john huston

This weekend, New York City’s Film Society of Lincoln Center is kicking off one of the finest, most comprehensive retrospectives of the year with Let There Be Light: The Films of John Huston (full details here or below). For our New York City readers, we’ve teamed with them to give away three (3) ticket packages, each consisting of a ticket to five (5) films of your choice. See how to enter below and all entries must be received by 11:59 PM EST on Thursday, December 18th.

To enter, do the below steps:

1. Like The Film Stage on Facebook

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We will select the winners at random and notify via a Twitter message. One entry per household. No purchase necessary. Winners must reside in New York City.


December 19 – January 11

A comprehensive retrospective spanning five decades of his work as a director, screenwriter, and actor that includes some of Hollywood’s most popular films: The African Queen, Chinatown, Key Largo, The Maltese Falcon, The Misfits, Prizzi’s Honor, and The Treasure of the Sierra Madre. Huston’s influence is evident in Paul Thomas Anderson’s There Will Be Blood and Clint Eastwood’s White Hunter, Black Heart, which will also screen.

New York, NY (October 31, 2014) – The Film Society of Lincoln Center will present Let There Be Light: The Films of John Huston, December 19 – January 11, a retrospective spanning five decades of the his iconic works, mostly as director, but also as screenwriter and actor. Huston was one of the greatest filmmakers of Hollywood’s golden age: an artist of great toughness, conviction, and eloquence; a master storyteller; a hardened cynic; a reluctant romantic; a stellar director of actors, and a brilliant actor himself. Discover, or rediscover, some of his most popular films as well as his rarely seen works on the big screen during this three-week comprehensive retrospective.Tickets will go on sale Thursday, November 20. Visit for more information.

Dennis Lim, Director of Programming for the Film Society, said: “John Huston was a titan of Hollywood’s golden age, but he long outlived it. His storied career spanned multiple decades, styles, and genres, and he was also the rare artist who grew more daring with age. This retrospective allows for a full appreciation of his prodigious gifts and ambitions. There are many films here that are now popular favorites but many more that are overdue for rediscovery.”

Long before striding in front of the camera to show Jack Nicholson’s character in Chinatown what men at the right place and time are capable of, John Huston established himself as one of the 20th century’s most accomplished film artists. With over a decade of writing credits by the time he assumed the director’s chair, he would later add producing and acting to his arsenal, racking up 15 Oscar nominations. His father, Walter, and daughter Anjelica both earned statuettes under his baton as director, making for one of the medium’s most formidable and collaborative dynasties. They are the only family to win Oscars in three successive generations.

John Huston was born in Nevada, Missouri, on August 5, 1906. His father, Walter, was a Canadian stage star who appeared in early talkies, multiple Broadway productions, and many classic Hollywood films. John grew up around the theater and dropped out of school as a teen to pursue a boxing career, but after breaking his nose, left the ring, going on to work as a street performer and artist in London and Paris, before eventually enrolling in art school in Los Angeles to be a painter. He decided shortly thereafter to become a journalist, and then a screenwriter at Universal Studios, where he worked on Murders in the Rue Morgue and A House Divided (which starred his father).

Huston received his first Academy Award nomination for writing Dr. Ehrlich’s Magic Bullet in 1940, and in 1941 he directed his first feature, the film noir masterpiece The Maltese Falcon, quickly securing his place among Hollywood’s great directors (as well as turning Humphrey Bogart into a leading man; Bogart would routinely be cast in Huston’s next few films). In 1948, he won Academy Awards for writing and directing The Treasure of the Sierra Madre (which also netted his father a Best Supporting Actor Oscar), and in 1951 earned two more Oscar nominations and a Best Actor Oscar for Bogart in The African Queen.

