George Eastman Museum has received a grant award of $98,220 from the Helen Frankenthaler Foundation’s Frankenthaler Climate Initiative—the largest private national grantmaking program to support climate change action at cultural institutions and the first nationwide program of its kind for the visual arts. The grant supports the installation of a new LED lighting system in the museum’s Main Galleries and adjacent exhibition spaces. “The George Eastman Museum is proud to join the Helen Frankenthaler Foundation in our collective efforts to protect the environment while exhibiting and
The Rest is Silence
Crashing into the ‘60s One of the leaders of post-war German cinema and arguably the most humanistic filmmaker of the Nazi era, Helmut Käutner was known for his subtle and delicate approach to many sensitive issues of his time.
Lumière: Discovered
George Eastman Museum to present the work of Stanley Wolukau-Wanambwa in October
The George Eastman Museum is delighted to announce the forthcoming exhibition, Scene at Eastman, which will open on October 25, 2024 and close on April 20, 2025. The exhibition will comprise a set of photographs and sculptures made in aluminum, glass, concrete, paper, tin, and other materials. The photographs and sculptures in Scene at Eastman (“the works”) describe various acts and instances of apprehension, of address, of attendance to the presence of others. Some objects are original, others appropriated. The viewer’s own practice of looking is solicited by the works. Viewers are alerted to
Performance Plus: Minus 2 Trio
Experience an hour-long performance by local group known as Minus 2 Trio.
Member Tour: Selections from the Collection Exhibition
Aeolian Organ Concert performed by Joe Blackburn
Artist Talk: Clara Riedlinger
Hiroshima Mon Amour - on 35mm
Working from a script by Marguerite Duras, Resnais made his feature debut a modernist duet, with male and female voices intertwining over arresting images of love and war.
Silent Short Comedies | Matinee
Saturday Matinees | Silent Movie Day The Dryden Theatre is celebrating Silent Movie Day one day early with this program of comedic gems exclusively from our collection at the George Eastman Museum.
Exhibition Celebration
Dryden Roundtable: Alfred Hitchcock - The American Years
Director Alfred Hitchcock was enticed to Hollywood in the late 1930s, immediately directing three Best Picture nominees and crafting some of the most biting satires of American life, as seen through the lens of thrills and chills. What made Hitchcock so ready to take on American culture and society, creating uniquely American villains and monsters to haunt our dreams. Our panel will discuss the last 35 years of Hitchcock’s career and how it has affected his lasting legacy.
Silent Tuesdays
An autumn tradition at the Dryden Theatre, Silent Tuesdays is a survey of some of the best films in early cinema history: all with live piano accompaniment by Dr. Philip C. Carli. This year’s selection runs from 1920 to the early 1930s, and features the familiar faces of Buster Keaton, Jon Chaney, Jr., Victor McLaglen, Olive Thomas, Pola Negri, and the Gish sisters, as well as directors such as Carl-Theodor Dreyer, Josef von Sternberg, Raoul Walsh, Fritz Lang, Ernst Lubitsch, D.W. Griffith, and William Wyler, among others. Experience dramas and comedies, romances and westerns—not to mention a special Halloween film and a program of silent short comedies from the George Eastman Museum collections on Silent Movie Day in September. This is the way to see a silent film: On the big screen with live music!
Dates and Titles:
September 3: Seven Chances (Buster Keaton, 1925, 56 min., 35mm)
September 10: Laugh, Clown, Laugh (Herbert Brenon, 1928, 73 min., 35mm)
September 17: The Sea Hawk (Frank Lloyd, 1924, 123 min., 35mm)
September 24: Master of the House (Du skal ære din hustru, Carl Theodore Dreyer, 1925, 111 min., 35mm)
October 1: The Salvation Hunters (Josef von Sternberg, 1925, 70 min., 35mm)
October 8: What Price Glory? (Raoul Walsh, 1926, 116 min., 35mm)
October 29: The Student of Prague (Der Student von Prag, Henrik Galeen, 1926, 110 min., 16mm)
November 5: The Flapper (Alan Crosland, 1920, 88 min., 35mm)
November 19: Orphans of the Storm (D.W. Griffith, 1921, 150 min., 35mm)
November 26: Forbidden Paradise (Ernst Lubitsch, 1924, 76 min., 35mm)
December 3: TBA
December 10: Hell’s Heroes (William Wyler, 1929, 68 min., 35mm)
December 17: Rome Express (Walter Forde, 1932, 94 min., 16mm)
Labor Film Series 2024
A joint effort between the Dryden Theatre and the Rochester Labor Council, the Labor Film Series presents motion pictures celebrating workers of the world. The first film program of its kind in the United States, the series includes dramas, comedies, and current documentaries on important issues relating to work and workers, especially aspects of work often marginalized or absent in dominant commercial media. Our films from around the globe are selected to inform, provoke, and inspire.
This year’s selection features four Rochester Premieres, as well as films from Hollywood’s past. One quality of a labor film is that it presents work through the lens of what Richard Edwards calls contested terrain: a dynamic social setting ever shaped and reshaped by competing interests and practices of those who work and those who employ them. The direct results are taken for granted today—the right to unionize, eight-hour day, minimum wage, and safety standards—but the contest persists so long as a system of work breeds opposing aims. Union, Between Two Worlds, Unrest, The Whistle at Eaton Falls, and Two Days, One Night provide contemporary and historical examples of work as contested terrain.
A labor film also goes beyond the factory gates to question the various wider contexts that mold our workplaces and determine our life chances: first and foremost is the capitalist economy whose demands on work and workers’ lives cannot be overstated, as seen in Don’t Expect Too Much From the End of the World; or the various social inequalities that sort workers into privileged and disadvantaged groups, as seen in The Old Oak. Labor films concern the ways workers and unions have supported political movements against inequality as well, as we see in Rustin. Or it can inspire thought on big enduring questions with levity, such as what to do with time freed up when work is unnecessary, as in Love and Work. Labor films re-frame the way we see the world, allowing us to take a step back and empathize with those who are like us and those who are not, and realize the universality of the laborer around the world.
Dates and Titles:
September 6: Rustin (George C. Wolfe, 2023, 106 min., DCP)
September 13: Two Days, One Night (Deux jours, une nuit, Jean-Pierre Dardenne, Luc Dardenne, 2014, 95 min., DCP)
September 20: Love and Work (Pete Ohs, 2024, 74 min., DCP)
September 27: Between Two Worlds (Ouistreham, Emmanuel Carrère, 2021, 106 min., DCP)
October 4: Do Not Expect Too Much From the End of the World (Nu astepta prea mult de la sfârsitul lumii, Radu Jude, 2023, 163 min., DCP)
October 11: Unrest (Unrueh, Cyril Schäublin, 2022, 93 min., DCP)
October 18: Union (Stephen Maing, Brett Story, 2024, 100 min., DCP)
October 25: The Whistle at Eaton Falls (Robert Siodmak, 1951, 96 min., DCP)
November 1: The Old Oak (Ken Loach, 2023, 113 min., DCP)
