Jean-Luc Godard’s 1961 Une Femme est Une Femme (A Woman is a Woman)
Marc Eliot’s Art of Film
“It’s a fantasy, a comedy, a musical, and a tragedy all at once.”
-New York Magazine
(In French with English Subtitles)
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Jean-Luc Godard’s 1961 Une Femme est Une Femme (A Woman is a Woman)
Marc Eliot’s Art of Film
“It’s a fantasy, a comedy, a musical, and a tragedy all at once.”
-New York Magazine
(In French with English Subtitles)
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Mike Figgis’ 1995 Leaving Las Vegas
Marc Eliot’s Art of Film
“A uniquely hypnotic and haunting love story sparked by Nicolas Cage and Elisabeth Shue at their career best.”
-Rolling Stone
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Mike Figgis’ 1995 Leaving Las Vegas
Marc Eliot’s Art of Film
“A uniquely hypnotic and haunting love story sparked by Nicolas Cage and Elisabeth Shue at their career best.”
-Rolling Stone
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Luca Guadagnino’s 2024 Challengers
Marc Eliot’s Art of Film
Special Introduction by Marc Eliot, in person
“The movie’s a paean to hard work and hedonism, and if its pleasures are mostly surface — grass, clay, emotional — it’s still been too long since we’ve had an intelligent frolic like this.”
- Ty Burr, Washington Post
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Sean Baker’s 2024 Anora
Marc Eliot’s Art of Film
Special Introduction by Marc Eliot, in person
“At once a frenzied fairy tale and a tender-hearted character study.”
- Beth Webb, Empire Magazine
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Philippe Lesage’s 2024 Who by Fire
Marc Eliot’s Art of Film
Special Introduction by Marc Eliot, in person
“All of Who by Fire exists in this in-between space, which is what makes it so thrilling, so unpredictable.”
- New York Magazine, Bilge Ebiri
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Alfred Hitchcock’s 1954 Rear Window
Marc Eliot’s Art of Film
Special Introduction by Marc Eliot, in person
“Hitchcock condemned the invasive immorality of voyeurism without for a second denying its allure.”
- Peter Travers, Rolling Stone
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Agnes Varda’s 1962 Cleo From 5 to 7
Marc Eliot’s Art of Film
Special Introduction by Marc Eliot, in person
“Miss Varda’s cameraman, Jean Rabier, gets around everywhere — by taxi, car, bus, and on foot — and we are with him every inch of the way.
- Philip K. Scheuer, Los Angeles Times
(French language, English Subtitles)
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Howard Hawks’ 1948 Red River
Marc Eliot’s Art of Film
“A spectacle of sweeping grandeur with a first-rate script; John Wayne has his best assignment to date.”
-Variety
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Howard Hawks’ 1948 Red River
Marc Eliot’s Art of Film
“A spectacle of sweeping grandeur with a first-rate script; John Wayne has his best assignment to date.”
-Variety
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Roger Donaldson’s 1987 No Way Out
Marc Eliot’s Art of Film
“Good performances from a strong cast and paranoid plotting enough to keep even the staunchest of remake nay-sayers quiet. Hitchockian production with a modern twist.”
-Empire Magazine
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Roger Donaldson’s 1987 No Way Out
Marc Eliot’s Art of Film
“Good performances from a strong cast and paranoid plotting enough to keep even the staunchest of remake nay-sayers quiet. Hitchockian production with a modern twist.”
-Empire Magazine
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Don Siegel’s 1956 Invasion of the Body Snatchers
Marc Eliot’s Art of Film
“This is one of the great ‘50s film paranoid allegories about the fear of Communism taking over the American Way of Life. Less obvious is that it is also one of the best love stories of its time. Totally unique, scary, prescient, and visually beautiful; a terrific early masterpiece by Don Siegel.”
-Marc Eliot
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Don Siegel’s 1956 Invasion of the Body Snatchers
Marc Eliot’s Art of Film
“This is one of the great ‘50s film paranoid allegories about the fear of Communism taking over the American Way of Life. Less obvious is that it is also one of the best love stories of its time. Totally unique, scary, prescient, and visually beautiful; a terrific early masterpiece by Don Siegel.”
-Marc Eliot
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Tom Tykwer’s 1998 Run Lola Run (German)
Marc Eliot’s Art of Film
“Run Lola Run combines pleasingly postmodern kinetic energy with exquisitely lyrical romanticism. I urge [everyone] to run to the box-office!”
-Andrew Sarris, “The Observer”
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Peter Glennville’s 1964 Becket
Marc Eliot’s Art of Film
“Richard Burton is extraordinary and Peter O’Toole is regally madcap and larger than life.”
-Christian Science Monitor
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Arthur Penn’s 1962 The Miracle Worker
Marc Eliot’s Art of Film
“It's a stunningly impressive piece of work, typically (for Penn) deriving much of its power from the performances.”
-Time Out
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Alfred Hitchcock’s 1972 Frenzy
Marc Eliot’s Art of Film
“Frenzy is a complex and gripping thriller, a rich tapestry of suspense and a masterpiece.”
– Betsy Reed “The Guardian”
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
TICKETS:
Henry King’s 1943 The Song of Bernadette
Marc Eliot’s Art of Film
“A remarkably good moving picture about the French peasant girl who saw the Blessed Virgin and helped discover a miraculously healing spring at Lourdes.”
-Time Magazine
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Blake Edwards’ 1959 Operation Petticoat
Marc Eliot’s Art of Film
“Blake Edwards directs with his customary wit, breeziness, and acute sense of pacing.”