Across his career, Huston directed over 40 films, wrote more than 20, and acted in nearly 30, including his notorious turn as villain Noah Cross in Roman Polanski’s crime masterpiece, Chinatown, in 1974. He experimented with different genres and in 1982, at the age of 76, he directed his spirited first musical, Annie. His magisterial final work, The Dead (1987), starred his daughter Anjelica (two years after she won the Best Supporting Actress Oscar for his crime caper Prizzi’s Honor).

Huston has been called “cinema’s Ernest Hemingway… never afraid to tackle tough issues head on,” and though he was by no means a “message man” like Stanley Kramer, a glance at his filmography reveals incisive treatments of racism, sexual identity, religion, alcoholism, psychoanalysis, and war. A renaissance man unbound to genre, Huston was also a painterly stylist attuned to the look of each scene. His films continuously circle back to questions of faith and doubt, concealment and revelation, failure and victory, empathy and the limits of consciousness. And though one of Huston’s great talents was for finding robust, flexible cinematic vocabularies for literary texts, his films were consistently imbued with a wise, reflective, open-minded voice entirely his own.

In the 1980s, Vincent Canby of The New York Times applauded Huston for “the amazing endurance of his first-rate cinematic intelligence, the variety of his films and the consistency with which he has recoupled his fortunes with a good film after turning out some bad ones… It may now be time to call him a master.”

Tickets and a discount package with special holiday prices for the series will go on sale Thursday, November 20. Special Holiday Prices: Tickets as low as $5 with purchase of a 5+ Film Discount package! Single screening tickets only $10; $7 for students, seniors (62+), and Film Society members. The discount package price applies with the purchase of tickets to five films or more. Visit for more information.

Films, Descriptions & Schedule

All screenings will take place in the Walter Reade Theater (165 West 65th Street) unless otherwise noted.

Across the Pacific

John Huston, USA, 1942, 16mm, 97m

Huston’s third feature reteams much of the Maltese Falcon cast and crew, but it never actually crosses the Pacific—the locale changed from Pearl Harbor to Panama when the plot’s scenario became a reality before it could be filmed.

*Thursday, January 8, 1:45pm & 6:15pm

*Venue: Elinor Bunin Munroe Film Center, 144 West 65th Street


The African Queen

John Huston, USA, 1951, 35mm, 105m

Arguably the director’s most popular film pairs Bogart and Katharine Hepburn as a crude Canadian skipper and the uptight missionary who helps him steer the titular vessel downriver to torpedo a German gunboat.

Thursday, December 25, 8:00pm

Sunday, December 28, 3:10pm



John Huston, USA, 1982, DCP,127m

When Huston agreed to bring the incredibly successful Broadway adaptation of Harold Gray’s comic Little Orphan Annie to the screen, the result was one of his most expensive films, one of his only musicals, and the biggest hit of his late career.

Wednesday, December 24, 1:00pm


The Asphalt Jungle

John Huston, USA, 1950, 35mm, 112m

Huston returns to his noir roots with another tale of unlikely partners, delivering what may well be the great American heist movie.

Friday, December 19, 8:45pm

Sunday, December 21, 6:00pm


The Barbarian and the Geisha

John Huston, USA, 1958, DCP, 105m

This 19th-century costumer about the U.S. Ambassador to Japan offers the twin pleasures of Huston’s still compositions, inspired by the setting, and John Wayne’s say-what? casting in the lead.

*Thursday, January 8, 4:00pm & 8:30pm

*Venue: Elinor Bunin Munroe Film Center, 144 West 65th Street


Beat the Devil

John Huston, USA, 1953, 35mm, 89m

Called the first camp movie by no less than Roger Ebert, Beat the Devil offers a wry send-up of noir classics, taking special aim at Huston’s own Maltese Falcon (with Bogart and Peter Lorre spoofing their roles and Jennifer Jones stealing the show playing against type).

Saturday, December 20, 4:00pm

Thursday, December 25, 10:15pm

Friday, December 26, 4:45pm


The Bible: In the Beginning

John Huston, USA/Italy, 1966, 35mm, 174m

Commissioned by Dino De Laurentiis, Huston’s mammoth adaptation of the first half of the book of Genesis found the director summing up a career’s worth of thinking on the conflict between faith and doubt.

Wednesday, December 24, 4:00pm


Casino Royale

Ken Hughes, John Huston, Joseph McGrath, Robert Parrish, Val Guest & Richard Talmadge, UK/USA, 1967, 35mm, 131m

Producer Charles K. Feldman assembled a dream cast—Peter Sellers, Orson Welles, Woody Allen, David Niven, Deborah Kerr—for this omnibus James Bond satire, now a cult classic. Huston, who also makes a brief appearance on-screen, directed one of the segments.

Sunday, December 21, 8:30pm



Roman Polanski, USA, 1974, DCP, 130m

Cinema has few villains more odious, entitled, and self-possessed than Huston’s Noah Cross, a fat cat in 1930s L.A. in Polanski’s brilliant neo-noir.

Monday, December 22, 1:00pm

Tuesday, December 23, 6:00pm


The Dead

John Huston, UK/Ireland/USA, 1987, 35mm, 83m

Adapted from the magisterial final story in James Joyce’s Dubliners, Huston’s final film is one of the medium’s great swan songs, a work of quiet grandeur and impeccable grace.

Wednesday, December 24, 7:30pm

Friday, December 26, 8:30pm


Fat City

John Huston, USA, 1972, 35mm,100m

Huston drew on his own boxing experience from his youth for this New Jersey–set film about a handsome, mildly promising fighter and his older, alcoholic has-been mentor—one of the indisputable masterpieces of its director’s late career.

Thursday, January 1, 4:00pm

Sunday, January 4, 8:30pm

Monday, January 5, 3:30pm


Freud: The Secret Passion

John Huston, USA, 1962, 35mm,140m

Jean-Paul Sartre was the original screenwriter on Huston’s fascinating, profoundly strange Sigmund Freud biopic, a sort of cross between a psychological drama and an expressionist horror movie, featuring a subtle, melancholic central performance by Montgomery Clift.

Friday, December 19, 3:15pm

Saturday, December 20, 6:15pm


Heaven Knows, Mr. Allison

John Huston, USA, 1957, 35mm, 108m

Star chemistry ignites Huston’s World War II drama of a rough-hewn marine (Robert Mitchum) and a novice nun (Deborah Kerr) marooned on a Japanese-occupied island in the South Pacific.

Tuesday, December 30, 3:45pm

Saturday, January 3, 3:45pm


In This Our Life

John Huston, USA, 1942, 35mm, 97m

Huston’s sophomore feature is a drama of two sisters, one good and one evil, with a high-voltage turn by Bette Davis and a powerful subplot indicting racism.

Monday, December 29, 3:15pm

Wednesday, December 31, 8:45pm


Key Largo

John Huston, USA, 1948, 35mm, 100m

Bogart returns to reluctant hero mode as a former Army major held hostage by a gangster in a ramshackle Florida hotel. Lauren Bacall pairs with Bogie for the last time in this claustrophobic thriller.

Friday, December 19, 1:00pm & 6:30pm
Thursday, December 25, 5:45pm


The Kremlin Letter

John Huston, USA, 1970, 35mm, 120m

Jean-Pierre Melville raved over Huston’s grim, fiercely sharp-witted Cold War–era spy thriller, in which a group of American intelligence agents travel undercover to Moscow under the leadership of a deposed officer.

Sunday, December 28, 8:10pm

Friday, January 2, 3:45pm


Let There Be Light

John Huston, USA, 1946, DCP, 58m

Huston’s landmark study of psychologically scarred veterans was banned for decades by the Army, but now stands as a trenchant early depiction of Post Traumatic Stress Disorder.