- Chicago Reader
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Blake Edwards’ 1959 Operation Petticoat
Marc Eliot’s Art of Film
“Blake Edwards directs with his customary wit, breeziness, and acute sense of pacing.”
- Chicago Reader
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Ang Lee’s 2007 Lust Caution
Marc Eliot’s Art of Film
“For his sheer muscular verve and ambition, Lee deserves a standing ovation.”
- Guardian
Rated NC-17
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Ang Lee’s 2007 Lust Caution
Marc Eliot’s Art of Film
“For his sheer muscular verve and ambition, Lee deserves a standing ovation.”
- Guardian
Rated NC-17
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Oliver Stone’s 1989 Born on the Fourth of July
Marc Eliot’s Art of Film
“A score from John Williams and aggressive direction from Oliver Stone make this the pre-eminent Vietnam War movie.”
- Times (UK)
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Oliver Stone’s 1989 Born on the Fourth of July
Marc Eliot’s Art of Film
“A score from John Williams and aggressive direction from Oliver Stone make this the pre-eminent Vietnam War movie.”
- Times (UK)
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Richard Marquand’s 1981 Eye of the Needle
Marc Eliot’s Art of Film
“Alfred Hitchcock could have worked miracles with this story's mixture of love, suspicion and intrigue; as it is, the director is Richard Marquand, and he does much more than a creditable job. His film is suspenseful all the way.”
-New York Times
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Richard Marquand’s 1981 Eye of the Needle
Marc Eliot’s Art of Film
“Alfred Hitchcock could have worked miracles with this story's mixture of love, suspicion and intrigue; as it is, the director is Richard Marquand, and he does much more than a creditable job. His film is suspenseful all the way.”
-New York Times
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Robert Altman’s 1970 M*A*S*H
Marc Eliot’s Art of Film
“As a savage comedy about man's rebellion in the face of death it has rarely been bettered.”
- Empire Magazine
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Robert Altman’s 1970 M*A*S*H
Marc Eliot’s Art of Film
“As a savage comedy about man's rebellion in the face of death it has rarely been bettered.”
- Empire Magazine
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Jonathan Glazer’s 2023 The Zone of Interest
Marc Eliot’s Art of Film
“The scenario that Glazer creates and the performances of his lead players serve as a portal, challenging viewers to morph from spectators to participants, grappling with the enduring truth that we’re all capable of knowing evil when we see it.”
-Washington Post
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Jonathan Glazer’s 2023 The Zone of Interest
Marc Eliot’s Art of Film
“The scenario that Glazer creates and the performances of his lead players serve as a portal, challenging viewers to morph from spectators to participants, grappling with the enduring truth that we’re all capable of knowing evil when we see it.”
-Washington Post
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Documentary Double Feature
Marc Eliot’s Art of Film
Tom Thurman’s 2002 John Ford Goes to War
“John Ford’s place in the Pantheon is safe and secure. Thurman’s documentary on Ford’s wartime exploits and propaganda film open up a side of the great filmmaker usually overlooked by his classic features. Both film and filmmaker are essential to the art of film.”
- Marc Eliot
George Stevens’ 1994 From D-Day to Berlin
“Stevens’ personal films document his involvement in the liberation of France and the Allied March into Berlin. An incredible bit of filmmaking from a director who mostly made commercial features 1954’s Shane.”
- Marc Eliot
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Documentary Double Feature
Marc Eliot’s Art of Film
Tom Thurman’s 2002 John Ford Goes to War
“John Ford’s place in the Pantheon is safe and secure. Thurman’s documentary on Ford’s wartime exploits and propaganda film open up a side of the great filmmaker usually overlooked by his classic features. Both film and filmmaker are essential to the art of film.”
- Marc Eliot
George Stevens’ 1994 From D-Day to Berlin
“Stevens’ personal films document his involvement in the liberation of France and the Allied March into Berlin. An incredible bit of filmmaking from a director who mostly made commercial features 1954’s Shane.”
- Marc Eliot
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Stanley Kubrick’s 1964 Dr. Strangelove
Marc Eliot’s Art of Film
“Age has not withered that final queasy nightmare of the mushroom clouds, set to Vera Lynn's hopeful We'll Meet Again - underscoring how the certainties of the second world war ceased to hold their meaning in the nuclear age.”
-Guardian
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Stanley Kubrick’s 1964 Dr. Strangelove
Marc Eliot’s Art of Film
“Age has not withered that final queasy nightmare of the mushroom clouds, set to Vera Lynn's hopeful We'll Meet Again - underscoring how the certainties of the second world war ceased to hold their meaning in the nuclear age.”
-Guardian
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Francis Coppola’s 1979 Apocalypse Now
Marc Eliot’s Art of Film
“Some ultimate and flawless perfection may have been missed. But as a noble use of the medium and as a timeless expression of a national anguish, it towers over anything that has been attempted by an American film maker in a very long time.”
- Los Angeles Times
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Francis Coppola’s 1979 Apocalypse Now
Marc Eliot’s Art of Film
“Some ultimate and flawless perfection may have been missed. But as a noble use of the medium and as a timeless expression of a national anguish, it towers over anything that has been attempted by an American film maker in a very long time.”
- Los Angeles Times
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Arthur Hiller’s 1964 The Americanization of Emily
Marc Eliot’s Art of Film
“Has something important to say about war and the way it is glorified by some in our culture, courtesy of Paddy Chayefsky... dialogue is bristling with caustic observations of war, rare for a film of that era.”
- Arkansas Democrat-Gazette
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society