Screening with:

Winning Your Wings

John Huston, USA, 1942, 16mm, 18m

The first documentary by Huston—and his first contribution to the war effort—features “Lieutenant James Stewart” introducing a B-17 bomber and its nine-man crew. (Note: 6:00pm screening only)



John Huston, USA, 1976, 16mm, 30m

This short, commissioned by the National Parks Service to celebrate the American Bicentennial, is one of the most widely seen of Huston’s later films.

*Wednesday, January 7, 3:30pm & 6:00pm

*Venue: Elinor Bunin Munroe Film Center, 144 West 65th Street


The Life and Times of Judge Roy Bean

John Huston, USA, 1972, 35mm,120m

Huston’s final Western is an ambling, charming shaggy-dog story peppered with outbursts of violence, anchored by a performance by Paul Newman at the height of his powers, and buttressed by a stellar supporting cast including Ava Gardner, Stacy Keach, and John Huston himself.

Saturday, January 3, 6:00pm

Friday, January 9, 8:30pm


The List of Adrian Messenger

John Huston, USA, 1963, 35mm,98m

This deft, elusive whodunit takes place in postwar Britain, but its logic of concealment, mystery, and deception suggests a 19th-century detective story. With guest appearances by Tony Curtis, Frank Sinatra, Robert Mitchum, and Burt Lancaster.

Sunday, December 28, 1:00pm

Monday, December 29, 1:00pm


The Mackintosh Man

John Huston, USA, 1973, 35mm,98m

Huston reteamed with Paul Newman for this labyrinthine spy thriller scripted by the legendary action director Walter Hill: a nostalgic love letter from an aging filmmaker to a dying genre.

December 30, 8:50pm

December 31, 2:15pm


The Maltese Falcon

John Huston, USA, 1941, 35mm, 100m

“The stuff that dreams are made of”: Huston’s directorial bow cemented Humphrey Bogart’s stardom in this quintessential noir tale of a priceless statuette and the dastardly parties pursuing it.

Thursday, December 25, 1:00pm

Friday, December 26, 2:30pm


The Man Who Would Be King

John Huston, UK/USA, 1975, 35mm,129m

Huston had the biggest popular success of his late career with this rip-roaring adventure story, which teamed Sean Connery and Michael Caine as a pair of raffish, conquest-mad British imperialists.

Sunday, December 21, 1:00pm

Tuesday, December 23, 8:45pm


The Misfits

John Huston, USA, 1961, 35mm,124m

The final film for stars Marilyn Monroe and Clark Gable, and Huston’s lone collaboration with Arthur Miller, is a tough, ambiguous morality play about a principled divorcée torn between her love for an aging cowboy and her attachment to the natural world he wants to control.

Saturday, December 20, 1:30pm

Monday, December 22, 3:45pm


Moby Dick

John Huston, USA, 1956, 35mm, 116m

A prolific adaptor of literature, Huston set one of his greatest personal challenges in adapting Herman Melville’s canonical tale of obsession, with a Gregory Peck as the vengeance-seeking Captain Ahab.

Sunday, December 21, 3:30pm


Moulin Rouge

John Huston, USA, 1952, 35mm, 119m

A vibrant foray into the bohemian districts of late-19th-century Paris and the titular cabaret as habituated by diminutive artist Henri de Toulouse-Lautrec.

Sunday, January 4, 3:30pm

Tuesday, January 6, 3:00pm


The Night of the Iguana

John Huston, USA, 1964, 35mm,125m

Richard Burton, Deborah Kerr, and Ava Gardner lead the near-flawless cast of Huston’s adaptation of Tennessee Williams’s play about a reverend thrown out his parish for sexual misconduct and sent into exile as a tour guide in Mexico.

Saturday, December 27, 1:00pm

Tuesday, December 30, 6:15pm



John Huston, Canada/USA, 1980, 35mm,94m

Huston’s career took one of its most dramatic left turns with this sci-fi-inflected horror film about a psychiatrist embroiled in a sinister murder plot.

Saturday, December 20, 9:00pm

Tuesday, December 23, 1:15pm


Prizzi’s Honor

John Huston, USA, 1985, 35mm, 130m

Huston’s penultimate film, about the romantic entanglements of a New York hit man, played by Jack Nicholson with great comedic verve, has the irreverent spunk of a debut and the reflective, generous voice of a swan song.

Sunday, January 11, 7:00pm


The Red Badge of Courage

John Huston, USA, 1951, 35mm, 69m

Under Huston’s direction, Stephen Crane’s Civil War novel, about a callow Yankee who flees his company during battle and is haunted by feelings of cowardice, becomes a memorable coming-of-age tale that’s epic in feel, despite running just over an hour.

Friday, December 26, 6:45pm

Wednesday, December 31, 4:30pm


Reflections in a Golden Eye

John Huston, USA, 1967, 35mm,108m

In Huston’s hands, Carson McCuller’s melodrama, set at a Southern army base, became a tender, languid, and deeply sad portrait of men and women pushing up against the social conventions that constrain them.

Saturday, January 3, 1:20pm

Friday, January 9, 6:15pm


Report from the Aleutians

John Huston, USA, 1943, digital projection, 47m

The first color film by Huston (narrated by the director) juxtaposes combat footage of the Aleutian campaign with scenes depicting the tedium of army life.


Screening with:


The Battle of San Pietro

John Huston, USA, 1945, 35mm, 32m

Huston’s account of a key skirmish in the Italian campaign was so harrowing that the army attempted to delay its release. It’s now regarded as a milestone in combat realism.

*Wednesday, January 7, 1:00pm & 8:45pm

*Venue: Elinor Bunin Munroe Film Center, 144 West 65th Street


The Roots of Heaven

John Huston, USA, 1958, 35mm, 121m

Never one to choose easy projects, Huston took on Romain Gary’s treatise on the sanctity of wild animals, blending action and philosophy in this chronicle of an environmentalist’s crusade to preserve the lives of elephants in French Equatorial Africa.

Friday, January 2, 1:15pm

Sunday, January 4, 1:00pm


Sinful Davey

John Huston, USA, 1969, 35mm, 95m

Taking a turn for the picaresque, Huston made this fleet-footed, sharply observed, and consistently underrated adventure story adapted from the fanciful death-row autobiography of Scottish rogue David Haggart.

Friday, January 9, 4:00pm

Saturday, January 10, 6:45pm



Ovidio G. Assonitis, Italy/USA, 1977, 35mm, 102m

One of Huston’s oddest screen appearances found him starring—alongside Shelley Winters (!) and Henry Fonda (!!)—in this gloriously goofy creature feature, produced one year after Jaws by veteran horror director Ovidio G. Assonitis.

Friday, January 2, 8:35pm


There Will Be Blood

Paul Thomas Anderson, USA, 2007, 35mm, 158m

Huston’s fingerprints are all over Paul Thomas Anderson’s parable of self-determinism carried to baleful extremes, with a central performance, modeled on Huston’s speaking voice, that captures both his magnetism and his unfathomability.

Saturday, December 27, 5:45pm


The Treasure of the Sierra Madre

John Huston, USA, 1948, 35mm, 126m

A decisive portrait of avarice and a bona fide American classic, Huston’s adaptation of B. Traven’s novel earned him Oscars as both writer and director, and a supporting actor trophy for his dad Walter as one of the film’s three rapacious gold miners.

Tuesday, December 23, 3:20pm

Thursday, December 25, 3:15pm

Saturday, December 27, 8:50pm


Under the Volcano

John Huston, USA, 1984, 35mm, 112m

This shattering adaptation of Malcolm Lowry’s dense modernist novel is one of the most sensitive and well-observed depictions of alcoholism in film history, anchored by Albert Finney’s towering lead performance.

Friday, January 9, 1:30pm

Saturday, January 10, 8:45pm


The Unforgiven

John Huston, USA, 1960, 35mm, 125m

Huston hoped to make a frank statement on racial prejudice in America with this saga of a frontier family and their adopted Indian daughter; though it fell short of his expectations, it remains a sober and intelligent film with fine performances.

Sunday, December 28, 5:30pm

Thursday, January 1, 1:30pm



John Huston, USA, 1981, 35mm, 116m

In Huston’s must-be-seen-to-be-believed mash-up of the sports movie and the POW escape thriller, Michael Caine and Max von Sydow share the screen with a star-studded lineup of international soccer stars, headlined by the legendary Pelé.

Wednesday, December 31, 6:15pm

Sunday, January 4, 6:00pm


A Walk with Love and Death

John Huston, USA, 1969, 35mm,90m

Two lovers act out a brief, doomed romance while their world comes apart around them in Huston’s oblique 14th-century take on the “make love not war” generation.

Saturday, January 3, 8:30pm

Tuesday, January 6, 1:00pm


We Were Strangers

John Huston, USA, 1949, 35mm, 109m

Among the grittiest, most offbeat films of Huston’s studio period, We Were Strangers depicts in documentary-like fashion a band of Cuban revolutionaries, led by an American expat (John Garfield) and a revenge-seeking girl (Jennifer Jones).

Tuesday, December 30, 1:30pm

Thursday, January 1, 8:30pm


White Hunter, Black Heart

Clint Eastwood, USA, 1990, 35mm, 112m

On both sides of the camera, Clint Eastwood limns one of his most complex creations: John Wilson, a dauntless filmmaker (based on Huston) who ventures into Africa as much to test his masculinity as to get a great film in the can.

Friday, January 2, 6:15pm

Monday, January 5, 1:00pm


Wise Blood

John Huston, USA, 1979, 35mm,106m

Brad Dourif gives the performance of his career as a proselytizing atheist in Huston’s indelible, hilarious, and deeply challenging adaptation of Flannery O’Connor’s debut novel.

Saturday, December 27, 3:30pm

Thursday, January 1, 6:15pm


Public Screening Schedule

All screenings will take place at:

Walter Reade Theater, 165 West 65th Street

Elinor Bunin Munroe Film Center, 144 West 65th Street

Friday, December 19

1:00   Key Largo (100m)

3:15   Freud: The Secret Passion (140m)

6:30   Key Largo (100m)

8:45   The Asphalt Jungle (112m)


Saturday, December 20

1:30   The Misfits (124m)

4:00   Beat the Devil (89m)

6:15   Freud: The Secret Passion (140m)

9:00   Phobia (94m)


Sunday, December 21 

1:00   The Man Who Would Be King (129m)

3:30   Moby Dick (116m)

6:00   The Asphalt Jungle (112m)

8:30   Casino Royale (131m)


Monday, December 22

1:00   Chinatown (130m)

3:45   The Misfits (124m)


Tuesday, December 23

1:15   Phobia (94m)

3:20   The Treasure of the Sierra Madre (126m)

6:00   Chinatown (130m)

8:45   The Man Who Would Be King (129m)


Wednesday, December 24

1:00   Annie (127m)

4:00   The Bible: In the Beginning (174m)

7:30   The Dead (83m)


Thursday, December 25

1:00    The Maltese Falcon (100m)

3:15    The Treasure of the Sierra Madre (126m)

5:45    Key Largo (100m)

8:00    The African Queen (105m)

10:15   Beat the Devil (89m)


Friday, December 26

2:30     The Maltese Falcon (100m)

4:45     Beat the Devil (89m)

6:45     The Red Badge of Courage (69m)

8:30     The Dead (83m)


Saturday, December 27

1:00     The Night of the Iguana (125m)

3:30     Wise Blood (106m)

5:45     There Will Be Blood (158m)

8:50     The Treasure of the Sierra Madre (126m)


Sunday, December 28

1:00   The List of Adrian Messenger (98m)

3:10   The African Queen (105m)

5:30   The Unforgiven (125m)

8:10   The Kremlin Letter (120m)


Monday, December 29

1:00    The List of Adrian Messenger (98m)

3:15    In This Our Life (97m)


Tuesday, December 30

1:30    We Were Strangers (109m)

3:45    Heaven Knows, Mr. Allison (108m)

6:15    The Night of the Iguana (125m)

8:50    The Mackintosh Man (98m)


Wednesday, December 31

2:15    The Mackintosh Man (98m)

4:30    The Red Badge of Courage (69m)

6:15    Victory (116m)

8:45    In This Our Life (97m)


Thursday, January 1

1:30   The Unforgiven (125m)

4:00   Fat City (100m)

6:15   Wise Blood (106m)

8:30   We Were Strangers (109m)

Friday, January 2

1:15   The Roots of Heaven (121m)

3:45   The Kremlin Letter (120m)

6:15   White Hunter, Black Heart (112m)

8:35   Tentacles (102m)

Saturday, January 3

1:20   Reflections in a Golden Eye (108m)

3:45   Heaven Knows, Mr. Allison (108m)

6:00   The Life and Times of Judge Roy Bean (120m)

8:30   A Walk with Love and Death (90m)

Sunday, January 4

1:00   The Roots of Heaven (121m)

3:30   Moulin Rouge (119m)

6:00   Victory (116m)

8:30   Fat City (100m)

Monday, January 5

1:00    White Hunter, Black Heart (112m)

3:30    Fat City (100m)

Tuesday, January 6

3:00    Moulin Rouge (119m)

1:00    A Walk with Love and Death (90m)

Wednesday, January 7

1:00    Report from the Aleutians (47m) + The Battle of San Pietro (32m)

3:30    Let There Be Light (58m) + Independence (30m)

6:00    Let There Be Light (58m) + Winning Your Wings (18m) +

Independence (30m)

8:45    Report from the Aleutians (47m) + The Battle of San Pietro (32m)

Thursday, January 8

1:45    Across the Pacific (97m)

4:00    The Barbarian and the Geisha (105m)

6:15    Across the Pacific (97m)

8:30    The Barbarian and the Geisha (105m)

Friday, January 9

1:30    Under the Volcano (112m)

4:00    Sinful Davey (95m)

6:15    Reflections in a Golden Eye (108m)

8:30    The Life and Times of Judge Roy Bean (120m)

Saturday, January 10

6:45   Sinful Davey (95m)

8:45   Under the Volcano (112m)

Sunday, January 11

7:00    Prizzi’s Honor (130m)
Film Society of Lincoln Center

Founded in 1969 to celebrate American and international cinema, the Film Society of Lincoln Center works to recognize established and emerging filmmakers, support important new work, and to enhance the awareness, accessibility, and understanding of the moving image. The Film Society produces the renowned New York Film Festival, a curated selection of the year’s most significant new film work, and presents or collaborates on other annual New York City festivals including Dance on Camera, Film Comment Selects, Human Rights Watch Film Festival, New Directors/New Films, NewFest, New York African Film Festival, New York Asian Film Festival, New York Jewish Film Festival, Open Roads: New Italian Cinema and Rendez-Vous with French Cinema. In addition to publishing the award-winning Film Comment magazine, the Film Society recognizes an artist’s unique achievement in film with the prestigious Chaplin Award, whose 2015 recipient is Robert Redford. The Film Society’s state-of-the-art Walter Reade Theater and the Elinor Bunin Munroe Film Center, located at Lincoln Center, provide a home for year-round programs and the New York City film community.

The Film Society receives generous, year-round support from Royal Bank of Canada, Jaeger-LeCoultre, American Airlines, The New York Times, HBO, Stella Artois, The Kobal Collection, Variety, Trump International Hotel and Tower, the National Endowment for the Arts, and the New York State Council on the Arts.

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